Most comic book fans have a solid idea about what they’re going to buy every week as they descend upon their local comic shop. With that said, there’s still a lot of fun to be had just glancing at the week’s new releases and taking a chance on a book that looks promising, funny, scary, etc. That’s where covers come in. A fantastic image can make the difference between trying something new or saying, “Nah, not this week.”
In that spirit, here are the covers that captured our attention this week, with entries from comics editor Chris Coplan. This is Judging by the Cover.
Absolute Superman #1
Cover by Rafa Sandoval and Ulises Arreola
Following the releases of Absolute Batman and Absolute Wonder Woman, we’re rounding out DC’s mega-trinity with Absolute Superman #1. I feel like this title (from writer Jason Aaron and artist Rafa Sandoval) hasn’t gotten nearly as much attention and/or hype, especially because Bats and WW have been some pretty impressive redesigns. (With Bats as a giant broke vigilante and WW as the literal princess of Hell.) But this book deserves some buzz as it tries to strip away everything Supes has (family, fortress, home, etc.) and redefine the very core of the Man of Steel. And based on this main cover from Sandoval and series colorist Ulises Arreola, what’s actually left is quite impressive. The wheat is such a perfect inclusion — it perpetually grounds this Supes as a simple man stuck between his own basic desires and the immense power he holds. The simple but deeply effective costume overhaul is fully on display; it’s about accentuating levels of darkness and intensity to play around with the Superman mythos/ideology. Even the way the sun is regarded here almost says this is a character battling our preconceived notions and trying to offer a daring new spin on the world’s mightiest Boy Scout. Maybe Batman has a dope hammer, but this new Supes is going to have depth and attitude to spare, so color me jazzed for this thoughtful take.
Aliens vs. Avengers #2
Cover by Esad Ribić
Aliens vs. Avengers is the poignant exploration of mankind’s immersion into the universe and a meditation on our species’ continued evolution. Just kidding — it’s basically a chance to let Jonathan Hickman and Esad Ribić make the Avengers fight Xenomorphs in space. And while I mostly liked the first cover from Ribić (even if I think Cap is tossing his shield in the wrong direction…), the cover to issue #2 is a huge step up. For one, I love anytime the Xenomorphs aren’t actually shown; it gives them a kind of supernatural power and dash of mystery that makes them feel all the more menacing. That, and Ribić’s own depiction gives them a kind of personality and a bit of impish magic that just makes me even more afraid of these nasty buggers. And, of course, we have to talk character design: be it the more veiny, rock-like look of Hulk or the slick suit of Black Panther (and even the Kingdom Come-esque vibes of Cap), having these specific looks and vibes for the heroes adds even more layers and overall power to this slightly gimmicky storyline. You don’t need much to make Aliens vs. Avengers totally cool, but having something with this amount of layers and textures makes this story already so much more impactful. Just don’t forget the chestbursters!
Something is Killing the Children #0
Cover by Werther Dell’Edera and Miquel Muerto
It’s crazy to think that Something is Killing the Children #1 debuted five years ago. And in that time, James Tynion IV and Werther Dell’Edera have continued to build the story of the Slaughterverse through the main book and some spin-offs, growing this vivid and robust tale about how we survive in a world of very real monsters (some with actual claws and teeth). Now, with issue #0, we’re not only celebrating the book’s milestone, but we’re getting a new tale detailing “the mission preceding the fateful Archer’s Peak Saga, where the entire story began.” And as you may or may not expect, Dell’Edera and Miquel Muerto’s #0 cover is a solid response to issue #1’s memorable cover. Where that debut cover is a bit more directly haunting, issue #0’s offering is more subtle. It’s kind of the same woods but maybe not, and Erica has a more “direct” relationship to the iconography of childhood. What’s it all mean, then? Well, I think it’s not only realigning some of this book’s core thematic interests, but it’s commenting on time and how, no matter how far things may evolve, it’s often the beginnings that speak loudest. That, and it’s interesting to view this piece through the lens of five years, and to see what that says about nostalgia and our own perceptions. Whatever you take away from this, #0 looks like it’ll swing with the heft of a few extra sharp blades.
FML #1
Cover by David López
It’s been a second since I was this hyped for a book that didn’t involve injecting Batman with steroids/Venom. But with FML, Kelly Sue DeConnick and David Lopez (best known for their excellent run on Captain Marvel) reunite for a story about a youngster, Riley, who one day “discover(s) that the creatures, witchcraft, and metal world he’s obsessed with may be a bit closer to home than he preferred.” (Oh, and there’s bonus material in each issues, like essays on true crime and music, to enhance your geekery.) Based on Lopez’s own cover to issue #1, I get some real vibes of Kids meets Harry Potter meets What’s The Furthest Place From Here?, all of which makes for a tasty combination. It’s teen angst with a side of magic and wonder. A fantasy story with some grit and texture. A coming-of-age story that wants us to believe in something else and still have to live through the big, ugly world. In short, the kind of cross-genre, multifaceted experience that 1) only comics can truly facilitate and 2) touches on all the best ideas and abilities of its core team to tell a truly effective story. Sure, the cover’s a little plain compared to some of the magic I’ve picked up on, but when you do things the right way, the art speaks volumes directly to your heart and mind. FML? Not with this book a comin’!
