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 March 19, and then discuss your choices in the CBR forums.
Rafael Albuquerque’s cover is a nice return to the series — especially for those who have been following the series since its inception. The cover echoes the artist’s work on the first issue, all the way down to the profile shot of Pearl Jones’ neck. That said, Albuquerque has evolved significantly as an artist since that first “American Vampire” cover, and it really shows in this effort. Albuquerque has subtly aged Pearl and managed to represent her peaceful lifestyle in a single image, even as he gives longtime readers an update on the status of Skinner Sweet. It’s a very difficult line to walk, and the split cover does its job well — giving readers a sense of what’s to come while also maintaining a strong link to the series previous. — Steve Sunu
It’s rare that two covers for the same issue crack Cover of the Week, but Rafael Albuquerque and Jae Lee’s are images are so striking — and strikingly different — that we made room for both. Lee’s illustration is nothing short of haunting; it’s easy to imagine the sound of the gibbet as Skinner Sweet’s body swings at the end of the rope. However, the most unsettling element is, quite obviously, the bloody vulture’s head in his mouth, suggesting he’s been dangling for quite a while and is either fending off scavengers or in need of nourishment. — Kevin Melrose
Riley Rossmo’s cover for “Curse” #3 is cool in the way it plays with outlines and solid colors. The focus of the image becomes the beast within the central figure, and from there, the eye is drawn to the chains and bear traps scattered around him. It’s a nice way to illustrate the concept of werewolves that can really only be presented in comics. Special props go to this cover for the subtle line of blood running down from the central character’s eye all the way down his body. — Steve Sunu
Alex Ross is well known for his iconic depictions of superheroes, from Superman to Wonder Woman to Captain Marvel, but his covers for “The Shadow” may be some of his best recent work. Ross’ unique blend of hyper-realistic detail and saintly lighting lends itself well to the pulp hero. — Kevin Melrose
Andrew Robinson absolutely kills it again with a cover for this miniseries, a 1960s tale of Cold War espionage. While most covers zoom in on primary characters, here Robinson pulls back, allowing the reader to get a wider view of the action as Winter Soldier attempts to punch his way through the roof of a train while elite Hyrda agents rush from one car to the next. But the best element is, hands down, the logo treatment, with the enormous “WINTER” evoking both the play of light on the window of a moving train and the railroad ties beneath, and the “SOLDIER” that twists and turns with the billowing smoke. It’s just beautiful. — Kevin Melrose
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