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.
Nightwing #104
Cover by Bruno Redondo
DC
I’m fully aware that, as heartfelt and poignant as this series has been, Nightwing is also totes ridiculous. Creators Tom Taylor and Bruno Redondo have used their run to employ lots of cheesy dialogue, silly pop culture references and gimmicks, and even the ultimate crime, a dog called Bitewing (even if she’s the best dog this side of Ace). But this cover to issue #104 may be the duo’s most egregious (read wonderful) crime, as they reference that seminal battle rap GIF that’s basically a cornerstone of internet culture. Does such a silly, silly decision fit with the current storyline? Not at all — there’s a superpowered Nightwing battling Neron for crying out loud. But does it fall in line with the rest of their editorial decisions? You betcha. Even more than that, does it mean anything?! And, yeah, of course it does: I can’t think of a better way to show this new era of Titans, as they take the “throne” of DC super teams, then engaging in some totally cheesy team-building. That, and as this book has proven, there’s some real world-building and story development done through the art of celebrating bonkers internet/pop culture. If nothing else, this was the role Beast Boy was born to play.
Spider-Man 2099: Dark Genesis #4
Cover by Nick Bradshaw
We had another Carnage-starring cover featured on last week’s Judging by the Cover. This time, though, he’s decided to unleash his legion of evil tendrils and generally misanthropic behaviors on the heroes of 2099. I think there’s a few really important points that make this cover truly stand out. For one, it speaks to the universality of Carnage; his mere presence is a kind of lingua franca for fear and destruction, and he usually delivers in spade. That, and he’s the kind of foe that can move between characters (and, in the case of this book, settings and timelines) and still be super effective. But maybe more than anything, this simple but effective cover proves that Carnage’s real power as a big bad is that he sort of sucks the light out of any situation. We know these future heroes are likely to prevail, but that demonic, unblinking face, paired with that red, all-consuming goo, fosters a sense of sharp tension and uncertainty better than most villains. He may be everywhere some days, but no level of oversaturation could ever diminish Carnage.
Supermassive #1
Variant cover by Goni Montes
If you’ve been living under a rock, the Massive-Verse is an exciting new shared universe over at Image from the likes of Kyle Higgins, Ryan Parrott, Melissa Flores, and Mat Groom. The universe, which features characters from Radiant Black, Rogue Sun, and The Dead Lucky (among several others), first came together with 2022’s Supermassive. Now, they’re bringing things back together with the same book in another year, and this time things are getting doubly intense. As the heroes of those aforementioned books battle it out over the Holy Grail, we get a super great variant cover from Goni Montes. Why’s this one better than the other options? It’s not necessarily better, but I do think it does something a little novel. By spinning in some real anime energy, and giving each character their own space while blurring their respective “boundaries,” this piece delivers on the magic and chaos of an intended crossover. Not only that, but it fosters a real sense of tension and unease, which really plays up the drama needed to make this clash of crazy colorful crusaders feel all the more special. Let the superhero clash commence!
All Eight Eyes #2
Cover by Piotr Kowalski
When I saw the cover to All Eight Eyes #1, I marvelled at the sheer levels of intensity and dread that series artist Piotr Kowalski was able to tease with such lethal efficiency. Having read #1, I was doubly impressed at how the creative team quickly and effectively leapt (as if they had eight or even 16 legs even) into a tight and powerful story that is, as they promised, like Jaws meets Arachnophobia. So, what’s that mean as we gaze upon the cover to issue #2? Well, knowing what I know about this series’ start and overall pace, it actually makes this otherwise horrific cover feel all the more impactful. Like, if this is just the cover, and I know they can carry us screaming into a streamlined story, what sort of absolute nightmare can we really expect? It feels like the best instance of what covers do: tease (and maybe torture?) for what’s to come, and make us actually dread the space between our thoughts, the expectations, and what’s actually coming our way. Plus, the skeletons here look like they’re made of gum now, and that just complicates my sheer sense of horror.
Rick and Morty #5
Cover by Marc Ellerby
There’s an implicit agreement at the heart of all Rick and Morty titles. We know that Rick is a bastard, but he’s so compelling and entertaining that we afford him certain licenses. It’s why we can all get behind someone who is basically Space Satan. But in the ongoing titular series from everyone’s favorite depraved duo, cover artist Marc Ellerby plays around with that agreement in some truly effective ways. As Rick sits in space prison courtesy of “hyper tech-bro Glug Vronk,” we’re promised a seemingly obvious outcome as the rest of the family struggle to break him free. But then we see Rick’s face, stripped of its usual anti-authority lean and slight glimmer of intensity, for something all together more evil. And that one look makes the angry folks outside the cell seem all the more justified in their response. So, there we have it: a recontextualized Rick, who sits further from chaotic neutral to something a little more sinister and dastardly, which is a big thing for our relationship with this science god. And, sure, it’s a little thing, but it’s so effective in putting into doubt our perceptions of who Rick is and what he’s really capable of, and that’s why this comic needs to exist in the first place. That, and maybe even more places to feature Mr. Poopybutthole.
