With inks from Klaus Jason and colors by Gregory Wright, this cover perfectly encapsulates the grim humor and explosive action that defined this era of the Punisher. Although the pair only worked together on the title for 10 non-consecutive issues, their run gave the teen hero Cyborg a regular spot on the team and established the group's modern origin.
With the main cover to 2011's “Justice League” #1, Lee redefined DC's biggest icons in one of his trademark dynamic group shots. While that makes an odd visual on the printed single issue, it speaks to the long afterlife the cover was designed to have as it was applied to collected editions and existed as a licensed image with the logo clearly visible.
In 2005, DC Comics launched the Star line as a venue for top tier creators to tell stories with heroes outside regular continuity. Although that line only produced two titles, one of those comics, “All Star Batman and Robin, the Boy Wonder,” paired Jim Lee with the legendary creator Frank Miller.
While Miller's writing was the source of divisiveness and considerable controversy, Lee's art on the series received high praise. With inks by Scott Williams and colors by Alex Sinclair, Lee pays tribute to Jack Burley's iconic cover to 1942's “Batman” #9.
Caught in the glow of a police spotlight, Lee's fluid fine line work creates a chiseled Batman and sprite Robin who looks like he's about to jump off of the page. With inks by Scott Williams and colors by Glynis Oliver and Joe Rosa's, Lee's triple-gatefold cover for that issue is a dynamic snapshot of the X-Men in a transitional state.
With inks by Scott Williams and colors by Alex Sinclair, this cover is a prime example of Lee's talent for staging impossibly cool group shots. With work from Jim Lee, Chris Claremont, Louise Simon son, Rob Ziegfeld and Jon Bogdanovi, the story followed the X-teams as they fought the mutant-enslaving government of the island nation Kenosha.
On Jim Lee, Scott Williams and Glynis Oliver's cover to that issue, Havoc can be seen destroying the book's title with a pile of unconscious mutants at his feet. On JimLee's cover for 2005's “Infinite Crisis” #1, Batman, Wonder Woman and Superman strike a pose as various foes and allies loom in the background.
For years, sociologists have cast superheroes as modern mythological figures, and Lee's work on this cover brings out the heroes' most visually iconic qualities. In 1991, Jim Lee and Chris Claremont made comic book history by launching X-Men, ” the second ongoing monthly title starring Marvel's primary team of mutants.
Lee's cover for the issue, with inks by Scott Williams and colors by Alex Sinclair, depicts a Superman who's unfazed by bullets and bombs exploding around him. While this image highlights the conceptual purity and strength of Superman against the realistic weapons of war, it also hints at the potential ferocity of the character's immense power.
Before he started regularly penciling “Uncanny X-Men, ” Lee's first encounter with Logan came with “Punisher War Journal” #6-7, where the X-Man had a vicious jungle battle with Frank Castle. Peter David and Gene Clan's story follows Wolverine as he tries to track down a suitcase on the grimy streets of the island nation Maribor.
While that universe would eventually grow to spawn critical or commercial successes like “Gen 13,” “Sleeper” and “The Authority,” it has its roots in the debut of the Covert Action Teams. In its earliest days, Lee's “Wild. A.T.s” focused on superheroes like Spartan, Drifter and Zealot as they fought on the Earthly front of an ancient interstellar war between the Cherubim and Demonizes.
With inks from Scott Williams and colors from Joe Rosa's, Lee's cover to “Wild. A.T.s” #1 perfectly captures the exaggerated Anglo aesthetic of the early 1990s. This cover accomplishes that goal flawlessly by synthesizing the era's biggest trends into an image where each character has a distinct visual identity that plays on the conventions of the superhero genre.
With inks from Scott Williams and colors from Alex Sinclair, Lee's Superman strikes a statuesque pose against a Metropolis bathed in golden sunlight. While Lee's work hints at the character's incredible strength and darkness, Sinclair's warm, vibrant colors clearly cast him as a super heroic figure.
In that Chris Claremont-written issue, Captain America and Wolverine team up to rescue a young Black Widow from the Hand in 1941, while Logan, Jubilee and Locke meet her in present day Maribor. With inks by Scott Williams and colors by Glynis Oliver, the cover places Wolverine and the book's two guest stars in a striking pose.
In one image, Lee captures the murky espionage-filled world of Black Widow, the larger-than-life heroism of Captain America and the energy of a Wolverine about to pounce into action. With inks from Scott Williams and colors from Alex Sinclair, Lee cast Batman as a dark protector overlooking Gotham City.
Over the next decade, this physicality would help inform and define the character through the “Dark Knight” cinematic trilogy and the “Arkham Asylum” video game franchise. From its dynamic, energetic action to its effortlessly cool, instantly iconic characters, this cover captures the best qualities of JimLee's incomparable work in a single image.
