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.
Bizarro: Year None #1
Cover by Nick Pitarra and Michael Garland
A Bizarro origin story by the Kevin Smith (called Year None, no less) doesn’t really need a lot of help in the hype department. That said, let’s give a little love to issue #1’s cover from series artist Nick Pitarra and series colorist Michael Garland, because it informs so much of why I think the hype is well deserved (beyond the pedigree of the book’s famed co-writer). For one, the depiction of Bizarro World/Htrae is perfect here; the fact that it looks a little prehistoric somehow just adds so many layers to it being “Dumb Earth.” (I mean, our Earth is dumb, but you get it.) I also really like the imagery of Bizarro leaping from the edge — in an origin story like this, it sets the tone for something really exciting while perhaps hinting at the thematic significance of our “hero” leaving home/extending his identity outward. Then, of course, there’s Bizarro himself: Whether it’s the perfectly cracked skin, those weirdo muscular ratios, and/or just the way his belt sits just a little bit the wrong way, this is exactly what I want from our Backward Superman. Let me see if I can say this another way: This will be an ugly, pointless book.
Wonder Man #1
Variant cover by Mark Buckingham
I haven’t seen the Wonder Man show just yet. (I’m finally getting around to The Great, so get off my back.) That said, I sure do love a wee bit of corporate synergy and as writer Gerry Duggan and artist Mark Buckingham look to build from that deeply meta series with what’s described as “a true love letter to L.A. as well as the history of Wonder Man.” Case in point: Buckingham’s own variant cover to issue #1. From a design point, this approach feels both fresh and retro all at once, as if we’re getting a snapshot of the many looks and moods of Simon Williams. There’s also that look on his face; it seems like he’s crying (through his powers), but there’s a disconnect here that feels fitting if we’re using the character as a lens to explore fame and celebrity. And speaking of those two deeply important things in life, the white background around his star is such a deeply perfect metaphor for the emptiness and disconnect Williams grapples with despite his stature. (Or, perhaps lack of greater stature?) I’ll get to the TV show eventually, but this book is going at or near the top of my ye olde reading pile.
Royals #1
Variant by Derek Kirk Kim
I can admit that the rest of us are a little dumb for not thinking of the Royals premise before: Twin brothers Paul and Castor hustle cards by relying on their telepathic connection. But what I’m most excited about is the tactile feel that Derek Kirk Kim puts into his art. Sure, Jacob Perez is handling art for Royals, but the writer Kim get to show off some of that power and connection that I first experienced in the totally wonderful The Last Mermaid. For one, I love the meta aspect of a character literally biting down on some part of the world/design; it’s fun, duh, but I think it plays with the book’s core concept of the twins’ “manipulation” of their circumstances. Beyond that, any time a character has that look and that much blood on their face, I know that they’ve gotten into some -ish. And those two aspects together are what I’m really jazzed about: For all the sleek vibes and “magic” powers, there’s going to be a price, and the twins will have to maneuver that if they’re going to make it out alive (and possibly rich). That, folks, is the true promise and power of a story like this, with odds so bold/plentiful that they practically grapple you right back.
The Toxic Avenger #8
Cover by Fred Harper
If you haven’t been paying attention to “Toxie Goes to Washington” across The Toxic Avenger Comics, you’re a dumb idiot and I have no time for you. Because not only is this among the most relevant storylines going right now (our mutant paladin battling the fecklessness of the American political machine), but it involves a bootleg Captain Planet (in Doctor Planet). If you somehow need more from a comic, go read Dilbert or something. But what I love about this cover isn’t just that it’s a deeply exciting moment for the Doctor-Toxie confrontation, it’s a perfect snapshot of all things Toxic Avenger. Because in a sane world, we should all be cheering the ruggedly handsome environmentalist bashing the ugly mutant. But given that the good Doctor is the ugly (the solicit describes him as “embittered on the inside”), and Toxie’s the one with the heart of pure gold (OK, and toxic sludge), we have to grapple with that complete mind-f**k. And that’s why I’ve always adored this franchise: Your heroes are gross, your villains are too busy being pretty to be well-developed people, and all that matters is that some freak is willing to lose it all to make it really right. Fred Harper’s art may make your stomach churn, but it’ll also make your heart sing.
MAD About DC #1
Variant cover by Chip Zdarsky
From toxic waste to, um, toxic clouds, we come to MAD About DC #1. Here, a smorgasbord of writers and artists (Jim Zub, Matt Fraction, Gail Simone, Skottie Young, etc.) unite to “[turn] the DC universe on its ear and [bring] you savage mockery of all we hold dear.” And I’ve got to be honest: I wasn’t sure how to feel about this upon the initial announcement. Because I grew up a DC kid, and as much as I love a good MAD-ian gag and wiener joke, some things may be too sacred for satire. Until, of course, I saw this excellent Chip Zdarsky variant cover. I don’t think I’ve seen someone draw a fart cloud so well, and Zdarsky’s skills are truly underrated. Also, having Superman blow chunks is not only funny, but also proof that the Man of Steel eats fish whole. (Probably a Kryptonain tradition.) Yet the best takeaway here has nothing to do with the gags but the self-awareness. Because by not not making jokes about both H2SH and Jim Lee, Zdarsky and DC are engaging the true spirit of MAD: Nothing is sacred whatsoever, and true satire should start with yourself and your own dealings/values. That, and that if we can laugh at ourselves and the rest of the world, we’re making all these jokes sting less and instead serve as ways to explore truth and community alike. Let’s put it this way: This one doesn’t stink at all.
