The same chainsaw brawl as elsewhere in this gallery, but cropped tall and narrow so the composition reads almost like a vertical poster: Lobo lunging upward into the fight, chainsaw blade arcing overhead, a green-skinned combatant snarling beside a soldier in star-spangled fatigues, all crammed into a burning orange background. The tighter crop actually intensifies the sense of a body being pulled in three directions at once, fists, blades and grabbing hands converging on Lobo from every side while he grins through it. It's a good demonstration of how much mileage Bisley could get out of a single strong piece of art simply by reframing it, the wide version of this image reads as a battlefield brawl, this narrower crop reads almost like a single dramatic beat, a hero caught mid-swing. Lobo's design, the sleeveless blue jacket, chain-wrapped arm, wall of black hair, all traces back to the redesign Bisley did for DC alongside writers Alan Grant and Keith Giffen when the character was relaunched in the late 1980s; before that overhaul, Lobo had been a fairly forgettable one-off villain, and it was this scruffier, funnier, far more violent version that turned him into one of the era's defining cult characters. Miniseries like Lobo: The Last Czarnian and Lobo's Back are full of scenes exactly like this one, Lobo cheerfully outnumbered, weapons flying from every angle, treated less like genuine peril and more like an excuse for maximalist action art. Bisley's linework here is dense and scratchy rather than smooth, prioritizing motion and impact over careful anatomy, which suits a fight scene meant to feel loud, fast, and a little bit absurd.
Lobo fights
