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.
Wolverine #35
Cover by Leinil Yu
Over the last few weeks/months, the battle between Beast and Wolverine has played out across various comics titles. And regardless of the book, or who has the upperhand at that moment, it’s been a compelling back-and-forth, one that plays up the familiarity between the two and how gutting this “event” feels for long-time readers. But even after all of that, there’s something extra special about this cover to Wolverine #35 from Leinil Yu. As we wind down the clone wars/Weapons of X, it would seem that Wolverine has the upperhand (even as we know that could very well play out differently in the story proper). And while he’s clearly a fan of and long-time expert in violence, there’s a certain hue to his rage here that just feels defeated, as if he knows what to do but won’t properly enjoy it for once. Meanwhile, Beast seems resigned to his fate; does this mean he’s had a change of heart and knows that he’s got to go? Or is the mad genius of the X-Men simply out of moves? Either way, it makes for something that feels definitive while being absolutely open-ended in terms of emotionality and pure scope — exactly what you want from these massive storylines. Add in the subtle interplay of light and dark, and the quiet force of this image, and it’ll cut you deeper than even adamantium claws.
Superman: The Last Days of Lex Luthor #1
Variant cover by Doc Shaner
From BFFs to long-term foes, we arrive at Superman: The Last Days of Lex Luthor. Here, Mark Wai and Bryan Hitch reunite for a story in which a dying Lex Luthor must turn to Superman to save his life. That’s sort of like a worm asking a bird for help moving across a field, or The Rock enlisting Stone Cold Steve Austin to perform open-heart surgery. And while I’m sure the actual story will capture the sheer nuance of the Supes-Luthor dynamic, I want to take a minute and focus on the variant cover from Doc Shaner. Because, yes, it perfectly captures those sentiments you’d assume that Lex is grappling with, like the ceaseless waves of depression and that stomach-churning realization that his archrival is his only salvation. And, also quite predictably, Superman is there to lend a helping hand, which is more of a character trait than even his cape or flippy hair bit. But we never see the Man of Steel’s face, and that’s hugely interesting. Why not show him looking hopeful or even frowning alongside Lex? Does this mean he may have another kind of reaction? Perhaps one of pure joy?! The fact we don’t know sends me in so many directions, and that’s what I really want from this story more than anything else. I know that we may get one kind of ending (of the semi-happy variety), but this little decision is doing wonders for my hope that something truly novel can take place instead.
BRZRKR: Poetry of Madness #1
Cover by Steve Skroce
Judging by the Cover
If only Lex Luthor were an immortal warlord though, amirite? Because dying a sad, untimely death has never been the worry of B, the titular character from the Keanu Reeves-penned BRZRKR series. This time around, Reeves joins forces with writer-artist Steve Skroce (Doctor Strange) for a tale that’s perfect for fans of “Lovecraftian horror.” That certainly tracks with this main cover from Skroce, who has captured all the solicitation’s promise of a “sea of gore and devastation” and how “a secret cult might spell a monstrous end for the legendary city [of Atlantis].” We have to talk about the fact that this is basically Dracula’s armor from Francis Ford Coppola’s 1992 epic (Reeves plays Jonathan Harker, FYI), a move so wonderfully nerdy and poignant that I too wish to start weeping blood. And yet somehow it gets better still, as Skroce gives us something subtle, almost understated body horror, presenting ample blood and carnage while keeping the focus on B’s robust humanity. The end result is horror that doesn’t go overboard, and instead fosters a somber mood that feels in line with the whole Lovecraftian vibes. I’m interested to see what this one-shot adds to B’s legacy, and if all the madness and blood and poetry can ever feel quite as thoughtful as this one cover.
Old Dog #6
Cover by Declan Shalvey
We’ve come to a sad but wondrous moment: Old Dog is officially wrapping up its debut arc. And over those first five issues, writer-artist Declan Shalvey has done a lot to mess with our minds and the very confines of the spy thriller genre. So who knows what actual madness may be found in issue #6, which promises that our “hero” Jack Lynch “is questioning his place in Black Circle” while also teasing “a stunning revelation.” Based on that cover, it may have to do do with his daughter or that gravity somehow no longer exists — either one seems totally feasible at this point. But, truly, if this cover is telling me anything at all (besides, dang, we need more gravity-defying shootouts), it’s that Jack will go down fighting no matter what hellacious tidal wave of life-altering changes comes crashing down. And that’s sort of why this book has been so compelling thus far: it’s been a real pleasure (and a bit of an exercise in self-punishment) watching this story unfold for Jack, a man who’s clearly not perfect but is trying to be something good and decent despite it all. No matter how things may play out, it’s my hope that we continue to see deep into the heart and mind of Lynch, and this change means something beyond the initial flashy impact. I have every right to think that’ll be the case, and so I await this issue with properly bated breath.
