Comic Swipe

Cover art by Jorge Samper for Bruguera (1980): pure craftsmanship and a functional draw for the newsstand. That said... the inspiration drawn from Oliver Reed in The Curse of the Werewolf (1961) is textbook. Fast-paced editing, lots of hair, a mysterious woman—and off we go. 🐺🎬

The first thing that catches the eye about this cover by Salvador Fabá is how brazenly it replicates the photo of Tom Selleck in Quigley Down Under (1990). But beyond that plagiarism, the excellent use of color, visual storytelling, and detailed textures save the day.🌅🧔🏻

Let's compare Dick Ayers' iconic 1967 Ghost Rider #4 cover (pure classic storytelling) with López Espí's 1972 version, whose minimalist pictorial finish turns it into a pop art piece. What if we mash them up... and then give it a modern twist? 🔀⚡

This original cover of Colección Bisonte #548 (1958) perfectly captured Doris Day’s serious glare as Calamity Jane (1953). But what can I say? I can't let America's Sweetheart look like she’s suffering from a colic out in the Wild West. My X account, my rules.🐎💛

I think it's one of the few times I'm actually on time for Halloween here. Using Maren's traced artwork of Hugh Jackman and Elena Anaya's photos in Van Helsing (2004), I rendered the montage with a spookier vibe. (I missed Kate Beckinsale, who was also drop-dead gorgeous).🦇🎃

Classic Bruguera pocket-novel cover featuring a striking central gunslinger, balancing realism with background silhouette characters in classic pulp painterly style. The sheriff owes over 90% of his look to Lee Van Cleef in The Big Gundown (1966). Talk about a fast draw!🤠🔫

His journey continues among the stars. Make it so, Captain Picard. Rest in peace, Sir Patrick Stewart. 🍵🌌✨

The original Hero for Hire #9 cover by Billy Graham versus López Espí's (1978) version: the Spanish edition is oversimplified, losing the Latverian background and the punch of the original inks. In this case, nostalgia needs a shot of energy -and an improvement to Doom's mask👊💥

Let’s take another look at the art of Aurelio Galleppini (Galep). For issue #100’s cover (1969), he based Tex on none other than Humphrey Bogart in The Enforcer (1951). Turns out the toughest Texas Ranger in comics was actually a movie prosecutor in a cowboy hat.🤠🕵️

Portrait of Frank Langella as Sherlock Holmes (1981). Heavy chiaroscuro and ink shading by Maren Sanjulian to give it a Victorian, detective atmosphere fitting for the character… or simply because it was the best way to swipe a promo photo with a bit of artistic style. 🕵️‍♂️✒️

Classic pulp western cover featuring speedy, swiped art from Return of the Seven (1966), yet boasting an undeniable visual impact. Besides Yul Brynner and Claude Akins, I'm throwing in Virgilio Teixeira. It was either that or invent Chris's legs, and I'm in a rush too.🎬7⃣

Jordi Penalva’s James Bond #2 cover (Bruguera, 1985) is a masterclass in dynamic rendering & illustration prowess. His Bond came from a Dr. No (1962) Connery photo. My take keeps the ref, adds Ingrid Pitt & a 007 backdrop. Yet, beating the original's punch is impossible! 🤵🎓

Nobody forced you to join this ride, but since you're here, you get to suffer the consequences right along with me. I swapped the faces of General Thade and Daniel Craig's Bond. Surprisingly (or unfortunately), they are 100% interchangeable. You're welcome for the nightmare.🐒 🍸

Sometimes Spanish pulp artists didn't just copy—they adapted. Luis Almazán (1983) swiped the central warrior from Melvyn Grant’s Stonehenge (1977), replacing the ancient horde & megaliths with alien tentacles & planets. A clever space-fantasy recontextualization for Bruguera.🛸🪨

For this 1979 cover, Fabá went full cut-and-paste: top half Sanjulián, bottom half Frazetta (Conan the Usurper). I guess you could consider it 'inspiration' (a very unsubtle one). But as an original work... well, I’m not here to judge, but a copyright attorney definitely would.

López Espí’s (1983) take on Michael Golden’s ROM (1980). Where Golden shines in composure and clean composition, Espí adapts an interior splash page and panel by Sal Buscema to unleash pure painterly drama. This time, even if it forces a title & logo redesign, Spain 12 points! 🔥

I don't know the artist behind this 1952 C.I.A. pulp cover. To my eyes, a resemblance to the gorgeous Ava Gardner is evident, so I used her 1949 portrait to render my version. I think the connection is clear—and even if you don't agree, nobody minds a bit of glamour.✨💋

Joan Porredón pulled off a triple swipe here, and created an entire cover (1977) by ripping off characters from three different works by Sanjulián. It's curious to see how one of the artists whose compositions I've scrutinized the most ends up becoming a goldmine for others.✂️🤷

Riddler’s big challenge is balancing brilliant pedantry, narcissistic charm, and real threat without copying the Joker. Hugh Laurie has the exact talent to make the sarcastic, obsessive arrogance of someone who thinks he's the smartest fully engaging. Bolland's art just helps.

Time for horror: Werewolf by Night with Tom Sutton (1973) and López Espí (1974) covers. Espí's version suffers from stiff anatomy and a flat background, while Sutton delivers a dynamic, chaotic & terrifying atmosphere. So, what actually was vs. what could have been. 🐺🌕