Many comic book fans have a set goal in mind when they visit their local comic store each week. That being said, there’s still a lot of fun to be had just browsing the week’s new releases and taking chances on books that look interesting, fun, scary, etc. That’s where covers come in. A great image can make the difference between trying something new or saying, “Nah, not this week.”
In that spirit, we present the covers that caught our eye this week, along with an entry from Comics Editor Chris Coplan, that judges it by its cover.
Batman: The Long Halloween – Last Halloween #0
Cover by Tim Sale
As mentioned, Jeph Loeb is paying tribute to his late creative partner Tim Sale with the very large-scale Batman: The Long Halloween – The Last Halloween. A host of top-tier artists, from Becky Cloonan to Klaus Janson, are on board to help tell the final chapter of Loeb and Sale’s masterful The Last Halloween saga. Sale also contributes work to this massive endeavor, not only the A-cover but also this truly amazing piece for issue #0, which reprints the must-read introduction to the event. Few people can draw Batman like Sale. There’s a certain weight and mystery here, and he understood the many layers and obvious complexities of this character. (Also, no one can draw ears like Sale.) And his portrayals of Commissioner Gordon and Two-Face are equally impressive. He captures Gordon’s noir-esque origins with precision, and paints Mr. Dent with the perfect balance of creepy and menacing. Even the sense that this piece is still half-finished (or more like a rough sketch) is crucial in underscoring the overall emotional subtext of Last Halloween and the importance of celebrating Sale’s legacy. Sometimes Halloween comes a little too early for my tastes, but in the case of this cover, it’s a treat that can be enjoyed all year round.
Dazzler #1
Variant cover by Ashley Witter
I understand that not everyone wants or needs a Dazzler series. Even the solicitation for her own book (by writer Jason Loo and artist Rafael Loureiro) acknowledges that everyone’s favorite rollerblading, singing mutant is often absent from stories and tales. But, as the solicitation acknowledges, “it’s finally time for her to take center stage,” and I can’t think of a better way to kick it off than with this amazing Ashley Witter alternate cover for issue #1. First off, the leaning into nostalgia for the late ’70s and early ’80s is a big thing. Dazzler’s whole thing is to celebrate and satirize the celebrities of that era, and this book taps into that in a way that feels thoughtful. (Plus, nostalgia gets everyone in a big way these days.) I also like how the sex appeal and intensity is toned down, even though it’s pin-up. Pinup exudes those nuances, but in a way that feels more intentional and thoughtful. And if you don’t want to intellectualize it, you can just enjoy the dazzling rollerblades and the pure joy and sexiness of this whole cover. So, yes, we probably need to get more Dazzler in our lives, if only to remind us that comics can be weird, fun, and in a very important way, sexy.
The Moon is Chasing Us #1
Cover by Riley Rossmo and Mike Spicer
The Moon Is Following Us gets a lot right, even for those who haven’t picked up the book yet. First, the title alone gives you a long-winded, really snappy title to spend every day with. And, of course, it’s written (and art) by Daniel Warren Johnson, who’s on a roll after his work on Transformers. The premise is great, too: two parents must team up with a “magical entity” that their young daughter holds dear to save her from an unknown evil force. But let’s not forget for a second that the book also hinges on the work of artist Riley Rossmo (along with colorist Mike Spicer and letterer Shawn Lee). I’ve never always been a huge fan of Rossmo, but as I’ve looked more and more, I’ve found his work to be packed with so much energy and emotion. He blends sci-fi and fantasy into a really fun little package, blending all of the influences and ideas into this snapshot of deep family love. And that’s what art is supposed to do, right? To give us something to capture in our hearts and make us feel like it’s about wonderful, quirky people in a way that’s incredibly exciting. This book could literally go to the moon, and Rossmo will take us there with plenty of heart and joy.
Lilith #1
Alternative cover by Zoe Thorogood
And from a sweet and endearing family adventure to something a little more erotic and sinister. Lilith (by writer/artist Corin Howell, colorist Warnia K. Sahadewa, and letterer Jim Campbell) is about an immortal who is banished from her home in a dimension that suspiciously resembles humanity’s idea of hell. While living on Earth (as a model for consuming humans), she is presented with a tome that may hold the secret to returning Lilith to her own dimension. In terms of capturing the essence of a book like this, Zoe Thorogood’s different covers do just that well. But there’s more to it than just the eye-burning, intense sexual energy. Thorogood manages this sheer potency in a way that doesn’t feel overtly overwhelming. Sure, it’s very suggestive, but it balances the themes and messages with something more playful (in a different sense) by highlighting certain elements and a sense of theatricality. I’m all for “adult” comics, but not everyone has the same inclinations. This cover is a really great example of how to play with that energy and ideas while keeping a wider readership in mind. This isn’t about censorship or retreating, but about creating something of a specific nature that has more universal potential and scope. If this is the start, the real show awaits with this entire series.
