Best NEW Comic Covers This Week 7-2-25

Best NEW Comic Covers This Week 7-2-25.
This week’s comic covers aren’t just flexing their artistic muscles—they’re practically bench-pressing fan expectations while grinning. The art isn’t playing fair, either. It’s loud, unsettling, gorgeous, and somehow still leaving us with questions like, “Wait, did Venom just tell us to shush from the inside?” From cosmic face-offs to claustrophobic threats coming straight for your face, the best new comic covers this week don’t just hang on your wall—they start conversations, raise eyebrows, and, yes, probably spike speculation value too. Let’s break down the latest art that dares you not to stare.
These comics are scheduled for release on July 2, 2025. As of now, we are not aware of any delays and cannot be held responsible for any unforeseen changes.

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Best NEW Comic Covers This Week 7-2-25.

All-New Venom #8 by Ivan Shavrin might be the most casually disturbing cover of the week. We get a tight, glossy view right inside Venom’s mouth—and there, smirking with a finger over her lips, is our female host. She’s not screaming. She’s not trying to escape. No, she’s asking us to stay quiet. That little smile? It’s the kind that makes collectors raise an eyebrow, or at least question the stability of symbiote-human relationships. As far as new comic covers go, this one blurs the line between subtle horror and straight-up “what did I just look at” curiosity. Shavrin’s artwork is rich with detail, dark with intent.

Ultimate Wolverine #7 from Fabrizio De Tommaso reminds us that tracking Wolverine in the snow is about as smart as poking a bear with a stick. He’s coming straight toward us in a blizzard, claws out, breath visible, and expression unreadable—but probably not friendly. De Tommaso’s art nails that rugged isolation with snowy texture and enough tension to make you feel cold just looking at it. And yes, you’re looking at a cover that knows how to hold attention. Brutal and precise.

Bring on the Bad Guys Green Goblin #1 gives us two sharply different angles of a villain that’s never out of style. Lee Bermejo drops a first-person nightmare, where you’re not just looking at Green Goblin—you are Spider-Man, or at least the hand and web fluid trying to stop a pumpkin bomb being hurled at your face. It’s moody, cinematic, and probably a collector’s favorite before it even hits shelves. Then Todd Nauck spins it in the opposite direction with a clean white backdrop that makes Goblin’s green-and-purple pop like classic candy-coated chaos. Three pumpkin bombs are mid-air, and you’ll swear at least one’s aimed at you. This cover looks simple until you realize how well it works on a wall.

The Immortal Thor #25 by Greg Land brings cosmic drama with a museum-quality rendering of Thor as an imposing stone statue, surrounded by what appears to be alien worshippers—or invaders, maybe both. The whole vibe leans heavily into mythology-meets-space-opera, and Land’s depiction makes it look like Thor is frozen mid-myth. It’s stoic. It’s strange. And it might just be one of those under-the-radar covers that ages well in the collector scene.

Godzilla vs. Thor #1 also comes crashing in with a duo of wild covers. Mitsuhiro Arita plays the split-face game, but this isn’t your average profile shot—it’s Godzilla on the left, Thor on the right, with the two doing battle down the middle under a giant lightning bolt that cleaves the chaos. It’s about as metal as covers get. Meanwhile, Aaron Kuder takes a subtler approach—if subtle means Godzilla’s gigantic glowing-eyed mug staring you down while Thor, looking like a speck, stands ready with Mjolnir cracking a single bolt across the cover. Spoiler: it’s not a fair fight, and that imbalance is what makes this one pop. The energy crackles.

Amazing Spider-Man #7 by Simone Bianchi closes out this batch with Spidey crouched on a vague surface—because who even cares where he is when the texture and contrast are this strong. The earthy greens and murky tones surround him like a camouflaged stage, but those thick black costume eyes and fine webbing detail make it clear: this is a Spider-Man cover that wants to be in the spotlight. Bianchi’s style always veers a bit abstract, and this one’s no exception.

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