Post by humanbelly on Feb 20, 2010 17:46:14 GMT -5
Heya Sharkar ol' pal--
This post is largely for your consumption and/or appreciation, as oh, I'm well aware that ol' Greenskin isn't terribly popular in these-here parts (Scott, am I raising an arched eyebrow in your direction, here?). And heck, even the majority of folks who do enjoy him (or have in the past) are apt to go, "What in the world is Tales to Astonish?" But I shan't be deterred, as I've thoroughly enjoyed reading that run from the early-to-mid 60's again, as I've mentioned elsewhere.
But, the HUGE trait that jumps out is that this title was chronically unable to hold onto a steady penciller back then! Which is ironic, as The Incredible Hulk right after that kind of became the standard-bearer for being a title with rock-steady long runs by pencillers. Herb Trimpe & Sal Buscema accounted for, what, the next 20 years, I think?
But, from issues #59 through #101 it was a regular who's who of bullpen artists. In order, more or less:
Dick Ayers (1 issue)
Steve Ditko (8 issues)
Jack Kirby (3 issues)
Mickey Demeo (3 issues)
Bob Powell (1 issue)
Scott Edward (1 issue)
John Romita (1 issue)
Bill Everett (7 issues)
(**note- Demeo thru Everett did pencils over Kirby layouts**)
Whole Bullpen (1 issue-- believe Everett had a back injury)
John Buscema (3 issues)
Gil Kane (4 issues)
Marie Severin (9 issues)
Add to this that the inkers were, if anything, changed even more often, and you have a title that only had a settled "look" at its inception (with Ditko-- who I don't think was a red-hot choice for this book) and at its end (with Severin, who followed the book into its solo run). Generally, it didn't seem like even the better artists were always bringing their "A" game to the drawing board, here. Bill Everett being the exception, perhaps-- definitely some moments of greatness even w/ that quirky style of his. Who was the best? I think the under-utilized but much-beloved Marie Severin. I believe she laid the foundation for what the Hulk's conventional "look" would be for many, many years after that. It's also interesting to note that a very young, rookie Herb Trimpe was her inker for several issues, and you can clearly see her influence on his penciling and layout style when he took over the book a few months later.
Ha! I know that all of this will largely garner a reaction of "Oh my god, what's HB going on about now?? Who in the world are half of these artists??" But come on, O Curmudgeonly Ones-- are there many out there who do not at some point pull out a long run of beloved old comics and surrender to siren song of its comforting minutia? Eh?
But, boy, don't get me started on Stan's "who's-in-this-comic-again?" stories. . . ernghh.. . . .
HB
This post is largely for your consumption and/or appreciation, as oh, I'm well aware that ol' Greenskin isn't terribly popular in these-here parts (Scott, am I raising an arched eyebrow in your direction, here?). And heck, even the majority of folks who do enjoy him (or have in the past) are apt to go, "What in the world is Tales to Astonish?" But I shan't be deterred, as I've thoroughly enjoyed reading that run from the early-to-mid 60's again, as I've mentioned elsewhere.
But, the HUGE trait that jumps out is that this title was chronically unable to hold onto a steady penciller back then! Which is ironic, as The Incredible Hulk right after that kind of became the standard-bearer for being a title with rock-steady long runs by pencillers. Herb Trimpe & Sal Buscema accounted for, what, the next 20 years, I think?
But, from issues #59 through #101 it was a regular who's who of bullpen artists. In order, more or less:
Dick Ayers (1 issue)
Steve Ditko (8 issues)
Jack Kirby (3 issues)
Mickey Demeo (3 issues)
Bob Powell (1 issue)
Scott Edward (1 issue)
John Romita (1 issue)
Bill Everett (7 issues)
(**note- Demeo thru Everett did pencils over Kirby layouts**)
Whole Bullpen (1 issue-- believe Everett had a back injury)
John Buscema (3 issues)
Gil Kane (4 issues)
Marie Severin (9 issues)
Add to this that the inkers were, if anything, changed even more often, and you have a title that only had a settled "look" at its inception (with Ditko-- who I don't think was a red-hot choice for this book) and at its end (with Severin, who followed the book into its solo run). Generally, it didn't seem like even the better artists were always bringing their "A" game to the drawing board, here. Bill Everett being the exception, perhaps-- definitely some moments of greatness even w/ that quirky style of his. Who was the best? I think the under-utilized but much-beloved Marie Severin. I believe she laid the foundation for what the Hulk's conventional "look" would be for many, many years after that. It's also interesting to note that a very young, rookie Herb Trimpe was her inker for several issues, and you can clearly see her influence on his penciling and layout style when he took over the book a few months later.
Ha! I know that all of this will largely garner a reaction of "Oh my god, what's HB going on about now?? Who in the world are half of these artists??" But come on, O Curmudgeonly Ones-- are there many out there who do not at some point pull out a long run of beloved old comics and surrender to siren song of its comforting minutia? Eh?
But, boy, don't get me started on Stan's "who's-in-this-comic-again?" stories. . . ernghh.. . . .
HB
