A grim, monochromatic painting in teal and rust red: a hulking, horned monster stands over a pile of broken, bloodied bodies, its stance wide and proprietary, more predator surveying a kill than combatant mid-fight. The limited palette, sickly teal skin against deep red gore, gives the piece a claustrophobic, almost sickly atmosphere, closer to a horror illustration than a traditional fantasy battle scene. There's no dialogue, no supporting cast, nothing to soften the image, just aftermath rendered with total commitment to the title's promise. This kind of stripped-down horror imagery runs through a lot of Bisley's non-comics gallery work, and it lines up with another strand of his career that gets less attention than his DC and 2000 AD output: since 1994 he's worked regularly with Glenn Danzig's Verotik imprint on titles like Verotika and Satanika, material that leans hard into horror and adult content rather than mainstream superhero or fantasy conventions. A piece like this one, brutal, minimal, unapologetically grim, sits comfortably alongside that side of his work even without any direct tie to a specific character or license. The monster's horned, teal-skinned design also echoes creatures scattered across the rest of Bisley's gallery, hulking, tusked or horned brutes standing over piles of the fallen are something of a recurring motif in his non-narrative paintings, less about telling a specific story and more about capturing a mood of overwhelming, one-sided violence. Where a comic page needs to move a plot forward, a standalone piece like this one only needs to land a single gut-punch impression, and the reduced color palette does a lot of the work in making that impression stick.
Massacre
