(A Very Special) Judging by the Cover – 2023 Wrap-up

I’ve been thinking a lot lately about metrics and whatnot. Mostly because we live in a capitalist hellscape, but also because these figures still help us track our actual impact in the world. And in my case, I think I had a pretty impressive 2023. For instance, I wrote some 200 reviews just between late May and end-of-December. Then, when it comes to Judging by the Cover, I cranked out roughly 103,000 words this year. Not too bad if I do say so myself.

But why does that matter to you, the dear reader? Well, because I really and truly love comes, and I want to do my best to celebrate them. Judging by the Cover, I feel, is my baby — my ongoing journal for documenting how I feel about comics and the ways that this “relationship” evolves. Since the theme of this year’s best-of coverage has been about getting better and better, it felt only natural to show how I’ve tried to better celebrate comics. How I’ve worked to create a place where we can see the ins and outs of comics storytelling and business practices, and try to discern what it means and how it affects us all. In that process, we can better appreciate comics, each other, and maybe even creativity itself.

So, enjoy another year of recaps — it’s a chance to revisit old favorites (and maybe some things you forgot about, too). It’s a simple but effective way to engage in that larger process of analysis away from big concepts and an even larger word count. But the end result is all the same: more time talking/thinking/admiring comics and their unique place in our world.

I’ll be seeing you again on Monday, January 1.

Scarlet Witch #1 (Released 01/04/2023)

Variant cover by Jesus Saiz

(Editor’s Note for 12/28/23: The Scarlet Witch piece is actually the work of Takashi Okazaki, with colors by Rico Renzi. Thanks to readers for the correction.)

Do I think it’s a little odd that we’re finally getting a Scarlet Witch solo series right now? Sure. It would’ve made heaps more sense when WandaVision happened, or even when she was the big bad in Doctor Strange in the Multiverse of Madness. And yet here we are, and despite those timing issues, we’re in for something truly epic from the creative team of Steve Orlando, Sara Pichelli, and Matt Wilson, who are letting a newly-centered Wanda Maximoff use her immense powers to help others facing their own profound crises. Most of the covers attached to this debut issue do a great job of highlighting Wanda’s “journey” to this bright new chapter. Like, this Adam Hughes “classic” variant, which captures an essential tension and emotionality of the character (albeit a little exaggerated, yeah?) Or, this Elena Casagrande piece, which blends bits of the comics and MCU Wanda for something simple but effective. And yet the final nod goes to this Jesus Saiz variant. Here, we get a very Zen, very demonic Wanda (in a deeply gorgeous piece) — and that kind of dichotomy feels perfect for this “version” of the Scarlet Witch. It’s as if there’s a real power in recognizing your darkest tendencies while you try and do some good, and that feels like the best encapsulation of this dynamic heroine. That, and the wings totes suit her.

Giga #5 (Released 01/18/23)

Cover by John Le

The last issue of Giga (that’d be #4, FYI) came out in June 2021 — which may as well be 100 years with the way time works these days. And yet anyone who read that first “run” won’t bat an eye at having waited even twice that amount considering the pure potential of this poignant tale of mega-sized mechs and the future of humanity itself. Writer Alex Paknadel crafted the structure for a compelling sci-fi world, and artist John Le brought it all to life with vivid color and emotionality. And issue #5 looks to be a solid continuation, as “the slumbering gods will wake, rending metal and flesh.” Don’t let all that ominous business fool you, though — if you need a reason to get back on board (or for the first time even), you can find it in Le’s cover. There’s the kind of ominous energy promised in the solicitation, sort of like if Jack Kirby drew something inspired by the Bhagavad Gita. But there’s also a kind of warmth and serenity to this massive creature, and it’s hard not to get caught up in feeling tiny and insignificant in the face of it all. If this new chapter delivers on any of those ideas and energies, it’ll be well worth the wait indeed.

Daredevil #8 (Released 02/08/23)

Cover by Marco Checchetto

Great covers should clearly stand on their own in terms of scope, message, colors, motifs, etc. And yet this week there’s two big Marvel titles — Daredevil #8 and The Amazing Spider-Man #19 — each basically feature the same idea: “a long-standing goodie battles with his on-again/off-again love interest amid a pile of bodies/ominous mound.” Did I think the creators (that’s Marco Checchetto on the former, and Scott Hanna, John Romita Jr., and Marcio Menyz on the latter) somehow rip each other off? No way — sometimes stories coalesce in such a way that grandiose images, especially if they’re tried and true, just get repeated. I will say, however, that I do have a slightly more robust appreciation for the Daredevil cover. It’s likely the stakes — a big war amid Daredevil and the Punisher (!) — but also the expert use of shadows/coloring; the intensity between the two clans; and the, um, interesting fighting style of whom I assume to be Maria Castle. It sends a more dramatic message and plays with this “trope” in ways that feel really interesting. But with this much mound-based fighting in just one week, we’re all winners!

