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 #60
Cover by John Romita Jr., Scott Hanna, Marcio Menis
In recent months, the Amazing Spider-Man reporting crew (John Romita Jr., Scott Hanna, and Marcio Menis) has been getting a lot of love from this column. They’re basically becoming the new Alex Ross, or “God, I sure hate Scott Summers.” But a look at the cover of issue #60, which also happens to be Zeb Wells’ own farewell issue, tells me that the most consistently great thing about it are the covers. Because in an issue that’s going to be all about surprise guests and foreshadowing of the “Eight Deaths of Spider-Man” storyline/events, this simple but dark and direct cover tells us exactly what the trio has been up to in recent months. Because it tells a story. You can feel the jagged nature of the web. It’s like Spidey is crawling on a tension wire. There’s no grace or playfulness in our hero’s pose, and it feels like a very bright message about where he’s going with this issue. And the way the shadows and darkness work here is a different kind of disturbing and insidious. All of these aspects come together to create a cover that feels suitably intense. What’s next, what’s to come, and how this book tries to do some interesting things with Spider-Man (even if it’s not always a huge success). Forget happy endings, give me more of this every time.
Poison Ivy / Swamp Thing: Wild Tree #1
Cover by Jason Shawn Alexander
In some cases, the solicitation may be more appealing than the actual cover, as if it’s a blurb. And if you have time, be sure to read Poison Ivy / Swamp Thing: Feral Trees #1. This book captures the charm, humor, and literary flair that characterize Poison Ivy, led by G. Willow Wilson. But at the end of the day, you judge this by the cover, not the solicitation. Jason Shawn Alexander’s cover is just as solid and competent as the aforementioned article. I’ve always loved Alexander’s line work and overall approach. This work embodies the intensity and energy that define his work. And when it’s applied to “The Green Villain and the Green Incarnation,” this brutal power and rawness rolls off the page. It makes them more troubling and confrontational, which is exactly the kind of presence needed in a story like this. It feels like the best movie and concert posters all rolled into one. Something that feels wonderfully cheesy and homemade, yet straight up grabs your jaw. Between this cover and the aforementioned A+ writing exercise that is the solicitation, I’m the one feeling almost wild with anticipation.
Blood Squad Seven: Strike File #1
Variant cover by Corey Walker
In case you haven’t been paying attention, Joe Casey and a few collaborators are basically unearthing 90’s comics history through images. The ongoing Blood Squad Seven is basically a pastiche of Casey et al., an homage to Yungblud, with a new (and a little more eye-catching) twist on the intensity and large-scale character work of the ’90s. Has become a way to explore and activate for the audience. This Strike Files book, in which the squad is “reunited” with the “legendary cyborg super-soldier” Man of War, exemplifies the sheer greatness of this 90’s crusade (with a cover of Disguise by Corey Walker, of course) Thanks to you) Because I don’t need to explain how “extreme” this work is. If your testosterone levels were any higher, you could actually grow a beard. But I like that there’s a certain action-figure quality here, as if this piece captures young people circa 1996 going to “war” with their favorite people. . That, for me, creates a slightly meta layer/nature of recognizing what we’re actually using this book for and what it represents as a cultural artifact. It doesn’t take away from this being just cool AF, but that kind of “hidden” quality just goes to show how nostalgia can be played right. Is there anyone else you want to shout “Hey brother!”?
Uncanny Valley #6
Cover by Dave Wachter
Uncanny Valley #5 ended on an emotional high point for Oliver and his family. (Seriously, I’m still sweating a little after that horrifying turn of events.) But before we get into what happens next in December’s issue #7, issue #6 introduces the We propose to look back at the origins of (and the world of manga). connection with the real world) in this folklore problem that unfolds in prehistoric and Biblical proportions. ” But before I get into its significance, I really love this understated but effective #6 cover by series artist Dave Wachter. It’s definitely more solemn than the bright, vibrant side of this world, and maybe that’s the point. This is the message that true life lies in the act of creation, the page through which we can expand and enrich our being. At the same time, the color scheme here shows that this is just another part of the “comic world” and that 1) it’s all just part of a bigger story, and 2) our understanding of this is all based on perception and context. It makes me think that it depends on. It may not be that deep for you, but that’s one of the many great things about this book. Sometimes you have to go down a creative rabbit hole to make sense of it all. And, of course, the Kung Fu Dune Buggy.
