Judging by the Cover – 10/12/22 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.

Wolverine #25

Cover by Adam Kubert

It’s not everyday a comic reaches a milestone like 25 issues. (Especially nowadays, when runs are sometimes cut short for various logistical and/or creative reasons.) But this latest volume of Wolverine made it, and they’re celebrating with a jam-packed issue featuring artist’s like Juan Ferreyra, Emma Kubert, Kyle Charles, Greg Land, and Klaus Johnson, among others. And there’s massive story threads to boot, with a team-up, an appearance by the Hand’s Hellbride, and the possibility of a Celestial (!) And what better way to continue the celebration of this excellent run than with another dynamic cover from Adam Kubert. Sure, Kubert’s drawn Wolverine more times than we could ever count, but there’s something extra special about this cover that showcases Kubert’s connection to the savage X-Men A-lister. It’s both poised and poignant while showing of the sheer barbarism of Logan — and there’s something about the snow and cold that just enhances this intensity and emotional interplay. Do I still wonder why “Mr. Long Claws” would ever wield a sword? Sure, but this cover makes a solid argument for “Shut up and just enjoy the majesty.”

Batman Incorporated #1

Cover by John Timms

I’m a little uncertain about this latest chapter in the saga of, “Let’s spin out as many titles with random members of the Bat Family as we possibly can.” It’s not entirely my own cynicism, of course; the original Batman Incorporated, created in part by Grant Morrison, was a novel way to explore the Dark Knight’s role as a true icon in an age of global commerce/consumerism. But I’ll give the new creative team — including writer Ed Brisson and artist John Timms — the benefit of the doubt if only based on this cover for issue #1 alone. Sure, this Jorge Molina variant cover has more gritty vibes for sure, but it’s the original cover from Timms that really does something interesting. It’s the Saturday morning cartoon vibes and robust colors; the depth of this roster (in terms of the sheer number as well as their individual weirdness factors); and how this still feels like a Batman cover albeit from the kookiest dimension ever — it all just works. It gets you asking all sorts of questions and primes the imagination for whatever’s about to come down the old pipeline, doing so with a real joy and playfulness. In short, it’s done enough to sway me from my hard-held cynicism, and let’s hope the story can follow through and then some.

Do a Powerbomb #5

Cover by Daniel Warren Johnson and Mike Spicer

If you haven’t noticed in the last half year or so, I’m a big, big fan of Do a Powerbomb. At first, it was just enough to marry comics and wrestling in one glorious effort, and any resulting imagery or story tidbits was enough to engage and even tantalize. But writer-artist Daniel Warren Johnson has gone from a solid story to something truly transcendent in the last couple issues, upping the overall violence and bloodshed while keeping pace with this hugely poignant tale of family and loss. The result is perhaps best encapsulated in the cover to issue #5, which Sun and Steel must battle the nasty FYSO in a gnarly barbed wire deathmatch. If you don’t know what that is, this image feels like a proper preview, and it really shows both the savagery and innovation that these matches bring out. But more than that, it’s as emotionally revealing as any actual scene in the book — there’s a tension that’s nearly palpable, and you can almost see the stakes on the bloodied faces of the four combatants. Whoever actually wins (and that’s never entirely obvious, which makes this series all the more compelling), we can raise our collective hands for this weird and wild little book.

Namor the Sub-Mariner #1

Cover by Pasqual Ferry and Matt Hollingsworth

If you don’t know what this latest series is all about, it’s no cash grab for Namor’s upcoming role in the Black Panther sequel. (Though I’m sure it’ll help nag a pretty penny or two.) Instead, it’s basically the Old Man Logan treatment for the King of Atlantis, who now oversees the whole, mostly flooded Earth roughly 100 years into the future. And if we’re talking dystopias, not only is mass flooding the most likely culprit, but I also feel like it’s the future with the most visual potency. And cover artists Pasqual Ferry and Matt Hollingsworth have certainly leaped at the opportunity, showing Namor on the most badass and depressing throne possible. Whether it’s the pristine vibes and tranquility of the ocean; Namor’s thoughtful tendencies; or even just the way we can still see and “experience” parts of the old world, this cover tells us almost everything we need going into the story itself. Sure, there’s some other solid cover options — like this Pepe Larraz variant that shows the unbridled magic and intensity of the ocean. But it’s this main cover that seems to both soothe and confront, and that dynamic feels perfect for the story ahead.

