Comic Swipe

@ComicSwipe Amigo, este hallazgo es una maravilla. Me dejas con la boca abierta… ¡como Janet Leigh en la ducha!

Even though the illustration for this 1964 pulp novel is so schematic, you can see that the inspiration—as on so many other occasions—comes from Vera Miles' iconic pose in Psycho (1960). Proof that in the sixties, Hitchcock wasn't just a director—he was a free clip-art library.

@horestes69 @morcillochatgpt Bueno, al menos me ha servido para —mientras buscaba un gif de asombro— dar con la foto exacta de la que sale el swipe del personaje. La diferencia es mínima, apenas un gesto de la mano con el revólver, pero es justo la que Sanjulian copia al milímetro. En fin, las prisas...

@ComicSwipe @morcillochatgpt Creo que el algoritmo está despistado... aún no la ha censurado!!! 😅

Obviously, in Sanjulian’s original the girl was naked, but I added a bra to dodge X’s prudish filters. Forget that, though—the real catch is the cowboy swipe: Tony Franciosa in A Man Called Gannon (1968). The master’s tally of "borrowed" assets just keeps growing. 🎨✂️

@morcillochatgpt Exacto. Es una pena ver cómo la tijera cae incluso sobre el dibujo artístico, y al final uno acaba autocensurándose. En fin, tiempos de mojigatería y corrección política mal digerida. La original, por cierto, aquí la tienes. Que la bloqueen en comentarios, no en la entrada.😉

@ComicSwipe Una lástima lo de la censura de X en ilustraciones. Una cosa son fotos (de eso sé un rato) y otra, recreaciones artísticas. Supongo que no será difícil dar con la original, original.

Sam Kieth has left us. He might not have been on everyone’s top-tier list, but his style was impossible to ignore—he redefined what a comic book page could be. We’ve lost an artist who truly looked like no one else. Another painful loss in a week I’d rather forget. 🎨📷

@morcillochatgpt Mejor este. En formato king-size.

@ComicSwipe 😉

I had a tweet ready from this 1981 cover, with a swipe from 4 for Texas (1963) for Ursula Andress’s 90th birthday… but in my absent‑mindedness I never scheduled it. The tribute was ready and I let it slip by. I have to redeem myself: Andress is still splendid — my head less so.

When I saw this slow‑motion scene from Missing in Action (1984) as a teenager, my jaw dropped. That’s when I realized I wasn’t watching just an actor, but a force of nature. From that moment on, Mr. Norris was pure action to me. To the last roundhouse, Chuck! #ChuckNorris

@horestes69 No se trata de la serie de TV, sino la película británica de 1972. También adapta historias de los EC Comics. La peli es muy disfrutable, mejor que las medianías actuales de Netflix, Apple y Prime. Si no la conoces, merece una oportunidad.

@ComicSwipe ¿Cómo que Tales from the Crypt? No recuerdo ese episodio de la serie.

For this John Sinclair cover, Maren Sanjulian relies on her wits… and on Tales from the Crypt (1972). Specifically the Wish You Were Here segment. Plagiarism on wheels — and surprisingly smooth for such a bumpy shortcut.

No, it’s not a hand‑painted movie poster from Ghana. It’s the actual cover of a Spanish western novel. And it’s a pity we don’t know who drew it, because copying Raquel Welch from Hannie Caulder (1971) and turning her into a garbage pail kid takes a very particular kind of skill.

Despite the slightly baroque anatomy, Enric’s painted cover for Capitán Marvel (Vértice 1969) clearly beats Gene Colan’s original for Captain Marvel #1 (1968) —which was never my thing anyway. Rare case of a reinterpretation actually improving the source.

@ComicSwipe No tiene la calidad acostumbrada de Fabá. Se nota que fue apresurada. El montaje... ¡me ha alegrado el día!

For this 1974 pulp‑crime cover, Salvador Fabá must’ve thought: ‘Need a credible guy with a gun.’ Easy — just grab Clint Eastwood and his famous .44 Magnum, ‘the most powerful handgun in the world,’ from Dirty Harry (1971), and voilà. Done. Or rather: traced.

@horestes69 ¿Todas?

@ComicSwipe Las portadas con el Duke son mi debilidad. Aunque no sean westerns. 🤠

Take a look at this 1965 cover: loud, flat colors, hyper‑expressive strokes, dramatic composition, and punchy typography. Now look at the photo of John Wayne in Sands of Iwo Jima (1949). Exactly: a swipe the size of the Duomo di Milano.

@morcillochatgpt Ya sabes lo que opinaría Raging Boll.

@ComicSwipe En mi escala de valoraciones, Maren como ilustrador está a la altura de Uwe Boll como director de cine. Y siendo honesto, quizá estoy pecando de generoso con Maren.

I examined Maren’s illustration with the care I’d give a footprint in Dartmoor’s mud. The verdict is clear: he borrowed— with an amateur’s clumsiness— a photo of Peter Cushing from The Hound of the Baskervilles (1959). The outcome, I fear, is as woefully improvable as his method.

@morcillochatgpt Por ejemplo.

@ComicSwipe Buen hallazgo, aunque la portada no es de las mejores de Sanjulian. Por cierto, ¿dónde más ha salido la chica que dices que es reciclada?

Sanjulian’s cover for Mark Hellmann #52: The girl is his usual self‑recycling, but the guy… please tell me that’s not Keanu Reeves escaped from the very uneven Johnny Mnemonic (1995). Cyberpunk filtered through horror and topped off with a fully intentional swipe. Same old game.