There is an espionage term called a "floating box," where a target of observation is tailed and watched from multiple angles, forming a box that moves as the subject moves. This term never appeared in Queen and Country, but it wouldn't be out of place, because Queen & Country always tried to keep its espionage as realistic as possible, consequences be damned.
Queen & Country itself had a floating box around it, coordinated by series writer Greg Rucka and carried out by a small army of comics' finest, observing its ongoing narrative from a variety of perspectives and angles. None of the various artists that Queen & Country employed were rubber stamps of each other. No slight is intended on the other terrific artists who worked on Queen & Country, but for the purposes of brevity, this article will be focusing on three of the most distinct, and how their styles shaped the book.