Covers can make you feel good. Like going on a Nickelodeon game show in the 90s and winning some fresh BK Knights. With Dymacels.
Other times, they might make you feel wistful. Contemplative. Haunted.
Uncanny X-Force #30
By Jerome Opeña
Sometimes you look to the pastoral sky in the hopes of an audience with the spirit of Mufasa and you end up with that guy. Poor, tragic Evan. He’s got a certain Smallville thing going here, and that’s shockingly appropriate. It’s important that the sky is so heavy, so dominant in the composition. It’s also key that it appears to be indian summer, verging on autumn. Something wicked this way comes.
It’s all about addition through subtraction with Pete and Aunt Many. Their relationship is so often defined by the loss of Uncle Ben. But that gulf–s0 hauntingly present in the empty place setting at the foreground–also brings about a stronger bond between the young man and his surrogate mother. His surrogate everything, really. There’s so much warmth here. The mood isn’t about absence and grief. It’s about what remains and of the persistence of memory.
Beatific and alarming at the same time. Cooke has, so far, made the best use of that bold, signature yellow in the Before Watchmen cover treatments. That makes the eery, sulfurous glow of the stained glass window more of a yellow-jacket sting than the golden aura of morning sun. But what really makes this so compelling is that expression of near rapture in the midst of violence. Our Lady of Wanton Despair.