In defence of variant covers

There’s a common cry in comics discourse about the prevalence of variants in the contemporary industry. Recently, I saw news about an issue with over 70 variant covers, coming only shortly after what was a previously beyond ridiculous high-30s. As far as I can tell, the economics of variants seems to be a little fucked, with companies looking to squeeze as much as they can out of both consumers (especially whales) and shops. Various schemes, such as attaching variants that are likely to be more sought after to either bulk purchasing or purchasing entirely different issues, force retailers to choose between spending unnecessarily on surplus copies or disappointing customers. The general consensus online, as much as consensus can be found in disparate YouTube bickering, is that the modern state of variants is a constant source of disappointment resulting from frustrating excess. It’s certainly reasonable to take a look at the sheer number of redundant covers and wonder why that money and effort couldn’t be put to better use. There’s certainly room to improve on the interiors of many comics. Many cry out for more limited use of variants, with some suggesting that even the most high-profile issue having three different covers is disgustingly excessive – and others preferring a hard limit of one (1). I, on the other hand, thinks variants are pretty cool.

 

It’s a result of the way I read comics. Partly due to my return to the medium coming so late in life, and partly due to my own reading habits, I have a clear preference for collected editions over single issues – by an overwhelmingly huge margin. Many who protest variant covers would likely also decry trade-waiters, and they would abhor me. What I really want is a nice oversized edition, whether that be a normal OHC, a chunkier omnibus, or an even taller book such as Dark Horse’s Library Editions. And what really makes these books worthy of prime bookshelf spots is the completeness of a nice set of extras: behind-the-scenes commentary and sketches, creator interviews, guest pin-ups, and, yes, variants. While variants are a bane for the traditional comics reader, forcing them to choose between their favourite cover (or worse, at least in my eyes: buying the same issue twice… or more), for me they’re the perfect extra. Once included in a deluxe edition or some such, often stripped of the usual trappings of covers, variants basically end up as high quality bonus artwork, sometimes allowing another artist to interpret the world of the comic, sometimes completely irrelevant, but nevertheless often fine additions that give just a little more content. It’s simple, really. I like comics because I like stories, sure, but I also like comics because I like art. And more variants mean more art. And with this I present exhibit A: 

Exhibit A: Superman Unchained (DC Deluxe Edition), or "The Morest Art"

There is a lot more art to be had at the end of Superman Unchained. A hell of a lot more. And almost all of it is variant covers. Here’s a quick sample: 1930s, Golden Age, Silver Age, Bronze Age, Modern Age, Superman Reborn, New 52, Superman vs Parasite. That’s just for Issue #2. The first six issues (of a nine issue miniseries) each have the same set of themes for their eight variants, with different villains for each of the last one. Although the final three issues don’t seem to have had variants (I assume a quirk of the way the series was originally published – I believe it was originally solicited as an ongoing), the final variant for Issue #6 (done by the severely underutilised Andrea Sorrentino) is followed by a number of additional art pieces, including the work of series artists Lee and Nguyen, semi-frequent Snyder collaborator Jock, and modern DC giant Ivan Reis. It’s a pretty good way to finish a book, with the variants having already absolutely stuffed the list of big names attached to the book, including Frank, Bolland and Starlin, alongside Sean Gordon Murphy - shortly before he began to break out (here not yet famous enough to warrant the inclusion of his middle name in the credit). Superman Unchained wasn’t really that great (for the record, it’s fine and I enjoy it, I just think that there’s plenty better on offer both inside and out the realm of capeshit), which might have given it the dubious distinction of greatest disparity between quality of edition and quality of content, at least on my bookshelf (there’s one major shortcoming which I hope to absolutely shred it for in future). The sheer amount of stuff, of high-quality art that follows the story elevates what came before somehow. The edition makes it feel like an event, like something that’s noteworthy. In retrospect, it’s an edition that both demonstrated to me what a collected comic should be and ruined most others (at least somewhat), because they mostly fall far short. It’s like The Wire, but it’s the packaging that’s so good, not the important bits.

