Tag Archives: book covers

Friday Faceoff – The 60s isn’t over until the fat lady gets high… #Brainfluffbookblog #FridayFaceoffscifi60scovers #SciFiMonth2019

Standard

This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is currently being nurtured by Lynn’s Book Blog and this week we are featuring SCI FI 60s COVERS. I’ve selected Chocky by John Wyndham. I’m linking this post with Sci Fi Month 2019.

 

This Turkish edition was produced by Delidolu Yayınları in April 2018 – I love this one. The quirky 60s vibe with the restrained colour palette and the funky font is delightful and really eye-catching. This one is my favourite.

 

Published in August 2015 by NYRB Classics, this is another cover that goes back to the 60s sci fi psychedelic vibe for its influence. I love the vibrant orange colouring – also a 60s favourite and the patterns. Unfortunately that dreadful textbox is also a 60s feature, slapped across that lovely artwork and complete with a boringly forgettable font that disappears in thumbnail. Otherwise this cover would certainly have been a contender.

 

This Bulgarian edition, published by Георги Бакалов in 1979, is far more about the 1970s than the 60s. That is definitely a 70s haircut, and while I understand what they are trying to achieve, I think this effect manages to make poor Matthew look more like an alien. Frankly, I hate this one.

 

This edition, produced by Penguin Classics in March 2010, has really grown on me. I love the outline drawings and trying to make out exactly what is going on. The clean, uncluttered effect is complemented by that iconic 60s font, which really pops. This is clever and original – and runs a very close second to that first cover as my favourite.

 

This edition, published in 1987 by Penguin is the successful version of what that Bulgarian edition is attempting. The red colouring really pops against that fabulous title font, while that fractured stare of the young boy is both eye-catching and creepy. My trouble with this offering is that the genre it projects isn’t quirky sci fi featuring a young schoolboy and a curious alien who became his pretend friend – it looks more like a horror tale… Which is your favourite?

Friday Faceoff – I send my words through Time and Space to greet you… #Brainfluffbookblog #FridayFaceoffFuturisticcovers #SciFiMonth2019

Standard

This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is currently being nurtured by Lynn’s Book Blog and this this week we are featuring FUTURISTIC covers. I’ve selected the classic sci fi adventure Use of Weapons – Book 3 of the Culture series by Iain M. Banks. I have linked this week’s Friday Faceoff to @SciFiMonth2019.

 

This edition was produced by Orbit in March 1993. I like the colour tones of the cover, but I’d like that cool, futuristic city to be more visible, rather than lurking in the background. And while I’m aware that it is Banks’ name that is selling the book, the title font is all but invisible in that colour against the background, the minute this cover gets minimised.

 

This French edition, published in November 2011 by Ailleurs & Demain, far more successfully evokes the feeling of a far future settlement. I love the use of those cool blues… This one would have been my favourite, but for that hideously ugly textbox plonked off-centre as a complete afterthought. What a shame!

 

Published by Le Livre de Poche in September 2007, this French edition is the reason why I picked this book for this subject. I love this scene with the huge mothership looming above with the nippy fighter craft zipping about and all those cool-looking futuristic weaponry on display. The title and author font has a pleasing synergy with the tone and feel of the cover design. I think this one nails it and is my favourite.

 

This Hungarian edition, published by Agave Könyvek in 2006, takes a different approach. I get the sense that you wouldn’t want to be sitting in that chair with all those nasty, sharp-looking armaments pointing at you… This cover radiates an effective sense of menace, but the title font is again, very underpowered when set against that punchy artwork.

 

This German edition, published in April 2015 by Heyne Verlag, is a great spacescape – what’s not to love? While it hasn’t got the cool detail of the French edition, it’s space, baby! And both author and title font also are effectively displayed and complement the design. Which is your favourite?

 

Friday Faceoff – I would love a robot butler… #Brainfluffbookblog #FridayFaceoffrobotcovers #@SciFiMonth2019

Standard

This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is currently being nurtured by Lynn’s Book Blog and this week we are featuring ROBOTS. I’ve selected Robots and Empire – Book 4 of the Robot series by Isaac Asimov. I’m also linking this post to @SciFiMonth2019.