Where Monsters Lie #2 (Released 03/01/23)

Cover by Piotr Kowalski

The thing about making comics covers is that it’s hard AF. You have one image to sell a whole story (from a multi-issue series) while making something novel and refreshing. This piece from series artist Piotr Kowalski does all of that and more for Where Monsters Lie. Does it connect back to the story? Heck yes — it tells you what you need to know in a very minimalist way. And is also still almost standalone in its scope? For sure — if you saw this anywhere else you might both appreciate it and buy the ticket/merchandise it was attached to. Plus, not enough covers are always able to perform just such a feat; if anything, this cover does so because it really tries to engage the subject matter and the main narrative while playing around with iconic images (small town life) and even eschewing our understanding of the natural world. It’s a cover that clicks on so many levels, and it does so without making the audience presume to much or engage beyond whatever level they’re comfortable achieving. It’s a powerful piece for what it says as well as the things it even only ever whispers.

The Forged #1 (Released 03/15/23)

Cover by Mike Henderson

I tell you there’s a new series from Greg Rucka, Eric Trautmann, and Mike Henderson, what’s your first move? If it’s not instantly running to your local comic shop, maybe this will help: in the book, a “squad of planet-smashing super soldiers” embark on a crazy new mission in an “over-the-top pulp adventure of sex, violence, and sci-fi.” (Oh, and did I mention it borrows from Heavy Metal and Conan? ‘Cause it does.) If all that still weren’t enough, I’d just show you Henderson’s own cover for issue #1. What’s more compelling, the promise of “imperial vixens” and a “hell-world,” or the giant space marine-looking badass tearing through bugs in a world that’s equal part Doom and Gundam? The answer is both at the same damn time, and it’s ample proof that this series has all the right parts to be truly dazzling (in the way a kick to the solar plexus can be dazzling, of course). Time will tell if the book delivers, but it’ll be interesting to see how all this truly comes together.

Lovesick #6 (Released 03/29/23)

Cover by Luana Vecchio

It’s that part of the month where I gush endlessly about Lovesick. I get that, at this point into the seven-issue miniseries, it may feel a little old hat. Like, just how good can a series about a murderous dominatrix going through an existential crisis actually be? (The answer? Quite.) But if you ever doubt my overt love for this book, I want you to peep the cover to issue #6. As the penultimate issue begins, we’re promised a little trouble in paradise between Domino and Jack — and what that means for this “couple” is more complicated than an awkward brunch. With the subtlety of a falling bowling ball, artist-writer Luana Vecchio gives us a snapshot of this couple, capturing the madness and insanity of their bloody dynamic. And yet amid a hugely confrontational image, there’s still something almost quiet and romantic — something that tugs at the heart even when the rest of our body is screaming otherwise. It’s a powerful moment of dichotomy, and we haven’t even opened up the actual issue.

The Gimmick #2 (Released 04/12/23)

Cover by Erica Henderson

I’d like to think that with last month’s coverage (including an interview and a shiny write-up in an edition of Judging by the Cover) that The Gimmick would be fully hyped. Whether or not you’ve already jumped aboard this story — which follows a pro wrestler, Shane, who murdered a guy with his secret superpowers and has to go on the run — I can’t imagine you’ll be off that train much longer. Because based solely on the cover for issue #2 by Erica Henderson, the creative team (writer Joanne Starer and artist Elena Gogou) are getting super-weird with it pronto. Is a baby with (seemingly) super strength and a deep love for rasslin’ in and of itself a little odd and funny? Sure, especially given mom’s reaction. But it’s also one of those images that surprises you after the initial “LOLZ” dies down, and you start to connect the image with the story thus far and start to feel the weight of it all. Even if you don’t, grappling baby is funny, and enough of a “gimmick” itself to get you into the ring and in on the action.

