I've inked this before and didn't go back to look at it so I wouldn't be influenced. But on a side note, I did go back afterwards to see when I  had posted it and saw a bunch of my earlier inkings and yikes! I wish I hadn't! I now know how JB feels when he sees his early stuff

Very nice Paul.  In terms of advise for the future, consider varying the line-width on the silhouette based on the reflected background light you would be getting from grazing incident reflection.

That may sound like a mouthful, but it just means that materials become more reflective as light approaches from a more extreme angle (of incidence) as it bounces off a surface to be reflected into your eye.

Practically speaking, the "outline" in line art is really an expression of a dark background behind the figure or object (i.e. little light coming from that direction).  The darker background should have a heavier line, and a well lit background should have a thin or no line.  In fact, "vanishing lines" or "broken lines" are a big part of artistic flair.

The inverted colors of the shiny black X-men's costumes are also an expression of reflected environmental light.  The highlights should appear only when that also makes sense in a scene.

For outdoor scenes like these, light is pretty much coming from above, and all the characters should have shadowed brows, chins, arm pits, abs (if bending over like Wolverine), etc.  The depth of the shadow is a function of how much "bounce light" there is in the environs.  In the deep jungle, not so much.  Out on a snowy day, tons.

Also, don't forget about "self shadowing" --- again, always thinking about where the light is coming from.

Great shadows make great art.  Additionally, in line-art, it's really the only way to make things look three dimensional.

I have always loved Byrne's non-action pages. So good with normal home layout settings.