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.
Ultimate Spider-Man #1
Variant cover by Nic Klein
The thing about comics is that we get superstar pairings on a fairly regular basis, which actively demonstrates the depths of talent in this industry. That said, Ultimate Spider-Man #1 feels like a truly special occasion as Jonathan Hickman and Marco Checchetto team up for this “bold new take,” which supposedly “redefines the wall-crawler for the 21st Century!” But until the actual story can do just that, we need to appreciate another star player in this book with this truly ultimate variant cover from artist Nic Klein. For one, any time we get a proper anatomy/physiology lesson in comics is just cool. And this sort of reminds me of the early ’90s Spidey covers from Todd McFarlane (albeit with a bit more heft and power than that decidedly lithe Peter Parker). But more than anything, Klein’s depiction feels like a snapshot of what makes Spider-Man, regardless of the book, universally cool and appealing. It’s those bright colors, the seemingly impossible angles, and the sheer wonder of it all — a hero that’s meant to dazzle and inspire in one fell swoop. Who knows how all of that relates to this version of Mr. Parker, but if the book captures 1/10th the magic, then we’re in a good place.
Speed Force #3
Cover by Ethan Young
Ethan Young is one of those artists that I first came to while scrolling Twitter. He’s got a bright, playful style that seems perfect for the nostalgia-heavy efforts of DC Comics. So it only makes sense that Young would get to do some work for the famed Detective Comics Comics with this cover to Speed Force #3. If you haven’t kept up with the last two issues, Wallace West and Avery Ho, the youngest members of the DC speedster “family,” are on the case of mysterious changes to the Speed Force. And by the time we’re at issue #3, that involves some “spooky Speed Force stuff” and a possessed speedster, all of which feels utterly perfect for a talent like Young to tackle. As mentioned, he’s clearly got an eye for DC-centric nostalgia; I feel like I’m looking at something akin to work of Stephen Sadowski, Leonard Kirk, and Don Kramer during the late ’90s JSA title. And as far as the spooky stuff goes, it’s done with a sense of care and precision, which makes it feel all the more foreboding and intense. Even the bits of shadow, and the way hair hangs, feels really powerful. With talent like Young, DC’s future really is as bright as can be.
Swan Songs #6
Cover by Martin Morazzo
There’s a lot of reasons why this issue of Swan Songs is quite special. For one, it’s the end, and writer W. Maxwell Prince and his various collaborators have put in some solid work. It’s also the last book of a series about endings, and I for one am looking forward to the possibility of a slightly meta twinge. It’s also another collaboration between Prince and Martin Morazzo (aka the duo behind the weird and wonderful Ice Cream Man). But more than all of that, it sees the pair tackle Shel Silverstein’s seminal Where the Sidewalk Ends, which we get to preview via Morazzo’s excellent cover. As the solicitations promise a “dark, morose take on a beloved book of children’s poems,” we get just that (and the hints of a Ice Cream Man crossover to boot!) But dark undercurrents aside, there’s still something joyous and whimsical about this cover — it’s heavy and weird, yeah, but it’ll also make you chuckle. And that balance of energies isn’t just what these two do best but it also speaks to the real emotional spectrum that defines any proper ending. So, sure, be sad that it’s over, but maybe also appreciate that it was a thing in the first place.
Bloodrik #2
Cover by Andrew Krahnke
In my review of issue #1, I basically called Bloodrik the Seinfeld of the dark fantasy genre. And I meant that wholly and completely as a compliment: this book from writer-artist Andrew Krahnke is less about the glory being a bloody barbarian warrior and more about the ins and outs of surviving. So where Jerry Seinfeld has to deal with, like, the bodega closing or whatever, the mostly mighty Bloodrik is battling a savage bear in a frozen hellscape. And, sure, that sounds pretty epic — an idea reinforced by this absolutely badass cover to issue #2 — but there’s also something more here. There’s a sense of isolation and disconnect; a methodical and deliberate approach; a lack of theatricality despite the sheer intensity and majesty of this scene; and a deeply human tinge on an otherwise badass moment. In short, it’s about showing the many sides of these “heroes,” and that as much as they’re to be gawked at, they’re just trying to get by despite a slew of bad luck. That right there is the true magic of this book: it connects us to these massive figures, and allows us to explore those similarities (and differences) across a rich and dynamic story. So, yeah, what’s the deal with Bloodrik, amirite?!
