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.
Ultimate Wolverine #1
Variant cover by Tyler Kirkham
There’s no denying that Marvel’s Ultimate Series has had a very good year in 2024. And it couldn’t be otherwise. Creators of all kinds (led and some by Jonathan Hickman) have been able to offer interesting and diverse interpretations of our favorite heroes. This trend is expected to continue in 2025’s Ultimate Wolverine, where Maker Council members will “deploy their most dangerous asset, the Winter Soldier,” to “maintain control of the corner.” Masu. And, sure, the big question is who the masked man is, but based on this awesome Tyler Kirkham variant cover, we think we know all we need to know. If the endless flow of blood and torn clothes aren’t solid clues, this “soldier” proves to be a living weapon, deployed in situations that call for the ultimate brutality. But who they are and what they want is sadly irrelevant, and just like our Logan, they are faceless, nameless weapons. It’s the only thread of context you need, a way to explore the essence of a character while offering something new. We can all empathize with this to some degree (othering and exploitation, hopefully not murder). This cover is a snapshot of how this series builds on Wolverine’s lineage so effectively. The more things change, the more they stay the same.
new gods #2
Variant cover by Mike Perkins
And the great thing that started in 2024 and continued strong into 2025 is The New Gods #2. As that first issue showed, the creative team (including writer Ram V. and artist Evan Cagle) found a way to balance the deep history of New Gods with their own ideas and interpretations. It feels like the best continuation or reimagining. And that’s likely to continue, even if it’s just on the variant cover of Mike Perkins’ second issue. When I peered through that source wall, I was immediately reminded of Jack Kirby’s work on legendary tales. The kind of subtle but profound power that Perkins instills in everyone who wants to be a universal badass is highly effective, eliciting both an atmosphere of serenity and calm. Also a slight fear. But there’s a newness and intensity to the way Morbius is portrayed that never overwhelms the quiet, methodical approach of the more “Kirby-esque” elements this work conveys. The end result is a snapshot of the book and the team’s careful and curious approach, and shows why I think New Gods is so important. That and the laser eyeballs are cool in all situations.
Night #12
Cover by Luigi Formisano
I think you saw this coming. I’ve basically been telling everyone who will listen to me for the past year or so to read Knights. (Even if I’ve turned some people off with my annoyingly tippy ways, one convert will make a big difference.) So Wyatt Kennedy and Luigi Formisano are the 12th Now that I’m finishing up my debut edition with the issue, I’ll spend a year on it. We talked for a few minutes about Formisano’s own cover. And to be able to say that I haven’t spent 11 months lazing around yet is a pretty powerful summary of why the Knights rock my socks every time. The sheer details and how it invites you to discover all its wonders and horrors. The magic and intrigue baked into the heart of this book, and the feeling of truly entering this wonderfully strange and slightly frightening place. The way the humanity and emotion jumps off the page even as we see new/unseen sides of characters like Grey. All of that, and more, is that this book is so singular and original in its approach to storytelling, taking us even deeper into this world where light and dark, humans and monsters, continue to dance before our eyes. It’s proven that it’s engaging. It’s a truly moving experience. You’ll never shut me up, sucks.
Behemoth #1
Cover by Jay Martin
It seems like the past few years have been really big events for monsters. (Yeah, just kidding. What are you going to do?) Between 200 Godzilla books and the continued rise of Kaiju #8, these behemoth beasts have been all over your besties and TBR piles. (Guess what? Rise was also a pun and you didn’t realize that, right?) So I worked with screenwriters Ryan Engle and Grant Sputore (directors of I Am Mother) and artists I’m particularly interested in Behemoth, which features Jay Martin. It literally presents another side of the monster. As you may have already guessed from Martin’s own cover in #1, the story revolves around “a giant monster attacking a city and swallowing a bus full of civilians… (and) a woman fighting for her life.” The focus is on what happens after “You have to fight.” The premise alone is interesting enough to make Behemoth stand out, and Martin’s style/approach feels like the right combination of cheesy, scary, gory, and existentially disturbing. I don’t know whether I want to be that guy or the people who die a little later on the bus, but either way, I’m filled with anxiety and fear that I’ll be swallowed up by some unknown beast. (Talk about a perfect allegory for the real world, right?!) Whatever the reason the monster is so big (huh?!), this cover captures that trend with weight and precision.
Doll parts: A story of troubled love #2
Variant cover by Luana Vecchio
On the cover of Doll Parts: A Lovesick Tale #1, writer and artist Luana Vecchio demonstrated the magic she intended for this prequel story/series. As you really eloquently stated in December, “You might see a cute stuffed animal, but the torn parts and shades of death-centered imagery (skulls/bones) are what inspired the first piece. The series narrates the same combination of sexuality, obsession, and emotion as in the series. “This is doubly true for this variant cover for issue #2. As Madeleine’s onset of adolescence continues, the solicitation notes that she is exposed to “boys, horror movies, gore, and all kinds of horns. It seems that it can cope with floods of “dangers lurking in the water”. But with all its cuteness and gore, this cover seems to be overtaking our young lead, and we’re not sure if it’s her or her obsession that wins. Sure, we have a good idea of what will happen in the future, but for now this is a case of a young person following one path, firmly stuck in a life that he or she does not know whether he will live or not, and experiencing an emotional high. is. We chose it ourselves. In this way, the book overcomes some “contraptions” and remains a deeply human study of fate and human desire. I’m also pretty sure one of the bears is glaring back at us somehow.
