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The Grand Comics Database is only made possible through volunteers from around the world. From indexers to editors, programmers to website administrators, we are fans working together to create the most comprehensive comics database online. We are a growing global community with new registrations coming from North America and ‘the four corners of the earth’ — Brazil, Europe, India, and Australia!
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GCD Comics Timeline
By 1981 she was a full editor and one of her earliest responsibilities was the ‘Legion of Super-Heroes’ feature, which she shepherded through multiples titles from 1982 to 1989. She also edited ‘Amethyst, Princess of Gemworld’ from 1983 to 1989.
More interested in horror comics, she took over the editing of “The Saga of Swamp Thing” from co-creator Len Wein in 1984 and nurtured the feature with Alan Moore and beyond, through 1990.
She brought Neil Gaiman to “The Sandman” and his work to a mass audience.
Following on Berger’s success with titles such as these, which allowed creators to craft more textured and subtle stories, she launched the Vertigo imprint in 1993. She edited at Vertigo and in the DC Universe titles through 2013.
Among the well-known, critically-acclaimed series that she published at Vertigo are “Fables”, “Hellblazer”, “The Invisibles”, “100 Bullets”, “Preacher”, “V for Vendetta”, and “Y: The Last Man”.
Berger recently edited “Surgeon X” at Image (2016–2017).
At Women in Comics — http://womenincomics.wikia.com/wiki/Karen_Berger
At Wikipedia — https://en.wikipedia.org/wiki/Karen_Berger
In the GCD — http://ow.ly/Ah07309mEUv
(Keith Giffen penciled and Larry Mahlstedt inked the cover of “The Legion of Super-Heroes” #294, December 1982, the first issue edited by Berger)
He moved to New York City in 1947 to attend art school, where he met fellow artists such as Frank Frazetta, Mort Meskin, and Pete Morisi.
His professional career began in the early 1950s, primarily at St. John but also at EC Comics, Prize, and others.
Estrada began working at DC Comics in the mid-1960s, where he remained for thirty years, with only occasional work at other publishers.
He drew in many genres during his career and said he enjoyed the war stories most. He drew a couple of stories for EC in 1952 and 1953, and worked on stories at DC from “Our Army At War” (1955–1977) to “Weird War Tales” (1975–1983).
He produced many western and romance stories, as well. His super-hero work included “Karate Kid” and “Superboy & the Legion of Super-Heroes” (1976–1977). He was the initial artist on “Amethyst, Princess of Gemworld” (1985).
In 1974, Estrada created a story in “G.I. Combat” based on a passage in his scripture, the “Book of Mormon”. This led to the church hiring him to illustrate its “New Testament Stories for Children” (1980).
He occasionally drew the ‘Flash Gordon’ syndicated strip from the 1950s to the 1970s.
From the mid-1980s to the end of the century, he worked in animation. He is known for “Bionic Six” (1987), “The Smurfs” (1981), and “Tom & Jerry Kids Show” (1990).
At Comiclopedia — https://www.lambiek.net/artists/e/estrada_ric.htm
At Wikipedia — https://en.wikipedia.org/wiki/Ric_Estrada
In the GCD — http://ow.ly/YJ8Qy
In the IMDb — www.imdb.com/name/nm1184829/
(Estrada penciled and Jack Abel inked the cover art on “Superboy” #2/1979, which is from the story in “Superboy & the Legion of Super-Heroes” #232, October 1977, which itself is translated in this Norwegian reprint)
Working at William Randolph Hearst’s “New York Journal” in 1987, he was asked to adapt Wilhelm Busch’s darkly comedic “Max und Moritz” (Germany, 1865) and came up with ‘The Katzenjammer Kids’, which debuted on 12 December 1897.
In addition to the stories and the art, the strip is known for its early use of such tropes as speech drawn in balloons, ‘speed lines’ showing motion, ‘seeing stars’ showing pain, and ‘sawing wood’ showing sleep.
Dirks left the strip after a legal conflict that lasted from 1912 to 1914. He was replaced by Harold Knerr, who continued with it until his death in 1949. It is the longest-running strip still in syndication.
Dirks exercised his right to create a duplicate strip with a different name. ‘Hans und Fritz’, soon changed to ‘The Captain and the Kids’, debuted in Pulitzer papers and continued in syndication until 1979.
From the late 1930s through the 1950s, the ‘Captain’ strip was reprinted in comics published by its syndicate, United Features, primarily in “Tip Top Comics”.
At Comiclopedia — https://www.lambiek.net/artists/d/dirks_r.htm
At Wikipedia — http://en.wikipedia.org/wiki/Rudolph_Dirks
In the GCD — http://ow.ly/hHtA309mEFN
(Dirks created the cover art on “Okay Comics” #1, July 1940)
Wee Pals ( http://ow.ly/r0Pz309kN2F)
Wee Pals is a syndicated comic strip about a diverse group of children, created and produced by Morrie Turner. It was the first comic strip syndicated in the United States to have a cast of diverse ethnicity, dubbed the "Rainbow Gang."
When cartoonist Morrie Turner began questioning why there were no minorities in the comic strips, his mentor, Peanuts cartoonist Charles M. Schulz, suggested he create one. Morris' first attempt, Dinky Fellas, featured an all-black cast, but found publication in only one newspaper, the Chicago Defender. Turner integrated the strip, renaming it Wee Pals, and on February 15, 1965, it became the first American syndicated comic strip to have a cast of diverse ethnicity.
