« It was exactly an assembly line. You could look into infinity down these rows of drawing tables. » — Gil Kane
Some of our more sensitive readers may have noticed that we’ve been none too gentle with Gil Kane (1926-2000) in the past, dealing him some rather rough lumps at times. But that’s not the whole story: in taking stock of such a protracted and prolific (dare I say profligate?) career as his, much of it inevitably spent on autopilot, one must be discerning. In other words, I like some of Kane’s work, but there’s plenty of it I don’t care for. Still, WOT’s rule of thumb is that if we altogether loathe an artist and/or his work, we’ll just turn a blind eye.
And speaking of the sense of sight, what makes a great comic book cover? Must be my art school training and subsequent work in advertising tipping the scales, but to me, design and layout reign primordial as ingredients… as values. I’m often dismayed at many a would-be critic’s apparent method of assessing an image’s artistic worth, namely: how many popular characters does it feature? Is it action-packed? Is the issue sought-after and expensive? Does it feature a famous character’s début? Is it drawn by a fan-favourite artist who unquestionably can do no wrong… because he’s a fan-favourite artist who unquestionably can do no wrong? (and how dare you claim otherwise!)
Gil Kane reportedly generated around eight hundred covers for Marvel in the 1970s… of all levels of craft and quality. With that kind of frenzied output, it’s impressive that most were perfectly serviceable, given that there certainly was no time for meticulous, sober planning. They were generally over-captioned (not Kane’s fault!) and crassly sensationalistic, but that’s what Marvel sought and settled for.
It’s a shame that Kane and his former classmate at the School of Industrial Art (back in the early 40s!), DC lynchpin Carmine Infantino didn’t get on too well, because their Silver Age collaborations had a special spark… must have been the animosity. It had been noted by the DC brass, as early as the late 50s, that Carmine’s covers reliably caught prospective buyers’ attention and dimes. And so, by 1967, he was unofficially designing most of the publisher’s covers, and certainly the covers of all titles edited by Julius Schwartz. Green Lantern was among these.
So we turn today’s spotlight on a hot streak of seven. Kane gets his name in the title, but it would be more accurate to say they were Infantino-designed, Gaspar Saladino-lettered, Jack Adler-coloured, Gil Kane-pencilled and Murphy Anderson and Sid Greene-inked covers. The streak begins after Green Lantern no. 54’s downright poor cover, and ends with the interruption of Kane’s impressively long run of consecutive issues.