How many licks does it take to get to the center of a Tootsie Pop? A one. A two. A Covers. Covers.
By Jae Lee and Ryan Sook
Scarves don’t usually…not everyone knows how to make them look sinister. But…the Shadow knows. And so do these guys. Edge to Lee for an unnerving portrait that, appropriately enough, relies on shadow to conceal all but the most important aspects of our hero’s grim countenance.
Avengers vs. X-Men #4
By Jim Cheung
Really like this composition for a number of reasons. Characters overwhelm the logo instead of the other way around. Cheung also plays with the series’ face-off motif, but at this stage in the game it’s asymmetrical, with mutants and Avengers mixed together on either side of the image. Then you’ve got the bright light of Hope singled out at center with a simple and elegant use of color.
By Fiona Staples
It’s a little gutsy draping a child’s intestines over your book’s logo. It’s a striking color choice too. And I can’t get over the face. Girl be trolling.
The Incredible Hulk #7.1
By Michael Komarck
We entirely sure this isn’t Alex Ross? Okay. Well. Duality. The classic Jekyll and Hyde image. It’s extremely melodramatic, so only a rendering this meticulous and lofty could make it work. It’s positively operatic in its posing, spectacular in its lighting. Love those shafts of light boring through the jungle canopy.
B.P.R.D.: Hell on Earth – The Devil’s Engine
By Duncan Fegredo
It’s rare in horror to come across something wholly different and unexpected. I look at this image and am taken aback at an imposing new monstrosity. The horror broadens with the introduction of a modern train, suggesting a vast, global canvas. Encroaching dread.
The Shadow #2
By Alex Ross and Howard Chaykin
Hey, more Shadow. Again, two more approaches with two different tonal flavors. Absolute chaos and a throwback kind of globetrotting vibe. Edge to Ross for the muzzle flair busting open the monochromatic image like a gouge in the plaster.