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.
Detective Comics #1101
Cover by Mikel Janín
The promise of Detective Comics #1101 is that it upends Batman’s long-held mantra, effectively stripping criminals of their cowardice and superstitious ways. What’s left, then, for this “new” Gotham? Well, based on Mikel Janín’s own cover, the scariest boat ride ever. I can’t tell if those are dead bodies in a red sea, or somehow people trying to claw their way to the Dark Knight. Either option is about a 9.4 on the “Holy Crap Meter,” and just more proof as to why this run uses horror and fear to really delve into Batman, his city, and his mythos in new and unsettling ways. If this were somehow the Batboat, maybe I’d be less afraid, but it’s all made worse that this is likely some dude’s dingy for picking up chicks at the marina.
The Mortal Thor #2
Cover by Alex Ross
I’ve seen Alex Ross craft some of the most uplifting and engaging superhero art in my entire life. But as it turns out, the man’s also got a way with bloody construction equipment. And, sure, it’s a perfect visual device to explore this “depowered” Thor, and how his mythos is being repurposed to ask fundamental questions about his role as a guardian and what actually makes Thor the true God of Thunder. But I’m really taken aback by the length of that handle — I’m no expert or anything, but something about the wood-hammer head ratio is somehow more disarming than the storm clouds and ample blood. Maybe it’s that, even with all that added room to wield this bad boy, Thor maintains a proximity and intimacy that confuses the senses and rattles the nerves. Hammer experts, lemme know!
Skinbreaker #1
Cover by Annalisa Leoni and David Finch
There’s a lot riding on Skinbreaker. In our convo, writer Robert Kirkman went as far as to call it a “high-water mark for both our careers” (referring to artist/co-creator David Finch). Based on the Finch-Annalisa Leoni debut cover, they may not just be blowing hot steam up our tale pipes. I love the harder tinge of this fantasy world; it’s very Conan-esque in its energies and intensity. At the same time, there’s also some real Avatar energies imbued within, and that bit of fun/whimsy does a lot to also make this cover feel more thrilling in a rather specific way. Even just the crude-but-magical weapon designs, and the flourishes of gold, go a long way to forging a distinct aesthetic. If this is a snapshot of what’s in store, go ahead and break my skin all day!
The Twilight Zone #1
Cover by Morgan Beem
As someone who spent a lot of time watching The Twilight Zone growing up, I reserve the right to judge this debut story from Dan Watters-Morgan Beem. But just based on Beem’s own cover, that judgment so far is, “Excited but only a teeny bit cautious.” The very premise of this piece is pretty on brand; anything with tormented humans and faceless human-monsters will always be spot on. I love Beem’s attention to detail and fantastical tendencies; it’s landed right in that sweet spot where all of the best sci-fi exists to play with our feelings and perceptions. It’s all old and familiar in the best ways, and novel and exciting in every way else. Please, though: Either don’t include Rod Serling in or make him a centerpiece entirely, and you’ll have my strange lil’ heart.
Star Trek: The Last Starship #1
Variant cover by Skylar Patridge
As she told us back in June, editor Heather Santos helped position Star Trek: The Last Starship to answer important questions. Namely, The Burn, where “trillions died after the mass detonation of every warp drive, crippling the Federation.” Given such destruction, Skylar Patridge’s variant cover is the only logical choice. Forget the hope and solidarity you’d find in other Trek tales; this one’s going to be big, bold, and endlessly violent. This image isn’t just a blown-up starship, but a declaration of the death and nihilism to come. (The way this is positioned as a skull is done with the right balance of subtlety and force.) It’s a new era in the Trek universe, and it’s one that’ll use suffering to share vital new lessons. Talk about boldly going, amirite?
Orphan and the Five Beasts: Bath of Blood #1
Cover by James Stokoe
If you read the first volume of Orphan and The Five Beasts, you’ll know that Mo only dispatched two of titular mega-jerks. So, what can we expect when she goes back on the hunt? Well, if you hadn’t guessed it, James Stokoe’s cover for the new #1 promises more oversized action goodness. That include human drama heavier than most samurai flicks and even some great choices in head wear. But mostly, it promises to see the uber talented Stokoe step up in a major way — his intense, highly detailed and endlessly stylized approach somehow feel even more sharp, unwavering, and generally precise then ever before. That just speaks to Stokoe’s love and dedication to this book, and how he steps up in ways that make it something lethally effective amid his already sturdy bibliography. Prepare for blood by the gallon!
Battleworld #1
Variant cover by Greg Land and Rachelle Rosenberg
I get that my choice of this Battleworld #1 variant is seemingly another entry in a personally-curated gallery I call “Specimens of Spider-Man’s Suffering.” But I promise that this one isn’t because I think Peter Parker was made to be tortured for our amusement. No, it’s because as we revisit the Secret Wars, and big questions about morality, fate, and existence itself that this story demands, this cover feels like the very best snapshot. That if we’re really going to dissect these heroes to better understand these thematic points, we should treat them/this experience with unwavering intensity, a sense of focused deliberateness, and even an air of earnestness and slight romanticism. Some folks may see a broken Spidey, but I see a hero who we can use to better understand the ideas of sacrifice and heroism. OK, I also see a broken Spidey, too.
New History of the DC Universe #3
Cover by Scott Koblish
It’s not up to Scott Koblish to fix DC’s ongoing continuity problems. Rather, as he’s done with his similarly involved X-Men/Marvel covers, the artist instead gets to play around in this mixed up little playground. The end result captures the upside of this topsy-turvy continuity, with zero emphasis placed on who should/shouldn’t exist and instead letting us just see the mighty scope of DC’s very old universe. I don’t know why, for instance, he put The Comedian next to Klarion, and if it means anything at all. (Maybe my own sharp, sudden theorizing is mostly the point.) But what I do know is this robust snapshot layers the weirdness, quaintness, dense history, and singular charm of the DCU in a way that I feel the geeky joy and understated awe fully in my heart. Sure, I’d also love DC to streamline things, but even this “mess” hits me right where I live.
Escape #2
Cover by Daniel Acuña
On a recent-ish edition of the AIPT Podcast, I remarked about some interior art from Escape #1. Namely, that series artist Daniel Acuña set up several pages to position Milton Shaw as both the hunter and hunted. That dynamic continues on the cover to Escape #2; there’s both a sense of fear but also anticipation just by having Shaw placed how he is in comparisons to those fascist bat buttheads. He manages to maintain some power and authority even as he’s clearly fighting from the bottom, and that dynamic feels really compelling. It not only fits the whole lone soldier gimmick, but it makes the enemy more than just cannon fodder and actually capable of doing some real damage. Sure, I want to see them get blown up eventually, but for now I love this game of cat and mouse. See what I did there?
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