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.
The Flash #3
Variant cover by Ramón Pérez
So far, writer Si Spurrier has taken Wally West into some strange new territory, pushing our super-fast hero into the realm of cosmic horror. But he’s also been operating firmly from a solid base of Flash-ian lore — issue #3, for instance, sees West and long-time Flash foe The Folding Man go toe-to-toe. It’s been a proper dynamic for sure, and one that draws in new readers and still satiates old Flash-heads — sort of like this cover to the aforementioned issue #3. Because, yeah, it’s a proper slice of pure horror that feels aligned with the tense, unnerving sentiments that are driving this new series forward. And yet there’s something classic, something akin to a (somehow) less gruesome Flash during Crisis on Infinite Earths, that connects this piece intimately to essential DC lore. Also, it’s just a totally gorgeous piece, and one that balances some all of that brain-splitting horror and history with just a hint or two of cartoonish joy. Really, it’s Flash to a tee: running full tilt into a universe of madness while looking cool as heck the whole time.
Marvel Zombies: Black, White & Blood #2
Cover by Marco Checchetto
Any reader of the Judging by the Column feature will know that Marco Checchetto holds a special place of power in our annals. That comes mostly on the back of his increasingly amazing Daredevil covers — he knows how to bring a grit and heft to the Man with No Fear in a way that few other artists can imbue Mr. Matt Murdock. But as a special bit of challenge, Checchetto gets to depict Daredevil in zombie form in the latest issue of Marvel Zombies: Black, White & Blood. And, if I’m being totally honest, our hero looks just as poised as graceful even as an undead cannibal. (Oh, and extra points for repurposing the famed Daredevil #182 cover — it really adds to the sheer horror factor.) Even with his skin peeling away and blood vessels seemingly bursting, DD looks like a proper hero — and that’s what I want from this book’s concept as it makes us really question our connection/relationship with these characters. Although the question begs: how much of that is normal suit and how much is just caked in blood?
Swan Songs #5
Cover by Alex Eckman-Lawn
We just saw Alex Eckman-Lawn featured last week as he tackled the cover to Lotus Land #1. And not only was that book great, but Eckman-Lawn’s piece really encapsulated it in some novel and compelling ways. But even that totes excellent cover somehow pales in comparison to his cover of Swan Songs #5, where Eckman-Lawn is said to have drawn a “comic that doesn’t look like any other comic ever made” as he busts out four-color collage art for a story about the “end of anhedonia.” (Lemme save you the Google search — that’s the “inability to feel pleasure.”) And if we’re talking about altering someone’s brain chemistry, this vivid, borderline unsettling piece certainly speaks to that concept (and then some). Yet as much as it’s a body horror fan’s veritable dream come true, it’s also captures something almost cosmic or fantastical about the brain, and that balance of ideas feels both perfect for this title’s efforts while adding new layers and textures to its keen interest in endings. The human experience can be a real trip, and Eckman-Lawn proves that with unwavering honesty and a fantastical joy and playfulness.
BRZRKR: Fallen Empire #1
Cover by Rebekah Isaacs
The thing about having an immortal warrior as your star means that you can pretty much keep the new titles and spinoffs coming for years. And so now we join our bloody hero B. during his days (likely as some conquering king/living god) living in the “long-dead empire” of Olos. Much like the previous BRZRKR titles, you can expect violence and grandiosity galore. Yet as series artist Rebekah Isaacs demonstrates via this cover to #1, it’s not all about brooding heavily in a throne room of your fallen enemy’s skulls. (Even writing that sentence made my heart practically flutter.) It’s the woman behind him, who I assume is a queen or other companion, and the deeply humanizing element she represents. That quiet grace and beauty amid the carnal madness — the thing this series tries to maintain and emphasize as we follow B.’s bloody path through history. It doesn’t take away from the gore of it all, but instead colors it with an energy and intention that offsets the sheer brutality of it all. Sure, expect ancient violence till your own eyes bleed, but even more efforts to dive deep into the conquering heart of our very old protagonist.
Drive Like Hell #2
Cover by Alex Cormack
I really liked the cover to Drive Like Hell #1. (And I even liked the actual issue.) Because in a really subtle but effective way, series artist Alex Cormack did a great job of balancing both the horror vibes and racing movie origins of this Dark Horse series. But as we go ahead and blast into issue #2 at 145 mph, Cormack has totally dropped the pretense of hinting at certain ideas and just gone ahead and slammed into our cerebellums with this piece of pure car-nal madness. Because in an issue that promises demon cops and an event/place called Reverend Roscoe’s Roadside Revival, subtlety is a mostly dead art, and having a snarling piece of American muscle crashing through a giant neon cross says everything you could ever need to say. Now, what exactly does that say? Well, I’ll leave it you to decipher this book’s larger narrative message, but one thing is clear: it’s a simply but hugely effective image, and one that is over-the-top and still a touch nuanced in one fell swoop. Come for the thoughtful storytelling, but stay for the dope car crashes.
