on the opening and closing pages of #18), penciller Dick Ayers began his long stint on what would be his signature series, penciling 95 issues, including two extra-length annuals. John Severin later joined as inker, forming a long-running, award-winning team; he would, additionally, both pencil and ink issues #44-46. The series' only other pencilers came on one issue each by Tom Sutton (which Ayers said was "done that time I asked for a furlough and reassignment") and Herb Trimpe ("They shuffled Trimpe and me around, [him] to Fury and [me] and Severin to [The Incredible] Hulk" Ayers recalled.) Roy Thomas followed Lee as writer, himself followed by Gary Friedrich, for whom this also became a signature series.<ref name=gcd>[http://www.comics.org/series/1575/ Sgt. Fury and his Howling Commandos] at the Grand Comics Database</ref> Ayers said in 1977, "Stan Lee left Fury first to Roy Thomas because the superheroes were gaining in popularity at that time it was best he concentrate on them", referring to the young Marvel's then growing line of superhero comics, such as Fantastic Four and The Amazing Spider-Man. "I must admit I resented somewhat those superheroes taking Stan away from Fury!" Friedrich began as a co-scripter of issues #42-44 (May–July 1967). The Friedrich-Ayers-Severin team began in earnest, however, with #45 (Aug. 1967), the first of what would be several of the series' "The" stories: "The War Lover", a shaded exploration of a trigger-happy soldier and the line drawn, even in war, between killing and murder. Daring for the time, when majority public sentiment still supported the undeclared Vietnam War, the story balanced present-day issues while demonstrating that even in what is referred to as "a just war", a larger morality prevails. As one writer in the 1970s observed, At his best, Ayers' art in Sgt. Fury showed "a clear, forthright storyteller, excellent in medium close shots with a subtly out-of-focus background. He blended large panels with thin or small ones for movement, and often provided vast, cinemascopic panoramas for his writers to work with.... [E]ven in a scene that would ordinarily be static you could feel his characters breathing." Inker Severin "took the art even further, laying dark, scratchy inks" that gave grit to Ayers' pencils. Ayers himself "liked the results of John Severin's work on Sgt. Fury immensely", he said in 1977. "He added details beyond what I'd put in. He always seemed to go one step beyond." Friedrich continued