Most comic book fans have a solid idea of what they buy each week when they go to their local comic book store. That said, there’s still a lot of fun to be had in skimming through the week’s new releases and trying out books that look promising, interesting, or scary. That’s where the cover comes in. Great images make a difference. You can either try something new or you can say, “No, I’m not going to do it this week.”
In that spirit, we present the covers that caught our attention this week, along with an entry by comics editor Chris Coplan. This can be determined by the cover.
Batman #156
Variant cover by Alexander Lozano
They say the devil is in the details. That’s very true of Batman’s portrayal as well. Because as we enter the penultimate issue of The Dying City storyline, where the action and intrigue surrounding The Riddler and The Owl reach an all-time high, Alexander Lozano Because this strong and enthusiastic cover of #156 will be canceled. And there’s a lot to appreciate about the atmosphere this cover so skillfully creates. I love the length of the ears and how pushing them back gives the cowl a new feel. I love all the little “techno elements” and chunky gloves, and how they both modernize the Bat while tying it to its cyberpunk lineage. From there, I’ve been working hard on this version of Batpod. The larger setup goes a long way in making this version feel new and special. And of course, the perfect linework ultimately makes this entire cover a bright and bold snapshot of a bold action scene ripped from the Christopher Nolan trilogy. Batman has been drawn literally millions of times, but the best artists breathe new life into the character with little tweaks and twists that breathe life into the hero and give it rich layers. The only problem with this cover? I wish it had explosions and obnoxious neon lights.
Deadpool/Wolverine #1
Variant cover by Frank Miller
Last month, we announced that Frank Miller was doing a great job with a series of “Recent Marvel Covers.” So perhaps his work in Ultimate Universe: One Year In #1 wasn’t a huge hit with everyone, but Miller’s idiosyncratic approach and how he brought these characters to the core in a slightly different way You can’t deny how it cuts into the. But it’s a completely effective method. Now he’s back to business with the cover of Deadpool/Wolverine #1. Once again, I am completely in love with what this comic book legend has created for his fans. The fact that he got a pretty important detail very wrong, namely the color scheme of both Logan’s and Wade’s masks, suggests that 1) Miller is making fun of fans who don’t understand what he’s doing, and 2) ) It feels like he’s testing. The limits of the connection between these characters and their symbolic nature. Sure, Logan looks like he’s drunk a dozen bottles of Glenlivet, and Wade is a generic ninja from The Hand, but somehow it works. Maybe it’s because we know Benjamin Percy and Joshua Casala will create something magical. Or that we’re still excited about the duo’s recent big-screen shenanigans. Either way, it feels like something fun and weird that still scratches the same itch for these beloved heroes. If I’m wrong, I don’t think Mr. Miller and I care at all.
When I take revenge on you #1
Cover by Jakub Lebelka
When I spoke to Gus Moreno about When I Lay My Vengeance Upon Thee, he had a lot of praise for co-creator Jakub Rebelka. Specifically, Moreno said Rebelka “(creates) compelling images that you want to look at all day long.” And yes, that’s what most comics do (obviously), but the word “arrest” feels like it really matters. Because in the story of two priests who work together on the mysteries and intrigues surrounding exorcisms and immortality in hospital patients, the cover of the first issue by Reverka herself is truly captivating to both the eye and the heart. Because as much as I want to look away from this disturbing piece (do bloody eyeless sockets chase me around the room?), I can’t. Instead, I have to wrestle with this image and wrestle with my own spiritual thoughts and beliefs and what I’m seeing here and how it’s affecting my core. . It’s both an emotionally violent and once strangely peaceful process, and I’m tossing and turning in the space in between, trying to come to terms with it all. I haven’t gotten any new ideas or understanding yet, but if this is just a cover story, it’s scary to imagine that the main story will question things like good and evil, God, and human decency. It’s consumptive, but it’s also incredibly exciting, isn’t it?
Rick and Morty: New Year, New Rick Special #1
Variant cover by Sara Brini
Indeed, when it comes to holiday-themed comics, Halloween and Christmas are very popular. But I’m impressed that Oni Press is giving a little New Year’s Eve/New Year’s Eve love with one of their many Rick and Morty-centered titles/stories. Because although we may not be able to gorge on food or crack open a new mountain bike, it is the dawn of a new day for each of us and a chance to finally get back on our feet. Of course, if you’re Rick Sanchez, that’s a different story, but based on this Sara Brini cover, you might have other intentions for this holiday. Perhaps this is just a reaction to the Christmas cheer of the past few weeks, but I immediately thought, “Oh, Rick is going to self-destruct.” A) taking his own life and B) having Kong go all out on a bomb is definitely out of character, especially when the means to achieve that goal is a cute, sentient rocket. I don’t think so. And yeah, I welcome the idea that I’m becoming jaded and cynical based on popular media, but that’s what Rick and Morty has always done well: Part of ourselves, I Show us a side we didn’t always know and reconcile how it makes us feel and what it says about us all. This is a book that will make you squirm in unexpected ways and moments, and this cover will do just that if you give it a few more seconds.
