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.
Green Lantern #9
Cover by Steve Beach
A big chunk of the current Green Lantern run has been about the quarantine of Earth by the Lanterns. (It’s been a real “will they won’t they” only with interplanetary politics and not Ross and Rachel.) And issue #9 only sees that narrative device extend as Hal seeks “help from a mystical source, which leads him to a mysterious gateway and surprising answers to the origin of Hal’s ring.” Heaps of magic would totally explain the sheer magnificence of this Steve Beach cover. We give a lot of credit to Alex Ross for epic superhero moments, but this one has the same sheer grace and power baked into every pixel and line. We can practically feel the tension of Hal trying to break through the atmosphere, and his trademark stubborness is right on display (not to mention there’s a tinge of ’80s/’90s Hal energy on display here). All of that isn’t both utterly gorgeous, and a compelling translation of this quarantine gimmick, but a powerful snapshot of the lengths that Hal is willing to go to save the day. Also, it’s another important thread and lesson of this book, and why I almost hope they never leave Earth ever again.
Napalm Lullaby #1
Variant cover by Sanford Greene
One of the best named comics in recent history, Napalm Lullaby sees Rick Remender and Bengal reunite following the pretty good Death or Glory series. This time around, the pair are telling the story of a “child with unimaginable power [that] is raised to believe he is God by a cult of zealots utterly confident in the moral authority of their religion.” And, really, there’s quite a few different ways you could go with that, including Bengal’s own fairly snazzy cover and this totes unnerving James Harren variant. But for my money, the best bet is the Sanford Greene variant. Does it 100% capture the premise of the book? Not exactly, but then that’s not the point. The whole idea speaks about ideas not only of toxic spirituality but the dangers of believing in anything too far. And that feels pretty much encapsulated on this cover — the way the world’s all weird and topsy-turvy, and our friend here seems overjoyed, it’s the dangers of unwavering faith presented in a way that feels massively disarming and brain-meltingly intense. I’m sure the story proper will have more nuance and layers involved, but this cover’s a damn fine start to its pointed dissections.
Fall of the House of X #3
Cover by Pepe Larraz and Marte Gracia
Issue #3 of Fall of the House of X promises not only that “the end is near” but that the team has “taken all they’re willing to take from Orchis.” So, as far as powerful visuals toward that end-goal are concerned, you can’t go wrong with Wolverine about to do that which he does best (aside from drink beer and sink in large bodies of water). But even if this cover from Pepe Larraz and Marte Gracia promises the most savage Logan beatdown in quite some time, there’s so much more here than a little adamantium justice. The angles and use of reflection here alone deserving nearly a standing applause; Larraz and Gracia perfectly nailed what could have otherwise been a slightly awkward shot. Beyond that, I love the way the claws are depicted in varying states of “retraction” to signify movement and some intent. The look of cold, calm anger across Wolverine’s face, and how that’s 220 times more terrifying than his usual snarling fury bit. Even the way the earth is cracked/shattered here feels truly satisfying. Violence (in comics) is one thing, but it’s a depiction like this that truly makes it an artform.
Washed in the Blood #1
Cover by Jorge Corona
The solicitation for Washed in the Blood #1 makes reference to a place called “Freak Snow” and even “Black Mirror with a post-apocalyptic twist.” But I’m most interested in the bigger question it poses: “What if you were called upon by the worst god of all time?” I assume that is the very god at the center of this cover from Jorge Corona, who as far as deities go look like a Jack Kirby creation mixed with some reject creation from the Avatar series. (Or, if Gamora was mixed with Galactus somehow.) So, given some of the strange, sometimes terrible gods in various pantheons, this one doesn’t seem so bad. Sure, the whole abduction thing isn’t optimal, but then who else gets facetime with an actual deity anymore? And it feels like all those hive things would be super sticky and/or quite smelly, and that might also pose some real concerns. But then that’s just the nature of most gods: they’re sort of peculiar in their ways, and we’re left to deal with that. Still, I have to give ample points for creativity: I’ve never really seen a god like this one, and good, bad, or otherwise, it already feels like it’ll make this book all the more interesting. Sure, beats having to pray the altar of Sterquilinus, right?
Dark Spaces: Dungeon #4
Cover by Hayden Sherman
I recently got the chance to talk about Dark Spaces: Dungeon #4 (among some other topics) with Scott Snyder. And aside from a really cool story about a big-ish moment in the issue, I think one of the things I most enjoyed from our chat was how artist Hayden Sherman operates creatively. Specifically, they work to provide some really interesting angles and all-around juxtapositions to Snyder’s script, and that results in really effective moments, like the cover to issue #4 itself. It’s hard to tell if Bodhi and Tyler are hunting the “Dungeon Killer” or vice versa — even if one is depicted as a giant faceless blood monster. But what’s even more interesting than that game of cat and mouse is the way Sherman repurposes one of the “dungeons,” and how that scaling and use of perspective both creates the sense that we’re stuck in one of these chambers as well as mirroring this really important idea that we’re drawing closer to this story’s end. It’s about closing things down to both mirror the narrative and to control our feelings and ideas about this piece — that combo is what makes all of Dungeon such a really effective story overall. (That, and there’s such inventive ways to parallel the world and the killer, and that extends our fear in novel ways.) This mystery may almost be over, but its effect on our brains will resonate for some time to come.
