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.
Ultimate Endgame #1
Variant cover by Sanford Greene
This week is likely going to be the week of Endgame. Not only in coverage from your favorite comics site, but in discussions both online and in beloved local retailers everywhere. And, yeah, that totally makes sense: Marvel has basically spent the last couple years building toward this moment, and regardless of how much you might have loved every moment and/or decision, Endgame feels exciting for both its scope and reach. And that’s exactly why this Sanford Greene variant cover to issue #1 is so dang mesmerizing: It’s all big, bold action that stokes every last ember we maintain in the nerdy hearths of our mind. Does it help to know where Doom lays morally in all of this? Sure; all of Endgame has been an exploration of superhero morality, and what happens when decisions (big and small) alter their arcs/life paths. At the same time, you can still fully enjoy the bonkers action and sheer technical prowess it took to make something just as robust as that other Endgame. It may be the end, yeah, but it’s certainly going to pop off with both barrels of potential and energy.
Escape #5
Variant cover by Tradd Moore
The thing that’s been impressive about Escape (aside from Rick Remender’s know-how of military history) has been series artist Daniel Acuña. Heck, just peep his own cover to issue #5, and you’ll see how inventive, deliberate, and utterly skilled he’s proven to be in recreating this alternate-but-not-so-alternate spin on WWII. (It’s so much more than “Behind Enemy Line with animals,” duh.) But for a slightly different take, we should look at Tradd Moore’s own variant. You may be used to Moore’s robust and psychedelic efforts, but this one works for a few different reasons. For one, it feels like the right blend of rugged but otherworldly, and that balance feels perfect for a harrowing, in-your-face war story. Second, the style of it reads like a WWII U.S. propaganda poster; it makes me want to buy war bonds real bad, basically. And it also feels close enough, but also very much its own thing, to capture the story’s vibes, themes, etc. I’d read a whole book of this, yeah, but it also makes me glad for the masterclass contained within the story, and that’s the kind of united front that really makes me appreciative.
Lost Fantasy #6
Variant cover by Amilcar Pinna
Not to diminish what Curt Pires and company have done with Lost Fantasy, but there’s two things that have really made this book sing: big swords and references to ’90s video games. Hey, you get a really personal story about one man’s search for answers in a world built on illusion and magic, but you’ve got to just love the dang aesthetics of it all. What Amilcar Pinna (The Cryos) brings to the table, then, is vert much the same: Not only does this feel like some forgotten game cover (someone please correct me?!), but the sword is so big that it requires a step ladder to use. But if that weren’t already enough, we get a really great pin-up gal, and while that doesn’t reflect in the story proper, the reference is vital. Because this book has tried to use genre and nostalgia in a really interesting way, and the infusion of something else just makes you reconsider the scope and ability of this world even more intently. There’s a sense that it goes deeper and wider than we could ever imagine, and that’s why it’s such a familiar but inventive spin on fantasy. And, hey, if nothing else, just enjoy a dope airplane!
X-Men: Age of Revelation Finale #1
Variant cover by Marcos Martín
Speaking of big things coming to a close over at Marvel, we come to X-Men: Age of Revelation Finale #1. Perhaps unlike Endgame, Revelation had its share of more vocal critics, and while I can’t entirely fault them, you have to admit that the whole darn thing proved quite surprising if absolutely nothing else. How surprising, you ask? Well, to the point I’ve found another Scott Summers cover I actually really like. Admittedly, my Cyclops Contempt (TM) has cooled in recent years, but it’s always ready to roar back if he does something dumb and/or hokey. But on this dope Marcos Martín variant, he’s the bearded badass that often makes me forget any of his shortcomings. And equally impressive as making me “like” Cyclops is the choice for the beam to blast past the page and even cover of part of the logo. It’s a super awesome artistic choice to show the book’s stakes, how it’s elevating characters and the world at large, and how one small moment can feel so emotionally devastating. This ending may not be as “Ultimate,” but it’ll certainly be a true “Revelation.”
Skin Police 2 #4
Cover by Daniel Gete
If you came to Daniel Gete during, say, Biker Mice from Mars, just know the man’s portfolio goes so much deeper than badass space rodents. One of his most satisfying books is Skin Police (alongside writer Jordan Thomas), where Gete really has an opportunity to show off his sci-fi inventiveness. Case in point: the cover to Skin Police 2 #4. Admittedly, the blood and chaos really draw the eye, and you have to admit that Gete’s style (so realistic but with just a tinge of fictional exaggeration or “inflation”) makes wholesale slaughter feel even more compelling and upsetting. But this cover is so much more than the gore of it all: It’s the way it’s laid out, to push our eyeballs to the top of the page in a really novel way; the way he approaches the look and feel of sci-fi in general; and even that infusion of ’70s-ish retromania that adds even more layers/depth. In short, it’s weird and bloody sci-fi as intended, and you should be ripping into this with the fury of the lady at the bottom right.
Sorcerer Supreme #1
Variant cover by Rose Besch
The cat’s out of the giant magician’s hat: Wanda Maximoff is the new Sorcerer Supreme! OK, that’s admittedly not as much of a reveal at this point, but we’re clearly past the point of setting up the story, and now is when we can relish what this title could actually become under the watchful eyes of writer Steve Orlando and artist Bernard Chang. For instance, it’s already yielded us this excellent Rose Besch-penned variant cover to issue #1. Even if it isn’t reflective of the work inside, there’s a few key things I hope remain true for Wanda’s tenure. For one, the “infusion” of the Cloak of Levitation feels really subtle but powerful (and works within the character’s existing color palette). From there, the way she channels/presents her magical energies is cool; it’s very raw and personal, and that feels vital for this character. And, of course, I don’t think I’ve ever see Wanda as both terrifying and utterly approachable. New jobs can suck, but I feel like Wanda’s more than prepared for this weird, weird managerial role.
Marian Heretic #3
Cover by Jose Jaro
I had a few thoughts upon seeing this cover. The first is that, after years of forgetting the work’s name, I instantly knew this was a wonderful remix of Leonardo da Vinci’s Vitruvian Man. (And that, subsequently, the context and history of referencing this piece was interesting given that this book is about demon-fighting nuns.) From there, I thought this would make a really dope partial/half sleeve tattoo; again, that’s pretty spot on and thematically significant for the alt/goth subcultures at the book’s core. And, finally, I thought this would also make for a great adult coloring and/or sticker book, the kind that millennials seem to go bonkers over for some reason. Are each of these thoughts inherently good? IDK, man. But they are weird, irreverent, and engage interestingly with religious trauma — and if that isn’t exactly the essence of this book, and a really novel way to explore its themes with one rather direct piece of art, then you can just call me dumb. But, hey, if any of that insight helps move books, just call me for other feats of sheer promotional genius.
It’s a lighter week release wise, and Judging by the Cover will be back at full strength next week!
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