![]() ![]() Severin was that talented.Ĭertainly Andy Mushynsky’s inks have something to do with this consistency - he inked most of Springer and stayed when Rod Whigham showed up shortly after. Joe.Īnd no shade on anyone else, but it actually looks better than some other issues. Sure, it’s in the middle of Frank Springer’s short run, but stylistically, it does not stick out. ![]() But for many years I’ve glossed over Real American Hero #28 even being a fill-in. That might be more indicative of the fact that Marvel had a house style in the 1970s and ’80s - the post Romita/Buscema/Kane/Adams mix you get in a John Byrne, Herb Trimpe, or Ron Wilson. ![]() Severin was a great artist, and I’m struck by how well she fit into the style of the monthly G.I. Seeing uninked work like this is a real transformation, or un-transformation, as it were, a sideways kind of time machine. (She didn’t invent this, Trimpe did it as early as issue #1 - this was a standard practice.) Of course this is “Marvel style,” so Severin here is working from a Larry Hama plot, and writing in clarifications and any small changes in the margins. Here’s a photocopy of Severin’s pencils for story page 18 (that’s not counting the ads). In it, he said: “She was not the first lady in comics, but she is unquestionably the first lady of comics.”īut the reason you’re here today is because Marie Severin penciled one issue of G.I. ![]()
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