In addition to his work for CBR, Tim has written for a number of print and digital publications including Creative Loafing and Frequency Magazine. To put his worryingly deep knowledge of comics and superheroes to good use, he also helped design and teach courses based on graphic novels at Emory University, his alma mater.
He would then go on to fill in for Marc Silver on Uncanny X-Men which is about the time the shit hit the fan and his following grew to bonkers proportions. • His tenure on X-Men set the still unbroken record for selling 8 million single-issue copies in ONE MONTH.
Image would ultimately become the number-three North American comics' publisher with their popular Wildcats and Spawn titles. • In 1998, Lee leaves Image, sells Windstorm to DC but remained as Editorial Director until he got the sickest job ever this morning.
Batman: Hush and his Uncanny X-Men are still among the best remembered eras for the characters. That’s not all, though, his Superman: For Tomorrow, Punisher War Journal, Justice League, Suicide Squad or his own creations (Wildcats, Gen 13, Deathblow, Divine Right (OK, maybe not this last one), …) fill a lot of readers’ hearts with warmth.
October 30, 2021 Dollar Bin Digging #112 September 18, 2021 Dollar Bin Digging 106 June 18, 2021 Dollar Bin Digging 93 April 10, 2021 HOT 10 COMICS 4/10/20 March 20, 2021 HOT 10 COMICS March 8, 2019, HOT 10 COMICS He later left Marvel with a group of other artists to form their own company where they'd own their own work and characters, and they called it Image Comics.
There he formed his own studio, dubbed Windstorm, which began with Lee -created series like Wild. A.T.s, Deathblow, and Gen13, and would later be home to some of the most celebrated comic books of the following two decades, such as The Authority and Planetary. Lee sold Windstorm to DC in the late '90s, beginning his long association with the publisher, where he'd illustrate such blockbuster stories as Batman: Hush and Superman: For Tomorrow.
In 2010, he was made one of the co-publishers of the company, and the following year he spearheaded the New 52 relaunch, designing many of the costumes and illustrating the best -selling Justice League flagship book. Check out the list below (and our other galleries for Byrne, Kane, Infantile, and Pérez) and be sure to let us know your favorite Jim Lee stories, characters, and covers in the comments.
It has an effective, powerful layout, just the right amount of detail and immediately tells you exactly what kind of Batman story you're in for when you open the book. It's rare that you find a Lee cover that isn't on a Marvel, DC, or Image book, so I had to include this variant for Dark Horse's Umbrella Academy.
He also really effectively captures the individual weirdness of the soon-to-be-adapted family of oddballs, not making them look too much like normal superheroes, which would have been an easy trap to fall into. Lee did a handful of covers for Kyle Rather's Green Lantern series, and honestly, they're all pretty great.
This cover is pretty hilarious, and there's not one facial expression in the whole crowd that he doesn't nail and make uniquely funny. From Kyle's name tag and tugging at his collar to Jade's smug look and the cartoonishly insane expression of the mascot head, this one is comedy gold.
There's a fine line between comedy and horror, and this cover is purely the latter, despite featuring the Clown Prince of Crime. It's always fun to see the Image founders draw each other's characters, and boy did Lee crush it with this rendition of Erik Larsen's Savage Dragon.
Not only did he make Dragon look intense and powerful, he somehow managed to pull off the “insane number of pouches and guns” look without it veering into ridiculousness. This cover has a lot of going for it just by virtue of it being a Jim Lee -drawn cover featuring Batman, The Spirit and Doc Savage, but toss in the wonderful architecture framing the piece and the gorgeous blue colors from longtime Jim Lee colorist Alex Sinclair, and you've got a true masterpiece.
Infinite Crisis was one of the biggest DC events ever, and JimLeecovers were a big part of making it feel like a truly monumental moment. He whipped up a super cool and unique design for the character, complete with a striking color scheme from Sinclair, and he framed it all beautifully with the beams of light flowing from her hair into the circle and out, dividing up the background panels.
Metropolis gleaming with the golden light of the rising sun while Superman stands, ever vigilant, ready to defend and inspire it. An iconic team of mutants drawn across a jaw-dropping gate fold cover charging into battle against their greatest enemy.
He occasionally has ventured over to DC's Vertigo imprint, such as for a few Transmetropolitan covers, and for this variant for the first issue of the epic horror series American Vampire. I really love how much the lifework is allowed to speak for itself on this cover; it really shows off how precise and technically skilled Lee is when he's cut loose.
It's an absolutely breathtaking rendition of Wonder Woman, radiating the power, grace, dignity, and ferocity that the champion of the Amazons is known for.