Covers of the Week -- April 25

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 go-around, The Goon goes corporate, The Twelve goes out with a bang, the New Deadwardians go to Whitechapel, the Man Without Fear goes back to the '70s (sort of) and Popeye goes full-on Kryptonian.

Keep reading for Kevin and Steve's favorites from the week of April 25, then discuss your choices in the CBR forums.

Eric Powell's send-up of DC Comics and, by extension, "corporate comics" is so hilariously over the top and delightfully obnoxious that it's difficult not be drawn in by the visual gags -- The Goon and Franky in new costumes, the spot-on Dark Horse "peel" logo -- and the biting plea for attention from the mainstream media. The clincher, though, is blurb at the bottom introducing the Multicolored Goons, because "Plots Based on Primary Colors Rule!" Zing! Remind us not to annoy Eric Powell. -- Kevin Melrose

Ian Culbard's cover is fantastic, and not merely because of the excellent layout and sufficiently horrific undead heads. The real artistry comes from the detailed map within the bloody handprint, which shows the London inner-city district of Whitechapel -- the same Whitechapel where Jack the Ripper claimed his victims. It's a subtle detail that makes a great cover all the more compelling. -- Steve Sunu

In an incredible spot-on homage to "Action Comics" #1, Bruce Ozella launches IDW's "Popeye" series in style. The best part is the smiling face of little Swee'Pea looking up at his father under the car -- not a care in the world, just complete admiration for Popeye. -- Steve Sunu

After more than four years, J. Michael Straczynski and Chris Weston conclude their Golden Age superheroes miniseries with the help of Paolo Rivera, who brings together a dozen obscure characters in one beautifully pained image, -- Kevin Melrose

Between the work of Paolo Rivera and Marcos Martin, it's beginning to seem like Marvel's "Daredevil" has a lock on the Cover of the Week crown. It's well-deserved, as this issue demonstrates: It's evocative of a poster -- or, heck, maybe even an opening sequence -- for a 1970s action thriller, a feeling reinforced by the film reel-type strip and the "Megacrime" title. It's easy to imagine words like "Black Spectre," "A.I.M." and "HYDRA" materializing amid the rapid tak-tak-tak sound of a decryption device (a la "Sneakers," a 1990s caper film with a '70s sensibility). -- Kevin Melrose

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