Most comic book fans have a pretty good idea what they’re going to buy every week when they visit 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. 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.
Cover by Ivan Reis
Any time you get the famed Ivan Reis to do some art, it’s gonna be a special book. But that’s doubly so when it’s for such an important issue, one promising a massive shift/change for the Last Son of Krypton. There’s something about the cover, some tinge of mystery and subtlety, that’s delightfully out of character for ol’ Supes. Color me blue, red, and intrigued.
New Mutants #3
Cover by Rod Reis
The wholesome and the bizarre. The weird and the trivial. That’s the best way to describe the X-Men Universe as of late: a community of freaks and outcasts uncovers the arduous work of building their own world. This New Mutants cover depicts that perfectly, a normalization of the weird and the craz-ification of the pedestrian. Plus, flowers are always a thoughtful gift.
Undiscovered Country #2
Cover by Giuseppe Camuncoli
I’ll admit to not being sold on this new super series from Scott Snyder and Charles Soule. It needs more time to find its footing and to unveil some of the intricacies of this world. That said, the art has been on point since pixel #1, and this cover proves that. It’s gorgeous and terrifying, inviting but off-putting. Everything I hope this series becomes.
Fallen Angels #3
Cover by Ashley Witter
I’m not sure how to describe Fallen Angels to non-readers (other than, “It’s sooooo gooood.”) But this cover clearly speaks to some of the larger themes, like the search for identity and meaning, the feedback loop between past and present, and the struggle between war and peace and how soldiers never settle. It’s not the whole story, but it’s a clear example of why this series merits all those extra O’s in “so good.”
Tales from The Dark Multiverse: The Judas Contract #1
Cover by Lee Weeks
If you haven’t been following this series, it’s basically, “What if we took the best storylines in DC history and made them 1,000% more evil.” It’ll be interesting to see how “The Judas Contract” can be improved (if at all), but Lee Weeks’ cover certainly respects the original art style/aesthetic while amping up the darkness and terror. Plus, sick cape, Tara.
Pretty Deadly: The Rat #4
Cover by Emma Rios
This new volume of Pretty Deadly has been incredible. It’s been slow-burning but with ample powers of emotional devastation. And a huge part of that has been Emma Rios’ art, in which she reflects the time (’30s-ish Hollywood) while also spinning in new influences and ideas. The end result is much like this cover: haunting and beautiful, a story to be uncovered for those actually brave enough to journey onward.
Red Mother #1
Variant Cover by Danny Luckert
Does this new series Jeremy Haun (The Beauty) basically sound like The Eye? Sure sure. Is there maybe new room to improve on the “my new/fake eye can see evil s--t!” model? Anything’s possible. But just look at this dang cover: it’s so gorgeous in how deeply unsettling it is, and perhaps that aesthetic alone might be enough to make Red Mother distinct. Also, the other variant covers are totally worth your perusal.
The Immortal Hulk #28
Cover by Alex Ross
Again, having a huge name like Alex Ross does wonders for generating hype for a book. But Ross’ style is also the perfect vehicle for the nostalgic “re-introduction” of the Teen Brigade, and their more menacing style given the Green Guy’s moral struggle. It’s a perfect image for setting one’s teeth on edge (in the best way possible, of course).
Dark Knight Returns: The Golden Child #1
Cover by Rafael Grampá
After the original run, the Dark Knight Returns has been hit or miss. (And in the case of The Master Race, mostly a huge miss.) But this is Frank Miller after all, and the idea of a new series, one about Carrie and Lara teaming up to fight a new evil, does sound promising enough. If nothing else, the artwork here feels like a split between anime and classic Miller sketchings, and that’s always a good thing.