Underground Comics

The weird strand of comics, from the 1960s head-shop underground to the risograph small press. Zap and the American underground and what the 1973 obscenity ruling did to its distribution; Wimmen's Comix and the women who were shut out of the first wave; Arcade, RAW and Weirdo; Fantagraphics and the argument that comics could be criticised seriously. In Japan, Garo from 1964, the alt-gekiga of Tsuge and Tatsumi, heta-uma, and the ero-guro of Maruo and Hanawa. In Europe, L'Association and Fremok. Then PictureBox, Fort Thunder, and the small press that prints on a risograph and sells across a table. The work here includes material that is scatological, violent and sexually explicit; it is described for what it is, and where it has been criticised the criticism is attributed to whoever made it.

A chronological documentary of 1,441 moments spanning 1830–2026 on Loreline.

Curated by Olivier · last updated 2026-09-20

Eras

Obscenity, Prosecutions, the 1973 Miller ruling, the collapse of head-shop distribution that followed, and the legal defence that grew up around comics afterwards.
Underground, The wider American underground between roughly 1965 and 1975, sold through head shops rather than newsstands: Bijou, Slow Death, Rory Hayes, and Justin Green's Binky Brown, which put autobiography into comics before the word was used.
Wimmen, Wimmen's Comix from 1972 and the women who made it, including Trina Robbins and Aline Kominsky-Crumb, after the first underground wave largely shut them out.
Gekiga, The alternative side of gekiga: Yoshiharu Tsuge, Yoshihiro Tatsumi, Seiichi Hayashi, Sanpei Shirato, and Shigeru Mizuki's stranger work.
Fort Thunder, The Providence warehouse and the artists who worked in it, among them Brian Chippendale and Mat Brinkman.
Riso, Risograph printing and the presses built around it: Kus, Breakdown Press, Colorama, Perfectly Acceptable.
Fantagraphics, Fantagraphics and The Comics Journal, Love and Rockets, and the publishers who followed in treating comics as a literature to be edited and argued about.
Angouleme, The Angouleme festival and the off-festival around it, and European festival culture more widely.
Conventions, Festivals and fairs where this work is sold and the people who make it meet: SPX, TCAF, CAB, Comitia and their European equivalents.
Exhibitions, Gallery shows and museum retrospectives, and comics arriving in art institutions.
Raw, RAW, edited by Art Spiegelman and Francoise Mouly from 1980, which serialised Maus and imported the European avant-garde to American readers.
Arcade, Arcade: The Comics Revue, edited by Art Spiegelman and Bill Griffith between 1975 and 1976, the bridge between the underground and what came next.
PictureBox, PictureBox under Dan Nadel, which published C.F.'s Powr Mastrs and Paper Rad, and brought Takashi Nemoto into English.
Heta Uma, Heta-uma, bad-but-good. The term surfaced in the Japanese illustration scene of the early 1970s rather than being coined by any one person, and spread widely in the 1980s through Teruhiko Yumura, who drew as King Terry. Its foundational comics work is Jonetsu no Penguin Gohan, serialised in Garo from April 1976 with Shigesato Itoi writing and Yumura drawing. Also Yoshikazu Ebisu, and Takashi Nemoto, whose Monster Man Bureiko Lullaby is drawn in a crude bulging line and is largely about bodies mutating and leaking.
Association, L'Association in Paris from 1990 and the French wave around it: Lapin, David B., Lewis Trondheim, Joann Sfar, Marjane Satrapi.
Weirdo, Weirdo from 1981, edited in turn by Robert Crumb, Peter Bagge and Aline Kominsky-Crumb.
Translation, How this work reached other languages: Drawn and Quarterly's Tsuge and Tatsumi, Last Gasp's Maruo, PictureBox's Nemoto, Breakdown Press.
AX, Seirinkogeisha, founded in 1997 by former Seirindo staff after Garo collapsed, and AX, which it has published every two months since 1998. Noriko Tezuka was Garo's deputy editor from 1995, then AX's editor-in-chief and the company's president; she died on 12 October 2025 and is the institutional link between the two magazines.
Minicomics, Minicomics and self-publishing, and the table as a distribution system.
Documentation, Documentaries, long interviews and journalism about the field, including Terry Zwigoff's Crumb, released in 1994.
Fremok, Fremok and Amok, the Belgian and French avant-garde, and artists including Dominique Goblet and Fabrice Neaud.
Zines, Photocopied and self-distributed work, and the distros that carried it.
Garo, Garo, founded by Katsuichi Nagai in 1964, which paid badly or not at all and printed what nobody else would.
Doujinshi, Self-published Japanese comics and the fairs that sell them, on the alternative rather than the fan-fiction side.
Zap, Zap Comix from 1968 and the artists around it: Robert Crumb, S. Clay Wilson, Spain Rodriguez, Victor Moscoso, Rick Griffin. Crumb's depictions of women and of race have been argued over for fifty years and those arguments are recorded with their sources.
Shops, The shops and distributors that decided what readers could actually find.
Webcomics, Where the weird strand went online.
Ero Guro, Ero-guro: Suehiro Maruo, Kazuichi Hanawa, Shintaro Kago, Toshio Saeki. The work is erotic and grotesque by intent and is described here as what it is.
Strips, The newspaper strip before the underground, and the formal invention it left behind: Rodolphe Topffer's picture stories of the 1830s, Wilhelm Busch, Winsor McCay, and George Herriman's Krazy Kat, which the underground cartoonists read and cited as the proof that the form could carry anything.
Satire, The European graphic satire the underground descends from: Simplicissimus in Munich from 1896 and L'Assiette au Beurre in Paris from 1901, where drawing was used to attack the state, the church and the army, and where artists were prosecuted for it.
Murals, Work painted at building scale, mostly in Brussels, where alternative cartoonists were given walls alongside the mainstream Franco-Belgian names.

1830 - Toepffer Cryptogame. Sheet of 1830. Topffer set a running drawing above a line of text and called the form literature in prints.
1833 - Histoire de Mr Jabot par Rodolphe Töpffer. Topffer page dated 1833. His albums circulated from the 1830s and were pirated across Europe.
1833 - Histoire de Mr Jabot par Rodolphe Töpffer. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1833.
1833 - Histoire de Mr Jabot par Rodolphe Töpffer. Sheet of 1833. Topffer set a running drawing above a line of text and called the form literature in prints.
