The end of the year is a time of reflection in many ways, and that often means thinking about and assessing what the very best releases in any particular medium were. As we prepare to cross the threshold into 2017, we've been collecting some of the best covers of the year by publisher for your perusal, and today we're looking at fifty of the best comic book covers released from Image Comics in 2016.
There’s a particular sequence in the latest issue of Brian Michael Bendis, Michael Gaydos and Matt Hollingsworth’s Jessica Jones that I want to focus on this week. About halfway through Jessica Jones #2, Jessica heads back to her office and, before she enters, she imagines what might be waiting for her behind the door. Soldiers, Avengers, or the street-level New York superheroes. Instead of going in, she decides to flee.
The double page spread makes unusual use of white space, but what does that white space represent?
Hellboy: The Corpse is a perfect comic book.
Originally published in two-page installments back in 1995, it's of the best stories in Mike Mignola's considerable catalogue, and still stands over 20 years later as the single greatest Hellboy short. It's a great introduction to Hellboy and his world, action packed and full of a moody atmosphere that's spooky without being scary, built on the foundation of half-remembered folktales and Jack Kirby monster comics; but more than that, it's an incredible example of craftsmanship and accessibility.
And it all starts with Hellboy fighting a baby.
Jessica Jones, star of her own Netflix TV series and one of the most groundbreaking female Marvel characters of all time, is back in her own title after more than a decade! Not only that, but Jessica Jones #1 reunites her original Alias creative team of writer Brian Michael Bendis, artist Michael Gaydos, colorist Matt Hollingsworth, and cover artist David Mack.
As someone who thought she was a dude in the late 1990s, Preacher was the comic I looked forward to every month more than any other. As someone who knows she isn’t a dude in the mid-2010s, I’m looking back on this series and examining what still works, what doesn’t work, and what its lasting legacy is.
In Dixie Fried the cast starts to settle into a routine, and one of the greatest strengths of the series comes to the fore, even as characters turn out to be not what they seem and the series’ perspective on religion turns out to be more nuanced than expected. Dixie Fried was written by Garth Ennis, drawn by Steve Dillon, and features colors by Matt Hollingsworth, Pamela Rambo, and James Sinclair, letters by Clem Robbins, and was edited by Axel Alonso.
Our judges have adjudicated; our readers have voted. We’re proud to present to you the outstanding colorist of 2015 — and four great runners up.
This week sees the debut of The Suiciders, a new ongoing Vertigo series from writer/artist Lee Bermejo set in a post-apocalyptic near future Southern California where enhanced gladiators fight to the death for the public's entertainment. It's Bermejo's first major comics work in a few years, and his first ever original ongoing series, so we took some time to talk to him about how he conceived of the project, and the disparate elements that he's blending together to create this story.
It's been a few months since we heard anything about Chrononauts, Image Comics' forthcoming time travel adventure series from Sean Gordon Murphy and Mark Millar. The pair gave an interview to Entertainment Weekly last November in which they described the series as a buddy time travel comedy, where mankind's exploration of time yields amusingly disastrous results. Since then both creators have had other work land on ComicsAlliance's Best Comics of 2014 -- the startlingly epic The Wake for Murphy, and the return-to-form Starlight for Millar -- so it's quite happily that we received these very appealing first glimpses at the pair's auspicious inaugural collaboration.
Like so many major films released these days, ‘Interstellar’ has a comic book tie-in. But unlike most comic book tie-ins, this one is actually written by the original film’s director and is premiering online. And yes, you can read the whole thing right now, free of charge. We’re going to jump straight into spoilers right at the end of this sentence, so if you haven’t had a chance to see Christopher Nolan‘s science fiction adventure yet, you may want to consider turning around.
With a new hardcover omnibus of Alias by Brian Michael Bendis and Michael Gaydos, Marvel re-releases one of the most critically successful comics of the early 2000s. Apart from its various awards nominations and wins, it was one of just a few comics that everybody seemed to love, during an era when Marvel was equal parts creatively daring and ridiculously misguided. The first comic published under the mature readers MAX imprint, Alias officially broke ground on Marvel's R-rated label with an emphatic F-word, which immediately strikes one as both obvious and necessary. Unlike many other titles that sprung from the MAX imprint, though, Alias went far beyond than the gimmick of sex and cuss words in the Marvel Universe, and was easily one of the most readable comics on the stands for its entire twenty-eight-issue run.
That's just my memory, though, and I wouldn't exactly describe it as sharp. So how good is it on a re-read? Particularly as Marvel prepares a new live-action Netflix series based on the book, and has hinted as recently as last week that Jessica might be "getting back to work".