The Filipino artists did some beautiful work , especially in things like the Tarzan books and DC's attempts at sword & sorcery. Those guys had that moody style that just fit perfectly in those books. Same with the Spanish artists who worked for Warren and Charlton.

Nestor Redondo was one of the greatest ink artists I've ever seen. Alex Nino was also amazing. I honestly didn't care for them inking certain artists but on their own or over more generic pencils or layouts Rudy Nebres and others were great. Frank Redondo did a lot of work for the DC war comics.

Maybe more humor than horror, but JayJay Jackson reports that her very 80s hairstyle was the basis for the Transformers character Circuit Breaker:

I take it she bought mousse by the case....

Interesting, though it illustrates why I've never really warmed to him, as a person.  In the process of telling an interesting and unusual anecdote, he proceeds to take a swipe at the DC Dollar Comics, as if every decision he made was 100 % correct and that Marvel didn't produce flops under his watch.  It's meant as a joke; but, on the cold page, it makes him sound like a bit of an a-hole.  Take that part out, and it's an interesting story that puts him in a good light.

Defending the Dollar Comics, they were actually some pretty darn good books; a nice mix of stories and generally worth the price.  Sure, you could buy two comics for the price of one of those; but, given some of the product out there, at the time, that Dollar Comic was often a better bet.  It wasn't universal, as some were better (Detective Comics) than others (Superman Family, at times).  Thing was, Jenette Kahn and Paul Levitz were experimenting (things like Time Warp, with sweet Kaluta art) and trying to shake off the doldrums of past publishing, while Shooter was homogenizing Marvel, with a few bright lights that stood apart.  Given the economic realities of the time frame, it probably wasn't a smart idea, in retrospect; but, they didn't have that much to lose by trying. The Implosion was a gutsy move.  A lot of companies, after the expenditure of the book expansions, to accommodate the Explosion, and the time spent on the house ads and other marketing, would have continued the line, if only to justify the time and effort already put into it.  Just look at the New Universe, for an example of this.  Instead, Kahn and Levitz knew it wasn't working and drastic action was needed.  Like a surgeon cutting off a limb to save the body, they took a knife to the line and were better able to survive until their experiments could start paying off.

I haven't begun to read every interview with Shooter, nor much of his website; but, a common theme in what I have read is the inability to take responsibility for events under his watch or acknowledge the validity of criticisms of his editorial approach.  By contrast, I've seen Levitz and Dick Giordano accept the criticism of some of their decision, acknowledge the viewpoint and explain their rationale for the decision (like the Bizarro story, with the baby Kal-El in the microwave of the Marvel Douche ad in LOEG #1).  I still didn't agree with their decisions; but, I respected that they listened to and responded to the criticism and acknowledged that there might have been a better course of actions.  With Shooter, it seems like it is always spun into someone else's issue, someone else's interference or he justifies things like the lack of identity for much of the Marvel line with the justification that sales across the board were higher.  While I'm sure that pleased the corporate bosses and got him bonuses, the long term effect was that Marvel stagnated and then started declining, once boredom set in, while DC, who was willing to take chances and let books have a unique identity (up to a point and more away from the mainstream superhero titles) were growing their market share and garnering massive mainstream publicity, while Marvel still struggled to cut media deals for their characters and had little presence in mainstream media, other than things like the publicity stunt to promote Spider-Man's wedding.

Shooter is a damn good writer and I agreed with some of his editorial decisions.  I tend to think he was right about the conclusion of the Dark Phoenix Saga, based on Claremont and Byrne's original intention that Jean would be de-powered and that was it (until she would probably regain the Phoenix Force).  After consuming a star and destroying an entire civilization, it does seem that there had to be a consequence for her actions.  Lilandra is justified in forcing her to face the consequences of her actions; but, for there to be no real punishment seemed a cop-out.  Her sacrificing of herself was actually a better ending and it helped redeem her actions and reclaim her humanity.  Had they gone with the original ending, I don't think the fans would have considered it quite the same classic.

The New Universe, in principle, was a good idea.  It was the execution of the idea that was a failure and the losses on it probably had as much to do with Shooter's ousting as any of the personnel problems or backstabbing he claims.

As for the convention booklet cover?  It is a pretty good piece and fits the theme of the convention well.  It could use a bit more drama, though.
 

Even if the main scene were traced it's still a cool idea for a cover. If nothing else I would say the whole thing exits in a photo somewhere that was reference, but maybe the figure looking up was from another source... if so credit for it being in perfect perspective and lighting with the other figures.

Dollar comics; they were really trying at DC to get comics out of the cheap category so retailers and distributors might actually care about them. They kept trying from the 100 paged issue to the 52 pagers and they were right to keep trying, because that would've been the only way outside the b&w or even color magazine approach to stop being bales hauled around totally carelessly like a generic cheapo product.