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.
If you're following any comic book artists on Twitter or Tumblr, then there's a pretty good chance that you saw the word "Inktober" pop up an awful lot over the past four weeks. Created by artist Jake Parker in 2009, it's a month-long exercise in getting better at working with ink (as opposed to just pencils) by producing a piece of art every day for all 31 days of October. And it's also exactly the kind of thing that we love to see here at ComicsAlliance.
Last Friday, February 1, was Hourly Comic Day, an annual event that tasks artists of all skill levels with creating comic panels to summarize their respective days, one for each hour that they're awake...
DC Fifty-Toois a website dedicated to showcasing DC Comics characters as interpreted by talents from the world of indie comics and the Web. Specifically, creators were asked to imagine their version of the #1 issue of any DC comic book...
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