Batman: Urban Legends #20

Cover by Max Dunbar

Perhaps maybe the second or third instance of the year, we once more reach a cover that I’ve been mulling over (or obsessing, perhaps?) for quite some time. I’ve always found the covers to Urban Legends to be often hit or miss, but this one definitely nails it out of the park for both pure visual potential and also just unabashed creativity. In a story about Batman as some kind of monster hunter, it makes sense to go all Bloodborne with this bad boy, and give us the massive plague bat-demon, a Batman wearing alternative Victorian timeline hell-armor, and a color palette that’s both thrilling and just a little bit depressive (even bordering on the oppressive). The end result is what these books need more of: a visceral snapshot of whatever weird ideas and energies are percolating just beyond the actual covers. That, and there’s a kind of unknowing-news and chaos to this piece that really stands in contrast to some of the other series covers, and that really makes a difference in both nabbing them eyeballs and telling a concise visual story in one image. Seriously, this one checks all the boxes, and I’m glad it’s going to be out of the world and not just in my fever dreams.

Hitomi #1

Cover by Valentina Napolitano

If you include the phrase “Combining the historical sweep and elegance of Kurosawa with the visceral action of Tarantino” in your solicitations, you’ve already got lots of people’s heads perked in eager anticipation. But as it turns out, there may be more to Hitomi — from writer H.S. Tak and artist Isabella Mazzanti — than just great press. For one, it’s a personal and cutting story of a young drifter, Yasuke, who trains and fights to become a samurai (a rank “she will have to take for herself”). And we get to see just how emotionally resonant this tale is thanks to this excellent cover from Valentina Napolitano. Sure, there’s lots of great imagery for the genre, and a dash or two (or a half gallon) of blood to keep things authentic. But the thing that’s most compelling is Yasuke’s face — the way she seems both determined and almost animalistic while still feeling utterly depressing. Plus, she comes off as both guarded and yet utterly vulnerable in her pose and general demeanor. All of that together shows that this book could be both a dazzling adventure and something all the more gut-wrenching. If nothing else, though, it sure ought to be bloody pretty.

007 #3

Variant Cover by Marc Laming

I know what you’re saying: “The last bond movie came out in January, why are they releasing a new-ish 007 series right now?” (How weird would it be if I actually read your mind?) Well, if I had a guess, it would be because 1) who cares, we always need 007 in the comics and 2) it’s always the right time for that most exciting game, “Who Will Play The Next James Bond.” That’s in part why I love this cover to said new-ish Dynamite Entertainment series from writer Phillip Kennedy Johnson and artist Marco Finnegan — that’s my kind of Bond. Which is to say, sort of rugged, a little unkept (even for having been recently beaten) — kind of like a more blue collar Clive Owen or almost exactly like Bobby Cannavale. But there’s more awesomeness to Marc Laming’s great variant cover, like how it really emphasizes the physicality of this specific Bond; the glamour and sex appeal that never takes away from the sheer intensity of the moment; and a greater sense of intrigue of adventure (a little more in line with the Ian Fleming original stories, I’d say). Who cares why we get a new Bond title when this cover already leaves me feeling both shaken and a little stirred.

Year Zero: Volume 0 #1

Cover by Kaare Andrews

I wasn’t really into Halloween this year (even when my house starts celebrating/preparing in late August). But I’ve found my mood has finally grown all the spookier with the forthcoming release of Year Zero: Volume O. This prequel to the great 2020 series promises “four globe-spanning tales from the earliest days of the zombie apocalypse” from writer Daniel Kraus (The Autumnal) and artist Goran Sudzuka (Ghosted). And as exciting as that pairing is, I’m mostly excited for more covers from Kaare Andrews. Like last time, Andrews has hit the ground running, marrying my biggest fear (literally anything going wrong on an airplane) with my endless obsession for the zombie apocalypse. But the real magic is in the details, like the zombie flight attendant still doing her job; the partially bitten teddy bear; that one woman who may have made it through by faking being asleep; and the one air marshal who just didn’t Wesley Snipes quite hard enough. All of it makes for both a bloody intense and delightfully silly time, and that specific niche is just where all the best zombie properties operate. If this is how it all ends, at least it’s pretty AF.

Maskerade #2

Cover by John Sprengelmeyer

I said a couple things about Maskerade #1. The first is that I thought the cover was a pretty great intro, and the kind of piece that felt really tailored to the insanity and hijinks that the whole plot/story promised. The second thing was that I wondered if the creative team (mostly co-writer, and famed director, Kevin Smith) could deliver beyond the initial gimmickry. Having read the first issue, I can relay that the debut was a solid entry about revenge and personal identity amid a maelstrom of weird events/happenings. And I don’t even need to read anything else to know that the cover to issue #2 also furthers the work of its predecessor. More specifically, while this piece (also by series artist John Sprengelmeyer) isn’t quite as initially bonkers, there’s a bit more grit and a few extra tidbits of humor — and those together make for a true head-rush of comics magic. The cover sort of feels like a commentary on action films (and the endless “bullet physics and sweet slides” of something like the Max Payne video games), and that extra layer shows how smart this series is while readily embracing its influences and cohorts. I already can’t wait for what awaits us with the cover for issue #3.