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.
Superman #39
Cover by Dan Mora
If I love one thing (that isn’t an ice-cold Arnold Palmer and a hot dog), it’s Superboy-Prime. And as perhaps the most meta character in all of DC (and maybe comics at large if Deadpool suddenly vanished), he’s got inventive was to obliterate the Fourth Wall. In the latest instance, the World’s Finest Wednesday Warrior will spend Superman #39 being “dragged kicking and screaming across past events, lost reboots, relaunches, and restarts!” And our meta-tastic adventure commences with this damn fine Dan Mora cover. Is my favorite thing that we get a veritable smorgasbord of Supes stories, which always plays well when stories get this far up its own butt? Sure, that could be near the top. Is it that the gutters and panels act as a kind of prison cage, and that metaphor is rich with layers of contextual goodness? Yeah, that’s definitely up there. But surely my favorite reason has to be that he somehow thinks we can or would help him, which reveals a cockiness toward his own canon that is more delicious than even a jug of Arnold Palmers? Yeah, that’s also up there. But truly, the reason I love this cover is far more simple: DC is at its best when we get to have stupid, very nerdy fun like this. Good luck, Superboy-Prime, you’re really going to need it.
Ultimate Universe: Finale #1
Variant cover by Ryan Stegman
To quote Jim Morrison and the Doors, “This is the end, my only friend, the end…” Am I broken up about bidding bon voyage to the Ultimate Universe? Sure — after two truly solid years of trying to do something new and earnest with superhero comics, it’ll be sad to see these well-developed, wholly interesting figures ride off into the sunset. I sort of wish Marvel could leave the UU alone in its own corner, churning away for a few more years. But that’s not the world we live in, and at least every creative team gets a chance to say goodbye with this grand Finale issue. And if we are saying goodbye, I can’t think of a better way to do so than with this Ryan Stegman variant cover. Sure, I love me a wailing Wolverine and a side-kicking Spider-Man, but even more than all the sweet superhero action in the world, I came here for the exploded bricks/earth. For one, Stegman makes these chunks of rock feel just as vivid and lively as the actual heroes, imbuing them with the same precision and technique as he does all of his work. But mostly it’s for what these rocks represent — total destruction. Which is to say, if we’re going to end this bad boy, I like the idea that its destruction feels total and complete. That if this is truly it, then there will be nothing left but debris and the memory of one good final fight. It doesn’t make the UU ending feel any better, but it does offer a bit of comfort that’ll go out in something resembling a proper blaze. Until the final piece of granite goes “boom,” I’ll be there.
Universal Monsters: Blood of the Wolf Man #1
Variant cover by Maria Wolf
We’re all friends here, so I feel like I can admit that, to a very small extent, I chose this because it’s by Maria Wolf. And as much as I love Wolf’s art, it would be like not picking a Spider-Man cover if it were done by Roger P. Spider-Man or something. That said, I have to give it up for Wolf for not only embracing the inherent horror magic that are most werewolves, but also really leaning into the specific nature and tone of Blood of the Wolf Man. Because as writer Joshua Williamson told us somewhat recently, this is a different kind of Wolf Man, one that is rooted in the real-world as well as ideas of grief and fear. Wolf’s own rendition certainly nails the fearful bit and then some, and those sleek modern khakis certainly frame this within the last few years. But it goes even deeper still: In a book about going too far and embracing the dark side, this Wolf Man retains that bloody shard of humanity even as he’s clearly reached a new level of brutality and savagery. Even more than the gallons of blood, that exhaust-like breath captures his struggle to be real and alive and huff every gulp of air, fighting his very bifurcated nature in glorious agony. For me, it’s a Wolf Man that’s oddly nostalgic and so much more painful and effective, a snapshot of a new creature dealing with things far bigger than torn pants and angry townsfolk. Plus, if he were actually alive today, he likely wouldn’t have dental insurance for those funky fangs!
Hidden Springs #2
Cover by Nil Vendrell
Sort of like the joyous appeal of a Wolf Man cover done by someone named Wolf, this simple but direct cover to Hidden Springs #2 delights me squarely in my belly. There’s something about a 60- to 100-foot lil’ baby kaiju hiding from a submarine that just makes me want to giggle. (At least part of that is because it reminds me of The BFG sneaking out of the city, and the sheer inventiveness of having someone so tall be so very sneaky.) Still, hats off to series/cover artist Nil Vendrell for some really great accomplishments across this main cover. Even if our kaiju friend is himself quite big, he still makes the submarine larger in comparison; that does a lot to still show us he’s in danger even as our sense of size has already been messed with. I also like that this looks like an actual underwater scene (and not just a world with water-like effects); it’s done so well that it only furthers both our amusement and bewilderment at this scene. And, of course, there’s something endearingly awkward about this “version” of our kaiju; it makes sense he’d have a lot in his mind between staying hidden and close to the ground, but it’s a subtle effect with heaps of power. Sometimes the best moments are the right mix of zany and adorable, and this one has me swimming with anticipation.
