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.
Amazing Spider-Man #66
Cover by Mark Bagley and Richard Isanove
I think usually the only time I bring up Spider-Man is if he’s in some kind of pain. But this time, he actually wins, as you can see from Mark Bagley and Richard Isanove’s cover of The Amazing Spider-Man #66! OK, yes, this is part of the “Eight Deaths of Spider-Man” story, where the solicitation says Mr. Parker is “broken” and then asks, “Will the universe survive what happens next?” ” is also asked. But if you could share a quick kiss with a black cat clinging to a building in the air, you’d be able to experience any kind of momentary happiness. (In particular, the risk of falling off a building would be the least of their worries.) Still, rather than completely raining on Spidey’s parade, here are some quick questions: For example, does he rely solely on the strength and adhesion of his hips to grab onto buildings? If so, is that something New York City criminals should be worried about? And wouldn’t standing on top of a building be a little less taxing? Isn’t it important to conserve your energy right now? But hey, you two wild, crazy kids are enjoying life to the fullest and celebrating a little. (Because hell is coming soon.)
Green Arrow #20
Cover by Taurine Clark
When Chris Condon and Montos took over Green Arrow #19, I was very pleased with their first salvo. Granted, returning Oliver Queen to his roots isn’t inherently the riskiest move, but the juxtaposition of such a story considering other aspects (environmental perspective, the very epic scope of the recent DCU) ) may have prevented them from really sticking to the landing. But they did it, and looking at this cover of Taurine Clark’s second issue, it looks like they’re looking to extend their early success a little further. Again, this is a simple but very effective example. Very much in the vein of ’70s thrillers like Moonraker or Magnum Force, these stylized and extra-dramatic pieces set the tone and give our heroes a chance to shine. Add in the really great design of the Fresh Water Killer (it’s like a scarecrow meets some weird biopunk monster), and the whole thing is both fun and menacing, and balances these ideas out while still being pretty important. It feels like something that has enough self-awareness to convey things. story. And I didn’t mention the “eye for an eye” part, but it gives it an 8.5x “Charles Bronson action vibe” and makes this cover even more of a winner. Eco-thriller, FTW!
Terminator #4
Cover by Declan Shalvey
No kidding, dear reader, I seriously thought Terminator #4 featured the greatest robot assassin of all time. (Ever heard of the T-800? What about the T-8,000,000?!) Not that writer and cover artist Declan Shalvey isn’t capable of such a feat. This guy has done some crazy things in his career, but the “Navy Robot Destroyer” is relatively tame. Still, I think the SS Terminator plays a more subtle role/presence in the matter of “American and Soviet submarines playing a deadly game of cat and mouse, hidden deep beneath the surface of the world’s oceans.” I think so. It cleverly shows that by tying in to the Cold War as a whole, a large part of this series/story is about threats that aren’t always visible, and that the real danger is always hidden. In that sense, I think Shalvey fulfills some of the key promises in his Terminator run. It also shows that this is a book that uses giant killer robots to explore larger sociopolitical ideas and themes. This is somehow cooler than any giant ship bot in the world because it makes some of the Terminator’s possibilities very real and delves deeper than other recent versions. Still, Mr. Shalvey, please consider “giant ship bots” in future stories and series.
Body trade #4
Cover by Joku
And speaking of the near future/past with scary technology, we come to issue #4 of The Body Trade. In a desperate search to recover the remains of her deceased son, our “hero” Kim finds himself not only handcuffed to a hospital bed, but also “he’s dying and if he wants…” I realized that I could also donate my body to ‘science’. We’ve got an idea of what four-letter word Kim might respond with, but let’s not focus on that and instead focus on the latest cover by series artist Joku. From the beginning, the more “interesting/disturbing technology” aspects remain as strong as ever. There’s a real Terminator vibe to the severed robot hand, which adds a new layer of interest to the story and how it only makes us think about our upcoming future. But somehow even more interesting are the supernatural and metaphysical parts, such as the demonic sun and the “ghost cloud thing.” While certainly representing a more chaotic and primitive side so far, this book spins new ideas and energy into four issues that help us understand important parts of death, grief, and mortality. I love that we can continue to explore the theme of how we think. life. Kim may certainly be in a tough spot, but this cover shows there’s still some fight (and maybe secrets?) left in his giant dome.
Pinupocalypse #1
Cover by Andrew Tarsoff
I’m not afraid to say I’m stupid. (I mean, I revealed the thing about “Terminator Boat” unprompted.) So, what do you mean by “combining the book with a re-imagining of ’50s sci-fi and horror tropes with a clever twist?” It’s an adventure about two stylish pin-up girls facing off against hordes of zombies and aliens. ”You have my constant attention. Because if you’re going to repeat the same kind of story over and over again, you better add a cute girl and a little bit of irony. And while it remains to be seen how the story itself will actually turn out, at least the cover by Andrew Tarsoff seems fun and relevant. Not only does it have cute girls, but it also has a retro, pulpy vibe (sorry). Plus, there’s just the right amount of gore and brutality so far. And speaking of gory, I love how the zombies look black and white. If this book were to explore fifties fiction or something like that in a more meaningful way, it would be a refreshing little decision visually. And of course, we have to mention the big mouse-dog hybrid holding a hot dog, as if Mickey Mouse had been sold to McDonald’s. I can think of no better way to show humor and irreverence. Admittedly, I’m a dummy, but still, I can see it as a potential gem when I see it.
