Judging by the Cover – 01/01/25 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.

Batman #156

Variant cover by Alexander Lozano

The devil, they say, is in the details. Turns out that’s very much true for depictions of Batman. Because as we enter the penultimate issue of “The Dying City” storyline, with action and intrigue at an all time high around The Riddler and The Owls, Alexander Lozano breaks us off this intense, frenetic variant cover to Batman #156. And there’s just so much to appreciate about the mood that this cover expertly fosters.I really like the length of the ears, and how setting them back gives the cowl a new vibe. I love all the little “techno bits” and the bulky gloves, and how that both modernizes Bats while connecting him to some cyberpunk lineage. From there, I’m vibing hard with this version of the Batpod — the bulkier set-up does a lot to make this version feel new and special. And, of course, the perfect line work ultimately makes this whole cover this bright, bold snapshot of some daring action scene ripped from the Christopher Nolan trilogy. Batman’s been done a literal million times, but the best artists find new life with little tweaks and twists on the character, giving our hero added life and layers galore. The only thing wrong with this cover? I wish there was an explosion and/or some sick neon lights.

Deadpool / Wolverine #1

Variant cover by Frank Miller

Last month, I let it be known that Frank Miller is doing some great work with his series of “latter day Marvel covers.” I mean, maybe his piece for Ultimate Universe: One Year In #1 wasn’t a huge hit with everyone, but you just can’t deny the singular approach of Miller and how he cuts to the core of these characters in a slightly peculiar but wholly effective manner. Now he’s back at it with the cover to Deadpool / Wolverine #1, and I’m once again totally in love with what the comics legend has cooked up with for fans. The fact that he got some pretty important details so very wrong — i.e., the color schemes of the both Logan and Wade’s masks — feels like 1) Miller poking fun at fans who don’t get what he’s doing and 2) that he’s testing the limits of our connection to these characters and their iconic nature. Sure, Logan looks like he’s 12 bottles of Glenlivet deep, and Wade is a generic ninja of The Hand, but it works, somehow. Maybe it’s that we know Benjamin Percy and Joshua Cassara are going to make something magical. Or, that we’re all still hyped up on the duo’s recent big-screen shenanigans. Either way, it feels like something fun and weird that still scratches the same itch with these beloved heroes. And if I’m wrong, I’m sure me and Mr. Miller couldn’t really care less.

When I Lay My Vengeance Upon Thee #1

Cover by Jakub Rebelka

When I spoke with Gus Moreno about When I Lay My Vengeance Upon Thee, he had plenty of praise for his collaborator, Jakub Rebelka. Specifically, Moreno said that Rebelka was “[creating] arresting images you want to linger on all day.” And, like, yeah that’s the job of most comics (duh), but it feels like that word “arresting” is really important. Because in a story about two priests coming together in a mystery/conspiracy involving exorcisms and an ageless hospital patient, Rebelka’s own cover to issue #1 really does arrest the eyes and heart alike. Because as much as I may want to look away from this disturbing piece (can bloody, eyeless sockets follow you around a room?), I simply can’t do it. Instead, I’m forced to grapple with this image, and to contend with my own spiritual ideas and beliefs and what I’m seeing here and how that affects me to my core. It’s a once an oddly peaceful process as much as it’s psychically violent, and I’m tossing and turning in that space between as I try to come to terms with it all. I haven’t yet achieved any new ideas or understanding, but if this is what just the cover is doing, then imagine what the story proper will do to make us question good-evil, god, the decency of man, etc. So scary and consuming and yet so wonderfully exciting, yeah?

Rick and Morty: New Year, New Rick Special #1

Variant cover by Sarah Burrini

Sure, Halloween and Christmas get plenty of love when it comes to holiday-themed comics. But I’m jazzed that Oni Press is using one of their many Rick and Morty-centric titles/stories to give a little love to New Year’s/New Year’s Eve. Because we don’t get to gorge ourselves on food, or open, like, a new mountain bike, but it’s the dawn of a new day for each of us and a chance to get it right at last. Unless, of course, you’re Rick Sanchez, who may have different intentions for the holiday based on this Sarah Burrini variant cover. Maybe this is just a response to all the yuletide cheer of the last few weeks, but I instantly thought, “Oh, Rick’s gonna blow himself up.” It certainly wouldn’t be out of character to A) end his own life or B) go all Kong riding the bomb, especially if the means to his end were a cute, sentient rocket. And, yeah, I welcome the notion that I’ve become jaded-cynical based on popular media, but then that’s what Rick and Morty has always done so dang well: show us some part of ourselves, some side we didn’t always know was there, and have us try and reconcile with how that makes us feel and what it says about all of us. It’s about making readers squirm in unexpected ways and moments, and this cover does that if you give it just a few more seconds of your time.

