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.
Absolute Batman: Ark M Special #1
Cover by Josh Hixson
I have some high hopes for Absolute Batman: Ark M Special #1 — the 2025 Annual was, after all, a year-defining affair. But I feel like even more than smashing cops with elite wrestling moves, an issue chronicling this universe’s Arkham Asylum will offer heaps more story potential and general scares galore. But in the meantime, we need to talk about this cover from Josh Hixson. On the surface, I think it captures the current state of Absolute Batman; he’s very much larger than life (both in-world and and in reality), and that presence feels important as the creative teams set about extending the character into subsequent “seasons.” At the same time, since day one of this character’s arrival, people have gawked at or been puzzled by his size — to the point there’s a sea of memes out there. Do I think this is a direct “response” from DC regarding people’s obsession with our XL Batman, and what that means for the character’s narrative core and long-term potential? I’d certainly like to, as it’s just another layer to the fascinating arc of Absolute Batman. But even if it’s not, “City-Sized Batman” would make for a killer storyline.
The Amazing Spider-Man #19
Cover by Pepe Larraz and Marte Gracia
Part of the reason I’ve loved Amazing Spider-Man so far (aside from the great art by Pepe Larraz and Joe Kelly’s swinging characterizations) is Hellgate. Basically, he’s the one foe that Peter Parker hasn’t been able to out-quip/-punch/-swing, etc., and he’s facilitated the kind of robust suffering that always gives us “Maximum Spidey Insights.” So much so that Spider-Man had to head to space just to get strong enough for their second confrontation. And based on the Larraz-Marte Gracia cover to issue #19, this latest battle doesn’t bode so well for ol’ Webhead. From an iconographic standpoint, you can’t do better than Hellgate’s helmet serving as a literal prison for a scared, desperate Spidey. But then I also got to thinking, “What if it’s all in his head?” (You know, ’cause it’s a helmet?) And Spidey’s been able to counter his foe all this time — he just needed to get out of his own way. That would certainly be a powerful lesson for Mr. Parker, and a way to use this marked boost in activity (space, folks!) to grow Peter in new, especially important ways. Regardless, at least we can agree that Round No. 2 is going to be killer.
The Twilight Zone #3
Cover by James Stokoe
There’s no denying that James Stokoe is an amazing and talented artist. But I have to admit that is black and white work feels markedly different than his “usual” work, which I’d characterize as “explosions of psychedelic colors.” Because it’s those colors that really highlight the technical prowess, keen eye for detail, and general intensity that Stokoe brings to each new piece. Now, don’t get me wrong: You can certainly see those core attributes across this cover for The Twilight Zone #3, but what I really see and feel is the pure emotionality of it all. Even if I ignore the solicitation — which talks of dueling civilizations and some ancient artifact — I can feel the stoic vibes; a deep, abiding sense of history; and an undercurrent of fear and anxiety. In this “new” context, Stokoe’s art still does what it has always done (move me deeply), but in a way that feels freshly thrilling and just a little bit scary to boot. It’s about using all the tools available (or maybe not using them?), and here we see deeper than ever into Stokoe’s artistic depths.
Teenage Mutant Ninja Turtles x Godzilla #2
Cover by Fero Peniche
Both Teenage Mutant Ninja Turtles and Godzilla have spent the last few years engaging in crossovers galore. Now, they find the only crossover left available in each other, and I think it’s sort of glorious. I could be of the opinion that their respective efforts have been all mere cash grabs, or ways for aging properties to remain commercially viable. Instead, I choose to celebrate their efforts for being artistically interesting and generally curious. Take, for instance, Fero Peniche’s own cover to Teenage Mutant Ninja Turtles x Godzilla #2. The idea of comparing/contrasting Godzilla and Shredder never dawned on me at all. And yet now that it has happened, I’m beginning to ask all sorts of interesting questions about their roles, thematic overlap, the “evilness” of these characters, etc. Plus, as much of an artistic feat as this cover is, I can still see the “seams” between the characters, and that’s hugely important. Because it assures me that the best crossovers are never truly seamless, and that the true magic comes from finding novel connections as well as highlighting this imperfect process of bringing whole worlds together. And in the case of this latest crossover from some bona fide pros, the deeper we go, the more this latest collabo truly shines.