1833 - Histoire de Mr Jabot par Rodolphe Töpffer. Topffer page dated 1833. His albums circulated from the 1830s and were pirated across Europe. Held under the identifier Histoire de Mr Jabot - par R.
1837 - Histoire de M. Crépin. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1837.
1837 - Mr Crépin (Réimpression de l'édition de ) par Rodolphe Töpffer. Topffer page dated 1837. His albums circulated from the 1830s and were pirated across Europe.
1837 - Mr Crépin (Réimpression de l'édition de ) par Rodolphe Töpffer. Sheet of 1837. Topffer set a running drawing above a line of text and called the form literature in prints.
1837 - Mr Crépin (Réimpression de l'édition de ) par Rodolphe Töpffer. Sheet of 1837. Topffer set a running drawing above a line of text and called the form literature in prints. Held under the identifier Mr Crépin (Réimpression de l.
1837 - Mr Crépin (Réimpression de l'édition de ) par Rodolphe Töpffer. Topffer page dated 1837. His albums circulated from the 1830s and were pirated across Europe. Held under the identifier Mr Crépin (Réimpression de l.
1840 - Festus Gothique. Sheet of 1840. Topffer set a running drawing above a line of text and called the form literature in prints.
1840 - Festus Hors texte. Topffer page dated 1840. His albums circulated from the 1830s and were pirated across Europe.
1840 - Festus Hors texte. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1840.
1840 - Festus Hors texte. Sheet of 1840. Topffer set a running drawing above a line of text and called the form literature in prints. Held under the identifier Festus-Hors-texte 18 - d090..
1840 - Le docteur Festus. Monsieur Pencil autographié par l'auteur. Topffer page dated 1840. His albums circulated from the 1830s and were pirated across Europe. Held under the identifier Le docteur Festus. Monsieur .
1840 - Le docteur Festus. Monsieur Pencil autographié par l'auteur. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1840. Held under the identifier Le docteur Festus. Monsieur .
1840 - Le docteur Festus. Monsieur Pencil autographié par l'auteur. Sheet of 1840. Topffer set a running drawing above a line of text and called the form literature in prints. Held under the identifier Le docteur Festus. Monsieur .
1843 - CH NB Voyage autour du Mont Blanc dans les vallées d'Hérens de Zerma. Plates from the 1843 travel book Voyage autour du Mont-Blanc, drawn by Rodolphe Toepffer on his walking tours through the Alps.
1843 - CH NB Voyage autour du Mont Blanc dans les vallées d'Hérens de Zerma. Topffer page dated 1843. His albums circulated from the 1830s and were pirated across Europe.
1843 - CH NB Voyage autour du Mont Blanc dans les vallées d'Hérens de Zerma. Plates from the 1843 travel book Voyage autour du Mont-Blanc, drawn by Rodolphe Toepffer on his walking tours through the Alps.
1843 - CH NB Voyage autour du Mont Blanc dans les vallées d'Hérens de Zerma. Sheet of 1843. Topffer set a running drawing above a line of text and called the form literature in prints. Held under the identifier CH-NB-Voyage autour du Mont-.
1846 - Mr Cryptogame Cham. Topffer page dated 1846. His albums circulated from the 1830s and were pirated across Europe.
1846 - Mr Cryptogame Cham. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1846.
1846 - Mr Cryptogame Cham. Sheet of 1846. Topffer set a running drawing above a line of text and called the form literature in prints.
1846 - Mr Cryptogame Cham. Topffer page dated 1846. His albums circulated from the 1830s and were pirated across Europe. Held under the identifier Mr Cryptogame - Cham - btv1b.
1846 - Rodolphe Toepffer Etude pour un portrait de jeune femme. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1846. Held under the identifier Rodolphe Toepffer Etude pour.
1849 - Autour de la table histoire de M. Cryptogame. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1849.
1849 - Autour de la table histoire de M. Cryptogame. Sheet of 1849. Topffer set a running drawing above a line of text and called the form literature in prints.
1849 - Autour de la table histoire de M. Cryptogame. Topffer page dated 1849. His albums circulated from the 1830s and were pirated across Europe.
1849 - Autour de la table histoire de M. Cryptogame. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1849. Held under the identifier Autour de la table - histoir.
1854 - Topffer, 1854. Sheet of 1854. Topffer set a running drawing above a line of text and called the form literature in prints.
1854 - Topffer, 1854. Topffer page dated 1854. His albums circulated from the 1830s and were pirated across Europe.
1854 - Topffer, 1854. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1854.
1854 - Topffer, 1854. Sheet of 1854. Topffer set a running drawing above a line of text and called the form literature in prints. Held under the identifier Nouveauxvoyagese-p402.png.
1860 - Histoire de Mr Vieux Bois par Töpffer. Topffer page dated 1860. His albums circulated from the 1830s and were pirated across Europe.
1860 - Histoire de Mr Vieux Bois par Töpffer. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1860.
1860 - Histoire de Mr Vieux Bois par Töpffer. Sheet of 1860. Topffer set a running drawing above a line of text and called the form literature in prints.
1860 - Histoire de Mr Vieux Bois par Töpffer. Topffer page dated 1860. His albums circulated from the 1830s and were pirated across Europe. Held under the identifier Histoire de Mr Vieux Bois - .
1860 - Histoire de Mr Vieux Bois par Töpffer. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1860. Held under the identifier Histoire de Mr Vieux Bois - .
1860 - Töpffer Monsieur Pencil, page 10a. Sheet of 1860. Topffer set a running drawing above a line of text and called the form literature in prints. Held under the identifier Töpffer - Monsieur Pencil, 1.
1860 - Töpffer Monsieur Pencil, page 25a. Topffer page dated 1860. His albums circulated from the 1830s and were pirated across Europe. Held under the identifier Töpffer - Monsieur Pencil, 1.
1860 - Töpffer Monsieur Pencil, page 46b. Page from one of Rodolphe Topffer's picture novels, drawn on stone in Geneva and dated 1860. Held under the identifier Töpffer - Monsieur Pencil, 1.
1864 - Max und Moritz. Sequence dated 1864. A fixed cast runs through escalating violence to a flat closing line.
1864 - Max und Moritz. Busch drawing, 1864.
1864 - Max und Moritz. Wilhelm Busch page, 1864, text set beneath the drawing in rhymed couplets.
1865 - Max und Moritz tinted. Sequence dated 1865. A fixed cast runs through escalating violence to a flat closing line.
