Judging by the Cover – 01/08/25 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.

Absolute Batman #4

Variant cover by Yasmine Putri

In a recent edition of Judging by the Cover, I commented on the tsunami-sized wave of great art surrounding Absolute Batman. Be it heaps of really great variant covers, or just the many, many fan pieces that have emerged, the whole book has been such a boon for Batman art. That trend continues this week with a Yasmine Putri variant cover to issue #4. The first thing you might pick up on? The sheer lack of size. Absolute Batman has been all about a massive, boulder-like take on the Dark Knight, and this version is as lithe and lethal as a rope javelin (or, the sharpest wrapping paper you’ve ever seen). I’m also not entirely sure what that demonic skull thing is — perhaps it has to do with some aspect of his psyche as this issue delves deeper into the past of our young Bruce Wayne. Either way, it’s totally terrifying and a nice sheen of horror for this series. Both of these decisions/aspects together prove that not only is Absolute Batman really open into what it’s providing the larger Bat mythos, but you can easily exude power and heft without making your Batman eight feet tall. If this is what we’ve gotten with just four issues, I can’t wait for the real masterpieces Absolute Batman delivers.

Wolverine #5

Cover by Martín Cóccolo and Bryan Valenza

Not only am I an annoying comics guy, but I’m also an annoying music dude to boot. And so I instantly saw how Martín Cóccolo and Bryan Valenza were referencing Queen’s seminal Queen II record (from 1974) with this cover for Wolverine #5. And, sure, I’m delighted that they’d celebrate such a vital album, but it does make wonder and/or question a few things. Like, is Logan really a Queen guy? I guess I place him more in the camp of, say, MC5 or Motörhead, bands who rock hard and live even harder. Still, the very worldly Logan would appreciate songs like “Father to Son” for their sheer depth and emotionality. But even if none of that’s remotely true, the use of this album cover is still neat beyond letting me nerd out briefly about “Seven Seas of Rhye.” Because if we’re trying to understand and contextualize this whole Adamantine saga, having such a powerful framework really is vital. It elevates this whole “concept” in a big way, and demonstrates that we could be seeing some compelling new aspect of the Wolverine lore developing in front of our very eyes. And even if that’s not necessarily the case, it’s still nice to see creators have fun with the size and scope of Logan stories. Certainly he’s no “Loser in the End.”

The Lucky Devils #1

Variant cover by Ryan Browne

On the surface, The Lucky Devils (a post-Eight Billion Genies team-up from Charles Soule and Ryan Browne) is about “Faustian bargains and temptation.” As two demons plot to use unwilling humans to kick off a revolution in Hell, that thematic tentpole seems pretty sturdy and interesting enough. But as Soule told us during a recent Q&A, the series’ interests goes deeper, and this book has “no twist,” adding, “We are the angels. When we’re born, we’re pure and good, but over time, we become capable of conscious evil.” What, pray tell, does that have to with this Browne-penned variant cover that seemingly depicts either a demon cat or a cat that’s been set ablaze somehow? Well, it feels like the perfect litmus test for this book: you either see a cat straight from hell, ready to pounce on your mortal soul, or you see a creature in great suffering. Either way, it says heaps more about you as a person than the creators or this larger story, and that right there is such a simple but massively effective way to make people delve into themselves, their own sense of humanity/morality, and present big, uncomfortable truths in a deeply compelling package. If this is just the cover of the first issue, I can only imagine how this book will make us squirm.

Kill All Immortals #5

Variant cover by Skylar Patridge

Has Kill All Immortals been this really layered and textured experience? Oh you know it — as much as it’s about family drama and immortal vikings, it also touches on ideas of transparency, capitalism, and even how cultures grow and develop. It’s been a series who wears its ideas and themes in an obvious fashion, which is a good thing as it tries to get us to feel excited about its explorations and insights. Even still, sometimes it takes something new or a fresh perspective to really drive home the larger ideas. Case in point: this variant cover to issue #5 (the finale) from Skylar Partridge. Because while Frey’s own duality has been central to this book from page one, seeing it in such a stylized and vivid manner from Partridge does a lot to rekindle our understanding. Namely, as we hit the end, we see that Frey must engage both “sides” of herself and just how much violence has been the only way forward. It’s not about Frey changing, then, but perhaps about finding the peace to maintain both sides and to find the courage to sometimes be a thing she doesn’t always want to be. That’s clearly something we can all relate to, and seeing it “spelled out” like this does wonders for our engagement with this character and her personal journey. And does it help that pink makes me think of bubblegum? Sure.

