The Mother of All Comics is focusing in on the leading ladies (mostly), and having them take center stage for the wall-worthy covers in MOM’S COVER WATCH for April 17, 2013.
Joyous. This cover is joy trapped in a two-dimensional image.
With Captain Marvel forbidden from flying due to a dangerous medical condition, Captain America’s flying motorcycle is her only option for transportation. With such bleak subject matter you wouldn’t expect a cover to be this joyous.
The 80’s pop art style here is vibrant and happy. It conveys the fun feel of the book, despite the troubles facing this leading lady.
This cover does not necessarily force a person to say, “WTF.” What it does do is take your breath away with how beautiful and disturbing it is.
Trevor McCarthy seems to have infused J.H. Williams III previous art style on this cover while still having his own unique stamp on the image.
The transition from nightmare to that moment when you awake in terror is done in just four simple steps but creates an overall picture that would make a great poster for those who crave darker images.
It’s Kara versus Kara and it works so well.
Mahamud Asrar has really taken ownership of Supergirl in the New 52 making her look very different from the almost bubblegum, cover model style the character used to portray. Perhaps it’s all in the hairstyle, I’m not completely sure.
Plus, Power Girl’s back to her original costume! Her back is a little arched, but her butt is not taking full front center along with her chest, so I’ll count that as a plus.
It’s about time Janine got a solo cover.
Her design in this new series has been delightful and having her in uniform, covered in slime and taking center stage is feisty goodness, even with that sour expression. She’s all business, which is a nice contrast as to how many saw her in the movies with Annie Potts screaming at the sight of every ghost that crossed her path.
The clean background was also an excellent touch because it really allows the layout to take center stage. The proton pack and Janine’s face is placed right where your eye would look first. Her stance draws your eye down and across to the head and text line. It all works together to create a cohesive cover.
All right, here is your exception to the rule. The first CDH cover for BPRD was chilling, and it continues with this newest issue.
A music-box toy figure trapped with a hellish underside creates contrast both with the eerie yellow and black (the most contrasting and easy to see colors for the human eye) and the red and black (generally considered the most evil and ominous of combinations.) This split view that utilizes both creates a tone of unease and fear all at once which I find very fun.
That’s right, I said fun.