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Favorite Page Turns in Comics! Pt. 1 of Infinity

Jordan Smith

So a friend of the Donut shop happened to bring me in a boot box full of late 70′s Creepy and Eerie as well as about 30 very early issues of Heavy Metal he’d found while doing flooring work in a basement.

“Yeah,” He started, “she just said to take it all.  So I did.  You want any of these?”

They stunk and were in horrible condition.  I’d just spent the better part of six months giving away nearly all my comics.

“Hell yes.”

So, anyway, look forward to some scans of that stuff in the near term.

But, just giving all that musty heartache a flip I was really impressed with how many beautiful…and I mean beautiful… page turns there were in all these extremely short stories.  Economy of storytelling…hmm…yes.  That got me thinking about maybe my favorite page turn of all time – at the very least – of recent memory.

Um ****SPOILERS**** ???

2000AD Prog 1761

Low Life – The Deal pt 12 of 12

written by Rob Williams

art by D’Israeli (Geeeezus)

Judge Dirty Frank is at his lowest…and that’s pretty low.  Betrayed by a friend and out for revenge he’s been beaten, shot, and delusional for issues now but that last little something won’t break.  He’s finally cornered his murderous quarry on top of a speeding  Hondo bullet train and he’s in for the kill.

But, in the battle for Dirty Frank’s dwindling soul, what will win out?  Vengeance or Justice?



12 part story – 9 panel grid – extreme closeups – a hallucination masquerading as a prick SJS judge – A TOTAL spectacle of pain and pathos!


Hit the jump for the page flip and blow that sucker up to max size!







At the brink of madness Dirty Frank makes a choice.  He’s not a murderer.  He’s a Judge.

The Law saves him.

The art, beautiful.  The storytelling, masterful.  Man, when it’s right there is little that can touch it.  And what a RIPPER to have D’Israeli pounding away in black and white and then KA-FUCKING-BOOM!

Any favorite page turns from your reading life?  Share them in the comments!


8 Responses to “ Favorite Page Turns in Comics! Pt. 1 of Infinity ”

  1. That double page spread in Walt Simonson’s (and Archie Goodwin?) Alien adaptation is one of the best uses of a double page spread in comics history. You’ve got this cramped feeling throughout the comic while they’re on the ship and then you turn the page and the world opens up wide.

  2. I’m sure there are others, but the page turn that came to mind is from Sin City: That Yellow Bastard. Hartigan’s been strung up in a noose by the eponymous villain and, having resigned himself to death, shuts his eyes
    (page turn)
    Double page spread of black, and you really believe he’s dead, despite the fact that there’s at least half the comic ahead and what would happen for the rest of the issue if our protagonist really just croaked it, but the storytelling’s masterful enough that you buy into it
    (page turn)
    Hartigan opens his eyes: “No.” And somehow kicks up and out of the noose and however implausible escapes certain death to fight another day!
    And while I wrote the above I also thought of the page turn where Spidey finally lifts all the rubble (and his inner demons) off of him from the Ditko era (Amazing #33 I think?), and another Frank Miller bit from Ronin where everything zooms in on a caption in the ronin’s mouth: “Shut Up Momma”, and then you turn the page and the world ends.

  3. In “G.I. Joe” #93, Snake-Eyes, wearing civilian clothes and in the care of surgeon Dr. Huntkinder, takes off his “regular” face mask (not his black uniform one) for an exam. He’s always been masked, blacked out, or obstructed by shadows, and this scene is no different. The doctor talks to himself about the damage done to Snake-Eyes over the years, and what the prognosis is for reconstruction. With the page turn, Snake-Eyes’ face is revealed in full for the first time in all of G.I. Joe history, a big surprise, and a well written and drawn scene by Larry Hama and Mark Bright. Added emotion comes from his silent communication (he can’t talk) with Scarlett in a previous scene as they observe a couple walking outside in the sunlight — something SE and Scarlett have never been able to do.

