Baxk when I was fifteen, Chas. was the first person to ever pay me to write something. I even have a Gore Score skull tattoo. So great to see some of his art on this site. 

The cover of this issue is a near perfect battle splash, but THIS image looks more like an Omnibus cover than an interior page. I have a deep appreciation of how Alan and Paul instill their illustrations with personality to the degree that facial expression and body language convey relationship, familiarity and personal regard. I remember reading this at the shop I worked and enjoying this page. Great piece.

Signed by the writer/editor, too —and his autograph is a bit more elusive these days!

I like the subtlety of the watercolor skulls in the background. They are as effervescent as bubbles. Nice piece!

Austin is amazing. Can't wait until SDCC has come and gone to get delivery of my Death as Snow White commission.

Not 100% sure what's happening here, but am I the only one hoping that is a two-headed baby?

This makes me want to see Adriano Di Benedetto's inks for a full picture of the process from pencils to printed page. It's hard to choose what to emphasize in a page this jam-packed.

I guess I need to read East of West, and I also need to get familiar with James Harren. Definite Chris Bachalo vibes from Shade. Really cool work.

Bullseye has always been one of my favorite villains, and this is one of the best ever bullseye covers. Great score!

I prefer quite a few of the Classic X-Men covers to those that graced the originals reprinted therein — and this one is pretty special. You are in a VERY exclusive club if you own an Adam Hughes X-book cover. Great score!

Gotta love RPG art!

I'd love to see Terry Austin ink this.

I enjoy the strange proportion — and anything by Russ, who was a raconteur in his day and shared many stories with me. 

Great recreation. Curious about the process: Did Gary do a scan of the cover and then resize and convert the blacks to a light-blue to print on illustration board —and then pencil and ink over that? 

I love Ricochet Rita —great score!

Russell is doing recreations of his interior pages? 

Interesting 

Never saw Quitely color work before. Wow!

Makes me wonder who it was that was able to knock that baton out of Dick's hand in the first place!

Good match for the material!

What Vess accomplishes by barely pressing pencil to paper is more than most can accomplish with separate penciler, inker, and colorist.

Another great piece! I really love the height to width body proportion on Wolverine (and the bullet holes).

One of my favorite covers of all time. I did a study/tribute of this when I was 16 (that I'm actually still quite proud of). We have the same initials which made it fun to incorporate into the signature. 

If you ever tire of this, hit me up.

I always associate Bo's work with color, so it's great to see this.

I suspect a white, pencil-tip eraser during the initial pencil process? That must have been a long and laborious process in both the penciling and the inking —requiring a LOT of patience, because that fence really does look amazing!

Malcolm will correct me if I'm wrong but I don't think that's ink. Frank usually uses a 2H soft graphite pencil over his preliminary blue pencil layout and then has a digital inker do a light and dark scan of the final drawing, using the photoshop contrast and layer tools to blend the two scans for publication.

I think I like this better than the original published cover. I know that Frank was unhappy with changes that Townsend (and the four other inkers) did to the eyes and other subtle details on his New X-Men run. This redo is probably closer to what he had intended be published and it looks great. The zipper positions are a really nice touch. Quitely has no peer. 

I never realized how much of a throwback to Cerebus this series was. There's a lot of Dave Sim in the line work and the layout!

Beautiful and confident line work

A Trandoshan  is always cause to rejoice!

A 1954 Archie Comics page —it doesn't get more classic than this!

I'm as big a fan of Zoe's page design as her illustration chops, and this "n" frame is the perfect layout for this sequence.

I have fond memories of reading this off the rack. I think this might be Bingham's best-ever Batman. I far prefer this to Son of the Demon, which seemed like an odd choice for a prestige format book at the time. 

Any Bolland art is a great addition to any collection, but his Marvel art is rare indeed!

I hope it's just a hangover!

Looking at this, I can practically hear Sioxsie singing, "Kiss Them For Me. "

A Power Pack page with everything —and June Brigman, too! 

It's been ages since I've seen an Arthur Adams piece with that much background to it. Kudos!

Oberon fixing his tie —what a little scene stealer!

Good to know that this was also published in Spain - which must have been even more confusing for fans of Marvel's Black Panther.  

