I was looking at some wonderful Joe Kubert art recently and thought how well he would have been art Marvel on a title like Thor or Conan (as well as Sgt Fury of course!). What other Silver Age DC artists would have worked well at Marvel? Dick Dillin on Avengers? Nick Cardy on Spider-Man?

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I keep wondering, WHAT kind of website design puts the text you're replying to UNDERNEATH the new text, if you hit "reply"? That's why I usually do "copy-and-paste".   : )  (I also try only to include the important parts.)

Robin Olsen:

"The SUB-MARINER issue that you mentioned (#62) was cover - dated Jun '73.....I never heard of Sam Kweskin. You're usually the go-to guy on the inside dope, so do you know of any other books he worked on? I've never seen his work, and I was seeing a LOT of comics up to (just before) that point, but then again, I DIDN'T see a LOT of comics up until (just before) then, either. Was he well-known? Was he on a book that I may be kicking myself for missing later? Or was he maybe a fellow Golden-Ager of Everett's? Hey, even I'M not old enough to remember THAT! I didn't know that Giella did work for Marvel then, either, for some reason I'm getting Esposito flashbacks!"

Funny you mention Esposito. The quality of his work fluctuated drastically over the years. he was GREAT over John Romita, but AWFUL over Ross Andru-- and Andru was his long-time collaborator!! Esposito (and Len Wein) was why I stopped buying AMAZING SPIDER-MAN, about 6 issues into Len's 3-year run.  I finally came back near the end, during the "3rd Green Goblin" story, which Len spent 3 WHOLE YEARS building up to.  (It's like, Len only really had ONE Spidey story to tell-- and stretched it out over 36 issues. Perhaps that's where Cary Bates got the idea for "Trial of the Flash"?) Thing is, some editor gave Esposito HELL for "spending more time at the race track than at his drawing board" (Dave Cockrum told THIS story!), and for the next 2 years, Esposito turned in the BEST damn work he'd done since the 60's. You can see some of it right there near the end of Len's run and the beginning of Marv's run. Also, for awhile, Sal & Mike didn't look so pathetic.  (Sal doing rough layouts and Mike doing as little as possible on inks was a VERY bad combo.)

Sam Kweskin... a few years ago, I was wondering that myself.  I think the easiest thing to say is, he WAS "obscure", probably spent most of his career in advertising. I know I looked him up online-- so I probably learned more, but don't remember it right now.  I suspect he was a Golden Ager, like Everett, but after the 50's witch-hunt, dropped out of the field (as did Everett).  He did very little comics work for Marvel in the 70's, and began using a psudonym, as he feared it might hurt his advertising work if his clients found out he was doing (GASP!) "comic-books". 

Do you remember that sprawling-- rambling really-- DR. STRANGE non-epic which was (allegedly!) inspired by the works of Robert E. Howard, but reminded ME more of H.P.Lovecraft?  It ran 8 issues of MARVEL PREMIERE and had no less than 6 writers and 5 pencillers.  That is NO way to do a single storyline!!!

Barry Smith started it off with story & art.  Stan Lee TOTALLY rewrote the story at the dialogue stage, which left Barry shaking his head in dismay, as what Stan put down had NOTHING to do with what Barry had done. (Astonishing!!) Probably why Smith left after only 2 episodes.  Roy Thomas took over as EDITOR with part 2, and did the plot for part 2 (NO DOUBT where the "REH" elements came from), and had Archie Goodwin do the dialogue for part 2.  Gardner Fox-- possibly the most prolific comics-writer in history-- came in and did the next 4 episodes in a row-- EACH one illustrated by a DIFFERENT artist!!  I mean-- HONESTLY!! What was going on there??? Then Steve Englehart came in to do the last 2 episodes, along with Frank Brunner (who'd done part 4 before doing parts 7-8), and, AT LAST, the series had a good team on it.

Wedged in there with Smith, Brunner, Russell (who actually BLEW A DEADLINE on ANT-MAN to do HIS episode-- good grief!!) was...  "Irv Wesley".  Yep.  Sam Kweskin!  (Inked by Don Perlin, by the way.)  Only found that out a few years ago.  That's MARVEL PREMIERE #5 (Nov'72).

Kweskin later worked on SUB-MARINER #58, 59, 60, 62 & 63.  (DC regular Win Mortimer filled in on #61.)

I very much like Win Mortimer's 50s style (scroll up for images).