Kill all immortals #4
Variant cover by Jacob Phillips
And speaking of strong and shocking endings, Kill All Immortals #3 certainly ended on a “WT Hecking F” point. I won’t spoil it, but let’s just say that almost everything Frey knows about the immortal Viking family will definitely change. And things only get more intense in issue #4, promising an even bloodier and even more life-altering confrontation with daddy dearest. So you can understand why the mostly cool-headed Frey loses all of her composure and embraces her emotions and violent anger, as demonstrated in this highly sophisticated cover by Jacob Phillips. Rather, that particular sharp anger seems to be a distinctive part of this work. And I love the deep, primal nature of it and the way it calls out to you in the snow in a way that shows how “gotten” this response is from us. A caring, stoic Viking badass. And such treatment shows how seriously KAI takes its characters and their growth. It happens organically, and when it happens, it adds real power and power so that we can connect with these people in the most satisfying way. Do I want all the Freys to be ax murderers in this issue? Oh yeah, I’m just a human. But more than that, I just want the chance to get to know this character in the deepest, most impactful way possible.
Hexils #1
Cover by Joe Bocardo
If you’re a fan of Nightwalker in 2023, get ready for more brain-destroying horror from Cullen Bunn and Joe Bocardo. This time, the two created a “hellish family horror”. The story is about the children of a deceased man who attend their father’s funeral and wrestle with debtors from another world and their own hellish powers. If it seems a little mysterious and hard to understand at this point, just enjoy the fact that this story spawned this amazing debut cover of Bocardo. For example, can anyone imagine a mix of “Pet Cemetery” and “The Lost Boys”? Because if you’re referencing 80’s horror classics, you’re already in the perfect place. Of course, these flicks didn’t say what was going on in the bottom half of the page. I love that the implicit Satanism in this story is less about flimsy demons and brimstone, and more about the unbridled madness they’re trying to use to influence the minds of their readers. And of course we have to mention the overall design and fonts. Both further strengthen the book’s unique vision of a strange but relatable brand of horror. (By relatable, I mean we’ve all had complicated relationships with our fathers, right?) Accept that, Nightwalkers!
Lovely house by the sea #4
Cover by Alvaro Martinez Bueno
Correct me if I’m wrong, but this appears to be the first DC/Black Label title since the return of Vertigo with its announcement at NYCC 2024. And what a great way to start this new “era” for this esteemed publisher/line. The Nice House by the Sea is exactly the kind of unsettling but highly magical book that Vertigo would have championed at the time. That historical tidbit alone is enough to celebrate this cover, but we also get a chance to finally talk about the truly profound work serial artist Álvaro Martínez Bueno put into the actual issue, and most certainly the cover. He gave it to me. Because, obviously I’m not an artist (I’m just peeking at my own work in the holiday version of Judge by the Cover), but when I see Martinez Bueno’s work, I get fired up. Because it makes you feel like a Neanderthal. For example, how exactly do you create that “projected image” effect? Or do you nail the perfect vintage energy of your wallpaper? And how do you really balance so many diverse textures? Don’t even get me started on adjusting it in a convincing and slightly unsettling way. He has to spend hours creating intricate snapshots of this rich, textured world, and each new cover astonishes the mind with its artistic and emotional power. Welcome back, Vertigo — this is a horror comic from 2024.
Spawn Kills All Spawns #4
Cover by Rob Duenas
As for Spawn Kills Every Spawn, I think the title says it all. (And Deadpool already did something similar.) But just because something is simple doesn’t mean it’s boring or unpredictable. . Just watch the tuna melt for crying out loud. So, to make it stand out as much as possible, this book takes on a slightly more cartoonish style, courtesy of series/cover artist Rob Duenas. This has to be probably the best/smartest thing you can do in this book. Because, to a certain extent (as seen on the cover of issue #4), all that joyful and manic energy goes a long way toward undermining, intensifying, and contextualizing the sheer violence and brutality. . On the other hand, adding color, like in an episode of Cotton Candy or Invader Zim, makes the carnage and chaos more visible. (Fun fact: This is one of several cameos in this book, which is another reason why this silly-but-serious approach works in this book.) It’s Saturday’s It’s like stuffing yourself with sugary sweets while watching morning cartoons, only the cartoons have been replaced. Claymation snuff film. You’ll laugh, shiver, and probably enjoy the rush of pure emotion in it all. Aren’t comics epic?
Namor #4
Cover by Alexander Lozano
I think I somehow developed Thalassophobia thanks to regularly browsing TikTok. Yes, its vastness, unknown nature, and overall darkness (not to mention the weird way life, oh, has found its way) scares me about the ocean (even more than bees). And this cover of Namor #4 (by artist Alexander Lozano) really complicates those feelings. Because even I can appreciate the grace, beauty, and strength embodied by Namor and his ocean movements. It looks very clunky, even though its movement is impeded by giant chains and anchors, but I believe it was actually painted on the rusted metal of an old tugboat. (Also, the writing there was clearly carved with an actual dull knife, right?) On the other hand, the color of the ocean, even if it gives off a sense of depth that really arouses my thalassophobia. Even though it creates a sense of perspective, it is very attractive. Perhaps this cover (and the book in general) shows how we should actually interact with the ocean. It’s the right mix of awe, cautious optimism, and a healthy dose of fear and respect. Or, have fun but always stay alert. I would like to explore this topic in more depth, but I will keep it shallow.
