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.
Bleeding Hearts #3
Variant cover by Nimit Malavia
It’s interesting to me that in 2026, Deniz Camp and Stipan Morian opted to tell a zombie story. The pair’s last book, 20th Century Men, was a dense, multilayered exploration of 20th century politics (and dope battle suits). And Camp himself has been breaking down barriers with similarly demanding books like Absolute Martian Manhunter and Assorted Crisis Events. But if you want to understand the appeal of a book like Bleeding Hearts, peep this Nimit Malavia variant for issue #3. It’s all about the humanity, folks — admittedly, a slightly unsettling, slightly gross version, but humanity nonetheless. It’s a book that uses zombies and all the corresponding gore to delve into what makes us truly function (in medical scan-esque detail, no less), and what happens to our ability to care and trust when the world throws its many wrenches into the works. And Bunny and Mama’s resistance is just another wonderful layer/expression of this rich humanity (and how we fight to know one another in many ways). I clearly don’t know enough to read these scans, but I’d guess that all those signs of life are in the parts of us that are truly human, like some affinity for others and the deepest parts of our memory. (Medical professionals, please correct me with all your fancy words.) It’s a cover that tells you everything you need to know — this book is absolutely, undeniably alive.
Iron Man #4
Cover by Ryan Stegman and Frank Martin
I’m old enough to remember the intro to the ’90s Iron Man cartoon, and how his high-tech suit basically folded out of a cheap briefcase. And while the CGI remains a quaint joke even to this day, the imagery stuck with me, and I’ve been interested in Iron Man’s armors for years. How does it all work? How can it seem like little more than a bodysuit in one story, and then this rigid machine in another? And where does he keep them all so the suits are seemingly always within ear shot? What I like about this Ryan Stegman and Frank Martin cover to Iron Man #4 is that, just as this book has tried to lay bare Tony Stark, we get some neat insights into his suit. I love that the glove feels a little chintzy; like he had to physically put it on himself. Or, that the chest piece seems as thick/thin as his shirt (and both seemed to perform the same amid battle). Even how the black liquid could be blood or some coolant, and I don’t care to know the answer. It’s not just an incredibly cool moment: It’s understanding the armor and its functions/capabilities, and what this means for and says about Tony right now. The armor and Tony have an undeniable connection, and by exploring both in a moment of “weakness,” we can see how these suits are less of a tool and more a barometer for all things Iron Man. Beat that, ’90s cartoon.
Godzilla’s Monsterpiece Theatre Presents: Romeo & Juliet and Godzilla #1
Variant cover by Sean Peacock
I’m of two minds when it comes to Romeo & Juliet and Godzilla. The first is that I should be mad about the big lizard dude jumping, like, 120 sharks, and how no sane world needs this book. But the other mind is that we 10,000% need this book as a wonderful beacon of absurdity in perpetually dark times. That’s especially true when you consider this variant cover from story artist Sean Peacock. For one, Peacock’s take on Godzilla is the exact vibe/aesthetic I want; very retro and nostalgic in all the right ways but also new enough so we don’t overly associate it with another story or “era.” The people’s faces, meanwhile, indicate the right level of humor and overt cheesiness; anything less or more on either side and this story might not be quite as effective. Similarly, the destruction of (what I’m guessing is) the Globe Theater tells me that these creators aren’t afraid to go there and break things in the name of maximizing this story. And all of that’s without mentioning the perfect mustache of the guy in the bottom right. Big or small, these details and decisions assure me that this book won’t just be good, but it’ll be a worthy addition to both over-stuffed canons. Yea, verily!
Neighborhood Watch #1
Variant cover by Suspiria Vilchez
Sarah Gailey wrote Upright Women Wanted, and I’ll just follow them to whatever project comes out next until the actual sun blows ups. That said, this story (a murdered cop’s wife forces members of an HOA and the nearby “Open Arms Collective” to work together to crack the case) feels especially worthy of my attention/engagement. And oddly enough a lot has just as much to do with this excellent Suspiria Vilchez variant as any proper story bits. Do I get some Single White Female vibes for whatever reason? You know it, and whether intended or not, it certainly informs some of my ideas going into this book. At the same time, it also very much reads as a ’70s horror flick, and that too feels like it primes some of my senses and expectations (and makes me think psychological thriller as much as bloody slasher, and that’s a good balance to have alreadt achieved). There’s even a slightly more modern seen to the brunette, which compares nicely to the “grittier” feel of the redhead, and I wonder what that contrast might mean (if anything). Sure, a lot of this is just my own analysis, but pair that with Gailey’s storytelling pedigree, and I’ll keep my binoculars firmly planted on this here book.
