Judging by the Cover – 07/08/26 new releases

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 #22

Variant cover by Dan Quintana

I get people have been jacked about “Gundam Robins” for all the obvious and nerdy reasons. But I’m most jacked about Absolute Batman #22, where we see the origins of Harley Quinn (and her connection to Ark M). And that’s an interesting enough prospect given just how many versions of Dr. Quinn we’ve seen over the years, and the varying levels of tattoos and pink/blue dye that have served as a character shorthand. But this Dan Quintana variant gives us a portrait of a much, much different Harley. For one, the bald look continues to be such a great choice; with a character whose hair style has said so much about her (and forced her into so many contexts), bald isn’t just beautiful but a statement of novelty. From there, the ample firepower may not be as novel of a choice, but it’s just the right amount of overload to be funny without taking away the force and sense of violence facilitated by this Harley. (And having the nun-chucks is a similar bit of “LOL, unless she can use them…”) The Bat paint is the right kind of gritty and moody; the suit and tie combo hints at her “ties” to Joker; and those eyes manage to pierce the soul as much as they remain chillingly dead. Giant mechs are cool, but all you need is some paint, a few guns, and you can do a lot to extend and augment the singular power of Harley Freaking Quinn.

Uncanny X-Men #31

Cover by Luciano Vecchio and Matt Wilson

Whereas Absolute Batman #22 is a great example of how a cover can make a case for a new version of a character, Uncanny X-Men #31 is proof that Luciano Vecchio should be drawing everyone’s favorite mutants for years to come. Admittedly, the current storyline in Uncanny is a wee bit of a challenge; the X-Men have faced similarly weird threats before, but there’s something about aliens invading Louisiana that feels especially absurd (in a good way, of course). But Vecchio (alongside colorist Matt Wilson) meet that challenge head on, giving us something that splits the different between ’90s Xtreme vibes, a dash of the avant garde, and old-school horror flicks a la Bodysnatchers. All of that translates into an alien design that feels the right level of human to poke our brain about these “invaders”; lots of vivid colors that dazzle the eye (but also feel like they’re in line with this X book while also pushing boundaries for Story Reasons); and just the right amount of “battle damage” on Rogue to feel interesting (and thematically appropriate to the whole ’60s sci-fi movie vibes/aesthetic). Am I hacky enough to say this piece “is out of this world”? Maybe; I think I’ve done worst in this column. But for something so “simple” and direct, there’s real layers of context and pockets of interest to explore. Call this an IFO: Identified Fun Object.

Exquisite Corpses: Rascal Randy #1

Variant cover by Michael Walsh

Do I like Exquisite Corpses? Yes; it’s a solid enough story with a lot of editorial and creative attention attached. Am I also a little “concerned” about any story that immediately positions itself as this kind of multimedia extravaganza? Also sure — I want stories to be OK with just being a good story. Still, when it comes to feeling confident about Exquisite Corpses‘ plans for the future, there’s one thing that gives me enough hope: this Rascal Randy “spinoff.” More specifically, this cover from series cohort/collaborator Michael Walsh. Because in a story that’s less about the man and more about a rabbit suit used to commit murder, Walsh’s cover speaks volumes. Because it seems that multiple souls have worn the Rabbit Randy visage, and to see them fighting so aggressively is such a perfect way to encapsulate the lack of humanity and the obsession with violence. (I’d add that also those frantically scratching limbs are a great bit of commentary for Randy and a society that supports detachment and disconnect to an effectively homicidal level.) And, hey, if that ain’t your bag, Walsh sure knows how to draw gore and viscera that’s frantic, overwhelming, and, quite frankly, an absolute delight to take in. I can’t speak for the long-term future of Exquisite Corpses, but “story of a large murder bunny” is a darn good start.

The Twilight Zone #9

Cover by Juni Ba

The magic of The Twilight Zone wasn’t just that they told socially relevant, deeply important stories about man’s shortcomings. Or even that Rod Serling had a charisma rating of 5,000 burning Suns. No, it was that so many ideas and concepts could fit the series’ “mold” so long as it was a little weird, disarming, and taught us something about ourselves. And I think that will likely continue as writer/artist Juni Ba takes the reins with a story about a “sand diver trapped in a life of repetition, he knows only swimming from the river’s top to its bottom for the purpose of building up his village.” And Ba’s own cover to this issue (#9) demonstrably proves the Twilight-ian power of this story. His approach to black and white, for instance, is especially moody and thought-provoking. There’s also just enough to discern water from the city (or not discern, perhaps?), and that says heaps. Meanwhile, the obvious draw (the man’s head melting into the water) is the right kind of step up for this “universe,” reaching new heights of artistry while feeling spot on in terms of the sheer thematic messaging/significance. Even the way that Ba signs the piece exudes a certain Serling-esque authority and intent. Sure, lots of folk are welcome into the Zone, but Ba is that rare breed that’ll likely leave this place more weird and transcendent than he found it.

