Kane, Gil - TALES TO ASTONISH (1959-68) #88 Interior Page
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SOLD ON: Monday, 03/19/2018 2:25 PM
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Pg. 8; Gil Kane pencils and inks; 13.5" x 20"After a brief and unsuccessful stint at MLJ as a production artist, Gil Kane began pencilling as a freelancer, and soon found himself in demand (even at MLJ) during the post-Superman comic book boom. Having befriended DC editor Julius Schwartz shortly after the war, he worked alongside Joe Kubert and Carmine Infantino to develop the bright, jazzy house style for DC's Silver Age hero lineup. Kane's clean, dynamic line, and dramatic composition helped define the Green Lantern, the Atom, and others for a generation. Eventually migrating to Marvel by the mid-1960s, Kane worked on a classic run of Spider-Man issues and became Marvel's go-to cover artist for much of the 70s.
This first outing for Kane on the Hulk strip in Tales to Astonish shows how much leeway he was given to buck the Kirby look that most Marvel artists worked under. While Kane's Dutch-angle framing and motion-oriented layouts were breezier than the stolid, earthy look preferred by Kirby and Ditko, his deft pen proved a perfect match for Marvel's adolescent power-fantasy character designs. Kane didn't work on the strip for long, but his tenure introduced the Abomination, and helped loosen up the title to become the gleeful monsteriffic stompfest it eventually turned into once the Hulk got his own solo title back.Excelsior!
Artist Information
Gil Kane was a Latvian-born American comics artist whose career spanned the 1940s to the 1990s and virtually every major comics company and character. Kane co-created the modern-day versions of the superheroes Green Lantern and the Atom for DC Comics, and co-created Iron Fist with Roy Thomas for Marvel Comics. He was involved in such major storylines as that of The Amazing Spider-Man #96–98, which, at the behest of the U.S. Department of Health, Education, and Welfare, bucked the then-prevalent Comics Code Authority to depict drug abuse, and ultimately spurred an update of the Code. Kane additionally pioneered an early graphic novel prototype, His Name Is... Savage, in 1968, and a seminal graphic novel, Blackmark, in 1971. In 1997, he was inducted into both the Will Eisner Comic Book Hall of Fame and the Harvey Award Jack Kirby Hall of Fame.
This first outing for Kane on the Hulk strip in Tales to Astonish shows how much leeway he was given to buck the Kirby look that most Marvel artists worked under. While Kane's Dutch-angle framing and motion-oriented layouts were breezier than the stolid, earthy look preferred by Kirby and Ditko, his deft pen proved a perfect match for Marvel's adolescent power-fantasy character designs. Kane didn't work on the strip for long, but his tenure introduced the Abomination, and helped loosen up the title to become the gleeful monsteriffic stompfest it eventually turned into once the Hulk got his own solo title back.Excelsior!
Artist Information
Gil Kane was a Latvian-born American comics artist whose career spanned the 1940s to the 1990s and virtually every major comics company and character. Kane co-created the modern-day versions of the superheroes Green Lantern and the Atom for DC Comics, and co-created Iron Fist with Roy Thomas for Marvel Comics. He was involved in such major storylines as that of The Amazing Spider-Man #96–98, which, at the behest of the U.S. Department of Health, Education, and Welfare, bucked the then-prevalent Comics Code Authority to depict drug abuse, and ultimately spurred an update of the Code. Kane additionally pioneered an early graphic novel prototype, His Name Is... Savage, in 1968, and a seminal graphic novel, Blackmark, in 1971. In 1997, he was inducted into both the Will Eisner Comic Book Hall of Fame and the Harvey Award Jack Kirby Hall of Fame.