 

This edition was produced by Voyager in 1996 and you can clearly see the influence of the Terminator films in this iteration of the robot. I really like this offering. The artwork is uncluttered by a lot of chatter and there is something innately disturbing in watching him attach that arm. The author font – the main selling point – is also looking awesome, for a pleasant change.

 

Published in November 1986, this is one for those who like their covers old-school sci-fi. The detailed artwork, the figures in the middle of a dramatic moment and the lumpy font, complete with a flashy textbox adding some sales patter gives this cover a 50s/60s feel. I think it really works.

 

This hardcover edition, published by Doubleday & Co Inc in August 1985, features the font in a metallic, futuristic style that I love. This cover makes such a statement! I love the extra details of the robot and human protagonists depicted in those boxes, which are highlighted by the patterning. I love the clean, no chatter approach which means we get to enjoy the design without any needless distractions. I’d like to think this is a highly embossed cover. It is my favourite.

 

This Spanish edition, produced by Plaza & Janes Editories Sa in January 1991, instead, zooms in on the robotic face. It grabs our attention with that oh-so-human gaze. I also really like this one. But while I like the bright yellow colouring on the fonts and the quirky slant – I’m not sure exactly what that blue textbox is supposed to represent. It distracts my attention from that amazing face and yet doesn’t seem to be part of the overall design, which is a real shame. This one would have been contender, otherwise.

 

This hardcover edition, published in September 1985 by Grafton, is another gem. I love this classic old-school cover with those lovely Metal-Mickey type robots toiling away – the blue-grey is beautifully highlighted against that gorgeous orange/red backdrop. And that punchy font works fabulously well – yes again, no clutter, no chatter, no textbox *swoon*. I’m in heaven. If it wasn’t for that fabulous Doubleday offering, this would be my choice of the week. What about you – which one do you prefer?

Friday Faceoff – When all else fails: explosions… #Brainfluffbookblog #FridayFaceoffcoverswithexplosions #SciFiMonth2019

Standard

 

This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is currently being nurtured by Lynn’s Book Blog and the subject this week featuring on any of our covers is EXPLOSIONS. I’ve selected Cibola Burn – Book 4 of The Expanse series by James S.A. Corey – see my review of Leviathan’s Wake. I’ve also linked this week’s meme with @SciFiMonth2019, given this epic space opera series is such a success.

 

This edition was produced by Orbit June 2014. I love the big, blockbuster feel of this cover, which really suits the feel of this large-scale epic space opera series. This is the default cover from which many of the others are derived – and with good reason, given the drama it engenders. I also like a punchy orange title font and the large blocky design, giving a slightly retro feel to the book design. This is my favourite – it looks good both full-sized and in thumbnail.

 

Published in November 2018 by MAG, this Polish edition has opted for a completely different feel. Gone is the large space station, the flaming debris from a disintegrating ship – we don’t even have a distant nebula or starscape to relieve the ink-black background. There is just a drifting astronaut with a bunch of cables… In thumbnail, you cannot make out what is going on – and given this was only released last year, that is a fundamental error. The feeble font is all but eaten up by that black background and certainly doesn’t prevail once the cover is shrunk. I think this is bleak and boring.

 

This Serbian edition, published by Laguna in June 2016, is more like it! I love the way the central artwork is highlighted with that dramatic red backdrop, so those tentacles waving in the air take centre stage. The lightning streaking through that awesome title font is also a lovely touch, as it the nifty little shuttle perched on the rocky outcrop off to the left. Overall, I really like the eye-catching drama of this offering – a huge improvement on that previous dreary effort. It is so nearly my favourite…

 

This Italian edition has gone back to the original cover for inspiration, enlarging that exploding piece of space debris and making the title a bit funkier. I think this gives the cover extra visual drama, as that blazing explosion really stands out, but it is at the expense of the monumental scale of the original cover, which I think works better. Though it’s SUCH a close-run thing… ask me tomorrow and I’ll probably vote for this one, instead.

 

This Russian edition, published in June 2018 by Эксмо: fanzon is also another cover which offers an epic overview of a dramatic space battle. The colours are more muted, but I love the artwork and I think the scene is beautiful. The detail of the dreadnaught in the centre of the cover is fabulous. However, while I absolutely love it as a piece of artwork, I don’t think it ticks enough boxes as a cover. In thumbnail, once again, it’s too dark. And the title and author fonts fail to sufficiently stand out. Which is your favourite?

