Judging by the Cover – 02/25/26 new releases

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.

Iron Man #2

Cover by Ryan Stegman and Frank Martin

Any cover that’s this technically proficient deserves to have us all clapping around like drunken seals. The way there’s so much depth and detail applied to shape how this reflection might actually work does heaps for my immersion — it makes it seem as if I can feel the cool sheen of the metal, or experience how the light might be caught by my wonky little eyes. But what’s even more impressive is that the humanity and emotionality is never lost amid this feat of technical prowess. We can still feel the history and animosity between Tony Stark and Madame Masque as we enter some deeply personal territory with characters whose relationship is just as textured and layered. And to do just that, and so effectively despite this being only the second issue, speaks volumes toward the long-term prospects of this specific story. Beat that, every literal mirror ever.

Absolute Martian Manhunter #9

Cover by Javier Rodríguez

(Editor’s Note: The Martian Manhunter cover originally indicated Javier Fernandez in the body and not Javier Rodríguez. The names have been updated, and we regret the error.)

Absolute Martian Manhunter gets ample credit for being visually profound. Series artist Javier Rodríguez has expertly crafted the look and feel of this book, mirroring the emotionality (it’s a book ultimately about relationships) in such a way that we gain new insights/understanding without things feel overwhelming. Case in point: The whole trope of “our characters as dolls” doesn’t feel entirely novel, until you see the clay that forged these shapes and their slightly melty consistency. That speaks volumes to this story’s interest in the nebulous nature of identity, how relationships forge/shape us, and even how we don’t fully understand this process ourselves. It’s another instance of the book being so fun and quirky, but absolutely gutting us with some massive truths.

Universal Monsters: Phantom of the Opera #1

Variant cover by Joshua Middleton

When it comes to the Universal Monsters books, we’re always so deeply spoiled with variant and incentive covers. Phantom of the Opera #1 is no different, and we’ve got everything from this charming and otherworldly cover from Anwita Citriya to this romantic masterpiece by David Talaski. Yet for this fella’s money, the clear winner is this other Joshua Middleton cover. Is it era-appropriate? God yes; if I saw it in some history book, I’d swear it was an ad ripped from a Victorian opera house. At the same time, there’s a robust sheen and a slightly modern quality (well, modern in that our Christine here looks like she’s in a WWII-era ad for war bonds) that plays with my sensibilities. The end result is engaging but unsettling, romantic but disarming. In short, exactly what you want from this here Phantom.

Is Ted OK? #1

Variant cover by Christian Ward

I’ve already gone on and on about Dave Chisholm’s work with Is Ted OK? The sheer artistic inventiveness and intensity; the thematic might and curiosity; and even the guts to speak something important about life and reality itself. But as it turns out, this book is so powerful that even variant covers can expertly and efficiently pick up on the same ideas/themes. Christian Ward’s own contribution to this debut manages to 1) use color to extend and inform our connection/understanding of reality; 2) lean into the use of music/musicality to tease certain story ideas; 3) play around with people’s mental states in a way that’s interesting but also respectful; and 4) do all of that in a way that stands alone artistically (something Chisholm is all about). You’re not ready for this cover let alone the sheer might of this entire book.

New History of the DC Universe: The Dakota Incident #1

Variant cover by Yasmine Putri

And speaking of comics stories I’ve discussed in-depth, The Dakota Incident is one that could be huge. And part of that is expertly expressed and demonstrated via this excellent variant cover from Yasmine Putri. On the surface, any time we can talk about 52 I’m bouty bout it like I’m Master P in ’96. Similarly, I think this one little snapshot is loaded with significance; connecting the DC Triad to members of the Dakota-verse at this specific time feels like it’s saying a lot about any shared history or thematic connections. Similarly, I think it’s important that, even if you disliked 52, the connection still works really well, and you see what this moment (for better and worse) means for the past, present, and future of Milestone’s heroes. It’s such a gripping and effective way to play with history and context, and I can only imagine the gut shots waiting to be discovered within.

Punisher #1

Variant cover by Philip Tan

A bloody Frank Castle wielding some kind of blunt instrument isn’t exactly novel. But in addition to enjoying the sheer craftsmanship of this Philip Tan variant (look at the cracks across the wood handle!), I think it also says some interesting things about Mr. Castle. For instance, the way the axe is positioned raises questions about his identity and the “distinction” he makes between the man and The Punisher. (I mean, if any distinctions by now.) Meanwhile, there’s both a quiet calm and electric anger to those eyes; Frank is a deeply complicated man, and it’s nice that we see even more back-and-forth to his unique job and position in the Marvel Universe. Even just the tension in his shoulders says a lot about where he’s at right now. If this new book can build on/further any of that, the work of Benjamin Percy will be a proper highlight of the rich and bloody Punisher canon. Hey, I almost wrote cannon, LOLZ.

The Peril of the Brutal Dark: An Ezra Cain Mystery #1

Variant cover by Álvaro Martínez Bueno

I already did the first half of this excellent Álvaro Martínez Bueno wrap-around piece, so I might as well do the second half to boot. And there’s so much I like about this other piece, and not just because it also answers a few questions about where that large knight was swinging. Sure, that makes a bit more of a mess for these folks “in line,” but I think that sudden infusion of overt violence prepares us for a story called The Peril of the Brutal Dark. Yet even with all that blood/gore, there’s still more to talk away: The hilarious face of the cop; the perfectly nostalgic design of (who I am guessing to be) Ezra Cain; and the unconcerned faces of everyone else (is that somehow a commentary, perhaps?) If these are just parts one and two, I can’t wait to see the gory and hilarious results on the third Vertigo title. (Please, there be even more vivisections!)

Rogue #2

Cover by David Nakayama

I think we as a comics-loving collective tend to focus on some very narrow features of Rogue’s power set. Namely, the sense of isolation she must continually grapple with if she even just brushes up against another living soul. But as this excellent David Nakayama variant proves, it’s so much worse for our smashing Southern belle. Imagine parts of your body suddenly aren’t your own, and whether that’s a metaphor or not, imagine the profound disconnect you’d undergo? Similarly, you’ve got all these things you can do, and this corresponding sense of power, but there’s not only a massive price attached, but you can’t fully respect or use these “gifts” considering the situation. I can’t think of better lessons to learn amid Rogue’s solo book, and it’s cool to see there’s still so much to learn and discover about this hero. Oh, and don’t even get me started on replacement leather jackets.

Do Not Disturb #2

Cover by David R. Flores

I love me a good murder/mystery stale. And I really love when there’s a “twist” involved, especially if that’s a seemingly dead P.I. operating in the “time-traveling walls of The Argyle Hotel.” Not only is the approach and style of writer-artist David R. Flores perfectly suited for this story (it’s the right balance of nostalgic and fantastical), but I just love the focus of the piece. These kinds of whodunnit stories are all about proximity and intimacy, and by shrinking the room down so effectively, we feel the true weight of this crime within this unique place in such a massive way. Even the way the shadows are cast in this extra tight space plays around with ideas of guilt and making us really consider just who done did what and why exactly they did it in the first place. In short, it’s the kind of subtle but powerful way these kinds of stories can poke and prod us, garnering our interest while making us a little unsure and even uneasy. It’s a mystery I’ll try to solve every dang time.