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. 🐺🌕

On the 14th, Sanjulián passed away. Behind every post analyzing his work was an absolute fascination with his talent. Beyond reference photos, his mastery of oil, color, and anatomy rivaled the true classics. Today we say goodbye with zero swipes, as a true giant deserves. RIP.🎨

This classic piece of Spanish pulp noir illustrated by Miguel García in 1982 took direct reference from the movie Svegliati e uccidi (1966). The traced character is actor Robert Hoffmann playing the famous "Kalashnikov soloist," Luciano Lutring. Busted 44 years later.🎬🔍

Boada’s cover for Professor Zamorra (#327) hits pulp tropes (damsel, monster, high contrast colors), but misses the mark. Swiping Klaus Kinski’s from Nosferatu (1979) demanded a dark, brooding mood, not this naive palette that feels more like a teen story than true horror.🧛🕯️

Paul Gulacy + Sam Elliott + Black Jack Taar from Master of Kung Fu. If you combine one of my all-time favorite splash pages, the legendary badass MI-6 agent, and the greatest mustache in cinema history... this is what happens (luckily, only in my nerd brain).🥃🕵️‍♂️

I'm no Mytek the Mighty expert (I only own a couple of issues, that's fine), but you don't need to be one to see that this 1983 López Espí cover straight-up swipes half of its art from Frazetta's 1973 'Warrior with Ball and Chain'. Just add a giant gorilla and call it a day. 🦍⚔️

This post is a graphic matryoshka: Claudio Villa’s illustration (2023) pays tribute to Galep’s in Tex #44 (1964), Galep was 'inspired' in turn by the cover of The Deputy (1961)... and then comes my turn to complete the circle. I’m getting a wild urge to sing Kalinka. 🪆🍾

Always a good time to praise Sean Connery. Sanjulián drew him as Jim Malone in The Untouchables (1987), but flipped the image—perhaps to disguise the swipe. Since faces aren't symmetrical and his features are so familiar, it looks odd... until you horizontally flip it back. 🔄

In 1979, Salvador Fabá delivered a stunning cover packed with radical foreshortening and pure noir tension. That the protagonist happens to be "coincidentally" inspired by Gene Hackman in The French Connection (1971) is, as the title states, a matter of no importance. 🕵️‍♂️ 🎬

Maybe an unpopular opinion, but I never bought David Harbour as Red Guardian (or as Hellboy, frankly). When it comes to playing a rusty yet formidable Soviet super-soldier, for my money there was only ever one actor capable of —literally— filling out that suit: Bud Spencer! 💥👊

Western cover by Boada demonstrating mastery in framing, color theory, and narrative tension—using an iconic photo of Charles Bronson from Red Sun (1971) as the reference for the main character. Added a rifle, shaved the mustache, kept the pose intact: pure original art. 👉 👈

I could’ve just shown the Vampirella swipe on this '86 Almazán cover vs Enrich's '74 original. But I went all in with tributes to Naschy’s Return of the Werewolf ('81), the Psycho house ('60), and Indiana Jones & the Kingdom of the Crystal Skull ('08). Guess I'm a total geek! 🎬

Uncredited cover (’77) whose style reminds me of Pujolar, though I won't make such a bold claim. I'll only venture that the female figure is based on the statuesque Raquel Welch in One Million Years B.C. (’66)—and for that alone, deserves top billing in any self-respecting art.

Sometimes I justify my fancasts, but this one is non-negotiable: the best choices for Power Man & Misty Knight are the impressive Woody Strode and the glamorous Pam Grier... unless you're a Netflix exec planning to replace them with Michael Cera and Gong Li.💪🦾

Attendees at San Diego Comic-Con Málaga 2026 may have gotten an exclusive Avengers: Doomsday poster, but only the followers of this humble account get to see the true face of Marvel's ultimate villain. Directly from el barrio de la Trinidad... ¡el pecador de la pradera! 🦸‍♂️ 💃

Clash of the Titans! Buscema’s composition for a debut issue cover (’68) is a masterclass—dynamic and context-rich. But Espí's brushwork (’70) is pure magic: moving to paint, he sculpts a figure with a weight and 3D feel that defined a generation. Time to have the best of both.🔱