Each Monday (or in this case Tuesday, because of Labor Day), 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 sees an “Astonishing” band flier, a new I.D. for “Collider,” an underwater attack in three parts, a devil in the Art Deco details, and the face of Darkseid.
Keep reading for Kevin and Steve’s favorites from the week of Aug. 28, and then discuss your choices in the CBR forums.
Phil Noto’s cover for “Astonishing X-Men” #66 finally brings the Marvel NOW! trend of experimenting with layout and expectation to the title. It’s more reminiscent of a photocopied band flier than a comic book cover, featuring a stylized logo, images of some of the “Astonishing” women in Noto’s incredible pencils and only four colors: black, white, gray and pink. It’s a great choice that shows off both Noto’s artistic skill and his range of design. Easily one of the standout covers of the series’ current run. — Steve Sunu
Nathan Fox’s cover for “FBP: Federal Bureau of Physics” #2 isn’t just a great image — it’s an excellent transition for the name change from “Collider” to its current title. The image is simple and still allows for name recognition for those that might not have been informed of the title’s name-shift. It exhibits Fox’s incredible flair for color, plus, the degrading badge’s edge makes for a cool effect. — Steve Sunu
As we’ve noted before, “split-panel covers” can be difficult to execute well, as the secondary image can, just as often as not, dilute the impact of the primary one. But J.P. Leon is an old hand at the approach, having used it previously for issues of “Human Target,” “DMZ” and “The Massive.” Yet the cover of “The Massive” #15 may be the finest instance to date, with Leon employing three panels in pure sequential form to depict the U.S. Navy’s pursuit of a stolen nuclear submarine, with the bombs cascading across the entire image. — Kevin Melrose
I bought this issue online, and I know just as much about the two monstrous figures on the cover as I did before — that is, absolutely nothing. Of course, familiarity with the characters isn’t required to appreciate Yuko Shimizu’s stunning cover, with its almost-medieval devil at the center, and the beautiful Art Deco elements framing the image. — Kevin Melrose
Even in his “updated” New 52 form, Darkseid remains one of the great villain designs — heck, character designs — in comic-book history. An imposing and menacing figure, Jack Kirby’s brainchild looks as if he were carved from the rock of Apokolips itself, his chiseled face pocked by the passing of millennia. In short, Darkseid makes quite the visual impact, even when we don’t see him in full form. Jae Lee shows restraint on the cover of “Batman/Superman” #3, merely teasing readers with a glimpse of the New God while also leaving room for the Dark Knight and the Man of Steel (it is their title, after all). And whether it’s intentional or not, the depiction of Darkseid’s head in the crystal is reminiscent of the statues on Easter Island, which seems fitting. — Kevin Melrose