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GCD Comics Timeline
He worked on the ‘City at War’ sequence in the mid-1990s, the 2001 incarnation of the title along with Peter Laird and Eric Talbot, and many issues between.
While at Mirage, Lawson created his own non-Turtles series “Bade Biker and Orson” (1986–1987) and “Dino Island” (1993).
Around the turn of the century, he and Peter Laird formed Zeromayo Studios. They created and published two volumes of Laird’s science-fiction series “Planet Racer” (1997, 1998) and Lawson’s series of realistic stories “Paleo: Tales of the Late Cretaceous” (2001).
At Comiclopedia — https://www.lambiek.net/artists/l/lawson_jim.htm
At Wikipedia — https://en.wikipedia.org/wiki/Jim_Lawson_(comics)
In the GCD — http://ow.ly/xreF3098PBm
(Lawson created the cover of “Bade Biker and Orson” #1, November 1986)
From 1987 to 1991, he drew Tom Batiuk’s syndicated strip ‘John Darling’.
Shamray also publishes caricatures in the “Cleveland Press” and does commercial illustration.
At Comiclopedia — https://www.lambiek.net/artists/s/shamray_gerry.htm
At Wikipedia — https://en.wikipedia.org/wiki/Gerry_Shamray
In the GCD — http://ow.ly/ZZgG3098Pw5
(Shamray created the cover of “American Splendor” #6, 1981)
Jackie Robinson (https://www.comics.org/series/14327/covers/)
Jack Roosevelt "Jackie" Robinson (January 31, 1919 – October 24, 1972) was an American professional baseball second baseman who became the first African American to play in Major League Baseball (MLB) in the modern era. Robinson broke the baseball color line when the Brooklyn Dodgers started him at first base on April 15, 1947. The Dodgers, by signing Robinson, heralded the end of racial segregation in professional baseball that had relegated black players to the Negro leagues since the 1880s. Robinson was inducted into the Baseball Hall of Fame in 1962.
Robinson's major league debut brought an end to approximately sixty years of segregation in professional baseball, known as the baseball color line. After World War II, several other forces were also leading the country toward increased equality for blacks, including their accelerated migration to the North, where their political clout grew, and President Harry Truman's desegregation of the military in 1948. Robinson's breaking of the baseball color line and his professional success symbolized these broader changes and demonstrated that the fight for equality was more than simply a political matter. Martin Luther King, Jr. said that he was "a legend and a symbol in his own time", and that he "challenged the dark skies of intolerance and frustration." According to historian Doris Kearns Goodwin, Robinson's "efforts were a monumental step in the civil-rights revolution in America ... [His] accomplishments allowed black and white Americans to be more respectful and open to one another and more appreciative of everyone's abilities."
Robinson's character, his use of nonviolence, and his unquestionable talent challenged the traditional basis of segregation which then marked many other aspects of American life. He influenced the culture of and contributed significantly to the Civil Rights Movement. Robinson also was the first black television analyst in MLB, and the first black vice president of a major American corporation, Chock full o'Nuts. In the 1960s, he helped establish the Freedom National Bank, an African-American-owned financial institution based in Harlem, New York. In recognition of his achievements on and off the field, Robinson was posthumously awarded the Congressional Gold Medal and Presidential Medal of Freedom.
In 1950, Robinson portrayed himself in a film version of his life story, The Jackie Robinson Story. From 1949 to 1952 Robinson was featured in a short six issue comic book series from Fawcett, called simply Jackie Robinson.
excerpted from https://en.wikipedia.org/wiki/Jackie_Robinson
He wrote for comics from the end of the 1960s to 1980. He wrote stories for Warren’s black-and-white magazines and for anthology comic books at Archie, DC, Charlton and others.
Glut created and wrote three memorable features at Gold Key — ‘Dr. Spektor’, ‘Dagar the Invincible’, and ‘Tragg and the Sky Gods’.
At Marvel, he wrote ‘Solomon Kane’ stories in “The Savage Sword of Conan” and had runs on “Captain America” and “The Invaders”.
Among his many fiction and non-fiction books, he is well-known for his 1980 novelization of the film “The Empire Strikes Back” (now called ‘Star Wars Episode 5’).
At Wikipedia — https://en.wikipedia.org/wiki/Donald_F._Glut
In the GCD — http://ow.ly/pVh93098PsN
(Jesse Santos painted the cover of “The Occult Files of Dr. Spektor” #1, May 1973)
By 1940, he began working at DC Comics creating very short humor strips and panels which were used to fill partial pages. He continued to create primarily for DC but occasionally at Fawcett and Harvey, until the early 1970s.
Boltinoff’s filler strips include ‘Casey the Cop’, ‘Super-Turtle’, and ‘Jerry the Jitterbug’.
He created ‘Dover and Clover’ in 1943, a standard-length humor feature about twin detectives. It ran in “More Fun Comics” and “All Funny Comics” through 1948, with a few more stories in “Detective Comics” in 1950 and 1951.
His final filler creation was ‘Cap’s Hobby Hints’ in the late 1960s. From 1969 to 1971, he created stories in “Date with Debbi” and “Swing with Scooter”.
Boltinoff also worked for newspaper syndication. He drew ‘This & That’ in 1946. In 1960, he took over ‘Nubbin’ and continued it to 1986. He also created ‘Stoker the Broker’ that year, which ran on business pages through the mid-1990s.