Justice League: The Atom Project #1

Variant cover by Dan Mora

I don’t know what era we’re in right with the Justice League (the “Age of Unlimited?”), but I’m all for it if it leads to things like The Atom Project. Here, a veritable all-star team (including writers Ryan Parrott and John Ridley alongside artist Mike Perkins) have teamed up the two Atoms (Ray Palmer and Ryan Choi) to sort out the mixed up powers situation following Absolute Power. A double Atom situation isn’t something I knew I needed in life, but now that it’s here, I can’t imagine anything better in terms of storytelling and artistic potential. Case in point: this very dope Dan Mora variant cover. Sure, it may seem obvious to put to two shrinking dudes under a lens, but there’s also some rather brilliant layers to this. Like, the fact that they’re basically under a spotlight, and how this book is really elevating and dissecting Palmer and Choi. Or the meta-ness of his piece, as if they’re actually running around Mora’s own desk (it’s a wonder he gets so much work done). Even the “pulsing atom thing” that symbolizes growing-shrinking just adds some energy and excitement. It’s a cover with as much heart as “gimmickry,” and it’s a very small but mighty encapsulation of what DC is doing right these days. Also, Palmer’s suit > Choi’s suit.

Cable: Love and Chrome #1

Variant cover by Mark Brooks

I’m a firm believer that if you have the right subtitle/alternative title for a project, then you’re going to set up the book, comic, film, etc. for success. And Cable: Love and Chrome is right up there with Thor: Love and Thunder for sheer quality. But it turns out there’s more to this book than its dope titling, and that includes the promise of “bigger threats and the biggest guns in the Marvel Universe” as Cable finds himself trapped in the midst of a civil war in Salvation Bay. Mostly, though, the upsides center around this Mark Brooks variant cover. The larger-than-life guns, explosions, and dystopian vibes are certainly being represented; it’s got those whole Mad Max vibe by way of, like, National Lampoon’s European Vacation. I also love that we get big pockets/pouches, but not so large in their Liefeld-ness that they’re somehow weird or distracting. And, of course, there’s a kind of understated/low-key anime joy and sheen to this piece, and that feels like a different direction (even slightly) for Cable, which is clearly a good thing. I’m always a sucker for massive explosions and bazookas the size of a small child, but to know there’s texture and nuance to Cable’s latest adventure is just as thrilling. OK, nearly as thrilling.

Poison Ivy #29

Variant cover by Pablo Villalobos

Over the years, there’s been some truly cool covers/variant covers starring comics’ greatest couple (suck it, everyone else). Like, this uber charming slice of paradise from Dan Mora. Or, this sweet but also heartbreaking piece from Carla Cohen. Even this all-too real dissection of modern romance courtesy of Mikel Janin. But I think this Pablo Villalobos variant for Poison Ivy #29 is going to be one that really stands the test of time. Where do I even begin? The “mom cut” for Harley feels like a great way to show age and time and contextualize their relationship. The fact that Ivy wears safety gloves even as she goes mostly uncovered is a powerful little snapshot of her character and the way she engages with her little world. There’s also the fact that some of those plants make me think of Little Shop of Horrors, and how affirming that connection really is for yours truly. Even the use of birds and bees to explore/infuse a different layer of sexuality/sexual tension is such a genius move. (That was the intention, right?) All of it together just makes for this cute, weird, playful, joyous, and thrilling little snapshot of Harivy (?), and shows us why they have such a vivid relationship. Almost makes gardening seem way cooler than it is.

Knights vs Samurai #4

Cover by Gianenrico Bonacorsi

I’ll admit that a book like Knights vs Samurai should’ve had my attention months ago. As if the title alone weren’t super dope, it’s written by super dope actor David Dastmalchian. That, and based on the premise and some other coverage, it seems like the story is much deeper than a mere battle between heroes of yore (even as it’s also very much just a battle between armored badasses). But I’m finally truly paying attention thanks to the issue #4 cover courtesy of Gianenrico Bonacorsi, and it’s quite the moment to “hop on” to this series. Anyone who knows Judging by the Cover will know that body horror will always win my heart, and that’s doubly true if the body in question is some kind of large, knight-consuming monster. I can’t decided if its entrails look more like red Jelly Bellys or undercooked chicken nuggets, and either way I’m disgusted and thrilled. That, and the idea of cutting your way out with that weapon, and having to spill out while smashing up against the pre-digested parts of your friends and/or enemies just adds a layer of further awesomeness with a side of rather important disgust and irritation. I also think, on a slightly unrelated note, that the knight’s all of us: we’re wading through it the best I can because we know what’s to come may be worth it. Gore and life lessons, what a package!

Sam Wilson: Captain America #1

Variant cover by Pascal Garcin

I don’t know if there’s a name for it, but Pascal Garcin/Mr. Garcin has a robust history with these “giant collage covers.” Each one sees him leaning into the story, its surrounding universe and history, and remix and position everything to tell these intricate and engaging narratives. And the one he’s cooked up for Sam Wilson: Captain America #1 feels like an extra special accomplishment. Sam Wilson’s own history of socially-relevant stories is expertly reflected in a storyline where he uncovers the “dark underbelly” of a group offering “magnificent floating platforms in the sky, where the disenfranchised can apply for land grants and establish their own farms.” And Garcin’s done something wonderful to tap into this — not only do we see the sheer history of Wilson’s heroics, but it’s also positioned with other Cap moments in a really powerful way. As if it both connects him to the grander tradition of “carrying the shield” as well as showing that he’s always had an important role to play, he’s a more than worthy successor, and that whatever has happened in his “career,” Wilson has always had a specific focus and presence. It’s a proper visual feat that’s so important thematically, and if this cover is a small expression, then this story could be another massive chapter for my favorite Cap.