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. Then, at the end of each month, they choose from the weekly winners — you guessed it! — a Cover of the Month.
This week, the Lizard’s up to his eyeball in Spider-Man, Batwoman learns what happens when you say “Bloody Mary” three times, Daredevil keeps watch over Hell’s Kitchen, we wonder what’s behind the blue-green door and go leaf watching in space.
Keep reading for Kevin and Steve’s favorites from the week Aug. 15, and then discuss your choices in the CBR forums.
The Lizard has played a major role recently in Spider-Man’s life, and this cover is a great reflection of that (pun intended). Giuseppe Camuncoli’s linework is, as always, impeccable, but it’s the layout and structure that really sets this image apart. While it’s easy to see Spider-Man reflected in the Lizard’s eye, the artist takes detail a step further with a reflection of the surrounding circular sewer tunnel environment, thus creating the illusion that Spider-Man is reaching out to the reader from within the Lizard himself. A very cool and subtle optical illusion. — Steve Sunu
I like when creators of superhero comics borrow elements from horror — not the decapitations, guttings and other gore that have become a trademark of a certain brand of mainstream comics, but rather honest-to-goodness bone-chilling horror. J.H. Williams III and his collaborators have been playing in that sandbox since launching “Batwoman” last year, pitting Kate Kane against manifestations of urban legends like the Weeping Woman, the Hook and, here, Bloody Mary. Any reader who, as a child, braved the darkened bathroom at a sleepover, looked in the mirror and, with voice quivering, chanted “Bloody Mary! Bloody Mary! Bloody Mary” will likely shiver when looking at Williams’ cover for “Batwoman” 12, in which Kate is pulled into the looking glass by the snakes spewed from Mary’s bloody mouth. — Kevin Melrose
Mike Allred’s cover for “Daredevil” #17 is a stark — but not unwelcome — departure from the series’ usual run of covers. Allred’s Daredevil stands large over the city, with the artist’s instantly recognizable style shining through. However, it’s the rings of radar sense emanating from the character’s head, engulfing the city that really make this shine as one of the best of the week. — Steve Sunu
Everything about the covers for “Fatale,” the noirish horror series by frequent collaborators Ed Brubaker and Sean Phillips, has been simply spot-on, from the immediately identifiable white border, to the simple but elegant logo to the use of color (lots of grays and white, typically with eye-drawing splashes of red, blue or orange). Phillips’ keen sense of design is second only to his skills with a brush. Here I love the contrast between the pale figure of the woman, clearly being pursued, and the blue-green door. — Kevin Melrose
It’s difficult to believe that Fiona Staples can deliver consistently amazing covers for “Saga” — but it’s clear that she’s in it to win it. Staples’ latest is a beautifully painted image that blends the vast emptiness of space with the vibrant colors of nature for an incredible effect. Although it’s rare to find an iconic cover lacking a character in some way, shape or form, Staples manages to pull it off with a leaf trail and a blue glow emanating from the center of the cover. The superimposition over the blackness of space only serves to further highlight Staples’ incredibly detailed linework on each leaf. — Steve Sunu