Judging by the Cover – 10/30/24 new releases

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.

The Amazing Spider-Man #60

Cover by John Romita, Jr., Scott Hanna, and Marcio Menyz

In recent months, the cover squad over at The Amazing Spider-Man (John Romita, Jr., Scott Hanna, and Marcio Menyz) has been getting heaps of love from this column. They’re basically becoming the new Alex Ross or “God, I sure do hate Scott Summers.” But just look at the cover to issue #60, which also happens to be Zeb Wells’ own farewell issue, and tell me that the thing most consistently amazing is the covers. Because in an issue that’s going to be all about surprise guests and a prelude to “The Eight Deaths of Spider-Man” story/event, this simple but dark and direct cover speaks to exactly what the trio have done in recent months. You can feel the almost jagged qualities of the webs; it’s as if Spidey’s crawling across tension wires. There’s no grace or playfulness to our hero’s pose, and that just feels like such a beaming message about where he is leading into this issue. And just the way shadows and darkness operate here — it’s a different kind of unsettling and insidious. All together, those aspects make for a cover that feels appropriately intense — for what’s going to happen, what’s about to come, and how this book’s tried to do interesting things with Spider-Man (even if it hasn’t always been a rousing success). Forget happy endings, give me more of this each and every time.

Poison Ivy / Swamp Thing: Feral Trees #1

Cover by Jason Shawn Alexander

On occasion, a solicitation will get me just as if not even more hyped than an actual cover. And if you have the time, totally read the one for Poison Ivy / Swamp Thing: Feral Trees #1, which captures the charm, humor, and literary flair that’s defined the G. Willow Wilson-led Poison Ivy for sometime. But this is Judging by the Cover and not Judging by the Solicitation, after all, and Jason Shawn Alexander’s cover is just as robust and capable as said write-up. I’ve always loved Alexander’s line work and general approach — this piece exemplifies the intensity and energy that defines his output. And when that’s applied to “the Verdant Villainess and the Avatar of the Green,” there’s this brutal power and rawness that rolls off the page. It makes them so much more thorny and confrontational, and that’s exactly the kind of presence you want in a story like this one. That, and it feels a little like the best of a film and concert poster all rolled into one — something that grabs you squarely by the jaw even as it feels wonderfully cheesy and homegrown. Between this cover and the aforementioned A+ writing exercise that is the solicitation, I’m the one feeling practically feral with anticipation.

Blood Squad Seven: Strikefile #1

Variant cover by Cory Walker

If you haven’t been paying attention, Joe Casey and several collaborators have basically been unearthing ’90s comic history over at Image. The ongoing Blood Squad Seven is basically Casey and company’s pastiche and homage to Youngblood, and it’s been a way to explore and revitalize all that ’90s intensity and massive character work for a new (slightly more discerning?) audience. This Strikefile book, which sees the squad “reuniting” with “legendary cyborg super-soldier” Man of War, exemplifies the sheer greatness of this ’90s crusade (thanks, of course, to a variant cover from Cory Walker). Because I don’t need to tell you how totes “xtreme” this piece is; if the testosterone levels were any higher, it might actually develop a beard. But I like that there’s a kind of action figure-esque quality here, as if this piece captures some youngster circa 1996 playing a round of “war” with their faves. That for me creates a slightly meta layer/quality, a recognition of what we’re really using this book for and what it represents as a cultural artifact. None of that distracts this piece from just being cool AF, but that kind of “unsung” quality just demonstrates how nostalgia can be done properly. Anyone else feel like screaming, “Hell yeah, brother”?!

Uncanny Valley #6

Cover by Dave Wachter

Uncanny Valley #5 ended on something of an emotional high point for Oliver and family. (Seriously, I’m still sweating a bit after that scary development.) But before we get to what happens next with December’s issue #7, issue #6 will offer us a “look back at the origins of the cartoon world (and its connection to the real world) in this lore-expanding issue of prehistoric and biblical proportions.” But before we get to all of that significance, I genuinely love this understated but effective cover to #6 from series artist Dave Wachter. It’s definitely more solemn than some of the otherwise bright and lively aspects of this world, and that may be the whole point. It’s a message that true life is in the act of creation, and that it’s the page where we can really do things that extend and enrich our existence. At the same time, the coloring here makes me think this is just another part of “cartoon world,” and that 1) everything is just a part of some larger story and 2) our understanding of this is all about perceptions and context. Maybe it’s not all that deep for you, but that’s been one of many great things about this book: sometimes you’ve got to go down the creative rabbit hole to figure it all out. That, and kung-fu dune buggy, of course.