Estuary: A Ghost Story #1
Variant cover by Vanesa R. Del Rey
From one variant cover that moves and unsettles to another of the same ilk, Estuary: A Ghost Story is certainly on my “rather anticipated” list. And all of that came before I even saw this Vanesa R. Del Rey variant, as the creative team promised a story centered around a marine archaeologist, a haunted old mission, a reclusive nun, and a “harrowing surge of a vengeance that can no longer be contained…” And it seems like all of that is basically catnip for the always talented Del Rey, who went ahead and mixed all of that dark magic together into yet another heady and potent mixture. On the one hand, I’m unsettled by a ghost nun basically plucking her organs out; it makes me question all sorts of ideas of biology and reality. But even more than that, I can’t decide how deep this is in the waters of the Pacific, and that somehow makes me even more upset and shaken. Because, much like this story, you only really need one or the other (ghost or deep water). But combining them opens up all sorts of opportunities for giant, genre-smashing horrors and scares. That, and no one continues to capture nature’s beauty and augments its with so tactile darkness like Del Rey. Yay, I’ll never go swimming again.
Everyone Loves a Jewel Thief #1
Cover by Aaron Campbell
I’m not really sure what to be more excited about with regards to Everyone Loves A Jewel Thief. The title alone is exactly the kind of alt noir fare circa 2005 that I adore. And then we get to the fact that not only is Aaron Campbell on art, but he’s also co-writing this with the equally talented Tim Seeley. And, of course, there’s the story’s premise, where a struggling author plans a jewel heist to drum up a book deal/general fame. For now, though, I’m sticking with Campbell’s own main cover to #1 as the biggest source of personal joy. It certainly exudes that aforementioned alt noir energy; it’s like someone took the movie poster to Ocean’s Thirteen and made it 150,000 times cooler. I also love all the bright color choices; it feels so wonderfully out of place with a heist story, and yet that tells me everything I need to know about how this caper might prove different. And Campbell’s such a potent artist with a keen understanding of human dynamics that even mid-posing, I get a real sense of the personalities and group interactions at play here. There’s other stuff as well (like what appears to be the inclusion of the map/plan in a genius little move), but one thing’s clear: If you don’t pay attention, all these little bits just might align to steal your very attention.
The Fury of Firestorm #1
Variant cover by Chris Burnham
Not only are we getting a Jeff Lemire-penned story starring Firestorm, but it’s a bonkers one at that. And by bonkers, I mean the Nuclear Man goes totes nuts and turns Bedford, Colorado into his own mad, matter-manipulating science experiment. Sign me up! (Sorry, find people of Bedford.) But what I think will make this specific story a success is that it leans into one important fact: Firestorm is already sort of messed up. Not only does the character’s powers lend them a somewhat tenuous grasp on the nature of reality, but Firestorm is a fusion of two rather different people. And so when Chris Burnham plays up that uncertainty and chaos on this variant cover, I’m all about it. The fact that there’s so much emotion across each face (despite effectively being the same “being”) does a lot to inform the story’s core. And the self-inflicted nature of this (Ronnie and Dr. Stein are literally burning alive in Firestorm’s skull flames) seems to tell us everything about this Colorado “vacation.” And, of course,, having a reason for a character to go off the rails that’s already baked into their DNA and history should do wonders for our immersion. Now, let it burn, baby.
Web of Venom #1
Variant cover by Juan Ferreyra
If you somehow need more symbiote goodness in your life, Web of Venom promises heaps of the gooey bastards. So, just who is this “All-er, New-er Venom” supposed to be? Well, it’s not MJ or Eddie, and the solicitation promises it to be “someone that Peter Parker knows well…someone both he and Spider-Man have had many encounters with…” Now, this Juan Ferreyra variant to issue #1 doesn’t give us many actual clues, but it does still provide some things that are perhaps clue-adjacent. The Spidey-Venom combo suit not only looks good, but the person (?) is perhaps leaning into the manipulative nature of said outfit to guilt, anger, shame, etc. the cast. I also love the oddly-shaped, animal-esque nature of their head/tongue; maybe it does or does not narrow things down, but at least it offers a sense of this person’s temperament and perspective. And, of course, you can’t ignore both the revealing nature and sickly undertones of those thin, wispy strands of “hair.” (God, please let it all be hair.) Even if wholly unintended, the “Final Cover May Vary” sticker feels thematically significant to this little mystery. Whoever might be under the symbiote, I can already tell this New Venom is going to make for a savagely good time.
Spawn #374
Cover by Jeff Monk
As we previously reported, a new era of Spawn is coming as Matthew Rosenberg is taking over writing duties from creator Todd McFarlane. But before Rosenberg officially assumes the mantle with June’s issue #376, I thought we’d take a look at the remaining covers under the “McFarlane Era” to get some insight into the book’s past, present, and future as it prepares for a rather massive shift. And Jeff Monk’s cover to Spawn #374 is an interesting place to start. There’s no ’90s-inspired brooding; giant, swinging cape; and/or nefarious, brutal monsters to smash. It’s just a rather direct silhouette of Hell’s favorite solider, with all those details and rich history rendered out. But that’s OK: Rather than disarming Spawn somehow, this stark, singular image turns our “hero” into more of an icon than ever before. He’s cast as this badass bit of imagery that lets you fill in your own context and understanding of Spawn. He is everything and so much more than any part of his story has ever told us, and in that way he transcends to effortlessly speak to the whole dang 30-plus-year canon in one single instance. It’s a hell of a statement (and perhaps a reminder?) before Spawn does what he always does: grow and evolve while remaining that core of anti-hero heft and emotional complexity. The more things change…
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