Tough decisions abound in the third installment of our series! Four more CGC team members share their all-time favorite comic book covers.
What a difficult decision to make. I went with Spirit #22, my favorite cover by my favorite comic book creator — the late, great Will Eisner. While Marvel Comics might have gotten me into this hobby as a child, finding Mr. Eisner's work kept me engaged as a teenager and adult. Fun fact: This cover is actually the wallpaper for my phone.
Paul Litch, Primary Grader, Restoration Detection Specialist
Famous Funnies #213
I knew it would be difficult to decide on a single "favorite" cover, but even narrowing my choices down to just one artist didn't make it any easier. Especially when that artist is the great Frank Frazetta. I mean, where does one start? Creepy #11 or #16? No, wait ... the morbidly alluring sea witch on the cover of Eerie #7! But that means I can't pick Eerie #23. Hmm, this IS difficult! Why not Vampirella #7? Or the classic Weird Science-Fantasy #29?
Ah, the heck with this. I'm just going to have to pick the one that both amazed me AND creeped me out the first time I studied it in close detail. And that would be Famous Funnies #213. Frank's incredible attention to detail on every little nut, bolt and sci-fi gadget — along with that ominous, hulking silhouette peering in through the portal — give this piece a perfect balance of realism, fantasy and horror that really raises the hairs on the back of your neck if you can picture yourself in their place.
Dave Couillou, CGC Finalizer, Magazine Specialist
Walter Simonson's Thor #340 is an excellent example of incredible art and masterful design.
From a dynamic composition that leads the eye towards the central action to the sophisticated color scheme that renders Thor and Beta Ray Bill in eye-catching contrast to their demonic opponents and the background, this cover explodes with power and energy. The cover of Thor #340 is an arresting and iconic image that succeeds, not just as a powerful selling tool, but as an amazing piece of art in its own right.
Kent Bonifield, CGC Grader, Restoration Detection Specialist
Four Color #1042
If 21st-century musicologists view the decade of the '50s as the dismal decade of dreary doo-wop and the '60s as the era of the Beatles, surely the winter of 1958 will be noted with equal clarity as the signature pop culture moment of those adorable almond-eyed rodents, the Three Chipmunks.
Only a few short years after Les Paul's innovative exploration of multi-track tape recording, these sweet-singing semi-squirrels attacked the modern recording studio with youthful angst and exploded onto the nation's radio airwaves with their groovetacularly inspired mega-hit, "The Chipmunk Song" ("Christmas, Don't Be Late"). Of course, an album on the Liberty label soon followed.
One can only imagine the inspiration and professional awe felt by aspiring recording studio Picassos Phil Spector and Brian Wilson for this talented trio of nut eaters.
Led by the raucous iconoclast Alvin, artfully abetted by Simon and Theodore, their breezy manner and pitch-perfect harmonies were much adored by children. Taking note, K.K. Publications — then producing comic books for the Dell imprint — inked our brush-tailed boys to a one-book contract for a then-record 50 bushels of dried corn.
Released the following fall, Four Color #1042 (Oct.–Dec.'59), was the Three Chipmunk's vanguard into what became a plethora of entertainment media triumphs. Drawn by one of their awesomely able anonymous staffers, this iconic image depicts the wacky warblers dancing with the abandon of a Haitian voodoo-fest on a vinyl platter atop a spinning turntable. Alvin, always the sizzling sciuridae with star power, is wailin' notes on his four-inch fist whistle! Blow the word, Alvin! Electric, kids, electric! The image is bold, direct, kinetic ... a fitting opening opus for these American entertainment legends.
Hi-Fi becomes high art!
Michael McFadden, CGC Grader, EC & Charlton Specialist
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