Justice League: The Atom Project #1
Variant cover by Dan Mora
I don’t know what era Justice League fits into (the “Unlimited Era”?), but if it leads to something like Project Atom, I’m all for it. Here, a true all-star team (including writers Ryan Parrott and John Ridley and artist Mike Perkins) teams up with two atoms (Ray Palmer and Ryan Choi) to explore the chaotic power situation post-Absolute Power. I am organizing. The Double Atom situation wasn’t what I thought I needed in my life, but here it is, and I can’t imagine anything better in terms of storytelling and artistic possibilities. A great example of this is this super dope Dan Mora variant cover. Sure, it might seem obvious to show two men cowering under the lens, but there are some pretty neat layers to this as well. For example, the fact that they’re basically in the spotlight, and how this book really elevates and dissects Palmer and Choi. Or the meta nature of his work, which seems to actually be running around Mora’s own desk (it’s a wonder he gets so much done). Even the “pulsating atoms” symbolizing growth and contraction add energy and excitement. It’s a cover as heartfelt as it is a “gimmick,” and a very small but powerful 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 strong believer that having the right subtitle/alternate title for your project can make your book, comic, movie, etc. a success. And Cable: Love and Chrome rivals Thor: Love and Thunder in sheer quality. But it turns out there’s more to this book than its dope title, and as Cable finds himself trapped in the middle of a civil war in Salvation Bay, he discovers that “the greater threat in the Marvel Universe… It turns out that it contains the promise of “The Biggest Gun.” However, the main positives center around this Mark Brooks variant cover. There are definitely larger-than-life guns, explosions, and a dystopian atmosphere. It’s got all the Mad Max vibes, like National Lampoon’s European Vacation. I also like that it has large pockets and pouches, but it’s not so Liefeld-like that it’s not too big and somehow weird and distracting. And of course, there’s a kind of understated, understated anime fun and sparkle to this production that feels like a (even if only slightly) different direction for Cable, and that’s clearly a good thing. I’ve always had a soft spot for massive explosions and small-child-sized bazookas, but it’s just as thrilling to know that Cable’s latest adventure has texture and nuance. Well, it’s almost as thrilling.
Poison Ivy #29
Variant cover by Pablo Villalobos
Over the years, there have been some really cool covers and variant covers starring the best couples in comics (others are the worst). This very charming piece of paradise by Dan Mora. Or this sweet yet heartrending piece by Carla Cohen. This all-too-realistic dissection of modern romance also comes courtesy of Mikel Yanin. But I think this variation of Pablo Villalobos’ Poison Ivy #29 is going to really stand the test of time. Where on earth should I start? Harley’s “mom cut” feels like a great way to show age and time and contextualize their relationship. The fact that Ivy wears safety gloves even when she’s barely getting anything out is a powerful little snapshot of her character and how she interacts with her own little world. . There’s also the fact that some of those plants remind me of Little Shop of Horrors, making sure that connection is really important to you. Even using the birds and bees to explore and inject different layers of sexuality and sexual tension is a pretty genius move. (That was the intention, right?) All of this adds up to a cute, weird, hilarious, fun, thrilling little snapshot of Halivi (?) and why they have such a vivid relationship It shows you what. It will make gardening look a lot cooler than it actually is.
Knights vs Samurai #4
Cover by Janenrico Bonaccorsi
Honestly, a book like Knights vs Samurai should have caught my attention months ago. As if the title wasn’t super dope enough, this one was written by super dope actor David Dastmalchian. Based on that premise and other reports, the story seems much deeper than just a battle between old heroes (though it’s also a battle between bad guys in armor). But thanks to the fourth issue’s cover courtesy of Giannenrico Bonaccorsi, I finally really started paying attention, and the timing was perfect to “jump on” to this series. Anyone who knows Judging by the Cover will know that the horror of corpses always gets me, and when the corpse in question is some kind of large monster that consumes knights. , that’s doubly true. I can’t decide if its innards resemble a red jelly berry or an undercooked chicken nugget, but either way I’m disgusted and excited. That, and the idea of having to cut your way through with that weapon and spit it out while slamming into the digested parts of your friends and foes, just adds an extra layer of awesomeness, along with a pretty significant aspect of disgust. stimulation. Also, on a slightly unrelated note, I think all of us are knights. We’re getting through this the best we can because we know what’s to come will 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 they have a name, but Pascal Garcin/Mr. Garcin has a solid history with these “giant collage covers.” Each one finds him leaning into the story, the world and history around it, and remixing and arranging everything to tell these complex and fascinating stories. And the Captain America #1 he created for Sam Wilson feels like a special achievement. Sam Wilson’s own history of socially relevant stories explores the “dark underbelly” of a group that provides “a grand platform in the sky where disenfranchised people can apply for land grants and establish their own farms.” ” is cleverly reflected in the storyline that exposes. And Garshin did something great to take advantage of this. Not only do we see Wilson’s heroic history, but it’s placed in a very powerful way with Cap’s other moments. It is as if it connects Wilson to the grand tradition of “shield-carrying,” while at the same time reminding him that he has always had an important role to play, that he is a worthy successor, and that his “career.” It seems to be indicative of what Wilson has accomplished so far, even if this happens. It always had a certain focus and presence. This is a decent visual feat of great thematic importance, and if this cover is any small representation, this story could become another big chapter for my favorite Cap.
