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 we get inside the mind of Madder Red (quite literally), Tony Stark faces the Merc in the mirror, Princess Alder makes an appearance, a cell phone shatters, and Glory walks off into the ... well, it's not really a sunset.
Keep reading for Kevin and Steve's favorites from the week of April 3, and then discuss your choices in the CBR forums.
This is where I confess to not following "Bedlam" (sorry, Nick Spencer and Riley Rossmo), and therefore I'm familiar with the plot developments. However, I will say that I find Rossmo's cover for Issue 6 incredibly creepy, and not only because the mad scientist looks like Norman Osborn. No, it's because of the incongruity between the clearly human brain and Madder Red's inhuman, almost robotic, mask. It's unsettling. -- Kevin Melrose
Kevin Maguire's homage to Bob Layton's "Iron Man" #128 cover is a hilarious take on one of the most serious story arcs in Iron Man's history. Although the story inside has all the artistic sensibilities of an '80s comic, the cover features a modern take on a comics classic. The mirror gag works well, but perhaps the most hilarious part is how terrified Tony appears when realizing his reflection is Deadpool, as though that is truly rock bottom. -- Steve Sunu
Adam Hughes brings to life Princess Alder the tree nymph, and she looks precisely how you imagine a tree nymph would like. He infuses the figure with sensuality - hey, he is Adam Hughes - without really exposing anything: Her ivy-hair cascades down her back, covering everything required for the sake of modesty (and shelving in comic stores), yet offers the tantalizing hints of what lies beneath. I also like the design solution for the book's logo, which otherwise might've covered her face. -- Kevin Melrose
I've long been a fan of Jock's work, whether it be covers or interiors (or both, as in the case with "Snapshot"), and I particularly appreciate what he's doing with this Image Comics miniseries. The artist has a firm command of color, as he's demonstrated on countless covers, from "Scalped" to "The Losers" to "Wolverine MAX," but for "Snapshot" he's more subdued, using splashes - or, in this case, a single laser line -- of red or orange for maximum impact on an image that's otherwise only black, white and gray. -- Kevin Melrose
Ross Campbell's cover for the final issue of "Glory" is delightfully sparse, using Glory's hair in a framing device that works wonders. In fact, the hair is perhaps the most impressive part of the image, tumbling around the cover as though it has a life of its own. The blue, black and white tones make it easy to appreciate the subtleties of Campbell's linework, and showing the characters walk off into the white void says in no uncertain terms that this is the finale. -- Steve Sunu