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.
Poison Ivy #17
Cover by Jessica Fong
It’s been a minute since we’ve visited a cover from Poison Ivy. Not that the series hasn’t always been great, but sometimes the covers just don’t sing quite as much as the madness within the actual story. But that’s certainly not the case with issue #17, which asks the question, “When past meets presents, does Ivy have a future?” Which is a wonderfully cryptic way of suggesting that big things are happening as the “victims of Ivy’s parasitic contagion have begun to converge” and Ivy finds herself “embroiled in a life-and-death battle to survive.” And that’s sort of what this Jessica Fong cover captures: a moment of transcendence for Ivy. Is this her final form, as it were, and will it be the true harbinger of mankind’s doom? Or, is this some kind of fever dream, and the ghosts/spirits in the background are surely coming for Dr. Isley? It’s a powerful piece because it ultimately captures the drama and intrigue of this massive character pivot, and a proper encapsulation of the promise and air of doom that this moment carries. Keep your eyes peeled, for sure.
Thunderbolts #1
Cover by Terry and Rachel Dodson
Any book that puts Bucky Barnes in the lead is alright with me. And that’s especially true as Barnes leads a “team of black-ops heavy hitters to pursue high-profile targets” a la Kingpin and Doctor Doom. So, when you’re going this big from the start, it only makes sense that you’d go just as robust and extreme with the debut cover from Terry and Rachel Dodson. Shuffling Red Skull off this mortal coil so early on would be a clear win for this new Thunderbolts configuration, and the kind of definitive statement that builds a team’s legacy. But this is comics after all, and it’s just as likely this is a bit of exaggeration for dramatic effect (or, like, a robot or clone or something). But we don’t really know for sure, and that’s sort of the point of this singular declaration: all or any of this could be some or the whole truth, and our decision says more about us as fans/readers than the actual story. And, on the plus side, the Dodsons have given us a properly pulp-y experience as we sit and mull the action to come. Because this kind of manipulation of the hearts and minds of readers should always look cool, yeah?
Skeeters #1
Cover by Kelly Williams
If you have the right intentions (and a proper love of all things weird and gory), you can pretty much make any creature terrifying enough for their very own horror story. That’s certainly the case for Skeeters, in which “extraterrestrial mosquitos descend on a sleepy beach town.” And, for the most part, I’m a little shocked that we don’t have even more mosquito-themed horror out in the world given just how deeply terrifying these buggers look/sound. I mean, they’re basically like tiny vampires, and you often can’t even see them coming before they swoop down for one of their many sanguine meals. And these “skeeters” as depicted by series/cover artist Kelly Williams seize on those same fears, with bloody flesh and giant abyss-like eyes capturing the unflinching, almost primal drive of a mosquito to suck you dry like so many Capri Sun packages. The fact that this skeeter is a dozen stories high may just be for effect — but regardless of their actual size, these creatures are an easy but effective terror to stalk and consume your small town. Also, just image the bumps these suckers leave behind.
Bloodrik #1
Cover by Andrew Krahnke
From one bloodthirsty, extra violent giant to another, we arrive at Bloodrik. After years of self-publishing, writer-artist Andrew Krahnke is bringing his giant Conan send-up, the brutal Bloodrik, to the pages of Image Comics. But unlike the aforementioned barbarian, Bloodrik isn’t exactly in the business of saving the day; he’s more concerned with surviving the bleak and brutal world around him (and getting enough carbs to sustain that mound of muscles he calls a body). And so what I like about this cover is how it balances those two ideals, the super violent fantasy hero and the guy just trying to get by. So, yes, he may be a great machine of unimaginable violence, but he’s also got a belt full of plants and roots for cooking/medicine/etc. That juxtaposition feels really interesting, and almost a commentary on our own existence in a world where a term like “hyperinflation” gets thrown around all willy-nilly. But more than all of that pertinence, this cover captures the simple but effective nature of this book, and how so much of its power comes from seeing what Krahnke does with this slice of brutal fantasy storytelling. Bloodrik for life!
Invasive #1
Variant cover by Brian Level
Even before issue #1 is actually out, writer Cullen Bunn is calling Invasive “one of my most disturbing stories.” And based on the premise — there’s some layers here, but it basically deals with a “new kind of underground hospital” where only one doctor can stop the medical horror — I’d certainly say that’s true. I’d say it’s even more true when we look at this variant cover from Brian Level. The old “catch ’em in mid-surgery” angle automatically makes this a deeply effective (and utterly horrifying) choice, but I think the “appeal” of this cover goes even deeper still. It’s the fact that I can practically feel the writing etched on my own skin. Or, the way the red/blood plays out almost like a spotlight amid the rather drab surgical floor. Even the way it all feels so realistic and practical even as it’s deeply horrifying. (And I haven’t even mentioned the man’s smile!) All of that together shows the dedication and nuance of this story, and how it’s the extra little bits and strings of energies that could make this a proper standout in Bunn’s robust bibliography of horror. The real horror, though? The $25,000 hospital bill for this procedure.