Klik Klik Boom #2
Cover by Matt Wilson and Douglas Dabbs
If you missed the debut of Klik Klik Boom, you are a dang fool. In very little time, the assassin Sprout — who communicates with Polaroids and has a penchant for ultraviolence — meets with would-be reporter/blogger Serena, and boy oh boy do the sparks fly. Issue #2, then, promises a very bloody start for their still very young partnership, in a turn that should complicate things while also presenting novel opportunities for Sprout’s unique brand of dispatching humans. What I love about the cover to #2 is that it doesn’t avoid the book’s dueling vibes of weird, super cutesy sitcom and depraved martial arts film — both are embraced full on for maximum potential. And the fact that Sprout’s basically tumbling through her snapshots speaks volumes about how she sees and engages with the world, and how deeply human she is even as she sort of struggles to be human in the first place. The fact that the Sprout-Serena dynamic feels a little complicated (and just a teensy bit awkward) only adds to the whole thing — as if this is ultimately a story about two people trying to find themselves through this connection (which feels like a strength of this book above almost anything else). It’s fun and weird and totally endearing — as if the book’s playing bowling with our hearts and not that one dude’s face.
Trakovi #1
Variant cover by Marco Fontanili
In a recent edition of Judging by the Cover, I talked about why I adore body horror. I think it’s one of the ways we try to engage as humans, and it emphasizes the connection we share and the imperfect expression of trying to sort through it all to make meaningful connections. (Also, exposed guts are just funny.) Given that I consider myself something of a connoisseur, I was especially intrigued by this variant cover to Trakovi. Here, a “Slovenian thug in Edmonton, Canada, tries to put his criminal past behind him”only to find that “those who know where the bodies are buried…refuse to allow the dead to rest in peace.” If that premise alone didn’t hook me, the actual variant, from Marco Fontanili, has me doubly intrigued. Is he a superhero now, or is this how Slovenian thugs just dress? Is that brains leaking out, or just the worst swelling either? Did our friend here deserve this beating or is he on the side of the angels now? All of that together adds to the sheer horror of this image — as if we’re forced to keep looking (even as maybe our stomachs churn?) as we try and seek out the answers. That’s exactly what good body horror does: make it impossible to look away as you try and process what it all means to you and how you connect back to the rest of the world. It’s a bloody wonderful thing, and something this cover does better than even using the color red.
I Am Iron Man #5
Cover by Adedotun Akande
Perhaps you’re like me and you also slept on I Am Iron Man. You tell yourself there’s sometimes just too much to read, but even then that doesn’t really excuse why more eyes didn’t land on this book, which “[told] stories never seen before that are set in iconic eras of ol’ Shellhead. For the grand finale, we wind up in the modern era, with Tony Stark as he attempts to “protect Earth as he builds a planet-protector cannon, trade brutal blows with She-Hulk, and make a new friend along the way.” Let’s get the obvious point out of the way: Stark’s battling versions of himself, which I’m hoping is both a literal thing reflective of how “Shellhead” here truly can be his own worst enemy. Regardless of how that metaphorical egg hatches, artist Dotun Akande has done a bang-up job with depicting that act with a dose of humorous hijinks and some much-needed intensity. But even without all the emotional power attached, it’s just a damn fine image, with lots of depth and nuance, some great angles and overall line work, and its very own story brimming across every bright and robust corner. It feels like a perfect moment to define what this book was trying to do: tell Iron Man stories that reflect that massive, imperfect man himself with as much truth and color as one could ever truly muster. Whoever wins this scrap, the true victors are the readers, right?
Poison Ivy: Uncovered #1
Cover by Guillem March
I’ve talked a few times here about how great the current Poison Ivy series has proven to be over the last year-plus. But not only has it been a poignant exploration of all things Ivy, it’s carried some truly great variant covers, a bunch of which have been collected here. And if you’re going to properly tease just such a book, you can’t ever go wrong with Guillem March. The man knows his way around pinups — go check out the volumes of his awesome Cover Girls titles — as he blends different styles and techniques to capture the full scope of his characters. This Poison Ivy, specifically, perfectly rides the line between plant monster and human siren, a creature of great beauty and cunning who practically leaps off the page with all her well-rounded depth and intensity. The shimmery effect here makes me think of some otherworldly plant without losing that deeply grounded connection; that effect feels deeply exciting and also speaks to something essential about what’s made the book itself such a wonder all this time. The rest of the covers and pages are similar levels of compelling, and yet this one image finds a way to balance the efforts of so many different artists with so many different takes. It’s a winner, for sure, and you’ll barely try to escape the snare of its mighty vines.
The Wild Cosmos #1
Cover by Chun Lo
There’s this thing that happens on movie covers, often in sci-fi films but not always, where something’s reflected in the visor of a helmet. It’s pretty easy to see why it’s such a reliable and effective trope, and I think it tends to both A) make the viewer pay close attention and B) distort reality to an extent to mess with people’s perceptions and sensibilities. The Wild Cosmos, then, feels like a proper addition to this trope, and the story of a crew looting a “derelict space station” practically begs for this kind of super cinematic shot. Which is to say, a deeply human story (I can almost hear our astronaut friend here breathing) that’s about the beauty and dangers of space. Beyond that, there’s some quality here that, without being so obvious or overt about it, seems to reflect the noir-y, gangster-y connotations of the premise. Then toss in an especially great shot of space — god I love that color choice and the scale of the station itself — and we’re made to feel both really small and oddly uncomfortable somehow. Add it all up and it’s a unique spin not only a beloved visual trope but also a compelling way to play with genres and their distinct visual identities. If this is how wild the cover is, slap a rocket on my back and send me to this corner of the cosmos posthaste.
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