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.
Gotham City Sirens #1
Variant cover by W. Scott Forbes
Have you ever had one of those buttered popcorn flavored Jelly Bellys? I don’t know what chemical magic they pull off to make them taste so spot on, but there’s clearly a combination that elicits “this is popcorn” in the human brain. I mention that only because this variant cover to Gotham City Sirens #1 (from W. Scott Forbes) is basically the same thing in my brain. Because Forbes has found a way to break down these characters to their very essence with a mix of elegance and brutal efficiency. And, sure, that sounds easy enough given how iconic most of these characters are, but it’s still this wholly impressive act of expression. Harley and Ivy may be easy enough, but Catwoman/Selina has mega cat energy despite lacking the very obvious cat-themed paraphernalia (sans claws). And Punchline is quite the same, and it only takes that certain mix of blue and purple to bring her to life. So, then, what’s the point of this process (aside from how dope it looks)? Well, it’s an all-new #1, so maybe it’s about reshaping our perceptions of these characters and to get us to start thinking about who they were before and maybe who they’ll be after. Or, that we’re going to find something true about them down to their very core. Either way, I’m on board with this extra sexy runway show.
A Vicious Circle #3
Cover by Lee Bermejo
If you haven’t been keeping track, A Vicious Circle has undergone some delays. Issue #1 dropped in December 2022 and issue #1 landed in July 2023. Now, almost two years after the Mattson Tomlin-Lee Bermejo collaboration first began, we’re eyeing the third and final issue. Has it all been worth the wait? IDK, it’s certainly a really strong and compelling story, and one that explored the idea of how time and reality affects a person (pretty fitting considering we’ve all had to time travel to get to the end of this book). On the other hand, it’s hard to feel as connected to a book given such significant delays. But if nothing else, Bermejo’s covers have been a real treat. Issue #3, especially, feels like an almost good enough “mea culpa” from the creative team. We get such robust and intense life here, as if the bullets may fly off the very page. I love the grounded but still fantastical aesthetic, like the very best version of some cyberpunk thriller. And, of course, it sort of makes me think of every great ’90s action flick all rolled into our (but especially, like, Universal Soldier and Virtuosity for some reason). Let’s hope this circle can finish its last line with grace and power galore.
Uncanny X-Men #1
Variant cover by Scott Koblish
A lot’s happened in the world of X-Men as of late. Krakoa is gone, and Marvel has re-launched several main titles, including X-Men and X-Force. Now comes Uncanny X-men, in which several main mutants “rise from the ashes to face a world without a home.” (Rogue, specifically, seems to be an essential part of this book’s theme of reuniting mutantkind, so that’s super neat.) So in the name of celebrating all mutants everywhere in this scary but exciting time, Scott Koblish has whipped up this visual feast with a wrap-around cover depicting basically every mutant ever. (And if you’re not on this cover, clearly you don’t matter, Forget-Me-Not.) On the one hand, it’s a massively impressive demonstration of Koblish’s robust skills — he’s balanced so many teams and eras and whatnot with such energy and precision alike. At the same time, what’s so impressive is how natural and organic this feels, as if we’re looking at the most amazing school picture day ever, with all the warmth and energy you’d expect from just such a feat. It’s the kind of cover that stops you in your tracks and gets you to think about how this new book is part of an amazing patchwork history, and we get to see thus history continue in front of our every eyes. That’s truly uncanny unbelievable.
Red Before Black #1
Variant cover by Dave Johnson
There’s a lot of huge promises being made by Red Before Black. The book (from writer Stephanie Phillips and artist Goran Sudzuka) is not only “reminiscent of 2000s-era Vertigo,” but is set to feature the “most unpredictable outlaw couple since Harley and Ivy.” While we won’t know if all of that’s true until we read the book proper, this variant cover from Dave Johnson tells me that the book may be close to achieving its rather lofty aspirations. They already landed an automatic 150 points for setting your gritty, sexy noir in Florida — the place may have a lot going against it, but it’s tailor-made for these kinds of stories. From there, we get a little ironic, ’90s-tinged humor with that “Flori-Duh” shirt (is that for sale?); some interesting vibes with the snakebite; a little old-school sheen of violence thanks to that specific gun handle; and the specter of death and destruction, which is always a good thing. Even if this book falls short of those mega-promises, there’s still enough here to make me think that RBB is going to be a true killer. And if not, at least I’ll have my sweet “Flori-Duh” shirt to enjoy, right?
The Pedestrian #1
Cover by Sean Von Gorman
And from law-breaking baddies to the most lawful person in this or any other dimension, we come to The Pedestrian #1. If you haven’t read my recently-published deep dive (you should for the sake of my self esteem), creators Joey Esposito and Sean Von Gorman provide a heapin’ helping of background on this very interesting book. But if you want a kind of visual collage of this book’s many themes, interests, and ideas, you need only look to the main cover from Von Gorman. We get, of course, our titular hero, who has some real ’90s Vertigo-meets-Madman vibes. He’s in a city (where else would he be able to speedwalk?), and the state of those locals is pivotal to this book. We also get some really great details, including a potential foe perhaps, and that depth and nuanced approach is also a big part of this book. And, through all of that energy and even weirdness, there’s a huge focus on more than one person; the sheer humanity of this book may be the thing it does better than dissect any social issue or delve into some larger bit of messaging. It’s a book that very much shows you what it is even as it’s so, so much more, and you should speedwalk your way to a comics shelf and get it. Just don’t break the law on the way, sucka.