 

Friday Faceoff – Gray is the queen of colors, because she makes everyone else look good… #Brainfluffbookblog #FridayFaceoffgreycovers #@SciFiMonth2019

Standard

This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is currently being nurtured by Lynn’s Book Blog and this week we are featuring GREY COVERS. I’ve selected Red Moon by Kim Stanley Robinson.

 

This edition was produced by Orbit in October 2018 – and was the cover that came to mind when I thought about this challenge. Being a simple soul, I do recall wondering why the cover was so determinedly not red, given the title. I think it is a strong simple design, unfortunately compromised by all the chatter clogging up the overall effect. For once, I really like the stark, plain title font and I think the textbox at the bottom of the page has been done well, too. A shame about that chatter…

 

Published in September 2019, this cover has taken the basic design from the previous year and has tweaked it, somewhat. The figure is offset, which I think is more effective and I also like the red font, giving a nod to the title. It also nicely stands out from the otherwise monochromatic colour palette. I prefer what they’ve done with the author font, too, given that will be the selling point of this book. Overall, the effect is cleaner and more visually appealing than the previous offering and this one is my favourite.

 

This Russian edition, published by Эксмо: fanzon in March 2019, still features an astronaut, but they have gone for a classic spacescape with Earth in the background. I like the pulse of red courtesy of the Chinese flag in the background, but I do think the title gets a bit lost for this to be really effective.

 

This Italian edition, produced by Fanucci in January 2019, is, instead, featuring that red moon. Trouble is, it is all but obscured by the dust on… the moon? That doesn’t make any sense. And neither does the fact we can’t see any stars in the background. I hate this cover for being idiotic at best and plain misleading at worst. If this was a fantasy adventure, it wouldn’t be so bad – but it’s hard sci fi. What does work for this cover is that funky title font, which I really like.

 

This German edition, published in August 2019 by Heyne Verlag, has taken another angle. This one works really well – I love the pop of red from the flag reflected in the visor. It’s a really cool design, both eye-catching and effective. The main reason this one isn’t my choice as the cover of the week, is that the title and author fonts are simply not striking enough. But it was a close-run thing. Which is your favourite?

Friday Face-off – In Space no one can hear you scream… #Brainfluffbookcovers #FridayFace-offscreamcovers

Standard

This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is currently being nurtured by Lynn’s Book Blog and the subject this week featuring on any of our covers is a SCREAM. I’ve selected Alien by Alan Dean Foster, as it could be argued that the tag is about a scream. And any crew member who encountered the alien at close quarters certainly ended up hollering.

 

This edition was produced by Grand Central Publishing in March 1979. Unusually, the film came first, then Alan Dean Foster was commissioned to write the Alien novels. This cover features that famous tagline from the movie, while the image featured shows a cracking egg. I think this is an incredibly dreary, and rather boring cover when considering the amazing visual impact of the film.

 

Published in September 2015 by Aelph, this Portuguese edition actually features the alien in all her spooky glory. I choose to think she is really very cross about human beings infecting her planet as she’s heard they are terrible for the environment. Or maybe she is suffering from a hangover – whatever it is, she is clearly very grumpy. As a cover, this is far more effective than the previous offering.

 

This edition, published by Nova Cultural in 1987, also hails from Portugal, but this time around features some original artwork, presumably of the aliens’ planet. I do love the title – The Eighth Passenger which I think is far more satisfactory than Alien.

 

This Portuguese edition – they were clearly a bit obsessed about this book – was produced in 1979 by Abril. I’m pleased they decided not to pinch any artwork from the film and I think the image is really striking. What spoils it for me is that white textbox splatted across the top of the design, which really undermines the effect of the design.

 

This Hungarian edition, published in 1987, is my favourite. I love the artwork, which puts me in mind of some of the quirky modernist science fiction covers of the 1960s and 70s. Featuring that fateful moment when a hapless crew member from Nostromo picks up one of the lethal eggs, it has plenty of drama. I also love the artwork in the background, which has echoes of the amazing set in the film. I think it’s striking, well designed and the best cover here by a long country mile. But what do you think – which is your favourite cover?

