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.
Knight Terrors: Wonder Woman #1
Cover by Jae Lee
Another week, and another round of Knight Terrors tie-in titles has arrived. This week especially seems to be packed with A-listers and heavy hitters, with titles from Wonder Woman, Superman, and Nightwing. And, yes, as I think some of our coverage has shown, it’s been a pretty solid bag of comics goodness even as there’s been some noticeable downsides. But the one place all of these titles have done well enough is the covers, and that feels extra true for this Wonder Woman tie-in. First and foremost, we’re getting a “reunion” of Wonder Woman and the rest of the Justice League Dark, and that in and of itself is a victory. But artist Jae Lee doesn’t rest on such lofty laurels and he puts in some real work. It’s a subtle, understated sort of piece, but his whole style facilitates a sense of unease and terror with sheer brilliance. Be it the slightly Kewpie doll vibes of Wonder Woman, or the decidedly realistic Detective Chimp, or even the emaciated look of Fate’s helmet, it’s the little moments and details that prove the most effective in affecting the reader in some profound ways. The fact that John Constantine’s on the cover and he doesn’t look cool is a testament to the pervasive creepiness of this title, and just how much it messes with our sensibilities. That, and any time Ragman’s on the cover is a good thing.
A Vicious Circle #2
Cover by Lee Bermejo
If you can remember way back to December 2022 (who can recall more than a few days at a time anymore?), you may recognize A Vicious Circle. Writer Mattson Tomlin and artist Lee Bermejo have crafted a bloody and brutal story of two men tumbling through time together in a race to either save or destroy the world. While the story pretty much fires on all cylinders, there’s no denying that the book has been a profound showcase for Bermejo, whose vivid and intense art style is not only amazing but that whole time travel gimmick means he gets to play around with different styles and historical eras/settings. The cover to issue #2 is another powerful instance of Bermejo getting to stretch his artistic muscles. Our two leads, Thacker and Ferris, take up center stage, and through their designs we get to understand them but not in such a way that their end goals or alignment seem that obvious (and that’s hugely important for this book). Beyond that, Bermejo manages to play around with two distinct eras, contrasting and blending them in just such a way that it somehow makes perfect sense and yet still obliterates our tiny brains with that weird interplay. Even something like that red undertone throughout creates a real sense of unease while hooking our eyes, and that speaks to the sheer skill Bermejo is applying to every corner of this book. If everything remains this sharp and amazing, I’ll gladly wait another seven months for issue #3.
Xino #2
Variant cover by James Stokoe
And speaking of artists who always seem to dazzle with whatever they do, we arrive at the James Stokoe variant cover for Xino #2. Stokoe’s work has always been something that’s dazzled and amazed — the sort of work you pour over again and again trying to figure out how he does it all. (I’ve even watched TikToks of artists trying to dissect his style.) And while still young as a title, Xino seems rather similar — it’s great writers and artists telling stories that make you rethink the boundaries of meaningful sci-fi. So having these worlds “marry,” even through a variant cover, feels really special, and Stokoe once more brings his A-game. I feel like this piece is muted from Stokoe’s usual “poison tree frog Funfetti vomit color palettes” (shoutout to Bad Ink Studios for the description) — and that nuance and “quiet” does wonders to focus things and foster a real mood. The subject of the piece — robotic mad scientist ending his monologue by playing his Atomic World-Ending Organ — never feels any less manic or intense for the change; if anything, all that subtlety has some real power attached. Not only that, but Stokoe has really outdone himself in terms of sheer detail (and that’s saying a lot) as I can practically hear the music pouring out and sense the weight of the buttons and channels on the instrument. It all feels like a match made in weirdo cartoon heaven, and why I continue to be quite stoked about this whole book.
Toxx #1
Cover by Brian Demarest
I get that another book about the world ending isn’t what a lot of people need right now. It’s sort of like drowning and someone asks if you’d like to hold their personal safe. But I’d argue that as we live in this, the dumbest and worst timeline, apocalyptic media is vital as a means to channel our anxieties and consider what might actually happen, and why that matters. Especially if said project is Toxx. Basically The Road meets Children of Men meets Fallout, a pregnant woman becomes the center of attention in an irradiated world that’s otherwise infertile. I love what cover artist Brian Demarest has attempted to portray here to help make Toxx feel different. The pregnancy is front and center, but it lacks the glow we associate sometimes and instead emphasizes something all the more gruff and affective (which definitely feels more real). The world’s clearly indebted to franchises like the aforementioned Fallout, but even those colors and general hue feel all the more barren and depressive. Yet amid all the grit and filth of it all, there’s something that’s somehow still playful, like this slight charm of a ’50s-style pin-up or something. Smash all those ideas and themes together and you get something that actually feels novel amid all the world-ending tales, and that makes me feel something new in addition to all the endless anxiety and grief associated with these stories. That’s a win!
Scrapper #1
Cover by Juan Ferreyra
There’s an unwritten rule here at Judging by the Cover: if you feature dogs heavily in your story and/or covers, there’s a better chance I’ll talk about it. So I had to give it up for Scrapper because, in the decidedly robust canon of dog-centric comics stories and/or art, this one feels like it has some real potential. Even if we ignore any of the totes cool sci-fi hullabaloo — the story’s about two dogs that “fight for justice against the totalitarian forces of a post-apocalyptic domed city” — there’s still lots to love. The dog designs, for one, feel top-notch, and we get a real sense of personality from the looks of “stray dog Scrapper and his buddy Tank.” Does the fact that the whole vibe also reminds of Road Rovers somehow help the book’s case? Certainly couldn’t hurt. But even beyond all that, I love that we get to see dogs in real action set pieces, especially as the car chase portrayed in the bottom half really does pick up on the book’s promise of Blade Runner-style action. Do I want the dogs to talk, as that sci-fi collar might suggest? Perhaps, even as I think it might also ruin some of the charm and overall “innocence” of scrappy dogs fighting for one another. But what I do know for sure is those are very good boys who deserve the whole world.
