While we’re all aware that the world of culture has been hit particularly hard by the current pandemic, a time when cinemas, theatres and music venues remain closed amid strict social distancing measures, the period of flux has allowed time for reflection. Here, we look back at a crossover nobody expected as the world of Marvel offered their take on icons of the music world.
In 2015, Marvel rolled out an entire series of comic book variants based on iconic hip-hop and R&B album covers. Artists such as Frank Ocean, Beyonce, Kanye West and many more had album artwork transformed into comic book covers—it was a move which was celebrated by fans in both Marvel and the music world.
Given its success, Marvel then decided to move their attention to the rock world and produces their second series of the comic book covers, offering their take on works by the likes of The Clash, Blondie, Nirvana, and Guns ‘n’ Roses. Marvel, in their own unique way, decided to take on the now-iconic albums covers of London Calling, Parallel Lines, Nevermind and Appetite For Destruction, respectively.
The project was immediately spearheaded by Mike Hawthorne and Nathan Fairbairn, the two creatives who played on the Guardians of the Galaxy theme and replaced the famous baby on the front cover of Nirvana’s Nevermind album and drafted in Rocket Raccoon to strike a pose—albeit out of the pool and, instead, floating outer space.
Elsewhere, Damion Scott took control of Guns N’ Roses’ record Appetite for Destruction and did so by transforming its famous lettering by combining it with Inhumans: Once and Future Kings. The brilliant Marco Rudy got his hands on The Clash album cover for London Calling, giving it a mighty Mighty Thor twist but managed to maintain the typography all punk fans have ingrained within their memory.
Last up is Daniel Acuna, a creative who took on Blondie’s album Parallel Lines and did so by giving it an X-Men Blue twist. See all the work, below.