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: Gargoyle of Gotham #2
Cover by Rafael Grampá
If you missed the first issue of Batman: Gargoyle of Gotham, for shame on you. Because artist-writer Rafael Grampá clearly has a novel and inventive take on the Dark Knight — one that celebrates essential things about the character (there’s some real Year One vibes for sure) while adding something new to the ol’ Bat lore. Case in point: this cover to issue #2, which talks about an ever-darkening Gotham City and features cryptic lines like “To decide to kill your past is one thing, but actually doing it proves to be more fraught a road than Batman ever expected…” And what better way to hint at some of that overt headiness and tension than with this bare-bones, ultra effective cover? It’s one that displays a snapshot of this series’ core efforts — lots of theatricality and intensity and even blood to draw out an utterly primal take on Batman. I love how, even more than all the aforementioned blood, even something like the slightly imperfect teeth speaks volumes about this spin on the Caped Crusader. If this is the cover, wait till you see the madness within.
Spider-Gwen: Smash #1
Variant/incentive cover by Elizabeth Torque
The most essential thing about any Spider-Person story is what I call the “Normality Paradox.” Because more than saving the day, these heroes just want to live an average, ordinary life, and so they get into situations where they have to try and be “normal” despite the overwhelming odds that -ish is clearly about to hit the fans almost every time. That’s pretty much the plot of Spider-Gwen: Smash, as Gwen must balance her band’s big break and stopping a “mysterious assassin.” The appeal, then, isn’t just how endearing this narrative construct is, but how the Spiders look while balancing this precarious feat — and Spider-Gwen here looks amazing. Artist Elizabeth Torque really draws out the prowess and charisma on this variant/incentive cover, and she captures less the actual balance required and more of the rush of emotions and ideas that come with this “paradox.” It’s the best band poster ever and an amazing superhero cover — the sort of image that captures why Spider-People try to have their cake and eat it too. Even if this process is probably like a small nightmare every time.
Beyond Real #1
Cover by John Pearson
Beyond Real is another book that I’ve actually had time to sit with for a few weeks. (Yes, this is Judging by the Cover but occasionally I’ve just got to read things when they land in my greedy little lap.) And while I totally love it and what it’s trying to do with both romance storytelling and the idea of metaphysical exploration, I’d welcome you to just sit with this John Pearson cover until you too can get your hot mitts on this debut book. Because without revealing too much, or leaning into the obviousness of any “we live in a simulation!” imagery, Pearson manages to capture some essential motifs and ideas. Like, the way reality breaks down and what these stories represent for how we choose to engage with our circumstances. Or, the quaint air of romanticism that informs much of this book. Maybe the similarly vital ideas of duality and free choice. Heck, even just the sheer colors give us a preview of this book’s gorgeous, kaleidoscopic approach in breaking down these very big ideas. This is just a preview (albeit a powerful one at that), and I promise this book will melt your brains in the best, most realest sense possible.
Beneath the Trees Where Nobody Sees #2
Cover by Patrick Horvath
In our own, unwittingly early review, our own David Brooke said Beneath the Trees Where Nobody Sees #2 takes on a the air of a proper whodunit. And it’s a rather similar air of mystery and tension that informs that issue’s cover from artist-writer Patrick Horvath. If you didn’t know any better, the pig lady might be seen as the star of the show — except our lead, Samantha, is right there in the spotlight in the most tense, nerve-wracking way imaginable. (Seriously, that presence gave me the actual heebie-jeebies.) Thew pig lady, then, plays another, equally important role as her window-shopping effortlessly speaks to the book’s big themes and it’s take on horror and murder in general (and maybe a commentary on modern life/consumerism). Those two tent poles together, then, make for a genuinely engaging and unsettling cover — a piece that plays with and contextualizes its messages and genres in an utterly novel way to maximize their impact and really draw in the reader to the larger process. It’s that quiet knife that’ll be deep in your belly before you’ve ever realized than anything ever happened at all.
The Scorched #24
Cover by Ze Carlos
I might have said this before, but the whole Spawn universe feels like a gift from Todd McFarlane. Not just in the sense that he’s told a generally weird and multifaceted story over the last 30-plus years, but the main book (and subsequent spin-offs a la The Scorched) have been a place where new/emerging/somewhat unsung talents have really gotten the chance to shine. And this cover to issue #24 of The Scorched is a prime example of that as artist Ze Carlos gets to show us what makes this book truly cool. To a noticeable extent, part of that is how it extends and develops the weird ’90s vibes and extra over-the-top insanity that has defined the bulk of all Spawn-centric stories. But, of course, Carlos has his own spin, and style that isn’t just referencing McFarlane — there’s a particular grace and overt cleanliness here, and it lets the magic of endless pouches shine even as it imbues a more steady, refined sensibility. The end result is more great Spawn goodness but with a depth and sheen that feel quite refreshing. Spawn is the book that’ll likely never end, and this cover is proof of that subtle inventive streak that makes that entirely possible.