You’ve Been Cancelled #2
Cover by Kevin Castaniero
When You’ve Been Cancelled first debuted, it certainly generated some controversy. And, perhaps, rightly so: it’s a book about a cancelled bounty hunter who picks off people who’ve been cancelled in some awful, near-future nightmare. Even co-creator Curt Pires recognized some of that as he did his best to try and emphasizes this as a thoughtful bit of satire and not just whining about some element of modern culture. And I for one certainly think Pires and company are operating in the latter category — and if you don’t believe me, just peep artist Kevin Castaniero’s cover to issue #2. After our “hero” Roland Endo gets the official cancellation at the end of issue #1, this cover pretty much encapsulates where he’s at in this second chapter. So, if you think he’s a jerk and a terrible throwback to some bygone era, you can rest easy knowing he’s getting his comeuppance. Beyond that, I get some real Nancy vibes here, and that just perfectly plays up the robust satire at the heart of this book. Or how it also feels a little like the end of some Looney Tunes short, and how that mash-up of silly and serious is pulling a lot of weight. Even the way things skew to the right a bit feels like a bit of good-natured fun at the expense of people who might take suchs “signs” too seriously. (Wait, did I just do that? Ha!) It may not be for everyone, but this book shows the value of thoughtful and inventive satire for any moment in time.
Knight Terrors: Superman #1
Cover by Gleb Melnikov
This tie-in asks the only question that really seems to matter, “What does the Man of Steel have nightmares about?” Because if you’re effectively a living god, your nightmares aren’t giant monsters or world-smashing robots, but something so intimate and pointed that it can slip past your armor and devastate you in a way that few others could ever truly achieve. Based on what we know of Supes, as well as this issue’s solicitation, it’s going to be something to do with family and friends, and based on his posture on this issue, Clark Kent’s absolutely reeling from his time in Nightmare Junction (trademark pending). But more than feelings of quiet heartache and personal devastation, what this cover makes me think of Superman’s,um, head-on encounter with a nuclear warhead from Batman: the Dark Knight Returns. Not so much the Zombie Superman look, but the way that he’s falling here, and even the interplay of the light and coloring around him. Maybe it’s just me, but that connection feels really important. It pokes some of the oldest parts of my comics fandom, and recontextualizes essential images in a new way. It instantly connects this new, unproven story with a personal favorite, and in doing so enhances both titles via mere association. I think that’s a central strength of this event so far: dig deep into DC lore, pull out some fun ideas and story threads and whatnot, and then unleash it onto the world with maximum effectiveness. You say nightmare but I say dream-level storytelling.
Guardians of the Galaxy #4
Cover by Marco Checchetto
I’d like to introduce you to the comics version of “Nobody expects the Spanish Inquisition!” Because thus far in its short run, the already-great new Guardians of the Galaxy series has focused primarily on Groot. The threat of Grootfall, in fact, has hung over our heroes’ heads (literally and figuratively) over the first three issues, and it’s been a powerful way to tease some dissension and multi-layered emotionality amongst comics’ strangest patchwork family. But lest you forget, there’s been another family member missing, and one Rocket Raccoon is officially back in the picture and more angry than ever (and that’s saying heaps). Lots of questions come to mind, like where has Rocket been all this time, his he mad at Groot or the rest of the Guardians (seems like easy money, yeah?), and what’s it mean when they say this is a “Rocket Raccoon you’ve never seen before.” I love the way all of that plays out — the sheer tension and yet robust mystery that defines this cover, and how that air of “surprise!” mostly feels real. Rocket’s “sudden” reappearance is an effective way to play up the team’s issues, and to do so in a way that fosters as much texture and accompanying layers as humanly possible. Something so simple as a behind-the-back shot and a few slack-jawed faces feels incredibly powerful — a moment that unites us all as victims of the creators popping out to say, “Gotcha!” And got us they sure did.
Teenage Mutant Ninja Turtles: The Last Ronin – Lost Day Special #1
Variant cover by Kevin Eastman
A few weeks back, we got to talk to Tom Waltz about all things Ronin-verse. More specifically, how this Lost Day Special will help us get to know a new class of teenage turtles as well as reacquaint us to April O’Neil and generally kickstart some daring new plans for the larger TMNT franchise in general. But lest we forget that series creator Kevin Eastman is also just as involved, and he’s putting in some truly great work to make this one-shot feel extra special. Case in point: his excellent variant cover. It’s hard to pick what I love most about this piece. Maybe it’s that it feels quintessentially Eastman and yet somehow newer and even more intense and slightly gritty. Perhaps that the new turtle team reminds of the old squad and still manages to feel novel and distinct. (The large, bulky one is already my new fave.) Or the way that April feels really vital here, and how that makes sense given the story and nonetheless feels like a novel step forward for the character. Plus, it could just be as simple as the color palette here, which screams “sci-fi sewer!” in the best possible way. Regardless of the reason, it shows us that this new chapter of TMNT is going to be both daring and inventive and totally nostalgic for fans across the board.
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