I’ve been thinking recently about Michael Turner; I’ve been collecting comics for 40 years, and during that time, there have only been a handful of artists that truly stand apart. When you see their pencil work, it’s immediately clear — they’re operating on another level. Michael Turner was one of those rare artists who didn’t need an inker or colorist to elevate his work; his raw pencils were already perfection.

From Wikipedia:

“In March 2000, Turner was diagnosed with chondrosarcoma, a form of cancer, in the right pelvis. He was treated at the Ronald Reagan Center with surgery in which he lost a hip, 40% of his pelvis, and three pounds of bone. The surgery was followed by nine months of radiation therapy.”

In this century, very few artists have reached “rock star” status. Legends like Todd McFarlane, Jim Lee, Greg Capullo, and Adam Hughes remain industry kings after decades of work, while modern greats such as David Finch, Jerome Opeña, Adi Granov, and Gabriele Dell’Otto have carried that artistic torch. Even among that group, however, few can match Turner’s ability to blend incredible detail with dynamic, sensual character design. Turner was also unique in that he was a regular artist for interiors, not just covers. 

I was fortunate to be gifted a copy of Shrugged #1 Wizard Philadelphia Variant (Aspen, July 2006), signed by Michael Turner on June 3, 2006. At the time, I was working in the CGC grading room when lead modern grader Sean Caffrey asked if anyone wanted a signed copy. I was the only one who did, and I was had it authenticated and encapsulated.

There aren’t many signed and witnessed Turner signatures with confirmed dates out there. About a decade ago, his art saw a resurgence thanks to Aspen’s variant covers for Batman, Spider-Man, and Black Cat. I own two examples — Civil War #3 and Ms. Marvel #1 Sketch Variant Editions — both of which I picked up at The Source Comics and Games in Falcon Heights, Minnesota, around 2007. Seeing those covers in person was a revelation. No inks, no colors — just pure, unfiltered pencil work. It doesn’t get any better than that.

In the two decades since his passing, few artists have come close to capturing that same magic. Maybe Jorge Jiménez, though he’s hardly a newcomer. I keep waiting for the next great young artist to blow us away with a fresh, hand-drawn style that isn’t dominated by digital techniques.

Michael Turner was one of the last truly great modern pencilers. His work remains a benchmark of artistry, passion, and authenticity.

Writing this post reminded me of just how precious life is. Michael Turner passed away 17 years ago, in 2008. Looking at his Wikipedia page — at that small “dash” between his birth and death dates — I felt a deep sadness for his family, friends, and fans. Turner was only a year older than I am; he died at just 37 years old. Today, he would have been 54.

Thank you, Michael, for your incredible contributions to the industry — and for staying true to yourself. That’s never easy.

Rest in peace.

Rob Pillsbury

Matt Fraction: The Fun, the Flair, and the Return of Batman

I’ve been a Matt Fraction fan since the winter of 2012–2013. Fraction just gets comics — the rhythm, the humor, the energy. His storytelling is clever, refreshing, and irresistibly fun, making his work must-read material for comic book fans.

When Hawkeye #1 (4th Series, 2012) hit the shelves that fall, it immediately sold out and went through multiple printings. I missed the initial rush, only catching on around issue #5 — by then, first prints of issue #1 were going for around $30, and finding one “in the wild” was nearly impossible. Fraction’s writing, paired with David Aja’s sharp, minimalist art, lit the comic community on fire before “viral buzz” was even a term.

I eventually tracked down a first-print Doctor Octopus Variant Edition for $12.99 — still one of my favorite pickups — and have been on the hunt ever since for the gorgeous 1:25 Adi Granov variant. I collected the reprints of issues #2–5 and finally jumped on board with issue #6. From there, I was hooked — especially on the now-iconic “Lucky the Pizza Dog vs. the Tracksuit Mafia” saga, which ran through the finale in issue #22.

Each Hawkeye cover feels like a standalone work of art, with Aja’s negative-space design on issue #9 (“I ♥ Hawkeye”) standing as one of the best covers of the modern era. I skipped the second print at the time — back then, multiple printings weren’t yet “a thing.” Fraction’s Hawkeye remains one of the most stylish, human, and downright fun takes on a Marvel character in decades — and it ended up serving as a major influence for the Disney+ Hawkeye series. The promotional materials and end credits artwork was clearly inspired by Aja/s designs.

