Most comic book fans have a pretty good idea what they’re going to buy every week when they visit their local comic shop. With that said, there’s still a lot of fun to be had just glancing at the week’s new releases and taking a chance on a book that looks promising. That’s where covers come in. A fantastic image can make the difference between trying something new or saying, “Nah, not this week.”
In that spirit, here are the covers that captured our attention this week, with entries from comics editor Chris Coplan.
Cover by Leinil Francis Yu
Let’s say you know absolutely nothing about Jonathan Hickman’s ongoing X-Men series. This cover is everything needed to inspire anyone to run screaming to their nearest comic book shop. Plus, this version of Savage Land feels a lot like the one from the ’90s cartoon, so that’s a +450 nostalgia points. Lastly, shout-out to using the clearly superior dinosaur, a triceratops, and not a T-Rex.
Lois Lane #6
Cover by Mike Perkins
With Greg Rucka’s still-new series, DC is shining a much-needed spotlight on Lois Lane. Here’s a character who has been at the beating heart of the DC universe for decades, and giving her a solo book is a chance to explore some deeply human ramifications of events like “Leviathan.” And Mike Perkins’ cover is especially fitting: Lois is the soul of the DC, and here we see her stoic in the face of vast suffering. Hope you like weeping, dear reader.
Ghost Rider 2099 #1
Cover by Valerio Giangiordano
I’ll admit it: the whole return of the “2099” concept has me a little nervous. I mean, it’s a cheesy re-hashing of the ’90s, a spit-shine for an artifact from a time when the actual 2099 felt so far away and not, like, next Thursday. But this “update” for Ghost Rider is especially epic, like a demonic version of a Terminator. Does it beat Cosmic Ghost Rider? Maybe not, but now I’d love to see them fight on a skyscraper.
DC Comics’ New Year’s Evil #1
Cover by Jim Cheung
As a rule, I love all multi-author story compilations; how else do you get more bang for your buck? But DC’s winter holiday special feels especially powerful. For one, it’s a great spotlight for the villains, who are having a dynamite year what with all the DCeased and Infected happenings. Plus, Mike Cheung’s cover sort of feels like a MAD magazine as made by DC in the early 2000s. Maybe it is actually good to be bad?
Billionaire Killers #1
Variant Cover by Alexis Ziritt
This new series from Black Mask Studios asks a simple question: what would happen if the rich kids of the world assembled to destroy the .0001% of the world (aka, their parents)? And as far as covers go, you can’t do much better than this here variant. The whole thing screams “Eat the rich!” in the most twisted and delightful way possible. And if the overt mix of nihilism and sex makes you uncomfortable, maybe that’s a really good thing.
The Butcher of Paris #1
Cover by Dave Johnson
If your series description is “serial killer operating in Nazi-occupied Paris in 1944,” you already have the entirety of my attention span. Yet there’s something extra intriguing about Dave Johnson’s cover: the minimalism of such a grand and terrifying topic; the cleanliness of such a bloody terrible moment in history; and the clear-cut dichotomy and balance of such boundless chaos. This cover tells a huge chunk of the story without ever uttering a word.
Over The Ropes #1
Cover by Antonello Cosentino
You don’t need to do much else to set up a winning book than just focus on pro wrestling. But then the creators upped their chances by setting this in the ’90s (one of the best periods; don’t @ me) and making this a deeply human story set among steel cage matches. The cover itself is also a wonder, like a poster for a ’90s rom-com mixed with some old Vaudeville poster. Am I excited? Oh yeeeeeaaaaahhhh!
Dead Eyes #3
Cover by John McCrea
I’ll admit to knowing nothing prior of Dead Eyes, despite being a big fan of writer Gerry Duggan. The premise seems appealing enough: a maske dhoodlum returns from retirement to break the law in the name of love. But it’s the cover to issue #3 that might win me over, the way it focuses on a such a small moment (some light B&E?) and just makes it feel deeply odd and unsettling. Quick question for a friend: can a comic book stare back at you?