Radiant Black #27 and #27.5
Covers by Marcelo Costa
Admittedly, this isn’t the most over-the-top cover in and of itself. (Which is a tad surprising given that we’re in the midst of the long-awaited Catalyst War across much of the Massive-verse.) Still, what makes it cool is that I’m an unwavering sucker for proper gimmicks, and this super solid conjoined cover for issues #27 and #27.5 are a decidedly rare occurrence these days. And, sure, I love the idea of having our two Radiant Blacks (Nathan and Marshall) facing the odds as all best friends must do eventually. But I also like that, given that they’re wearing the same costume, their pose facilitates an immediate and temporary sense of confusion and uncertainty, as if you think something’s wrong and/or you’re seeing double. It’s that phenomenon, as it were, that feels closely aligned with this universe’s novel approach to giant storytelling and playing with our very sensibilities. That, and it’s a slightly fun way to think about this event and the kind of larger effect it’s having on this universe (both obviously and in more subtle, understated ways). Plus, I got to show off my own photo editing skills here, and I should always use more opportunities to brag.
Batman and Robin #4
Cover by Simone Di Meo
Artist Simone Di Meo has drawn a lot of really great stuff, but I could look at his Batman work everyday for weeks. Sure, there’s just something about the Bat Family’s iconic nature that just brings out the best in most artists, but Di Meo clearly loves and celebrates something essential and also novel about Batman. Case in point: this cover to Batman and Robin #4. It pretty much checks everything off for why the Di Meo Batman is always a source of true joy. The stoic, poised nature of Batman. (Check.) The wild-eyed, slightly chaotic take on Damian’s Robin. (Check.) The sense of perspective that plays with the intensity and scope of these characters’ adventures (Check.) And even a vivid, slightly psychedelic quality that adds even more layers to the Bat Family (Check.) It’s a rather “simple” and straightforward piece, but it gives Di Meo ample room/space to do what he does best: capture so many (and occasionally dueling) ideas of what makes Batman such an interesting and compelling hero. Turns out the answer is brooding intensity, bright colors and weird vibes, and at least one character dressed like a sexy animal for some reason.
Guardians of the Galaxy #9
Variant cover by Nicoletta Baldari
If you’ve been reading the book (or just my reviews…), you’ll know the current Guardians of the Galaxy run is decidedly intense. It’s basically like a murder mystery in space — if the victim is a massive, space-consuming tree that used to be friends (and maybe still is?!) with a group of rebel misfits. And so when we arrive to issue #9, we’re greeted with a kind of “bright spot.” Which is to say, if your bright spots deal with Mantis and her seemingly fractured mind amid the madness of Grootfall. But at least this uptick, as it were, has gifted us this excellent Nicoletta Baldari variant cover, which feels like the title card to a GotG anime that needs to happen pronto. Still, even more than all the cutesy vibes in the world, the cover still manages to capture something else that’s vital about this run: the way this journey has affected each Guardian differently (as demonstrated by their distinctive style and looks) even as they find themselves in need of each other now more than ever before. So, let’s all enjoy this dash of fun and insanity while it lasts — cause this book’s going to further break our hearts in no time.
Masterpiece #1
Variant cover by Tula Lotay
OK, strap in, ’cause Masterpiece is kind of a lot (in a mostly and generally good way). The long is short that our titular heroine (who is a child prodigy and super-genius) finds out she’s the daughter of the world’s greatest criminals — and she’s got to organize her own caper to pay back a billionaire that mom and pop swindled back in the day. That rather robust premise certainly promises a lot (especially with Brian Michael Bendis on writing duties), but I want to just focus just on this Tula Lotay variant cover for a second. Because it really feels like it should be on some extra gritty noir from Sean Phillips and Ed Brubaker, which makes me consider this story in a new and daring light. I love that sweet, child-like dash of colors that expertly juxtapose the very dark setting. Or, the sheen of comedic energy on Masterpiece’s face — it’s like unease as it’s portrayed on a sitcom. (And that, too, is really shaping my idea of this book so early on.) Heck, even the title/logo’s font choice makes me think of some combo of Punky Brewster and The Baby-Sitters Club, and that’s just yet another awesome wrinkle. Whatever this book looks like and plays out like, this cover did its job by hyping me to the moon. That, and reminding me of the totally cool Scarlet.
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