Judging by the Cover – 08/28/24 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.

John Constantine, Hellblazer: Dead in America #8

Variant cover by Christian Ward

I almost went ahead with the main cover of John Constantine, Hellblazer: Dead in America #8 because artist Aaron Campbell made The Demon look like the lovechild of a moth and an Ewok. But I had to go with this truly great Christian Ward variant instead. Because no matter what he’s drawing, Ward always creates art that I call “Black light poster if it could somehow stare back at you.” And that’s exactly what we get here: a Constantine that’s seemingly looking right back at us. Sure, he seems to be more interested in the smoke, but I can’t escape the sense that he’s seen us to our core and found us very, very lacking. Which is a surprising reaction as issue #8 sees John trapped in actual hell — you’d think the guy would be glad for any company whatsoever. But that’s why this book has been so dang great across its run; it’s been this solid, unwavering examination of what makes John Constantine this singular bastard who we’re almost forced to stare at and obsess over endlessly. In Ward’s portrayal of the mad warlock especially, Constantine is more alive with energy and meaning than ever before. Not bad for a dead man, yeah?

Spider-Gwen: The Ghost-Spider #4

Cover by Mark Brooks

Let’s get it out of the way right now: this is more body horror that I was morally and spiritually obligated to share. And in the hands of a pro like Mark Brooks, what we get is something really wonderful and detailed — you can almost hear the way the skin bends and tears as it’s pulled apart. Sure, the fact that this is seemingly Chameleon disguise (as he’s the one in which Gwen is hinted at facing in the solicitation after all), it doesn’t really take away from the delightfully stomach-churning quality of this cover. (If anything, it just adds a whole new, slightly creepy and unsettling layer to the work of the Chameleon.) Yet even if this is just top-notch body horror, it’s not at all removed from the pure emotion of this character and story. Identity is vital to Gwen, and facing the Chameleon would certainly force her to grapple with who she is, her place in the world, and what it means when some bad guy tries to sully your good name. It makes all the emotion almost transcend the sheer horror, and the snapshot of pain, anguish, and a spark of fight is what elevates a great cover into the realm of the truly great. Seriously, though, more skin-ripping covers every darn week.

Universal Monsters: Frankenstein #1

Cover by Michael Walsh

And speaking of monstrous characters and horror in general, we come to Universal Monsters: Frankenstein #1. Sure, Frankenstein’s monster (that’s how you refer to him, damnit) is known for being especially inhuman and terrifying, but I love the way he’s regarded here by writer/artist Michael Walsh. If the whole series is the “shocking story behind one of the body parts used to create the unforgettable monster in the original film,” it makes sense to reflect that deeply human approach with a deeply human cover. We get exactly what we need from the scary side of the monster, like those seering eyes, the slight tinge of technology that’s meant to dehumanize, and the general imposing stature. But the pretty flowers and meager bones and brilliant, beating heart all scream the same message: this monster was and/or is very much alive, and as hard as it may be to grapple with, the true horror of this creature emerges when we explore that history and that relatable core. I hope this version of Frankenstein is capable of even 1/10th of this dynamic — if so, it’ll body almost any other version of this patchwork monster-man.

Convert #1

Cover by Simon Gane

Forget fancy hooks. Convert, from John Arcudi and Savannah Finley, is described as follows: “Science officer Orrin Kutela finds himself stranded on a distant planet, starving and haunted by the ghosts of his dead crew. On the verge of death, he makes an astonishing discovery.” From that direction you can go almost anywhere in terms of the story proper, as evidenced by this excellence debut cover from Simon Gane. The flowers and general sci-fi hullabaloo make me think of the Southern Reach Trilogy, and that’s the kind of association you want if you’re doing space-horror like this. At the same time, I get some real strong Legend of Zelda vibes for some reason, and that has me interested as much as I am a touch scared or worried. And, of course, there’s even bits of Moon here, and you similarly can’t do better than that the film if you’re telling a tense, human-centric story in the confines of outer space. But if none of those really ring true to you, just enjoy the sheer attention to detail, the emotional complexity in this compelling snapshot, and the sense that things are about to get very intense very fast. If you’ve got all of that (and then some), any hooks are just a sweet, sweet bonus.

BRZRKR: The Lost Book of B #1

Cover by Ron Garney and Matt Kindt

I mentioned in a recent review that of all of Matt Kindt’s projects, I wasn’t always the biggest fan of BRZRKR. And it wasn’t Kindt or co-creator/star Keanu Reeves — I just think “immortal badass” isn’t always the most novel thing, and I’ve seen the story play out elsewhere in a way that better fits my taste and mood. But even I’ll admit that BRZRKR is perfect because there’s heaps of ways to tell new stories of B’s life, and that’s precisely what looks to be happening with The Lost Book of B from Reeves, Kindt, artist Ron Garney, and colorist Bill Crabtree. Here, we follow B as he’s basically an elite soldier for Ghenghis Khan in the 13th century, and on top of horse-mounted combat we’re getting a story about loyalty and honor. We also get Garvey on art, and there’s something about his whole approach that feels novel. It’s a bit more messy and chaotic than some other art in the franchise — and that fits if we’re going to tell an especially violent chapter in the story of the world’s most violent man. At the same time, Kindt’s own watercolors are bright and hopeful, and that adds a bit of contrast and texture to this moment. It’s a snapshot of B as I’ve come to understand him: bloody and beaten, yeah, but there’s this unwavering force to him that you can’t help connect to him. Not all of BRZRKR has this same unbridled force and oomph, but the fact that this one does in spades makes me want to give it a proper chance.