Danger Street #6 (Released 05/10/23)

Cover by Jorge Fornés

There’s a thing in most Tom King stories where a thing isn’t what it seems to be. A man who’s good at escaping, for instance, might actually be seeking a place to call home. Or, a man solving his own murder could be more alive than he ever was before. And the same holds true for Danger Street. In fact, it may be the most King-ian title in that regard, as the story blurs the line between nostalgia and anxiety, friendship and deception, and even the genres of horror and a coming-of-age tale. It’s even abundant on this absolutely incredible new cover to issue #6 from series artist Jorge Fornés. Because, yeah, it’s a fun, super adorable cereal, but it’s also a snake waiting to bite you with some very hard truths. Or, and this is maybe not as elegant of a metaphor as is required, a hand puppet with brass knuckles underneath. Take your pick, but it’s a powerful blurring of sentiments that proves why this series is another No. 1 smash single from King.

Nightwing #104 (Released 05/24/23)

Cover by Bruno Redondo

I’m fully aware that, as heartfelt and poignant as this series has been, Nightwing is also totes ridiculous. Creators Tom Taylor and Bruno Redondo have used their run to employ lots of cheesy dialogue, silly pop culture references and gimmicks, and even the ultimate crime, a dog called Bitewing (even if she’s the best dog this side of Ace). But this cover to issue #104 may be the duo’s most egregious (read wonderful) crime, as they reference that seminal battle rap GIF that’s basically a cornerstone of internet culture. Does such a silly, silly decision fit with the current storyline? Not at all — there’s a superpowered Nightwing battling Neron for crying out loud. But does it fall in line with the rest of their editorial decisions? You betcha. Even more than that, does it mean anything?! And, yeah, of course it does: I can’t think of a better way to show this new era of Titans, as they take the “throne” of DC super teams, then engaging in some totally cheesy team-building. That, and as this book has proven, there’s some real world-building and story development done through the art of celebrating bonkers internet/pop culture. If nothing else, this was the role Beast Boy was born to play.

Immortal X-Men #12 (Released 06/07/23)

Cover by Mark Brooks

And speaking of deep-seated relationships imploding in front of our very eyes, we’ve reached the cover to Immortal X-Men #12. If you’re not up-to-date, The Quiet Council is filling a vacant seat — and it’s up to Colossus to make the final deciding vote. How does this lead to some, let’s say, conflict with his on-again, off-again love interest, Katherine Pryde? Well, while you’ll have to read to see, this Mark Brooks cover does hint at the kind of tension we can expect inside. And while another couple clearly ranks as comics’ greatest love affair, this Colossus-Katherine coupling is right up there, too. Could I see why, in this wild and wacky state of the X-verse, they’d be fighting? Yeah, and that makes it worse — I don’t have to do a lot of mental gymnastics if the current story makes it easy enough to see why this conflict (directly or metaphorically) has to happen. All you’ve got to do is peep this cover and feel the weight of it all — the way it all sort of clicks into place and we’re grappling with a really big moment of violence and a certain kind of deep, dark betrayal. Does it, in a very #comicsfan sort of way, stop me from loving this sleek little action shot, or contemplating who might win (Pryde, hands down)? No way. Because the best comics can stoke the inner nerd and break your heart at the same dang time.

Xino #1 (Released 06/14/23)

Variant cover by André Lima Araújo

The Xino anthology describes itself as “intra-ocular lozenges of subversive, surrealist science-fiction to cure your awful awareness of” our increasingly bonkers timeline. Whether or not you need more of a reminder, or are looking toward even more sci-fi to consume and digest, the series has certainly delivered on its promise of visual majesty. Case in point: this excellent variant cover from André Lima Araújo, who doesn’t provide one of the three stories in #1 but does a damn fine job of setting the pace for this daring title. We get a prerequisite robot, which not only affirms “this is, indeed, sci-fi” but has an interesting aesthetic. The rest of the cover, meanwhile, feels like a dash of near-future city life with just the slight undertones of authoritarian rule — a balance between ideas and values of sci-fi that mostly has me curious about how this world/worlds will actually break down. Sure, other covers perhaps capture a more “realistic” take on our anxieties toward the future — this Shaky Kane piece feels brain-meltingly ominous in its tone and general likelihood — but Lima Araújo’s piece does more to play around with these ideas and sentiments in a decidedly clever way. That, and it made me think the robot is up there smoking and drinking, and that’s pretty dang fun, yeah?