1866 - Inada Kyuzo Shinsuke
1866 - Twenty-Eight Famous Murders, title page. Title sheet for Eimei nijushasshuku, the series of twenty-eight murder prints Tsukioka Yoshitoshi and Utagawa Yoshiiku issued between 1866 and 1867.
1866 - Gosho Gorozo Battling a Shadow. Gosho Gorozo fights his own shadow, the blood drawn in the thick lacquer-like red the series is known for.
1866 - Prostitute Ohyaku and a seated ghost. Ohyaku confronts a seated ghost, one of the sheets Yoshiiku contributed alongside Yoshitoshi.
1866 - Inga Kozō Rokunosuke wiping his sword. Inga Kozo Rokunosuke wipes his blade clean after the killing.
1866 - Danshichi Kurobei murdering the old man in the mud. Danshichi Kurobei kills his father-in-law in the mud, a scene taken from the kabuki stage.
1866 - Katsuma Gengobei reading a blood-stained letter. Katsuma Gengobei reads a letter marked with blood.
1866 - Naosuke Gonbei. 1866 to 1867 run of murder prints that fed a taste for bloody subjects in late Edo publishing.
1867 - Enjō Kihachiro. Enjo Kihachiro lies fallen at the foot of a Jizo statue, the eighth print in the series.
1867 - Yurugi Sogen with a head on a go board. Yurugi Sogen contemplates a severed head resting on a go board.
1867 - Fukuoka Mitsugi with flying papers, severed head. Fukuoka Mitsugi amid scattering papers, a severed head at his feet.
1867 - Shirai Gompachi slashing an assailant by a fire. Shirai Gompachi cuts down an attacker beside an open fire.
1867 - Furuteya Hachirōbei murdering a woman in a graveyard. Furuteya Hachirobei kills a woman among the gravestones.
1867 - Murder of Kasamori Osen. The killing of Kasamori Osen, a teahouse beauty who had been a favourite subject of earlier print artists.
1867 - Takekura Sukekichi and overturned palanquin. Takekura Sukekichi beside an overturned palanquin.
1867 - Wilhelm Busch, 1867. Busch drawing, 1867.
1872 - Wilhelm Busch, 1872. Wilhelm Busch page, 1872, text set beneath the drawing in rhymed couplets.
1875 - Wilhelm Busch Die beiden Schusterjungen. Sequence dated 1875. A fixed cast runs through escalating violence to a flat closing line.
1878 - W Busch Der Haarbeutel 1D. Busch drawing, 1878.
1878 - W Busch Der Haarbeutel. Wilhelm Busch page, 1878, text set beneath the drawing in rhymed couplets.
1878 - W Busch Der Haarbeutel. Sequence dated 1878. A fixed cast runs through escalating violence to a flat closing line.
1878 - Wilhelm Busch, 1878. Wilhelm Busch page, 1878, text set beneath the drawing in rhymed couplets. Held under the identifier Wilhelm Busch 1878.jpg.
1882 - Mister pief. Busch drawing, 1882.
1884-11-08 - Caran d’Ache Les jours de Raphaël détail. Wordless sequence by Caran d'Ache, 8 November 1884. He built stories from panels carrying no captions at all.
1885 - Caran d'Ache Au Tonkin. L'infanterie légère d'Afrique se déployant e. Caran d'Ache panel sequence dated 1885.
1885 - Caran d'Ache La Caricature du septembre. Wordless sequence by Caran d'Ache, 1885. He built stories from panels carrying no captions at all.
1885 - Caran d'Ache La Caricature du août l'armée hongroise 2. Caran d'Ache panel sequence dated 1885. Held under the identifier Caran d'Ache - La Caricature.
1886 - Caran d'Ache La Caricature du 6 février. Wordless sequence by Caran d'Ache, 1886. He built stories from panels carrying no captions at all.
1886 - Caran d'Ache, 1886. Caran d'Ache panel sequence dated 1886.
1887 - Caran d'Ache La Caricature du 1er octobre. Wordless sequence by Caran d'Ache, 1887. He built stories from panels carrying no captions at all.
1890 - Caran d'Ache, 1890. Caran d'Ache panel sequence dated 1890.
1890 - Kyosai's One Hundred Demons, plate 1. Opening sheets of Kyosai hyakki gadan, the 1890 picture book that runs the night parade of one hundred demons across a continuous page.
1890 - Kyosai's One Hundred Demons, plate 2. Yokai crowd the page in Kyosai hyakki gadan, drawn in the fast brush line Kawanabe Kyosai used for his demon subjects.
1890 - Kyosai's One Hundred Demons, plate 3. A sheet from the 1890 demon-parade book, printed in black and grey from woodblocks after Kyosai’s drawings.
1890 - Kyosai's One Hundred Demons, plate 4. Kyosai hyakki gadan sets its monsters in procession rather than in single portraits, a format borrowed from older hyakki yagyo handscrolls.
1890 - Kyosai's One Hundred Demons, plate 5. Spirits and animated objects share the sheet in Kyosai’s 1890 book, published the year before his death.
1890 - Kyosai's One Hundred Demons, plate 6. Further sheet of the parade from Kyosai hyakki gadan, its figures drawn without colour blocks.
1890 - Wilhelm Busch Am Waldrand. Wilhelm Busch page, 1890, text set beneath the drawing in rhymed couplets.
1896 - Die Heimkehr des Reservisten; Simplicissimus I32, by Thomas Theodor . Plate of 1896. The paper was prosecuted more than once for its attacks on the Kaiser and the church.
1896 - Angelo Jank Otto Erich Hartleben Grübchen Simplicissimus. Simplicissimus page dated 1896.
1896 - Reinhold Max Eichler Hugo Salus Kammermusik. Drawing for the Munich weekly Simplicissimus, 1896, in the heavy contour line its artists shared.
1896 - Simplicissimus Titel. Plate of 1896. The paper was prosecuted more than once for its attacks on the Kaiser and the church. Held under the identifier Simplicissimus 1896 Titel.jp.
1897 - Thomas Theodor Heine Wahn oder Wirklichkeit. Simplicissimus page dated 1897.
1898 - Hans Rossmann Simplicissimus Nr. Drawing for the Munich weekly Simplicissimus, 1898, in the heavy contour line its artists shared.
1899 - Philippine American War. McCay Sunday page, 1899, printed across a full broadsheet in colour.
