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: Dark Patterns #1
Variant cover by Stevan Subic
Batman: Dark Patterns is another book where I’ve seen its creators (Dan Watters and Hayden Sherman) touting it across social media. And, sure, there’s 100 other Batman stories we still need to read, but this one has a few things already working in its favor. Like, how it’s set in Bats’ early days, which is always a cornucopia of potent storytelling (if not a little over-explored by now). Plus, the Dark Knight is “at his most stripped-down core…a man relying on his wits, his skills, and little else as he tackles some of the most twisted mysteries of Gotham City.” And, of course, we have to mention this Stevan Subic variant cover to issue #1. If we’re boiling Batman down to his basics, this visceral and terrifying image is doing heaps of work. Batman being a symbol isn’t anything new, but here it’s done with such precision and intent that you can’t help but be swept up by the sheer anxiety and terror of this moment. I also like that I can’t identify his “victim” (is that “Weird Things Stuck In Body Man”?), and that just adds a new sheen of tension and energy to a classic Batman pose. Things change and things stay the same, and it feels like Dark Patterns wants to tell a story that strikes that balance and gives us some compelling new ways to explore the Bat. Count me in for what should be a huge drop.
Alien: Paradiso #1
Variant cover by J. Gonzo
Speaking of wells we’ve tapped into quite a bit, we come to Alien: Paradiso. If you’re feeling a little Alien-ed out by now I get it — even the best stories from this franchise can only do so much for a story that’s basically “dumb humans get their comeuppance from nasty space bugs.” But Paradiso at least swings for the fences with its premise/approach, as evidenced by this totally great J. Gonzo variant cover. We seem to be on some planet of super criminals, where gambling appears to be as common as, say, pickleball. Which is an interesting little device to use considering how much of a trope luck really is in the whole Alien universe. (Like, if only you hadn’t gambled on stealing those giant acid eggs to use for nefarious science.) And that’s not even mentioning the slightly novel design of the Queens (on the Queen, get it?!) and the way that makes me think the book’s doing just enough to feel novel in the grander scope of this beloved franchise. But if absolutely nothing else, at least we might be able to see some sweet chest-bursting action and general mayhem in the shiny neon lights of space Vegas. Roll the dice on this one and just hope it doesn’t land on black (or whatever).
In Bloom #1
Cover by John Pearson
From creatures that burst from your chest to whatever’s bursting out of this guy’s face, we come to the debut of Bloom from Michael Conrad and John Pearson. Here, an event called Bloom means that some folks either develop fresh body parties (handy!), undergo radical personality changes, and even some folks reporting “contact with some…other intelligence not their own.” (If I’m choosing, having an extra arm might be the way to go over, say, having my mind invaded by an evil plant/fungi creature.) And Pearson’s own cover to issue #1 feels like a profound intro to this story and it’s intriguing premise. Because, sure, this man seems like he’s having the worst day of his life, but maybe it’ll turn out OK — or maybe it’ll be some mix of the two? Either way, Pearson’s style and approach is always interesting, and he combines the core references (like Annihilation and The Last of Us) in such a way that you feel those threads/energies even as everything is shiny and new. If you want some ’80s-leaning body horror with a side of existentialism (and I always do!), it seems like In Bloom has some big ideas ready to spurt. Or, be a dummy and don’t let this one flower.
Doll Parts: A Lovesick Tale #1
Cover by Luana Vecchio
From one book dealing with ideas of “second puberty” and the resulting massive shifts, we come to Doll Parts: A Lovesick Tale. (OK, even that felt a touch tenuous to me, but I’m trying to nail a streak here, OK?) I adored writer-artist Luana Vecchio’s efforts with the first Lovesick series, in which she explored these big, unwavering ideas of sex and violence in a way that felt sleek and stylized yet nonetheless unsettling in all of the best ways. Here, we see the origins of Domino in a story in which a “stomach-churning discovery forces [her] to confront the harsh reality that growing up isn’t a choice — it’s survival.” So, while the galloons of blood don’t quite exist in this timeframe, we get a snapshot of our young heroine that’s just as unsettling. Because you may see cutesy stuffed animals, but the torn parts and tinges of death-centric imagery (skulls/bones) speak to the same mix of sexuality, obsession, and emotionality that fueled the first series. A smorgasbord of energies that speak to Domino’s core, and how “youth and innocence are nothing more than meat for the cruel” and the ways in which a young girl must learn that lesson with the utmost intensity. Don’t let all that pink and cute vibes fool you — shit is about to get even more real.
