First Look: Red Skull Incarnate

Get ready for ultimate villainy and check out David Aja's amazing covers for Greg Pak's new Red Skull: Incarnate miniseries.

Andy Hunsakerby Andy Hunsaker

Red Skull Incarnate

As we gear up for a summer full of Captain America love (including a new Heroclix set based around him!), we'll also be getting a lot of attention paid to the Red Skull, Cap's most enduring and straight-up evil foe.  He's a Nazi, for pete's sake.  They don't get more villainous than that.

However, since the original Red Skull is currently dead in the main continuity and his daughter is carrying the mantle for him, Marvel has to find ways to hearken back to the O.G., the main villain as played by Hugo Weaving in Captain America: The First Avenger, which hits theaters in July.  Hence, Greg Pak's new miniseries Red Skull: Incarnate will also arrive in July, and it will detail the rise of Johann Schmidt from the life of a starving urchin to the Third Reich's twisted super-soldier under the guiding hand of Adolf Hitler himself.

Mirko Colak will be handling the art for the series, but David Aja has created some strikingly amazing propaganda-style covers for this five-part story. 

Red Skull was never intended to be one of our typical super hero comics, so it shouldn’t have anything like typical cover art,” said series editor Alejandro Arbona. “We knew David would invest the thoughtfulness and deliberation to capture the complex and difficult ideas of this story. In short, his covers say ‘This is what we’re doomed to watch Johann become,’ and his imagery – war, conquest, cruelty, a great evil – springs from the same tragic well. It’s a disturbing set of cover images, for a dark and disquieting story.”

 

Red Skull Incarnate

 

Red Skull Incarnate

 

Red Skull Incarnate

 

Red Skull Incarnate

 

Red Skull Incarnate

 

“Due to the nature of the story, I wanted to portray the historical aspects on the covers,” said Aja. “In doing so, I approached the covers as if they were real posters, newspapers and Nazi propaganda from that time, kind of in a documentary style. To make it work, I utilized different typographic techniques for each issue, emulating different typefaces in real work; so I needed a uniform tone, technique and color in the finished art to identify all the covers as a whole collection.”