1900 - Die Freiheit der Wissenschaft Simplicissimus V5 by Thomas Theodor He. Plate of 1900. The paper was prosecuted more than once for its attacks on the Kaiser and the church.
1900 - Caran d'Ache Le Rire novembre. Wordless sequence by Caran d'Ache, 1900. He built stories from panels carrying no captions at all.
1900 - CFP Caran d'Ache. Caran d'Ache panel sequence dated 1900.
1900 - Leonetto Cappiello Le Rire 9 juin Caran d'Ache. Wordless sequence by Caran d'Ache, 1900. He built stories from panels carrying no captions at all. Held under the identifier Leonetto Cappiello - Le Rire.
1901-05-16 - L'Assiette au beurre n°7 cropped cover. Page of L'Assiette au Beurre dated 16 May 1901.
1901 - Heilemann Unsere Dienstboten Simplicissimus. Simplicissimus page dated 1901.
1901 - Heine, Thomas Theodor 'Simplicissimus', , cm x cm, Цветная литографи. Plate of 1901. The paper was prosecuted more than once for its attacks on the Kaiser and the church.
1901 - Asssiette au beurre n°4 cropped cover. L'Assiette au Beurre sheet, 1901, from the Paris weekly that ran anarchist and anti-clerical cartoons.
1901 - An old vagrant's corpse is stuffed with newspaper after bein Wellcom. Page of L'Assiette au Beurre dated 1901.
1901-09-08 - A Yankee's Romance in Old Madrid. Published 8 September 1901. Herriman shifted the desert backdrop from panel to panel without explanation.
1901-11-04 - Herr Kronsestiner Sees a Spook. Sunday page of 4 November 1901, drawn in the loose ink line later cited by Spiegelman and Crumb alike.
1902-05-18 - Acrobatic Archie and Professor Otto. Newspaper page of 18 May 1902. The strip kept a small readership and a large following among other cartoonists.
1902 - Simplicissimus Unter Ehrenmännern. Drawing for the Munich weekly Simplicissimus, 1902, in the heavy contour line its artists shared.
1902 - Caran d'ache ferblanterie. L'Assiette au Beurre sheet, 1902, from the Paris weekly that ran anarchist and anti-clerical cartoons.
1902 - Caran d'ache ferblanterie. Page of L'Assiette au Beurre dated 1902.
1902 - Caran d'ache ferblanterie. Plate from L'Assiette au Beurre, 1902. Each issue was given over to a single artist.
1902 - Caran d'ache ferblanterie. L'Assiette au Beurre sheet, 1902, from the Paris weekly that ran anarchist and anti-clerical cartoons. Held under the identifier Caran d'ache ferblanterie 63.
1902 - Caran d'ache ferblanterie. Page of L'Assiette au Beurre dated 1902. Held under the identifier Caran d'ache ferblanterie 63.
1902 - Caran d'ache comment j'ai conquis la russie4. Caran d'Ache panel sequence dated 1902.
1902 - Caran d'Ache la legende des siecles le rire. Wordless sequence by Caran d'Ache, 1902. He built stories from panels carrying no captions at all.
1902 - George Herriman. Newspaper page of 1902. The strip kept a small readership and a large following among other cartoonists.
1902-12-06 - Assiette au beurre. Plate from L'Assiette au Beurre, 6 December 1902. Each issue was given over to a single artist.
1903-05-30 - L'Assiette au beurre n° mai Tu ne veux pas casquer Léon Fourment. L'Assiette au Beurre sheet, 30 May 1903, from the Paris weekly that ran anarchist and anti-clerical cartoons.
1903 - Engl Die Hauptsache. Plate of 1903. The paper was prosecuted more than once for its attacks on the Kaiser and the church.
1903 - Giris Assiette au beurre Le Pape. Plate from L'Assiette au Beurre, 1903. Each issue was given over to a single artist.
1904 - Ferdinand von Reznicek Die Witwe. Simplicissimus page dated 1904.
1904 - So kolonisiert der Franzose Simplicissimus. Drawing for the Munich weekly Simplicissimus, 1904, in the heavy contour line its artists shared.
1904 - Assiette au beurre. Page of L'Assiette au Beurre dated 1904.
1904-11-12 - Son excellence le général André. L'Assiette au Beurre sheet, 12 November 1904, from the Paris weekly that ran anarchist and anti-clerical cartoons. Sheet dated 1904-11-12.
1904-11-12 - Le Zélé serviteur. Plate from L'Assiette au Beurre, 12 November 1904. Each issue was given over to a single artist. Sheet dated 1904-11-12.
1904-11-12 - Le Héros du 4 novembre. Page of L'Assiette au Beurre dated 12 November 1904.
1904-11-12 - Franc maçon contre Jésuite. L'Assiette au Beurre sheet, 12 November 1904, from the Paris weekly that ran anarchist and anti-clerical cartoons.
1904-11-12 - Bon beurre ministériel. Plate from L'Assiette au Beurre, 12 November 1904. Each issue was given over to a single artist.
1905 - Pascin Schmückt Maruschka. Plate of 1905. The paper was prosecuted more than once for its attacks on the Kaiser and the church.
1905-10-29 - Little Nemo, 29 October 1905. Published 29 October 1905. Each episode ended with Nemo waking in bed, the one fixed rule of the series.
1905-11-19 - Little Nemo, 19 November 1905. McCay drawing dated 19 November 1905, worked at a level of architectural detail rare in newspaper comics.
1905-12-10 - Little Nemo, 10 December 1905. Winsor McCay page for 10 December 1905. The strip stretched and collapsed its own panel grid as part of the dream.
1905-12-24 - Little Nemo, 24 December 1905. McCay Sunday page, 24 December 1905, printed across a full broadsheet in colour.
1906-02-25 - Little Nemo, 25 February 1906. Published 25 February 1906. Each episode ended with Nemo waking in bed, the one fixed rule of the series.
1906-06-10 - Little Nemo, 10 June 1906. McCay drawing dated 10 June 1906, worked at a level of architectural detail rare in newspaper comics.
1906-09-02 - Little Nemo, 2 September 1906. Winsor McCay page for 2 September 1906. The strip stretched and collapsed its own panel grid as part of the dream.
1906-09-07 - Krazy Kat, 7 September 1906. Herriman page dated 7 September 1906. Ignatz, Krazy and Offissa Pupp work the same brick-throwing triangle the strip ran on from 1913.
