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GCD Comics Timeline
His early popularity began with his run on David Michelinie’s “Iron Man” (1978–1982).
Romita has had multiple runs on “The Amazing Spider-Man” — 1980–1987, 1996–1998, 2000–2004, and 2008–2009. He has drawn related titles as well, such as “Peter Parker: Spider-Man” (1999–2000).
His 1980s work included “Contest of Champions” (1982), the first limited series published by Marvel, “Uncanny X-Men” (1983–1986), and “Daredevil” (1988–1990).
In the 1990s, he drew “Iron Man” again for a year (1990), the first year of “The Punisher: War Zone” (1992), and the first two dozen issues of a new “Thor” series (1998–2000).
He drew “Wolverine” (2004–2005) and “Black Panther” (2005). He drew “Avengers” (2010–2011) and then the “Avengers v. X-Men” mini-series (2012), and the first year of a new “Captain America” series (2013).
Recently, he has been drawing stories at DC Comics — “Superman” (2014–2015), “All Star Batman” (2016–2017), and “Suicide Squad” (2017).
Romita received an Inkpot Award at San Diego in 1994.
Comics creator John Romita, Sr. (born 24 January 1930) is his father. Longtime Marvel office manager Virginia Romita (born 9 July 1931) is his mother.
At Comiclopedia — https://www.lambiek.net/artists/r/romita_john_jr.htm
At Wikipedia — https://en.wikipedia.org/wiki/John_Romita_Jr.
‘John Romita Jr.’ in the GCD — https://tinyurl.com/y9cvowbk
‘John Romita, Jr.’ in the GCD — https://tinyurl.com/yc6h5w9q
(Romita and Peter Steigerwald created this cover of “Kick-Ass” #3, April 2018)
Her prose science fiction has won or been nominated for multiple honors since 1989, including the Arthur C. Clark Award, the James Tiptree, Jr. Award, the World Fantasy Award, and the Nebula Award.
Pollack’s comic-book work has so far been at DC Comics. She wrote the final two years of the Vertigo version of “Doom Patrol” (1993–1995).
She wrote the “Time Breakers” series (1997) and two books in the ‘Vertigo Visions’ series, “The Geek” (1993) and “Tomahawk” (1998).
She co-wrote the new bridging story in Neil Gaiman’s “Free Country: A Tale of the Children’s Crusade” (2015).
At Wikipedia — https://en.wikipedia.org/wiki/Rachel_Pollack
In the GCD — https://tinyurl.com/yaxr439m
(Chris Weston created the cover art on “Time Breakers” 1, January 1997)
Robbins moved to San Francisco in 1970 and in July that year she participated in the collective creation of the first self-consciously feminist comic, “It Ain’t Me Babe Comix”. She was involved with the seminal “Wimmin’s Comix” throughout its 20-year history, including a story in the first issue that is widely considered the first portrayal of an open lesbian in comics.
Robbins’ artistic work ranges from the eclectic subjects of the undergrounds, through adaptations of Sax Rohmer and Tanith Lee in graphic novels, through a children’s series about Millie the Model’s niece, “Misty”, to multiple “Wonder Woman” series.
Since 1985, Robbins has written half a dozen histories of women artists and writers of cartoons, strips, and comic books. “Women and the Comics” was the first, co-written with Catherine Yronwode, and it laid an early foundation in the field. Her subjects range from 19th Century newspaper strip artists through contemporary mainstream, indie, and zine creators.
At Comiclopedia — https://www.lambiek.net/artists/r/robbins_t.htm
At Wikipedia — https://en.wikipedia.org/wiki/Trina_Robbins
In the GCD — https://tinyurl.com/y9bgyeny (some explicit images)
(Robbins created the cover art on “It Ain’t Me Babe”, July 1970)
In 1980, he and Martin Lodewijk (born 30 April 1939) revived the 1940s character ‘De Kat’.
In 2006, Vos published the series “Edelpulp” himself, which included new ‘De Kat’ stories and reprints of his earlier work.
At Comiclopedia — https://www.lambiek.net/artists/v/vos-hendrik.htm
In the GCD — https://tinyurl.com/yae69uhl
(Martin Lodewijk created the cover art on “De Kat” #1 - Constantinopel, 1980)
At Comiclopedia — https://www.lambiek.net/artists/l/livingstone_gordon.htm
In the GCD — http://ow.ly/ojSA30eGkG2
(Livingston painted the cover of “Commando” #323, April 1968)
In his early twenties, Messmer had a strip running in the New York World and he collaborated on an animated series based on the life of Pres. Teddy Roosevelt.
