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, we see a young Watcher, a bloody undead horde, another look at Team Drake, a trussed-up puppetmaster and just how much you can fit in the trunk of a classic American car.
Keep reading for Kevin and Steve’s favorites from the week of January 18, then discuss your choices in the CBR forums.
For a story in which Angel and Faith seek out a demon from Giles’ past, Steve Morris cleverly uses a Russian nesting doll, clutched by spindly clawed fingers, to reveal a young schoolboy version of poor, dead Rupert. — Kevin Melrose
The key to this “Key of Z” cover by Nathan Fox is color by Jeromy Cox. The neon color scheme works to great effect, with the red of the incoming zombie horde serving more as a background piece than anything else, allowing the blood on the protagonist’s jacket and weapons, along with the mandible on his gun, to be missed at first glance. With his lime green jacket, hat and blue jeans, the survivor stands truly alone in a bloody world of red and blue-green, his harmonica and angel necklace the only objects unbloodied by the carnage. — Steve Sunu
With this “Uncharted” cover, Tony Harris captures a point of view not often seen by fans of the video game: that of the enemy. Harris pays excellent homage to the comic’s source material while adding a spin that only comic books can provide. The flying bullets and grenade, the blurred sign and the nameless goon’s reflection in the side-view mirror are all a dark contrast to the orange images of Team Drake as they rush to escape their pursuer. My only question is, If the goon has both hands on the gun, who’s driving the car? — Steve Sunu
Yuko Shimizu’s more than two-year tenure on “The Unwritten” already ranks among the great extended covers runs of recent memory, standing alongside James Jean’s “Fables,” Dave Johnson’s “100 Bullets” and Massimo Carnevale’s “Y: The Last Man” and “Northlanders” (curiously, all Vertigo titles). While many of her previous illustrations have been far more fantastical and figurative, this cover for a story exploring the origin of puppetmaster Madame Rausch, is pretty straightforward — but no less effective. — Kevin Melrose
Rafael Albuquerque has worked to give the covers for each story arc their own look as the series moves from the Wild West and 1920s Los Angeles to 1930s Las Vegas to World War II to now the 1950s. For “Death Race,” Albuquerque shifts gears, drawing inspiration from advertising of the era to imbue the cover with sunny ’50s optimism and delightfully dark humor. — Kevin Melrose