1906-12-23 - Little Nemo, 23 December 1906. McCay Sunday page, 23 December 1906, printed across a full broadsheet in colour.
1907-01-06 - Little Nemo, 6 January 1907. Published 6 January 1907. Each episode ended with Nemo waking in bed, the one fixed rule of the series.
1907-03-10 - Jack Johnson Sports Cartoon George Herriman. Sunday page of 10 March 1907, drawn in the loose ink line later cited by Spiegelman and Crumb alike.
1907-03-31 - Little Nemo, 31 March 1907. McCay drawing dated 31 March 1907, worked at a level of architectural detail rare in newspaper comics.
1907 - Little Nemo postcard 2. Published 1907. Each episode ended with Nemo waking in bed, the one fixed rule of the series.
1907-07-21 - Little Nemo, 21 July 1907. Winsor McCay page for 21 July 1907. The strip stretched and collapsed its own panel grid as part of the dream.
1907-10-06 - Little Nemo, 6 October 1907. McCay Sunday page, 6 October 1907, printed across a full broadsheet in colour.
1907-11-24 - George Herriman Hard Work. Published 24 November 1907. Herriman shifted the desert backdrop from panel to panel without explanation.
1908-01-25 - AUB G. Illero. Page of L'Assiette au Beurre dated 25 January 1908.
1908-03-01 - Little Nemo, 1 March 1908. Winsor McCay page for 1 March 1908. The strip stretched and collapsed its own panel grid as part of the dream.
1908 - Heilemann Ernst Milliardäre. Simplicissimus page dated 1908.
1908 - Arthur Schopenhauer by Wilhelm Busch. Sequence dated 1908. A fixed cast runs through escalating violence to a flat closing line.
1908 - Wilhelm Busch Personenstudien. Busch drawing, 1908.
1908-06-21 - Little Nemo, 21 June 1908. McCay Sunday page, 21 June 1908, printed across a full broadsheet in colour.
1908-09-06 - Little Nemo, 6 September 1908. Published 6 September 1908. Each episode ended with Nemo waking in bed, the one fixed rule of the series.
1908-11-14 - Bobbie McCay Little Nemo. McCay drawing dated 14 November 1908, worked at a level of architectural detail rare in newspaper comics.
1908-11-29 - Little Nemo, 29 November 1908. McCay drawing dated 29 November 1908, worked at a level of architectural detail rare in newspaper comics.
1909-01-31 - Little Nemo, 31 January 1909. McCay Sunday page, 31 January 1909, printed across a full broadsheet in colour.
1909-03-27 - Caricature des Camelots du Roi dans L'Assiette au beurre. Plate from L'Assiette au Beurre, 27 March 1909. Each issue was given over to a single artist.
1909-05-01 - L'Assiette au Beurre Les p'tits jeun' hommes. Page of L'Assiette au Beurre dated 1 May 1909.
1909-05-01 - L'Assiette au Beurre Les p'tits jeun' hommes. L'Assiette au Beurre sheet, 1 May 1909, from the Paris weekly that ran anarchist and anti-clerical cartoons.
1909-05-01 - L'Assiette au Beurre Les p'tits jeun' hommes. Page of L'Assiette au Beurre dated 1 May 1909. Sheet dated 1909-05-01.
1909-05-01 - L'Assiette au Beurre Les p'tits jeun' hommes. L'Assiette au Beurre sheet, 1 May 1909, from the Paris weekly that ran anarchist and anti-clerical cartoons. Sheet dated 1909-05-01.
1909-05-01 - L'Assiette au Beurre Les p'tits jeun' hommes. Plate from L'Assiette au Beurre, 1 May 1909. Each issue was given over to a single artist.
1909-05-16 - Little Nemo, 16 May 1909. Published 16 May 1909. Each episode ended with Nemo waking in bed, the one fixed rule of the series.
1909 - Atelier Nadar Caran d'Ache (Emmanuel Poiré) , Karikaturist. Caran d'Ache panel sequence dated 1909.
1909-08-08 - Little Nemo, 8 August 1909. McCay drawing dated 8 August 1909, worked at a level of architectural detail rare in newspaper comics.
1909-09-18 - L'Assiette au beurre septembre. Plate from L'Assiette au Beurre, 18 September 1909. Each issue was given over to a single artist.
1909-10-31 - Little Nemo, 31 October 1909. Winsor McCay page for 31 October 1909. The strip stretched and collapsed its own panel grid as part of the dream.
1910 - Kley Heinrich Die Dompteuse recto. Drawing for the Munich weekly Simplicissimus, 1910, in the heavy contour line its artists shared.
1910-07-13 - Johnson Jefferies Prizefight Anti Race Riot Glasses Herriman Cartoon. Published 13 July 1910. Herriman shifted the desert backdrop from panel to panel without explanation.
1910-07-26 - Krazy Kat, 26 July 1910. Herriman page dated 26 July 1910. Ignatz, Krazy and Offissa Pupp work the same brick-throwing triangle the strip ran on from 1913.
1910-08-13 - Family Upstairs. Newspaper page of 13 August 1910. The strip kept a small readership and a large following among other cartoonists.
1910-09-25 - Little Nemo, 25 September 1910. McCay Sunday page, 25 September 1910, printed across a full broadsheet in colour.
1910-10-16 - Little Nemo, 16 October 1910. Published 16 October 1910. Each episode ended with Nemo waking in bed, the one fixed rule of the series.
1910-11-13 - Little Nemo, 13 November 1910. McCay drawing dated 13 November 1910, worked at a level of architectural detail rare in newspaper comics.
1910-12-04 - Little Nemo, 4 December 1910. Winsor McCay page for 4 December 1910. The strip stretched and collapsed its own panel grid as part of the dream.
1911-01-01 - Little Nemo, 1 January 1911. McCay Sunday page, 1 January 1911, printed across a full broadsheet in colour.
1911-02-26 - Little Nemo, 26 February 1911. Published 26 February 1911. Each episode ended with Nemo waking in bed, the one fixed rule of the series.
1911-04-09 - Little Nemo, 9 April 1911. McCay drawing dated 9 April 1911, worked at a level of architectural detail rare in newspaper comics.
1911-05-21 - Little Nemo, 21 May 1911. Winsor McCay page for 21 May 1911. The strip stretched and collapsed its own panel grid as part of the dream.
1911 - Heilemann Ernst Berlin s'amuse. Plate of 1911. The paper was prosecuted more than once for its attacks on the Kaiser and the church.
