Judging by the Cover – 11/20/24 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.

Ultimate Spider-Man #11

Variant cover by Terry Dodson

If you look just at the solicitation, Spider-Man is in some real trouble in issue #11. There’s talk of tensions between Spidey and Green Goblin, a new villain, and the larger role of Black Cat. But why focus on the thrilling, thrilling danger of it all when you can have a little fun with this holiday-themed Terry Dodson variant cover? Sure, holiday covers can (at least for me) feel a little hit or miss — the best ones are always around Halloween, and Xmas often feels a little too gimmicky. But Thanksgiving is the best time to show that, even amid the chaos of his burgeoning superhero career, Peter Parker can still make time for family. And not only that, but he’s unafraid to show love to his wife with the intricate upside down kiss, and in front of his children no less. (Maybe if more of our parents showed this kind of love some of us would be more well adjusted.) The Norman Rockwell vibes are clearly on point, and it just drives home the down-home relatability and charm of this cover. And that dynamic feels like a nice way to use the holiday magic, cut through the larger threads of this issue, and ultimately give us a cover that supplements this version of Spider-Man and shows us that undeniable core of humanity no matter the events/bad guys. Dig in, Spider fam!

Wonder Woman #15

Variant cover by David Talaski

And speaking of “things are about to get heavy for our hero,” Wonder Woman #15 is a massive one for everyone’s favorite Amazon. The “beginning of the end for the sovereign” will see Diana grapple with her job amid a great loss and the birth of her child. So, with that much emotionality hovering in the air, it also seems like a time to take a look into the past with this gorgeous David Talaski variant cover. So, why not try and go with, say, the main cover (from Daniel Sampere and Tomeu Morey), which expertly captures the massive emotions that Diana is grappling with like a 2,000-pound magical crocodile. Well, because this cover tells me that the invisible jet uses invisible bolts, which is a wonderful thing to have confirmed (even if it felt obvious). Or, that there’s something classic and unwavering to Diana, and a retro homage is just as relevant today as it was in the ’40s/’50s/’60s/etc. All of this is to say that this cover proves that Diana can always rise above (sometimes literally), and that’s the heart and joy and power that will define Diana no matter how terse things may get. We can always turn to her for something elementally human, and she carries the burdens we can’t always manage. We’re the birds to her invisible jet, and it’s just nice to share the same space.

The Horizon Experiment: Moon Dogs #1

Cover by Kelsey Ramsay and José Villarrubia

The Horizon Experiment, if you’re not away, provides a spotlight to a diverse suite of creators to offer their unique spin on genre storytelling. We’ve already had, for instance, Muslim John Constantine, and now writer Tananarive Due and artist Kelsey Ramsay join forces for a tale of “East African werewolves secretly living in Miami.” And if that premise alone didn’t already have you howling at the moon, then the cover to #1 (from Ramsay and series colorist José Villarrubia) comes bounding for us like a hungry wolf. I get some real tinges of cyberpunk/Akira (mostly from that sweet cycle mixed with the crumbling architecture), and that feels like an interesting update for your average werewolf story. I also like the way werewolves are depicted here, striking that perfect balance between man and beast, feels both novel and speaks volumes about the scope of this story. And, of course, we have to talk about the Miami/tropical influence and vibes — you don’t always associate Will Smith’s favorite city with werewolves, and that’s another thread/layer to this story that makes it pop with newness and intensity. So far, Horizon Experiment has delivered some thoughtful new takes, and this one could shine a little more light and love on some deserving characters and creators.

Godzilla Rivals: King Ghidorah vs. SpaceGodzilla #1

Cover by Kevin Anthony Catalan

Now that he’s done skateboarding, it seems like he’s going for a story of lost family in Godzilla Rivals: King Ghidorah vs. SpaceGodzilla #1. (OK, Godzilla faithful, I know there’s a difference betwen the big guy and SpaceGodzilla, so don’t come for me for my minor liberties.) The story, from Dave Baker and Kevin Anthony Catalan, follows Ryuichi who, after losing most of his family to Kaiju, heads to Musashi Island to rescue his estranged father amid an ongoing battle royale between King Ghidorah and SpaceGodzilla. And that’s really all you need to know: a poignant story of loss and the dwindling flame of hope happening in the thick of giant monsters biting and shooting atomic flames. It’s proof that the best Godzilla stories can have it all, and that if you have a really good entry into this story, then the resulting madness and monster carnage will be that much more satisfying. If anything, the monster action is often a direct translation of all that humanity, and a way to work out these big ideas and sentiments in a way that feels especially direct. (Bet you never considered that before, huh?) Either way, the more Godzilla doing dope stuff we have on the shelves, the better the world seems even just in the short-term.

