Covers. Am I right?
This cover has realized my longstanding fear of pillow case-faced cats and driftwood ponies. It’s the nicotine finish that really sells this one. Creepy gorgeous.
Shoot. A simple concept executed with elegance. Even soaring over a semiautomatic skyline, the new Matt Murdock still registers as spirited and vital. This series has gone from skulking to effervescent.
An effective character study from Simon Bisley sees the warlock with his boots on. A few minor hints of hocus pocus away from knowing all there is to know about John Constantine. I love that this image places us in the POV of either a rotund landlady with a very small dog or the new bird in town, potentially an X-ray tech. Constantine views either with the same level of apathy.
The positioning of the typography elevates this portrait of survivors, adding fullness to an already interesting composition. It’s not clear who’s interloping here, the pigeons or the people.
It really rarely ever gets better than Ryan Sook. The dramatic lighting accentuates Deadman’s terrific design. The pose recalls Houdini’s most aggressive feats of escapology as well as the forever tortured Jacob Marley. It might be the new definitive portrait of one of my favorite characters.