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 #142
Cover by Giuseppe Camuncoli, Stefano Nesi, and Tomeu Morey
I get that there’s been a lot of great happenings in Batman as of late. I mean, the stuff with Failsafe and Zur-En-Arrh has been a weird but effective way to delve into the Dark Knight’s need for control and his maddeningly complicated ego. But for my money, the move into “Joker: Year One” is going to be an even more bonkers slice of the kind of stories that rest in the very annals of the Bat Family. (Yes, I’m considering Joker as a member of the Bat Family — fight me if you want.) And I know it’s going to be a real smile-inducing blast given this main cover from Giuseppe Camuncoli, Stefano Nesi, and Tomeu Morey. The Red Hood helmet alone is making me think a little of the Red Hood stuff from Judd Winick’s Batman run, and that’s a real joy in and of itself. But then we have this rather uneven, deeply ugly portrayal — the way the concrete is shaped is pulling a lot of weight both emotionally and from a narrative standpoint in terms of setting a tone and mood. And the fact that we can’t see his eyes just speaks volumes about how this might be a new, more intimate insight into how Joker came into himself (as well as freaking me all the way out). It’s not the most massively powerful image, but if you’re connected to these storylines and images, it’s already got its claws in nice and deep.
Venom #30
Variant cover by Mike Henderson
Like a lot of folks, my first introduction to Venom came with the ’90s Spider-Man series. There was something really elemental about that depiction, and the way he served as this vivid counter to the cool, sleak, available, etc. facade that Web-Head had achieved during that cartoon’s run. And so this variant cover from Mike Henderson, part of a line of such pieces celebrating Marvel glory circa 1997, is really stoking the slow-burning flames of my own nostalgia. His version of Venom, especially, captures the same kind of insanity and snarling rage (not to mention all that slobber) while adding whole new layers of rage and depth. (And the fact that he’s swimming in what seems like the East River is both confounding and terrifying in so many ways.) Part of me feels a little sad that this Venom no longer exists, and the Venom in the current storyline (aka the King in Black) is in a markedly more vulnerable and complicated spot in his life. But then I spent some time mulling over the differences and connections between our dueling Eddies, and it just made me appreciate the power of a proper bit of nostalgia as well as how certain ideals and energies will always be a part of our understanding of these characters. All that from “Venom night swimming in a sewer tunnel.”
Dark Spaces: Dungeon #3
Cover by Hayden Sherman
In a lot of ways, Dark Spaces: Dungeon has been the most deliberate and indirect bit of horror we’ve seen in a hot minute. The premise alone — tracking down a serial killer that builds murder puzzles to torture his victims over years — presents heaps of visual potential. At the same time, though, it’s often a more intense and psychologically-oriented story from Scott Snyder, and it’s been about using, say, a bone-smashing torture pod to play up other aspects beyond the inherent gore of it all. Luckily, series artist Hayden Sherman has found a way to mostly balance all of these energies and sentiments, and we get great covers like this one to issue #3. With just the right perspective, it’s like a sewer opening becomes a skeleton vomiting blood after eating two hapless humans. And even if that’s only my takeaway, that image speaks to how this cover (but really the book at-large) tries to invite readers in to help shape and even “curate” some of their own experiences with the story. It’s a rather novel approach to horror that plays with our perceptions and understandings of the genre to get us to scare or turn our own stomachs, and to see that the real power of this title is the ways in which it engages us right at home. And when the book itself (usually) follows up, the end result is horror that lands right in the ol’ brainpan. Also, sewers remain a terrifying prospect for the tiny ladders alone.
Antarctica #8
Cover by Willi Roberts
If I’m being honest, I didn’t really like Antarctica that much. So much so, in fact, that I sort of bailed after the first issue, and that’s not really like me given how I want to give everything the benefit of the doubt (even if that doesn’t always do me any favors). If I had to put my finger on it, I think that debut differed in that it wasn’t just a kind of misstep (that happens all the time in books) but I couldn’t really see how they might get back on track or “recover.” I was mostly OK with that decision until I saw the cover to the eighth issue from Willi Roberts. Obviously, I have zero idea who this and and what’s going on, and perhaps that alone made this piece all the more appealing. But mostly I love the sense of peace this facilitates (that hue of yellow is doing wonders), and yet the state of our “friend” here clearly counters some of that serenity with tinges of anxiety/worry. I love the near-sci-fi feel, and how that feels both oddly comforting somehow and still just a touch uncertain (and perhaps even terrifying somehow). And, of course, the kind of digital markings or “language” here — I may still have no idea what’s happening, but it feels like a really exciting development. Is this cover alone enough to make me go back and read the series? Maybe, especially if it can capture 1/10th of this emotionality.
The One Hand #1
Cover by Laurence Campbell, Lee Loughridge, and Tom Muller
In another instance of, “If you’ve been on Twitter already you’ve seen heaps about this book,” we have The One Hand from Ram V, Laurence Campbell, and Lee Loughridge. It’s basically about an old cop cracking the case of the titular serial killer in the semi-distant future — sort of like Blade Runner meets Se7en. (But also so much more profoundly weird and vaguely psychedelic than either of those titles could ever muster.) And that’s not even getting at the story’s “sibling” series, The Six Fingers, which provides a semi-interconnected tale that readers will have to crack like their own true detectives. But maybe the best proof of this book’s real potential is the cover to issue #1 from Campbell, Loughridge, and designer Tom Muller. It’s got all the proper touchstones of noir, including our aged, slightly gritty detective and a giant thumbprint. But it’s also got a pretty solid emphasis on the proper sci-fi vibes and the ciphers that are essential to this story, and those bits are small but mighty regardless. They extend the noir vibes for sure, but mostly they hint at some alien sentiments that I think show you that this ain’t your daddy’s crime caper. And, of course, the red, black, and white color scheme ties it all together, emphasizing both pulp vibes and future energies with true efficiency. So, there ya go, Twitter and this cover putting in work for a series that’s likely going to be talked about for some time.