The Dark Knight Returns (Again): Batman by Fraction and Jiménez

Fast-forward to today. Matt Fraction is back — this time, writing Batmanalongside artist Jorge Jiménez. And all I can say is: Wow.

Through two issues, this new Batman series is shaping up to be something special. Admittedly, things can get confusing for casual readers since there are currently two main Batman titles running. The ongoing 2016 series has reached issue #161 and is being written by Jeph Loeb with art by the incomparable Jim Lee with inks by Scott Williams. That creative team — reunited after 20 years — is delivering HUSH Part 2.

There’s been plenty of hype & marketing for that sequel, but meanwhile, Fraction and Jiménez’s Batman (Series 5) has been magic. It feels like a fresh start — modern yet classic, stylish yet grounded. Jiménez joins the ranks of this century’s top Batman artists: Greg Capullo, David Finch, Pat Gleason, and Tony S. Daniel. His Batman is sleek, athletic, and dressed once again in the blue-and-gray suit — a refreshing throwback after years of bulky black armor.

Fraction’s flair for cinematic storytelling is on full display. The double-splash title pages are breathtaking, and I particularly like the focus on Batman’s gadgets, with descriptions and close-ups that give off a Bond-meets-Gotham vibe. The dramatic details of the storytelling are also compelling. In one standout moment, Batman confronts Killer Croc — but instead of another brutal brawl, the two share a quiet, emotional exchange. Batman pulls back his cowl, and they talk. It’s a moment of empathy, compassion, and humanity — the kind of storytelling that reminds us why we care about these characters.

The issue closes with a perfect tease: Batman battered and brooding in the Batcave, one boot off, his cowl shredded. Fraction ends with four tantalizing hints — “New friends, new foes, and some old ones too.” Batman is back — as a detective, a hero, and a human being.

Scenes like the one described above are the reason why Matt Fraction ranks among the best modern writers in comics: he understands character, voice, and heart — but with a wicked sense of humor too.

Final Thoughts

The Batmobile looks incredible. Gordon’s back in beat-cop mode. Alfred feels like the Alfred I grew up with. The gadgets are clever, the tone balanced, and Bruce Wayne feels human again.

This is not the grim, overwrought Batman we’ve had for the past two decades. This is fun again — adventurous, detective-driven, and deeply character-focused.

If you love Batman — or just love comics — you need to pick up this book. It’s sharp, heartfelt, and funny in all the right places. Three simple words: Buy. This. Comic.

— Rob Pillsbury

In December 1986, Marvel comics released The ‘NAM, a groundbreaking war comic that offered something rarely seen in comic books: a gritty, realistic depiction of the Vietnam war from the perspective of the soldiers who lived it. I was 14 years old at the time when it debuted, still new to comic collecting, and like many fans of the era, I was grabbing every number one issue I could find. But The ‘NAM wasn’t just another #1 issue – it was something different, and Marvel made sure we knew it. The book had a strong promotional push, and I still remember picking up a free poster for it at my local comic shop, The Land of Nevawuz. The series was written by Doug Murray, a Vietnam veteran himself, with art by Michael Golden and ink by Armando Gill. Golden‘s artwork during this era was a revelation to me. His style had a dynamic, expressive quality, reminiscent of Will Eisner, with exaggerated facial expressions, tight, composition, and jaw dropping detail. Just take a look at the promotional art, especially the helicopters. The attention to mechanical accuracy and layout was unusual for the time, and it still holds up today.

According to Wikipedia, The ‘NAM followed the fictional Private First Class Edward Marks as he navigated real events from the Vietnam War. Sometimes it would spotlight major moments like the Tet Offensive of 1968, and other times, it focused on more personal, grounded, interactions between the soldiers, with the Vietnam people, or with loved ones back home. The book offered a blend of documentary realism and emotional depth that was rarely attempted in the mainstream comics of the 1980s.