Friday Faceoff – This life at best is but an inn, and we the passengers… #Brainfluffbookblog #FridayFaceoffinncovers

Standard

This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is currently being nurtured by Lynn’s Book Blog and the subject this week featuring on any of our covers is INNS. I’ve selected the wonderful classic, Jamaica Inn by Daphne du Maurier as I loved this rightly famous classic and have actually visited the site where this adventure is set, where there is now a museum devoted to the dark story of Cornish smuggling…

 

This edition was produced by Virago Press in Mary 2003 and is a strong contender. I love the drama of that red lettering against the scrollwork and in a long, long list of thumbnail covers – this one really pops. I’m aware there isn’t an inn on this edition, but I think the styling gives a sense that it is a historical adventure. I also like the lack of clutter on the cover.

 

This edition, published in 1983 by Pan Books, made the cut because that the image of the inn lurking in the background is uncannily like the museum housing the Jamaica Inn collection. A pity about the doe-eyed female wafting about in the foreground, though.

 

Published in paperback by Arrow in 1992, this edition is also a very near miss. The Cornish landscape is so well depicted here, with the ferns and heather crouching in the foreground and Mary staring at the unprepossessing building sprawling in front of her, that I had thought it would be my favourite. Another major plus for me – the strong fonts, lack of text boxes or chatter across that lovely image to spoil the overall effect.

 

This hardback edition, published by Sun Dial Press in 1937, knocks all the others out of the court. I apologise for the size of it – I generally don’t feature covers that I cannot get to full size. But this cover is good enough to break my rule. What a great effect that gateway provides, with the swinging sign giving the name of the book and author. The puddled, potholed track gives a sense of the dilapidated state of the place, while the girl whose skirts are swirling in the wind blasting across the moor, adds to the sense that all in not well. The aura of brooding menace leaps off the cover and makes this my favourite.

 

This Spanish edition, published in March 2018 by Alba, also gives a sense of the gothic suspense lurking in the building. I like the monochrome effect of the building against the black sky, though I do question the choice of the author text also being in black as in thumbnail mode, it simply disappears. Which is your favourite?

Friday Faceoff – Once Upon a Horrible Time… #Brainfluffbookblog #FridayFaceofffrighteningfairytalecovers

Standard

This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is currently being nurtured by Lynn’s Book Blog and the subject this week featuring on any of our covers is 60s HORROR. I generally don’t read horror – I certainly didn’t read it in the 1960s when I was a child. Except… someone gifted me with a beautifully illustrated copy of Grimms Fairy Tales. WHAT WERE THEY THINKING??? They terrified me. Some of the characters regularly featured in my more lurid nightmares. So this is my offering for this week’s theme. Have you read this collection?

 

This hardback edition, produced by Nelson Doubleday Inc in 1963 wasn’t the edition that I recall, but it was quite similar. And yes – I still think it’s very creepy and not really appropriate reading material for a precocious, rather over-imaginative little girl prone to nightmares. That cover hints at the horrors lurking within the stories for all it’s colourful, apparently child-friendly boldness and clear font. I hate it…

 

Published in March 2019, this Kindle edition isn’t pretending to be appropriate for children, thank goodness. That Rapunzel is clearly looking distressed and that wood is creepy, while the font isn’t in the jolly primary colours designed to lure unsuspecting kiddies. This is much better!

 

This edition, released in May 2014 by Red Skull Publishing is also clearly designed for adults who prefer their fiction on the darker side. That image on the cover isn’t remotely child-friendly and while the stories are staples of the nursery, these versions are all far more savage, as the cover makes clear.

 

The Kindle, released in May 2016, has gone for a very pared-back effect. I really like it. The classic red on black/dark brown gives a sense of menace and that ribbon of red becoming increasingly clawed as it snakes down the cover is simple, yet very effective. And for once, I am not going to moan about the plain font, which works well with the overall design. This is my favourite – not going to remotely appeal to any misguided adult looking for an engrossing read for their child, or said child with pocket money burning a hold in her hot little hand.

 

This paperback edition, released in February 2019, has used this cover for a variety of editions, including one said to be suitable for children. Looking at that wicked old crone and those lost children, I have my doubts… Frankly, it’s the Blair Witch Project of its time, as far as I’m concerned. Which is your favourite? Is there a book that you were given as a child that terrified you?

