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 judged by the cover.
Nightwing #118
Variant cover by Bruno Redondo
How can we truly commemorate the end? In particular, the 40-issue run by Tom Taylor and Bruno Redondo, who, in this chapter’s assessment, helped redefine and elevate Dick Grayson for a whole new generation. I think the best answer is to take all the positives from this run. Redondo himself does it perfectly with this variant cover for issue 118. While the issue itself promises a bit of a final battle between Nightwing, the Heartless, and Tony Zucco, the cover serves as a kind of best-of album that shows Mr. Grayson’s growth as a supreme DC hero. . Batman himself appears to be grinning, acknowledging their new relationship and Dick’s own A-list status. The always adorable Hayley is not only a source of joy, but also a rooting representative for Dick, who grows in important ways. And speaking of friends, this book wouldn’t be what it is without both the Batfamily and the Titans, and how important that family was to Nightwing’s particular evolution. But most of all, the fourth wall-breaking farewell from the protagonist himself is an opportunity to realize that we’ve been part of this story all along. Breakups suck, but this makes all the sadness and longing feel really good. Until next time, Nightwing, may you fall even higher.
Mystique #1
Variant cover by David Baldeon
And then we move on to Mystique #1, from a tearful farewell to an exciting (but nervous?!) intro. Writer and artist Declan Shalvey has already achieved considerable success, so adding the spy-centric Mystique miniseries should be an interesting display of his talents. (In his own words, it’s basically a Big Two version of his excellent Old Dog.) But while Shalvey has big plans for this book, Krakoa There is also talk of recruiting Nikki Fury, but I would like to spend some money. Please take a moment to learn about this David Baldeon variation. Because if this book reflects anything, it’s all very interesting. The most obvious, of course, is shape change. Watching it (with stunning, vivid action) makes you wonder why there aren’t more Mystique the Spy stories out there. From there, we get into Rogue Mystique’s fuss about relationships, and if we could see even 2% of that here, this book would be a jumbo-sized juicy steak. And none of that makes me understand how this “transformation” makes me feel, and even the complex emotional insights it provides into how we view and interact with Mystique. I haven’t. But for now, let’s just say this little cover is perfect for saying “Hello!”
Radiant Black #30 and Radiant Black #30.5
Cover by Marcelo Costa
It doesn’t take much math to make a difference. Because in Radiant Black #30’s solicitation, a catalytic war continues as “pieces fall into place” and “the end of the world approaches,” which is surprising for this level of global doom and darkness. Because it’s so positive. But by the time we get to Radiant Black #30.5, there’s a mention that “the paradigm has changed forever” and that there can only be one Radiant Black in the world, which is the best kind of surge you can expect in a story like this. It seems like. (Also::insert perfect Anchorman scene::.) But if you need to see these numbers and more in action, Marcelo Costa has two covers and #30/# We’ve put together one great piece that expertly outlines 30.5. And sure, I’ve fallen in love with these two Fells from Radiant Black before, but this one feels special. There is a depth of humanity and emotion in this chaotic scene. We’ve seen the endings of major catastrophes unfold before, but even those who are vaguely aware of how this story will play out can’t help but wonder how grim and hopeless this moment is overall. You will feel it. It’s the intensity of the fire, or the distortion of reality. It feels like the world itself is cracking open, never to be sealed away again. If this is the end of the beginning, or the beginning of the end, then it begins with dazzling power.
Exorcism with Pen 1600 #1
Cover by Vanessa R. Del Rey
It’s not that I hate it (I already hate it more than the average day), but I wasn’t at all sure about Exorcism in the Pen 1600 when it was announced. Of course, give the gimmicky fear directly to the cerebellum. But given all the horrors that are actually happening in the political arena, I wasn’t sure if we needed a story where the first female president enters directly into the “demonic battleground of good versus evil.” White House. But then you take a look at this cover by series artist Vanessa R. Del Rey, and you might have to temporarily shake off your initial distaste. Because all of this is working well for me. The emotion and energy of Rosemary’s Baby is still a somehow underrated classic. The devil’s design is very subtle and feels like it probably leans towards some sort of Norse influence (this isn’t them anyway). And it’s a really great way for light and shadow to interact to bring out the gold theme. Overall, it’s a thoughtful and nuanced approach that really counteracts the overtly gimmicky tent poles of this story and makes this project feel like it has stakes and even novelty. Sure, you can’t judge a book by its cover (wait, I have been in this column for years), but this cover shows that the devil really may be in the details. I am.