My 1st exposure to Don Perlin was the 2nd half of the Moon Knight try-out in MARVEL SPOTLIGHT. I loved that story so much, before long, I managed to get my hands on the 1st half, and before too long, on the 2 issues of WEREWOLF BY NIGHT where the character had debuted.  It was so obvious that Doug Moench & Don Perlin were trying to do a "Silver Age Batman", but with enough changes & variations to make MK his own unique character.

Personally, it was always a deep disappontment to me that for whatever reason, Don Perlin NEVER drew the character again! He stayed on GHOST RIDER seemingly forever (as did Michael Fleischer-- MY GOD, so many of his issues were so boring and repetitious, and just plain not fun to read), and then, THE DEFENDERS (where, at least at the beginning, J.M.DeMatteis made the stories "interesting", and Joe Sinnott gave the art a nice slick finish).

After various guest-spots with various artists-- Keith Giffen, Jim Mooney, Mike Zeck-- MK got his own series as a back-up in THE HULK!, and started out with Gene Colan (who would later go on to do a run on BATMAN). But whoever set up that series (editor Rick Marschall??) failed miserably to get a stable create team in place when they did it.  Colan was gone after only 1 episode, as was his replacement Keith Pollard.  Could this have had anything to do with unknown newcomer Bill Sienkiewicz being hired on the spot when he walked in the 1st time showing his portfolio???  Well, I'm sure the fact that he was real good was part of it. Somehow, it was years before I ever noticed-- and I recall someone else poiNted it out to me-- that Sienkiewicz' style, early-on, was basically a BLATENT SWIPE of Neal Adams' style. From the moment Sienkiewicz got on Moon Knight, it was like the character became HIS. I guess from that point on there were "doing" the BRONZE age Batman...  or maybe, the Post-Crisis version, 7 years before-the-fact.

Call me crazy, but the whole time, I kept wishing Don Perlin would have done that book instead.  Moench & Sienkiwciz was "good".  But it was never really "FUN".  And I WANTED fun-- dammit!!!   : )

For anyone who's wondering, let me save you the trouble looking it up:

WEREWOLF BY NIGHT #32-33 (Aug-Sep'75)

MARVEL SPOTLIGHT #28-29 (Jun-Aug'76)

THE DEFENDERS #47-51 (May-Sep'77)

SPECTACULAR SPIDER-MAN #21-22 (Aug'Sep'78)

THE HULK! #11-15 (Aug'78-Jun'79)

MARVEL TWO-IN-ONE #52 (Jun'79)

THE HULK! #17-18, 20 (Oct'79-Apr'80)

MARVEL PREVIEW #21 (Spring'80)

...and then...

MOON KNIGHT #1-up (Nov'80-up)

I never heard of Sam Kweskin. Was he well-known? Was he on a book that I may be kicking myself for missing later? Or was he maybe a fellow Golden-Ager of Everett's


It can't answer your qualitative questions, but the Grand Comic Book Database (www.comics.org) can be searched by creator, so you can see all of his credits by Searching for Penciler and his name, either by date (which will be chronological) or by title (which will be alphabetical).

Here are his pencilng credits: 

http://www.comics.org/penciller/name/Sam%20Kweskin/sort/alpha/

He's also got inking credits you can look up separately.

-- MSA 

I kinda figured that.  Both Bill Everett & Sam Kweskin worked in advertising after the collapse.

For ages I used to think George Tuska was "a new guy".  Turns out, like Gene Colan, he'd been in the biz at least since the late 40's, so he was a genuine "Golden Ager" too.  He spent a lot of time in the 60's on the BUCK ROGERS newspaper strips, his work being in an almost completely-different style-- simpler & slicker-- than anyone who came before him.  When I found out how long Tuska had been doing comics, it seemed very fitting that he was the original HERO FOR HIRE artist, as that book had a very "Golden Age" feel to it, being more "grim & gritty" and violent than your typical "superhero" book.  Billy Graham, who WAS "a new guy", really gave Tuska's art a "Golden Age" look, moreso than most inks he was getting at the time.  It's no wonder, looking back now, 2 of my fave early-70's Marvels were HERO FOR HIRE and Bill Everett's issues of SUB-MARINER (though it's a shame I never read the latter until the last 10 years or so-- at which point, it was like, "GOOD GOD! HOW did I never read these before???").

