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  1. The World encyclopedia of comics
  2. Account Options
  3. Encyclopedia of Black Comics
  4. GCD Comics Timeline
  5. Encyclopedia of Comic Books and Graphic Novels ( laqepapybo.gq ) - PDF Hive

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The World encyclopedia of comics

The GCD acknowledges that the all-encompassing research nature of the project may result in the posting of cover scans for comics with images that some may find objectionable. Useful Links. Last Updated Issues. Cover thumbnails are used for identification purposes only. All rights to cover images reserved by the respective copyright holders.

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This includes but is not necessarily limited to our database schema and data distribution format. The strip became populated by Dragons , imps and sorcerers. The first Disney comic strip, syndicated by King Features, appeared in , with Mickey Mouse starring in daily strips. The comic book established itself early in the UK, but the USA — though Denis Gifford lists about separate comic-book publications before in his The American Comic Book Catalogue: The Evolutionary Era — really had to wait until for its first true comic book: Funnies on Parade.

The early US comic books were dominated by newspaper-strip reprints and it was only in with New Fun Comics that much new material was specially produced for the format. Three years later the company responsible for this, National later DC Comics , transformed the industry with Action Comics 1 , starring Superman by Jerry Siegel and Joe Shuster , comics's first Superhero ; this strip inspired an army of imitators.

Encyclopedia of Black Comics

Throughout WWII superheroes dominated the comic-book scene, and a host sprang up to cash in on Superman's success. Among the throngs of heroes, several had particularly fantasy-based backgrounds. Where Superman 's powers were supposedly science-based, Captain Marvel gained his abilities from a sorcerer, and the strip in general was more whimsical than its rivals. As the war years waned, so too did the superheroes temporarily , being supplanted by genres like romance, crime and funny animals; works in this last field contained the occasional fantasy element.

By the end of the decade a new genre appeared, and it would dominate the s: Horror. In fact the first horror comic had appeared as early as Avon's Eerie , but it was not until late that a regularly published horror monthly hit the stands, ACG's Adventures into the Unknown.

But one name dominated the arena: EC Comics , which during published three titles — The Vault of Fear , The Vault of Horror and Tales from the Crypt — that set the standard for intelligently written, superbly illustrated mystery tales, invariably with a horror twist. An early EC artist was Harry Harrison EC's tales may well have been gory and bloodthirsty but there was invariably a moral element.

GCD Comics Timeline

Other companies were less fastidious: Harvey's Black Cat Mystery and Tomb of Terror , for example, featured some of the most frightening comics material ever published. Timely now called Atlas was the most prolific publisher: by it was bringing out 16 regular mystery or fantasy titles, usually featuring sensationalist covers and rather tamer interiors. Similarly restrained mystery tales were found in DC's products, initially in the ex-superhero titles Sensation and Star Spangled both switched genres in and then in the new House of Mystery comic Ditko's work had also appeared in an earlier Charlton comic, The Tying , which carried precisely the sort of material Frederick Wertham had protested about in his Seduction of the Innocent In response to the mounting public outcry, in the companies set up the Comics Code, which ended the horror boom and sent the industry into recession.

It certainly put paid to EC's line: while their Mad Magazine took off, Shock Illustrated 3 issues and Tales of Terror Illustrated 2 issues emphatically did not, although these magazines sowed the seeds for the genre's rejuvenation a decade later. The s spawned other genres, notably Prehistoric Fantasy. E's Thun'da led the pack, principally because of the fine Frank Frazetta artwork in 1. Truly horrific tales were not an important feature of UK comics until the late s, when some independent companies tried to emulate the style developing in the USA. Also working for Swan at the time was William McCail , whose Back from the Dead Topical Funnies signed "Ron", was the story of Robert Lovett, who died in and returned in to wreak Vengeance on criminals.

The Horror Comics Bill effectively banned their publication. More influential was the home-grown and altogether more clean-cut boys' comic Eagle , published initially by Hulton Press. With its tabloid format and photogravure colour printing, Eagle set the standard for a decade. Eagle 's star attraction was the sf strip Dan Dare , created by Frank Hampson Following a dispute in , artist Frank Bellamy proved a worthy successor to Hampson, but worked on Dare for only one year before moving on to other features, including the more fantasy-oriented Heros the Spartan.

Artwork on Dare was continued by Keith Watson until , when Eagle decided to run only reprints of old stories; the comic died soon after. Among Eagle 's imitators, fantasy strips featured more frequently. An even more impressive Embleton strip was the first of the Wrath of the Gods stories Boys' World , briefly thereafter in Eagle , a Greek Mythology -based series of tales written by Michael Moorcock. Another excellent artist in the same painterly tradition, Don Lawrence worked on a succession of fantasy strips from the pseudohistorical Orlac the Gladiator Tiger , written by Brian Leigh, and Carl the Viking Lion , written by Kenneth Bulmer , to the more overtly fantastic Maroc the Mighty Lion , written by Moorcock, and the dynastic Science Fantasy The Trigan Empire Ranger and Look and Learn , written by Michael Butterworth His new creation for them was the even more widely acclaimed Storm current , written mostly by Martin Lodewijk, which has been collected in a series of albums and published throughout Europe — although only three volumes have appeared in the UK: Storm graph , Storm: The Last Fighter graph and Storm: The Pirates of Pandarve graph In City Publishing started adapting Gerry Anderson's tv puppet shows into strip form in the weekly TV Century 21 , and over the succeeding five years utilized the talents of most of the top UK artists, including Embleton, Lawrence, Bellamy, Burns and Mike Noble.

