BOX=ART: Retrogamer and modern video game box art history.


Video game box art and artist history database





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BOX=ART copyright ©2013 Adam Gidney. All rights reserved. Hosted by Dathorn.


BOX=ART is a site dedicated to the history of video game box art/ cover art and the artists responsible for them.

Box arts are profiled using high quality scans and with the intention of acknowledging the men and women who have played such a major role in shaping our gaming experiences.

Not only for video game enthusiasts, BOX=ART is for all who enjoy quality artwork.

All information on this site is through my own findings and is believed to be correct.  Any corrections, errors or admissions that need to be made, or artists that would like to be involved in BOX=ART, please feel free to contact me.

BOX=ART index

 >B1 - Bu

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Bahamut Lagoon (バハムート ラグーン) by Akira Watanabe.

Japanese artwork. Published by Square in 1996 for the Japanese Super Famicom market.

123 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Box art index - B1 - Bu


B-1 Nuclear Bomber by Bob Haynes.

North American artwork. Published by The Avalon Hill Game Company in 1980 for the North American market.

Apple II ver. pictured. Also available on: Atari 8-bit, C64, TRS-80.  

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Baal by Melvyn Grant.

English artwork. Published by Konami in 1988 for the European and North American markets.  

Amiga ver. pictured. Also available on: C64, DOS.

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>Melvyn Grant’s Baal would ditch Psygnosis’ usual sci-fi box arts and vehemently assert its own horror-fantasy instead.  

Originally a cut-out children’s mask available in the mid-80s on the back of a UK cereal box, the artwork was called “Jaws” and painted in oils on a 6.5 x 12 inch board.  It was then commissioned by the Liverpool developer in 1988.

Possibly Melvyn’s first box art for Psygnosis (it could also be Captain Fizz meets the Blaster-Trons), he would go on to provide the developer with further commissioned pieces, adding a darker edge to the publishers box art portfolio.

Barbarian by Roger Dean.

English artwork. Published by Psygnosis in 1987 for the European and North American markets.  

Atari ST ver. pictured.  Also availble on: Amiga, Apple II, C64, DOS, ZX Spectrum.

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>Following on from the lofty highs of both Psygnosis’ debut Brataccas and follow up Deep Space, Roger Dean would turn from sci-fi to fantasy with Barbarian.

It would be classic Dean showcasing the artist’s talent for creating beautiful other worlds and far-stretching, sunburnt vistas.

Painted on board using acrylic and coined as ‘Red Dragon’, Barbarian would mimic Brataccas style of art whereby the foreground and background looked as though they’d been lit from different times of the day, giving a mesmerising presence to the dragon-like creature.  It would be a favoured technique that the artist used again on the Shadow of the Beast box arts.

Barbarian would cement Psygnosis’ ethos of fine art selling video games, and helped open the flood gates to Europe’s classic late-80 - early-90’s box art period.

Ballistix by Melvyn Grant.

English artwork. First published by Psygnosis in 1989 for the global market.  

PC Engine ver. pictured.  Also availble on: Amiga, Atari ST, BBC Micro, C64, DOS, Electron.

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>In keeping with many of Psygnosis’ box arts, Melvyn’s art was reissued having been originally designed for sci-fi novel ‘The Steel Tzar’ by Michael Moorcock (1981) - of which the cover gets its name - and then later as cover art for Judas Priest LP ‘Rocka Rolla’ (reissue ver. 1987).

The artwork would be used across the globe and its use in Japan would end up being one of only a handful by Psygnosis to make it East.

>Pictures from top - original box art and novel cover art.


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Artist index: Ba - Br


Barbarian II by Lee Gibbons.

English artwork. First published by Imagine Software in 1986 for the the European market.

MSX ver. pictured. Also available on: Amstrad CPC, C64, DOS, ZX Spectrum.

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>Barbarian II's predecessor, Barbarian: The Ultimate Warrior, was a critical and commercial success on its release in 1987. Reviewers enjoyed the game's exciting sword fights, and its profile was greatly enhanced by marketing strategies employed by its developer, Palace Software, a subsidiary of media company Palace Group. The developer had engaged Maria Whittaker, a model known for topless shoots, to pose on the box covers and posters of the game. The image of bikini-clad Whittaker created a hype that pushed the game beyond the attention of the video game industry, producing a controversy in which members of the public criticised the industry for promoting Barbarian in a sexist manner.

