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 #105
Cover by Bruno Redondo and Adriano Lucas
There’s been a lot of special moments in Nightwing during the Tom Taylor-Bruno Redondo run. But after big changes for Dick Grayson, and even an issue as one massive panel, we arrive at something really fun and super gimmicky: an issue entirely from Nightwing’s perspective. Is it going to be a little hokey and silly? Yeah, like the DC version of Hardcore Henry. But could it also provide some poignant and impactful moments? Yeah, even Hardcore Henry had a little heart. That whole dichotomy is really perfect for Nightwing — it speaks to something essential about this book that’s made these decisions feel real and never just cheap ploys. And that’s doubly true for this utterly singular cover/moment from Redondo and colorist Adriano Lucas. There’s a majesty and beauty from this shot across #105’s cover — all the fear and hesitation you might expect from the bird’s eye view of Bludhaven just feels serene and also quite compelling. Like the whole world stretches on forever, and it’s ripe for endless swinging and flying. Who cares if the pavement’s right there when the world is open in such a profound way.
Ultimate Invasion #1
Variant cover by Davide Paratore
If you’re a comics fan, you know the impact of The Ultimates. It effectively redefined all of comics (not just Marvel), and there’s stories and threads still resonating to this day. So when Jonathan Hickman and Bryan Hitch teamed up to launch The New Ultimates universe, it only made sense that the world would lose its collective -ish in a big way. But can this project recapture the same industry-redefining magic? Or, is it somehow doomed to fall short? If we’re basing such a massive decision/question on variant covers, we couldn’t do much better than this Davide Paratore piece. There’s everything here that makes me thing the New Ultimates is going to be more of the same — from the understated ’90s quality (look at them muscles practically bulging) to the sheer levels of aggression (that’s among the top five angriest Wolverines I’ve ever seen) and even some design and aesthetic stuff that makes me think there’s new ideas and sentiments percolating here. To some extent, I’m cynical enough to think re-launches are a money-grabbing plot. But if they’re also this singularly intense and decidedly over-the-top, then maybe said cash grabs can be a good thing. Don’t want a new Ultimates? Try telling it to this Logan, bud.
The Bone Orchard Mythos: Tenement #1
Cover by Andrea Sorrentino
If you’re unfamiliar with The Bone Orchard Myth, it’s a horror universe told across various limited series and graphic novels. If you’re still uncertain, creators Jeff Lemire and Andrea Sorrentino have a track record that includes Gideon Falls and Primordial. And if you’re somehow still uncertain, just peep the dang debut cover from Sorrentino. It mostly tells you everything you need to know, like how there’s an apartment involved and some faceless, brain-melting horror. (More specifically, we see what “dark secrets” bind seven residents, “beginning with a death that feels much more sinister than natural.”) Beyond that, Sorrentino’s a true horor pro because he knows how to balance ideas — reality versus the unknowable void, and horror and something resembling a pristine quiet — and that dichotomy is where all the magic (read: abject, soul-crushing terror) is centered. Heck, even this shade of red is less about invoking blood (but it certainly does) and instead feels all the more elemental, like the flickering of some distant dying star or something. Put all of that together, and the only answer you really need pertaining to this book is, “Get it and be prepared to go bonkers with fear.”
The Avengers #2
Variant cover by Paolo Rivera
Sure, the “team action pose” is a little overplayed in comics. It’s like that thing in basketball where someone shoots a three-pointer and struts away before the ball went in or not. And if any comics team are pros at this, it’s the Avengers. They’ve done it for decades across mediums — it doesn’t matter the numbers, or the residing coast of the specific team, the Avengers know how to hit the pose so that everyone looks like a million dollars. That’s certainly the case for the covers to The Avengers #2; Stuart Immonen’s main cover is a solid entry in the Avengers’ canon of sick group shots. But for this fella’s money, I love the variant from Paolo Rivera and think it had a tad more oomph. Because, sure, it’s an equally sweet mid-battle moment from Earth’s mightiest squad, but look a little close. From Vision’s animal-like crouch mid-materialization to Thor’s spooky eyes and the wingspan of Captain America and even Black Panther’s teeth (!), it’s these little bits that take a great action shot into the realm of truly stirring, a piece that speaks volumes about the team and its members. Also, I’m pretty sure Iron Man’s hitting Blue Steel under his helm.
Wonder Woman #800
Variant cover by Bilquis Evely
Issue #800 is a big moment for Wonder Woman. Not only because not every hero gets to this prestigious moment but it’s also the issue when we get to meet Diana’s daughter (and thus complete DC’s New Triad). And while the resulting fleet of variant covers would normally put me in a frenzy trying to decide, the winner always had to be this stellar piece from Bilquis Evely. Not only is it just gorgeous — and captures a singular instance of all that Diana represents — but I feel like it checks off boxes in ways the other covers don’t quite achieve. Like the eloquence and grace of this Yanick Paquette main cover; the robust humanity of this Ted Brandt and Ro Stein cover; and even the decidedly left-field humor and charm of this Michael Allred cover. It’s not that these other covers don’t matter (they’re all absolutely terrific, and speak to the prowess and purpose of Diana as this long-standing hero). Rather, this Evely cover feels like it not only represents these ideas but does so in a way that feels elemental (like we’re experiencing Diana for the first time again) while presenting her in a new and vivid light to present fresh truths. If we’re going to celebrate, it may as well be in a way that’s just so dang magical.
