I don't really get why you think the Bissette/Tottleben page is... I don't know what you're saying when you say I'm "talking out [my] ass" to prefer Bissette/Tottleben. But you imply that it is somehow inferior (page 1 of SWAMP THING 22, if the link expires later).
I think it's a beautiful and decorative page, that also demonstrates good composition and story narrative.
Not that I think the WATCHMEN 3 page you linked is unimaginative. It's good composition and an arguably more complex story narrative, with the "Tales of the Black Schooner" scroll-framed caption balloons separating the story-within-a-story" narrative from the street scene of the newsvendor and the kid reading the comic, and the radiation sign on the wall that references the Dr. Manhattan story and origin to come later in this and the next issue.
Again, while the layout composition by Gibbons on the WATCHMEN 3 page is intelligent and complex, it is still bland in its linestyle, and not what I would term beautiful, or representative of the best in comic book art. The story certainly is, but the art less so and more functional. I won't argue that it demonstrates complex design and storytelling, but it is ultimately not beautiful the way a Wrightson, Windsor-Smith, Arthur Adams or Mike Mignola page is.
Although I guess the same argument can be applied to Kirby. In terms of dynamic energy, design and page layout, Kirby is certainly a master storyteller. But for some, Kirby's linestyle, squared faces and hands, and often lesser level of detail make his work less attractive to them. For me, I like both, Kirby's layout design, as well as his linestyle. But I can understand that others don't.