Palace Software repeated the strategy for the sequel, publishing a poster of Whittaker as Princess Mariana, this time in metal bikini armour, and Michael Van Wijk as the barbarian. Steve Brown, creator of the Barbarian games, recalled that the bikini's chain "snapped a number of times" in comical Carry On fashion during the shoot. Brown was behind the concept of the poster, which was brought to fruition by Lee Gibbons, a commercial artist, over the course of four weeks. The image of the barbarian and princess poised over the fallen body of a large, scaly monster was a photomontage, created by superimposing three photographs—one of each subject—on one another. The creature was a small scale model made of Plasticine. After cutting out the subjects from their photos and composing the cut-outs to form a new scene, Gibbons painted the background and added effects such as smoke to form the final image.  Via wikipedia.


Bare Knuckle (ベア・ナックル 怒りの鉄拳) by Yoshiaki Yoneshima.

Japanese artwork. Published by Sega in 1991 for the Japanese Mega Drive market.

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Basic Computer Games by Paul Hanson.

North American artwork. Published by Creative Computing Software in 1978 for the North American market.

Apple II, Commodore PET, TRS-80 ver. pictured.

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Batalyx by Steinar Lund.

Norwegian/ English artwork. Published by Llamasoft in 1985 for the European C64 market.

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Batman Returns (バットマンリターンズ) by Steve Erwin (penciler).

North American artwork. Published by Konami in 1993 for the Japanese Super Famicom market.

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>Erwin’s artwork appears to have come from the same session that created the Batman Returns: The Official Comic Adaptation (1992).

Erwin would join a small list of of western artists who can claim exclusive Japanese cover arts.  The European and North American versions would use movie stills from the film, as was common practice at the time.


Battle Command by Gary McNamara.

English artwork. Published by Ocean Software in 1990 for the European and North American markets.

DOS ver. pictured. Also available on: Amiga, Atari ST.  

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Battle of Olympus, The (オリュンポスの戦い) by Dave McMacken.

North American artwork. Published by Broderbund in 1989 for the European and North American NES markets.

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Berserk (ベルセルク:千年帝国の鷹篇 喪失花の章) by Kentarou Miura.

Japanese artwork. Published by ASCII Corp. in 1999 for the Japanese Dreamcast market.

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Blue Dragon (ブルードラゴン Burū Doragon) by Akira Toriyama.

Japanese artwork. First published by Microsoft Game Studios in 2006. For the European and Japanese Xbox 360 markets.

Blood Money by Peter Andrew Jones.

English artwork. Published by Psygnosis in 1989 for the European and North American markets.  

Atari ST ver. pictured.  Also availble on: Amiga, C64, DOS.

>One of Peter’s finest from an already bulging portfolio of exceptional box art by this prolific artist.

Blood Money like many of Psygnosis’ early box arts started life elsewhere, in this case as the cover to 70’s sci-fi novel: Protector by Larry Niven. It would continue Psygnosis’ trend of commissioning artworks from Europe’s hottest sci-fi and fantasy painters, following on from such great works as: Baal, Terrorpods and Menace.  

The in-game’s graphics share the box art’s other-worldly look up to a point but the connection is slight at best.

Blood Money today is one of Peter’s most popular artworks and can be found in his Solar Winds collection.

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Blind Panic by Jim Gardner.

English artwork. Published by Dennic Publishing in 1988 for the European ZX Spectrum market.

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Beast Warriors (ビースト・ウォリアーズ) by Yasushi Nirasawa.

Japanese artwork. First published by Renovation Products in 1991. For the Japanese and North American Mega Drive/ Genesis markets.

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>Designed by model maker Nirasawa of Hobby Japan Magazine, the character act would exude the artists usual perchant for ghastly, hellbound looking creatures.


Body Slam! Super Pro Wrestling by Steve Huston.

North American artwork. Published by INTV Corp in 1988 for the North American Intellivision market.

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Burai Fighter (無頼戦士) by Frank Cirocco.

North American artwork. Published by Taxan USA Corp. in 1990 for the North American NES market.

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Breakout by Cliff Spohn.

North American artwork. Published by Atari in 1978 for the European and North American Atari 2600 markets.


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Bubble Bobble (バブルボブル).

Published by Ving Co. in 1990 for the Japanese FM Towns market.

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Breath of Fire II (ブレスオブファイアⅡ・使命の子) by Tatsuya Yoshikawa.

Japanese artwork. Published by Capcom in 2001 for the Japanese Game Boy Advance market.

