Judging by the Cover – 01/22/25 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.

The Amazing Spider-Man #66

Cover by Mark Bagley and Richard Isanove

I get that normally I’d only ever feature Spider-Man if he were suffering somehow. But this time, as you can tell based on Mark Bagley and Richard Isanove’s cover to The Amazing Spider-Man #66, he’s actually winning! OK, yes, this is part of the “8 Deaths of Spider-Man” story, and the solicitation does say that Mr. Parker “has been broken” and later it also asks if “the universe withstand what comes next?” But if you get to have a little mid-air, cling-to-a-building kiss with Black Cat, you should enjoy any fleeting happiness as it comes. (Especially since the danger of falling off a building is going to be the least of their worries.) Still, rather than entirely rain on Spidey’s parade, I do have a few quick questions. Like, is he holding onto the building purely based on the strength and adhesiveness of his butt? And if so, is that something the criminals of New York City should be worried about? Also, wouldn’t standing on a building be a little less strenuous, and isn’t saving your strength kind of important right now? But, hey, you two wild and crazy kids indulge and celebrate life a little. (Because hell is upon you pronto.)

Green Arrow #20

Cover by Taurin Clarke

When Chris Condon and Montos took over with Green Arrow #19, I was very much pleased with their initial salvo. Sure, taking Oliver Queen back to his roots isn’t inherently the most risky move, but there’s other aspects (the environmental angle, the juxtaposition of such story given the extra grandiose scope of the DCU as of late) that could’ve prevented them from truly sticking the landing. But that they did, and it seems like based on this cover to issue #2 from Taurin Clarke, that they’re looking to extend their early success a little further. Again, it’s another instance of simple but hugely effective — there’s very much this vibe of ’70s thriller a la Moonraker or Magnum Force, these stylized, extra dramatic works that set a tone and give our hero a chance to shine. Add in the really great design of the Fresh Water Killer (it’s like the Scarecrow meets weird bio-punk monster), and it all just feels like something that’s fun and menacing and self-aware enough to balance these ideas and still tell a rather important story. And I didn’t even mention the “eye for an eye” bit, which amps up the “Charles Bronson action vibes” to 8.5 and makes this cover even more of a winner. Eco-thrillers FTW!

The Terminator #4

Cover by Declan Shalvey

No joke, dearest of readers, I earnestly thought The Terminator #4 depicted the largest robo-assasin ever. (You’ve heard of the T-800? How about the T-8,000,000?!) Not that writer-covers artist Declan Shalvey isn’t capable of just such a feat; the man’s done some bonkers things over his career, and “Naval Destroyer Robot” is rather tame comparatively. Still, I think in an issue where “American and Soviet submarines play a deadly game of cat and mouse, hidden deep beneath the surface of the world’s oceans,” the S.S. Terminator here plays a more subtle role/presence. That, by tying it to the whole Cold War, it’s expertly demonstrating how so much of this series/story is about threats you don’t always see and how true danger is always hiding. In that way, I think Shalvey makes good on some of the key promises of his Terminator run, and how this is a book that uses giant killer robots to explore bigger socio-political ideas and themes. That is somehow even cooler than any giant ship-bot in the world because it makes very real some of Terminator‘s potential and delves deeper than some other iterations have as of late. Still, Mr. Shalvey, please consider “giant ship-bot” for a subsequent storyline and/or series.

The Body Trade #4

Cover by Jok

And speaking of near futures/pasts with terrifying technology, we arrive at issue #4 of The Body Trade. In the desperate search to regain his dead son’s remains, our “hero” Kim finds himself not only cuffed to a hospital bed, but “he’s dying, and if he so chooses, he can donate his body to ‘science.'” I have an idea the kind of four-letter words Kim will have in response, but let’s not focus on that and instead focus on the latest cover from series artist Jok. Right off the bat, the more “interesting/unsettling technology” aspect remains as strong as ever — there’s some real Terminator vibes to that severed robot hand, and it just adds a new layer of intrigue to the story and how it regards our forthcoming future. But somehow even more interesting is some of the supernatural-metaphysical bits, like the demonic sun and “ghost cloud things.” It certainly represents a more chaotic, primal aspect thus far, but I love that this book can spin in new ideas and energies four issues in and continue to delve into its thematic exploration of death, grief, and how we regard such a vital part of life. Kim may be in a pickle for sure, but based on this cover, he’s got more fight (and maybe secrets?) still left in that giant dome of his.

