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.
Keep reading for Kevin and Steve’s favorites from the week of Feb. 19, and then discuss your choices in the CBR forums.
Jonathan Luna has such a wonderfully fresh and modern sense of design that his covers for “Alex + Ada” feel as if they belong on an upscale art/lifestyle/fashion magazine. You know, the expensive imported kind sealed in plastic on the shelf. Some purists might argue that a comic should look like it’s a comic, but we won’t listen to them… — Kevin Melrose
Rodin Esquejo’s “Morning Glories” #37 is just pretty. His covers for the series are always wonderful and this issue is no exception. Each detail — from the ornate design in the rafters to the texture on the ballerina’s tutu — is lovingly crafted and intricate, bringing a high level of realism to the cover. As always, Esquejo handles light and shadow well, using the footlights of the stage as a special focal point. — Steve Sunu
“Night of the Living Deadpool” #3 continues Jay Shaw’s stellar cover run on the series with exactly the right amount of color. A blood moon with Deadpool eyes is used for an impressive effect, although the real star of Shaw’s work is the mansion and the dozens of undead hands reaching out at the bottom of the image. The cover is a great use of negative space, playing on light and shadow. In fact, there are no gray tones at all in the cover, just black and white (and red). — Steve Sunu
I’m a big fan of Toby Cypress’ work, from “The Tourist” to “Blue Estate to “Rodd Racer,” and it’s nice to see him paired with writer Frank Barbiere for this Cold War-era noir/action comic. I like how the identities of the White Suits are cloaked in shadows and how the “split-panel” approach — which, as I’ve stated before, can be tough to pull off — effectively creates cause and effect, with the raised weapons above leading to the dead mobsters below. — Kevin Melrose
This is more reminiscent of the duo’s work on “The Amazing Spider-Man” or “Wolverine & the X-Men” than their more recent covers for “Uncanny X-Men,” and that’s just fine by me. Not that there’s anything wrong with what they’ve done for the current series, mind you; it’s just that here Chris Bachalo plays with scale, white space and the “camera angle,” giving us the sense that the X-Men have, indeed, been plunked down in the middle of nowhere. It’s an intriguing image with just the right touch of humor. — Kevin Melrose
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