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Brandish 4: Nemureru Kami no Tou (ブランディッシュ4 眠れる神の塔) by Jun Suemi.

Japanese artwork. Published by Nihon Falcom Corp. in 1996 for the Japanese Windows market.

Brataccas by Roger Dean.

English artwork. Published by Psygnosis in 1986 for the European and North American markets.  

Amiga ver. pictured (1st edition).  Also availble on: Atari ST, Mac.

>From the inspired mind of one of the UK’s great fantasy artists, Roger Dean, Brataccas would help push the box art medium to new levels of excellence whilst ushering Europe into its cover art golden age.

Before Brataccas, the quality of Europe’s box art output could be viewed as tentative.  Groundwork had been made by fledgling artists such as Bob Wakelin and David John Rowe, but Roger’s and Psygnosis’ vision to create fine promotional art, in Europe at least, was daringly new and unrehearsed.

The first edition of Brataccas (pictured) would not only be unique in Psygnosis’ box art portfolio, it being released in a book style format, but also laid claim to being the studio’s debut cover art.

From follow-up Deep Space until the PlayStation era, most subsequent cover arts would come housed in the standard thin-coloured border surrounded by black box (also true of the re-released second edition of Brataccas). This edition’s uniquely styled logo would also be changed for the second edition, looking more in line with Dean’s follow up logo work for Psygnosis.

Dean staples such as dynamic fore and background light sources, along with organic mechanical characters brought Brataccas’ acrylic finished alien vista alive.  It also set a lofty benchmark that Psygnosis over the coming years would ever try to smash by commissioning some of the UK’s finest artists.

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Brandish 2: The Planet Buster - RENEWAL (ブランディッシュ2) by Jun Suemi.

Japanese artwork. Published Nihon Falcom Corp. in 1995 for the Japanese PC-98 market.

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Brandish 3: Spirit of Balcan - RENEWAL (ブランディッシュ3 スピリット・オブ・バルカン) by Jun Suemi.

Japanese artwork. Published by Nihon Falcom Corp. in 1995 for the Japanese PC-98 market.

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Blue Max 2001 by Tim Boxell.

North American artwork. Published by Synapse Software in 1984 for the European and North American markets.

Atari 8-Bit ver. pictured. Also available on: C64.  

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Benefactor by Paul Kidby.

English artwork. Published by Psygnosis in 1994 for the European market.

Amiga ver. pictured. Also available on: CD32.  

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Burning Force (バーニングフォース) by Gaku Miyao.

Japanese artwork. Published by Namco in 1990 for the Japanese Mega Drive market.

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Abbreviation guide

EU - European version | JPN - Japanese version | NA - North American version.

Available on... 3DO - 3DO Interactive Mulitiplayer | DC - Sega Dreamcast | PCE - NEC PC Engine | PS1 - Sony PlayStation | PS2 - Sony PlayStation 2 | PS4 - Sony PlayStation 4 | PSP - Sony PlayStation Portable | SAT - Sega Saturn | SFC - Nintendo Super Famicom | SNES - Super Nintendo Entertainment System | SWI - Nintendo Switch | TGX - NEC Turbo Grafx.

Barry E. Jackson.  North American box artist from 1988-1989.

Project Firestart | EA | 1989.

Wasteland | EA | 1988.

Bengus (Gouda Cheese).  Japanese box artist from 1988-2017.

Capcom’s Marvel Super Heroes | Capcom | 1997 | JPN ver. | PS1, SAT.

Darkstalkers: The Night Warriors | Capcom | 1996 | PS1.

Fighting Street | Hudson Soft | 1988 | PCE, TGX.

Final Fight 3 | Capcom | 1995 | JPN ver. | SFC.

Gun Spike | Capcom | 2000 | JPN ver. | DC.

Marvel Super Heroes vs. Street Fighter | Capcom | 1998 | JPN ver. | PS1, SAT.

Marvel vs. Capcom: Clash of Super Heroes | Capcom | 1999 | DC, PS1.

Marvel vs. Capcom 2: New Age of Heroes | Capcom | 2000 | EU/ JPN ver. | DC.

Night Warriors: Darkstalkers’ Revenge | Capcom | 1996 | JPN ver. | SAT.

Plasma Sword: Nightmare of Bilstein | Capcom | 2000 | EU ver. | DC.

Plasma Sword: Nightmare of Bilstein | Capcom | 2000 | NA ver. | DC.