Deer Editor #1
Cover by Sami Kivela
You’ve won my heart and mind if you use dumb-genius wordplay like Deer Editor. But as it turns out, this book from Ryan K. Lindsay, Sami Kivela, Lauren Affe, and Jim Campbell has way more going for it than some S-tier wordplay. For one, this “antler noir series” sees a deer journalist drawn into a “world of political intrigue, a wi-fi-enabled grotto, and a station locker full of secrets.” And if that weren’t already enough, there’s this really great cover to issue #1 from Kivela. At first glance, it sure feels very noir — the outline of a dead body, the muscle car, the stern, slightly vacant look of our deer protagonist, etc. Still, I think the snow is a nice touch; sure beats the rain that’s used in a lot of detective-esque stories, and it makes me think just a little of the days right after Christmas (which makes me just a touch mournful). But even the red-black color scheme, and the appropriately silly font, feel like they’re adding a ton to this cover and to extend its already effective marriage of noir grit and oddball humor/hijinks. I guess you could say I’m already fawning over it pretty hard.
Acid Chimp vs Business Dog #1
Cover by Steve Pugh
Recently, the good folks at AHOY Comics kicked off a five-year birthday celebration extravaganza. Among the “festivities” is a suite of new books, and that most certainly includes the one-shot Acid Chimp vs Business Dog #1. As you can guess from the title, Business Dog (from Billionaire Island) and Acide Chimp (from My Bad) come face-to-face (or is that snoot-to-face?) in what’s sure to be an irreverent and deeply unsettling story from the creators of both books (writer Mark Russell and artist Bryce Ingman). But in the meantime, I want to focus on this cover from Steve Pugh. Because, for one thing, more things in life should be this obvious — if the magic of your book is a globalist hound battling a crazed chimp, let’s give that concept a lot of light. And from there, Pugh does some truly solid work; there’s every bit of weirdness, mania, depravity, etc. promised in the book’s premise right there on the cover. That, and I think it’s hard to tell who’s the good dog/chimp and the bad dog/chimp, and whether that’s intended or not (or a side effect of having animal leads) is still a really solid feature. So no matter who wins (PETA’s going to be upset), the real winners are the readers of this generally bonkers take.
Transformers #4
Variant cover by Sanford Greene
Transformers is in and of itself already pretty ridiculous. So then how do you make robot semi-trucks and ambulances somehow even more crazy and over-the-top? Why put it in the hands of Daniel Warren Johnson. But it’s not just DWJ that’s been upping the bonkers quotient — his various collaborators have also helped Transformers become this utterly wild, perpetually heartfelt book about community. Now that list includes artist Sanford Greene, who has gifted us this truly epic variant cover to issue #4. For one, any time Soundwave gets the spotlight, an angel gets its wings. But even still, his Kamehameha-esque blast is really cool — it’s not only super vibrant and powerful, but another way that this book geeks out about pop culture (like Optimus Prime’s recent use of the rare and powerful Burning Hammer). And, of course, anytime the sound effects can be the actual character’s name, you know something truly wonderful has just taken place. It’s a cool, colorful cover from a book that’s all about indulging these kind of singular moments, and I can’t wait to see how this community of comics talent crushes it in issue #5 and beyond.
Blade #7
Cover by Elena Casagrande and Romulo Fajardo Jr.
If you’ve read the book (or just my reviews…), you’ll know that writer Bryan Hill and company are onto something special with Blade. Namely, they’re trying to evolve the Daywalker in some novel and compelling ways, and to give him the kind of support system (lore, big bads, a greater range of emotions and story options, etc.) And it’s really worked thus far — Blade is a character deserving of a grander place in the MCU given his unique position and moral perspective. All of that, then, makes the cover to issue #7 all the more intriguing. Is this the “old” Blade, then, jumping blindly into action against a raging Hulk? Or, is this a more measured and transformed Blade, leaping to action in the dumbest way possible because he has some plan or essential insight? Either way, I think it’s a confrontation that isn’t just cool as heck but speaks to the ongoing themes and threads of this book, and in a way that feels really exciting and in line with the series’ whole vibe. If anyone could put a whooping on Hulk, it may be Blade (even temporarily), but the fact there’s context galore here is perhaps even more badass.
Wesley Dodds: The Sandman #4
Variant cover by Jeff Lemire
Maybe it’s because I was a lonely child, but I often think about variant covers not just as capitalistic incentives but like miniature portals to alternate universes. Like, what if Jeff Lemire had been the series artist for the new Sandman book this whole time? I certainly think it would have added something novel to the proceedings (of course, without taking away from the genuinely great work of artist Riley Rossmo and colorist Ivan Plascencia). Still, we don’t live in that world, and so this snapshot is all we’re ever going to get. Lemire’s always stylish, vaguely unsettling approach is on full display here — he was clearly destined to draw the perpetually creepy Sandman. Still, Lemire does something that actually makes Sandman just as cool as ever, including that oh-so stylish choice of grey pinstripe suit that adds some much-needed panache. Even his gas canisters manage to be doubly creepy (it’s sleep gas, after all) while feeling like shotgun shells from the best action flick ever. So, no, we’re not getting Sandman as drawn by Jeff Lemire (for now?!?), but we got this great cover, and that’s more than enough multiversal-esque madness for this fella.
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