It is very cringeworthy.

However, your comment made me think---is this a universal feeling amongst artist? Like, did Neal Adams or Alex Toth feel this way? The sheer fact that you have said it, makes me lean towards "yes". 

But wow! To think that great artists, like yourself also get this feeling seems somewhat odd to me, given how many body parts I'd separate from to have half that skill.

-D  

I love seeing the changes and development in artists. 

An assumption, on my part that growth is essential for an artist, in order to avoid becoming stale and a parody of oneself.

Also, the risk is that the audience that found you, doesn't grow with you and you leave them behind. People here on the forum, appear to have grown with you and followed your career and artistic development.

I do love Terry's inks (I really do-Also loved him on Rick Leonardi) but I have always felt that you were your own best inker.

There were moment while Dick Giordano was working on Man of Steel with you that I really loved to see the counterbalance between the thick and the thins. Something more fluid than I had been used to (Until I saw Tom Palmer on Star Brand)

So 'thank-you'.

My assumption is that Scott was always trying to return to the mansion during re-entry into the atmosphere.  If so, I take Scott as being modest about his piloting skills in his statement that he is surprised where they landed.  If not, it is remarkable indeed that they landed where they did.

The artwork on pages 2 and 3 is sublime!  Xavier, Sprite, Beast, Reed Richards, Captain America, and Iron Man sharing the same pages!  I love it!  Of course, Reed is not aware yet of Franklin's abduction by the Sentinels.  I especially appreciate the detail on Xavier's wheelchair in panel 1 of page 3 which is an angle you do not see normally.  I agree with the comments praising the facial detail on the characters, particularly Hank McCoy.  I appreciate especially that Hank's features remain consistent from panel to panel; thankfully, John Byrne did not get the memo mandating that it is okay to have characters' features change noticeably from one panel to the next.  Has the original artwork for these pages long since been sold?  I am guessing that I am about 4 years too late in asking this question.

Is it fair to say that pages 2 and 3 were pages completed later after the story was reshuffled?  Or were these pages always planned to appear at this point in the story?   I can see that the story would work well also if the prelude with the Sentinel finding Teri and Ashley Martin segued directly into the X-Men floating in low earth orbit on page 4 instead of to the Avengers examining the Sentinel on page 2.  The story unfolds nicely in this chapter, so I would not even wonder except that JB commented about additional pages being added later to change the flow of the story.  We know from the narration that everything is not happening simultaneously, so the comments about reshuffling pages and story pique my interest in John's creative process.