Each Monday staff writers Kevin Melrose and Steve Sunu discuss their five favorite covers from the previous Wednesday's new comic releases, selecting from among them CBR's Cover of the Week.
This week, the Big Bad Wolf goes on the hunt, Wolverine goes claws out, Cyclops goes Old West, the X-Men go guns a-blazzin' and "Prophet" gets ethereal.
Keep reading for Kevin and Steve's favorites from the week Oct. 24, and then discuss your choices in the CBR forums.
There's a mythological feel to this Joao Ruas cover, something deeper, something older than a fable (with a lowercase "f"); perhaps it's because the gigantic Bigby is reminiscent of Fenris from Norse myth. In any case, the image is actually a literal representation of the story within, of a time long ago when an enormous Bigby Wolf (then "the greatest monster to prowl the deep and dark woods known as the Black Forest") pursued a young sorceress. I love that the girl is so consumed with the book, or maybe unconcerned by the physical world, that she's oblivious to the danger she's in. -- Kevin Melrose
Helen Maier's cover for "Prophet" #30 is simply gorgeous. While the level of detail in the linework and the ethereal nature of the background are impressive, it's the colors that really give this one its vibrancy and makes it stand out on the rack. The subtle and calming purples of the background are a stark contrast to the yellow of the tentacled creature, but this cover blends the two effortlessly, resulting in a calming effect that allows the viewer to fully appreciate the creature. -- Steve Sunu
Presumably a purposeful nod to the teaser poster for Fox's "The Wolverine," Jock's cover for the debut issue of "Wolverine MAX" transforms the original concept of claws through Japan's "circle of the sun" into something much more. Here, instead of slashing through the emblem, Logan's claws create "panel breaks," allowing for the illusion of the passage of time: the moon arcs across the sky, leaves fall from branches, feudal castle gives way to modern city. It's clever and poetic. -- Kevin Melrose
In a comic about dimension-hopping, it can be difficult to create a compelling cover. After all, how do you convey that some characters are alternate versions of Marvel mainstays? Kalman Andrasofszky pulls it off admirably for "X-Treme X-Men" #5 with his depiction of a sheriff from Graymalkin, Arizona (it says so on the badge he's wearing). The all-red cover is accented by the subtle glow from the beneath the mustachioed sheriff's hat. It's easy from these visual cues to identify this gunslinger as Cyclops, but take a look at the other effort Andrasofszky put into this cover: the wallpaper, the wrinkles on the clothing, the mustache. It adds up to a stunning cover and admirable effort. -- Steve Sunu
While Phil Noto's "Astonishing X-Men" cover is artistically impressive, it's really the concept that makes it rise to the top. Noto's image of a gun with Wolverine's team of X-Men standing in for the bullets being fed into the chamber is made even more powerful by the empty expressions on each of the mutants' faces, insinuating some outside force is manipulating them. While the X-Men might not technically be the weapon itself, they're certainly what make the gun so dangerous in this metaphor. It's a rare cover that makes the reader think this much. -- Steve Sunu