Exorcists Never Die #2
Cover by Sebastián Piriz
I’m bummed I missed the first issue of Exorcists Never Die. Aside from a great title, it features a solid premise: two “combat exorcists” must reunite after a “nuclear breakup” in order to raid the horrific “Hellscraper.” I think the cover to issue #2 proves that, while we haven’t missed too much thus far to hop aboard this express train to hell, the book’s already got a lot of its most important features down pat. We see the tension in the faces of our two spin-kicking exorcists, Ellen and Syd, and even feel it slightly in their body language. They’ve also got some great foes to thrash; the demons here feel just as much like snarling animals as evil ghouls, and that feels really important in ramping up the intensity of this book. Plus, even their uniforms speaks about disconnect, as it bridges the gap between something the clergy would wear and something from a series about post-apocalyptic Power Ranger knock-offs. All of it together speaks to the series’ potential and the big, bloody identity it’s already forged by embracing all aspects of its sweet premise. Toss in some cool double team moves and you’ve got my soul 1,000%.
Daredevil & Echo #1
Variant cover by Declan Shalvey
Sure, the big news last week was an all-new creative team for the main Daredevil book starting in September. But the news this week is an Echo-Daredevil miniseries co-written by none other than Taboo from Black Eyed Peas (and Deadly Neighborhood Spider-Man). And what a series it promises to be, as the long-time friends/collaborators/etc. battle Demogoblin as he “works to wake an ancient and powerful evil deep within the bowels of the city.” As far as nasty demons are concerned, the one depicted on this Declan Shalvey variant cover certainly seems like the city-devouring kind — and then some. Yet I can’t take my eye off the actual dynamic duo here — there’s something about their majesty and grace in the face of a building-sized lizard-demon that’s really beautiful and also just a little bit arrogant (in the best possible way, of course). It’s an energy that speaks to something grander about these two characters and the very specific dynamic that happens when they finally get together. Sure, it’s often to battle over-sized odds, but you can’t tell me it’s not still gorgeous to watch.
Unstoppable Doom Patrol #3
Cover by Chris Burnham
This latest volume of Doom Patrol has been great so far. Not only because it’s about exploring the team as this effective lens for ideas of society and others, or the role of the outcast in dissecting power dynamics, but also it’s just dang funny. Case in point: issue #3, and more specifically it’s cover. As Robotman and Negative Man team up against the Green Lanterns to help a “galactic fugitive,” we get heaps of comedic potential as exemplified by this cover from series artist Chris Burnham. Sure, we sort of know based on the issue’s name — “The Fast and the Nebulous!” — what they’re referencing, but there’s still so much more here. A little bit of Cannonball Run (the muscle car, mostly); a dash of Fear and Loathing in Las Vegas (the trio are a perfect stand-in for Dr. Gonzo, Raoul Duke, and the Hitchhiker); and even some bits of Rat Race (feels inevitable if Guy Gardner is involved). That’s not even mentioning that the car’s a DOOM! model. It’s that kind of joy and all-around commitment that brings the laughs while making it just subtle enough that we’re not bashed in the face with the bit and/or punchline. That, and it sort of unfolds depending on your background/viewing habits, and that’s more satisfying than a Gardner KO.
Harrower #4
Variant cover by Maria Wolf
Harrower has felt like one of those books that flew more or less under the radar. (It didn’t help that it’s only four issues total.) That’s mostly a shame because, as far as horror comics are concerned, it really hit the mark for amount of blood and gore; a prevailing sense of tension and mystery; and enough chills and some general twists and turns. It’s my hope that, if this the final bloody end, that this excellent Maria Wolf variant cover may inspire some folks to go back to the first issue and experience the horror for themselves. Wolf’s piece absolutely nails the whole Harrower character and then some — if anything, there’s a new level of brutality and a greater focus on the weird, slightly medieval aesthetic/gimmick. All that blood doesn’t so much disgust you as it fosters a sense of tension and unease, as if it’s all trying really hard to run away from the Harrower somehow. And, since is the end after all, it feels like an especially great pose you’d expect from that concluding, extra bloody confrontation. Harrower ain’t dead just yet — and that’s our problem now.
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