Do a Powerbomb: Black & White #1

Variant cover by Daniel Warren Johnson

Here’s a chance to expand on what I mentioned in regards to Exquisite Corpses. Because sort of like with the idea of growing a story universe, delivering a black and white “remake” of a four-year-old book can be a risky. If it weren’t already this gut-annhiliating tale of loss and grief, the very prospect might feel phony and underwhelming. But it is, and I think Daniel Warren Johnson will be able to show us new ideas and insights with this version. And if nothing else, we seemingly get this great “Japanese Wrestling Magazine” variant cover to issue #1. (I’ve never seen it before, but if you have, please holler if you hear me!) It’s exactly like the mags I used to buy circa 2001: I can’t read/understand a damn thing, but there’s a certain romance and grandiosity to the design and layouts. Plus, there’s lots of violence, and in the case of this cover specifically, I love that DWJ can even make a basic mat slam feel doubly powerful. So, then, what’s it got to do with a black and white story and the issue of art versus commerce? Well, aside from mitigating my own endless worries via sheer quality, this cover feels like a pretty powerful statement for the “melding” of art and commerce, and how even though a wrestling mag is very much an object for sale, it can still tell really powerful stories. (Sorta like comics, yeah?) And if that doesn’t satiate your curiosity, don’t make me bust out the Coplan Crusher.

The Forged #12

Cover by Mike Henderson and Nolan Woodard

Here’s something I don’t like about the cover to The Forged #12. (I mean, I don’t like in the same way I might say “I wish The Starry Night wasn’t so darn life-affirming,” or “I wish this Garfield comic wasn’t so utterly charming.”) It’s that if you don’t know the story, you might think this is a precise representation of the story itself — and you’d only be, like, 95% of the way to the actual truth. Instead, I think that all the really good covers from this series (and there’s been some gems) feel more like a mood board of sorts. Will you see someone piloting a legion of giant bombs through space while wearing a golden string bikini ala Dr. Strangelove? (The bomb bit, I mean, and not the biking. I think; it’s been a long time since I saw the movie.) The answer is most likely no. But rather than feeling cheated somehow, you oughta enjoy this moment for what it represents. Not just a fundamental misunderstanding of space physics, but a declaration of thematic intent, pop culture savviness, and general madness and intensity. Ya know, not just a vague thing that is cool to look at, but something that gets right at the wild, beating heart of this book with just enough distance to shock, bemuse, confound, etc. It’s a cover that might happen, but at least shows what a book like this is capable of doing to our hearts and minds with even a whisper. Take that, Starry Night.

Operation: Iron Coffin #1

Variant cover by Juan Ferreyra

Maybe once every couple of months, I’ll say something like, “This looks like an album cover” (with varying degrees of creative flair). And what I often mean is, “This is a cool image that I think has a similar level of visual power and statement-making potential as a great albums ought to.” (In my my defense, there’s been several trends on social media where people did the same thing, but the covers were generic or not the right kind of cool.) But this Juan Ferreyra variant cover is 1,078% an album cover. I can’t be certain, but even the angle and the perspective here just feels right, as if it were made for that perfectly square canvas that is a vinyl record. Of course, the mix of vampires and Nazis is also the right mix of gothic and absurd for most album covers (especially since all the best ones are from, sadly enough, mid- to late ’80s metal/hair metal bands). Meanwhile, the sheer technicality and skill is also indicative of not just a great comic, but something that all great LP covers shared (besides, of course, the frequent, uber Gothic imagery). And, perhaps the piece de resistance, it’s that subtle but unmistakable humor of having a Nazi fall through a fiery hole; all great records share this no matter the genre. (The humor, not always dead Nazis.) I don’t know what music would accompany this record, but I bet it’d be like Bauhaus meets Black Sabbath, and that’s pretty dope to me.

Witness Point #1

Cover by Soo Lee

In addition to thoughts about expansive fictional universes and black-and-white special editions, I also have thoughts regarding celebrities writing comics. And that opinion exists on a scale: If it’s Oscar Isaac “producing” a comic, that’s not so great. But if it’s anything where Patton Oswalt is clearly a comic fan then writing his butt off, then that’s very good. I have a feeling that Nathan Fillion will me closer to the latter than the former in this totally valid “spectrum,” and I’m basing that not just off his CV but this cover by series artist Soo Lee. Because you can’t tell me that the fella here (seemingly Sheriff Carter “Kite” Calhoon, investigating a weird mystery surrounding a circus) doesn’t look a little bit like Mr. Fillion (if maybe he was a boxer first or something). And that’s no small homage; that to me is the right kind of presence for a celebrity that’s still new-ish to the comics game. (Plus, he’s just different looking enough to where you’re not sure, and that’s also a good thing.) From there, we get a cavalcade of clowns that’s both narratively relevant and an even bigger draw; a certain Thomas Pynchon-tinged level of noir; and pure silliness that never undercuts the general interest and confusion I’ve already experienced in this piece. I may not be sure about animated Firefly, but I’m dang sure about this title!

Vampyrates #1

Variant cover by Bengal

I haven’t checked, but I’m a little mad at our species for not getting to “Vampyrates” until summer 2026. Heck, we got six Sharknado movies from 2013-2018. But I think we’re in for something interesting here, as a vampire queen escapes a coup, stows away on vampire pirate ship, and readies her extra bloody vengeance. And I do mean extra bloody, as this Bengal variant cover pretty much leap-frogs all the subtext to present us a veritable crimson ocean. And, somehow, that’s not even the best part. For one, I know we’re dealing with some primo pirates when they’re rocking two kinds of belts (and only one is seemingly functional). I also quite look at the design of the vampires here; it very much feels like they’re a proper predator like those surrounding sharks. (Although that raises the question if sharks in this universe are also vampires, and does that make them “Shark-pires”?) Tonally, there’s a good balance of creepy horror, understated comedy, and just a dash of those old romance novels your mom (and maybe even you?) read in the mid-90s. And that combination means that Vampyrates might offer just enough of a knowing, playful wink to make its slightly ridiculous premise actually work. (Sans the emo haircut; if I were a vamp, I’d have long hair to my butt.) After this, though, I need to see a book called “Zompires” about zombie umpires pronto.