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.
Batman / Catwoman: The Gotham War – Scorched Earth #1
Variant cover by Adam Hughes
I get that the beef between Catwoman and Batman has been very tense. It’s two former lovers with a maddeningly complicated history (the kind you’d need flow charts to fully understand) battling over the very heart of Gotham City. And there’s no doubt that as we come to the grand finale of the “Gotham War,” things are going to be even more tense than ever (especially as the solicitation hints about the Bat Family “[overcoming] the endgame of an ancient enemy”). But this is also a conflict between a man who dresses like a giant bat and a woman who dresses like a giant cat, and there’s no reason not to have a little fun along the way. And that’s just what Adam Hughes does with this variant by injecting some lowkey soap opera vibes and just a dash or two The Chase. The end result is clearly very serious and poignant (as attempted murder so often is), and by just accepting even a modicum of the innate silliness here, everything feels more vivid and playful to boot. This is why I love comics: they’re big and Very Important but they’re also dumb, and the genius is in treating both ideals as equal. Maybe the Cat and Bat need to spend more time battling it out?
King Spawn #27
Cover by Dan Panosian
There’s a certain expectation around Spawn. You’re going to get overt violence, endless satanic imagery, and maybe a heaping helping of sex to boot. (There’s also magical chains and demonic clowns, but those seem to be less mandatory.) But having all of that doesn’t mean it’s going to present in one “flavor” — what has made this whole franchise successful over the years isn’t just that it commits to the over-the-top bit but that it does so with a wide array of artists showing off their unique approach to Spawn-ian super violence. Case in point: Dan Panosian’s cover to King Spawn #27. Sure, it’s seemingly direct, but there’s some tinge of Heavy Metal-esque weirdness to this undead soldier. The way it seems he’s being absorbed by some super psychedelic sludge monster, and even the way his teeth have cracked — it all screams, “This ain’t your daddy’s Spawn.” (It also screams, “Be sure to floss every now and again kids.”) And yet the cover fits perfectly within the rather singular feel of Spawn, which has always been about theatricality and weirdness in its displays of unrelenting violence and darkness. You keep doing you, Spawn creative team.
Spider-Boy #1
Variant cover by Humberto Ramos
Word on the street is that Spider-Boy is maybe not so beloved by everyone. Which, hey, I get it — change is hard, and nobody wants some annoying little dweeb hanging around your lifelong hero. But time waits for no man, and here we are as young Bailey Briggs gets his very own series, which promises to reveal the many mysteries behind “Spider-Boy’s secret history as Spider-Man’s sidekick.” And so with all of that in mind, this Humberto Ramos variant cover seemed like the pretty obvious choice. For one, the tagging here is super slick — and the fact that it also taps into some Spider-Verse stuff is an association that’s likely to do this book a ton of favors. But more than that, I feel like that’s a very Spider-Man-esque pose/gesture, and that ties Bailey to ol’ Web-Head in a really novel but effective way. It lets the kid show that he’s a different kids of sarcastic, mostly mischievous fella, and someone who could be a proper addition to the Spider Canon. And if he’s still not your cup of tea, then maybe you can go read back or issues or something, IDK.
Blood Commandment #1
Cover by Szymon Kudranski
The way comics works, a lot of the Halloween-themed stories came out before this week, in which the most wonderous holiday ever actually falls. But luckily, Image Comics and Szymon Kudranski are all about giving you perfectly-timed terror as they release Blood Commandment #1. This tale of a father and son living in a remote cabin should warm your heart scare the flesh off your bones as they’re “terrorized by a dangerous supernatural presence.” And Kudranski (who mostly recently has done really good work with Something Epic) has a unique style and approach to horror goodness. This screams ’80s horror overload — especially if you know the true magic of the original Fright Night. And while the bulk of this cover is a the horrific, all-consuming mouth of some ancient demon, there’s still little touches and tinges of energy that remind you of the human element and the core themes of isolation and survival likely at the (black) heart of this book. It’s a powerful distillation of inspirations and motifs, and I can’t wait to read it while binging candy.