Monomyth #2
Cover by Cecilia Lo Valvo and Marissa Louise
Once I got over the fun of stimming with the title, I realized Monomyth was no mere magic-fantasy title. No, this story — dying ancient wizard calls normie descendents to an old magic school for an evening of wonder and horror — wasn’t just another Harry Potter mutation. As we enter issue #2, the “potential wizards” have to make their way deeper into the school as they’re stalked by “shadowy apparitions.” I love that the fantasy setting shifts a bit to something more urban/contemporary; that’s always best for horror beyond the stuffy confines of some rotting castle environment. There’s also elements here — the nature of the staircase, the vivid color selection, etc. — that make me think this’ll have a more psychological spin, and that makes me even happier than the 400th example of a terrible castle ghost or whatever. And, whenever in any sort of doubt, the presence of a large skeleton can always do wonders for amping up the horror vibes and still providing a little leeway in terms of the specific “genre” of scares involved. All of that together says that Monomyth is a book with a lot of big ideas, and it’ll employ most of them in the name of shocking and scaring its readers for life. You’ve got to love when a book’s that committed to messing you up, truly.
The Vampire Slayer #15
Cover by Skylar Patridge
I don’t keep up with some of the more recent Buffy-centric titles — even as those initial stories were a great continuation of an essential franchise. But I had to take the time to talk about #15 of The Vampire Slayer given the absolutely compelling work of cover artist kylar Patridge. The issue itself promises two big tentpoles: more of a newly-returned Buffy as Slayer and Willow and Xander “caught in a snare-somewhere between snack and sacrifice.” And, pardon my robust ignorance, but I’m having a hard time deciding if this is Buffy or Willow as the cover star. Sure, it makes sense to put the Slayer on her own book — especially when a glowing heart certainly comments on her reinvigoration and returned destiny as the titular magical badass. On the other hand, this could be Willow, as the comics have always tried to explore her deeper following her, um, change of heart toward the series’ end. Does the distinction really matter? Not really; either one feels like a perfect cover star, and the sort of emotional connection readers need to further explore these tales and this big, scary universe. My money’s on Buffy, sure, but a great cover like this is always far more interested in lethally staking your emotional center than anything else.
Godzilla: Here There Be Dragons #1
Cover by Inaki Miranda
Godzilla is sort of amazing, right? Not only because he’s a giant lizard who spits nuclear energy, but that depending on how he’s written, you can do lots of different things with him. For instance, make him the big bad of some monster-infested island, or instead cast him as the savior of Tokyo. Or, push that whole idea to its natural progression and follow Godzilla around in the 1500s as he encounters Sir Francis Drake. It’s a little overly silly as far as a plot goes, but then that’s the point — Godzilla is less a monster and more of a living idea that we can use (in increasingly hilarious and bonkers fashion) to explore political ideas, history, society, culture, etc. (If nothing else, the whole history of the phrase “Here there be dragons…” is doing a lot of heavy lifting for the premise’s primary feasibility.) So, yeah, this cover makes me laugh, especially cause it’s pretty easy to see this fight ain’t going to be Ali-Frazier. But there’s other elements that extend the gag — like the idea of what I assume to be an adolescent Godzilla destroying ships, or the possibility of meeting actual pirates — and it does so with a hint of charm and a dash of self-awareness. Let this be the beginning of a new, weirder golden age for Godzilla’s many zany adventures.
Wild’s End #1
Cover by I.N.J. Culbard
Wild’s End presents a lot of ideas I didn’t know I needed in my life. Like an “alien-occupied interwar England”; ” anthropomorphized characters in the tradition of Blacksad“; and aliens like “War of the Worlds meets The Wind in the Willows.” So, how’s that all translate and/or come together? Why this excellent debut cover from series artist I.N.J. Culbard. We get some supernatural stuff, sort of like a Cthulhu story if it were told for a kindergarten class. There’s certainly the aforementioned “anthropomorphized characters” — and the fact that they give off a real Fantastic Mr. Fox vibe is just all the more charming and also important from a story/narrative perspective. And speaking of Wes Anderson flicks, there’s more of his trademark charm found throughout (albeit with a decidedly weirder twist), and I think that little spin here is a novel decision and should be an effective progression from Culbard (who also did Tales From The Umbrella Academy). This mish-mash of ideas and energies creates something charming and weird, silly and undeniably intense. It’s a synergy of sentiments that has me excited to get reading. More like Wild’s Beginning, amirite?
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