Sunday, September 21, 2014

Bill Everett and Company: Who Else Drew Tales To Astonish # 87?

It's no secret that Bill Everett had trouble meeting deadlines. While the credits to the Sub-Mariner story in Tales to Astonish # 87 read "Illustration:Wild Bill Everett" clearly other artists are involved. Comic book credits of earlier decades can often be deceiving due to the production method. The story would first be penciled, then lettered and sent off to the inker - or the presumed inker. The letterer would add the name that Stan Lee provided, but sometimes another inker would be substituted at the last minute after the credits were lettered. The new inker would occasionally add his own name, or someone in production might correct the credits, but there are numerous instances when the printed comic book had erroneous credits. These mistakes were sometimes acknowledged in future letter columns; other times they were forgotten and have remained in print for decades. 

Over the years I've noticed the Sub-Mariner lead story in Astonish # 87 ("Moment of Truth!" Stan Lee story; Bill Everett art; Artie Simek letters, Jan 1967) looked odd; Everett's art appears throughout the 12 page story, but uncredited artists assisted in the pencils and inks, which I will attempt to detail here.

The first alteration can be seen on page 2; panel 2, although this is a case of Stan Lee having John Romita alter Lady Dorma's face to make her prettier. Krang, in the background and Dorma's hand are all drawn by Everett.

       Page 4, panels 3-4 have redrawn figures of Lord Vashti, possibly by Marie Severin who was an artist/colorist/production person for Marvel in this period. Although Everett was involved as inker over Gene Colan and Jerry Grandenetti (Tales To Astonish #'s 79, 85 and 86) this was the first time in over a decade he returned to draw his creation. Everett's Sub-Mariner was a feature in Marvel Comics # 1, October, 1939, publisher Martin Goodman's entry into comic books. Sub-Mariner had a long and successful run in comics for a decade; Everett returned to the character for a brief revival in 1954-55 and Stan Lee and Jack Kirby brought him into the Marvel era. Lee and Colan developed new characters when Namor was given his own strip in Tales to Astonish, such as Lord Vashti, so Everett may not have drawn him to Lee's satisfaction.

Starting on page 5 onward there are signs of Everett getting into trouble.

The inking on most of this page, particularly the backgrounds and figures, is the work of Frank Giacoia. His bold inking is evident in panel 5, especially on Krang and his guards.Everett may have inked only the Sub-Mariner figures and perhaps Vashti in panel 2. If deadlines were looming Lee probably decided to bring in others to help Everett to get the job done. A lack of backgrounds and unfinished pages two years earlier on Daredevil # 1 led to Steve Ditko and Sol Brodsky pitching in to get that book completed. 

Here's where it gets interesting. 

On page 6, panel 1, Everett appears to have penciled and inked the Sub-Mariner, which I suspect he did throughout the issue. This mixture of Everett pencils/inks and perhaps partial pencils in parts of the story point to a rush job.

  In this three panel sequence on page 6 the face of Krang is the only evidence of Everett art. My guess is that the costume was altered from this point on from whatever Everett originally drew. Panels 1 and 2 are inked (and perhaps finished) by Frank Giacoia. The final panel may be the work of Marie Severin and Giacoia. 

The next five pages show little Everett input. While Sub-Mariner is drawn and (apparently) inked by Everett, everything else, including Krang and Vashti, are rendered by Marie Severin. Either Stan Lee was dissatisfied with Everett's rendition, and didn't feel it had enough larger than life Kirby theatrics, or Everett only drew Namor, with Marie filling in on the four page sequence. Whatever the circumstances Marie's figure work and poses are distinctive. 

Dick Ayers' inking also begins on page seven. Ayers usually worked at home and mailed his artwork in, but was asked to come into the office several times in 1966 to assist on deadlines. According to email correspondence in my files dated 7/21/2004, Ayers inked a few Daredevil stories (#'s 21 and 22, with Everett and Giacoia). On 6/10 and 7/8 he again helped out, although his record books had "no mention of what I was assigned". The January, 1967 dated issue of Tales To Astonish # 87 arrived on stands sometime in October, 1966, which would leave a 3-4 month period before the comic was published. This fits into the time frame when Ayers could have worked on this story. 

                            Page 8; panel 2 Marie Severin/Dick Ayers art; Sub-Mariner by Everett.

                                          Page 9; panel 2, Severin/Ayers art.

           Page 10: Everett Sub-Mariner (pencils/inks?); Severin/Ayers Krang. Ayers background art?

The four page fight sequence on pages 7-10 predominantly spotlight Namor and Krang's brawl. Large panels are employed and backgrounds are minimal. The cheering Atlanteans on page 10 look like Dick Ayers solo artwork.

 Page 11 is an interesting blend. Frank Giacoia's inking is evident in panel 1, although Everett drew Namor and Krang (or - at the very least - his face). 

