[1][2] Everett, a fabulist who spun fanciful stories of his youth, claimed at various points to have graduated from high school in Arizona,[3] or instead to have joined the U.S.

[8] Both parents supported the artistic talents of their son, whose reading tastes ran to the classics rather than pulp novels or comic strips, and included work by Samuel Taylor Coleridge and Jack London.

[3] At 12, in 1929, Everett contracted tuberculosis, and was pulled from sixth grade to go with his mother and his sister to Arizona, to recuperate for four months.

Nonetheless, he became well enough by 16 to return home with his mother and sister to the Boston area, where his father, unscathed by the Great Depression, had a large house in West Newton.

[9] That same year, his father died of acute appendicitis, and the family, though remaining well-off, moved to an apartment back in Cambridge.

"[3] Soon he was getting $10 and then $14 a page, a respectable sum during this late-1930s period near the beginning of what historians and fans call the Golden Age of comic books.

Everett co-created the superhero Amazing-Man at Centaur, working with company art director Lloyd Jacquet, and drew the first five issues.

[3] Everett and other creators followed Jacquet to his new company Funnies, Inc., one of the first comic-book "packagers" that would create comics on demand for publishers.

When plans changed, Everett used his character instead for Funnies, Inc.'s first client, pulp magazine publisher Martin Goodman.

Everett's anti-hero proved a sudden success, quickly becoming one of Timely's top three characters, along with Carl Burgos' android superhero the Human Torch and Jack Kirby and Joe Simon's Captain America.

Everett soon introduced such supporting characters as New York City policewoman Betty Dean, a steady companion and occasional love-interest, and Namor's cousin Namora.

[6] Everett drew his star character in Sub-Mariner Comics, published first quarterly, then thrice-yearly and finally bimonthly, for issues #1–32 (Fall 1941 – June 1949).

[15] He attended Officer Candidate School at Fort Belvoir, during which time he met Gwenn Randall, who was working for the Ordnance Department at the Pentagon.

[15] With money inherited from a great-uncle, Everett took some time off and traveled before settling in Fairbury, Nebraska, his wife's hometown.

"This was when I renewed my association with Martin Goodman, working by mail on a freelance basis, picking up the Sub-Mariner where I'd left off four years ago".

But after a nearly five-year hiatus, he briefly returned with Captain America and the Golden Age Human Torch in Young Men #24 (Dec. 1953), during Atlas' mid-1950s attempt at reviving superheroes.

[14] Everett also drew the features "Venus" and "Marvel Boy", as well as a large number of stories for Atlas' anthological horror-fantasy series.

In the rush to get that seriously late book to press, there wasn't time to complete Page One, so Stan had [production manager] Sol Brodsky slap together a paste-up that employed Kirby's cover drawing.

When Everett, he said, turned in his first-issue pencils extremely late, Brodsky and Spider-Man artist Steve Ditko inked "a lot of backgrounds and secondary figures on the fly [and] cobbled the cover and the splash page together from Kirby's original concept drawing.

He then did complete stories – writing, penciling and inking – on Sub-Mariner #50–55 and 57 (June 1972 – Nov. 1972; Jan. 1973), with script assists by Mike Friedrich on two issues; and #58 (Feb. 1973), co-written with Steve Gerber and co-penciled with Sam Kweskin as his health began to deteriorate for the final time.

[14] He had also been announced to draw an issue of Marvel Team-Up starring Spider-Man and the Sub-Mariner, but, according to one contemporaneous report, "was not able to finish this one before his death.

His final efforts on the character he created were five pages of pencils, inked by fellow Golden Ager Fred Kida, that appeared posthumously in Super-Villain Team-Up #1 (Aug.