Mind MGMT: New & Improved #1
Cover by Matt Kindt
Having read the issue, and spoken in-depth with creator Matt Kindt, it should’ve been pretty easy to have chosen a cover. Yet this is the first time in some while that I genuinely had trouble making up my dang mind. I almost went with this Jenna Cha variant on two different occasions. Not only is it the cover art for my aforementioned Deep Dive, but there’s something about the intense, unwavering depiction of our “relationship” with modern tech that feels suited for the book (and its interest in the dissemination of information and even our ever-shifting sense of perception). From there, I then wandered over to this David Rubín cover (because it’s David Rubín); this Fabio Moon cover for a more abstract-leaning interpretation of an already abstract title; and also this Jesse Lonergan cover for the poignant interpretation of Detective Swon’s “super schnoz.” Ultimately, though, I just had to go with Kindt’s own main cover. Is it as peculiar and/or exciting? Nope. But what it lacks in that department, it more than makes up for with messaging that cuts to the heart of the tenderness and emotionality of this issue as well as the compelling dynamic between Swon and Delphi. That, and the crowded drawing really plays up the confidence Kindt brought to the book as it also further plays up Swon’s ability and the unique challenges and opportunities of the story’s modern setting. If only this feature were called “Judging by the 10 Covers for Each Book,” then I’d be OK.
The Eye Collector #1
Cover by G.M.B. Chomichuk
A little online sleuthing shows that The Eye Collector was published by VIRUS (an imprint of Heavy Metal magazine) back in late 2021. So, technically, you wouldn’t need to read this piece to Judge by the Cover — you could just go out and get all 5 issues this very second. (Assuming this is just a reprint, of course.) But in the sake of coming to this with some fresh eyes (you had to know that was coming), let’s talk about this cover from co-writer/artist G.M.B. Chomichuk. In a word (or two)? Viscerally terrifying. In a few more words? It’s the exact right mix of body and psychedelic horror that not only I expect from VIRUS, but the kind that makes a real art out of giving me night terrors. And if this creature weren’t already horrific enough — it’s like if M. C. Escher and H.R. Giger did a gallon of acid and locked themselves in a room with paint brushes made from human bones — apparently its “curiosity toward Earth [has been] reignited when the humans of the Apollo 10 mission make wishes over the Moon.” Do I wish I’d avoided my sleuthing as to let myself be terrified more organically? Maybe. But as it stands right now, that info has only slightly prepared me, and my feet remain just planted enough that this abysmal horror hasn’t fully consumed my soul. Until I open the book, of course, and the horrors likely win outright.
Wolverine #22
Cover by Dan Panosian
I’m off two minds when they first announced story plans in Wolverine #21 and #22. On the one hand, having Logan’s claws (adamantium and bone) break is certainly a compelling story gimmick in that it cuts to the core of the character. On the other hand, it is perhaps too much of a gimmick in that the real ones know that Wolverine is 100 times more compelling than his primary weapons. But perhaps the thing that’s sold me is Dan Panosian’s own variant cover to issue #22. Seeing said claws actually broken — all jagged and a little depressing — really brings it home (and just how much this book is clearly about aging and grappling with mortality). And even if that’s perhaps a slightly cliche storyline for Wolverine at this point, you can’t deny that the man is a perfect vessel for this kind of existential uncertainty (especially when he can emote so dang dramatically). And, of course, that expert turn from “SNIKT” to “SNAPT” is both hilarious and also the right kind of personally and emotionally devastating for our feral friend. Heck, even the classic brown-ochre suit is doing a bit of heavy lifting, serving as a shorthand for Wolverine’s age while also cementing that this storyline might of a certain “era” in its tone, scope, etc. I’m still not sure if “broken claws” are the kind of story with long-term weight and impact — in the short-term, however, it makes for really great visuals and a surge of interest. On the upside, getting older will never be this bad for the rest of us.
Detective Comics #1110
Variant cover by Angel Solórzano
I haven’t done nearly enough Pride covers this month, and that’s totally on me. But this excellent piece from Angel Solórzano is exactly why I can often be hesitant about contributing any Pride coverage as a straight white dude. Because as much as any representation matters, sometimes covers slap a few multicultural faces and some rainbows on a superhero scene and call it a job well done. This one, though, takes it about 50 steps further with that “Pride is a Protest” bit; it’s a small but mighty gesture that contextualizes this celebration in the right socio-political framework (which is doubly important considering the climate today, including but not limited the recent actions of those absolutely feckless baseball players). From there, we get some cuteness and coolness as a little sweet treat, including Robin seemingly planting a flag in a really touching gesture; that sweet angle and the size and energy the piece generates; and even that extra cool spin on the Batarang Launcher. Now, a piece like this doesn’t make it all better (especially since DC pulled a Red Hood book from trans writer Gretchen Felker-Martin just last fall for mostly dumb reasons). However, it’s a step in the right direction for actually meaningful representation that feels powerful enough to rise above all the noise.
Blüdwire #1
Cover by Víctor Ibáñez
Speaking of Pride-centric depictions I can really get behind, we come to Blüdwire #1, which some in the press have described as a “violent queer robot romance.” More specifically, the “sex bot Ace mounts a dangerous rescue mission…trying to save the woman she loves [Zora].” And not only is that a pretty efficient and effective storyline, but this debut cover by Víctor Ibáñez basically captures the best iteration as a really solid preview. I love a good sawed-off shotgun, and this one has just enough future-y tech to feel novel without taking away from the statement such a weapon makes every time. On the subject of technology, I love the robot designs; it’s like something out of Terminator meets Robocop, and those sparks-as-blood are genius. Ace and Zora, meanwhile, have a pretty solid pose going — it screams passion and tenderness, but it still hums with a rage and vengeance that you’d expect from these two. Even just the color of this seemingly alien planet (or just a future Earth) perfectly rides the line between romantic rendezvous and gnarly warzone. All of it together says Blüdwire is as much interested in exploring connection as it is conflict, and that sturdy argument feels like the best way to truly honor the relationship at this book’s core. Also, I love when things that don’t really need it bust out the umlaut.
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