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.
Logan: Black, White & Blood #3
Variant cover by Chris Campana
If you checked out this week’s episode of the AIPT Comics podcast, you will have already heard me blather on about this excellent Chris Campana variant cover. I believe I basically ogled at all that rich, wonderful blood, and how the sheer carnage and destruction wrought by Logan continues to be, like, “totally cool.” (I think also commented a lot about how we don’t know what’s been pitchfork-d and where exactly our hairy hero is headed, which are all just great insights.) I do want to add a few, potentially more thoughtful tidbits if I can use the mode of communication that actually fits my emotional and developmental shortcomings. Namely, in a book titled Black, White & Blood, it’s great that we’re getting something so blatantly gory but that also is decidedly measured and maybe even holds back to an extent. Because, yes, this book should be one long blood bath cover to cover, but letting artists inject novel ideas and/or energies during that most human of expressions feels like a way to make a book that’s so much more than a celebration of our endless primal urges. It becomes, then, a celebration of how we contextualize and share those urges through the lens of art, and what that ultimately means. There, that makes me feel way less dumb now.
Bleeding Hearts #2
Variant cover by Dillon Snook
Speaking of blood and gore galore: When issue #1 of Bleeding Hearts debuted, I eagerly celebrated this lovely slice of terror from series artist Stipan Morian. And how could I not? If we’re going to do a zombie story in 2026, we ought to get as weird, dark, and coated in gallons of blood as we possibly can with it while augmenting that with something more human and informative about our experiences. Now, as more of the story emerges (Rabbit and her mom Cara are surviving the end times thanks in part to a potentially helpful zombie), it only makes sense that Dillon Snook might “play” with the ratios on this issue #2 variant cover. What we get, then, is the literal beating heart of humanity, and the undeniable power of a mother trying to protect their child. And for their part, the zombies are either protecting that heart or about to rip it in two, and the fact that we don’t know is what makes all the difference. Because a helpful zombie one minute is a corpse eating your brain the next, and this book seems to be interested (at least in part) in ideas of survival in a world that is both beautiful and horrific as well as who we can trust and how do we decide that rather important fact. In that way, this piece feels like an extension of that issue #1 variant (albeit indirectly) as it uses that core to explore the things that are most important and undeniably human in a world where that’s not always so easy to discern/maintain. Ideas so compelling, I could practically eat them up.
Tigress Island #1
Variant cover by Luana Vecchio
If you love Deep Dives from yours truly, you’re going to get yet another this Tuesday about Tigress Island. There’s lots of things that we cover, including the relationship between writer Patrick Kindlon (I love you, Drug Church!) and artist EPHK to tapping into real-life tragedies for storytelling and even the generational differences between comics creators. But one of the most vital ideas we delve into is this idea of pulling from exploitation films, and more specifically, how you balance a sense of integrity, humor, and humanity to share stories about victims and people being victimized (and how to respect the victims and disrespect the powerful for misusing their influence). And I think that very concept is best represented by this Luana Vecchio variant. Because, sure, you could just look at the beautiful women being kept behind bars, and the tinge of buffoonish joy upon seeing the human anatomy displayed in such a robust way. But then you consider a few elements — the technical skill used to create this piece, the tradition it emanates from, etc. — and you stop looking at this as just exploitative smut. No, it’s a demonstration of raw, unwavering humanity in the face of barriers and feckless social norms, a moment of undeniable human fury and glory that shows no matter what you do to us, we can always be fierce and strong in the face of these “obstacles.” It’s exactly why exploitation flicks are so great: No matter what happens, humans can always persevere with their sexuality and power firmly intact.
A Quiet Place: Storm Warning #1
Variant cover by Dave Johnson
Back in January, I asked writer/layout artist Phil Hester about the secret to a good prelude/prequel given he was responsible in part for A Quiet Place: Storm Warning. And what he said was pretty genius: It was “incumbent on the creator to find a perspective that’s fresh and engaging within that existing framework.” Case in point of that very good idea: this Dave Johnson variant cover to issue #1. Because, sure, in the series that most of us know is all about being quiet so you don’t get eaten alive, having a “shushing woman” is an effective if not overused device. (Even if those eyes reach a level of harrowing fear that even feels novel even for this terrifying canon.) But the fact that Johnson has found a way to transform her mouth into both a recording, a blood splatter, and a map of the Mississippi River (the book’s set in a small river town that think it’s safe…) is just absolute genius. It feels like it’s exactly what Hester was saying: If you want this prequel/prelude to shine, you have to the right amount of fans service, but do it in a way that isn’t just shiny and new but maybe even makes people reconsider the story as it evolves and changes/tweaks are made. It’s this idea that both respect and an eye for revision/renovation are both vital, and that the real magic is in the space between what you know and what you’re about to experience. I can make a little noise for that…
The Exorcism at Buckingham Palace #1
Variant cover by Vanesa R. Del Rey
And speaking of new chapters/sequels/etc., we come to The Exorcism at Buckingham Palace. If you loved The Exorcism at 1600 Penn, then you’ll adore how Hannah Rose May and company stop terrorizing the American president and move their focus to the UK’s Royal Family. (I for one think an old castle is such a better choice for a possession story than some government complex, but maybe that’s just me.) And part of that “preference” is why I opted for this excellent Vanesa R. Del Rey variant cover. Because, when it comes to demonstrating both the terror and tranquility of Mother Nature, I’m not sure anybody can do it quite as well as Del Rey. But this cover is obviously so much more than just capturing what I assume is your average day on Jolly Old England. No, it’s the way that both our world (represented by an especially stoic and compelling “version” of Buckingham Palace) is perfectly balanced with the terrors from the “other side.” Both “components” get to stand on their own, and depending upon how you move your eye across the page, your emotions may rise and spike with some real heft and efficiency. The tension, then, comes as you know everything is about to collide in the story proper, and there’ll be no choice but to reconcile with what happens when we have to live (even briefly) in a world where all the pain, darkness, and truth is absolutely undeniable. That feels like the best way to build on The Exorcism… series in a way that that keeps that wonderfully kitschy “gimmick” and makes the terror feel properly aligned with the latest location. God save the King — from ghosts!