Helen of Wyndhorn #1
Cover by Bilquis Evely
Perhaps you’ll recognize the duo of Tom King and Bilquis Evely from a little book called Supergirl: Woman of Tomorrow. Now the pair are bringing another magical project to Dark Horse with Helen of Wyndhorn. This “Gothic sword and sorcery epic” is described as “Conan the Barbarian meets The Wizard of Oz,” and that alone should suction all of the cash from your wallets like a tractor beam from the USS Discovery. But if you still need more, just peep Evely’s own cover to issue #1. The fantasy element is clearly on display here, but in a way that feels more mysterious and understated, as if some of the magic and mystery are still left for us to discover as readers. Meanwhile, the emotional balance is right between joyous and curious and downright unsettling, and that dichotomy feels really compelling. There’s also a balance of old (and very old) and new as well as hints of series like Hellboy and Harry Potter, and all of those “additions” really make this world feel refreshing with all new (but familiar) texture and context. It’s not the most spell-binding cover (’cause its a book about magic?) but then it doesn’t have to be with such excellence attached to this whole book. That, and all those blue colors/hues are just so dreamy.
The Amazing Spider-Man #45
Variant cover by Vitale Mangiatordi
“Hey, Chris, did you see the cover to The Amazing Spider-Man #45″
“You mean the really gut-wrenching one from John Romita, Jr., Scott Hanna, and Marcio Menyz that expertly captures Spidey’s perilous state post-Gang War?”
“No, I mean the one with Goofy as Captain America, you idiot.”
I’m sure there’s a reason why this Disney100 doesn’t reference Spider-Man at all, but I mostly have a few questions:
- Why is Mickey Mouse (clearly the “team” leader) not Cap instead? Goofy is much better as the strong but slightly vacuous Thor.
- Do they know that by having Mickey as Quiksilver and Minnie as Scarlet Witch they’re effectively leaning into that incest storyline from Ultimates?
- Is Donald Duck wearing a face mask, and if so, is it meant to just look like his actual face?
- Does Pluto throw Mjolnir and then run to catch it?
- Why does Daisy Duck have the best/most accurate outfit somehow?
Aside from that, 8.4/10 — no notes.
Transformers #6
Cover by Daniel Warren Johnson and Mike Spicer
I love that Transformers has been a way for Daniel Warren Johnson to give us the best kind of fan service. He’s presented a story so far that’s been about courting fans both old and new, and through that he’s been able to breathe new life into the franchise. But that doesn’t mean that Warren Johnson (as well as collaborators like Mike Spicer) haven’t also taken a firm hand with Transformers, injecting as much chaos and darkness to give us a truly well-rounded story. Case in point: as we enter the finale of the first arc, and the promise of “one will stand, one will fall,” we get this bummer of a cover from Johnson and Spicer. If I had to give it a name, it’d be “Death of a childhood for anyone born after 1981.” We even get to see how Optimus Prime’s inner workings have been burnt and blown apart, and that’s decidedly more terrifying than even seeing him with just one arm in this arc. Sure, the sad soldier here does feel like it’s a touch of overkill, but then it just proves how real the very possible death of a giant robotic truck can even impact the most stoic among us. I like that this book’s made it so there are real stakes to this story, and not knowing who loves or dies is a genuine mystery and concern (as it should be). This cover cements that idea with startling effectiveness.
Batman and Robin #7
Variant cover by Kael Ngu
If you didn’t read the whole “Lazarus Tournament” storyline, you missed out on a lot of cool stuff. And that most certainly includes Flatline, a character not only with a badass power but who acts as a proper rival and/or love interest for young Damian Wayne. So, then, why didn’t I pick the totes great main cover from Simone Di Meo that depicts the two super youths in action? Because I think this Kael Ngu variant cover is also reflective of Flatline’s presence in this issue. Is this Damian showing off even more with her around? Possibly, I wouldn’t put it past him to, say, dropkick Man-Bat in mid-air and write it off as both a tactical display of skill. At the same time, I could see Flatline’s powers coming into play somehow if Damian were indeed about to kiss the Gotham City pavement at 120 m.p.h., and that would be a neat little twist. And even if none of that’s the case, this little teaser of sorts is still just a damn cool cover, and one that show’s Ngu’s skills in depicting really inventive and badass moments for our favorite heroes/sidekicks. I did skip the idea that Man-Bat may have gone all Brightburn in this moment, and while that’s 1,000% less likely I will nonetheless I’ll cherish that image forever in my mental safe.
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