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, Batwoman and Wonder Woman draw on Pegasus, Sirocca creeps up on Diana, the Shadow knows (how to ride a motorcycle), Captain America stands tall and Daredevil swings past guns, and ammo and … bodies?
Keep reading for Kevin and Steve’s favorites from the week Nov. 21, and then discuss your choices in the CBR forums.
The talented J.H. Williams III borrows imagery from classic Westerns to depict a meeting at sunrise (or it that sundown?) between Batwoman and Wonder Woman and Medusa’s son Pegasus. Even in his sorry condition, he cuts a fine figure against a backdrop right out of a John Huston film. And of course, it’s impossible to overlook the reverse silhouette of Medusa following the curves of his decaying body like a bizarre tattoo. — Kevin Melrose â€¨
Paolo Rivera continues to produce unique and interesting covers for “Daredevil,” this time placing the Man Without Fear squarely in the center of all manner of firearms. The cover is a perfectly subtle summary of the story within, allowing Rivera to experiment with headless bodies, rocket launchers, bullets and more. The image gives the illusion of Daredevil dodging an oncoming onslaught as the headless bodies stand vigilant — an interesting choice considering Daredevil’s blindness. — Steve Sunu
Alex Ross’ covers exude gravitas, but they sometimes feel static and posed, a byproduct of his photorealistic style. Not so with his cover for “The Shadow” which, even with its muted palette, crackles with energy. The best part of the image is how the streaking bullets form speed lines around the Shadow, reinforcing the sense that his motorcycle is in motion. — Kevin Melrose
While Cliff Chiang’s Wonder Woman is always impressive, it’s the character in the background, Sirocca, that really makes this cover. Her hair forms a skull whose wisps intersect with the flame and smoke from Diana’s torch; it’s a subtle detail, but one that really pulls the image together in a less overt manner. — Steve Sunu
Paolo Rivera makes a second appearance this week with a variant cover that’s decidedly different from what we’ve become accustomed to seeing from him on “Daredevil.” For “Captain America” #1, he draws upon World War II propaganda posters to create an image of the Sentinel of Liberty standing, quite literally, against an assault by tyranny, corruption, injustice, etc. Rivera walks through the creation process on his blog. — Kevin Melrose