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.
Deadpool #10
Cover by Martín Cóccolo and Neeraj Menon
(Editor’s Note: This blurb has been updated to reflect that Valentine Vuong uses they/them pronouns)
Seeing Deadpool grievously injured isn’t anything new. Heck, whether you love the character or hate him, his penchant for life-altering injuries is one of the main reasons we cheer or boo the Merc with a Mouth. But this time it’s a little different, as Wade’s been caught up with a new “paramour” in Valentine Vuong, and as much as he may want to be with them, there’s some nasty contract killers trying to be the ultimate kibosh on this little love affair. And so to see Wade in this state, there’s certainly a little extra oomph and some much-needed context. This isn’t just Deadpool twisting his broken neck back into place, or regrowing his feet — it’s a layered pain that’s more devastating because it’s not just a broken face and some twisted limbs. There’s a deep well of sadness here, and the sense that even Wade’s not sure if he can come back from this one. (Or, his face is so bruised it’s forced him into new displays of emotionality, which still feels like a victory for this walking battery of annoyance.) Sure, we all know Deadpool will eventually heal from anything, but with this being the final issue, we may not get to see that in any sort of meaningful way (or until the next series). In that way, Deadpool is rounded out in a big way, and there’s huge layers to discover here.
Xino #3
Variant cover by Ramon Villalobos
As a rule, I hate when publishers (often the Big Two) release single issues and/or hardcovers that collect covers/variant covers from a single book. Like, I get the ceaseless collector’s drive, and the need to demonstrate the sheer talent connected to a book. But that doesn’t change the fact that it often feels like a cheap ploy given that true fans/readers have the covers they’ve wanted by then. But Xino is making me change my mind, and given the sheer talent in their various alternate covers so far, even I might consider (if only momentarily) buying some kind of collection/collector’s issue. Case in point: this Ramon Villalobos variant to the title’s third and final issue. Could I have gone with Matt Lesniewski’s main cover? Sure, it’s like the most majestic sleazy indie comics version of Total Recall. And the same goes for Dustin Weaver’s piece, which presents the most insane version of They Live that I’ve ever seen in my life. But I gave the nod to the Villalobos piece because it checks every box as it balances hard sci-fi, Cthulian horror, a sheen of psychedelics, and even manga vibes (seriously, the person’s suit screams Dragon Ball Z to me). Plus, it feels both delightfully joyous and playful bonkers while also being decidedly dark and unsettling. That, my friends, is the recipe for greatness, and why Xino‘s covers alone are undeniable sci-fi magic.
Knight Terrors: Harley Quinn #2
Cover by Hayden Sherman
I loved Hayden Sherman’s work on Dark Spaces: Wildfire, and so I’m super jazzed to see them getting more opportunities with one of the Big Two. That said, I wasn’t exactly the biggest fan of the first Harley Quinn-starring Knight Terrors tie-in — with so many titles available, each pushing the boundaries of their respective characters, I just thought this story felt predictably weird and kooky in a very linear sense. Now, if the story can match with some of Sherman’s peak vibes as presented on this latest cover, then maybe we’re finally onto something novel. I love the early ’90s computer game aesthetic, and how it interacts with this moment of body horror for something infinitely less bloody but somehow even more unsettling and bizarre. That mashing of the worlds, as it were, creates some interesting layers and contextual understandings, and together it feels a little fresh and exciting when applied to Harley. I get that’s what they were trying to do with her whole “nightmare multiversal simulations” thing, but this cover captures some of that actual fear and existential dread more effectively than issue #1. Plus, it’s just the perfect amount of kitschy, and thus it feels perfectly and delightful Harley-esque.
The Schlub #1
Cover by Tyrell Cannon
In another instance of, “Hey, I’ve heard every single creator on Twitter talking about this book,” we get The Schlub. And rightfully so, as an all-star cast of creators — Ryan Stegman, Kenny Porter, Tyrell Cannon, and Mike Spicer — join forces for a story about the titular schlub (a dentist) who gets body-swapped with “the world’s mightiest hero.” The main cover (from Cannon) tells us everything we need to know about this story’s potential. For instance, the hero depicted here screams the same energy as Prime from the early ’90s Ultraforce cartoon (with a dash of Omni-Man and ’50 Superman for good measure). Or, the way the style here also plays up some of those Saturday morning cartoons, albeit with a little more heft and grit (so, like some lost Toonami series, perhaps?) And there’s even other little touches — some Heavy Metal meets MAD magazine vibes, or the way this feels very much like an Image Comics title and yet still very much distinct — that highlight the pure prowess of this story. Am I concerned this story may ultimately be “unlikely hero learns valuable lessons to be a true hero”? Sure, but if it can be as 1/10th as playful as this cover promises, then The Schlub may be The Winner.
Rick And Morty Presents: The Science Of Summer #1
Cover by Marc Ellerby
I’ve not read too many comics from the universe (universes?) of Rick and Morty. What I have read, however, is a mostly solid continuation of the show while bringing in new levels of influence and character development. But if there’s one book I really want to grab from this beloved franchise, it’s this one starring Summer Smith. Not only because, as the TV series goes on, she emerges as the most compelling and layered character, but this book does a few interesting things as represented by its Marc Ellerby-penned cover. For one, we get only two Summers (apparently a present-day and a future version), and that feels like a way to control all the multiversal madness that the series wields like a child with a baseball bat swinging blindly at a Barbie pinata. That focus, in turn, gives us a chance to really hone in on Summer and all of the story and context and whatnot that exists in the gap between old and young. Beyond that, I love the aliens here (the series always does a good job with kooky but still personable designs) and even how all of the social media stuff is inventively ingrained within the world and its core design. All of that together gives us a distinctly novel window into this massive “world,” and allows us to explore in a way that hasn’t always been a proper focus (i.e., via Summer in any sustained, meaningful way). And given how gnarly our actual summer’s been, a change of pace sure feels refreshing.