Deputy #1
Cover by Dan Panosian
If you keep track, there aren’t many things that the rich and elite don’t try to take away from others. But the work of great stories is to push the envelope even further and make us think seriously about social structures, which is why writer Ryan Parrott and artist Eleonora Carlini teamed up for Vicarious. I did. The TL;DR is that the wealthy are paying people to access their emotions and experiences through “technological traces.” This is more or less scarier than when these billionaires started buying up all the vacant houses. But how exactly does this concept translate into a solid teaser image? We’ve heard a lot about how and why the first issue’s cover by Dan Panosian defines this debut. there is. There’s definitely an atmosphere of euphoria, which perhaps sets the pace for the scope and tone of Vicarious. It also has a strong mix of mesmerizing beauty and a fantastical atmosphere of things falling apart, and cleverly captures complex social, cultural, and economic factors. However, the most distinctive feature is the man’s face. It’s gorgeous and full of life, but underneath it’s ultimately dead. And that balancing act is so deep and compelling that it breaks my heart, proving just how deeply this book cuts. Isn’t the future grand?
Gods of the Grassland #2
Cover by Shane Connelly Volk
Based on the title and the appealing cover by writer/artist Shane Connelly Volk, I gave Prairie Gods #1 a try in August. And, well, I guess I was more than happy with my decision. Volk (and letterer Becca Carey) were captivated by the first part of the anthology, which has been described as “The Twilight Zone meets Sin City” about an aging racer trying to outdo the race. The only “undefeated driver” on the eerie speedway. In issue #2, an old sheriff is searching for a wanted fugitive and may well “break the laws of nature” to capture him. More than that, we now have a cover that I think more accurately captures Volk’s overall style and his approach to this book. The Sheriff, for example, deftly balances noir tropes with supernatural elements in an eerily effective production. There’s more demonic goodness and howling wolves on top of the “normal” cop stuff. This juxtaposition seems to really capture the heart of Volk’s interests and storytelling techniques. Even that red doesn’t just pull its weight, as if the sky itself had been transformed by the events of the town of Broadacres. In short, this promises a more effective story trip within #2, and gives you even more reason to make a little space in your TBR pile for God of the Prairie.
Ultimate Spiderman #10
Variant cover by Miguel Mercado
I’ve seen this used several times to describe the book, but Ultimate Spider-Man is a real palate cleanser. Not just comic book storytelling in general, but even some people’s relationship with the Spider-Man books and what the Ultimate Line could really achieve as a kind of living storytelling experiment. But again, for this guy’s money, one of the best things about this book is the dynamic between Peter and MJ. Sure, this is an important part of the entire Spider-Man canon (and has been for decades), but this “version” feels more appealing. Their relationship feels alive, one of warmth and joy, as this Miguel Mercado variant cover deftly attests. There’s a love and power to this pairing that’s truly eye-catching, even if it’s just chilling. It almost makes you forget that one of them is the super-powered Man-Spider, and that something very tense is about to happen in issue #10. The fact that we haven’t even touched on the slightly meta part of the cover here is how Mary Pete/Pete Jane is the core sunshine of great comic book couples and why Spidey has always been the best of all heroes. It just shows you what’s most human. Home is where the heart and great stories are, don’t you know?
Falling in love on the road to hell #5
Cover by Gary Brown
People seem to really like Falling in Love on the Road to Hell, as evidenced by the dozen or so emails I’ve received about the new release and sales figures. And who can blame Gerry Duggan and Garry Brown (and the whole team, really) because they’ve done something truly amazing with this supernatural love story between a samurai and an old cowpoke. But perhaps the best part of the book, counting the awful fight scenes and original interpretations of the afterlife, is the slow and deliberate romance between the two main characters (Asaami and McCraith). is. Issue #5 brings us to Chapter 2, but the pair have only just met, and the march to love gives them a chance to truly explore and flesh out the two before they “pair up.” I keep a deliberate pace. It’s a concept also emphasized by Brown’s own jacket. It doesn’t resemble the image of romance at all to me (maybe even closer to the worst samurai movie poster ever). But that’s because Asami is Asami first and foremost, and no matter how strange and dark it may seem, she’s involved with others in this deep, thoughtful process of merging lives, strange and strange. Because they are real people in real situations. If it’s not really beautiful to you, think about what she would do to you if you said otherwise.
Batman and Robin: Year One #1
Variant cover by Lee Weeks
There’s a lot to look forward to when it comes to Batman & Robin: Year One. First, writer Mark Waid and artist Chris Samney, who lost their lives during Daredevil Run, are reunited. But more than that, the Dynamic Duo will have to not only reconcile their recent partnership, but also face off against a “mysterious new crime boss called The General” who has come to Gotham, so I’m really excited for the year ahead. We’re getting the story of the eyes. The goal is to capture the city by disrupting and destroying other mobs. ” And if that’s not enough and you want to play air guitar for hours on end, get this super awesome Lee Weeks variant cover. Sure, there are some other strong candidates in terms of variation, but Weeks’ product delivers the experience I want from this book. For example, the right balance between playful nostalgia (those costumes!) and more modern sensibilities. The dynamic between the two main characters: Robin is clearly jacked (and/or scared?), but Batman is as insecure and nervous as he is trying to be stoic, which is why this It just feels more interesting to the story. Even the somewhat rough textures and linework just scream, “This is a wild, unexplored time in the Bat-Family,” and that’s exactly the kind of chaos and joy we want from a story like this. First year? In fact, I think it can be enjoyed throughout the year.