  4. The famous lifting-the-heavy-machinery sequence in Amazing Spider-Man #33 features a page turn like this: on the recto page, Spidey is just about to succeed; on the verso page, Ditko gives us a full splash of Spidey succeeding.

  5. Awesome choices! Can’t fault any of ‘em! Man, when comics work they WORK!

    Got another Miller Thriller for ya! DAREDEVIL #232 by Miller & Mazzucchelli. Kingpin drops a Nuke on Hell’s kitchen to draw Murdock out.

    “The SCREAMING starts. From EVERYWHERE. He passes CLOSE–”




    “Give me a RED.”

    Page Turn


    Next: ARMAGEDDON (son of a %$&£! I have to wait a MONTH!?!)

    Say what you like about Miller (what am I, his mother?), guy could put a comic together.

  6. Wait! It’s 1987 (or 1986) and I’m reading THE SHADOW #1 by Howard Victor Chaykin, Ken “The Bruise” Bruzenak and Alex Wald. I’m 17 (or 16) and I don’t really know who The Shadow is. I got it for The Chaykin; since he did that comic with Louise Brooks with a machine gun I always get The Chaykin. Anyway, I’m not really following it. It looks like this old geezer in a van is The Shadow. I’m up for that. Some old fart knocking off punks sounds pretty awesome. Except there are these three dudes in the snow, flying, in a plane, getting close to America. You can’t fit a person in a water cooler? What’s that about? Everybody’s on about The Shadow now, even the old dude. So I guess he isn’t The Shadow. Sucks that. By now we’re on the next to last page now and I still don’t know who The Shadow is and…

    “You look WELL, Harry…”

    Page turn…
    “It’s Been An AWFULLY Long Time.”
    BINGO! BANGO! NOW THAT’S The Shadow!

    (Postscript: My dream of an old man dressed like The Shadow killing criminals would be realised that same year by Timothy Truman And JK Snyder III with Eclipse’s The Prowler. Sometimes dreams do come true!)

  7. @Courtland
    Yep, this just furthers the case for Alien as best comics adaptation. I don’t know if you remember the shot in the movie but it was a very similar vibe. Just a complete altering of scale masterfully designed to show the fragility of humanity in the depths of space.

    I think what you and the other posters have gotten at that I missed a bit, although D’Israeli c’mon, is that in the hands of a bold stylist the page turn takes on even more power. It’s one thing to properly set it up in the writing and it’s another altogether when that magical alchemy happens and the resulting imagery is the best kind of immediate and striking storytelling.

    I HAD THAT ONE! Out of nowhere I somehow got that comic as a kid. First thought was “Aw gross!” Second thought was “Snake Eyes is a blonde guy?” They most certainly didn’t skimp on that visual. I can close my eyes right now and see it. Ugh, how Bright put in that damaged eye…rough stuff for a toy tie-in. But your point about the emotional connection isn’t lost. Just as I can see that scarred portrait I can also see him holding Scarlett’s hand up to his rubber face. You can feel it.

    It’s certainly one the cultural touchstones of comics! Quick question for you. While Ditko was clearly the principal creator of this moment how do you feel about Stan’s contribution? It’s one of the great “power up” internal monologues of all time and it would become a signature feature of Peter’s character that he would have to give himself pep talks during the low times in his life. It’s that alchemy again!

    Well, HVC may be the chairman emeritus of the “bold stylist” council, that’s for sure. Also, nice pointing out the formal power of closing an issue on a full page cliffhanger turn. Saga recently drilled this so well I was a touch disappointed that the follow-up issue actually precedes the cliffhanger in the series chronology.

    If brutal old guys snuffing criminals is your bag (as it is occasionally mine) I recommend the entirety of Ennis on Punisher Max. There is an amazingly inventive inevitability about the whole series. It may seem a contradiction in terms but I assure you – it occurs.

    Thanks for your contributions, everyone!


  8. @Jordan I utterly agree that the sequence needs Peter’s internal monologue to go with Ditko’s command of panel size/shape and page turns.

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