This week we've been blessed with a lot of great looking covers; so we've highlighted a few more than usual. As always, check them out and let us know if we missed one that you really, really liked out of this week's new releases.
First up is the cover to ASTONISHING X-MEN #55, by Phil Noto. The abstractness of this image is what really struck us as being cool. The concept of featuring X-Men characters as bullets is pretty awesome in itself; but the symbolic nature of the image is what makes it even cooler. It's almost as if this image is a reflection of the X-Men's weapons arsenal.== TEASER ==
This week's THE AMAZING SPIDER-MAN #696 cover by Steve McNiven and West features Hobgoblin versus Hobgoblin, squaring off against one another in a crazy fight; the extent of which we see within the issue. First off, it's McNiven; so it's beautiful. Yet, what's really cool is the fact that the two Hobgoblins are fighting each other through Spider-Man's eyes.
The theme for the last two covers of DEBRIS is depicting a picture within another picture. This week's cover to DEBRIS #4 is no different the image by artist Riley Rossmo is abstract and really interesting -- there's a lot going on. There's a sense of balance in the picture, as well. The black background and then the snowy, white image inside; it's really beautiful.
This month's cover to SPAWN #224 brings back memories of Frank Miller's Batman. Artist and Spawn creator Todd McFarlane has been dishing out some stunning covers to Spawn, each of them paying homage to modern comic books from Miller's Batman to Alan Moore's WATCHMEN. This week it's pretty cool to see McFarlane channel his inner Frank Miller.
This month's FABLES #122 cover is absolutely stunning. Cover artist Joao Ruas delivers a breathtaking image of the wolf, mouth wide and ready to attack his unsuspecting victim. The colors in the picture are subtle and blend really well together; reflecting this dark, dreary and brooding tone.
Finally we have Alex Ross' cover to THE SHADOW #6. Not only does the image capture the absolutely and utterly creepy, but it does this in a way that is incredibly detailed and lifelike. The cover is eerie and the viewer is drawn directly to The Shadow's eyes thanks to the intricate angle Ross used.