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All Select Comics #1-11 (Sep. 1943 - Sep. 1946), continued as Blonde Phantom #12-22 (Jan. 1947 - Mar.1949).

All Select Comics #11Syd Shores (September 4, 1913 - June 3, 1973) was an American comic book artist known for his work on Captain America both during the 1940s, in what fans and historians call the Golden Age of comic books, and during the 1960s Silver Age of comic books.

Syd Shores was educated at Brooklyn's Pratt Institute, where he met his wife-to-be, Selma. After working seven years at his uncle's whiskey bottling plant until it closed down in 1940, he became an assistant at the quirkily named Harry "A" Chesler's studio, under comics artists Mac Raboy and Phil Sturm. "For months I was just a joe-boy, watching and learning and helping wherever I could. I studied Mac Raboy for hours on end — he was slow and meticulous about everything, doing maybe only a single panel of artwork a day, but it was truly beautiful work. After four months I tried my own hand at work, doing a seven-page piece called 'The Terror'. I was proud of it then, of course, but in looking back it really was a terror!"

"The Terror" still held enough promise that it saw print in Mystic Comics #5 (March 1941) from Timely Comics, the 1940s precursor of Marvel Comics, and went on to make other appearances. Timely editor Joe Simon hired Shores as the fledgling company's third employee.

Shores initially worked as an inker, embellishing some of the earliest pencil work of industry legend Jack Kirby, including the covers of the Simon & Kirby-created Captain America Comics #5, 7 and 9 in 1941 After the Simon & Kirby team moved on following Captain America Comics #10 (Jan. 1942), Shores and Al Avison became regular pencillers of the hit title, with one generally inking over the other, both working with writer Stan Lee. At that point, Shores received a promotion, he recalled in 1973, "When Simon and Kirby left in 1942 Stan did all the writing and was given the position of editorial director, while I was the art director, although I got called 'associate editor' in the books that were put out around then. Shores took over as regular penciller on Captain America Comics, inked by Vince Alascia, while Avison did his World War II military service. Decades later, Shores would return to ink Kirby's Captain America during the 1960s Silver Age of Comic Books. All Select Comics #10

Shores also inked two of Kirby's Golden Age Vision stories, in Marvel Mystery Comics #21-22 (July-Aug. 1941); and the cover and splash page of Young Allies #1 (July 1941). Shores said, "Jack Kirby influenced my sense of dramatics. Jack Kirby influences everybody in comics, though: Before I got really started in the field it was Alex Raymond and Hal Foster, they were my gods back then, but Kirby was the most immediate influence." Shores pencilled stories of the Vision and the Patriot in Marvel Mystery Comics, Major Liberty in USA Comics, and the Captain America portions of the All-Winners Squad stories in the (unhyphenated) All Winners Comics #19 and 21 (Fall and Winter 1946; there was no issue #20).

Shores was inducted into the U.S. Army in early 1944, seeing action as part of General Patton's Third Army in France and Germany, and receiving a Purple Heart for being wounded in France on 16 December 1944. After four months at a convalescent hospital in Warwick, England, he was reassigned to an engineering outfit and became part of the occupation forces in Germany.

After his military discharge in January 1946, Shores returned to Timely as art director. At postwar Timely and at the company's 1950s successor, Atlas Comics, Shores was among the artists on the company's superhero stars the Human Torch and the Sub-Mariner, the Western titles The Black Rider and Kid Colt, Outlaw, the jungle series Jann of the Jungle and Jungle Action, the war comics Battle Action and Battle Brady, and many others including Blonde Phantom.

Syd Shores

Going freelance in 1948, when virtually all of Timely's staff positions were eliminated, Shores drew for Atlas, Avon, and Orbit Publications. With Mort Lawrence, who succeeded Bill Everett on The Sub-Mariner, and Norman Steinberg, another Atlas artist, Shores co-founded a comic-art studio in 1952, first in Hempstead, Long Island, and later in nearby Freeport. But with Steinberg's death in the mid-1950s and Lawrence's decision to leave the field, Shores returned to individual freelancing, adding magazine illustration to his repertoire. He said in a 1970 interview that, "In 1957, there was a recession in the comic book industry and I was forced to look elsewhere for work. I entered the magazine illustration field. I did illustrations for the men's adventure type magazines until 1967. After things picked up again in the comic field I hastened back again to my first love, comics!"

In the 1960s, Shores found a new audience at Marvel Comics, where he once again Jack Kirby on Captain America when the character once more received a full-length title, Captain America. Shores inked the premiere issue (#100, April 1968, continuing the numbering from Tales of Suspense, a split book shared with Iron Man) and continued through seven of the first 10. He also inked a run of Gene Colan's Daredevil, as well Colan's backup feature "The Watcher" in Silver Surfer #1 & #6 (Aug. 1968 & June 1969); Dick Ayers' and Don Heck's Captain Savage and His Leatherneck Raiders / Capt. Savage and His Battlefield Raiders, and a variety of other titles.Syd Shores

In a rare return to pencilling at Marvel, Shores drew and self-inked some anthological horror stories in Chamber of Darkness, Tower of Shadows, Creatures on the Loose, Monsters on the Prowl and Chamber of Chills. Additionally, Shores pencilled and occasionally self-inked several Western stories. Shores also pencilled the Skywald Publications Western The Bravados #1.

He likewise pencilled a handful of black-and-white horror-comics magazine stories. Despite this seeming steady stream of work, fellow Golden Age and Silver Age artist Joe Giella recalled that, "Syd later became a taxi cab driver; that was so sad. I happened to see him while I was on jury duty back in the early ' 70s, and he told me he was driving a cab because he couldn't find work".

Some of Shores' last comics work was inking Ghost Rider #1-2. A trouper to the end, he finished pencilling two-thirds of the eight-page story "Voodoo War" for Marvel's black-and-white horror-comics magazine Tales of the Zombie #5 (May 1974) before dying of a heart seizure at age 59.

The survey "The 20 Greatest Inkers of American Comic Books" placed Shores at #11, saying he "evidenced a unique and singular inking style, one perhaps only vaguely approximated by the great Bill Everett. Both had bold but rough-hewn lines and illustrative, photorealistic brushwork which gave the pages a beautiful, organic look…”

From Wikipedia, the free encyclopedia.

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