Here is a story from Men's Adventures #25 - cover by Syd Shores and story by Joe Sinnott. I guess you know that it is pre-code when people are eaten by sharks and shot in the back with harpoons. Sydney Shores
(September 4, 1913 - June 3, 1973) was an American comic book artist known for his work on Captain America both during the 1940s and during the 1960s Silver Age of comic books.
Syd Shores was educated at Brooklyn's Pratt Institute and after working seven years at his uncle's whiskey bottling plant until it closed down in 1940, he became an assistant at the Harry "A" Chesler's studio, under comics artists Mac Raboy and Phil Sturm. After four months he tried his own hand at work, doing a seven-page piece called 'The Terror'. It held enough promise that it saw print in Mystic Comics #5 (March 1941) from Timely Comics and 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. After the Simon & Kirby team moved on following Captain America Comics #10 (Jan. 1942), Shores and Al Avison became regular pencilers of the hit title, with one generally inking over the other. Shores was inducted into the U.S. Army in early 1944 and, after his military discharge in Jan. 1946, Shores returned to Timely as art director. At post-war 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.
Going freelance in 1948, when virtually all of Timely's staff positions were eliminated, Shores drew for Atlas, Avon Publishing, 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.
In the 1960s, Shores found a new audience at Marvel Comics, where he inked many issues of Kirby's Captain America; Gene Colan's Daredevil and Colan's backup feature "The Watcher" in Silver Surfer #1 & #6; Dick Ayers's and Don Heck's Captain Savage and a variety of other titles. 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".Joe Sinnott
(born October 16, 1926, Saugerties, New York, United States) is an American comic book artist. Working primarily as an inker, Sinnott is best-known for his long stint on Marvel Comics' The Fantastic Four, from 1965 to 1981 (with a brief return in the late 1980s), initially over the pencils of industry legend Jack Kirby. Years before, he had inked Kirby's Fantastic Four #5, the issue introducing Dr. Doom, plus a science fiction monster story in Strange Tales #95. During his fifty-plus years as a Marvel freelancer and then salaried artist working from home, Sinnott inked virtually every major title, with notable runs on The Avengers, The Defenders and The Mighty Thor.
Discharged from the army in 1946 at age 19, and after working two-and-a-half years in a cement plant's rock quarry, Sinnott decided to pursue illustration as a career. In 1948, he was accepted into the Cartoonists and Illustrators School (now the School of Visual Arts) in New York City, attending on the GI Bill. There teacher Tom Gill asked Sinnott to be his assistant on his freelance comics work. With classmate Norman Steinberg, Sinnott spent nine months drawing backgrounds and incidentals on, initially, Gill's Western-movie tie-in comics for Dell Comics. Sinnott's first solo professional art job was the backup feature "Trudy" or "Trudi" (sources differ) in the St. John Publications humor comic Mopsy #12 (Sept. 1950).
Branching out professionally, Sinnot met with Stan Lee who assigned him a three page Western filler which was the first of a multitude of stories in many genres Sinnot would draw for Timely/Atlas. During a 1957 economic retrenchment when Atlas let go of most of its staff and freelancers, Sinnott found other work in the six months before the company called him back. He began doing such commercial art as billboards and record covers, ghosting for some DC Comics artists, and a job for Classics Illustrated comics. Former EC Comics artist Jack Kamen, now the art director of Harwyn Publishing's 12-volume, 1958 Harwyn Picture Encyclopedia for children, had Sinnott join a roster of contributors that included many celebrated EC artists. Sinnot also began a long association with publisher George Pflaum's Treasure Chest, a Catholic-oriented comic book distributed in parochial schools.