Gilt Frame #3
Cover by Matt Kindt
Admittedly, I wasn’t the biggest fan of Gilt Frame #2. After the magic of that debut issue from Matt and Margie Kindt, the second chapter just felt a little too formulaic and slightly sluggish to really razzle dazzle me any further. But if there was one genuine upside from issue #2, it was how (as represented by the cover but surely across the issue proper) Matt Kindt stepped up artistically. That, despite any narrative issues/snafus, the art itself felt really impactful emotionally but also quite novel and inventive. And Kindt’s “streak” of new ideas and/or approaches certainly continues with the cover to issue #3, which feels like a left turn of the very best variety. Sure, the whole “autopsy report” fits thematically, but I can’t help but wonder if it goes deeper still. Is it a commentary on the increasingly meta aspects of this story? (And is it based partially someone’s actual report, ’cause that would just be amazing.) Is it, perhaps, some larger commentary on the humanity of these crime stories and/or their overt reliance on procedure? Maybe it’s just a way to do less art when you’re drawing four extra-sized issues? Either way, there’s lots of power to this cover, and it really makes you think about this story’s structures, end goals, and overall value. Here’s hoping that unlike the human on the cover, issue #3 doesn’t wind up on the table.
The Fade #1
Cover by Mari Costa
If you’re a webcomic fan, then The Fade may be of some interest. Namely, it sees Aabria Iyengar (of Critical Role fame) with cartoonist Mari Costa (LIFE OF MELODY) for a magically-charged coming-of-age story. More specifically, a magical realm called The Fade becomes a kind of “viral internet sensation” as youngsters try to enter in their pursuit of fame/relevance (and hoping they don’t face a nasty “ancient prophecy” or two). And so Costa’s own cover to issue #1 feels like it nails some key elements of this overarching story. LIke, the slightly impetuous nature of being young, and leaping into ideas and opportunities before they (or your brain?) are fully formed. Or, the divide between reality and the digital world, and how we all seem to be (for better and worse) trying to reach up to something new (again, without realizing that we’ve mostly left behind terra firma). Even the very joyous quality of the art here seems to be both an invitation and a condemnation on how easy we view this process of leaving our world beyond for some unknown fantasy. Maybe I’m reading a bit too in this, but it’s covers like this that are meant to stoke the imagination with vigor — the fact that my imagination goes to these ideas is of no consequence. But, hey, a magical experience is a magical experience, amirite?!
Spider-Man: Black Suit & Blood #4
Variant cover by Leonardo Romero
This year marks 40 year since Spider-Man took on a walk on the dark side with the black symbiote suite. And in honor of such a milestone (that I’m sure we’ve all had circle on our calendars forever), Marvel’s been letting a veritable A-list of writers and artists bust out the black suit and tell their own tales. And in an issue featuring contributions from Venom co-creator David Michelinie as well as the work of up-and-comer Hayden Sherman, it’s Leonardo Romero’s own variant cover that has me stoked about issue #4. (And, as an added bonus, it’s seemingly for a G. Willow Wilson-penned story.) What can I say about Romero’s work: since I really saw it take off with the early Birds of Prey issues, I’ve just felt like he’s the perfect artist for any superhero vehicle. And he more than proves that here — his black suit Spidey is a crisp and sharp as some of that Secret War stuff. Black Cat, meanwhile, is soft and appealing without ever being one iota less of a total badass. And the pulp-y villains and sheen of violence just work to feel modern even as they’re deeply connected to some part of comics’ past. It’s the perfect cover to explain not only why the suit is such a vital piece of Spidey’s history, but why these anthologies continue to deliver truly great comics stories. Now, whatcha got planned for the 50th anniversary?!
JSA #1
Cover by Diego Olortegui
As an fan of the Geoff Johns-led JSA stuff circa the late ’90s/early 2000s, I’m tickled pink that the squad is coming back together. Especially when it’s Jeff Lemire as writer (and joined by artist Diego Olortegui and colorist Luis Guerrero), all of whom are posing a most vital question: “Will golden age ideals hold true in a world recovering from the events of Absolute Power? Or do they need a more hardcore approach to stand a chance against the new Injustice Society of America?” And if the cover to #1 is any indication, it seems like old and new can flourish on the same page. Maybe that has everything to do with the color and intensity of this piece, and how that places old heroes and upstarts alike on the same page. Or, that the sheer brilliance reminds us that, as much as things change, bright and shiny heroes will always have a place on newsstands. Either way, it’s a powerful way to update the JSA for this very specific era and still demonstrate that vital romance and earnestness that I think has always defined the team’s overarching appeal. Old is new, new is vintage in all the right ways, and we have a comic that straddles ideas, storylines, and values helping to extend and inform this new golden age for DC Comics. Seriously, though, I feel like I could check my hair on Fate’s helmet.
The Walking Dead Deluxe #100
Cover by David Finch
Earlier in this feature, we talked about the differences and their significance regarding the covers for Something is Killing the Children issues #1 and #0. Now, because I sure do love a pattern in this feature, we get to do it again with The Walking Dead Deluxe #100. If you recall, this issue (originally released in July 2012) featured not only “one of the darkest moments in Rick Grimes’ life” but also “one of most violent and brutal things to happen within the pages of this series.” And while we already know that both of those involve Negan, we get to see him in vivid detail all these years later. Because, sure, the original #100 cover nailed the mystery with grace and heft, but there’s nothing like Negan being laid out in all his brutalist glory. Whether it’s the blood dripping off Lucille (does that look like barbecue sauce to anyone else?); the rough skin and leather jacket; and the fact that he looks just as rotten as those corpses, Negan is a monster best seen with unwavering depth and detail. Plus, this cover really encapsulates the whole approach of The Walking Dead Deluxe: let us experience history in a new way, and make us feel every blow as to comment on nostalgia and get us to reconnect with this series like never before. There’s “Something to Fear” and then there’s “Something To Run Screaming Away From.”