Captain Marvel: Dark Past #1
Cover by Lucas Werneck
A couple weeks back, there was some discussion on Bluesky about Captain Marvel’s costume. Namely, that for a space warrior/cop with unbelievable power, her original costume (effectively a “space bikini” I recall someone saying) didn’t make a lick of sense. That, and her latest costume isn’t just packed with utility (and pockets!) but that it represented a small but mighty effort to address the inherent sexism and misogyny tied to many costumes from your favorite female heroes. Now, clearly this new story from Paul Jenkins and Lucas Werneck isn’t about that “costume controversy” at all, but you can’t deny that Werneck’s own cover works in that regard. In a story about Marvel’s legacy and dark past and the complex journey that’s been her superhero-ing career, this simple but effective cover says heaps. You could read it as how much she’s changed (and how small or robust said change is depending on your own perspective). You could also say that maybe having to rock said “bikini” is a solid metaphor for youth and immaturity (by both the creators and the subject), and that she/we couldn’t be where we are without the long, long journey. Either way, this cover is unintentionally brilliant (as well as just being deliberately great), and Cap’s future looks extra bright.
Batman / Superman: World’s Finest #50
Variant cover by Rahzzah
Rightfully so, Batman / Superman: World’s Finest #50 is going to be a big deal. Just how big, you ask (with voice likely crackling)? Well, they brought back Dan Mora, that’s how big, and the Mora-Mark Waid combo has done some deeply magical things across this title. There’s also corresponding promises of heaps of story goodness, but almost no reference in the solicitation to this dope Rahzzah variant cover. Because if we’re talking about this issue being packed to the gills, there’s no variant cover to meet that challenge. First and foremost, it’s in space, and that’s an easy +150 points alone. From there, there’s something uplifting about this piece, as if it applies a decidedly modern sheen to those Batman-Superman ’50s/’60s team-ups that were endlessly cheesy. But it’s not all cheese, and whether it’s the orange hue of the helmet and/or Batman’s uber utilitarian choice of space suits, there’s just a slight edge of horror. I mean, if you were floating in space, terrified out of your mind, maybe you’d think (even for a sec) that the Man of Steel was either a monster or at very least a hallucination from a dying brain. Factor in the ungodly technical skill, and it’s everything you could want from this oversized issues. Which is to say, a deeply affecting experience of supreme highs and lows.
Deadpool: April Pool’s Day #1
Variant cover by Jim Rugg
While the DCU is busy spending April Fool’s Day getting mustard gassed by Alfred E. Newman, the Marvel Universe is spending the holiday messing with Deadpool. More specifically, a story where “Wade’s being serious when he figures out how deadly the situation is on April 1st,” and yet for some reason “no one believes him.” What’s that got to do with this great Jim Rugg variant cover? Well, if we are spending the holiday poking the Merc with a Mouth, it’s worth noting that the emotional scars don’t heal always quite as well as, say, whenever he’s been decapitated. Plus, there’s something about isolating Wade like this (making him the centerpiece of empathy and maybe even sympathy) that does a lot to really explore the character in new and refreshing ways. That as much fun as it is for him to make poop jokes and then get run over by a tank, there’s something decent still at hiscore, and delving into that genuine sweet spot is what keeps Mr. Pool actually fresh and relevant after all these years. He may have been built to suffer, but new/under-utilized injuries remind us why Deadpool matters as this stand-in for our own anxiety and disconnect (masking as humor). Still, one question: Why didn’t Spider-Man pull up his damn mask?!
Cruel Universe #9
Variant cover by Tom Fowler
I recently turned 40, and it got me thinking about about my life and also my impending death. I always thought an existential crisis at this age would make me feel like some hack, and while that’s mostly true, I think I’ve responded OK enough by focusing on the positives. Which is to say, for a fella who has spent years being afraid he’d simply cease to exist upon passing (hopefully at 120, following a space-bike crash), I’m getting more OK with that possibility because of media like this Cruel Universe #9 variant by the always reliable Tom Fowler. Sure, finding any solace from a book with this title seems odd, but this kind of fate would be nice. I’d be dead and gone, but some part of me might serve as home for the most adorable aliens ever. (Or, in more realistic terms, perhaps my work or former presence might uplift or engage someone even for the briefest of moments.) It’s this sense that we can’t really decide what happens after we’re dead, but we sure can hope that something we did makes a difference whatsoever. I don’t love the idea of becoming a bony hotel per se, but I think there’s worst things to be associated with then that meager spark of life and the proliferation of community. Sure beats having routine night terrors!
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