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GCD Comics Timeline
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)
After military service, when he was published in “Stars and Stripes”, he became a magazine cartoonist in the mid-1950s. He appeared in magazines such as “The Saturday Evening Post” and “Collier’s Weekly”.
In 1957, he created “B.C.”, a humor strip about a very modern stone-age community. It became popular and widely licensed. Hart drew it to the day he died, and it is currently produced by his grandsons Mason Mastroianni and Mick Mastroianni.
In the early 1960s, Hart developed a new strip idea and involved Brant Parker as the artist. The result was “The Wizard of Id”, which began in 1964. This story of a sardonic wizard serving a ridiculous king is also still running, also now created by his grandsons.
In the mid-1980s, Hart joined a fundamentalist Christian church and increasingly began to express his new-found faith in his creative work. Today’s reader will need to look past increasingly open misogyny and anti-semitism to appreciate his later “B.C.” strips.
He received many awards from his fans and peers. The National Cartoonists Society gave him Reuben Awards for both “B.C.” (1968) and “Wizard of Id” (1984), as well as multiple other awards.
He received a Yellow Kid at Lucca in 1970, the first time the ‘Best Cartoonist of the Year’ award went to a USA creator.
At Comiclopedia — https://www.lambiek.net/artists/h/hart.htm
At Wikipedia — https://en.wikipedia.org/wiki/Johnny_Hart
In the GCD — http://ow.ly/wx7K3097KHd
(Brant Parker created the art on the cover of the first ‘Wizard of Id’ collection, “The King Is a Fink!”, 1969)
His first cartoon was published in the science-fiction magazine “Amazing Stories” in 1954 and within a few years he was also publishing in general magazines such as “Colliers”, “The New Yorker”, and “Playboy”.
His sardonic strip about childhood, ‘Nuts’, ran in “National Lampoon” in the 1970s and was collected by Fantagraphics in 2011.
He created two issues of “Classics Illustrated” at First Comics in 1990 and 1991.
Wilson received the World Fantasy Convention Award in 1981. In 2005, he received a Milton Caniff Lifetime Achievement Awards from the National Cartoonists Society.
NOTE — Yes, you did see this same post on 8 February. That’s because yr ob’t svt goofed up. :-)
At Comiclopedia — https://www.lambiek.net/artists/w/wilson_gahan.htm
At Wikipedia — https://en.wikipedia.org/wiki/Gahan_Wilson
In the GCD — http://ow.ly/Pi6v308NhaQ
(Wilson created the cover art on “Nuts”, 2011)
In 1993, he created the horror character ‘Eudaemon’ in “Dark Horse Presents” and in his own mini-series.
In the mid-1990s, Nelson created illustrations and covers for Harris Comics, Chaos! Comics, and others. From the late 1990s, he has worked at DC Comics and Marvel comics, primarily as an inker.
Among other comics, he has worked on “Inhumans” (2003–2004) and “Venom” (2012–2013) at Marvel, and on “Superman: Strange Attractors” (2006) and “Lobo” (2014–2015) at DC.
At Wikipedia — https://en.wikipedia.org/wiki/Nelson_DeCastro
In the GCD — http://ow.ly/FP1q3095wKq
(Nelson painted the cover of “Dark Horse Presents” #72, April 1993)
He began working at DC Comics, the company he is most associated with, in 1945. He drew features such as ‘Tommy Tomorrow’ in “Action Comics” and crime stories in “Gang Busters”.
Swan is known as the premiere Superman artist of the Silver Age. He drew his first ‘Superman’ story in the Man of Steel’s own comic in 1948.
In 1954, he was the artist on the new ‘Superman and Batman’ feature in “World’s Finest Comics”, a team-up series that replaced their separate features. From 1956 through 1960, he drew the ‘Superman’ syndicated strip comic.
Through the end of the 1980s, Swan drew covers and stories for all of the Superman family of comics, as well as other DC series. In addition to ‘Superman’, he drew ‘Jimmy Olsen’, ‘Superboy’, ‘The Legion of Super-Heroes’.
Swan drew the final story of the original Superman in September, 1986. It was written by Alan Moore, and Swan was inked by Kurt Schaffenberger and George Pérez. Collected as “Superman: Whatever Happened to the Man of Tomorrow?”, it originally appeared in “Superman” #423 and “Action Comics” #583 — the final issues of both of those series.
At Wikipedia — https://en.wikipedia.org/wiki/Curt_Swan
At Comiclopedia — https://www.lambiek.net/artists/s/swan_curt.htm
In the GCD — http://ow.ly/PirB3095wBc
(Swan penciled and Stan Kaye inked the cover of “Superman” #89, May 1954)
His parents were Jewish Russian immigrants. In the mid-1940s, he dropped out of college and worked as a poet, mime, and clown. He founded Teatro Mimico in 1947, which performed his first play in 1952.
After living in Paris from 1953 to 1960, he moved to Mexico City. He created his first comic book, “Anibal 5”, in 1966 as an expression of his post-surrealist Panic Movement.
With artist Moebius (Jean Girard), Jodorowksy created the science-fiction feature ‘The Incal’ in “Métal hurlant” in 1981. Eventually comprising 16 volumes in 4 series of its own, this sprawling space opera also gave rise to related series “Metabarons”, “The Technopriests”, and “Mégalex”.
Jodorowsky has also written other comics series, such as “Le Lama blanc” (“The White Lama”) with Georges Bess and “Le Coeur couronné” (in English as “The Madwoman of the Sacred Heart”) with Moebius.
At Comiclopedia — https://www.lambiek.net/artists/j/jodorowsky.htm
At Wikipedia — https://en.wikipedia.org/wiki/Alejandro_Jodorowsky
In the GCD — http://ow.ly/6brx3095whJ
(Moebius created the cover art of “L’Incal” #2, January 1982)
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- The Funny Comics #16 (Bell Features)
- Maverick #20 (Illustrerte Klassikere / Williams Forlag)
- Hjälp #2/2008 (Kartago förlag)
- Walt Disney's Beste Historier #4 - Eventyr med tidsmaskinen 5 (Hjemmet / Egmont)
- The Funny Comics #14 (Bell Features)
5,297 indicia publishers
68,659 variant issues
272,811 issue indexes