Brad Danson wrote: Yeah, hard to believe.  I've pointed out several similarities and you yet you still can't see any.  To call the change from Larsen to Bagley "jarring" when almost everyone else here has been calling it, at least, a "house style" is almost contradictory.

Two things.  First:  I was a fan of Bagley long before he took the job on ASM.  I recognize Bagley in that art, not Bagley influenced by Larsen.  You can especially see it in the faces of the characters he draws.  A Bagley face isn't at all like a Larsen face.  Not the ASM with Nova on the cover and certainly not the interiors. That's what was jarring to me.  That you can't see that is totally fine with me, but I fail to understand why you choose to get argumentative with me when I don't see it your way.

Second: Don't offer, ever, to agree to disagree when you really don't mean it.

Man I love it - we complain when people go off model and then when a new artist decides to keep some form of continuity to the last guy we call it copying. There were and are similarities that could be passed from Ditko to Golden to Adams to McFarlane to Larsen to Bagley. However, each had something unique about their style.

Golden invented the 'spagheti' webbing as used by all the artists mentioned since BUT, his costume webbing looks different to the others. However, their costume webbing I would say bares similarities to Ditko's costume webbing. Can we not say that you can't just look at covers to forward these arguments? You need to look at things in the round - panal / page structure and layout, how they draw people / faces out of costume (McFarlane / Larsen / Bagley / Adams all approached these differently (Although I do point to a fact that Adams tended to have at least one face in complete black per issue before McFarlane took to this as well (See Hulk and early Spider-Man)))

When I took over the art chores on UNCANNY X-MEN, I tried to make the characters look like the same people Dave Cockrum had been drawing -- as if he and I had been looking at the same models. I did not, however, attempt to ape his style, and in fact was discouraged from doing so.

(It should perhaps be noted that when I drew a McFarlane-esque Spider-Man in SENSATIONAL SHE-HULK -- sticking to what had become the model, even if I didn't care for it -- Larsen accused me of swiping!)

McFarlane's Big eyed Spider-man was not horrible per se, because he drew the lines around the eyes with the correct line weight (the model of eyes was always a thick line around the eyes).  Where the other guys who came after got it wrong was they abandoned the thick line.  So all we were left with was big eyes with very small lines around the eyes, which looked terrible.  The mask can make or break the rest of the drawing and for over a decade, the mask was horribly wrong and down right ugly.  (not to mention other anatomical issues)