Storm #2 (Released 06/28/23)

Variant cover by Maria Wolf

Storm, if you’re unaware, is set amid her “fan-favorite punk-attired days.” But it’s not all dope haircuts and leather for days — this era had a lot of problems for Ororo Munroe. As this story has already demonstrated in just two issues, that includes a new villain new Blowback, some personal issues with Kitty Pryde, a new love interest, and perhaps some malfunctioning weather powers. So with all that going on, I really wanted to highlight the variant cover from Maria Wolf. We get everything we need to know about the story right here. Like the sheer power at her fingertips, and how as gorgeous and awe-inspiring as it may be, is also a hugely terrifying threat. Or, the way she clearly feels a deep rage but is trying to channel that into something more than mere destruction. And, of course, her aforementioned “punk clothes” are just as on point as ever. So, what’s it all mean together? This is a Storm who is still very much sorting through herself and her place in the world — she may have all the power, grace, and beauty in the world, but that doesn’t make it easier. It’s a lesson not of coming into herself, per say, but perhaps finding the joy and serenity to accept all those big, scary things about herself with poise and confidence. Sure, we know how it already turns out for Storm, but that doesn’t stop this series from being a massively powerful story about a proper dynamo.

The Lonesome Hunters: The Wolf Child #1 (Released 07/12/23)

Cover by Tyler Crook

If you didn’t read the first series-arc of The Lonesome Hunters, you’re off my Christmas card list forever. Writer-artist Tyler Crook took fantasy, turned it on its head, turned it rightside up again, and then threw smoke bombs and set off firecrackers to disarm us further. It was a fantasy series where the only thing more fantastical than the giant magic sword was the bond between our leads, Howard and Lupe. And with the second chapter — which involves a small town and a “magical wolf and a mysterious child in a wolf mask” — it seems Crook is doubling down on everything. There’s still that subtle, pseudo-romantic haze from the first series, and this time it feels all the more effective in playing with genre confines. The boy in the wolf mask seems a tad scary but also weak and wounded, and that has some connotations with some of the ideas of friendship and putting ourselves out there that are central to this whole story. Crook is a master of fostering an aesthetic, and he uses a light touch to get us to really connect with the subject matter and feel some very big sentiments with that graceful touch. It’s sweet and dark and oh-so inviting, and I can’t wait to see how this new chapter hunts us down and bites the living heck out of our very sensibilities.

Knight Terrors: Wonder Woman #2 (Released 08/16/23)

Variant cover by Scott Forbes

Physically speaking, Wonder Woman is pretty safe amid Knight Terrors. Zatanna went and placed her body in a giant maze underneath some League base, and no one’s getting to her short of being Jareth himself or having a magical chainsaw or something. But mentally, she’s in especially dire straits, and the brave warrior is grappling with some extra heady nightmares and the twin monstrosities of self doubt and uncertainty. But the thing about her nightmare is that it didn’t start out so poisonous, and that somewhat “sweet” start may be an even more effective form of torture for the world’s most badass warrior. It’s an energy and thematic idea expressed perfectly across this Scott Forbes variant cover, with Diana quite literally removing her face (i.e., her sense of bravery and self-assuredness) to face her inner most gnarly demons. (Also, the fact she looks rather plastic/doll-like only adds layers to this robust visual metaphor.) The end result is a really powerful exploration of Diana, how she sees the self and the world around her, and how perilous it can be to fight ever onward when you’re not always so certain. It’s a mighty snapshot of a character, and just another reason this whole event has been so effective at every turn.

The Sickness #2 (Released 09/13/23)

Cover by Jenna Cha

If you can recall back to June, the team of Lonnie Nadler, Jenna Cha, and Hassan Otsmane-Elhaou unveiled The Sickness. It’s a decades-spanning tale about two people linked together by a “horrifying illness and the haunting figure who follows wherever they go.” While there were heaps of promise in issue #1, we’ve had to wait some three months for issue #2, which can often be a major blow to a still-young book. Only if we’re to judge based solely on Cha’s own cover to issue #2, I think the book is going to be just fine (and may be even more of a tantalizing draw to anyone who missed out on #1). Because everything visual or aesthetic that made some of the first issue feel compelling seems to have doubled in this new cover. Like the warping of some quaint ’50s vibes, like Normal Rockwell did way too much mescaline and started drawing on the walls. The robustness of the atomic age imagery, and how the sheer deliberate or super obvious nature of it screams a powerful message while just making us feel deeply uncomfortable. Even the slightly psychedelic quality of the melting ice cream feels significant. This cover speaks to a book with many ideas and layers, and it executes on them with a poise and grace that can shock you to your very core. Do I want to wait three more months for #3? No way. But if that cover is one-tenth as effective, I’ll wait with endlessly bated breath.

