Each Monday, 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.
This week, Swamp Thing turns to house-sitting, Tom Taylor goes straight to Hades, Darla Deering faces The Thing (and The Thing, and The Thing …), Marvel’s first family gets lost in time and space and Deadpool screams for ice cream.
Keep reading for Kevin and Steve’s favorites from the week of April 24, and then discuss your choices in the CBR forums.
Few things are better, and funnier, than an ice cream truck falling on Deadpool. I particularly like how the book’s logo almost doubles as the truck’s shadow. — Kevin Melrose
You wouldn’t think an army of The Thing (Things?) would make for a compelling and interesting cover, but Michael Allred pulls it off with “FF” #6, utilizing the juxtaposition of Darla Deering in her Miss Thing suit without the head to make the overall image so interesting. Her bemused and perplexed expression is compounded by the contrast of normal head to rocky body — the exact opposite of the mob behind her. A stylish cover in classic Allred fashion. — Steve Sunu
Mikel Janin’s gatefold cover for “Justice League Dark” #19 actually lives up to DC Comics’ “WTF?” branding campaign, as it opens to reveal the “Unholy House of the Swamp Thing.” When the solicitation teased that the House of Mystery is under siege, I doubt many readers expected this. (And if it makes you think of Castle Greyskull, you’re not alone.) — Kevin Melrose
One of my favorite artists, Yuko Shimizu takes us into Hades with this somber, and undeniably gorgeous, cover for the second part of “Orpheus in the Underworld.” The robe transforming into a trail of blood over the steps is a particularly nice touch. — Kevin Melrose
One of the most minimalistic and effective “Fantastic Four” covers yet from Mark Bagley, this image is the very definition of despair, with the Fantastic Four, Franklin and Valeria on a rock in the middle of nowhere with only an invisible shield as protection from the ravages of nothingness. While the tear effect in the cover is very cool, as is the use of the book’s logo, it’s the overwhelming sense of family and togetherness that ultimately makes this cover work so well. Even at death’s door, Marvel’s first family takes solace in one another, huddling together and facing the unknown and an impossible situation, while emphasizing what makes the Fantastic Four one of the most unique superteams in comics. — Steve Sunu