The FF creep through the grungy side streets of New York (Yancy Street was a recurring gag in the series; The Thing had grown up on the block and the "Yancy Street Gang" were his unseen foils) Jack Kirby depicted these scenes from first hand experience, having grown up on the Lower East Side. Dick Ayers thick brush strokes perfectly accompanied Kirby's pencils. Fantastic Four # 20, November 1963.
Speaking of Warner Brothers, William Wellman could have directed a scene like this! Mobsters, cops and piers as Ditko brings aspects of crime thrillers with impeccable skill. Amazing Spider-Man # 27, August 1965.
The Flash races through squeaky clean, picture-perfect streets; a jarring contrast to Kirby and Ditko's age-old buildings and cracked pavements. Carmine Infantino pencils, Joe Giella inks, Flash # 130 August 1962.
Growing up in the 1960's I had the opportunity, thanks to my older brother John, to read comics from a variety of companies:DC, Gold Key, Tower, Archie, Charlton - I never confused one product with another (even Archie's Mighty Comics line, which tried very hard to mimic - some would say outright confiscate - Marvel's look, didn't fool me at 6 years old). We did read more Marvel's product on a steady basis, attracted by the ongoing stories, sharp writing and superb storytelling. Lee, Kirby and Ditko were the core group, but Wood, Romita, Colan, Buscema, Heck, Ayers and an array of others contributed to a special moment in the world of comics. They were different not because Martin Goodman followed competitors sales figures and asked for similar titles (something he did throughout his life as publisher), but due to the creativity and individuality of the creators working for him. Without them, Marvel's line would likely be a footnote in comics, recognized only by the few interested in such minutiae.