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, there’s Li’l Ultron triumphant, the fairest wolf of them all, Glory’s big — really big — battle, the worst road trip ever, and … panels?
Keep reading for Kevin and Steve’s favorites from the week of March 6, and then discuss your choices in the CBR forums.
Ultron is king of the entire Marvel playground! Skottie Young takes his cute Li’l Marvel covers to a new level with this “Age of Ultron” variant. While it has the same charm as Young’s other Marvel NOW! work, this image is just a little better thanks to the incredible expression on tiny Ultron’s face. A perfect mixture of triumph and brat, it’s tough to do anything but smile when seeing Ultron’s unbridled joy in his hour of schoolyard triumph. — Steve Sunu
Adam Hughes has been providing stellar covers for every issue of “Fairest,” with the 13th issue of the “Fables” spinoff putting the focus on more than just a pretty face. While Hughes’ Rapunzel is certainly on par with what you expect from his work, it’s the giant wolf with glowing eyes that shows off his range. Everything from the detail on Rapunzel’s coat to the placement of light on both characters is a testament to Hughes’ skill and artistry. — Steve Sunu
For the penultimate issue, Ross Campbell delivers a cover that screams “epic battle,” with Glory hurtling headlong toward the enormous gaping maw of the Knight of Thule. Campbell smartly shows only enough of the creature to communicate a sense of scale and dread, leaving it to the imagination of the reader to fill in the rest. The shocking magenta background is somehow perfect, too. — Kevin Melrose
Some artists have tried to reintroduce word balloons and thought balloons to covers, with decidedly mixed results. However, I’m pretty sure this is the first time I’ve seen someone go (virtually) all in with the comic-book toolbox, using not only narrative captions but also a sequence of panels and sound effects.Â And, to Mark Robinson’s credit, it’s pretty effective. — Kevin Melrose
Between his extensive cover work and stints on “Black Panther,” “Captain America” and his own “Black Beetle,” Francesco Francavilla has been pigeon-holed as a pulp or noir artist, a label I doubt he objects to. But with his cover for “Red She-Hulk” #63, he steps outside of that box to demonstrate he also has a flair for high-octane action. Francavilla crams so much into the image — the convertible crashing through the highway sign (“616,” no less), the pursuing S.H.I.E.L.D. helicopter, explosions, gunfire, Machine Man! — that the edges of the cover seem barely able to contain it all. It’s like something from a crazy ’60s action movie that we’re all dying to see. — Kevin Melrose