This magazine's high-quality colour presentation attracted a large readership and spawned spinoff comics like Joe 90 with which it merged in and Lady Penelope By the end of the s, however, the popularity of Anderson's material had begun to wane, and City now called Polystyle introduced a new weekly comic, Countdown later TV Action in , which featured a brightly coloured strip, also named Countdown , by Dennis Hooper and John Burns using spaceship designs from Kubrick's — A Space Odyssey [ ] ; alongside were strip versions of Anderson's later live-action productions and other tv shows like Dr Who and Mission Impossible.


  • New encyclopedia celebrates African-American creators of comics, graphic novels!
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  • The World Encyclopedia of Comics?
  • Encyclopedia of Fantasy () – Comics!

More generally, the penchant for strip versions of tv shows was a feature of many UK comics in the s and s. Much of the s, s and s UK comics scene was dominated by the vast Amalgamated Press subsequently renamed Fleetway, then IPC , and their stable of children's weeklies produced many interesting fantasy strips. This latter, a Time-Travel strip, had first appeared in Thunder ; it continued in Lion until and then Valiant — which also ran Kelly's Eye another Lopez strip , the monstrous Mytek the Mighty and, probably, Valiant 's most memorable series, the stylish fantasy adventure The Steel Claw , by Kenneth Bulmer and Jesus Blasco.

Action — with strips like the bloodthirsty Hookjaw by Ken Armstrong and Ramon Sola , about a maneating shark, and Kids Rule by Chris Lowder [], Ron Tiner and Mike White , which took its basic premise of unruly kids stranded on a desert island from William Golding 's The Lord of the Flies and wallowed salaciously in the resulting vicious behaviour — managed to be both enormously popular among its child readers and universally condemned in the adult media; the brevity of its life was unsurprising. Even the girls' comics were not unaffected by the horror craze, and certainly all had their fair share of fantasies.

Alliteratively styled Mermaids — e.

Encyclopedia of Comic Books and Graphic Novels ( laqepapybo.gq ) - PDF Hive

Timeslip stories abounded beside adaptations from Charles Dickens novels to tv shows like Bewitched and a particular vein of Gothic horror not present in boys' comics: tales of cruel step-parents, blindness — in series like Blind Ballerina Judy and Becky Never Saw the Ball Tammy , the latter about a blind tennis player — and slavery. Far more significant as fantasy were DC Thompson's Spellbound and Fleetway's Misty , which offered quite potent, often beautifully drawn, schoolgirl-oriented Gothic horror in the style of the early US Warren Publishing books.

Generally, however, the horror genre was served mostly by the humour titles, which regularly used ghosts and spooks as gag generators. Fleetway humour titles discovered and tapped this rich vein in titles such as Cor!! The lates USA had little time for horror — Gothic or otherwise — but most publishers had at least one mystery title.

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Harvey's most important offering was the short-lived Alarming Tales 6 issues , which featured Jack Kirby's first fantasy art since leaving Black Magic Comic created by Kirby with Joe Simon for Crestwood in The Challengers subsequently went on to their own title, Challengers of the Unknown sporadically , another short series , and other Showcase strips did likewise: Space Ranger , Adam Strange , Rip Hunter, Time Master and The Flash , whose revival in Showcase 4 is widely credited as having started the second wave of Superheroes , a wave that dominated the market in the s.

Marvel as Atlas had become spent the immediate post-Comics Code years churning out a succession of bizarrely titled monster strips by editor Stan Lee and artists Kirby, Don Heck and Steve Ditko. Ditko was also working for Charlton on adaptations of Monster Movies — Konga and Gorgo — though he was unable to draw their third title, Reptilicus When DC brought out the team book Justice League of America , Marvel responded with The Fantastic Four current and followed this with a plethora of highly successful superhero tales, mostly written by Lee and drawn by Kirby.

One of the earliest of these characters was Thor , who debuted in the previously monster-dominated Journey into Mystery 83 That sense of the immensely fantastic reached its apotheosis with The Silver Surfer — introduced in Fantastic Four 48 and gaining his own book, Silver Surfer , with later incarnations — which strip, under Lee and artist John Buscema , had pronounced religious and philosophical undercurrents to match its superheroics, and became something of a counterculture Icon , as did Doctor Strange by Lee and Ditko initiated in Strange Tales A somewhat different Marvel character — Kazar — is testament to the enduring appeal of the lone savage popularized by Edgar Rice Burroughs with Tarzan.

Previously a publisher of Famous Monsters of Filmland , Warren effectively revived the EC style of horror tales in Creepy and Eerie In Warren added a third title, Vampirella ; revived in the s ; Ron Goulart produced some tied novels.