1911 - Little Nemo, 1911. McCay Sunday page, 1911, printed across a full broadsheet in colour.
1912-03-02 - L'Assiette au Beurre, 2 March 1912. L'Assiette au Beurre sheet, 2 March 1912, from the Paris weekly that ran anarchist and anti-clerical cartoons.
1912 - Leut und Viecher Heinrich Kley p. 29c. Simplicissimus page dated 1912.
1912 - Leut und Viecher Heinrich Kley p. 55b. Drawing for the Munich weekly Simplicissimus, 1912, in the heavy contour line its artists shared.
1913 - Simplicissimus, 1913. Plate of 1913. The paper was prosecuted more than once for its attacks on the Kaiser and the church.
1913 - KLEY, Heinrich. ‘Der Traum des Ingenieurs’ (The Engineer's Dream), p. Drawing for the Munich weekly Simplicissimus, 1913, in the heavy contour line its artists shared.
1914 - Simplicissimus, 1914. Simplicissimus page dated 1914.
1915-11-03 - Grace Darling by Winsor McCay Los Angeles Examiner. McCay drawing dated 3 November 1915, worked at a level of architectural detail rare in newspaper comics.
1916-02-29 - Krazy Kat Goes A Wooing. Published 29 February 1916. Herriman shifted the desert backdrop from panel to panel without explanation.
1916-03-17 - Krazy Kat and Ignatz Mouse at the Circus. Herriman page dated 17 March 1916. Ignatz, Krazy and Offissa Pupp work the same brick-throwing triangle the strip ran on from 1913.
1916-05-28 - Krazy Kat, 28 May 1916. Newspaper page of 28 May 1916. The strip kept a small readership and a large following among other cartoonists.
1916 - Simplicissimus, 1916. Drawing for the Munich weekly Simplicissimus, 1916, in the heavy contour line its artists shared.
1917 - Must liberty's light go out?. Winsor McCay page for 1917. The strip stretched and collapsed its own panel grid as part of the dream.
1917 - Must liberty's light go out. McCay Sunday page, 1917, printed across a full broadsheet in colour.
1917-11-04 - Krazy Kat original. Sunday page of 4 November 1917, drawn in the loose ink line later cited by Spiegelman and Crumb alike.
1917-12-24 - Krazy Kat, 24 December 1917. Newspaper page of 24 December 1917. The strip kept a small readership and a large following among other cartoonists.
1918 - Krazy Kat Spanish Flu. Sunday page of 1918, drawn in the loose ink line later cited by Spiegelman and Crumb alike.
1918 - If you can't enlist, invest Buy a Liberty Bond Defend your country w. McCay Sunday page, 1918, printed across a full broadsheet in colour.
1918-09-04 - Krazy Kat, 4 September 1918. Published 4 September 1918. Herriman shifted the desert backdrop from panel to panel without explanation.
1918-12-17 - Krazy Kat 1. Herriman page dated 17 December 1918. Ignatz, Krazy and Offissa Pupp work the same brick-throwing triangle the strip ran on from 1913.
1919-01-28 - Kurt von Kurtens Gnaden, Thomas Theodor Heine. Plate of 28 January 1919. The paper was prosecuted more than once for its attacks on the Kaiser and the church.
1919-12-18 - Krazy Kat Dec. Newspaper page of 18 December 1919. The strip kept a small readership and a large following among other cartoonists.
1920-09-05 - Krazy Kat original. Herriman page dated 5 September 1920. Ignatz, Krazy and Offissa Pupp work the same brick-throwing triangle the strip ran on from 1913.
1921-11-20 - Krazy Kat original. Published 20 November 1921. Herriman shifted the desert backdrop from panel to panel without explanation.
1922-01-21 - krazykat det. Sunday page of 21 January 1922, drawn in the loose ink line later cited by Spiegelman and Crumb alike.
1922-10-08 - Krazy Kat original. Newspaper page of 8 October 1922. The strip kept a small readership and a large following among other cartoonists.
1923-02-05 - An das Weltgewissen. Simplicissimus page dated 5 February 1923.
1923 - Simplicissimus. mars . Coll. BDIC German satirical magazine . Der Wu. Simplicissimus page dated 1923.
1923 - "The Vaudeville artist never lags behind" Winsor McCay Nvasouvenir19. McCay drawing dated 1923, worked at a level of architectural detail rare in newspaper comics.
1925 - Karl Arnold, Lotte am Scheideweg. Drawing for the Munich weekly Simplicissimus, 1925, in the heavy contour line its artists shared.
1926 - All the Funny Folks. Herriman page dated 1926. Ignatz, Krazy and Offissa Pupp work the same brick-throwing triangle the strip ran on from 1913.
1954-06-22 - Letter to the Senate subcommittee. A member of the public writes to the Senate Judiciary Committee's Special Subcommittee on Juvenile Delinquency, which held hearings on comic books in April 1954 and precipitated the industry's self-imposed Comics Code.
1966-05-20 - Concert advertisement. Display advertisement set and printed inside the Barb, an example of the music-listing income that kept the underground weeklies solvent.
1967-02-17 - Barb front page, February 1967. Top of the front page for 17 February 1967, with a headline naming two members of the Lovin’ Spoonful as informants in a drug case.
1967-03-17 - Smoke-in was a Success. Illustration for the Barb’s running joke that banana peels were hallucinogenic, a hoax the paper pushed in March 1967 and which was reported straight by several national outlets before being debunked.
1967-03-23 - Helix, 23 March 1967. Multiple mastheads including Ray Collins' 'Peeping Fred Lives' across the front page of 23 March 1967.
1967-04-13 - Helix, 13 April 1967. Masthead, Id Bust, UDM, etc, drawn by Jacques Moitoret for the issue of 13 April 1967.
1967-04-27 - Helix, 27 April 1967. Maryl Clemmens supplied the front page for 27 April 1967. The image: Chief Seattle Flower Potlatch poster.
1967-05-16 - Helix, 16 May 1967. Issue of 16 May 1967. Cover art by Walt Crowley: Peace/War Diptich.
1967-06-06 - Helix, 6 June 1967. 6/11 Volunteer Park Be-In Poster with Native American fronts the 6 June 1967 number, signed by Gary Eagle.
1967-06-23 - Helix, 23 June 1967. The 23 June 1967 issue leads with this cover. 'U.S. Invaded' parody.
