When it comes to comic book art, the inking process is easily one of the most important and often most unrecognized aspects. Inkers utilize a variety of detail and shading to bring their own unique styles to the art. Good inking can make or break a comic, which is why it’s no surprise Jack Kirby entrusted his inking duties to one of the best – George Roussos.
Also known under the pseudonym George Bell, Roussos was born on August 20, 1915, in Washington, D.C. Growing up, Roussos was influenced by the art of cartoonists Frank Miller, Chester Gould, Stan Kaye, Robert Fawcett, and Hal Foster. He entered the comic industry in 1939, lettering the Spanish version of Ripley's Believe It or Not, despite not being able to read Spanish himself. Shortly thereafter, he was hired by Bob Kane and Bill Finger to assist Jerry Robinson on inking Batman stories. He did similar work on Target and the Targeteers as well as working on features starring the Vigilante, Johnny Quick, Superman, and Starman. Roussos did extensive work at DC as a penciler, inker, colorist, and letterer, along with co-creating Superwoman with Jerry Siegel.
Throughout the Golden Age, Roussos worked for Marvel’s precursor Timely Comics, as well as Avon Publications, Standard/Better/Nedor, Family, Fiction House, Hillman Periodicals, Lev Gleason Publications, and Spark. He later added comic strips to his repertoire, working on Flash Gordon, The Lone Ranger, Judge Parker, The Phantom, and Judge Wright. For EC Comics, he did stories in Crime SuspenStories, Tales from the Crypt, Weird Science and Weird Fantasy.
Roussos gained even more prominence during the Silver Age, when he became Jack Kirby’s inker on landmark early issues of Fantastic Four. These included #21–27, which featured the first battle between Hulk and the Thing. He also inked Kirby’s covers to #11, 13, and 18–20. Along with Marvel’s First Family, Roussos also inked Captain America’s first Silver Age appearance in Avengers #4 as well as early issues of Sgt. Fury and his Howling Commandos.
Over his five decades in the industry, Roussos created artwork for numerous publishers and worked in nearly every aspect of comic production. The survey “The 20 Greatest Inkers of American Comic Books” placed Roussos at #15, saying he “was so adept with a brush in his hand that his co-workers appointed the nickname ‘Inky’ to him. His style was often thick, heavy with blacks, and sported nice contrasts which complimented his prime collaborators.”
Although he passed away in 2000, Roussos’ talents as a penciler, inker, colorist, and letterer created a lasting impact on the comic industry and helped set the look for some of the most recognizable pop icons of the 20th century.