X-Men #27 (Released 10/04/23)

Cover by Joshua Cassara and Guru-eFX

OK, I get it that just last week I took a ride on my hater-cycle for Cyclops. But I’ve seen this cover from Joshua Cassara and Guru-eFX teased for weeks, and I can’t refuse a chance to talk about it. (Especially because the solicitation is just so dang pun-tastic.) But maybe I’ll surprise you when I say that the appeal of this cover is less the overt suffering of Scott Summers and more the skill of the artists. Because I’ve seen a ton of X-Men stuff from Cassara, and while it’s almost always dang compelling, this one feels like a singular achievement. It’s the sheer depth and intensity — there’s a life energy here unlike even some of the best X comics have ever mustered. It’s a unique angle, too, and playing with Scotts’ eyes in such a way that it feels like a really intriguing commentary and also another way to mess with his mind. It’s one of those moments that exemplifies what X-Men comics have been doing so well in recent years: telling these really intense stories that strip our heroes to their core and generate new ideas and understandings. The fact that Summers is actually suffering may be a good thing this time for everyone — at least that’s what I’ll tell myself.

Universal Monsters: Dracula #1 (Released 10/25/23)

Cover by Martin Simmonds

Maybe I’m just a grouch, but I for one wasn’t sure I could take another Dracula story. Really, vampires in general are reaching a point of cultural over-immersion, but the King of Vamps especially just feels super indicative of how vampires are becoming like bacon in the larger cultural canon/conversation. But if it’s a Dracula story told by the creators of Department of Truth, then maybe I’ll have to invite him in one last time. Especially as it seems that James Tynion IV and Martin Simmonds are sticking to a pretty direct interpretation of the Dracula story, especially as evidenced by Simmonds’ own cover to #1. There’s the usual overt drama and intensity to Simmonds’ efforts, and that works really well here in capturing the lord of all monsters. At the same time, though, there feels like an even greater measure of control, as if Simmonds has shifted his approach to capture some moment in clear light and foster even more humanity in Dracula’s depiction. The end result is really effective, and it highlights something essential about Dracula while hinting at new ideas and notions to his status in this book. I may be on vamp overload, but this one doesn’t suck so far.

Operation Sunshine #2 (Released 11/15/23)

Cover by David Rubín

If you read my recent review, you’ll know that Operation Sunshine has already take a big chunk out…of my heart. Sure, vamp stories are a dime a dozen nowadays, but there’s enough layers and horror-celebrating commitment here to make it feel really inventive and novel. And so much of that ability is extended and enhanced by the art of David Rubín, and that includes this cover to issue #2. I’ve always loved Rubín’s style for balancing both a sense of realism and cartoonish joy — it’s as if a Saturday morning favorite from my youth has somehow come to new life right there on the page. And that dynamic is both compelling and a little hard to sort through cognitively, and that’s made doubly true anytime that there’s blood/viscera involved. Rubín has an unflinching approach to making things as real and horrific as possible, and I can practically feel the mist of blood spray from that dead soldier’s neck. The whole point of this stuff is to be as affecting and also over-the-top as possible, and Rubín does that here in spades. It’s a great cover that speaks to the heart of this book — which is likely to be ripped out of its chest by an especially gnarly vamp.

Invasive #1 (Released 12/06/23)

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.

Animal Pound #1

Variant cover by Yuko Shimizu

For one, I love that Animal Pound just owns the whole idea that it’s a modern comics version of Animal Farm. (The solicitation uses the language of “enduring Orwellian allegory.”) Because once you get that whole business out of the way, then you can focus on doing something novel and inventive in this story of an animal uprising. Case in point: this really excellent variant cover from Yuko Shimizu. For one, it really leans into the whole “let’s show how depressing animals have it” with a truly savage and heartbreaking moment that feels like it might be an exaggeration, but given the nastiness of humanity, may not be at all. But just in case you think this isn’t about sweet, sweet revenge, the bear here clearly has powers/is possessed, and they’re about to make trapped in barbed wire feel like a warm day on the beach in Mexico to all these hairless ape morons. And in that way, the cover really leans into the whole gimmick of the title, but in a way that feels decidedly savage while mitigating some of the subtle socio-political messaging for a moment of ruthless truth telling. Whatever else comes next better be one-third as purposeful and unsettling, or I’ll be sadder than this here kitten.