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.
Absolute Batman #4
Variant cover by Yasmine Putri
In a recent issue of Judging by the Cover, I commented on the tsunami-sized wave of great art surrounding Absolute Batman. Whether it’s the trove of truly amazing variant covers or the many fan works that have appeared, this entire book is a huge boon to Batman art. The trend continued this week with Yasmin Putri’s variant cover featured in the fourth issue. What’s the first thing you notice? Completely undersized. Where Absolute Batman was a massive, rock-like rendition of the Dark Knight, this version is as sinuous and deadly as a rope javelin (or the sharpest wrapper you’ve ever seen) . Also, we’re not entirely sure what that demonic skull is, but this issue delves deep into young Bruce Wayne’s past, so perhaps it has something to do with some aspect of his psyche. Probably. Either way, it’s completely horrifying and a great horror brilliance for this series. Putting both of these decisions/aspects together not only makes Absolute Batman really open to what the larger Bat-mythology is offering, but it also makes it easier for Batman to be 8 feet tall without having to make him 8 feet tall. It proves that it can deliver power and weight. If we can get this in just four issues, we can’t wait to see the true masterpiece that Absolute Batman creates.
wolverine #5
Cover by Martin Coccolo and Brian Valenza
Not only am I an annoying cartoon guy, but I’m also an annoying music guy to boot. So I immediately noticed how Martin Coccolo and Brian Valenza were referencing Queen’s seminal Queen II record (1974) with this Wolverine #5 cover. And, sure, I’m glad they’re celebrating such an important album, but it also makes me wonder and wonder about some things. For example, is Logan really a Queen guy? I’d put him in the camp of, say, MC5 or Motörhead, bands that rock hard and live even harder. Still, the deeply worldly Rogan would appreciate the depth and emotion of songs like “Father to Son.” But even if none of that is true, this use of the album cover is more than just a quick nerd about Seven Seas of Rhye. Because it’s really essential to have a strong framework like this if you’re trying to understand this whole Adamantine story and understand the context. It elevates this whole “concept” significantly and indicates that we may be seeing some fascinating new aspects of Wolverine lore unfold before our eyes. It’s great to see the creators having fun with the scale and scope of Logan’s story, even if that’s not always the case. Certainly he is not the “last loser”.
Lucky Devils #1
Variant cover by Ryan Braun
On the surface, The Lucky Devils (Charles Soule and Ryan Braun’s post-8 Billion Jeanies team-up) is about “Faustian bargains and seduction.” The themed tent pole looks pretty sturdy and interesting enough, as two demons plot to use reluctant humans to start a revolution in hell. But Saul’s interest in the series runs deeper, as he said in a recent Q&A, adding that the book “doesn’t have any twists.” We are born pure and good, but over time we become conscious of evil. ” Hopefully, the cover of this Brown-penned variant appears to feature either a demonic cat or some form of cat on fire, but what does that have to do with it? ? Well, that feels like the perfect litmus test for this book. Either you see a cat from hell ready to pounce on a mortal soul, or you see a creature in great pain. Either way, this book has a lot more to say about you as a human being than the creator or this big story, and it’s a great way for people to dig deeper into themselves and their humanity/morals and present something bigger. There is a simple but very effective way to do this. , an uncomfortable truth in a deeply compelling package. If this is the cover of the first issue, you can only imagine how much this book will surprise us.
Kill all immortals #5
Variant cover by Skyler Patridge
Was Kill All Immortals really a layered, textured experience? As we all know, it’s about family drama and immortal Vikings, but also about transparency, capitalism, and even culture. It also touches on ideas about how to grow and develop. That’s a good thing, because this is a series that wears its ideas and themes on its sleeve in an obvious way, and tries to get us excited about its explorations and insights. Still, sometimes you need something new and a fresh perspective to bring your bigger ideas to life. Case in point: this variation on Skylar Partridge’s issue #5 (and final) cover. Because while Frey’s own duality has been at the heart of this book from the first page, seeing it from Partridge in such a stylized and vivid way reignites our understanding. Because it helps a lot. So as we get closer to the end, we see that Frey has to face his “side” and realize how much violence was the only way forward. So it’s not about Frey changing, but perhaps finding the peace to hold both positions, and finding the courage to sometimes be something she doesn’t always want to be. It’s clearly something we can all relate to, and seeing it “spelled out” like this does wonders for our involvement in this character and her personal journey. And does it help that the pink reminds you of bubblegum? of course.