Gold foil frame #2
Cover by Matt Kindt
I called Gilt Frame #1 “true crime comic art” and “a rich, vivid masterclass in (Matt) Kint’s artistic genius in blurring the lines between comics, surrealism, and real life.” Of course, I may still be silly for quoting myself, but it’s all true. And that truth is multiplied when you look at Kint’s own cover of issue #2. I’m guessing this is an actual model, not a drawing, but I wouldn’t be surprised if Kint pulled off such a feat. But I’m pretty sure, so I have to say that Kint’s diorama work is one of the best I’ve seen. Of course, I think drawing comics and making dioramas are quite comparable and yet completely different (they both seem to require deft hands and keen attention to detail). But taking this step just proves how hungry and inventive Kint is, and even after years of admiration, he still does something so simple, yet so declarative and meaningful. And it’s the little touches — the meta tones on issue #1’s cover, the cute puppy, the laptop detail, the use of lighting — that not only make it interesting, but also make the book’s themes, concerns, and storytelling possibilities come through so powerfully. Maybe it’s because I can’t even do one type of art, but this is an impactful, boundary-pushing piece.
Rickbolt’s Rick and Morty Teen #2
Cover: Tony Gregori
I don’t know if you’ve read a lot of Rick and Morty comic books. I haven’t read them all yet (multiverse is awesome, right?!). But one thing is clear: they’re super important. There are tons of comic book adaptations of your favorite shows (especially this year with Thundercats, Biker Mice from Mars, etc.), but not all of them are as interesting as the ones in the Rick and Morty universe. Case in point is Rick and Morty: Youth in Rickvolt. More specifically, the cover of issue #2 by series/cover artist Tony Gregori. Gregori’s approach is totally, totally in line with the show, but still adds a little bit of fun and raucousness that really makes a big difference. It’s like another parallel universe, but this time it’s more fun and accessible than ever before. Plus, it nails some of the key points, like Rick’s grumpy face and the special stylization of the dinosaurs (the animals in this series/canon are always so cool for some reason). The goal is to celebrate what already exists and do something entirely new and interesting, building on the spirit and potential of what came before. I’d also be a total idiot if I didn’t say that this subtitle is the best Rick-centric episode title ever.
Catwoman #68
Variant cover by Tirso Cons
Let’s take some of the same ideas and themes as the Ricky and Morty covers, because part of a great, meaningful adaptation is taking something familiar and putting a new spin on it (even if it’s just a cool dinosaur). And this alternate cover for Catwoman #68 by Tirso Cons does exactly the same thing. The idea of ”Selina has a bunch of cats” is pretty overused by now, but Cons still does something neat and important. Each cat has their own energy and personality, and whether it’s a sleeping white cat or a cat pretending to read, it feels like a powerful way to 1) humanize these cats and assign them value and importance, and 2) reflect some part or element of Selina’s own personality. Then we’ll take other aspects (like the simple design of the apartment and what it says, or the particularly cat-like looking Catwoman suit) and show how it adds to and expands on this rather thoughtful and thoughtful look at Selina. This cover takes the quirkiest parts of the character and presents them in a new/refreshing light, helping us better understand Selina and our own connection/relationship. Yeah, there’s always been a lot of cats and they’re pretty weird, but looking at this cover, I finally feel like I understand them a little better (maybe).
Teenage Mutant Ninja Turtles: Mutant Nation #1
Cover by Javier Fernández and Patricio Delpeche
As the Teenage Mutant Ninja Turtles series and stories progress, they get weirder and weirder. If you thought the edgy, post-apocalyptic vibe of The Last Ronin was crazy, you haven’t read Teenage Mutant Ninja Turtles: Mutant Nation yet. This first look cover by Javier Fernandez and Patricio Delpeche tells you everything you need to know about this miniseries. For example, the series focuses on the cool, stoic Rafael, who, after embarking on a journey following the “Armageddon Games,” would naturally color match his car. However, he has one destination in mind (or no destination in particular), but it’s clear that he will eventually end up at Area 51, beautifully depicted as a lush and slightly scary desert fortress. And in Area 51 in Rome, you’ll encounter an alien, who may be looking for a home for new friends and maybe even a cutie named Pepperoni. (Is he a dino alien, or just a dinosaur?) It’s got everything you could want: bikes, cute creatures, wandering heroes, and more, as the TMNT find new ways to tell increasingly complex and intricate stories. But like The Last Ronin and others, Mutant Nation has the potential to be an emotionally rich and rewarding experience, and as layered and insane as it is, the Turtles’ “staycation” is downright memorable. Minus half a point for not calling it “Mutant Nation,” though.
X-Factor #2
Variant cover by Joshua Sway Swaby
Admittedly, I don’t do a lot of research on all the mutants, given what I write every week. But I guess I never thought about Polaris’ powers being some sort of force field that envelopes things and makes her easier to master magnetic powers. And, of course, that could be a very good visual device (with the help of artist Joshua “Sway” Swaby), but it would be a clever way to show the kind of skills and mastery Polaris has, and how she’s very different from other magnetic wielders like Magneto. (Though I think that pose is very Magneto-esque, and there’s another very cool layer to hint at and explore.) And if we’re going to make Polaris a very important role in the all-new X-Factor series — she’s leading a mutant rebellion and maybe even having a hand in the group’s “secret missions” — this snapshot of skills, expertise, and general powers certainly does that. It’s the perfect way to position Polaris as an exciting protagonist in the reborn X-verse, and signal that things have changed and we’ve entered this entirely exciting new era of possibilities. Add in the cool “armor” design and the desire for Ecto Cooler that this cover inspires, and you have an even more glorious win.