Thundercats #1
Variant cover by Jae Lee
And from one rather well hyped series to another, we arrive at the Thundercats series from Declan Shalvey and Drew Moss. Our own Nathan Simmons has already shared his thoughts, and while you’ll have to wait to form your own opinions, I think we can all agree on one thing: the art here is really novel and engaging, and Moss’ own character designs especially feel like a big part of any momentum this book might have already generated. As it turns out, that’s even true of other bits of art attached to this book, including the suite of variant covers. And while I have my clear favorites — this Lucio Parrillo piece is epic and I even quite like Rob Liefeld’s contribution — I absolutely have to give the nod to this Jae Lee variant. For one, his approach to the Thundercats is markedly different from the main book and any other variant offerings; Lee’s intense, often exaggerated form of capturing humanoids (even cat-human hybrids here) is always equally appealing and a touch unsettling. With the Cats especially, it feels like we’re seeing a darker side of them even as it somehow exudes some of the same over-the-top energy of that original series. Or, a side of the team that is less perfect and more about emphasizing the trauma and chaos of their current lot as stranded space cats. Either way, I like what it offers, and even if it’s markedly different from the book proper, I think it adds to the focus of this story, extends its emotional palette, and makes me more excited for this book to crash land into the hands of fans old and new. Plus, any time we can make Snarf look extra regal, then we’ve got a clear winner.
Poison Ivy #19
Cover by Jessica Fong
I think over the last 18 or so issues, the Poison Ivy series has made a lot of really important and clever decisions. All of them have been about peeling back the layers of Pamela Isley to understand one of the most complicated and dichotomous characters we’ve ever seen grace the pages of a comic book. But I think none of those are as savvy as deciding, at the rather significant (at least these days) point of the title’s 19th issue, telling Ivy’s origins story. And not the one that we’ve heard before: this is squarely from the good/bad doctor’s mouth, and will likely be all the more insightful and revealing for that decision. And I know that because Jessica Fong’s cover alone is a damn good teaser. I love the use of the apple, and the biblical connotations that has (as well as feeling connected to some of the recent lore with Ivy). Her “split” appearance, and how she’s connected both to cold, calculating science and the “jungle” of her own feelings and desires (all of us should be able to relate, yeah?) And even the way that motif reflects in the rest of the piece — this is going to be something profoundly earnest and about the true, seemingly uneven heart of Ivy. (Also, who doesn’t want more beakers in their comics?) Origin stories may be a dime a dozen, but this one feels special across the board, and another reason why this book has its own rules for important character development.
Ultimate Black Panther #1
Variant cover by Karen S. Darboe
If you’re a fan of the ongoing Blade and Black Panther series like I am, then you’re tickled pink about Ultimate Black Panther #1. Writer Bryan Hill joins forces with artist Stefano Caselli and colorist David Curiel for an Ultimates title that sees the stoic and rugged king of Wakanda standing toe-to-toe with Ra and Khonshu (aka the Ultimates’ own Moon Knight). And as far as covers going to further hype such an already rather buzzy title, I couldn’t think of a better one than this variant piece from Karen S. Darboe. (I did, however, almost go with this Bosslogic variant because who doesn’t love more Storm in their life?) For one, any time we have T’Challa with cats feels special — it’s a little on the nose but then that’s exactly what we want. But in terms of more impressive feats, I love the way that orange is used here to contrast and balance the character’s usual association with purple. Or, the mix of retro and futuristic aesthetics, and how that connects this Black Panther to a tradition while having him operate in all-new territory. Even the leaves add a more direct emphasis on this “version” of Wakanda, and that makes me think it’ll be a little novel in its depiction. The whole Ultimates gimmick is about doing something new with old faves, and in that regard, this Black Panther is already a success with its subtle but profound shifts.
Beneath the Trees Where Nobody Sees #3
Cover by Patrick Horvath
Back in December, I marvelled at writer-artist’s Patrick Horvath cover to Beneath the Trees Where Nobody Sees #2. While Horvath hadn’t been afraid to get messy in his story of Samantha the serial killing bear, this cover demonstrated the series’ most important feature: the inventive way it attacked readers from a psychological perspective. And while I thought that the subtle and menacing power of that cover couldn’t ever be truly topped, Horvath does just that with the cover to issue #3. Having less meat on display certainly does wonders for making me feel less unsettled, and yet this cover induces an even more icky feeling deep within my bones. It’s once more all about the angles, and how not seeing things (like a person’s face) or only seeing parts of something else (another person) does so much to make you think, “I’ve just seen a brutal murder take place.” (Also, just the way that part of the sheet/blank has crumbled makes me feel massively uneasy.) It’s such a powerful way to extend Sam’s hunt for the other killer in Woodbrook, and to make us feel it could be anyone. In fact, maybe the whole dang town is one rotten head of lettuce filled with murderous weirdos. Maybe that’s not the case, but the way this cover has creeped into my brain, I’ll believe just about anything it starts to whisper.
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