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, "Bedlam" goes to school, Comedian goes head-hunting, Christian Walker and Deena Pilgrim go federal, Cyclops goes all Uncle Sam and "Fatale" goes back to the Burning Times.
Keep reading for Kevin and Steve's favorites from the week of Feb. 13, and then discuss your choices in the CBR forums.
Regrettably, I haven't been following Nick Spencer and Riley Rossmo's "Bedlam" like I should (I'll remedy that this weekend), so I can't speak to how Fraser Irving's cover relates to the story, but that image is absolutely mesmerizing, and undeniably unsettling. The empty, and presumably blood-splattered, school chairs say everything. -- Kevin Melrose
The penultimate issue of "Before Watchmen: Comedian" boasts an effective cover by series artist J.G. Jones that both illustrates the horrors of war and ties the image back into the world of "Watchmen." While Jones' depiction of heads on stakes is appropriately gruesome, with one decomposing and the other already a skull, it's the decision to add the Comedian's trademark smiley-face to the skull that really pushes this cover over the top. Even without the "Watchmen" blood spatter, it's a clever homage to the original series and the title character of "Before Watchmen: Comedian" #5. -- Steve Sunu
David Mack lends his skills to Brian Michael Bendis and Michael Avon Oeming's "Powers: Bureau" #1, his own spin to Deena Pilgrim and Christian Walker. It's a fantastically composed cover, and Mack brings his A-game with his watercolor style and excellent sense of color. Simply great use of the variant cover. -- Steve Sunu
Chris Bachalo brings a strong start to Brian Michael Bendis' relaunched "Uncanny X-Men," with a standard cover in the spirit of underground rebellion posters. Bachalo's redesigns for Cyclops' team of mutant revolutionaries work well, and the artist's cover does a good job of highlighting the main cast without losing the intended effect. -- Steve Sunu
This issue is set in the 13th century, so there's nothing particularly anachronistic about hooded monks gathered around a burning "witch," but Sean Phillips' cover is so delightfully pulpy, like something that might've appeared on a pre-Code horror comic about the evil deeds a Satanic cult. And the frozen look of terror on the woman's face is just chilling. -- Kevin Melrose