Cruel Kingdom #1

Cover by Adam Pollina

Last year, Oni Press killed it when they resurrected EC Comics with two new titles, Epitaphs from the Abyss and Cruel Universe. While those were about horror and sci-fi, respectively, Oni’s latest EC-centric offering, Cruel Kingdom, is a “dark-fantasy anthology conjuring tales of magic, myth, and murder from forbidden realms long before our own.” And before we get stories from the likes of Kano, Cullen Bunn, Al Ewing, Charlie Adlard, and Chris Condon, Adam Pollina kicks things off properly with this really sharp debut cover. Maybe the idea of some sword-wielding Terminator-esque robot might be better suited for Cruel Universe, but the message here is pretty direct and effective. Take everything you know and feel about fantasy stories in 2025 and watch it get ripped apart with this lethal efficiency. Enjoy, dear readers, as EC/Oni swings the sharpest blade possible into your favorite fantasy stories and tropes, leaving only the faintest threads of familiarity and mostly just ribbons of the past. It’s a way, like with the previous two EC titles, to get us to re-evaluate genre storytelling, and to explore our connection with these kinds of stories. And so far, it’s landing like the heaviest, sturdiest giant sword to the face.

Jim Henson Presents #1

Variant cover by Derek Kirk Kim

Truth be told, I picked this cover because of the David Bowie appearance. My wife is obsessed with Bowie — he has captured her heart and soul in a way that I don’t think I ever could. (Don’t cry for me, Argentina: if you love someone, you want them to feel love wherever it may come from/move toward.) But it goes deeper than celebrating my beloved, and/or enjoying a little ’80s nostalgia. Because in a book meant to celebrate the creative genius of Jim Henson — with new stories from the likes of Shannon Watters, Cameron Chittock, and Jill Tew — Jareth is a really solid representation for Mr. Henson. Both have some kind of otherworldly magical; both have created and/or commanded some weird and wonderful creatures; and both are no longer with us even as their magic remains a vital part of our daily lives. It’s a cover that may make you yearn for 1986 again, but it also shows you that no matter where you are in life or what’s happened, this kind of profound fantasy power will always be a part of us. You cannot escape the truly weird and wild things that have shaped us collectively, and it takes but one glance to be reminded of how a little sorcery goes a long way. We bow our nerdy heads in perpetual gratitude.

Aquaman #1

Variant cover by Christian Ward

With a new Aquaman series launching (from writer Jeremy Adams and artist John Timms), the future looks extra bright. But as much as the promise of “new powers [and a] new mission” has me totes jazzed, I want to look a little further back in Arthur’s timeline. Namely, 2022’s Aquaman: Andromeda, which featured a powerful visual take/reimagining from Christian Ward. A take, I’d add, that not only makes for a great variant cover to this new issue #1, but perhaps does a lot to both ground/contextualize what’s great about Aquaman and what we might even expect going forward. He’s seemingly back to his “good old days” of being the guardian of the seven seas, which is a nice way to root the character if we’re going to make changes/gain new insights. But this is a different Aquaman for sure, and while Ward’s own “psychedelic bong water” vibes will always stand out, Arthur’s water-warping powers now make this moment/depiction feel all the more real and relevant. Also, this lean, mean Arthur (hand folded like the fastest shark fin in the world) is going to move into the future with a grace and precision like never before. No matter how you cut it, this chapter of Aquaman is going to be all kinds of fun, nostalgic, exciting, and downright interesting.

Magik #1

Variant cover by Jonboy Meyers

And speaking of a brand-new series from a badass wielder of magics, we come to issue #1 of Magik. Just as “something ancient has awakened beneath the Alaskan ice,” Illyana Rasputina “strikes out on her own with new allies and dark powers arrayed against her.” Now, intriguing premise aside, it’s worth saying that meaningfully depicting Illyana isn’t exactly rocket science — the whole “wielding a massive sword” thing means lots of intensity and badassery with little effort. That said, this Jonboy Meyers variant cover is still a slam dunk if there ever was one. I love the heft and energy of the sword; here, it feels like it’s practically a living, breathing character. (Whether it’s the hero or sidekick, I can’t decide.) I also love the rather Witchblade-ian aura that Illyana’s exuding here — it really makes her feel new and exciting while connecting her to some larger context and general storytelling framework. And, of course, when it doubt, just drop in some giant robots and an appearance from Lockheed and that’ll really get the fans really going. New eras/chapters can be challenging, but with some power and fire, this book could be a great new beginning for a character begging for more time in the spotlight. Would you dare say no to that person?

Death of Copra #1

Variant cover by Michel Fiffe

Copra, if you’re unaware, is writer-artist Michel Fiffe’s singular take on the superhero genre. It’s layered and meditative, and while it scratches certain itches, it’s also not your standard take on the capes-and-cowls crowd. But, like all great superhero franchises at some point, Fiffe is teasing the end with Death of Copra, which promises to “tie up loose ends ensuring some big payoff, while the main event will feature COPRA reckoning with a brand new status quo that’s forced upon them.” But before we get to all of that — and if it’s truly the end for Copra — Fiffe has helped set the stage with the so-called “action” variant cover for issue #1. If you like Wolverine knock-offs battling a copyright-smashing mix of Captain Marvel and Iron Man, then boy oh boy are you in a very specific kind of heaven. But if you know anything about Copra, you also instantly picked up on the fact that this isn’t your grandpa’s super-battle — there’s a mix of satire, irreverence, and general weirdness that likely tells you that this confrontation has heaps and heaps of subtext involved. What that might be will take a little work to uncover, but this piece gives us such a profound look at the layers and depth of Copra. I hope it’s not really the end, but if that’s the case, it’s a disarming way to go out for sure.