Every week, staff writers Kevin Melrose and Steve Sunu discuss their five favorite covers from the previous Wednesday’s new comic releases, selecting from among them CBR’s Cover of the Week.
Keep reading for Kevin and Steve’s favorites from the week of July 30, and then discuss your choices in the CBR Community.
Jay Shaw’s cover for “Evil Empire” #3 is incredibly well designed. Like all great covers, it captures part of the overall concept of the series in a single image, and in this case, it’s really quite clever. The image is simple, but evocative: the American flag transforming into liquid and slowly going down the drain. The concept of a country going down the drain is a difficult metaphor to effectively capture, but Shaw does it with style and a clean design to boot. — Steve Sunu
I’m sorry that I wasn’t familiar with Cole Closser before now, because his work is incredible, revealing the influence of such classic cartoonists at Winsor McCay and Harold Gray while still seeming fresh and new. Stripped of the bar code and trade dress, this cover would feel as much at home in 1933 as it does now. — Kevin Melrose
It’s rare that two covers from the same issue make the list, but it’s a testament to the quality of artists BOOM! Studios recruits for its variants. Not quite the “selfie” cover that DC Comics has embraced, Felipe Martins’ image feels more like a snapshot ruined (wonderfully) by a mugging Mordecai and a mug-carrying Rigby. — Kevin Melrose
When we think of anthropomorphic animals in comics, they’re typically cute little critters that call out to be cuddled, even when their stories are serious. With her violent and bloody cover, Ashley Witter immediately distances “Squarriors” from the other comics in the genre, and establishes it in the realm of post-apocalyptic horror. The almost photorealistic image is disturbing and undeniably compelling. — Kevin Melrose
Dustin Nguyen is a perennial favorite of Cover of the Week, and it’s easy to see why when looking at his cover for “Batman Eternal” #17. Nguyen has a knack for using all elements of a character in new and effective ways — in this case, it’s Batman’s cape, which coalesces into a familiar face as the Dark Knight suffers a fall from grace. While the manipulation of the cloth into a face is impressive, it’s even more incredible when taken in context of the entire image; namely, that the folds of the cape indicate a falling motion even while converging into a face. — Steve Sunu