Justice League International, depending on your taste, may be considered the lowest point in the Justice League canon or a hilarious alternative to the usual self-referential continuity. As evidence, consider issue twenty-two of the series. As part of the late 1980s DC "Invasion" crossover, we find the Justice League's diminutive butler Oberon defending the headquarters alone against a miniaturized alien invasion force. Employing weapons both conventional and not (for instance a fork and microwave), the steadfast dwarf repels the first strike of an extraterrestrial occupying force single-handedly. The pencils of Kevin Maguire and the inks of Joe Rubinstein portray the tongue-in-cheek violence of the story that, along with a general goofy portrayal of spandex-clad heroes, defines the series.

The Mighty Thor #126 (1966)

Iconic characters spring from the minds of iconic creators. Such is the case of The Mighty Thor, brainchild of comics legend Jack Kirby. As the cover of issue #126 aptly demonstrates Kirby's classic style translates particularly well to the revitalization of mythology to the modern age. Demigod trappings abound and otherworldly sinews strain as the Asgardian prince pits his Norse strength against the ancient Greek might of Hercules. Vince Colletta's inks bring the toil of combat to vivid life, as the titans cause the Earth to tremble in their battle for the affections of Jane Foster.

Atom and Hawkman #40 (1968)

DC Comics has a long tradition of pairing heroes to boost sales of flagging titles or capitalize on popular trends: Superman & Batman, Green Arrow & Green Lantern, even Hawk & Dove. One famous, albeit short-lived pairing, was the seven issue run of Atom and Hawkman of the late 1960s. Elevating two B-list heroes to a level of popularity normally unachievable for either outside of their involvement in the Justice League of America. The enduring quality of the team-up owes much of its memorability to the unforgettable pencils and inks provided by Joe Kubert, as evidinced by this forced perspective cover. Hawkman looms larger than life, almost belittling the raging storm elements, cradling the crumpled forms of Atom and, for scale, a wounded bird.

Doctor Strange #14 (1976)

Continuing a storyline begun in Tomb of Dracula #44 from the same year, readers find the Master of the Mystic Arts, Doctor Strange confronting the Lord of the Vampires, Dracula. The cover by Gene Colan and Tom Palmer draws a casual glance closer immediately, as the vampire gloats disdainfully over the seemingly vanquished sorcerer (mockingly referring to Stephen Strange as a "magician"), all the while unaware that the battle is far from over as the good Doctor's astral form prepares to renew the conflict. The fluid lines and exaggerated facial expressions convey completely the free-wheeling Marvel mayhem of the mid-1970s, when mysticism and pop culture combined to revitalize staid storylines in the comics industry.

Star Wars Tales #6 (2000)

At the turn of the century, George Lucas consigned his beloved Star Wars universe to an abyssmal black hole of deconstructed continuity and overly digitized silliness with the release of the dishearteningly irrelevant prequel episodes.  Fans of the boundless imagination and strong narrative of the original film trilogy found hope, however, with the line of Star Wars comics published by Dark Horse Comics.  One such comic doing justice to the epic mythos that enthralled millions is issue six of Star Wars Tales.  This quarterly publication showcased adventures and backstories expanding faithfully upon the touchstones of the galaxy far, far away.  In this particular issue, readers are treated to a hauntingly moody encounter between Darth Vader and C-3PO that salvages actual drama from the improbable origins of the droid from Episode 1.  The issue's cover (by artist Kilian Plunkett) showcases this meeting with an "alas poor Yorick" moment between the Sith Lord and the golden droid.  

Justice League of America #21 (1963)

In this early adventure of the Justice League of America, readers are treated to a true gathering of champions with the first ever team-up between the JLA and the Justice Society of America.  When villians from both Earth-1, the mainstream Earth of DC continuity, and Earth-2, the alternate reality where the Golden Age heroes of the DC universe remained for years, combine forces and commit crimes across both universes, it is only the combined power of the premiere super teams of two universes that is capable of preserving justice and order.  This classic cover depicts the Justice League trapped in their headquarters and calling out across the dimensions to the Justice Society for assistance.  Penciler Mike Sekowsky, inker Murphy Anderson, and letterer Ira Schnapp bring together this seance-inspired, historic teaming of legends.  Notice especially the Martian Manhunter of the 1960s, which more resembles Lex Luthor with a digestive disorder than the Martian that fans of the Modern Era know so well.  

Alpha Flight #2 (1983)

Created as part of Wolverine's origin story in 1979's X-Men #120, John Byrne's Alpha Flight, one of comicdom's few Canadian super teams, received its own series in 1983.  The majority of the team's roster had distinctly Canadian traits or backstories, such as the Inuit influences behind the characters of Shaman and Snowbird.  The series had a fairly successful run for eleven years and has been the subject of more than one revival attempt, the most recent in 2007.  Byrne himself stayed with the series for the first twenty-eight issues serving as creator, writer, and artist during that tenure.  As part of that body of work, we have the cover of issue #2, showcasing the artist's deft handling of expression and multiple characters.  Note especially the contrast between the optimistic concern of the hirsute Puck and the brooding malignance of his troubled comrade, Marrina.

Tales to Astonish #13 (1960)

One among many of the iconic covers of Jack Kirby, Tales to Astonish #13 gives us Groot, the Monster from Planet X.  Memorable more for humor than horror, this classic image was birthed during the Mighty Marvel monster craze of the 1950s and 1960s.  Like only he could, Kirby conveyed an imposing menace with crisp lines and a forced perspective of a once proud metropolis crushed under the weight of Groot's massive, branching root system.  In an admittedly silly story, it is the timeless art of Jack Kirby that conveys all the mustered menace of an alien composed of wood.