Most comic book fans have a solid idea about what they’re going to buy every week as they descend upon 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, funny, scary, etc. 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. This is Judging by the Cover.
The Amazing Spider-Man #24
Cover by John Romita Jr.
Depending on the story, Norman Osborn and Peter Parker are like peanut butter and jelly — or peanut butter and jelly if one tried to kill the other and there were lots of patriarchal undertones. Which is to say, theres is a complicated relationship, and one that’s evolved over decades to where we stand at issue #124 of The Amazing Spider-Man. If you’re up to date, you may already have an idea of what’s going on. And if you’re not, it’s still pretty clear that the pair are currently situated on the “let’s work together” end of their relationship spectrum. But it’s not all good times; there’s some deeply somber energies to this piece, and it casts a heavy cloud over a story that promises to blur the boundaries between hero and villain. The fact that everything also feels sort of cold and distant on top of those truly uneasy vibes just goes to prove the many, many layers to the Parker-Osborn dynamic, and why it’s such an integral part of comics lore. Whatever happens, it’s going to be another one for the books for Park-born.
Superboy: The Man of Tomorrow #1
Variant cover by Joe Quinones
Oh Conner Kent. You’ve had such a weird and wild place in comics history. That leather jacket and devil-may-care attitude have always put you to the left of the Super Family, a place that’s going to be of great importance as Kenny Porter and Jahnoy Lindsay kick off a brave new era for the Super Black Sheep. There’s a certain wisdom to Conner as he comes off the trials and tribulations of Dark Crisis — he’s in a strange new universe, and he’s trying to find his place. Where said place is I won’t spoil at all, but suffice to say we can expect some maturity and depth from our boy with the greatest haircut in all of DCU. But just to prove he’s not changed too much, peep this excellent Joe Quinones variant cover. OK, he’s not exactly a rebel spray-painting walls (and rocking the holster thing), but it captures something essential about Conner: he flies to the beat of his own drums, and he’s always going to be exactly who he is. And this cover, and story, lets us celebrate that rebel orphan with a heart of gold.
Mighty Morphin Power Rangers #107
Cover by Taurin Clarke
I’d say after 107 issues that I should either really commit to finally reading Mighty Morphin Power Rangers or just stop kidding myself of this clear and unrelenting delusion. But then we get this amazing Taurin Clarke cover, and I have to keep telling myself there’s a reason this book perpetually remains on my “one day” reading pile. Do I need to know what’s going on here contextually to care? Sure, couldn’t hurt. But regardless, this singular image rips at the seams of my childhood in such a profound and unsettling way. Do I also hold out a single grain of hope that there’s a reason for this and not that this pure hero from my earliest pop culture development has somehow lost the plot? Yes, and that foolish bit of optimism just makes this cover all the more effective. So, while I can’t say that I’ll actually pick this book up because of this one cover, I also can’t really say that this isn’t the time when I finally break down. It’s personal reevaluating time!
The Forged #2
Cover by Mike Henderson
One of my earliest memories — when I actually remember “coming online” — is watching The Toxic Avenger at my dad’s house at the ripe old age of 7 years old. Do I think that movie explains a lot about who I am? Sure, but I won’t go so far as blaming it. But what it did teach me is that there are certain images that can have a power over you (like the bathtub scene), and while I can’t say The Forged is nearly as elemental in its efforts, it’s clearly taken notes in the sheer effectiveness department. Mike Henderson has crafted an image that’s sure to weasel its way into someone’s head, mixing body horror, anime, superhero comics, and the maddash world of 2000 AD into something both maddeningly cool and a little disturbing. It’s as serene as it is agitating; primal as it is forward-looking; and inspiring as it is sort of scary. The fact that the book itself (at least thus far) has backed that up (and then some) is in and of itself cause for celebration.
