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.
The Peril of the Brutal Dark: An Ezra Cain Mystery #3
Cover by Jacob Phillips
There’s one central aspect that has made The Peril of the Brutal Dark: An Ezra Cain Mystery so dang potent. And, no, it’s not the really well done mustaches from series artist Jacob Phillips. Rather, it’s the commitment to fostering a pitch-perfect homage to gritty noir of the ’40s, and be it film, TV, or novels, the tone and feel is spot on across the board. Case in point: Phillip’s own cover to issue #3. The heft and angle of those giant mitts has the exact physicality of some thug you’d see in any random Fritz Lang film. Meanwhile, Ezra Cain’s mug not only has another of them near-immaculate staches, but his perfectly tossed hair and just-bloody-enough demeanor feels like it was made for some fantastical remake of Maltese Falcon. Even that red-purple-undefinable color feels like, while it might be a little overt, it’s ultimately perfect for this kind of gritty drama (like I can imagine the entire alley outside of a Chinese restaurant). It’s that profound immersion, alongside just great storytelling, that makes this book sing. Now, ::insert PI’s relevant catchphrase as a closing remark.::
Marvel / DC: Spider-Man / Superman #1
Variant cover by Sanford Greene
Back in March, we got DC / Marvel: Superman / Spider-Man #1, and I fell for a wonderful little variant by Mitch Gerads. That one, if you don’t recall, saw Supes and Spidey sharing a little free-fall, connecting to one another in a way that felt like an essential comparison as well as contrast of their superhero-ing ways. Now, when it comes to that kind of uplifting or affirmational character study, there’s no way this Sanford Greene variant for Marvel / DC: Spider-Man / Superman #1 can come close. What it can do, though, is come off technically compelling, as Green uses the webs to create a series of separate, distinct worlds that also feel held together like one massive piece. And that’s where we begin to understand the real scope and power of this piece. What it lacks in quaintness it more than makes up for in its visceral, gut-shot-like ability to compare and contrast the larger worlds and moods and functions of both heroes. By layering certain players together (or keeping them separate but nearby), Greene plays around with these characters in such a way that you feel their relationships even deeper, and perhaps even draw out some novel insights. It’s another A+ accomplishment from Greene, and just more proof that these covers as an entry point do so much in pushing these books from cheap gimmicks to cutting dissections. Webs, activate!
Corpse Knight #1
Variant cover by Andrea Milana
As if the title alone didn’t instantly win me over, the premise of Corpse Knight seems interesting. Amid a war-torn medieval France, a girl embarks on a mission with her dad — who died and was resurrected (likely as the titular Corpse Knight). Now, in examining such a dark, dark book like this one, I had a few different cover options. For instance, this Tonči Zonjić variant feels both romantic and intense, and I feel like that dueling dynamic might fit the book best. Meanwhile, this Nimit Malavia variant really plays into the blood-soaked badassery you’d expected from a book called Corpse Knight. Yet I ultimately went with Andrea Milana variant for a few reasons. Not seeing the knight, for instance, plays up certain thematic possibilities about his identity and why that matters (especially in the context of a “war” story). I also really admire the sword, and while the giant eye screams “magical reason for an undead knight,” it’s also quite subtle/understated, and that also feels significant. Even just the ’70s Italian horror movie aesthetic, mixed with the vibes from an Iron Maiden LP cover — it connects with the right framework and references to just feel even more interesting. What the piece lacks in immediate gore and violence, it makes up for with a storytelling charm that prepares me like no snarling zombie-knight ever could. It gets a “rise” out of me, basically.
In Your Skin #1
Variant cover by Anand Radhakrishnan
Admittedly, I don’t know much about Bollywood. (From what I’ve seen, though, the costume designers and fight scene coordinators deserve 1,000% raises each.) But if you go ahead and toss in the words “body horror,” then not only do I know enough to more than make it through, but you’ve gone ahead and piqued my interest. What I find interesting about this Anand Radhakrishnan variant, then, is that given all that — and a story about a super-fan who may actually be trying to replace their favorite Bollywood leading lady — is that Radhakrishnan went super subtle with it. You get what I assume is the hustle and bustle of any big city (but especially if you’re in the pictures, baby), and the de-emphasis on the people here is a de-personalization that sort of makes sense. The only thing that’s truly “off” — really, the most human moment here — is this smearing of the lipstick. Sure, the obvious “this is blood!” connotations exist, but it could also be a momentary lapse, someone remembering to be this human because they let it slip for a second. Or, for how much they’ve got it together, there will always be some distance between themselves and this “mask” they’re wearing. Either way, your boy is excited and terrified, and if that isn’t a Bollywood-body horror bonanza, then I’m as dumb as that Labubu.