Cruel Universe #1
Variant cover by Tom Fowler
If you’ve been living under a rock (god am I envious of you), you may have missed the return of EC Comics via Oni Press. In recent weeks, the first return title, the horror-centric Epitaphs from the Abyss, debuted. Now, EC’s resurrection reaches phase two as we get Cruel Universe, which focuses more on sci-fi (and, more specifically, “strange extraterrestrial entities, malevolent scientists, and terrifying technological catastrophes.”) I totally dug all the blood and guts that Epitaphs facilitated, but I’d be lying if I didn’t say I was even more excited for Cruel Universe — there’s something about these dispatches from a strange future that feels even more EC to me. (Maybe that has to do with heightening the Twilight Zone vibes? IDK.) I mean, just look at this awesome Tom Fowler variant cover. Not only do we get a slimy-looking alien, but the whole “cover in a cover to infinity” device just feels so hugely appropriate for these kinds of stories. That, and there’s some properly cheesy ’50s vibes to the whole dang piece, and it makes it all feel even more engaging and personable somehow. I may not speak this alien’s language, but clearly we all know that violent and weird sci-fi is always the way to go.
The Incredible Hulk #15
Cover by Nic Klein
In his tenure doing covers for The Incredible Hulk (and clearly across the rest of his wider career), Nic Klein has done some really interesting things. And while the cover to issue #15 may not seem like an especially robust masterclass in art, or feel especially groundbreaking, I still think it’s truly and deeply interesting for a few different reasons. Mostly because, in a way, Hulk is meant to take a backseat in this issue as we focus on the origins of Eldest, from her days ruling a “terrible empire” to her “fateful encounter with the first Hulk, Enkidu.” And it’s no easy task making the Hulk seem small or meager, and yet that’s what Klein has done here — give this version of the brooding behemoth an air of quiet loss as he’s stripped of some level of power. Yet there’s no denying that a/the Hulk still remains of vital interest on this cover — the massive horns may help this “version,” but there’s still that sustained dignity that tells you, “Hey, I may be hunched over but I’m still the g-d Hulk.” Those dynamics together are really compelling, and a small demonstration of how to best tell interesting and nuanced stories within this character’s world. Eldest may have been an emperor, but she’s never gonna be a Hulk.
Birds of Prey #12
Variant cover by Rian Gonzales
A lot of times the whole appeal of a variant cover is that it’s markedly different from the main cover. In the case of Birds of Prey #12, both the Leonardo Romero/Jordie Bellaire main cover and Rian Gonzales variant are pretty much hinting at the same ideas/aesthetic. And that’s because, as the Birds find themselves still tumbling through that nasty portal, shaped by the energies and thoughts of whoever walked into it first, someone clearly had “Birds of Prey meats the Muppet Babies” on their mind. So, if you’re really going to do it, then a Gonzales cover isn’t just a smart idea but the most pure and perfect representation of this whole concept. I don’t even remember if cats play a part of this storyline or not, but there they are in all their cute and cuddly glory. If cats ain’t your bag, you may just enjoy how spot on some of these depictions remain — Barda still exudes Big Barda energy (and then some), and you can’t tell me that’s not the most Barbara Gordon-esque pose you’ve ever seen. Toss in a neat little version of the portal and more sunshine than 100 years of sustained daylight, and this cover is utterly perfect for this issue. Also, it makes me want to slam a dozen Starbursts real bad.
Free Agents #2
Cover by Stephen Mooney and Triona Farrell
Yes, I had some minor (enough) issues with the debut of Free Agents. Mostly because — and pardon me for quoting myself — the book did feel “very ’90s in its thematic end goals” as well as the “bulk of this book really seems to drag on in trying to establish the team as having to return to superheroics by force.” But on the pouch-heavy, totally xtreme upside, artists Stephen Mooney and Triona Farrell did enough work to help balance all that ’90s intensity with some nuance, texture, and a touch of more “modern” design choices/ideas. Case in point: the cover to issue #2, in which we get a sweet litle pose from a couple team members in Salvo and Katari. If that’s not the most ’90s suit of armor this side of an Iron Man series from 1996, then I’ll give you a crate of Pizza Shapes. From there, Katari looks very much like this perfect ’90s ordeal (creepy and intense but not too creepy and intense). Yet despite all of that, there’s still that modern sleekness and a certain subtleness — and those energies really make this feel less overwhelming in its scope and intentions. It’s almost like a best of both worlds situation, and where we get something that pays homage to the ’90s heyday while offering some new insight or commentary. Whatever it is, let’s hope issue #2 can keep it up all the same.
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