The cover to X-Men #175 has always been a favorite of mine, mostly because it is crazy.
In classic comic book style, there's not an inch that isn't either filled with action or leading the viewer's eye toward it; it's "dynamic" cranked up into the red. The image by artist Paul Smith is a scene that could easily be hobbled by coming across as too crowded or busy, but instead it's filled with a sense of movement and of a dozen things happening at once. Flames roar in the background, concrete is heaving beneath the heroes' feet (emphasizing the tilted perspective and reaffirming the idea of instability), Kirby Crackle swirls through the sky — and that's just the setting.
Every character seems to be in mid-step, bracing for the impact of combat or launching their own attack. Nothing is static, and every pose is different and true to the character. In other words, it's the controlled chaos you should expect from a fight scene.
One way this is revved up is by having everyone use their powers. I have to admit, the fanboy in me loves that. Look at that giant energy claw blasted effortlessly by Phoenix, her sheer power dominating the center of the scene; and look at Colossus, her target and the team's strongman, straining under the assault. Cyclops is blasting from below, Rogue and Storm are airborne, Nightcrawler is teleporting in with his trademark cloud of brimstone, Kitty's phasing and Wolverine has his claws ready. Even Lockheed is there, tiny in comparison to Phoenix and in the context of the scene. The whole thing is bedlam, but it still comes together.
Smith's work — with its clean lines, expressive body language and distinct facial expressions — is something I've always liked, and considering this was the 20th anniversary issue and Smith's last issue on the title, I really get the feeling that he just went for it. What always makes an impression on me, though, is the way Smith never loses sight of the basic elements needed to pull it off successfully.
You wouldn't know it until you read it, but the story itself focuses on Cyclops. And by placing him in the middle of the scene, framed by the rest of the characters, the cover focuses on him, too. It's a credit to Smith that, in spite of the sheer amount of stuff that's going on here, nothing is wasted and nothing is lost.
What do you think of this cover? Let me know in the comments.
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