Event Horizon: Inferno #1
Variant cover by Eamon Winkle
When our own Dave Brooke spoke to Christian Ward recently, he made a couple interesting points. Among them was that, given how well audiences received Event Horizon: Dark Descent, then that gave Ward tons and tons of leeway to inform Event Horizon: Inferno. And that, boys and ghouls, is exactly how you make a truly compelling story. Similarly, it’s how you also make a damn fine variant cover, and as Eamon Winkle expertly exemplifies here, you can do and say so much with these covers with the right approach. My first instinct is to instantly associate this with some forgotten Twilight Zone story. And even if that’s not true (it feels very much in line with the “oh gosh, sudden horror!” I associate with those tales), the fact that my brain is making these leaps is proof of the cover’s powers. There’s other aspects, too: the sheer technical skill (and how that contrasts nicely with the violent, chaotic approach of this story); the intimacy of our “space-demon” even as their wings promise to swallow the whole piece; and just the mix of similar intimacy and distance with our dead astronauts (it’s a truly resonant approach for this series). All of it feels inventive enough to push the story in new directions while absolutely honoring the core of the existing story, and it does so with the most unassuming of intents. I know about screaming not being heard in space, but what about giggles of absolute delight?
Head Lopper (2026) #1
Variant cover by Jim Rugg
There’s a reason I chose the Jim Rugg variant cover to #1 as the main image for my recent deep dive with series creator Andrew MacLean. Does it fit at all with the “Saturday morning cartoon on mescaline” that is the decapitation-heavy series? Not really. It’s certainly a lot closer to the Conans of the world, and while Head Lopper certainly shares some DNA with that fantasy barbarian, it’s a more bonkers story outright. Still, Rugg’s piece is a little over-the-top in its own way; those veins are so big you could practically drive an RV through ’em at 90 MPH. (Not to mention his abs’ abs may also have abs? Remarkable.) And so while the piece looks rather dark and menacing, it’s also not afraid to go a wee bit overboard to make its point. It’s not a silly bit of license, but it does have fun with the confines of fantasy storytelling, and that’s what Head Lopper has done since day one. Both the book and this cover clearly love fantasy, and they know and admire it enough to poke a little fun (albeit to different degrees and final purposes). In doing so, they further the “tradition” in new, interesting ways. Also, his hair just looks so dang luxurious!
Captain America #9
Cover by Valerio Schiti and Frank Martin
This 1,000% reminds of the Death of Captain America storyline from 2007. The only difference I sense is that the suffering (and strategic use of comic book death) are on either sides of the gun being fired. Meanwhile, any differences you might see only further that connection I see so clearly. Cap not being the target, for instance, feels like a way to torture our patriotic lead; as willing and ready as he is to die for this Latverian liberation, he can’t always protect everyone. (Similarly, having all the other heroes around and they still may not be able to do anything about it is just a ::chef’s kiss:: level of psychological manipulation and potential character development.) And having Alina von Doom, mid-fiery speech, as the target will 1) smash Cap’s hearts in new, unseen ways as it 2) furthers the significance of this character in some interesting ways. Even the pastel feel of the flag fosters a sense of nostalgia that adds to the sheer layers of the piece (and comments on the cyclical nature of revolution and inescapable narratives). This shot’s gonna hurt extra bad, that’s for sure.
Superman #37
Cover by Dan Mora
I’m not so old that I don’t understand most Gen Z slang. And while I wouldn’t use most of it myself, I like being of the age where I can track where younger folks might have picked up these words. But there’s one linguistic development from these “kids” that I just can’t mess with: “U/You mad?” Every time I hear it, that one asinine little phrase cuts directly to my core. It is both a recognition of and and a complete dismissal of someone’s feelings, and it makes the glorious act of being mad (as a means of self-understanding and cathartic release) feel hollow AF. So it’s absolutely perfect that Superboy-Prime would bust this out as seemingly the entire DCU is about to end him outright. Not only is SBP basically the most Gen Z-coded character (no, I will not explain further), it’s such an oddly meta/self-aware moment given his background, and it just adds some extra flourish on what’s already a forceful, emotionally resonant moment. And the fact that it’s a “device” that hearkens back to some Silver Age cover just adds even more layers to the image’s ability to irk and annoy me. Seriously, I’d take “skibidi toilet” 1 million times over “U mad.”
The Phantom vs. the Sky Band #1
Variant cover by Freddie E. Williams II
Admittedly, I’m not the biggest Phantom fan. I mean, sure, I loved the Billy Zane-starring movie, but that could have almost everything to do with it being a centerpiece of true ’90s cinema. That said, I can admit I’m more interested in the Phantom then I have been maybe ever as we prepare a new series. And that’s because The Phantom vs. the Sky Band may be the most OG-looking Phantom comic as well as one that offers up new kinds of bite and depth. For instance, there’s something very pulpy about Phantom being beat down as a large woman comes to finish the job. (If only she had something to say, like, “Now I make the Phantom a ghost!” or something.) And the fact that she’s carrying a modern gun manages to update this moment in thematically significant moment without hampering the oddly nostalgic quality. Then, of course, we just have the chopper; there’s something about that modern tech done with a more “classic” feel that makes it almost seem alive. (Like it chewed up and spit out all those yummy skulls, that’s how alive.) Is this the book that makes me a Phantom convert? IDK. But I do know one thing: more comics covers need helicopters, pronto.
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