Cruel Kingdom #1
Cover by Adam Pollina
Last year, Oni Press killed it off by reviving EC Comics with two new titles: Epitaphs from the Abyss and Cruel Universe. While those were about horror and science fiction, respectively, Oni’s latest EC-focused work, Cruel Kingdom, is a “dark fantasy that evokes tales of magic, myth, and murder from forbidden realms long before our own.” It’s an anthology. And before the articles by Kano, Cullen Bunn, Al Ewing, Charlie Adlard, Chris Condon and others come along, Adam Pollina starts off neatly with this really sharp debut cover. Perhaps the idea of a sword-wielding Terminator-esque robot would be better suited to a cruel world, but the message here is very direct and effective. Take everything you know and feel about a 2025 fantasy story and watch it be torn apart with deadly efficiency. Dear reader, watch as EC/Oni swings the sharpest possible blade on your favorite fantasy stories and tropes, leaving only faint threads of familiarity, mostly ribbons of the past. Please enjoy. This, like the previous two EC titles, is a way to re-evaluate the genre’s storytelling and explore its connections to this type of story. And so far, it’s landed on your face like the heaviest, sturdiest giant sword.
Jim Henson Presents #1
Variant cover by Derek Kirk Kim
To be honest, I chose this jacket because it featured David Bowie. My wife is obsessed with Bowie. He captures her heart and soul in a way I don’t think I ever could. (Don’t cry for me, Argentina. When you love someone, you want them to feel the love wherever it comes from and wherever it goes.) , it’s much deeper than just enjoying a little ’80s nostalgia. Because in a book that aims to celebrate the creative genius of Jim Henson, with new stories by Shannon Watters, Cameron Chittock, Jill Tew, and others, Jareth truly captures Mr. Henson. Body. Both have some kind of otherworldly magic. Both created or commanded strange and wonderful creatures. And both are no longer with us, even though their magic remains an important part of our daily lives. It’s a nostalgic cover for 1986 again, but it shows that no matter where we are in life, no matter what’s going on, the power of this kind of deep fantasy will always be a part of us. There’s no escaping the really weird and wild things that have collectively shaped us. Just one look is enough to remind you how a little magic can go a long way. We bow our nerd heads in eternal gratitude.
Aquaman #1
Variant cover by Christian Ward
With the launch of the new Aquaman series (from writer Jeremy Adams and artist John Timms), the future looks even brighter. But as much as I’m excited about the promise of “new powers (and) new missions,” I’d like to go a little further back in Arthur’s timeline. So 2022’s Aquaman: Andromeda featured a strong visual take/reimagining by Christian Ward. Not only does this take make for a great cover for this new first issue, but it also probably goes a long way toward grounding/contextualizing what’s so great about Aquaman and what we can expect going forward. I’ll keep it. He seems to be returning to the “good old days” when he was the guardian of the seven seas. This is a good way to ground your character if you want to make changes or gain new insights. But this is definitely a different Aquaman, and while Ward’s own “psychedelic bongwater” vibe will always stand out, Arthur’s water-warping powers make this moment/portrayal that much more realistic and relevant. It makes it feel like something sexual. And this lean, mean Arthur (with his hands folded like the world’s fastest shark fin) moves toward the future with unprecedented grace and precision. No matter how you slice it, this chapter of Aquaman is going to be all kinds of fun, nostalgic, exciting, and downright interesting.
magic #1
Variant cover by John Boy Myers
And speaking of a brand new series of evil magic users, here comes the first issue of Magik. Just as “something ancient has awakened beneath the Alaskan ice,” Ilyana Rasputina “stands alone with new allies and dark forces arrayed against her.” Now, interesting premise aside, it’s worth mentioning that portraying Illyana meaningfully isn’t exactly rocket science. The whole “wielding a giant sword” thing means a lot of intensity and badassery with little effort. That said, this JohnBoy Myers variant cover is a sure bet if it ever existed. I love the weight and energy of the sword. Here, they really feel like living, breathing characters. (Whether it’s the hero or the sidekick, I can’t decide.) I also love the rather Witchblade-like aura that Illyana exudes here. It makes it feel really fresh and exciting while tying her into the larger context and general storytelling framework. And of course, when in doubt, add in the appearance of giant robots and Lockheed, and fans will be really excited. New eras and chapters can be challenging, but with a little more power and momentum, this book could be a great new beginning for a character who wants more time in the spotlight. Do you have the courage to say no to that person?
Death of copra #1
Variant cover by Michelle Fyffe
In case you didn’t know, Copra is writer and artist Michelle Fyffe’s idiosyncratic take on the superhero genre. It’s layered, meditative, and scratches some kind of itch, but it’s not your standard take on the cloak-and-cowl crowd. But like all great superhero series at some point, The Fifteen teases the ending with Copra’s death. It promises to “tie up loose ends and ensure big payoffs, while the main event features a copra that disrupts a whole new status quo that has been forced upon it.” on them. ” But before we get to all of that, and if that is really the end of Copra, Fif helped set the stage with the so-called “action” variant cover of issue #1. If you like knock-offs of Wolverine fighting the copyright-breaking combination of Captain Marvel and Iron Man, well, you’ll be in a very special kind of heaven. But anyone who knows anything about copra will also have quickly realized that this is no grandpa’s super battle. With its mix of satire, irreverence, and general weirdness, you’ll find there’s a lot going on in this showdown. Subtext is involved. Although it takes a little work to reveal what it is, this work gives us a very deep view into the layers and depth of copra. I hope it’s not really the end, but if it is, it’s certainly a way to ease the anxiety of going out.