Kill All Immortals #4

Variant cover by Jacob Phillips

And speaking of intense and/or shocking endings, Kill All Immortals #3 certainly ended on a “WT Hecking F” point. I don’t want to spoil that, but let’s just say it certainly changes almost everything that Frey knows about her family of immortal vikings. And things will only get more intense in issue #4, which promises a even more bloody and further life-altering confrontation with daddy dearest. So, as demonstrated in this super slick variant cover by Jacob Phillips, you’d understand why the mostly calm and collected Frey would lose all of that poise and embrace her emotions and robust anger. If anything, that extra sharp rage seems to be the defining part of this piece, and I love how it calls out from you amid the snow in a way that demonstrates its deep, primal nature and just how “earned” this response is from our caring, stoic viking badass. And that kind of treatment demonstrates how seriously KAI takes its characters and their development — it happens organically, and when it does, there’s real force and power attached so that we’re able to connect with these folks in a way that’s most satisfying. Do I want Frey to go all axe murderer in this issue? Heck yeah, I’m only human. But more than even that, I just want the chance to know this character in the deepest and most impactful ways possible.

The Hexiles #1

Cover by Joe Bocardo

If you were a fan of 2023′ Nightwalkers, then get ready for even more brain-smashing horror from Cullen Bunn and Joe Bocardo. This time around, the duo have forged a “Hellish familial horror,” in which a deceased man’s children attend said deadbeat dad’s funeral and grapple with an otherworldly debtor and their own infernal powers. If it seems a little mysterious and/or hard to follow at this point, just enjoy the fact that this story’s generated this totally great debut cover from Bocardo. Does it make anyone else think of, say, Pet Sematary with a mix of The Lost Boys? Because if we’re referencing ’80s horror classics, that’s the perfect place to be already. Of course, none of those flicks had what was going on in the bottom half of the page — I for one love when the implied satanism in this story is less about hokey devils and brimstone and more about whatever unbridled insanity they’re trying to use to infect readers’ minds. And, of course, we have to mention the general design and font, both of which just add to this book’s unique vision for a weird but relatable brand of horror. (And by relatable I mean we’ve all had complex relationships with our fathers, right?) Take that, Nightwalkers!

The Nice House by the Sea #4

Cover by Álvaro Martínez Bueno

Correct me if I’m wrong, but this seems to be the first DC/Black Label title since Vertigo was resurrected via an announcement at NYCC 2024. And what a way to start this new “era” for the venerated publisher/line, as The Nice House by the Sea is exactly the kind of unnerving but massively magical book that Vertigo would’ve championed back in the day. While that historical tidbit alone would be enough to honor this cover, it’s also given me a chance to finally talk about the truly profound work that series artist Álvaro Martínez Bueno has put in surely in the actual issues but most certainly on the covers. Because clearly I’m no artist (just peep my own work for the holiday versions of Judging by the Cover), but I feel a little like a neanderthal being handed fire when I see Martínez Bueno’s work. Like, how exactly do you create that “projected image” effect? Or nail the perfect vintage energies of the wallpaper? And don’t even get me started on balancing so many varied textures in such a way that feels really compelling and also a touch unnerving. He’s got to spend hours crafting these intricate snapshots of this rich and textured worlds, and each new cover boggles the minds with its artistic and emotional power. Welcome back, Vertigo — this is horror comics in 2024.

Spawn Kills Every Spawn #4

Cover by Rob Duenas

I get that the title says it all when it comes to Spawn Kills Every Spawn. (And that Deadpool sorta kinda did the same thing already.) But just because something is simple doesn’t mean it’s boring and/or unpredictable — just look at the tuna melt for crying out loud. So to stand out as much as possible, the book features a slightly more cartoon-y style courtesy of series/cover artist Rob Duenas, which has to got to be perhaps the best/wisest thing that this book could’ve done. Because, to some extent (as we see on issue #4’s cover), all of that joy and manic energy does a lot to undercut/augment/contextualize the sheer violence and brutality. On the other hand, it just makes all that carnage and chaos seem more apparent when you color it like cotton candy and/or an episode of Invader Zim. (Fun fact: that’s one of several cameos across this book, and that’s just another reason this silly-but-serious approach is working for this book.) It’s like cramming sugary candy while watching Saturday morning cartoons, only the cartoons have been replaced with a claymation snuff film. You’ll laugh, you’ll shiver, and you’ll likely enjoy the sheer emotional sprint of it all. Ain’t comics grand?

Namor #4

Cover by Alexander Lozano

Thanks to my regular perusing of TikTok, I think I’ve somehow developed thalassophobia. Yes, the sheer vastness, unknown qualities, and general darkness (not to mention weird-ass ways in which life has, ah, found a way) makes me terrified of the ocean (even more so than bees). And this cover to Namor #4 (from artist Alexander Lozano) really complicates those feelings. Because even I can appreciate the grace, beauty, and power exemplified by Namor and his oceanic movements. Even if said movements are interrupted by massive chains/an anchor, which looks so crusty I believe it was actually drawn with ground up rusted metal from an old tugboat. (Also, the writing there was clearly etched with an actual dull knife, right?) Meanwhile, the color of the ocean is also quite appealing, even if it creates a sense of depth and perspective that activates my thalassophobia something fierce. Maybe this cover (and the book in general) nails how we should really interact with the ocean: the right mix of awe and cautious optimism with a healthy dose of fear and respect. Or, to enjoy it but always be on our toes. I’d dive even deeper into this topic, but I’m just going to stick to the shallow end for this one.