Billionaire Island: Cult of Dogs #6
Cover by Steve Pugh
I love the work of Mark Russell — he’s the Batman of satire. His work on recent titles like Superman: Space Age, for instance, shows the gravitas and skill he takes in carefully lampooning ideas like progress and liberal politics. And if you ever want to see what happens when he goes all Doomguy on proper satire, just grab a copy of Billionaire Island: Cult of Dogs. Here, he and artist Steve Pugh continue the story of Billionaire Island‘s downfall and its eventual, um, resurrection courtesy of Business Dog. But enough about the story — Pugh’s own cover shows the pure brute strength of their blend of satire, crafting an image that feels equally scary and silly to facilitate big ideas. It’s one of those things you stare at waiting to decipher, and that whole time it just sort of oozes into your brain and throws off your very equilibrium. If you somehow right yourself, the book itself is bound to send you for a loop before you close the final page.
All Eight Eyes #1
Variant cover by James Stokoe
This creative team — Steve Fox, Piotr Kowalski, Brad Simpson, and Hassan Otsmane-Elhaou — first teamed up for a story in the excellent Razorblades: The Horror Magazine. But their follow-up of sorts may somehow be even more terrifying and intense. Described as “Jaws meets Arachnophobia,” the book takes us to “the forgotten corners of post-9/11 New York City” for a war against man and giant spiders. And while artist James Stokoe isn’t a full member of the team, I’d like to think his variant cover sets things up pretty nicely for the rest of the squad. His line work makes not only for properly disgusting spiders, but I think he captures the uncertain, chaotic energies that infuse the story’s setting. That, and he also manages to capture something magical about NYC, and that feels important to developing a huge “character” in this story. It’s so good, in fact, that I had to check if Marquis De Hot Dog is real, and now that it’s not I don’t care if the spiders eat everyone in the entire city.
Hitomi #5
Cover by Carlos López
Should you have already been reading Hitomi over these last few months? No way, who would ever like a poignant story about revenge and friendship set in feudal Japan? But if you want to make it up to me and the creative team, at least take a few minutes to peep the covers so far. Not only are they truly compelling work from a series of talented artists, but they tell a story of sorts. One about not knowing your place in the world. Of facing your fears despite the idiocy of such an act. Even of trying to make the best of a really awful situation. So, then, what sort of message or theme does the cover to the grand finale hold or perpetuate? Well, the wounded warrior would tell you that it’s maybe ideas of bravery and courage, and those are certainly correct. But it’s also this idea that, at some point in life, we reach a moment where the only victory is to continue further into the gaping mouth of pain and uncertainty. It’s not about some hackneyed idea of perseverance like this is some awful Nike commercial, but finding composure when the world runs red. Now, just think what kind of magic lies ahead if this is only the dang cover?
Nightwing #103
Cover by Bruno Redondo
Even if you’re only an occasional reader of Judging by the Cover, you should already know what we think of Nightwing around these parts. The book continues to be stellar, both uplifting and celebrating the superhero form (and its messages on morality and companionship) while entirely subverting these same themes/motifs. And that’s sort of why I love artist Bruno Redondo’s cover to issue #103. Because, yeah, the whole thing feels a little meta in that it’s part of a story but also that this could be from an actual corner shop in Bludhaven. The thing is, we get to see and/or enjoy both, and that sort of puts the reader into a novel place that only this specific book could ever really facilitate. We are both consumer and character, and that kind of feat is part of why this book feels so inviting for so many fans and why it also does a ton for making Nightwing (especially as he’s meant to be in Dawn of DC) feel all the more vital and important in this shimmery new era. Also, can anyone tell us just what is the mascot of the Bludhaven Brawlers?
House of Slaughter #14
Cover by Mateus Manhanini
I hope it comes off that I put a lot of thought into these entries. I’m just desperate enough of a person that I hope my own “art” (i.e., pop culture criticism) is thoughtful enough that people might say, “Cool.” And so I often pick covers that illicit a lot of complex mix of feelings and ideas so that I might dissect them for your viewing pleasure. But other times, as is this case with this House of Slaughter cover, I choose it ’cause it’s dope as heck. It helps that HoS is a solid book, and it continues to expand the universe of Something is Killing the Children in new and intriguing ways. But it also just brings the blood and guts and ample attitude as with this Mateus Manhanini piece, which sort of blows by context and storytelling to grab readers by the lapels and disturb and excite them in equal measures. Does any sort of context help? Yeah, but then you lose some of that visceral magic and the initial shock of being faced with something you really can’t turn away from. I hope this column captures even one iota of that very sentiment/approach.
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