High Strangeness #5
Variant cover by Jesse Lonergan
As far as endings are concerned, they don’t come more intense and heady then High Strangeness #5. Here, co-writers Daniel Noah and Christian Ward join artist Dave Chisholm to present “the ultimate terminus of the unknown, where our four chapters, our four tragic fates, and the innumerable threads of our perplexing cosmic existence have all found themselves gathered together.” So, if you read the first four issues, you might have some clue what that means, and yet given the way this whole project or “experience” has taken shape, I’d actually bet that we’re all in for a wonderfully skull-splitting surprise. In the meantime, we can experience another collection of emotions entirely with this Jesse Lonergan variant cover. Because when it comes to capturing the horrors of both mankind and the universe at large, Lonergan’s methodical, earnest approach seems to have shaken me to my core. At the same time, all these paths and lines demonstrate a connective thread that honestly makes me feel at ease — maybe not in a way that’s like “We’re all made of stardust,” but instead something akin to, “All the cosmos is a note in a song of great sorrow and beauty.” And if I’m really being honest, that makes me feel so much better; that not only feels like the best encapsulation of life, but it feels more connected to the unique tone and sentiments of High Strangeness. All the world is a map, and if you’re brave enough to follow it, you may learn things that break your brain and lift your spirits. Now get ready for the last leg of that journey…
Absolute Batman #18
Variant cover by Clay Mann
Also on this week’s AIPT Comics Podcast, Dave and I were absolutely blown away by the sheer number of variant/incentive covers for Absolute Batman #18. (Seriously: We may be dumb, but it is a generally amazing/confounding feat, and it just goes to show the unheralded power the Absolute line has in the modern comics landscape.) And while my friend and colleague opted for Dexter Soy’s utterly epic variant, I’ve got my slack-jawed stare planted directly at this bad boy from Clay Mann. First and foremost, we’ve got to address the Chainsaw Man connection: Whereas some folks online don’t fully understand remix culture and the power of a truly well done reference, I believe that this specific homage is great. Because not only is Chainsaw Man hugely popular with the kids (clearly a target audience for this Absolute line), but DC engaging with manga just demonstrates the power of that “section” of the comics reading spectrum. Plus, this kind of overtness and action-heavy bent is exactly the kind of storytelling that is not only exactly what Absolute is trying to do, but I think it cuts through (pun 1,000% intended) the layers of story and history that routinely keeps some folks out of comics. And it’s all done in a way that makes sense to what’s happening in the books! (The blood-like consistency of Poison Ivy’s plants is deeply perfect.) If you don’t like this one, I suggest you really give it time to grow on you instead.
X-Men United #1
Cover by Stefano Caselli and Federico Blee
No more islands, just mutants. Encouraged by the words of Charles Xavier (“Build a school!”), the X-Men have taken that up six or seven notches to build perhaps their most auspicious, community-oriented idea to date with Graymatter Lane. While we don’t know what it looks like in full (for now), the Lane is described as “a place where mutants anywhere in the world can come together in unity to teach one another the skills needed for their survival.” And in that spirit, the Stefano Caselli-Federico Blee cover to X-Men United #1 captures that spirit of unity, community, and togetherness by bringing in effectively every mutant/X-Men possible. It’s so packed, in fact, that Juggernaut has to sit down, and even someone as vital as Magik looks like she’s about to be pushed out of the shot. Sure, I have some questions, like why Lockheed gets a prime placement (don’t tell me he’s Kitty Pryde’s BFF!), and why Jubilee think it’s a good idea to blow a bubble in such cramped quarters. But mostly, I just love what this “simple” but deeply effective cover promises. That in a time when mutants are still seeking unity, they’re coming together in such force and with such enthusiasm that you can practically feel that rolling off this page. That we’re about to get such a truly united story that it may not all even fit on the page, and that’s a good place to be. I hope Graymatter Lane works out for the group this time, because I can’t imagine there’s anywhere else in the world that can hold the full might of this extended “family.”
TMNT: Journeys #7
Cover by Jim Lawson and Michael Dooney
Maybe I don’t read enough TMNT books, but I don’t think we’ve seen nearly enough of the “Super Turtles.” They’ve popped up in various toy lines over the years, and they’re basically a chance to show a different side of the boys’ heroism and their larger place in the canon of superheroes. (Not to mention being yet another really solid cash grab. Ka-ching!) This time around, the Super Turtles are shown via a glimpse provided by the Ultroms and their “Immense technology.” And even if we only get a brief snapshot via this cover from Jim Lawson and Michael Dooney, I’m already Super Satisifed. I love the Jack Kirby-esque vibes here; not only in terms of treating these Turtles like proper superheroes, but that melting powers and super-jacked “powers” feel so deeply representative of Mr. Fantastic and The Thing, respectively. Heck, even Mikey looks appropriately stoic and badass, which isn’t always a thing we get to see within the main line (or main line adjacent) stories. It’s just more proof that TMNT can pretty much do anything and/or be remixed in some wild and wacky ways, and that what keeps them familiar and “whole” is that they’ll always be cool, silly, a little bizarre, and, perhaps most important of all, together through it all. You don’t need X-Ray vision or whatever to see that this is high-level awesomeness from a corner of TMNT that delivers in some delightfully weird ways.
You must be logged in to post a comment.