From Our Army at War #241 (February 1972), here’s a four-page classic with story by Bob Haney and art by Alex Toth:

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I love how Toth uses the silhouetted panel that extends across the top of page three to provide variety within the six-panel grid while at the same time he cheekily reestablishes/reinforces the grid by breaking the panel into two halves, each framed by the structure of the building, with a support beam where the panel border/gutter would have been. And those word balloons — the tails all go the way from the visual foreground, where the text balloons reside, between and behind the silhouettes of Roman soldiers caught in the act of brutalizing the native population, and into a doorway in the background! It’s an audacious choice, but Toth makes it work!

From Adventure Comics #431 (February 1974), here’s “Is a Snerl Human?” with story by Shelly Mayer and art by Alex Toth:

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From Lost Worlds #5 (October 1952), here’s “Alice in Terrorland,” with pencils by Alex Toth and inks by Mike Peppe:

In a previous roundup of links to stories with art by Alex Toth, I sent readers to Karswell’s “The Horrors of It All” blog, where you’ll find a copy of “Alice in Terrorland” as it was reprinted/recoloured in Seduction of the Innocent #1 (Eclipse, November 1985). For those who would care to compare the two versions, here’s that link again.

From Strange Adventures #18 (March 1952), here’s “The Girl in the Golden Flower,” with story by Robert Starr, pencils by Alex Toth, and inks by Sy Barry:

From Fantastic Worlds #5 (September 1952), here’s “The Invaders,” with pencils by Alex Toth and inks by Mike Peppe:

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From Fantastic Worlds #5 (September 1952), here’s “Triumph over Terror,” with pencils by Alex Toth and inks by Mike Peppe:

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From PLOP! volume 3, number 11 (April 1975), here’s “Ssssssssppprrrtttzzzzz,” with superlatively silly scripting by superlatively silly scribe, Steve Skeates, and art by Alex Toth:

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From Thrilling Adventure Stories #2 (August 1975), here’s “A Job Well Done,” with story by Richard Meyers and art by Alex Toth:

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