Exhibit B: The Multiversity (DC Deluxe Edition), or "Less is Less than More(st)"

If the deluxe edition of Superman Unchained is a wonderful result of frivolous excess, the deluxe edition of The Multiversity is the model of how to do it with more restraint (and less cash). Although there are far fewer, they follow a similar pattern which is repeated across all of the issues. Most issues have a standard variant cover, a History of the Multiverse variant based on notable DC events such as Infinite Crisis and Flashpoint, and a third sketched variant by series writer and unacclaimed artist Grant Morrison. The Multiversity was more of a real event than Superman Unchained, in scope, style and reverence for legacy, if not impact, and while the variant section isn’t quite the thick padding bringing up the rear of the edition this time, it’s still a fun look at both the worlds of the story and DC history, as well as a showcase of a number of talented cover artists. It’s a decent guide for what most deluxe editions should include, not relying on excesses of the publisher during the soliciting of single issues.

Exhibit C: A Quick Grouping, or "A Smattering of Singles"

There are a few book in my collection that have a lot more focus on behind the scenes stuff than Superman Unchained (and I definitely like having those, especially for designs on series like B.P.R.D. more than I would for that), which have only one or two variants. For a publisher like Dark Horse, it makes sense that they wouldn’t quite have the cash to throw around on frivolities that Marvel and DC have, with most of Hellboy and the spinoffs of the Mignolaverse (or should that be BPRDverse?) being collected with the artist’s sketchbook and commentary (occasionally from editors or writers instead of the artist). Here is only the very occasional variant cover, although Mignola and his distinct style are a perfect match cover work. Also included, on occasion, is cover art from other trades than the current collection, an interesting result from the frequent collection and recollection of Mignola’s wonderful universe. Similarly, volume 2 of Morrison’s Batman omnibus has plenty to say about the design of the series covers and its villains, as well as an overview of the Batcave, but only a single variant: Mignola’s modern rendition of Batman and Robin. The Planetary omnibus, on the other hand, lacks the sketchbooks of these examples but includes the cover to the previous trades and Absolute editions, which fill the role of variants here. These feel a little lacking in comparison to Superman Unchained and The Multiversity. The behind the scenes stuff and extra art is cool, but it would do wonders for the last pages of these collections to be rounded out by high-quality variants.

The Back-up Thoughts: I think Marvel does it wrong.

“Marvel, Marvel, quite contrarvel, how do your variants go?”
“A few throughout, then a few at the back – not quite all in a row…”

And now I have to rag on Marvel’s collected editions a little. The main target of my ire is another book I own: the OHC of Thanos by Donny Cates. The book is a little odd, being two separate series focussed on Cosmic Ghost Rider and several strange versions of Thanos, with two more issues (Cates’ Thanos run began at issue #13 due to “taking over” from Lemire, although this story seems to stand completely alone from what might have come before). Despite this, it seems like a perfect set-up for the Superman Unchained formula, with a healthy selection of variants rounding out the edition. Except… nine variants are dispersed throughout the book, on the pages between issues throughout the book with seemingly little rhyme or reason. It’s great that they’re there, don’t get me wrong, but I would be a lot happier with them all nicely tucked in their own little section. It’s obviously a lot better than the repeated blank or near blank pages found in many collections, especially older ones, but I prefer the New 52-era DC solution: filling in the page after the issue cover with a preliminary version, generally either pre-inks or -colours. It’s a neat way to add another little something, a look into the production process behind the art, even if it means bumping up the page-count slightly. Speaking of page-count, I’ve seen one way of including variants while cutting pages that’s a little off-putting. The House of X | Powers of X hardcover begins its variant section with full page covers, before rapidly shifting to four per page. While this cuts down on page count and price, it’s a disappointing way to format a normally cool extras section. House of X | Powers of X is exactly the kind of event that suits a big suite of extras, and it’s a shame to know that it was constrained in its ostensibly deluxe publication. While the Thanos OHC isn’t anywhere near as bad, each cover (standard and variants) is a little smaller than the full page size, an odd choice that allows the artists to be credited without covering up the image, but still leaves them slightly diminished on the page.