Power Stone | Capcom | 1999 | JPN/ NA ver. | DC.

Power Stone | Capcom | 1999 | EU ver. | DC.

Power Stone 2 | Capcom | 2000 | EU ver. | DC.

Power Stone 2 | Capcom | 2000 | JPN ver. | DC.

Power Stone Collection | Capcom | 2006 | PSP.

Star Gladiator 2: Nightmare of Bilstein | Capcom | 1999 | JPN ver. | DC.

Street Fighter V: Vital Box | Capcom | 2016 | PS4.

Street Fighter: Alpha - Anthology | Capcom | 2006 | PS2.

Super Street Fighter II Turbo X | Matsushita Electric Corp of America | 1994 | NA ver. | 3DO.

Ultra Street Fighter II: The Final Challengers | Capcom | 2017 | SWI.

X-Men vs. Street Fighter | Capcom | 1998 | PS1, SAT.

Bill Sienkiewicz.  North American box artist from 1994-1996.

Resident Evil | Capcom | 1996 | EU/ NA ver.

Spider-Man/ Venom: Maximum Carnage | Acclaim | 1994.

Bob Flemate.  North American box artist from 1980-1988.

Mystery Quest | Taxan USA Corp | 1988.

Space Invaders | Atari | 1980 | Atari 400/ 800 ver.

Bob Haynes. North American box artist from 1980-1982.

B-1 Nuclear Bomber | The Avalon Hill Game Company | 1980.

Bomber Attack | The Avalon Hill Game Company | 1982.

Computer Baseball Strategy | The Avalon Hill Game Company | 1982.

Conflict 2500 | The Avalon Hill Game Company | 1981.

Empire of the Over-Mind | The Avalon Hill Game Company | 1982 | Diskette ver

Guns of Fort Defiance | The Avalon Hill Game Company | 1982.

Midway Campaign | The Avalon Hill Game Company | 1980.

North Atlantic Convoy Raider | The Avalon Hill Game Company | 1980.

Planet Miners | The Avalon Hill Game Company | 1981.

Shootout at the Ok Galaxy | The Avalon Hill Game Company | 1982.

Tank Arkade | The Avalon Hill Game Company | 1982.

Voyager 1: Sabotage of the Robot Ship | The Avalon Hill Game Company | 1981.

Zardon | The Avalon Hill Game Company | 1982.

Bob Wakelin.  English box artist from 1983-1994.

After a brief stint under Marvel comics as a freelance artist in the late 1970’s, Bob moved into box art design, painting alongside early artists at the dawn of the UK software industry.  

In 1983 he would get wind of David Ward’s new company, Ocean Software, who were in need of an illustrator.  Landing the position and working alongside art director Steve Blower, Bob would produce Oceans earliest box arts for games such as, Moon Alert, Gilligans Gold, High Noon and Road Frog.

Although neither Steve nor Bob were responsible for Ocean’s famous logo (that piece of gaming history is likely lost now), Bob is credited for jazzing it up. The flat, blue on white logo would have the Wakelin treatment, with the aim of bringing it in line with what Imagine Software had done with their logo (designed by Blower). Both logos would be used interchangeably until the Ocean name was dissolved in the late 90's.      

By 1984 Ocean had started to secure the rights to video game movie tie-ins and striking deals with Japanese developer’s Taito and Konami to bring their arcade hits to Europe. In response, Bob’s art would start to reflect the explosive film and arcade posters of the day with his talent for quality imitation proving to be a selling point for what could usually be a weak gaming experience.  Not just an imitator though... when a more creative approach was needed, or allowed for, he would be equally adept at producing fine works such as Elf and Epic.  

It was not only his versatility in approach that made him popular, but also his diverse style.  He would from one job to another produce with ease realistic American influenced box arts (Cabal, Operation Wolf), to then imitate Japanese character art with a respect and delicacy that would be lost on most of his peers (The NewZealand Story, Pang, Rainbow Islands).

Athena | Ocean Software | 1987 | EU ver.

Batman: The Caped Crusader | Ocean Software | 1988.

Billy the Kid | Ocean Software | 1991.

Cabal | Ocean Software | 1989 | EU ver.

Cavelon | Ocean Software | 1984.

Central Intelligence | Ocean Software | 1994. (5)

Chase H.Q | Ocean Software | 1989 | EU ver.

Chinese Juggler | Ocean Software | 1983.