Outside the comics community, he is known globally for the ‘Hocus-Focus’ syndicated feature. Readers enjoy spotting the differences between two nearly-identical panels without any language barriers.
Boltinoff received awards from the National Cartoonists Society for his comic-book work (1970) and his newspaper panels (1981).
Shortly after beginning to work for DC, editor Whitney Ellsworth casually complained of overwork and Boltinoff suggested he hire his brother, Murray, as an assistant. Murray Boltinoff edited at DC through the end of the 1980s.
At Comiclopedia — https://www.lambiek.net/artists/b/boltinoff_henry.htm
At Wikipedia — https://en.wikipedia.org/wiki/Henry_Boltinoff
In the GCD — http://ow.ly/FvRy3098Poi
(Boltinoff created the cover of “More Fun Comics” #108, March 1946, the first all-humor issue following the migration of ‘Superboy’, ‘Green Arrow’, ‘Johnny Quick’, and ‘Aquaman’ to “Dectective Comics”)
Luke Cage (https://www.comics.org/character/name/luke%20cage/sort/chrono/)
Luke Cage was created by Archie Goodwin and John Romita, Sr. shortly after blaxploitation films emerged as a popular new genre. He debuted in his own series, Luke Cage, Hero for Hire (https://www.comics.org/series/2051/covers/), initially written by Goodwin and pencilled by George Tuska. The character was the first black superhero to star in his own comic-book series, which was retitled Luke Cage, Power Man with issue #17 (https://www.comics.org/series/2186/covers/). Cage's adventures were set in a grungier, more crime-dominated New York City than that inhabited by other Marvel superheroes of the time.
As the blaxploitation genre's popularity faded, Cage became unable to support his own series and was paired with the martial-arts superhero Iron Fist in an effort to save both characters from cancellation. Though the series title would remain Power Man in the indicia for a while longer, with issue #50 (April 1978) the cover title became Power Man and Iron Fist (https://www.comics.org/series/2460/covers/). It would remain thus until the series' cancellation with issue #125 (September 1986). The series' final writer, James Owsley, attempted to shed Cage's blaxploitation roots by giving him a larger vocabulary and reducing usage of his catchphrase, "Sweet Christmas!"
In 1992, Cage was relaunched in a new series, simply titled Cage, set primarily in Chicago. The revived series updated the character, with Cage symbolically destroying his original costume on the cover of the first issue. The series, written by Marc McLaurin, ran 20 issues. Cage received exposure in other books at the time, including his own serial in the anthology series Marvel Comics Presents. In the aftermath of the "Onslaught" and "Heroes Reborn" companywide storylines, Cage was included in the series Heroes for Hire, written by John Ostrander, which lasted 19 issues.
Subsequently, Cage was featured in the Brian Michael Bendis-written series Alias, Secret War, The Pulse, Daredevil, and New Avengers.
In 2010, Cage became a regular character in Thunderbolts, starting with issue #144, and continued as leader of the team when the title transitioned into Dark Avengers beginning with issue #175. Cage also reappeared as a regular character in the second volume of the New Avengers series.
excerpted from https://en.wikipedia.org/wiki/Luke_Cage
He is best known for his work on “Cobalt-60”, “Miami Mice”, and “The Lizard of Oz”. He has published in “Heavy Metal” and worked on “Teenage Mutant Ninja Turtles”.
His father was underground comics legend Vaughn Bodé, whose style he sometimes works in.
At Comiclopedia — https://www.lambiek.net/artists/b/bode-mark.htm
At Wikipedia — https://en.wikipedia.org/wiki/Mark_Bod%C3%A9
In the GCD — http://ow.ly/mETH3097Ldi
(Bodé created the cover of “Gyro Force”, 1987)
He began writing the comic book “Rock ‘N’ Roll Comics” (created by Todd Loren) in 1989 with the second issue, and still oversees the rock comic reprints published by Bluewater Productions and others.
The publishing company he co-founded, Carnal Comics, is best known for launching the movie and cartoon character ‘Demi the Demoness’.
At Wikipedia — https://en.wikipedia.org/wiki/Jay_Allen_Sanford
In the GCD — http://ow.ly/YskX6
(Carl Ferguson drew the cover of “Sports Legends Comics” #3, 1992, with the interior story written by Sanford)
He inked “Eternity Smith” (Hero, 1987–1988). At Apple Press, he provided full art for a science-fiction story by Angela Harris in “Vox” (1989–1990).
McClellan inked stories at DC Comics and Marvel until 1995. He worked on series such as “Wonder Woman” and “Quasar”.
In the later 1990s, he inked “Saban’s Mighty Morphin Rangers” (Hamilton) and “Gene Roddenberry’s Lost Universe” (Big Entertainment).
McClellan left comics in 1999 to pursue freelance graphic design and illustration. His clients have included the Carnegie Museum of Natural History and the AAA.
At Memory Alpha — http://memory-alpha.wikia.com/wiki/Aaron_McClellan
In the GCD — http://ow.ly/6fdr3097KUJ
(McClellan created the cover of “Vox” #6, July 1990)
In the GCD — http://ow.ly/a4HD3097KQR
(Echterling created the cover of “Zolastraya and the Bard” #1, January 1987)
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5,297 indicia publishers
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