Pinupocalypse #1

Cover by Andrew Tarusov

I’m not afraid to say I’m dumb. (I mean, I did reveal that stuff about the “Terminator boat” without being prompted.) So when you describe a book as a “mix of 50’s sci-fi and horror tropes reimagined with a clever twist,” and where a “satirical adventure pits two stylish pin-up girls against hordes of zombies and aliens,” you have my undying attention. Because, if you’re going to tell the same kinds of stories over and over again, you may as well toss in pretty girls and a little cynicism to boot. And while it remains to be seen how the story proper will actually fare, at least the cover from Andrew Tarusov seems to be enjoyable and relevant. Like, we’ve not only got a pretty girl, but the retro/pulp-y vibes are on fleek (sorry). Plus, there’s just the right amount of gore and grim so far. And speaking of things gory and grimy, I love that the zombies look black and white — that’d be a novel little decision visually if the book’s exploring ’50s fiction and whatnot in a more meaningful way. And, of course, I have to mention the large rat-dog hybrid holding a hot dog, as if Mickey Mouse sold out to McDonald’s — there’s no better way to show your humor or irreverence, I’d say. Sure, I’m a dummy, but I still know a potential gem when I see it.

In Bloom #2

Cover by John Pearson

If you missed the first issue (who’s the dummy now?!), In Bloom #1 was a potent display of extra relevant sci-fi. In a world where some folks just develop weird plant/fungi-based mutations, it’s an extra potential thematic/visual device for exploring race, class, cults, and the scourge of other-ing. And it seems that issue #2 will once again go for the throat, as it were, as series artist John Pearson delivers another really great snapshot of this multifaceted story. It sort of looks like one of those Ghanaian movie posters (but in the very best way!), and that grounds it in this bizarre, slightly abstract context. And, sure, the main visual device used here — us versus them! — is a little on the nose, but it just feels very perfect (especially considering how that “industrial hellscape” is centered between the two in an interesting way). Even the designs here — the militant armbands of the humans, and the varying degrees of mutation of the “Bloomers” — feels really interesting as a way to explore the dynamic between these factions. There’s a mighty story still left to bloom, but pieces like this demonstrate that this book already deserves its flowers and then some.

Absolute Wonder Woman #4

Variant cover by Mattia De Iulis

I don’t usually preview things quite as far out, but let me break you off something that’s very cool indeed. In the coming few weeks or so, AIPT will be running a series of articles about Wonder Woman. In addition to exploring her feminist lineage and literary background, the articles also explore just how important and impactful Absolute Wonder Woman has been just three issues in. While I can’t tell you exactly about the nods and honors said series throws toward Absolute Wonder Woman, you can likely guess it’s prowess and quality based solely on this Mattia De Iulis variant cover to issue #4. Facing The Tetracide, Diana not only manages to look good but she’s as robust and sturdy as ever. And the whole book/series is really like that: it lets Diana be this singular person, capable of robust expression and grappling with these big ideas, and still be a total badass capable of bashing the worst monsters from Hell itself. It’s a book that seizes on the true potential of this hero and her story, and shows us that there’s so much life and politics and humanity to explore through its rather exciting and mythical lens. Enjoy this cover and then you better come back to AIPT for some great insight/criticism — or I’ll let The Tetracide swallow you whole.

Wolverine: Revenge #4

Variant cover by Felipe Massafera

You know all about Old Man Logan by now, right? It was a sturdy way of imagining of an elderly Wolverine, and a way to explore the ideas of grief and loss through that long-lived character. Now, I can’t say for certain that Wolverine: Revenge #4 is a continuation of or even engages with Old Man Logan in even the most tertiary of ways. However, there’s two bits that demonstrate that we’re knocking at the same door. Not only is there a reference to how “time has passed since Wolverine’s quest for vengeance began,” but there’s also this really epic Felipe Massafera variant cover. And I’ve got to tell you: extra grizzled Logan is even more badass, and the long beard and hair combo inside the classic suit is the best kind of mind-trip as we’re exploring how important the passage of time is conceptually to the Wolverine character. And if that’s a bunch of heady malarkey for you, then just peep the sick chrome that seemingly belongs to long (long) -time rival Omega Red. I know time is the great equalizer, but how did these two manage to keep their armaments to snazzy after all these decades? Regardless, there’s a lot to chew on with this seemingly simply cover, and I’d wait 50 years myself for this next chapter. OK, maybe like a couple months or so at most.

The Toxic Avenger #4

Variant cover by Matt Bors

So the score for The Toxic Avenger is two generally great issues (#1 and #3) and one rather disappointing issue (#2). So, then, issue #4 could be a chance for this book to either fall behind or pull ahead even more in the important race toward “Making Chris feel really satisfied with comic book adaptations of his childhood favorites.” And based on the solicitation, this fourth issue has loads of promise/potential, as Toxie battles Bonehead, there’s a “myopic teen with a switchblade [taking] a dim view of the company responsible for Tromaville’s raging toxins,” and apparently we figure out what’s going on with the damn cicadas. But even if issue #4 falls short, it’s got this darn good variant cover from writer Matt Bors. It’s certainly a powerful encapsulation of what Bors (and artist Fred Harper) have tried to do: dissect our toxic hero in a way that boils him down to some elemental ideas and truths (and still make it funny/entertaining). That by boiling him down in just such a way, the creators can hopefully rebuild him in a way that pushes our understanding of the politics of Toxie and yet always feels familiar and engaging. The jury’s still out, yeah, but covers like this go a long way to make this book a true winner. Clean up on aisle six!