Choplifter III: Rescue Survive | Ocean Software | 1994 | EU/ NA ver.

Comic Bakery | Ocean Software | 1986.

Cosmic Wartoad | Ocean Software | 1985.

Daley Thompson’s Decathlon | Ocean Software | 1984.

Dam Busters, The | Ocean Software | 1984.

Elf | Ocean Software | 1991.

Epic | Ocean Software | 1992. (4)

Eskimo Eddie | Ocean Software | 1984.

Flyer Fox | Ocean Software | 1984.

Frankie goes to Hollywood | Ocean Software | 1985. (3)

Galivan | Ocean Software | 1986.

Gift From the Gods | Ocean Software | 1984. (2)

Gilligan’s Gold | Ocean Software | 1984.

Great Escape, The | Ocean Software | 1986.

Green Beret | Imagine Software | 1986.

Gryzor | Ocean Software | 1987 | EU/ NA ver. (1)

Gutz | Ocean Software | 1988.

Head over Heals | Ocean Software | 1987 | EU ver.

High Noon | Ocean Software | 1984. (7)

Highlander | Ocean Software | 1986.

Hunchback | Ocean Software | 1983.

Hunchback II | Ocean Software | 1984.

Hyper Sports | Ocean Software | 1985.

International Open Golf Championship | Ocean Software | 1993.

Island of Death | Ocean Software | 1983.

Ivanhoe | Ocean Software | 1990.

Mag Max | Ocean Software | 1986.

Match Day | Ocean Software | 1984.

Match of the Day II | Ocean Software | 1987.

Midnight Resistance | Ocean Software | 1990 | EU ver.

Mikie | Ocean Software | 1986 | EU ver.

Moon Alert | Ocean Software | 1984.

MOVIE | Ocean Software | 1986.

Mutants | Ocean Software | 1987 | EU ver.

NARC | Ocean Software | 1990 | EU ver.

NewZealand Story, The | Ocean Software | 1989 | EU ver. (8)

Operational Wolf (EU) | Ocean Software | 1988 | EU ver.

Pang | Ocean Software | 1990 | EU ver.

Parasol Stars | Ocean Software | 1992 | EU ver.

Psycho Solider | Ocean Software | 1988.

Pud Pud | Ocean Software | 1984.

Rainbow Islands | Ocean Software | 1990 | EU ver. (6)

Rastan | Ocean Software | 1988 | EU ver.

Renegade | Ocean Software | 1987 | EU ver.

Renegade III | Ocean Software | 1989.

Road Frog | Ocean Software | 1983.

Royal Birkdale Championship Golf | Ocean Software | 1983.

Shadow Warriors | Ocean Software | 1990.

Sleepwalker | Ocean Software | 1993.

Slugger, The | Ocean Software | 1985.

Super Bowl | Ocean Software | 1986.

Super Soccer | Ocean Software | 1986.

Target: Renagade | Ocean Software | 1988.

Vindicator: Green Beret II, The | Ocean Software | 1988.

When time Stood Still | Ocean Software | 1987.

Wizadore | Imagine Software | 1985.

Wizball | Ocean Software | 1988.

Wizkid | Ocean Software | 1992.

Early in Bob’s cover art career he worked with graphically basic games that couldn’t be relied on for inspiration, and that left his imagination to instead fill in the gaps. Calling himself a big kid at heart, his bold and colourful characters would give children something to imagine in ways the games couldn’t.  He credits knowing how to appeal to children as one of the reasons why he’s been successful. Later, with the more powerful home computers of the late 80’s and the early 90’s his box arts would become richer and more complex and he would produce some of his best works in this period such as Wizkid, Chase HQ, Sleepwalker and Choplifter III

Bob like many artists of that period was producing box arts at a lightning fast rate, usually working with little more than a description of the game, its title and a brief demo. 

He would then take this subject matter, spend a day referencing and then complete the artwork within four to ten days.  A lot of the time he would sketch out a detailed draft in pencil and then airbrush over it adding detail with gouache and felt pen to finish. Speed was an essential box artist ingredient but could lead to poor rush jobs. Bob’s talent and high level of consistency meant he had few of these in his catalogue giving the impression that when something did turn out as something less than stellar, it was more of a case of tedium getting in the way than ability. 

Bob would carry on working for Ocean until its takeover in 1995 with box art Central Intelligence being his last. Freelancing all those years for Ocean had allowed him the opportunity to produce comic book art and magazine covers, so when the Ocean work dried up he went back to Marvel comics.

