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, physics go haywire, Hank and Jean go all “Young Romance,” Deadpool is the bomb, RoboCop takes a last stand, The Shadow gets the spotlight, and Joe Fitzgerald goes to hell.
Keep reading for Kevin and Steve’s favorites from the week of Aug. 7, and then discuss your choices in the CBR forums.
I’m not crazy about the placement of the logos (either the book’s or the publisher’s), but I love the riff on vintage romance comics, with Hank and Jean in that classic pose as a shocked/outraged Scott reaches out in the background. The use of Brush Script, a font that ranks only slightly about Comic Sans, works wonderfully here, as it was wildly popular in the 1950s and ’60s. — Kevin Melrose
While the repeated mentions of Deadpool’s love for Mexican food can get annoying, Mike Del Mundo makes it look the best it’s looked in years on his cover for “Deadpool Kills Deadpool” #2. With everything from a fully stocked back room of explosives to a Pac-Man reference, Del Mundo brings his attention to detail, packing everything into the cover without it becoming cluttered. Indeed, perhaps the only downside to the image is that there’s so much going on, it’s possible to miss the stick of dynamite in Deadpool’s chimichanga. Del Mundo has had some excellent covers for “X-Men: Legacy,” and his “Deadpool Kills Deadpool” cover definitely follows suit. — Steve Sunu
Declan Shalvey and Jordie Bellaire set the stage for this adaptation of Frank Miller’s screenplay, which offers an even more dystopian vision of Detroit, where a hunted RoboCop may be the city’s only hope. Tattered wanted posters may be one of my favorite comic book tropes. — Kevin Melrose
From “Hellspawn” and “30 Days of Night” to “Dead Space” and “Welcome to Hoxford,” Ben Templesmith has built is career on drawing the monstrous and the demonic. And so it’s no surprise that when he depicts Joe Fitzgerald, the protagonist of “Ten Grand,” taking an Orpheus-like journey into Hell to rescue the woman he loves, that it’s a thing of horror and beauty. — Kevin Melrose
Alex Ross’ “The Shadow” #16 cover defies expectations, with The Shadow ensconced in light and everyone else surrounded by shadow. It’s clear how far outside of his comfort zone The Shadow is inside the spotlight, which Ross is able to highlight even from a far-off vantage point and without use of a facial expression. It’s a masterfully representative cover of Ross at his best, definitely a cut above other covers this week. — Steve Sunu
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