Initially syndicated by Lew Little Enterprises, it was then carried by the Register and Tribune Syndicate, before moving to United Feature Syndicate in the 1970s. When it debuted, the strip originally appeared in only five daily newspapers, as many papers refused to run a strip featuring black characters. After the assassination of Martin Luther King, Jr., the number of papers carrying the strip grew either to 60 or to more than 100 dailies (sources differ).
As the comic strip's popularity grew, Turner added characters. He included children of more and more ethnicities, as well as a child with a physical disability. He also added a weekly section called "Soul Corner," which profiled notable African Americans from history.
excerpted from http://ow.ly/uScQ309kMTX
Outside France, his best-known works are the novels “Les Misérables” (1862) and “Notre-Dame de Paris” (1831; in English as “The Hunchback of Notre-Dame”).
Many of his works have been adapted in graphic form.
At Wikipedia — https://en.wikipedia.org/wiki/Victor_Hugo
In the GCD — http://ow.ly/eEh0309mEvK
(Paul Gillon created the cover art on “Klokkeren fra Notre Dame”, 1986, the Danish edition of a French album from 1985)
http://ow.ly/E8HA309lYSR) is our 65,000th German cover.
From the 1980s, he appeared in ‘new underground’ anthologies from Kitchen Sink, Eclipse, Pacific Comics, and others (in series such as “Snarf”, “Eclipse, the Magazine”, and “Twisted Tales”).
Geary has also appeared in “Epic Illustrated” (Marvel), “Prime Cuts” and “Graphic Story Monthly” (Fantagraphics), “Dark Horse Presents” and “Cheval Noir” (Dark Horse).
He has created two series of historical crime stories, “A Treasury of Victorian Murder” (1995–2007) and “A Treasury of XXth Century Murder” (since 2008). His subjects range from Lizzie Borden to Sacco and Venzetti.
His kid-friendly comics include “The Junior Carrot Patrol” (Dark Horse, 1989–1990) and “Gumby” (Wildcard Ink, 2006–2007).
He received the 1994 Magazine and Book Illustration Award from the National Cartoonist Society.
At Comiclopedia — https://www.lambiek.net/artists/g/geary_rick.htm
At Wikipedia — https://en.wikipedia.org/wiki/Rick_Geary
In the GCD — http://ow.ly/YGdmn
(Geary created the cover of “Classics Illustrated” #13, October 1990)
He has done covers for “The New Yorker” and illustrations there, in “TV Guide”, and in “Esquire”. His album covers include “Dave Brubeck Octet” (1950), “Phil Napoleon and His Memphis Five” (1955), and “Pete Seeger Sings Little Boxes and Other Broadsides” (1963).
He contributed to Harvey Kurtzman’s “Trump” (1957), “Humbug” (1957–1958), and “Help!” (1960–1965). He appeared in the first two dozen issues of “National Lampoon” (1970–1972).
Roth created ‘Poor Arnold’s Almanac’ as a syndicated Sunday strip (1959–1961) and later revived it as a daily panel (1989–1990). He was a political cartoonist for “The Progressive” from 1981 to 1987.
He has received multiple awards from the National Cartoonists Society, most of them multiple times — from the Illustration Award to the Sports Cartoon Award. He received their Gold Key Award (their Hall of Fame) in 2000, and served as the group’s president from 1983 to 1985.
In 2009, Roth was inducted into the Society of Illustrators Hall of Fame.
At Comiclopedia — https://www.lambiek.net/artists/r/roth_arnold.htm
At Wikipedia — http://en.wikipedia.org/wiki/Arnold_Roth
In the GCD — http://ow.ly/YGdLb
(Roth created the cover of “Humbug” #11, October 1958)
Growing up in New York City (Joe Kubert was a high school classmate), he was only 12 when he began assisting on “Cat-Man Comics” (Holyoke). His earliest known credit is from 1945.
Through the very early 1960s, in addition to Holyoke he published at Fiction House, Avon, Superior, Lev Gleason, Fox, Charlton, and others. He was the first African-American artist hired by Fawcett.
From 1955, he worked on syndicated comic strips such as ‘Kandy’, Scorchy Smith’, and ‘Martin Keel’. He left the comics field in the 1960s, focusing his creativity on painting. His themes included justice and community, from civil rights to jazz.
In 1963, he, Romare Bearden, and William Majors formed Spiral, which organized art exhibitions in support of the Civil Rights Movement. He taught at the public High School of Art & Design in Manhattan and at the Harlem Parents Committee Freedom School.
From 1980 until his retirement in 1998, Hollingsworth taught at Hostos Community College of CUNY.
At Comiclopedia — https://www.lambiek.net/artists/h/hollingsworth_alvin.htm
At Wikipedia — https://en.wikipedia.org/wiki/Alvin_Hollingsworth
Alvin Hollingsworth in the GCD — http://ow.ly/jRXU309lnF7
Alvin C. Hollingsworth or A. C. Hollingsworth in the GCD — http://ow.ly/zfSf309lnEJ
(Hollingsworth created the cover art on “City of the Living Dead”, 1952)
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