After fighting Leukemia, Bob would pass away at the beginning of 2018.









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Demise-rise of the Ku-tan | Artifact Entertainment | 2000.

Dragon Wars | Interplay | 1989. (6)

Conan the Cimmerian | Virgin | 1991.

Ecco the Dolphin | Sega | 1992 | EU/ NA ver. (7)

Ecco the Dolphin: Defender of the Future | Sega | 2000 | NA ver. (1)

Ecco the Dolphin: Tides of Time | Sega | 1994 | EU/ NA ver.

Eric the Unready | Legend Entertainment Company | 1993.

Golden Axe II | Sega | 1991 | EU/ NA ver. (2)

Les Manley in: Lost in LA | Accolade | 1991.

Might and Magic VII: For Blood and Honor | 3DO Company | 1999. (3)

Mike Ditka’s Ultimate Football | Accolade | 1991. (5)

Onslaught | Accolade | 1991.

Phantasy Star IV | Sega | 1994 | EU/ NA ver.

RYL: Path of the Emperor | Planetwide Games | 2005 | with Julie Bell. (8)

Shannara | Legand Entertainment Company | 1995.

Star Control | Accolade | 1990.

Swords and Serpents | Acclaim Entertainment | 1990.

Turrican | Accolade | 1991 | with Julie Bell. (4)

Wings of Wor | Dreamworks | 1990 | NA ver.

Boris Vallejo.  Peruvian/ North American box artist from 1989-2005.

After flittering with the idea of becoming a violinist and making a career in medicine, the young Boris settled on fine art attaining a scholarship at The National School of Fine Arts in native Peru. Already making a name for himself as a fine painter, Boris with little more than a pocket of dollars (and a bucket load of confidence) immigrated to the States with bigger dreams in 1964.

For the next few years he would paint everything from cards to catalogues to comics before discovering American comic fantasy art. He would pursue this new love and build a reputation for his sensual, erotic art and sculpted depictions of the human form.  Book covers, comics, film posters, disc pockets… no media was left unexploited by Boris throughout the 1970’s and 1980’s.

With a firm reputation in place by the end of the 1980’s he would start getting offers to create video game box art. With this period’s love for all things fantasy, Vallejo’s style would naturally fit and he would debut with Dragon Wars in 1989 (interestingly, Vallajo’s only box art to be released in Japan).

This would begin a busy period for the artist as he became a main stay for both Sega of America (Ecco trilogy, Golden Axe II, Phantasy Star 4) and the now defunct Accolade (Onslaught, Mike Ditka’s Ultimate Football).  Ecco the Dolphin (1992) would especially help propel him to new levels recognition with the game being a massive global hit.  

His box arts up until Ecco the Dolphin: Defender of the Future in 2000 would be highly recognisable and pull no punches when it came to grabbing attention, something he has always been well aware of. His art sold, and when you compare his box arts to what else was on the shelves of Wal-Mart in 1991 it’s clear to see why. Heroic, grotesque, horrific, erotic and beautiful, Boris’ artworks would appeal to our desires.

His favoured medium throughout his career has been oils and certainly all box arts look painted so. Each piece would be normally completed within six, 8-hour days. Later he would also collaborate with his partner Julie Bell, herself a prolific box artist (Wolfenstein 3D, Turrican, Hardball!), creating RYL: Path of the Emperor and promo artwork for Bioshock 2.









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Brom (Gerald Brom).  North American box artist from 1993-2012.

Dark Sun: Crimson Sands | Total Entertainment Network | 1996.

Dark Sun: Shattered Lands | SSI | 1993.

Dark Sun: Wake of the Ravager | SSI | 1994.

Diablo II | Blizzard Entertainment | 2000.

Diablo III | Blizzard Entertainment | 2012.

Doom II: Hell on Earth | id Software | 1994.

Heretic | GT Interactive | 1994.

Heretic II | Activision | 1998.

Mageslayer | GT Interactive | 1997.

Pool of Radiance: Ruins  of Myth Drannor | Ubi Soft | 2001.

Warlords III: Reign of Heroes | Red Orb Entertainment | 1997.

Warlords III: Darklords Rising | Red Orb Entertainment | 1998.

World of Warcraft | Blizzard Entertainment | 2004.

Bruce Wolfe.  North American box artist in 1984.

Indiana Jones in the Lost Kingdom | Mindscape | 1984.