1967-07-10 - Helix, 10 July 1967. Cover drawing by William Ward for 10 July 1967. Figures with torch, 'Needle'.
1967-07-27 - Helix, 27 July 1967. Cartoon of U District scenes, printed as the cover for 27 July 1967.
1967-08-16 - Helix, 16 August 1967. Robot with tombstone, drawn by Walt Crowley for the issue of 16 August 1967.
1967-09-01 - Helix, 1 September 1967. William Ward supplied the front page for 1 September 1967. The image: Drawing of Bob Dylan with grass.
1967-09-15 - Helix, 15 September 1967. Issue of 15 September 1967. Cover art by Walt Crowley: 'Yakima's Bitter Harvest'.
1967-09-29 - Helix, 29 September 1967. Vitruvian Man / Open Door Clinic fronts the 29 September 1967 number, signed by Walt Crowley.
1967-10-17 - Helix, 17 October 1967. Cover drawing by Walt Crowley for 17 October 1967. Apocalypse (and draft induction), flower child with fireworks (flopped double cover). First few.
1967-11-02 - Helix, 2 November 1967. 'Super Cop', 'Oversex' mezzotint (double cover), drawn by Walt Crowley for the issue of 2 November 1967.
1967-11-16 - Helix, 16 November 1967. Front page of 16 November 1967. Napoleon postcards and cartoons.
1967-12-01 - Helix, 1 December 1967. Jacques Moitoret supplied the front page for 1 December 1967. The image: 3-color process butterfly nymph.
1967-12-11 - Helix, 11 December 1967. Issue of 11 December 1967. Cover art by William Ward: Meher Baba / Interesting particulars (double cover).
1968-01-04 - Helix, 4 January 1968. 'Zeus' / 'Helix Calendar' (double cover) fronts the 4 January 1968 number, signed by R. Allen Jensen.
1968-01-18 - Helix, 18 January 1968. Cover drawing by Jacques Moitoret for 18 January 1968. Art deco idyll '20 cents the Copy'.
1968-02-01 - Helix, 1 February 1968. Tortured figure (W. Blake) and headlines across the front page of 1 February 1968.
1968-02-15 - Helix, 15 February 1968. Hippie chicks, drawn by Paul Dorpat for the issue of 15 February 1968.
1968-02-29 - Helix, 29 February 1968. William Ward supplied the front page for 29 February 1968. The image: Che Guevara.
1968-03-14 - Helix, 14 March 1968. The 14 March 1968 issue leads with this cover. 'Skip' montage of Tao signs and Escher.
1968-03-28 - Helix, 28 March 1968. Issue of 28 March 1968. Cover art by Walt Crowley: Brain-tree.
1968-04-11 - Helix, April 1968. A page from the Seattle underground paper, whose cover carried a Media Mash poster by Walt Crowley and whose pages mixed anti-war reporting with comics.
1968-04-11 - Helix, 11 April 1968. 'Media Mash / Piano Drop' poster fronts the 11 April 1968 number, signed by Walt Crowley.
1968-04-25 - Helix, 25 April 1968. Paul Dorpat's Country Joe and the Fish poster, printed as the cover for 25 April 1968.
1968-05-09 - Helix, May 1968. An issue covering a Seattle anti-war march and carrying Black Panther Party material, with strip cartoons running between the articles.
1968-05-09 - Helix, 9 May 1968. Cover drawing by Paul Heald for 9 May 1968. Discs on wavy lines.
1968-05-24 - Helix, 24 May 1968. 'Nation That Controls Magnetism', drawn by Walt Crowley for the issue of 24 May 1968.
1968-06-07 - Helix, 7 June 1968. Front page of 7 June 1968. 'Ugly Baby' cover.
1968 - I Find a Lost 1968 R. Crumb Interview - Comics Archeology - Research in Real Time. An unscripted search through digitised archives turns up a forgotten 1968 interview with Robert Crumb, given while he was working on Zap Comix issue 3. The research method itself, and the databases being queried, are shown as the find happens.
1968-06-20 - Helix, 20 June 1968. Jacques Moitoret supplied the front page for 20 June 1968. The image: Moon, starts, and Helix 'balloon'.
1968-07-03 - Helix, 3 July 1968. Issue of 3 July 1968. Cover art by Walt Crowley: Eagle/tv/fist/bodies.
1968-07-18 - Helix, 18 July 1968. Flowers with toy airplane fronts the 18 July 1968 number, signed by Jacques Moitoret.
1968-08-01 - Helix, 1 August 1968. Mona Lisa, clock, and Beatles across the front page of 1 August 1968.
1968-08-15 - Helix, 15 August 1968. Cover drawing by Walt Crowley for 15 August 1968. Progress' (Sky River Rock Festival poster on reverse).
1968-08-16 - Pigasus. James A. Schreiber drew Pigasus, the pig the Yippies ran for president, for the Berkeley Barb in August 1968. The animal was presented in Chicago during the Democratic National Convention that month.
1968-08-29 - Helix, 29 August 1968. Special Edition: Sky River Rock Festival poster, drawn by Walt Crowley for the issue of 29 August 1968.
1968-09-12 - Helix, 12 September 1968. Paul Dorpat supplied the front page for 12 September 1968. The image: 'Christ is Coming'.
1968-09-26 - Helix, September 1968. Printed on yellow stock with a Shazam Society cover by Larry Heald, this issue reported on the trial of Black Panther members.
1968-09-26 - Helix, 26 September 1968. Issue of 26 September 1968. Cover art by Larry Heald: 'Shazam Society' pyramids etc. on yellow paper.
1968-10-03 - Helix, 3 October 1968. 'Community Not Chaos' poster fronts the 3 October 1968 number, signed by Walt Crowley.
1968-10-10 - Helix, 10 October 1968. Cover drawing by Zac Reisner for 10 October 1968. Cartoon of Seattle building interiors.
1968-10-17 - Helix, 17 October 1968. George Washington dollar portrait, printed as the cover for 17 October 1968.
1968-10-24 - Helix, 24 October 1968. Front page of 24 October 1968. Mayor Dorm Braman 'Conspiracy.'.
1968-10-31 - Helix, 31 October 1968. Cannon 'Ballot' across the front page of 31 October 1968.
1968-11-07 - Helix, 7 November 1968. The 7 November 1968 issue leads with this cover. Nixon 'Bird' and tv images.
1968-11-21 - Helix, 21 November 1968. Greenish-yellow montage with hands and birds, printed as the cover for 21 November 1968.