ORCS!: The Gift #1
Cover by Christine Larsen
With ORCS!, artist-writer Christine Larsen took a novel spin to fantasy tropes and storytelling. Now, with the story’s latest chapter, The Gift, she’s likely to continue that trend, as the Orcs, Crows, and Elves join forces after the defeat of the terrible Wizard. But don’t expect any campfire singalongs or the like, as the newly-expanded alliance must now contend with the nasty Wolf King (pictured center as if he just ripped his way out of a 1981 cover of Heavy Metal). That blend and/or balance between darkness and light has been an interesting feature/component across ORCS! — Larsen knows how to make us feel really unsettled and even nervous even as there’s some distinct playfulness and silliness to this story. Aside from the mean ‘ol Wolf King, even the mushrooms here expertly ride that line between fantasy traditions and multifaceted emotional sentiments, and it shows us just how deep-seated and integral this whole dynamic is to the very heart of this book. Plus, if nothing else, the “marriage” of Orcs and Crows here extends that device in a really cool way, showing just how equally dedicated this series is to doing something new. That, and showing the sheer versatility of Orcs as a whole, of course.
The Sentry #1
Variant cover by Peach Momoko
Sentry has always been a mostly weird hero. He’s sort of like Marvel’s own Superman, but with an origin and history far more complicated. (Reynolds has long struggled with various psychological issues, for instance.) That seemingly continues even after Bob Reynolds’ demise, as people the world over are developing his powers (and memories) in what’s basically the race to be the new Sentry. But don’t you go thinking that flight and super strength are all a walk in the park — to become Sentry is to also invite in that aforementioned chaos and uncertainty. That’s a potentially scary development fully captured in this Peach Momoko variant cover. It’s about contextualizing just what the Sentry represents: beyond the power and the strength, there’s this deep well of pain and uncertainty. To be the Sentry is basically to accept all the weirdness and insanity that accompanies these abilities — a balance, as it were, that informs the real hook of this cover. Sentry isn’t necessarily scary, but his life, and the life of his replacement, ain’t exactly going to be a dream. If you can accept that “nightmare,” maybe you’re strong enough to be an actual hero.
Petrol Head #2
Cover by Pye Parr
As much as I may love, say, Halloween-themed comics, I’m a bit of a Scrooge when it comes to Christmas. Sure, they’re all sort of dumb, made up celebrations that involve food and recognizing the mostly nonexistent magical tendencies of our otherwise dull existence, but at least Halloween has the guts to be super trashy and a tad camp. That’s a problem that’s heightened given that it’s only the second issue of the already great Petrol Head, and even if this issue has nothing to do with Xmas (it seemingly doesn’t per the solicitations), the cover alone creates a seemingly unshakable connotation with this yuletide celebration. But maybe that’s a good thing? In a book about humans on the brink of annihilation, and robots fighting for their own “humanity,” maybe a silly little Santa snapshot works well to highlight the book’s core themes. That, and it’s a nice bit of further brevity (aligned with the series’ core brand of jokes and silliness) that grounds those efforts in a less “serious” and deliberate light. You could get caught up on the image of a smoking Santa, or a this is from a world where snow seemingly no longer exists. Or, you could just enjoy the quaint moment before this book slams into you at 145 mph.
Batman #140
Variant cover by Francesco Mattina
No disrespect to the main cover from series artist Jorge Jiménez — it perfectly captures the Joker-Batman dynamic. (Which is, they’re happy to fight all the way down to their mutually assured direction.) But if we’re going to really encapsulate their dynamic, I’d much prefer to go with the variant cover to Batman #140 from Francesco Mattina for a few different reasons. One, any time we can connect with a magic show is always a good thing. Two, this silly gimmick really does speak to something elemental about their rivalry (which is to say, they’re not beneath getting a little cheesy and silly no matter how dark things may get in their interactions). Three, there’s always some level of this configuration: Joker’s in a position of power and Batman’s always scrambling a couple steps behind (until he closes the gap and gives the Clown Prince of Crime the ol’ smackdown). Four, there’s always a monkey involved. OK, that last one’s not true, but you believed it for a second, and that’s just proof of how weird and sustained and endlessly bloody their feud has been, and how it’s only going to get much, much worse. The “Mindbomb” arc looks to achieve at least one novel thing: add a whole new sheen of dazzle and darkness to comics’ OG blood feud.
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