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Each week, a small number of GCD volunteers add listings to our database for the new comics released that week in North America. These are just the basic listings, not full indexes. This makes it easier for other volunteers who upload covers and for indexers, as well as for people using my.comics.org.
Each volunteer covers one publisher or a small group of publishers (“D publishers except DC”, for example). From public sources such as ComicsList and Diamond Previews online, they add the issues and make note of the prices and a few other details. We are looking for additional volunteers for this weekly task.Follow this link for a description of the process and a list of which publishers are currently covered.
GCD Comics Timeline
At Wikipedia — https://en.wikipedia.org/wiki/Drew_Hayes
In the GCD — https://tinyurl.com/yb4l3cfh
(Hayes created the cover art on “I, Lusiphur” #1, December 1991)
At Comiclopedia — https://www.lambiek.net/artists/g/giordano_dick.htm
At Wikipedia — https://en.wikipedia.org/wiki/Dick_Giordano
In the GCD — https://tinyurl.com/y7xdm8an
(Giordano created the cover art on “Jonah Hex” #51, March 2010)
At Comiclopedia — https://www.lambiek.net/artists/r/roland_niels.htm
In GCD — https://tinyurl.com/ybxlmpfl
(Roland and Henrik Rehr created the cover art on “Die Zeit der Abrechnung” #1 - Schatten über Hedelund, August 1991)
In the early 1950s he produced the science fiction feature “Olaf Noord” and the pre-historic humor strip “Skokan”.
He worked in other genres, as well, from historical-setting adventures through erotic stories to stories about Huckleberry Finn and Nancy Drew.
In 2004 Bus was a co-recipient of the Bulletje & Boonestaakschaal award at Stripdagen, along with his friends from Spaarnestad Studio, Nico van Dam and Harry Balm.
At Comiclopedia — https://www.lambiek.net/artists/b/bus.htm
In the GCD — https://tinyurl.com/y8xgwx4n
(Bus created the cover art on “Eppo” #38/1981)
He began his career in advertising art and draws editorial cartoons for “Folha de São Paulo” and “Estado de São Paulo”. He also appears in magazines such as “Veja” and “Placar”.
He is known for his work in the USA comic-book market from the early 1990s, working for many publishers.
At Marvel, he has drawn series from “The Spectacular Spider-Man” (1996–1998) to “John Carter: The World of Mars” (2011–2012) and from “Captain America: First Vengeance” (2011) to “Hercules” (2016).
At DC, he has worked on “New Gods” (1995–1996), “Green Lantern” (2004), “Jonah Hex” (2006), and other titles.
Ross has also worked at Continuity, Valiant, Chaos!, CrossGen, Dark Horse, Image, and other publishers.
At Comiclopedia — https://www.lambiek.net/artists/r/ross_luke.htm
At Wikipedia — https://en.wikipedia.org/wiki/Luke_Ross
In the GCD — https://tinyurl.com/y7292o7x
(Ross created this cover of “Hulk” #6, November 2014)
She created the cartoonish detective ‘Harry Mickson’ as a mascot for Futuropolis and later as a feature in “L’Écho des Savanes”.
In addition to “L’Echo”, she published comics in “Métal Hurlant”, “Ah Nana!”, “Pilote”, and other magazines in the 1970s. From 1980, she also appeared in “À Suivre” and “Charlie Mensuel”. Futuropolis began collecting her work in albums from 1979.
At Dargaud in the late 1990s, she created “Cestac pour les grands” — one album, ‘Le demon de midi’ (1996), was adapted for the stage and also as the film “The Demon Stirs” (2005).
She created the series “Cestac Color” to feature work by contemporary artists (2001) and drew a memoir, “La vie d’artiste” (2002), both at Dargaud.
Cestac received the Alph-Art award at Angoulême in 1989 and 1997 and the Grand Prix in 2000. She received the Grand Prix Saint-Michel in 2014.