1968-11-27 - Helix, 27 November 1968. Front page of 27 November 1968. LBJ and Nixon, Safeco sign.
1968-12-05 - Helix, 5 December 1968. Dark blue stress diagram of interlocking gears across the front page of 5 December 1968.
1968-12-12 - Helix with a Crumb strip. This December 1968 issue carries work by Robert Crumb under the name Little Fuzzy, alongside reporting on the arrest of Eldridge Cleaver.
1968-12-12 - Helix, 12 December 1968. The 12 December 1968 issue leads with this cover. Cartoon of stoned kid 'Hey, man I feel goofy.'.
1968-12-19 - Helix, 19 December 1968. Eye floating in red clouds, printed as the cover for 19 December 1968.
1968-12-26 - Helix, late December 1968. A Madonna with Afro cover by Mary Ida Hendrickson fronts an issue that includes an interview with the Chambers Brothers.
1968-12-26 - Helix, 26 December 1968. Madonna with Afro, drawn by Mary Ida Hendrickson for the issue of 26 December 1968.
1969-01-09 - Helix, 9 January 1969. Walt Crowley supplied the front page for 9 January 1969. The image: 'Utopia'.
1969-01-16 - Helix, 16 January 1969. Front page of 16 January 1969. Double image of woman with drapery.
1969-01-23 - Helix, 23 January 1969. Issue of 23 January 1969. Cover art by William Ward: Floating figure with mystical signs.
1969-01-30 - Helix, 30 January 1969. Checkerboard box fronts the 30 January 1969 number, signed by Alan Lande.
1969-02-06 - Helix, 6 February 1969. Reprint of Seattle Union Record cover (50th anniversary of Seattle General Strike) across the front page of 6 February 1969.
1969-02-13 - Helix, 13 February 1969. The 13 February 1969 issue leads with this cover. Rorschach image of woman.
1969-02-20 - Helix, 20 February 1969. Cover drawing by Larry Heald for 20 February 1969. Pyramids, etc.
1969-02-28 - Helix, 28 February 1969. 'Electric Guitar Player' Helix benefit, drawn by Walt Crowley for the issue of 28 February 1969.
1969-03-06 - Helix, 6 March 1969. Sky River Rock mud puddle scene (last Omega-84), printed as the cover for 6 March 1969.
1969-03-20 - Helix, 20 March 1969. Front page of 20 March 1969. Second Anniversary. montage of past covers.
1969-03-26 - Helix, 26 March 1969. Paul Temple supplied the front page for 26 March 1969. The image: 'Prison' photo.
1969-04-03 - Helix, 3 April 1969. Issue of 3 April 1969. Cover art by Bevis: Cartoon of hot dog and hamburger.
1969-04-17 - Helix, 17 April 1969. Cartoon of man blowing up city fronts the 17 April 1969 number, signed by Hans-George Reich.
1969-04-24 - Helix, 24 April 1969. Striated pattern in yellow and red across the front page of 24 April 1969.
1969-05-01 - Helix, 1 May 1969. Cover drawing by Walt Crowley for 1 May 1969. 'May Day' icon.
1969-05-08 - Helix, 8 May 1969. The 8 May 1969 issue leads with this cover. 'Market Faces' photo.
1969-05-15 - Helix, 15 May 1969. 'Problem or Solution' diptych, Alan Lande, drawn by Walt Crowley for the issue of 15 May 1969.
1969-05-16 - People’s Park cover. Front page carrying the Barb’s account of the police and National Guard action at People’s Park, in which one man was killed and more than a hundred injured.
1969-05-22 - Helix, 22 May 1969. Medieval cartoon, printed as the cover for 22 May 1969.
1969 - Conspiracy Stomp poster. Crumb drew this poster for a benefit event, one of the commercial jobs that ran alongside his comix work in the late 1960s.
1969-10-23 - Helix, 23 October 1969. Milo Johnstone supplied the front page for 23 October 1969. The image: Gabled house.
1969-10-30 - Helix, 30 October 1969. Front page of 30 October 1969. Dark blue skull (two sections).
1969-11-06 - Helix, 6 November 1969. Issue of 6 November 1969. Cover art by Walt Crowley: Cartoon of Edsel being crushed.
1969-11-13 - Helix, 13 November 1969. Montage of drawings of revolutionaries fronts the 13 November 1969 number, signed by Alan Lande.
1969-11-27 - Helix, 27 November 1969. Cover drawing by Walt Crowley for 27 November 1969. Turkey as Great Seal.
1969-12-04 - Helix, 4 December 1969. Santa giving finger, drawn by Ray Collins for the issue of 4 December 1969.
1969-12-11 - Helix, 11 December 1969. Alan Lande. Cover supplied the front page for 11 December 1969. The image: 'Hampton Assassinated!' includes a drawing of Fred Hampton who was assassinated on December 4, 1969. He is also discussed in a.
1969-12-18 - Helix, 18 December 1969. Issue of 18 December 1969. Cover art by Walt Crowley: Karl Marx as Santa.
1970-02-12 - Helix, February 1970. A Conspiracy cover by Walt Crowley on an issue reporting on the Seattle Black Panther Party, near the end of the paper's run.
1970-08-01 - The first San Diego Comic Con in 1970. News coverage of the first San Diego convention at the Grant Hotel, described as one of the city's more unusual gatherings, with a 1940 Walt Disney comic book among the rarities on show.
1971 - 1971 New York City Comic Con with Phil Seuling, Jack Kirby , and Denny O’Neil 8mm footage. Silent 8mm reels from Phil Seuling's New York convention, the East Coast show whose dealer network later became the direct market.
1972-08-18 - San Diego Comic Con in 1972. San Diego's West Coast Comic Convention at the El Cortez Hotel, with Bob Clampett as guest speaker talking to local television about animation and cartooning.
1973 - '' the berkeley barb '' - film interview with max scherr 1973.. Max Scherr on founding the Berkeley Barb, the underground paper he started in 1965 after selling his bar, and on the low pay and left politics of the staff who filled its pages and its comic strips.
1973 - 1973 New York City Comic Con Footage with Phil Seuling. Silent 8mm footage from Phil Seuling's 1973 New York convention with Jim Warren, Gil Kane, C.C. Beck and Al Williamson among the figures caught on the floor.

…and 1,141 more moments.

Full text archive: /loreline-text/underground-comics.md