In Bloom #2
Cover by John Pearson
For those who missed the first issue (who are you dummies?!), In Bloom #1 was a strong display of relatable science fiction. In a world where only some people develop strange plant/fungi-based mutations, this is a special potential theme/visual for exploring the scourge of race, class, cults, and othering. It is a device. And it looks like issue two will be shooting it down the throat again, so to speak, as series artist John Pearson delivers another truly great snapshot of this multifaceted story. It looks like one of those Ghanaian movie posters (but in the best way!). It’s based on this strange and slightly abstract context. And indeed, the main visual device used here is us versus them. — might be a little on the nose, but it feels pretty perfect (especially considering how that “industrial hellscape” sits halfway between the two in an interesting way). Even the designs here, such as the humans’ bellicose armbands and the varying degrees of mutation of the “Bloomers”, feel very interesting as a way to explore the dynamics between these factions. There are still great stories left to blossom, but works like this show that this book already deserves to blossom.
Absolute Wonder Woman #4
Variant cover by Mattia De Iulis
I don’t normally do previews in that much detail, but here’s something that’s actually quite cool. Over the next few weeks, AIPT will be publishing a series of articles about Wonder Woman. In addition to exploring her feminist lineage and literary background, this article also explores just how important and influential Absolute Wonder Woman has become in just three issues. While we can’t exactly speak to the nods and honors this series has thrown towards Absolute Wonder Woman , you can guess its great quality and quality just from this Mattia De Iulis variant cover for issue #4. Faced with Tetracide, Diana not only looks better, but is as solid and sturdy as ever. And this whole book/series is just like that. It allows Diana to be this singular person who is powerfully expressive and able to grapple with these big ideas, yet still be a total badass who can vanquish the worst monsters from Hell itself. This book captures the true potential of this hero and her story, showing us that there is so much life, politics, and humanity to explore through an exciting, mythical lens. Enjoy this cover, then come back to AIPT for more great insights and critiques. Otherwise, The Tetracide will swallow you whole.
Wolverine: Revenge #4
Variant cover by Felipe Massaferra
You’re already familiar with Old Man Logan, right? It was a solid way to imagine an older Wolverine, and a way to explore the concepts of grief and loss through that long-lived character. Now, I can’t say with certainty that Wolverine: Revenge #4 is a sequel to Old Man Logan, or that it’s even connected to Old Man Logan in the most tertiary way. However, there are two bits that indicate we are knocking on the same door. Not only is there a reference to “Time has passed since Wolverine’s journey of revenge began,” but there’s also this truly epic Felipe Massaferra variant cover. And I have to tell you: Logan with extra gray hair is even worse, and the combination of long beard and hair in a classic suit does not matter how conceptually the passage of time It is the best mental journey when we are exploring what is. Wolverine character. And if that’s a heady bunch of malarkey for you, take a peek at the sickly chrome that seems to belong to long-time rival Omega Red. I know time is a great equalizer, but how did these two manage to keep their weapons so stylish after so many decades? Anyway, this deceptively simple cover has a lot to chew on. A lot has happened, and I personally would like to wait 50 years for this next chapter. Well, it could be a few months at most.
Toxic Avenger #4
Variant cover by Matt Bose
So The Toxic Avenger’s score has two generally great issues (#1 and #3) and one fairly disappointing issue (#2). So issue #4 could be the book’s chance to take a step back, or even step forward, in the all-important race to “get Chris really happy with a cartoon version of his childhood favorite.” And based on the recruitment, this fourth issue has a lot of promise/possibility, and when Toxie fights Bonehead, “a nearsighted teenager with a switchblade is the cause of Tromaville’s deadly venom.” It seems that we understand this, as the company is described as “looking blankly at the company that is becoming.” I wonder what’s going on with the cicadas. But even if issue #4 doesn’t measure up, it does come with a nice variant cover by writer Matt Bose. This is certainly a powerful summary of what Bose (and artist Fred Harper) were trying to do. The idea is to dissect a toxic hero in a way that boils it down to a few basic ideas and truths (and still makes it interesting/interesting). By boiling him down in this way, the creators can hopefully further our understanding of Toxie’s politics, while still reinventing him in a way that always feels relatable and engaging. . Yes, the jury is out yet, but a cover like this goes a long way to making this book a real winner. Let’s clean aisle 6!