I have to say, the art is what really made an impression on me. Golden‘s influence on modern comic artists is undeniable. Looking back now I can see clear echoes of his style in the work of Tony Moore, known for The Walking Dead and Fear Agent. A few years ago, I had the chance to meet Michael Golden get that old Nam poster signed. It was a full circle moment that brought back a lot of great memories. Golden only did the artwork for 12 of the first 13 issues, but it remains some of the most stunning war themed artwork ever produced by Marvel. The issues are now over 35 years old that can be tough to find in high grade. The ‘NAM was not a hot collectors item when it was published, which makes high-quality copies rare today. But if you’re a fan of  Golden’s art or just want to experience a uniquely grounded comic from Marvel’s past, this series is worth revisiting. Happy hunting, and here’s to rediscovering hidden gems from comic book history.

Rob Pillsbury

Batman: The Dark Knight Returns – The Book That Changed Everything

In 1986, Batman: The Dark Knight Returns hit comic shops and immediately reshaped the future of the Dark Knight—and the entire comic book industry. Its influence would be felt not just in comic books, but in television, movies, and pop culture in general. Written and drawn by Frank Miller with inks by Klaus Janson and colors by Lynn Varley, the four-issue prestige format series delivered a darker, grittier take on Batman that felt revolutionary at the time—and still holds up decades later.

Before Dark Knight, Batman’s popularity had cooled. The camp of the 1960s TV show still lingered in the public’s imagination, and while the 1970s had brilliant runs—especially with Neal Adams and Denny O’Neil reintroducing Batman as a more serious detective—momentum had faded by the mid ‘80s. DC needed a shake-up. They had seen what Frank Miller had done transforming Daredevil into a noir powerhouse at Marvel, and they wanted that energy for Gotham.

And wow, did they get it. 

I was 14 years old when The Dark Knight Returns arrived with a new look and feel: a square-bound “prestige” format with glossy pages and heavier stock. At the time, that alone made it feel like something special. DC later used the same format for Green Arrow: The Longbow Hunters and The History of the DC Universe, but Dark Knight was the game-changer.

Each of the four books had its own title: The Dark Knight Returns, The Dark Knight Triumphant, Hunt the Dark Knight, and The Dark Knight Falls. Together, they told the story of a 55-year-old Bruce Wayne coming out of retirement a decade after Robin (Jason Todd) died. Gotham is overrun with crime, and the world has moved on from costumed heroes—except for Superman, who now works as a government enforcer.

Batman’s return isn’t just about vengeance; it’s a full-scale war for Gotham’s soul.

And Miller didn’t just reimagine Batman—he reimagined everything, including the way a comic book story could be told. The Batmobile became a hulking tank. The panels mimicked TV news broadcasts, offering media commentary that felt ahead of its time. And we got the debut of Carrie Kelley, the first female Robin—acrobatic, smart, and completely fearless.

The series is filled with unforgettable moments. Batman riding a black stallion through a storm. That iconic lightning bolt silhouette. Batman and Robin leaping into battle, with Miller’s signature tucked-leg pose. And, of course, the climactic showdown between Batman and Superman in the final issue—a battle between two old friends, now on opposite sides of ideology.

This wasn’t just a comic. It was a statement.

I still remember walking into my local comic shop and seeing that first issue on the rack. It felt like an event. It was the beginning of my obsession with Batman, one that lasts to this day. I ended up getting the Dark Knight hardcover that Christmas and have kept it pristine ever since. Years later, I finally had the chance to get it signed by Miller and Janson— I felt like Ralphie in A Christmas Story when he finally got his Red Ryder BB gun.

Often overlooked, Lynn Varley’s work also deserves serious praise. Her coloring brought a cinematic edge to the series, with moody tones and powerful contrasts. At a time when colorists were often overlooked or outright ignored, Varley’s name was right on the cover—something rarely done at the time. Her seminal work on the series was a landmark; her influence is still felt in how coloring is approached in the industry today.

The Dark Knight Returns helped change how comics were read and collected. After it was compiled into one volume, readers could enjoy the story all at once, instead of waiting for each chapter. It became a cornerstone of the growing graphic novel market and showed that comics could tell adult, complex stories. Along with Watchmen, it redefined the medium for a new generation of readers.

Today, the series is still as popular as ever. Original art from issue #1 recently sold for over $2 million at auction. Batman fans still debate it, revisit it, and recommend it. And for many of us, it was the story that turned a casual interest into a lifelong obsession.

Nearly 40 years later, it still feels like lightning in a bottle.

Rob Pillsbury