 Panel 2 on page 11 has Giacoia backgrounds, but it looks like another artist did some inking on Sub-Mariner. I'm not sure who, though. It looks a little like Dan Adkins. Not impossible, but this was a month or two before his first published Marvel art. 

The final panel on page 11 appears to be mostly Everett pencils and Giacoia inks. Namor, Krang and the guards all have Everett styled poses and faces. The inking on Sub-Mariner looks a little different though, similar to the "Adkins" style in the previous panel. 

The final page includes Everett drawing complete figures of Namor and Dorma (with another Romita face-lift in panel 2). Ayers likely inked the backgrounds, and either inked the last panel over Everett pencils/breakdowns, or drew it all himself. As for the next issue blurb: "The Greatest Threat of All!" may have referred to a missed deadline and late fee payments!    

Marie Severin showed up three issues later in an Everett story, redrawing this sequence from the Sub-Mariner story in Tales to Astonish # 90, April 1967. Two years later Marie took over the art on Sub-Mariner (who received his own title) with issue #12 teamed with Roy Thomas and did an impressive job on the character. I would be remiss not to mention Marie's excellent collaborations with Bill Everett on a run of covers in the early 1970's (and you can see and read more about it on my earlier blog post:

John Tartaglione also appears to have contributed to Astonish # 90, with some uncredited inking.

While Bill Everett's return to his creation in late 1966 was welcome, the combination of deadline issues, stiff artwork in places and a lack of interest in the direction Stan Lee had taken his character led to a short-lived venture. In 1972 Everett was again reunited with the Sub-Mariner, this time for a more enjoyable run due to greater control and a more appealing take on his creation. While deadline issues again surfaced, with fill-ins and assistance needed, Everett's work shone brightly. His death in 1973 at the age of  56 was a tremendous loss to the industry and lovers of comic art.   

Exquisite Bill Everett art on his return to Sub-Mariner. "Who Am I?" Everett story/art (and probably colors); John Costanza letters, Sub-Mariner # 50, June 1972.  Throughout his career Everett's artwork had a distinctive flair. Diverse, thrilling and suited to all types of genres: superhero, adventure, horror, jungle, crime, romance, even animated features. In his final years Everett's art reached a plateau. His fluid ink line was as attractive as the sea he rendered with subtle beauty. One of a kind, Everett made his mark in comic books and remains unparalleled.  


Mark Evanier said...

Good catches there but I suspect there were others involved in the pencil stage. Everett's work in all these TALES TO ASTONISH stories look to me like team efforts and the pencils clearly don't look like the work of the same guy from issue to issue. Werner Roth turns up in #96 without credit and he may be in earlier issues.

#94 is the only one that looks to me like it might be all or mostly Everett.

Nick Caputo said...

Hi Mark,

Thanks. There may be another artist or two involved, but I concentrated on the artists I was "certain" I saw. You're correct that many of Everett's "solo" issues look like a hodgepodge, although in some instances it nay be Stan Lee "tinkering" with art because he wasn't particularly pleased with Everett's finished results.

I'm with you on #94 being most or all-Everett, although #89 looks pretty much Everett too, with the exception being the final panel, which looks like Romita or Romita/Giacoia.

Kid said...

Y'know, Nick, given the commonly held view in some circles of Marvel being a cold, heartless company that ripped-off its contributors, it's good to see that Bill Everett was given work when it would probably have been easier to give it to someone else. All that extra work by other hands would've cost time and money, and was probably hassle that could've been avoided by giving the job to someone else. It was good of Stan to ensure that, as much as possible, old hands were looked after and accorded a measure of respect. Another fascinating blog post, Nick - well done.

Nick Caputo said...

Kid - It's often been noted by people like Roy Thomas that Stan Lee always found work for artists that had been with him for the long haul. Even when a few were not favorites, such as Werner Roth, Paul Reinman and Everett. The latter two were kept busy coloring, inking and (in Everett's case) writing. That thoughtfulness didn't occur when Stan was no longer running the show.

Kid said...

True, Nick, but a lot of those who criticize Marvel as a heartless corporate entity, don't usually differentiate between modern times and back then. Whereas, as you rightly note, there was a time when Marvel (under Stan) wasn't the 'evil emissary of Satan' that some people seem to think it was.

I'm surprised to learn that Werner Roth wasn't a 'favourite' - he was always a favourite of mine. Even on Lois Lane.

Nick Caputo said...


I always enjoyed his work too, both on X-Men and Lois Lane. I discovered his earlier art on Apache Kid, Lorna, Jungle Girl and assorted mystery, war and romance comics for Atlas terrific. His work was a little too "quiet" for Marvel standards, but I thought he did a terrific job, especially on the X-Men in their civilian id's.