I'm an unapologetic fan of Headband-era Black Canary, so this Barricade page from the Green Arrow back-up story is cool to see for that, alone. But even cooler is that on Len Wein's last issue as editor of the Bat title group he drafted Swamp Thing fill-in artist Stan Woch to take the reins –knowing that he'd be best for illustrating a story with a skull-faced nemesis. Joey Cavalieri wrote this back-up story in the issue perhaps best known as Harlan Ellison's only solo Batman story (with pencils by Gene Colan). Cavalieri co-created Onyx Adams (also pictured on this page) back in Detective #546.

A great page with lots of blue pencil by the all-time best War genre comics artist —and one controversially addressing war crimes by American Servicemen.  Though presented as an event in World War II, it's clearly more relevant to the Vietnam War in 1971 when this was published. While there had been a series of articles in American newspapers and magazines that were critical of the actions of American soldiers in southeast Asia prior to this issue of Our Army At War, there had been no American comics or films offering a critical view even though television news footage was painting amnever bleaker picture of the war.

Michael Verhoven's "o.k." which was released in Germany in 1970 was banned and rarely screened. And Elia Kazan's "The Visitors" would not be shot nor released until a year later in 1972, making this a very culturally significant page from a comic that had been frequently criticized as "war propaganda" for American children.

Stunning page. And impressive by any standard.

I'm guessing that not too many people here are aware of the character Pantera Negra —a white, Tarzan-type character published in Chilean comics magazines starting from 1964, and so many will probably expect to see T'challa as the "Black Panther." But his first appearance in Fantastic Four #52 would be two years later in 1966. Marvel did indeed publish Spanish language comics of their own Black Panther (and translated as Pantera Negra) in Spain, but as noted, this is from Chile, and there has long been crossover of these two very different publications with the same title. "Llama de Plata" or The Silver Flame (as indicated on his shield) was Robin Hood meets Prince Valiant and ran as a back up story in Pantera Negra y Familia and later in Pantera Negra y Flecha Roja when the former was combined with the Red Arrow magazine into a single numbering sequence. 

A clinic in contrast!

Rick Geary was part of the 2nd great wave of underground comix artists and one of the few Americans regularly published in Heavy Metal in the 1970s. His work on multiple Fantagraphics publications really stood out as incorporating elements of 1940s cartooning and circus signage, so his eventual break into commercial comics wasn't an easy prediction, but his work with Bob Burden on Gumby was a match made in heaven —and won them both an Eisner Award in 2007. 

As prolific as he has been it's still not super common to see Geary's original artwork, and this piece is perfect. 

I was a big fan of Keith Giffen's Great Darkness Saga in Legion of Superheroes, but his work on Justice League was at the peak of his capabilities. Kevin Maguire and he (and J.M. DeMatteis) were like peanut butter and jelly —just a great combination, so O was sad to see Kevin move on, but Bart Sears really stepped up to make the JL Europe team his own. And here, Starro!

This is wicked cool and the composition is impeccable. 

I was unfamiliar with Tillie Walden's artwork until I saw the CAF newsletter today that featured a different, sci-fi oriented page. And while that had a more pronounced manga infulence (by way of Katsuhiro Otomo) I like the diverstiy in style here, which is more reminiscent of the second great wave of North American indie comics artists (Chester Brown, Adrian Tomine) –but there is also a softness that helps instill a sense of poignance. The cat is given a very subtle expression that hints at the potential of magical reallism, but even if that goes unexplored and this comic remains mostly grounded, this is a great page.

I love his work on X-23. Target X desrves an IDW artwork edition because the digital color on the published comics really buried his pencils.

I'm guessing this is from an issue of House of Hammer? Love the Bolland work of this era —as well as the John Bolton art that was in the retitled Hammer House of Horror.

That's a lot of panels! Good to see the modern guys changing it up.

Vosburg pretty much abandons the Kirby style after that first panel, but what a first panel it is! There aren't many New Gods pages from that original era that weren't drawn by Kirby, so this is neat to see.  Circular insets are rarely the last panel to a story, so that's really cool to see, too. 

Pretty much everything you could want in a Daredevil cover —beyond the principle heroes and villains is a neo-classic tribute to fine art (the Pieta).