Here is an interesting addendum to my post from a couple of days ago about the Comic Art Sale and Exhibit which was held at the Society of Illustrators from July 15th to October 23rd.
Well, okay, I found it interesting; your mileage may vary.
One of the pieces of original comic book artwork in the exhibit was the splash page for the Giant-Man and Wasp story “Now Walks the Android” from Tales to Astonish#61, published by Marvel Comics with a November 1964 cover date.
The credited artists on this story were penciler Steve Ditko and inker George Roussos, the later working under the pseudonym “George Bell” so as not to raise the ire of his primary employer DC Comics.
However, there was a third artist involved in the creation of this story: Joe Orlando.
Joe Orlando had been one of the primary artists at EC Comics in the 1950s, working on both their iconic science fiction, horror & crime anthologies and the wildly successful Mad magazine. In the later half of the 1950s he drew several Classic Illustrated adaptations. Beginning in 1966 Orlando was an important artistic & editorial presence at DC Comics, where he remained until he passed away in December 1998 at the age of 71.
In 1964, shortly before he landed at DC Comics, Orlando did some work for writer / editor Stan Lee at the burgeoning Marvel Comics. It was, unfortunately, not an ideal match.
Longtime Marvel Comics editor and comic book historian Tom Brevoort details the behind-the-scenes problems that plagued Orlando’s short stint at Marvel in general, and the production difficulties of Tales to Astonish #61 in particular, on his excellent blog. I recommend reading Brevoort’s thorough examination of the subject…
In short, while Stan Lee’s “Marvel Method” of giving the penciler a brief plot of a few short paragraphs and then having him go off to draw a full 20 page story based on that, or even having the penciler do the plotting all on his own, led to some great, now-classic stories, it was not without its hiccups. Steve Ditko and Jack Kirby both excelled at working in the “Marvel Method” but eventually both of them chaffed at the system and left Marvel to look for opportunities to write, draw & edit stories solo. John Romita, Herb Trimpe and Gene Colan all enjoyed the “Marvel Method” of creating comic books, and went on to be major artistic presences at Marvel after Ditko and Kirby departed.
But other artists found the “Marvel Method” difficult to work in, or were unhappy at having to do uncredited (and unpaid) writing, especially as Stan Lee would then appear to readers to be the sole writer on the comic books. That was definitely the case with Joe Orlando, who was an extremely talented artist. His experience at Marvel in 1964 demonstrated that he was much more comfortable working from full scripts.
So what does this tell us? Well, it is a good demonstration that there is no “one size fits all” approach to creating comic books. An approach that works well for some writers and artists may be a complete failure for others.
It also demonstrates that, behind the scenes, the creation of comic books was often times a difficult, unglamorous, poorly-paying profession. And I say this not to demonize anyone in particular, but to raise an awareness of the realities the industry in general, and to help bring about a more accurate understanding of the medium’s history.
Whatever the case, Tales to Astonish #61 offers an interesting example of the sometimes tortured, laborious realities of comic book production.