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 2025 Annual #1
Cover by Daniel Warren Johnson and Mike Spicer
I’m not always a massive fan of annuals — if this is so special, why isn’t it just part of the series proper? — but even I’m smart enough to know Absolute Batman deserves its own such offering. And if you’re really going to show how important and groundbreaking Absolute Batman has been over the last year-plus, you hand the keys off to Daniel Warren Johnson (alongside Mike Spicer and Clayton Cowles) for a stories about the early days of Black Mask and the Batmobile itself. Mostly, though, this cover stands out. Because as much as Absolute Batman has been an excuse to transform the Dark Knight into the pinnacle of comic book extremeness and geekery, this cover makes the timeliest of statements. As much as this character is an exaggeration and dramatization of the already robust Bat Canon, this image nails his essence and tells us exactly where Batman would be when masked dummies try to conquer via fear/intimidation. It’s simple but effective — that space is where Batman is this undeniable social icon/instrument. Maybe they’d walk away with a broken arm with “regular” Batman, but these guys are doooomed.
X-Vengers #1
Cover by Mike McKone and Morry Hollowell
Speaking of comics things that give me pause, I did have my own assumptions about X-Vengers. Sure, I like the premise — the Avengers are basically transformed into mutants as part of this new and terrifying Age of Revelation event/saga — but I absolutely feared we’d get something kitschy, slightly goofy like the ’90s Amalgam Universe. Luckily, that’s the farthest thing from reality, and I love the ways in which the X-Men and Avengers aligned. Like the small, subtle touches (Dani Moonstar rocking Cap’s shield is perfect). Or, the more absurd but brilliant touches (the Hawkeye-Spiral Digifusion isn’t something I would’ve thought of, but damn is it the perfect level of weird for this event). And, of course, just generally cool creations, like the Vision-Warlock hybrid that isn’t just gimmicky but presents heaps of real-world story potential. Turns out, the best way to make this mega gimmick work is to commit with equal parts absurdity, joy, and a kick-ass robot/synth.
Return to Sleepy Hollow #1
Cover by Savanna Mayer and Dearbhla Kelly
There’s lots of reasons I like 1999’s Sleepy Hollow. Even beyond the genius of Christopher Walken playing the Headless Horseman, or that this is another essential starring vehicle for Christina Ricci, I just love the sheer aesthetic of the film. Tim Burton married his usual shtick (I’d call it “Mid-Century Cutesy Horror”) with the rustic vibes of the 1790s, and, voila, you’ve given the Hot Topic kids something to strive for in life. And I’m glad to see that it continues into this sequel series, as artists Savanna Mayer and Dearbhla Kelly nail the look/feel of the film and then take it even further. They’ve removed some of the cuteness for a touch more stoicism and drama. (Really, it’s like a manga-inspired retelling, and I mean that as the most dazzling of compliments.) They also add a sheen of quiet intensity that pushes this whole property closer to a ’70s-inspired horror flick (without impacting the charm and grace). And, if nothing else, those sleeves would even make Mr. Darcy himself faint. Knowing what I know about this town, I’d still visit Sleepy Hollow.
RoboWolf #2
Cover by Jake Smith
Speaking of things I like (which I also haven’t seen in some time), we come to the second issue of RoboWolf. Now, admittedly, something like five months between issues isn’t ideal (for sales, readers’ interests, etc.), but I find myself just as excited for this next issue as I did with Jake Smith’s charming debut. Is it because this issue will likely kick up the emotionality as RoboWolf must pay a ransom and get back his daughter from the nasty General Masakov? You betcha. But mostly it’s that, as evidenced by the cover to #2, I still get a rush of emotions every time I see Smith’s art. The “samurai with chainsaw arms” still makes me giggle and geek out; RoboWolf continues to feel like such a simple but devastatingly effective character design; I love the exaggerated but relatable tendencies of people; and, if all else fails, “Skull-Man with a shotgun” is always a winner. It’s a style that bashes my sensibilities about the face and neck, and no amount of time or space can disconnect me from the sheer, body-rocking joy of it all.
Cult of the Lamb: Schism Special #1
Cover by Peach Momoko
Here’s a sign that a book is either important already, or it’s being positioned as such: It’s got a dang Peach Momoko cover. (Especially if it’s the main cover, ladies and ghouls!) Not that creators Alex Paknadel and Troy Little needed such a bump; the first four-issue series was such a charming but inventive take on what’s basically a “Build a Cult” simulator. But I do like that Momoko nails some things about that book while pushing other elements even further. Like, the balance of cute and bloody; here, it’s not only indicative of the book’s multifaceted dynamic, but the heightened tendencies here hint at something in this story’s future. Or, how the bloody trail looks like tears, and how that only builds on the rich, complicated emotions Lamb has faced across this entire series. Heck, even just the flowers further hint at new ideas, mysteries, natural connections, etc. waiting to be explored. Momoko always brings the magic, and when applied to an already magical book, you can’t resist the pull of this cult.