The Rocketfellers #1

Variant cover by Mike Del Mundo

Admittedly, the premise of The Rocketfellers is both new and wholly familiar. Because while the whole future family flung into dangerous circumstances may scream Lost in Space/the Robinson family, the fact that the fate of the Rocketfellers is then tied to the larger fate of humanity at-large is especially novel. (What else would you expect from a creative team like Peter J. Tomasi and Francis Manapul?) It’s that old-but-new dynamic that brought me to pick this really neat Mike Del Mundo variant cover to issue #1. Again, there’s something about the whole approach that feels like an indie comics Norman Rockwell, and that one-two blast of charm and cheese is really powerful. At the same time, no Rockwell piece ever had a Croc, which feels like the best piece to befuddle a family of time travelers hiding in our timeline. And there’s other touches here too, like the dog that may or may not be some biological experiment (why else does it look like that?), and the fact that this is printed to feel like some postcard from either the past and/or future (and that uncertainty is a joy). All of that balances themes and ideas that are warm and familiar and tinged with new excitement, and that balance could be key for the book’s chances. Welcome back (?), Rocketfellers.

Imbokodo #1

Cover by Katlego Motaung

Some folks avoid new books because they haven’t the time and/or patience to watch a new story universe unfold, especially when they’ve got ones they’ve been following for years. (And to those people, I let out a raspberry that echoes into eternity.) But I feel like Imbodoko could be different — based on the solicitation alone, it seems like this story feels wildly fleshed out so early on, and that while I don’t dare try to summarize it here, that stability and prowess is such a huge thing for this book’s chances. But if you don’t want to try and read about the scope and functions of this afrofuturistic tale, then just peep the cover from series artist Katlego Motaung. The use of darker hues/general shading gives this piece so much power — it sets a certain emotional tone almost immediately. There’s also this oddly retro tinge to the weapons and clothes here, and that extends and augments the futurism here in some really clever, compelling ways. Even just the detail work — I can feel things practically ripping/tearing in real time — does an awful lot to add to the sheer power of this cover and corresponding series. Whatever this story has planned, this cover means I’m ready to tumble head first with joy and curiosity.

Catwoman #70

Cover by Sebastián Fiumara

Sort of like with Spider-Man and Wonder Woman, Selina Kyle sees herself in a spot of trouble. Being hunted by some unknown assassin, she departs to Berlin to “reconnect with one of her old accomplices from her days as a roaming international thief” to possibly crack this case before it’s too late. And, sure, they could’ve shown, say, Catwoman perilously hanging from a building to demonstrate her current danger. But I love what Sebastián Fiumara has done with this variant cover. Because in a story that’s about Selina delving into and/or confronting her past identities, this presentation feels powerful. (It’s like she walked into the weirdest bit of performance art in some tiny Berlin theater.) Add in the old steamer case and other knick-knacks, and it’s like we’re seeing the most painful, gut-wrenching version of “Selina Kyle, This Is Your Life.” Catwoman’s always had such a strong sense of self and what she want/what she’s about. This mystery killer has hit her where it hurts the most: made Selina second-guess what she’s done (and why), where her life is headed, and maybe what it’s all really meant all along. It’s a stark and powerful exploration of Selina, and the kind of unflinching portrait that benefits this multifaceted character.

Teenage Mutant Ninja Turtles x Naruto #1

Variant cover by Vincenzo Federici

In what’s described as the “coolest ninja matchup you could have ever dreamed of,” Naruto and Teenage Mutant Ninja Turtles assemble together for a story that’ll dropkick hearts and minds everywhere. Now, is there a storyline explanation for how these universes collided? Sure. Does it really matter right now? No. Because we get to play one of my favorite games ever in the history of Judging by the Cover, “Which of These 1,376 Variant Covers Do I Want to Choose?!” This Hendry Prasetya piece is neat as it shows everyone hitting some solid poses and positions Shredder as a potent big bad. Or, this Felipe Smith “dichotomy” piece does a great job of visually comparing and contrasting Naruto-TMNT in a fun and effective way. Heck, I nearly went with this David Nakayama cover because pizza really is the great uniter. But in the end, I went with this Vincenzo Federici variant cover for two vital reasons. One, it felt like the Naruto “gang” were doing their best TMNT, and the Turtles were channeling Naruto (even if it’s just in that quirky run). And two, it captures the kinetic energy and all-around silly joy that should define this book. That, and the TMNT wearing those sigils just feels extra important somehow. Like pizza covered with gummy worms, this could be a sweet but wild lil’ treat.

Storm #2

Cover by Mateus Manhanini

Hopefully this isn’t a spoiler by now (it’s been a month, folks), but Storm #1 was a big way to kick off a solo book. Storm has, without also spoiling too much of the means, found herself staring at her final days after the Oklahoma Incident “turned her cells into ticking time bombs.” So, in issue #2, she’ll either get life-saving help from Night Nurse’s medical capabilities or enchantments courtesy of Doctor Voodoo. And based on this cover from Mateus Manhanini, it would seem as if Voodoo might be the best/only bet, but I think it goes deeper still. Storm being consumed by magic and wildlife is an extra powerful metaphor for death — she finds herself being dragged by things she may not full grasp or connect with, and that’s a terrifying end if there ever was one. That, and there’s a kind of shock mixed with defiance on Storm’s face, as if she’s trying to work through the sharpness and suddenness of it all, and to retain herself amid this slow creeping terror. Add in the sheer detail — that water on her hands! — that just brings this situation home and makes it feel so undeniably real. For all her power, Storm ultimately finds herself in a universal position, and that grounds her in a way that only makes her all the more approachable and compelling. Let’s hope this isn’t end, but if it is, it’s one for the ages.