I also never knew until a few years back that Bob Powell was one of my earliest BATMAN artists.  He did the pencils for the bubble-gum cards!!!  (Norm Saunders did the paintings on top of them.)

Kubert would work fine on Captain America or even Daredevil or Dracula as well.  He has many of the strengths of Gene Colan but his style looks more dynamic.

Dick Dilin on Avengers, sure.  Although I find his style so very "clean" that he would be a better fit to the FF or even Patsy Walker. Come to think of it, he is a bit like George Tuska, maybe he would fit well in Iron Man as well.

Speaking of Nick Cardy and George Tuska, heck, their face drawings are also remarkably similar, although Cardy's seem to come across as looking a bit younger.  Nick Cardy was also one of the best people of his generation of pencilers in conveying emotion; I would like to see him on Dracula.

Was George Tuska the artist responsible for that odd stand-alone story in Iron Man #5 where he's wisked off to the future? Whoever it is, I have always hated that cover, that story, that artwork.

That was George Tuska's DEBUT on IRON MAN, following 3 issues of full art by Johnny Craig.  Although Craig's inks were not a good match for Gene Colan or Frank Springer (the latter on 1 issue of NICK FURY), he turned out to be one of the BEST inkers ever seen for Tuska.  To this day, I'm still not thrilled with Archie Goodwin's run on IRON MAN (compared to just about everything else he ever wrote in his entire career), but I was floored when I saw how good Tuska's art looked under Craig's inks. (When you've got years and years of inks by Esposito or Colletta, the difference can be quite a shock.)

I believe it was generally felt Criag was not a good fit, as a penciller, for super-heroes (it happens).  But I do have one story he did for CHAMBER OF DARKNESS #5, an adaptation of an H.P. Lovecraft story, that is a masterpiece.

Letters pages early in Tuska's run were very derogatory.  Most fans at the time complained his art was "too cartoony"-- about the same thing they said when Sal Buscema took over CAPTAIN AMERICA, when Herb Trimpe took over THE INCREDIBLE HULK, and when Ross Andru took over AMAZING SPIDER-MAN.

Hmmm.. could be.  I don't recall reading much about him over the years, but then, you can't know everything!  The story he illustrated in CHAMBER OF DARKNESS #5 (Jun'70) was "The Music From Beyond!", based on H.P.Lovecraft's "The Music Of Erich Zann", adapted by Roy Thomas.  That was my 1st exposure to Craig's work.

Actually, I forget WHICH stories (easy enough to look it up), but probably my 2nd exposure to Craig's work-- indirectly-- was that a couple of them from the 50's were adapted in the Amicus anthology film TALES FROM THE CRYPT.  Fabulous movie, very "intense" from start to finish (and therefore not something I can really stand to watch too often).  When I was reading up on the film a few years back, I took to referring to it as "The Johnny Craig movie".

"Phil Zupa" inked Action Comics #425, Superman #279, and Wonder Woman #214, all over Curt Swan's pencils, strangely enough, but I can't recall him ever inking Swan under his real name of Frank Giacoia, or using "Phil Zupa" elsewhere.

 

(How do you pronounce Giacoia, by the way?)

Henry R. Kujawa said:

Thanks for the link.  I just sent M.E. the following...

Hi Mark,
 
    This discussion came up at CAPTAIN COMICS, and someone linked to your site.
 
    Most of the ones you list I was aware of (though some took many years for me to find out).
 
    "Phil Zupa" and "Jay Noel" were new ones on me, I've never seen them anywhere.  Ditto for "Willie Bee" and "Bill Roman".  Where were these used?
 
 
 
 
 

I would rank Swan's best inkers, in descending order as: Murphy Anderson; George Klein, then perhaps Bob Oksner.

Kaye was Swan's predominant inker (and Wayne Boring's for at least 15 years) from about the mid-1950s until 1962, when he retired and Klein took over.

Moldoff did some interior inks on Swan, mainly on World's Finest Comics, as far as I can tell. I believe that the GCD has miscredited Moldoff with too many inking jobs over Curt Swan's pencils (on stories), though, and most of them are actually Kaye's inks - for example, the famous "The Death of Superman" story from Superman #149 - which is definitely by Kaye .

Robin Olsen said:

George Klein was no doubt Curt Swan's best inker, but some of his covers with Stan Kaye and Sheldon Moldoff were pretty good, too! I'm not sure if they did interiors, though.

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