Recently, I’ve been revisiting some issues of BODY BAGS and I’m still blown away by the work, even though it debuted in the mid-’90s. The work still holds up to this day. I remember being familiar with Jason’s work from the awesome SAVAGE DRAGON: BLOOD & GUTS miniseries a few years prior and eager to see more of Jason’s kinetic, stylized art. So when I saw BODY BAGS on the stands, that was a no-brainer for me to pick up.

I feel like BODY BAGS was a book ahead of its time. There was really nothing like it on the stands as it pushed the line on violence and got a somewhat controversial reputation. But at the center of it all was a father-daughter love story, albeit a love story wrapped in bullet shells and knife-play.

Jason’s storytelling and composition were sensational. Although I enjoyed his previous work and felt the Michael Golden inspired vibe, BODY BAGS was really the series where he came into his own artistic voice. The series clearly didn’t pull any punches — it was unapologetic to its readers. It had a strong attitude, one that Jason clearly conveys whether it was intentional or just a by-product of his clear vision in what he wanted to do.

I was ecstatic to see more BODY BAGS in the late 2000s — the 3 THE HARD WAY miniseries in 2006 and the appropriately titled ONE SHOT in 2008. I was hoping (and still hoping) that these were just a precursor to more issues to come. To this day BODY BAGS is still one of my all-time favorite series and Jason continues to be one of my all-time favorite artists. I liked his work on the DEADPOOL miniseries (WADE WILSON’S WAR) and his issues of UNCANNY X-MEN, but there’s nothing like Jason on BODY BAGS.

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[9″x12″] Col-Erase Pencil -> Micron Pens -> Photoshop