Got You Covered is back with another look at the best covers of the month. At the end of each month, we’ll be sharing the absolute best (in one writer’s mind) in comic covers for the month. Unlike before, they won’t be ranked, they’ll just be listed alphabetically with explanations as to why each is such a great example in the art of comic covers.
Share your thoughts in the comments about what were the best covers in the month, and thanks for reading.
Elektra #6
Art by Mike Del Mundo
One of the things I’ve loved about Del Mundo’s work on “Elektra” is how he makes Elektra as a character into a performer. She’s an artist in her own right, and her truly virtuoso work is as a killer. This cover encapsulates that incredibly well, finding her amidst her latest victims (with roses on each of them) with the spotlight highlighting her performer’s bow. Of course, that spotlight is from an assault helicopter, but you know. It’s a great idea executed in even better fashion, and is a great single image spotlight of what Del Mundo’s accomplished on this book.
Lazarus #11
Art by Owen Freeman
Not that this is a competition, but any other month, this is my favorite cover of the month, hands down. Owen Freeman crushed this cover to an almost unhealthy degree, creating a beautiful, effective cover that powerfully tells the story inside the comic in a single image. The postures and poses are perfect, and the coloring fits perfectly with the aesthetic of the existing titling elements. This, my friends, is an incredibly well made cover, pairing everything together to make something beautiful. But incredibly, it’s not my favorite. You’ll find out what was here in a bit.
However, if you want more on how Freeman created this beauty, check out this post on his Tumblr for some process work from him. Great stuff.
The Massive #27
Art by John Paul Leon
John Paul Leon people. John Paul freakin’ Leon. The mood and atmosphere he achieves on this cover is incredible, as there’s a real tension to his art as the Kapital approaches its missing sister ship. Some might look at this piece and not see anything really astounding, but it’s a subtle piece that finds its power in tone and tones. Tremendous work from one of the best in comics at covers.
MIND MGMT #26
Art by Matt Kindt
You gotta give Matt Kindt a whole lot of credit. He never makes covers that look like anyone else’s, yet they almost always work, don’t they? This cover is part comic, part instructional manual, but it does a fantastic job at showing off the brutal effectiveness of the powers current and former agents of MIND MGMT have. As per usual, Kindt uses very unique treatment to the page to give it more texture, and it’s another element that makes his covers all the more effective.
Oddly Normal #1
Art by Otis Frampton
Covers for first issues, in my mind, should try to deliver a good approximation of the comic’s spirit and subject. It’s a tough thing to do while still being an interesting cover, but something Otis Frampton did really well with this piece. The comic as a whole was really quite good, and this cover did a great job of selling me on it. It’s cute as hell cartooning and effective storytelling in one single image, showing off the disgruntled yet lovable titular lead in a plight that is far more annoying for her than it would be for any of us. Fantastic work.
Outcast #4
Art by Paul Azaceta
Paul Azaceta’s ability with atmosphere has been a major part of the success of this book, as he’s made the story infinitely more creepy with his ability to control darkness to his advantage. This cover shows that off incredibly well, as series lead Kyle Barnes is pushed up against a door of light with something demonic left in the darkness everywhere. It’s a clever, powerful cover, and speaks volumes about the story inside. Azaceta’s work on this book has been worth the price of purchase every issue so far, and this cover shows off why really.
Continued below
Savage Wolverine #23
Art by Declan Shalvey
This may not just be my favorite cover of the month, but my favorite cover of the entire year. Declan Shalvey – with Jordie Bellaire colors – has created a poetic, thoughtful image that really speaks to a certain part of Wolverine that is sometimes forgotten. Shalvey gives us a look at Wolverine that shows off the honor he tries to live by, and in the process creates a cover that’s deeply wistful. He already was one of my favorite cover artists, but this thing might be his finest work yet. On top of that, Bellaire’s light palette both fits the cherry blossom tree imagery and accentuates the general sadness of the piece. This is just an absolutely tremendous piece that makes me all the more sad that Shalvey will be selling prints of this at places I won’t be at. Will someone please buy me one? Pretty please?
Trees #5
Art by Jason Howard
It’s amazing to look at this cover and think that this is the same person that made the interiors of the comic, but it is. Howard’s gifts as a graphic designer merge incredibly well with his ability to tell a story visually on his covers, and this one might be his best yet on this series. I love that the combat imagery is overlaid on a map of Africa, creating a real story in the interaction between the fore and backgrounds. It’s a beautiful image, and one that effectively conveys a narrative through its construction. Howard’s really showing off all of his skills as an artist on this book.
Wayward #2
Art by Steve Cummings
Two months, two covers from Steve Cummings on my list for “Wayward”. This book has been excellent so far, and Cummings is a massive reason why. This cover shows off his skills very well, as he has the rare ability to blend significant detail with a really clean look, all the while giving his art a real ethereal feel to it. The guy’s one of my favorite new artists of the year, and this cover shows off the skills that make that true very well.
Wild’s End #1
Art by INJ Culbard
This comic was sold out at my shop by the time I got there, but my god, doesn’t that cover just make you want to buy it? I’d seen it online before I went there, and because of it, I was all in on buying the comic just because of INJ Culbard’s work here. It’s a provocative, powerful image, and one that more than anything intrigues potential readers into buying it. And shouldn’t that be one of the central goals of any cover? I sure think so.