Mighty Morphin Power Rangers: Zord Quest #1
Cover by Gavin Smith
I recall opening up a set of Zords from the original Mighty Morphin Power Rangers and immediately trying to make the Megazord. So when I tell you I’ve been thinking about these robots for a long time, you’ll believe me. Similarly, you’ll also believe me that series artist Gavin Smith has created some of the most compelling and lively Zords for the debut cover of Mighty Morphin Power Rangers: Zord Quest. Be it the fluid-like feel of the Pink Pterodactyl, the perfect finger-bent of the Red T. Rex, and/or that tinge of timid cuteness on the face of the Blue Triceratops, these feel like real animals. And maybe that’s not novel for some of y’all, but I think it’s the first time I’ve seen this franchise in a way that feels fully, utterly real and organic, as if it’s not just some commercial thing I liked as a kid but a real and living universe. Add in the same quality from the Rangers (i.e., the right amount of muscle tone), and I clearly needed to spend more time with the comics to fully grasp MMPR. Still, nothing beats that Dragonzord!
Toxic Avenger Comics #6
Cover by Fred Harper
I’ve been waiting for this issue since late July/August when I interviewed writer Matt Bors. And rightfully so: As I’ve frequently lauded Bors for his sharp, deeply human satire, busting out a toxified version of Mr. Smith Goes to Washington seems like a natural (and deeply exciting) extension of that very path. And it all starts with this excellent Fred Harper cover to Toxic Avenger Comics #6. As much as I love the work of Tristan Wright in Toxic Crusaders, Harper’s Toxie is the right mix of comical and terrifying. And that appearance sets the tone for the rest of this cover, which hints at the full speed ahead tone of this storyline by seeing Toxie go bananas on the President’s office. Is that the Resolute Desk, and does that matter for the story proper? Did Toxie chew on the desk, and is that also significant somehow? If this cover is just the opening salvo, then Toxie’s trip to Washington should be totally wild and the kind of weird-but-meaningful satire that has defined this “era” of Toxic Avenger. Still, one last question in the meantime: Do we get to see Pete Hegseth get a wedgie or what?
X-Men #23
Variant cover by Leonardo Romero
Whether you loved or hated it (and enough of you were firmly in the latter category), Age of Revelation is over at last. Except not really, as it all flows into X-Men, #23 where the fallout will be felt in several very real ways. And by fallout, I mean the creators ask the important question of what has someone’s “future counterpart” been “doing in their body in the present?” It’s a heady question, yeah, so maybe enjoy this wondrous Leonardo Romero variant cover in the meantime? Here, there’s no big reveals or time travel; just a slice of old-school X-Men that almost anyone could enjoy. (Look at Ice Man’s little boots!) At the same time, peep Jean’s powers, as if her psychic abilities are physically holding together the title/logo and maybe the story itself. It’s not just a neat visual device; I think it speaks to how all the best X stories have tried to maintain stakes and story reverberations for years to come, and that all of it is connected in some grander storytelling experience. OK, maybe I’m pushing it just a teeny bit, but it just goes to show that like this piece, Revelation was bigger and more expansive than we’d expect. And those kinds of events are always worth real love.
Batman / Green Arrow / The Question: Arcadia #2
Variant cover by Phil Hester
Admittedly, I feel a little dumb about not paying more attention to a book starring Batman, Green Arrow, and The Question. But, hey, if there’s any excuse, the book did drop near year’s end, and at least we’re on only on issue #2 so there’s still plenty of time/space to get caught up. And oh what a variant cover we get for this second issue, as Phil Hester basically nails all the stuff I’d want in a book involving three of the best street-level heroes. (Even if, at this point, Batman is far from operating solely on the Gotham’s mean streets.) There’s the perfectly snowy vibes; the heft of Batman’s utility belt; the old-school bow for Arrow; the odd expressiveness of Question’s entirely blank face; the jungle-like tinge to this urban environment; the unknowable tension (like, is Bats really battling these two?); the Hush-ian vibes; and so much more still. Does any of this reflect in the story proper? God I hope so. But even if it doesn’t, it’s just proof that there’s real magic between these three, and all you’ve got to do is get some eyeballs on it.
Street Sharks #4
Cover by Philip Murphy
One of the things I’ve appreciated about this Street Sharks ongoing is its sense of awareness. Not only in how, say, an episodic approach is the best way to honor and adapt this story of mutated crime-fighting brothers, but that there’s something innately ridiculous about this world. And it’s something that writer Stephanie Williams has seized on with ample pun-ing and wonderfully hokey vibes to spare. It’s quite nice, then, to see it further reflected in this variant cover from Philip Murphy. On the one hand, it’s just ridiculous in a very surface level, the kind of “oh boy!” hijinks you’d want from Street Sharks. At the same time, there’s also something oddly subversive about sharks being eaten, especially when it’s in the context of their most beloved chain of burger joints. Like, not only are they able to be defeated readily enough, but this feels like a pretty subliminal (or maybe just liminal?) message about the horrors of fast food and the consumption of nostalgia. The only thing missing? A catchy tagline, really — maybe something like, “Harsh Vibes, Super Sized!” or “Burger Sauce-d!” We can workshop it, obviously.
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