At Comiclopedia — https://www.lambiek.net/artists/c/cestac.htm
At Wikipedia — https://en.wikipedia.org/wiki/Florence_Cestac
At Women in Comics — http://womenincomics.wikia.com/wiki/Florence_Cestac
At Cestac.com (in French) — https://cestac.com/cmoi.html
In the GCD — https://tinyurl.com/ybgvzl5d
(E. C. Segar created the art on the cover of “Popeye” #6 - 1931, September 1985, a French translation edited by Cestac)
During the 1960s he worked with Jan Kruis producing advertising strips that were published in “Donald Duck” and other children’s comics. Their clients included Mars, Bounty, Milky Way, De Ruijter, and others.
He collaborated with Wim Meuldijk on a comics adaptation of the latter’s television character ‘Pipo de Clown’ (1969–1973) and drew the final years (1974–1979) of Meuldijk’s long-running ‘Ketelbinkie’ feature about a super-powered boy, both in “Donald Duck”.
He also published regularly in “Sjors” in the late 1960s and the 1970s.
In 1982, he moved to New Zealand, where he stayed until 1997. He was a political cartoonist for the “New Zealand Herald”.
After his return to the Netherlands, he illustrated educational books and created the humorous feature ‘Even Een Piraatje’ in “Myx”.
Van der Voo received the Bulletje & Boonestaakschaal for his contributions to the Dutch comics field in 2005.
At Comiclopedia — https://www.lambiek.net/artists/v/vandervoo.htm
In the GCD — https://tinyurl.com/ydelfpcf
His best-known work is ‘Jayson’, the story of “Jayson Callowhill, a skinny farm boy who moves to Philadelphia searching for a job and a man”.
It began as a strip feature in “Philadelphia Gay News” in 1983. New stories appeared in “Gay Comix” and the strip has been nationally syndicated since 1990.
In 1998, Krell collaborated with Ron Romanovsky and Paul Phillips on an off-Broadway musical comedy about Jayson.
From the late 1990s, he has published ‘Jayson’ collections through his own Ignite! Press. He began creating original graphic novels with “Jayson Goes to Hollywood” (2008).
Krell has translated and published humorous erotic comics by the gay German artist Ralf König (born 8 August 1960).
At Comiclopedia — https://www.lambiek.net/artists/k/krell_jeff.htm
At Wikipedia — https://en.wikipedia.org/wiki/Jeff_Krell
In the GCD — https://tinyurl.com/ybz42hgf
(Krell created the cover art on “Jayson: A New Collection”, 1997)
Directly out of high school, he worked as an ‘in-betweener’ animator on ‘Krazy Kat’ at Screen Gems. In 1937, he went to MGM where he worked on ‘Tom and Jerry’ cartoons (and met his wife).
He created his best-known work, the newspaper strip ‘Gordo’, at United Features. It began on 24 November 1941, but went on hiatus a year later when the artist was drafted.
During World War II, he worked on training films and found the time to begin a Sunday ‘Gordo’ strip in 1943. The daily strips resumed in 1946 and he continued to produce the feature until he retired in 1985.
‘Gordo’ began in the mold of ‘Li’l Abner’, relying on ethnic and linguistic stereotypes for broad comedy. Arriola gradually changed the focus to a more sympathetic portrayal of his ancestral homeland.
The popular strip introduced the USA audience to ‘amigo’, ‘hasta la vista’, tacos, and burritos and it told stories featuring Mayan, Aztec, and Mexican history.
There was never a “Gordo” comic book, but the strips were reprinted in “Tip Top Comics” and “Sparkle Comics” in the 1940s and 1950s.
Over the years, ‘Gordo’ was praised by Mexican diplomats and critics for its cross-cultural effect and by Charles Schultz (‘Peanuts’) for its art style.
Arriola received the first Best Humor Strip award from the National Cartoonists Society in 1957, and again in 1965. His death in 2008 was memorialized in the Latinx syndicated strips ‘Baldo’ and ‘La Cucaracha’.
At Comiclopedia — https://www.lambiek.net/artists/a/arriola_gus.htm
At Wikipedia — https://en.wikipedia.org/wiki/Gus_Arriola
‘Gordo’ at Toonopedia — http://www.toonopedia.com/gordo.htm
In the GCD — https://tinyurl.com/y9xxz2ly
(Arriola created the art on this postcard, 1975)
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