Transformers 40th Anniversary Edition #1

Cover by Bill Sienkiewicz

On the one hand, Daniel Warren Johnson has been killing it on Transformers. (Enjoy that while you can.) But lest we forget that there’s a larger reason for that series, as this year is the 40th anniversary of the world’s most beloved transforming robots (suck it, GoBots). And what better way than by re-releasing the very first Transformers #1, which features contributions from comics legends like Bill Mantlo, Frank Springer, and many more. And such a giant re-release deserves an equally great cover, as Image/Skybound has tapped Bill Sienkiewicz for the honors. (If this is a reprint and not a new piece, please feel free to yell at me.) I adore the way that Sienkiewicz depicts Optimus Prime — it’s more clunky and like a wonderful mix of ’50s sci-fi and old-school Tokusatsu. There’s a mix of elegance and drama even as Sienkiewicz never forgets that his subjects are massive transforming trucks and cars. And that gives us this dynamic or vibe that respects the legacy of Transformers, leans into the silliness and joy that the franchise carries at its core, and reminds us all of the power of a good gimmick and really personable storytelling. Maybe this isn’t everyone’s version of the Transformers that they first fell in love with, but it should make everyone realize the gem we’ve had for nearly half a century.

The Amazing Spider-Man #56

Cover by John Romita Jr., Scott Hanna, and Marcio Menyz

Let’s forget that this is a prime entry in my favorite aspect of the Spider-Man canon (“watch Peter Parker suffer to forge a stronger, more resilient man/hero”). Because when you’re dealing with a legend like John Romita Jr. (as backed up by Scott Hanna and Marcio Menyz), it’s not just about the violence. OK, it’s very much still about the violence, as Tombstone (seemingly the new Kingpin of Crime) looks extra sharp laying down a beating on Mr. Parker. The way his suit wrinkles, the angle of his fists, and the way that mug takes a punch — all of it has the power and heft you’d want to see in someone engaging thoroughly with Spider-Man/Parker. But then we get the slightly peculiar angle of this fight, and how that almost pokes my brain a little as if to say, “Something’s different here; figure out what and why.” And, of course, that flash of the mask, which is clearly meant to honor that this is the 950th legacy as much as there’s something else still. Namely, it fosters a kind of lineage for these moments, and how they’re a part of Spider-Man just as they are the Sinister Six or his relationship with MJ. Battling isn’t just cool, but it’s this vital part of Spidey’s struggle to manage this world in a way that, ironically, might one not involve fisticuffs. Sure, it’s fun to see Spidey fight back against the odds, but it’s just as fun to see that even the strongest and smartest of us are locked in some mighty struggle. Thanks, Parker.

Detective Comics #1088

Variant cover by Mike Perkins

Perhaps the single most defining aspect of Batman isn’t his lifelong mission, his aversion to guns, or his fondness for Bat-themed gadgetry. No, it’s likely his cape — every good hero needs one, and Batman’s has served as this important tool to for artists/creators to play with the character, infuse a bit of drama, and even augment his own humanity (often by depicting the cape with varying degrees of physics-smashing coolness). But of all the many great depictions over the years, one of my recent faves has to be this Mike Perkins piece for Detective Comics #1088. Sure, it’s very much about color contrast — that deep, stark blue against the grimey, rain-soaked Gotham backdrop is doing a lot of work. But it’s also in the shape and function of the cape. The way it almost looks like a lightning bolt, and what that might say about a threat Batman is facing or his posture moving across the city. It also feels like it’s a rip in the page, and that offers a slightly meta quality about the power and influence of Batman’s cape. Even that the cape almost seems to act independently from the Dark Knight, and how that demonstrates the battle for control our hero’s locked in seemingly all the time. There’s lots of layers here despite the fact that we’re just dealing with a cape — that tells you everything about why Batman is such a vivid and dynamic figure. Also, who among us still doesn’t dream of one day dawning their own cape?

Hello Darkness #2

Variant cover by Jenny Frison

Sometimes I like a cover and the resulting issue follows through with vivid and quality storytelling. Other times, the complete opposite happens. In the case of Hello Darkness, I mostly enjoyed the debut, star-studded issue of BOOM! Studio’s horror anthology — even as I felt like there were some “opening night worries” that maybe affected the overarching collection. But this is comics, and a new month means a new issue to try and do it all over again. And not only is the line-up for #2 equally star-studded — Becky Cloonan, James Tynion IV, Werther Dell’Edera, and Garth Ennis, among others — we also get this super cool variant cover from Jenny Frisson. The idea of all these deep, slightly sexy reds and blues for a horror anthology just feels incredibly novel, and the kind of decision-making that’s going to help Hello Darkness further standout. But we still get some top-notch horror, and whether it’s the boils on the screaming, burning man and/or the terrifying faces of the women below, it all makes me think of Hereditary-meets-Midsommar in the very best ways. It’s horror that’s as bold and lively as it is dark and unsettling, and in the space between is where the most juicy and compelling stories often happen. It’s a cover that stands alone as much as it may shape the issue inside, and that balance is just as vital. Not bad for a second act, yeah?