The Beauty #1
Variant cover by Emanuela Lupacchino
No, your eyes aren’t deceiving you. And, as magical as it would all be, we haven’t returned to the glory days of August 2015. Series creator Jeremy Haun (alongside co-collaborators Jason A. Hurley and Emanuela Lupacchino) have moved to Ignition Press for a new beauty series ahead of the Ryan Murphy-led TV adaptation in early 2026. So, with all that context swirling around the series, and the sometimes iffy nature of sequel stories, do I think The Beauty (Part Deux?) can somehow be a success by any metric? I’d say, based solely on Lupacchino’s own variant cover, that answer is a hearty “Yes.” Do we get the basic gist of this story’s overarching narrative? Yes, and Lupacchino does so with a mix of sensuality and general deliberateness. Does she also add something new? Yes, actually, as the horror here feels even more gripping and affective, with the undeniably monstrous clashing with the appealing humanity in a way that’s extra levels of unnerving. It’s sexy but terrifying; violent but endearing; and packed full of juicy subtext but still makes you do a little work to truly uncover it all. Dates and publishers may change, but that kind of storytelling will always be truly beautiful.
Teenage Mutant Ninja Turtles 2025 Annual #1
Variant cover by Jared Cullum
Another week, and another TMNT cover for us to uplift and lovingly dissect. Admittedly, I choose these covers because not only do they seem to be a fan favorite, but the Turtles line is in the middle of a creative renaissance where everything seems to be clicking in a major way. Case in point: this variant cover by Jared Cullum for the 2025 annual. On the surface, it’s even more brotherly love from your favorite karate reptiles, albeit with a little Halloween-appropriate spin. So, yes, you can feel all warm and fuzz around, say, Donatello going above and beyond with a pumpkin-bot; Leonardo and Raphael showing off their trademark dynamic; and Michelangelo using his art understated art skills. But beyond the feel good energies here, the appeal of TMNT is that you don’t just adore the brothers, but you don’t need much else — there’s so much contextual heft and wonder to this franchise that a lot of the storytelling falls to us, the reader, to spin in our heads. That’s not to say that there aren’t good TMNT stories happening right now; rather, we all have such a deep and profound connection that the value of any story or single piece of art is what we bring to it and how we make connections through a mountain of history and context. That’s what makes TMNT perpetually magical, and why I’ll take any chance to celebrate my favorite brothers.
Undeadpool #1
Variant cover by Andrea Sorrentino
Hear em out: Deadpool is a lot like TMNT. Not in that the Merc With A Mouth has the same emotional depth or storytelling capabilities as our favorite turtles. Rather, that the difference between a good depiction and a terrible depiction for both franchises is largely in the execution. Now, a gross, zombie-adjacent Deadpool isn’t exactly novel, but artist Andrea Sorrentino has nonetheless done something interesting for this latest Age of Revelation spinoff. Your eyes might immediately go to and then stay at the sword piercing his head, and that’s OK because it’s a hugely satisfying moment. Still, spend a few minutes on the uneven tearing of the glove, the certain shimmer of the obscenely large pool of saliva, and the sharp color of that one “normal” eye. Each of these elements feels not only technically well done (which makes a difference for your 1,453rd Deadpool cover), but sets us up for something that feels at least novel enough to provide fresh insight into this long-running character while also teasing the possibility that this story could be novel in how Deadpool goes about his normal shtick. You’ll have to read to be certain, but the cover alone makes me feel hopeful given not necessarily what’s being shown but how it all comes together. Again, though, the giant sword sure does help.
Superman Red & Blue 2025 Special #1
Variant cover by Michael Walsh
It’s long since been established that Michael Walsh is a master of horror art and illustrations. But if you’re anything like me, you’re not as familiar with his non-horror work, and so you’re delighted (and maybe a teeny tiny bit surprised) that he’s just as skilled and effective when it comes to, say, depicting Superman. As far as DC debuts go, I don’t think I’ve seen someone honor the line’s massive lineage and do something quite as thoughtful and inventive in some time. I love the George Reeves-ian spin; that speaks to something deep and essential about the Man of Steel’s place in media history. The red cape/streak isn’t just technically impressive, but it’s another way to create momentum and play around the visual and narrative heft of this iconic piece of wardrobe. And, of course, the clocks are an interesting device — we don’t always explore Supes’ relationship with the march of time, but given his god-like status, it’s something that really lends added pause (and where you can further take in the other parts of this visual story). Walsh should always draw that which goes bump in the night, but I’d already pay good money for even more Superman stuff posthaste.
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