Unnatural Order #1
Variant cover by Maria Wolf
And speaking of release schedules for comics, this week is a little light for books. (People must really have spent time working on their Halloween costumes, yeah?) But quantity doesn’t mean there’s still not hella quality books, and that begins with Unnatural Order #1. I don’t want to spoil too much about the actual book, but let’s just say it involves crazy sci-fi dimensions, ancient warriors, and, as this Maria Wolf variant cover demonstrates, one big time baddie in The Druid. (You can find heaps more details when I interview writer Christopher Yost this coming Tuesday.) Because, really, it’s The Druid that is not only at the center of the story but this depiction feels like one that tells you all you need to know of the book itself. Like, more than that he’s a very sick and depraved man, the real takeaways should be the magic and the large, seemingly unnatural tree. What do those tell you specifically? Well, mostly that something is very, very off here (again, the blood’s a good indicator), and all roads lead to this ungodly man. Also, if you can’t just appreciate Wolf’s overt skills, then what’s the point of even reading comics?
Faceless and the Family #1
Cover by Matt Lesniewski
Way, way back in October 2022, we caught up with writer-artist Matt Lesniewski about Faceless and the Family. A bizarre and multifaceted story about a man called Faceless on the “warped world known as the Hand Planet,” the book is now officially hitting shelves from the folks at Oni Press. And Lesniewski’s own cover to issue #1 should tell you everything you need to know about why you may need to grab this book posthaste. None of that is things like the actual plot, which are more intricate than a two-story finger trap. Rather, it’s the unique aesthetic and approach of Lesniewski’s art. There’s something hugely human and compelling about these characters — even as they feel utterly alien to the eyes. And the same goes for the actual world: the geography is way off, and yet there’s a depth and warmth to these M.C. Escher-looking walls and rooms. It’s a world that is about poking and prodding the brain in some clever ways to shape and influence our entrance into and larger journey across this similarly nuanced story. Your brain ain’t ready for the weird wonders that lie ahead.
The Sacrificers #4
Cover by Max Fiumara
If you read my review of The Sacrificers #3, then you’d know that I was rather taken aback. In fact, you could even describe my reaction as “Gut-punched by a great ape who then told me the saddest secret in the world.” And now people who did or didn’t read the book get a singular image that pretty much explains why I felt like I’d be trampled by a herd of 10-foot poets who each wrote a teary-eyed stanza as they stepped on my face. And while this image is great at subtly demonstrating something deeply unsettling, there’s something else here that matters. Namely, this is such profound work from artist Max Fiumara, and a great encapsulation of the singular magic he’s delivering across this book. Because no matter how sad I get seeing this harrowing image of our hero Pigeon, there’s something here I can’t look away from. Maybe it’s the sheer vividness of the blue, or the slightly whimsical, almost joyous undertone. But it’s a dichotomy that, once more, feels like reading a really dramatic play and then having the playwright smack you around while talking mad garbage about a dead relative. Seriously cutting and yet life-affirming stuff.
Detective Comics #1076
Variant cover by Jason Shawn Alexander
If you haven’t been keeping up with the Ram V-penned Detective Comics, you can make your recompense by staring an all-new arc this week. Described as an “intermezzo” in the ongoing gothic opera that’s defined this run, part one of “Outlaw” is about (and this is a drastic oversimplification) effectively adding cowboys to the mix. (You’ll see more when my interview with Ram V drops this Tuesday morning.) But this new arc also means that Jason Shawn Alexander is handling art (including this variant cover), and that’s a good thing no matter the story’s larger trajectory. Because Alexander feels like, amid some really great artists across this run, a really representative choice for the things this book does really well. Like, the whole early ’90s-adjacent vibes of Kelley Jones with those massive, exaggerated lines. The way the shading and coloring on the cap feels really big and bold even as it feels like a proper element of the background. Even those oversized ears and massive fists feel like a statement about this version of Batman and his relation to the story. It may seem like a familiar take on the Dark Knight, but it feels perfectly suited to this singularly daring era. That, and the facial hair is on point!
Ultimate Universe #1
Cover by Bryan Hitch and Alex Sinclair
I think that Ultimate Universe is already doing some genius things. After the mostly great efforts in Ultimate Invasion, Bryan Hitch and Alex Sinclair — who handled that book’s interiors — are brought back for this solid cover. And not only is the art really good (more on that in a second), it creates a really novel connection back to that aforementioned series, sharing just enough connection before Stefano Caselli and David Curiel are likely about to blow our minds. And, of course, Hitch’s continued connection to all things Ultimates only further supports this new series. But, as I’d mentioned, even without all of that, we still get a really great piece. It’s simple but effective, with all of the emphasis on the sheer drama and exaggerated stature of our collected heroes. Plus, the way the colors feel really vivid and textured while also fostering some sense of alignment and cohesion. Even that oh-so soft tinge of some new angle or emphasis that extends our visual understanding of the Ultimates. This cover is firing on all cylinders thanks to talent and context galore, and let’s hope the same holds true for the story proper.
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