Barbaric: Wrong Kind of Righteous #1
Variant cover by Angela Wu
If it wasn’t clear already, Barbaric is a book that doesn’t take itself too seriously. Yes, it’s unflinchingly violent and intense, but it offsets some of those energies with humor galore (see, a veritable armory of talking, sentient weapons). And that neat little balance is why we can have truly amazing covers, like this Barbaric: Wrong Kind of Righteous variant from Angela Wu. If you’re going to bootleg/pay homage to a manga series, Berserk isn’t just a really cool choice but also something that fits nearly with what Barbaric already does so well. Sure, the Berserk universe might not having chatty maces, but it does have the same kind of overt violence that maintains some real layers, and there’s a kind of grit and intensity that both series muster (even as Barbaric will then undercut that with, like, a joke about murder). So in a way, this cover highlights textures and components of this series, and it does so in a way that connects it to a larger tradition of storytelling wonder. Again, even if that storytelling tradition involves a metric ton of human blood.
Howard the Duck #1
Cover by Ed McGuinness and Laura Martin
Birthdays aren’t always easy. And that’s doubly true when you’re an anthropomorphic duck who works as a P.I. in the Marvel Universe. Luckily, our old friend Howard the Duck has some big-name friends helping him celebrate 50 wonderful years, with this one-shot anniversary special featuring contributions from Chip Zdarsky, Joe Quinones, Stacey Lee, and Ed McGuiness, among many others. And it’s the latter contributor (as joined by colorist Laura Martin) that gives us our own present, as it were, with this deeply solid cover. Yes, the spotlight is firmly on Howard, but even he’s somehow second fiddle to the age-old beef between Hulk and Thor. Is making Howard cry during his own birthday celebration funny? Yes, even when we know it totally shouldn’t be. But then that’s quintessential Howard: yes, his ups and downs may always be amusing, but at the heart of that dynamic is a warmth and familiarity as we keep cheering him ever onward. It’s more than just a lovable loser archetype: Howard is the mega deluxe underdog, and he deserves the same admiration as a Thor or Hulk for constantly being a (mostly) good sport. Also, if you pull out Mjolnir, you can easily salvage that cake, Howard.
Local Man #7
Cover by Tim Seeley and Tony Fleecs
Issue #6 of Local Man kicked off an all-new arc, “The Dry Season.” And not only did this series from writer/artists Tim Seeley and Tony Fleecs further prove why it’s one of the best ongoing superhero titles, but the dynamic duo infused an all-new sheen of intensity and drama to this story of a lovable loser’s second chance at being a proper hero. Now, those very same ideas and energies hold true as we move into part two/issue #7, as we get a really intense piece of image between Jack/Local Man and his old/new flame Inga. Anyone who has read the book so far will know why this image is so instantly and thoroughly gasp-inducing, especially at this early enough stage in the arc. But even if you’re coming in blind, there’s a kind of ’90s Showtime drama energy emanating from this cover that should tell you just how different of a superhero title Local Man is to its core. It’s almost kind of beautiful in a way, and you can feel the romance/love and the sheer emotionality as much as an air of confusion and slight betrayal. Seriously, this is just a small sample of this book’s real power — get to reading or I’ll leave you in a lake.
Batman: The Brave and the Bold #7
Variant cover by Guillem March
I’m a tad embarrassed to admit this, but I missed that Guillem March is writing and drawing a Batman story — and it involves the beloved/iconic Year One. I don’t know much else about the first chapter of this “poignant and heartfelt tale of redemption,” but I do know that based on March’s own variant cover to part two (aka Batman: The Brave and the Bold #6), I’ll be rectifying my earlier misstep pronto. And what a really great way to prove one’s prowess with this expert “recreation” of some Year One-era Bat and Cat. I love the imperfect Bat logo; the fact that he’s seemingly wearing mismatched gloves; and even the noticeable beard. (Oh, and those pouches!) But mostly I love the Bat-Cat dynamic — it somehow seems simpler and more streamlined, as the pair feel almost innocent and free in their embrace. It’s a snapshot of “simpler” moment in their shared history, and exuding the kind of joy and promise of this era (even as it was never meant to last and proved just as dark as any other Batman story before or since). Don’t be like me: let this cover be a sign to get on board before the beard gets buzzed and romance becomes utterly unsustainable.
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