The Addams Family: The Bodies Issue #1
Cover by Chynna Clugston-Flores
I’m not a massive fan of The Addams Family. I saw the ’90s movies and the TV show reruns, and while I liked them well enough, I think they’re very singular in their approach. (I did, however, enjoy the high school musical production my stepdaughter was involved in, so I’m not completely blind to the franchise’s charm.) That said, I think this Chynna Clugston Flores cover for The Addams Family: The Bodies Issue #1 could finally push me over from distant admirer to actual fan. Because I think this cover nails the family’s whole dynamic — let’s call it approachable horror, or family horror — in a way that is still as kitschy and silly as it is decidedly gritty and unsettling. Be it the eyes of the gators/crocs, the angles of the house/staircase, and/or the shape of Wednesday’s head, it’s a refinement of their long-running gimmick that doesn’t try to be too safe or too dark and just nails it all in a single instance. It’s a representation of the Addams clan that strikes at the heart of why they’ve been so popular for so long, and why so many different people approach this story/series from varying shades of horror and comedy. I laughed, I shrieked a little, and I generally felt like this family was in a unique place to facilitate all these feelings. Also, I hope there’s enough Lurch in this issue.
Immortal Thor #1
Variant cover by Peach Momoko
There’s heaps of reasons to be extra jacked about the all-new Immortal Thor. For one, we’re getting Alex Ross covers, and no one captures the sheer majesty and power of the Asgardian Ace (nickname pending) better than Ross. Once you actually flip through the covers, I’m sure Al Ewing and Martin Coccolo will deliver a truly great story — and since it is an “Immortal” title, you can expect some great feats of fantasy (and maybe a dash of horror?!) from a Ewing-penned tale. Yet the thing I most want to celebrate about this book has nothing to do with Ross’ debut cover, or even some equally epic entries from Coccolo and Stonehouse. No, it’s this Peach Momoko variant cover featuring everyone’s favorite time-traveling mascot, Miss Minutes. Because if you’re going to nail down the mighty fury of the god of thunder, I can’t think of a better way than striking guttural fear in the normally happy go lucky eyes of Miss Minutes. (Seriously, it’s almost unnerving to see her in this state of pure shock, and it makes me rethink the character’s place in the whole MCU.) It’s equally adorable and awe-inspiring, and it shows in a single instance the sort of power that is generated when you place Thor in the right context. Whatever horrors and/or intergalactic madness awaits Thor, it’s this cover that signals his arrival with the depth and intensity that few other books/movies/etc. could ever fully muster.
The Rocketeer: In the Den of Thieves #2
Cover by Gabriel Rodriguez
The world “pulp” gets thrown around a lot, even amid this very column from time to time. And, sure, a lot of time it’s needed as a kind of shorthand for a specific influence or tinge. But there’s still no denying that “pulp” can often be a lazy way to talk about a multifaceted genre. With all that said, however, I still feel like this Gabriel Rodriguez piece for the latest Rocketeer cover is very much a singular example of “modern” pulp comics art. It’s the way that piece of tech looks intricate and alien, as if it’s clearly not of this world (and still speaks to some larger connection with sci-fi and our exploration of the future). The slightly silly, distinctly human look of the Rocketeer’s shadow. The way, via the apple and the military tag, the cover explores motifs in a truly subtle but undeniably effective way. Even the way a nude person is treated, and the way that apes some long-gone view of sexuality. All of that together feels like a master class in what pulp-inspired art/stories represents in 2023 — which is to say, a connection to and recontextualization of the past and the sort of weird joy that the “form” represents as storytelling method. Maybe I’m overthinking it, and it’s not really all that deep — but I’d just say that’s pulp, baby. Either way, this cover works, and it sings of something essential and effective to Rocketeer stories one and all.
Batman: The Brave and the Bold #4
Variant cover by Kael Ngu
If you’re anything like me, you’re a fan enough of Batman: The Brave and the Bold. Yes, there’s been heaps of Batman-starring anthologies like this over the years (few can beat Legends of the Dark Knight), but this one still does some interesting and inventive stuff to make it fun if not entirely groundbreaking. But even I have to tip the entirety of my hat to this truly amazing variant cover from Kael Ngu. For one, I don’t think there’s a heap of buzz around a story about Emilia Harcourt (a “former” A.R.G.U.S. agent), and perhaps that’s at least partially why this cover smacks so dang hard. It’s that unexpected source and accompanying shock of interest that adds so many dang layers to this piece. And even without that, Ngu’s work is nonetheless top notch, which is saying a lot given his many great cover entries over the years (a few of which have been celebrated in this very column). I can smell the rain-soaked mud; hear the crunch of Harcourt’s jacket; and even feel the broken bits of tombstone under my feet. The fact that this image is so profoundly badass and yet also decidedly earnest and vulnerable speaks not only to Ngu’s talents but even more so about how a series like this unexpectedly fosters singular moments of greatness. I never knew I really needed this story, but with this cover I can’t think about reading anything else.
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