A chaotic crowd scene: Lobo standing atop a pile of bodies, yelling SHUT UP! SHUT UP! at a ring of chanting figures below him, their dialogue balloons filled with Hare Krishna-style mantras, Krishna, Hari Hari, Rama Rama, tambourines raised in the air. It's a broad, very of-its-decade comedy bit, Lobo interrupted mid-rampage by a crowd of devotees who won't stop chanting at him, and it plays entirely for laughs rather than menace, right down to Lobo's exasperated expression, more annoyed than threatened by the very people he's presumably just finished fighting. This kind of scene is a good reminder of how much of Lobo's early-1990s appeal rested on comic timing rather than pure spectacle. When Bisley redesigned the character for DC alongside writers Alan Grant and Keith Giffen, the intent was never a straight-faced antihero; Lobo was conceived as a parody of exactly the kind of grim, ultra-violent characters flooding comics at the time, and pairing him with a crowd of tambourine-shaking mantra-chanters rather than another gang of armed soldiers is the joke landing exactly as intended. Miniseries like Lobo: The Last Czarnian (1990) and Lobo's Back (1992) are full of tonal whiplash like this, brutal violence one page, absurdist comedy the next, and it's that willingness to undercut its own antihero with silliness that kept the character from reading as just another humorless 1990s tough guy. Bisley's rendering leans into the crowd's grotesque, wide-mouthed expressions the same way he'd draw monsters or demons elsewhere, everyone in this panel is exaggerated for maximum comic effect, Lobo included.
Lobo surroned by greeks