The Toxic Avenger #3
Cover by Fred Harper
Admittedly, I wasn’t the biggest fan of The Toxic Avenger #2. It’s less that it was outwardly “bad” but rather indicative of the issues that creators can face when updating and/or adopting a beloved franchise like Toxic Avenger. Still, I’m more than willing to see if Matt Bors and Fred Harper can get back on track, and it seems like that could be easy enough with issue #3 as they promise a confrontation between Toxie and “the armored Radiation Rangers.” For one, baddies that look like a mix of Doom Guy and Gatchaman does a lot for me, and it’s another way this still-young book can play around/remix pop culture in a way that adds to its own efforts. I also love that we’re getting more “face time” with Melvin’s tutu: it’s the one aspect of this story that I think can link both the original flick and this adaptation in a way that’s actually meaningful. Plus, the squishiness of Toxie’s design continues to be really important in showing how this certain Avenger has something new to add. And if nothing else, more toxic action is always going to be important — we need that rush if the story’s emotional and thematic interests can really take root. This disaster ain’t nearly over, and I’m ready to keep wading through the sludge.
FML #2
Variant cover by Gene Ha
With the debut, Kelly Sue DeConnick and David López (and the rest of the team) showed us what to expect from FML. And by that, I mean so much multimedia madness and generally endearing humanity that you’ll feel like you slammed a barrel of Pixy Stix and ran screaming into a combination arcade/music venue. If you want a snapshot of just what that experience is really like, and what I assume and/or hope will continue to define this book leading into issue #2, just peep this bonkers Gene Ha variant cover. What caught your eye first — the fiery demon slamming the bridge or the young kids absolutely tearing it up on what appears to be a stage of skulls? Trick question: it was both elements and now you’re more jittery than 100 cups of premium coffee. Toss in some fourth wall-kicking aspects (the horns on the logo being drawn on, a caricature of what I assume to be DeConnick), and it’s clear that FML likes to use as many tools as possible in engaging/messing with its readers’ brains. There’s so much going on at once, and yet as overpowering as it may be with ideas and artistry, you really can’t turn away. And that seems to be this book to its core, and a function that’ll serve it well as things get even more vivid and crazy than ever.
Ultimate Universe: One Year In #1
Variant cover by Frank Miller
Over the last 18-ish months, the iconic Frank Miller has roared back with a series of variant covers for various Marvel titles. Some folks welcome the living legend’s stylized, wholly unique takes on their beloved heroes. And others still just don’t get what Miller is trying to do. I for one belong to the former camp over the latter, and Miller is clearly in some weird and inventive new phase that I hope more people will come to appreciate as time goes on. Case in point: his offering for Ultimate Universe: One Year In #1. As we await the Maker’s arrival, and spend the issue delving into his own council, Miller’s take on the mega-genius is rather interesting. There’s a kind of approachability and groundedness you don’t always get, and that feels significant. We still get some weirdness/metaphysical bits with the shards; that speaks to the complexity of the character and perhaps the bifurcated existence he leads as both a big jerk and mankind’s “savior.” Even just the sheer black background draws the character out in such a way that we see him in this specific context and experience him like never before. Say what you will about some of Miller’s other offerings, but this one gives us something powerful at just the right time. Now do more Batman, damnit.
Green Lantern #18
Variant cover by Mark Spears
If you didn’t already know, January’s Green Lantern #19 is yet another new era for the Corps. And while I thought last month’s Green Lantern #17 was a good start to this long-ish goodbye, I have to say that Mark Spears’ variant for issue #18 is even more fitting and compelling (without taking away from screaming planetary object, of course). Because if Hal Jordan and company are going back to a kind of “status quo” as hinted at in issue #19’s solicitation, then what a way to begin a renewed and unified run for everyone’s most beloved space cops. (Never mind my lackluster editing job sticking these two covers together.) There’s a mix of hope but also determination, a snapshot of a group of heroes ready to keep trying to be bigger and better even when they know things aren’t always so easy. Or, a grace to do their work against the overwhelming odds, and to stand as a symbol for goodness and decency even if that’s all you can do against the rising tides. Sure, I’d like to see Jo spotlighted more over Guy “the universe’s inside joke” Gardner, but even he manages to achieve the right kinds of stoicism for this hugely important and powerful piece. Whatever does await the GL Corps starting in 2025, I’d say they’re ready to meet it with a smize on full blast.
Belly Full of Heart #1
Cover by Madeline Mouse
If space cops ain’t your bag, how do you feel about flying gay bears? Belly Full of Heart #1, from writer-artist Madeline Mouse, is a “comic book ode to ooey-gooey homosexual lovers of the past, present, and future,” and is jam-packed with “moments where time slows and nothing exists except you and them.” And in that way, we’re all our bear friend here (whom I think should be called, without having read the story, PJ). Because gay or not, this bear is the very personificaction (bear-ification?) of what it means to be in love. The way it lifts you up (even as it also maybe alters your body and/or damages it somewhat); the way the whole world seems to come alive around you, and how you can feel some profound energies flowing in and through you somehow; the corresponding, often discombobulating vividness of the world; and even just that it feels like it’s happening to you for the very first time (even if it’s your 100th relationship). It’s a cover that should fill you with light and hope, and even if relationships end (and terribly at that), at least you know this rush of life is awaiting your next coupling/situationship/etc. Maybe it’s just end-of-the-year vibes or whatever, but this piece comes when love is practically smothering the world, and it’s a bear-y good thing indeed.
You must be logged in to post a comment.