Friday Faceoff – When darkness falls, beauty is lit from within… #Brainfluffbookblog #FridayFaceoffFREEBIEcover

Standard

This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is now being nurtured by Lynn’s Book Blog and this week we have been given the chance to feature whatever we like. I’ve gone for a wonderful science fiction read about an autistic young man set in the future called The Speed of Dark by Elizabeth Moon…

 

This edition was produced by Del Rey in June 2005 and is a real contender. I love the image of the haunted-looking young man – the blurring effect of the light and the quirky positioning of the title. My main grizzle is the chatter in the bottom left of the cover which I think compromises the design, though at least it has been positioned with some thought.

 

Published in May 2004 by Ballantine Books, this Tenth Anniversary edition is another effective cover. The interlocking pieces making up the whole image, which is still off-centre creates an eye-catching, arresting effect. However, the title font is underpowered and boring, while that ugly textbox is completely out of place, especially given the strong colour draws the eye away from the otherwise muted design palette.

 

This offering, published by Ballentine Books in March 2004, is the least successful effort. The child’s windmill is evidently supposed to look as if it’s spinning at speed, but ends up looking like a poorly executed blur. This effect is emphasised in thumbnail, where the binary sequencing manages to make the whole cover look out of focus. I don’t like the limp title and author fonts, or the chatter cluttering up the design, either. A book this awesome deserves a far better cover.

 

This next cover was released in December 2010 by Hachette. I love the drama of the splinters of light flying off across the cover, while the dark purple corona against the black background looks beautiful. This cover certainly stands out from the others with the sheer visual drama. For once, both the title and author fonts are substantial enough to stand out from the design to be easily read, which surely ought to be their purpose, anyhow. This is my favourite.

 

This Polish hardback edition, released in May 2005 by ISA, is also a contender. I love the purple image of the young man with the silvered eyes, while the play of light in the background is beautiful and eye-catching. This one was so very nearly my favourite – which is yours?

 

Friday Faceoff – Season of mists and mellow fruitfulness… #Brainfluffbookblog #FridayFaceoffautumncovers

Standard

This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is currently being nurtured by Lynn’s Book Blog and the subject this week featuring on any of our covers is AUTUMN. I’ve selected The Thousand Autumns of Jacob de Zoet by David Mitchell, which I absolutely loved.

 

This edition was produced by Random House in June 2010 and is an extraordinary design. The Japanese landscape is depicted in bold bright colours and for once, I cannot quarrel with the treatment of the font, which has been given a 3-D effect – I suspect so that it resembles those boxed Japanese landscapes you often see depicted in ivory. I love this – it’s quirky and different, yet beautiful, just like the book. This one is my favourite.

 

Published in March 2011 by Sceptre, this edition is another lovely effort, though completely different from the previous cover. The Japanese woman, half turned towards the reader, offering an apple, is both eye-catching and appealing. I love the way the apple contrasts with the muted blue of the kimono and background. The fact they are the same shade shouldn’t really work – but I think they do. And the font lettering is also beautiful. I may be influenced, because this is the cover of the book I owned, signed by David Mitchell. While I don’t love it quite as much as the previous offering, I still find it very appealing.

 

This Serbian edition, published by Laguna in 2013, goes back to the Japanese landscape for inspiration. Another lovely rendition – I do like the shadow effect of the leaves around the sky. And this one is clearly depicting the Japanese trade delegation on the island of Dejima watching the foreigners approach in their boats, so I appreciate the fact it relates directly to the story. Another attractive, well crafted cover.

 

It wasn’t until I saw this Croatian edition, published by Vuković&Runjić in 2014, that I realised how relatively rarely pouring rain features in a landscape. And here it’s coming down in stair rods – that chilly, miserable soaking stuff that drills right through to your bones so that you feel you’ll never be dry or warm again… Again, I also love the treatment of the font – this was so very nearly my favourite.

 

This Thorndike Press edition, published in January 2011, is another gorgeous affair. This is again, a typically Oriental setting with the beautiful fire-red acer trees blazing out amongst the sculpted order of the Japanese garden, with the classic bridge over a stream. The colours are lovely and so is the setting. This one was yet another close contender. This week, there isn’t a dud amongst my selection, so I’m fascinated to see which you will choose as your favourite… unless you dislike all of them, of course!