Messmer served in World War I and returned to animation when he came home. In 1919 he produced his best-known creation, Felix the Cat, in the cartoon “Feline Follies”.
He was working for Pat Sullivan’s studio and only Sullivan’s name appeared on the cartoons. Felix was the first cartoon character created and developed for the screen, as well as the first to become a licensed, mass-merchandised character.
He also drew the “Felix the Cat” newspaper strip from its beginning until 1954. New Felix cartoons were produced until 1931, but the character did not make the transition to sound film.
In the 1940s and 1950s, Messmer produced Felix comic books for companies such as Dell Comics, Toby Press, and Harvey Comics.
At Comiclopedia — https://www.lambiek.net/artists/m/messmer_o.htm
At Wikipedia — https://en.wikipedia.org/wiki/Otto_Messmer
In the GCD — https://tinyurl.com/y73qnuxz
(Joe Oriolo may have created the cover art on “Felix the Cat” #20, 1953, a Canadian edition)
Born in Nova Scotia, Foster rode his bicycle to the United States in 1919 and began to study in Chicago, eventually living in America.
In 1928, he began one of the earliest syndicated adventure strips, an adaptation of Edgar Rice Burroughs’s “Tarzan”.
In 1937, William Randolph Hearst offered him complete ownership to create a new strip for the Hearst papers. The result was Foster’s signature strip, the weekly “Prince Valiant”.
The medieval fantasy adventure is set in medieval times. The strip featured his dexterous, detailed artwork; unusually, he preferred putting narration and dialogue in captions rather than balloons within the art.
Foster received multiple awards from the National Cartoonists Society — the Reuben Award in 1957, the Story Comic Strip Award in 1964, and the Special Features Award in 1966 and 1967, all for Prince Valiant. He received the Elzie Segar Award in 1978 and the Gold Key Award (their Hall of Fame) in 1977.
Posthumously, he was inducted into the Will Eisner Award Hall of Fame in 1996, the Joe Shuster Canadian Comic Book Creators Hall of Fame in 2005, and the Society of Illustrators’ Hall of Fame in 2006.
At Comiclopedia — https://www.lambiek.net/artists/f/foster_hal.htm
At Wikipedia — https://en.wikipedia.org/wiki/Hal_Foster
In the GCD — https://tinyurl.com/y8hzkr3e
(Foster created the cover art on “Fantom-hefte” #3, December 1952, a Norwegian edition)
Working in the Fleischer Studio in 1930, he designed ‘Betty Boop’ when Max Fleischer wanted a girlfriend for ‘Bimbo’. He also worked on “Gulliver’s Travels” (1939) there.
At Disney, he was a lead animator on “Snow White and the Seven Dwarfs” (1937) and worked on “Fantasia” (1940) and other films.
He also worked at the Ub Iwerks studio, Walter Lantz studio, UPA, and other animation companies.
At Wikipedia — http://en.wikipedia.org/wiki/Myron_Natwick
‘Betty Boop’ in the GCD — https://tinyurl.com/ycurreaj
In the IMDb — https://www.imdb.com/name/nm0622451/
(Bud Counihan created the cover art on “Blackthorne 3-D Series” #11 - Betty Boop in 3-D, November 1986)
His first published comic was in 1991. His comics stories have been published by Carlsen, Egmont Ehapa, and others.
His work includes stories based on a TV series (“Lindenstrasse”), crime stories (“Wanda Caramba”), children’s books, and a series about an apocalypse written in consultation with a theologian (serialized in “Grimm”).
At Comiclopedia — https://www.lambiek.net/artists/b/breitschuh_eckart.htm (some explicit images)
At Wikipedia — https://en.wikipedia.org/wiki/Eckart_Breitschuh
In the GCD — https://tinyurl.com/y7kkh9v3 (some explicit images)
(Isabel Kreitz and Stefan Dinter created the cover art on “Mabuse” #2, August 2000, written by Breitschuh)
He often collaborates with his mother Maria de Winter as the writer. The pair have produced series such as “De Witte Hinde”, “Dag en Heidi”, and “Sloeber”.
From 1969, Broeckx started drawing “Bessy” at the Vandersteen Studio, which he eventually took over completely. In 1984 he revised the series to a focus on ecology and retitled it “Bessy Natuurcommando”.
At Comiclopedia — https://www.lambiek.net/artists/b/broeckx.htm
In the GCD — https://tinyurl.com/y9xcquzc
(Broeckx created the cover art on “Sloeber” #1 - De schilderijendiefstal, 1 September 1982)
108 variant issues
95,456 variant issues