Horizon Experiment: Finder/Keeper #1
Variant cover by Tula Lotei
Like several other issues in this week’s issue, Image Comics’ The Horizon Experiment has produced some great stories so far. In this latest work, writer Vita Ayala and artist Schuyler Partridge explore the trend of “genre stories for marginalized groups” as “Puerto Rico’s reverse Indiana Jones: translating art objects into their native culture.” It continues with “Thieves who steal from museums in order to return them.” And even if that premise alone didn’t make me want to act like a classic cartoon werewolf (though not in a terrible way), Tula Lotei’s own transformative cover seals the deal. Unlike Jones, our lead has a darker, more menacing energy, and we love how she looks like an action-horror star rather than a run-of-the-mill ’80s adventure movie. The background symbols, on the other hand, really imbue this piece with a kind of supernatural energy, and it’s a great additional texture to play with when it comes to genre exploration, which is central to this entire project. And best of all, Lotay’s style itself, which balances a nostalgic pulp vibe with a modern grit/heavy feel, is really, really satisfying. Even based on a cover like this, I’d call this experiment a success, and hope the story steals our hearts just like that stupid Professor Jones did.
Green Lantern: Fractured Spectrum #1
Cover by Fernando Blanco
Several recent editions of Judge by the Cover truly speak to the bold new era that is ushering in the entire Green Lantern saga. For example, the main GL book has a lot of exciting developments like that, but there’s a ton of things happening in Green Lantern: Fractured Spectrum #1. Here, Hal Jordan and company deal with so-called “fractal lanterns,” poor souls who have “manifested an uncontrolled part of the emotional spectrum.” Several people are featured on this Fernando Blanco cover, but their depictions generally highlight the chaos and emotion that would come to define this issue. At the same time, what interests me most is Jordan’s portrayal here. The fractals are not only an impressive visual device, but also allow us to explore Hal’s mental state as he enters this “new phase” and how he is tested by these “fractals”. I feel it. And what about that very special arrangement in his eyes? Does that mean that Jordan is blinded by a sense of duty, or is unable to see the greater danger or potential of these fractals? Either way, the Lanterns are blinded by a sense of duty, or unable to see the greater danger or potential of these fractals. It plays a big role in the plot, so I’m excited to see what happens next.
Incredible Hulk #21
Cover by Nick Klein
For those of you who don’t know yet, Frank Frazetta is the man who revolutionized modern fantasy art/comics so much that some people saw crazed savages as nothing more than children’s food. It gave importance to characters like Conan during the era of Now, I can’t say that Nick Klein is on the same level as the legendary Frazetta, or that he’s trying to put some of the same ideas and energy into the cover of The Incredible Hulk #21. But what I can say is that upon seeing this piece, I was immediately reminded of the bizarre body horror versions of those iconic Frazetta pieces. This is how Vulcorak, the wolf demon, is represented. You can practically feel the heat pouring out of his fur and smell the nasty little pustules. And Hulk looks pretty Conan-esque as well. This long-haired, extra-jacked version of the big man also feels much more impactful and textured than other depictions of him. Even the red background feels very heavy and precise, making the entire piece feel more solid and important. It’s a simple image with so many layers, so independent yet connected to a deep context as this singular, weird, wild piece of work that chews you up and spits you out.
Space Ghost #9
Variant cover by Bjorn Barents
Over the first eight issues of Space Ghost, the team (including writer David Pepose and artist Jonathan Lau) has done an amazing job. But if you’re really going to help convey a powerful new interpretation of Space Ghost, you’ll need to include some great variant covers as well. That includes Björn Barents, who introduces some truly epic content and the continuing threat of ferocious metals in issue #9. Admittedly, we haven’t featured much of Space Ghost’s work on Judge by the Cover in the past, but work like this one is a great reminder that with just a few tweaks in your approach, you can achieve something powerful and powerful. It’s actually proven. This “version” of the space-traveling hero may seem “basic” enough, but he’s bursting with power, intensity, and anger that feels both very exciting and a little unsettling. Stripping doors off spaceships and structures is no easy task at first glance, but Space Ghost still looks jacked enough to continue invading living rooms straight from the page. It’s a testament to Barends’ skill, and proof that such minimalist power can set the stage for large-scale battles and storylines. May every cover of Space Ghost continue to be a great preview of a series that grows with each new chapter.
