Character: Rogue
Publisher: Marvel Comics
Artist: Nuno Alves
Reviewer: Chris Arrant

In this piece, we see artist Nuno Alves has paired down Rogue’s traditional costume for something more sleek, adult and determined.

Harking back to her original costume first seen in Avengers Annual #10, Alves’ design goes further to simplify it with a simple black unitard as used by acrobats and dancers (and fetishists). The green scarf serves a complimentary function and intriguing aesthetic when imagined in motion. although such a trailing garment would leave herself vulnerable to a foe with quick hands and a strong grip. The green track shoes might at first seem against the lithe form and build of the costume, but when taken in consideration Rogue’s formidable strength, these sports shoes would provided added traction when accomplishing her tasks.

The redesign here alludes to a more iconic and seductive era. I’m personally reminded of the seminal work of Darwyn Cooke on DC: New Frontier in this redesign; not for any swipes or stylistic references, but of a shared reliance on the properties of Form and the use of simple clean lines as seen in early comics and most animation work today.

Character: Big Barda
Publisher: DC Comics
Artist: Chad Raymond
Reviewer: Chris Pitzer and Joel Priddy

Chris Pitzer:

Big Barda. If there is MORE woman in comics, I can’t think of her. I’m not all that familiar with the character in details. Or, let’s say if I was, I don’t have the memory that I use to. I know the basics… She’s Mr. Miracle’s main squeeze, she can kick most anyone’s butt, and she was created by Jack Kirby. And… if she was created by Jack Kirby, that causes an instant woosh of shimmering metal, inkblack power dots and really thick fingers.

And now we have Chad’s version.

I like that Chad make’s no pretention in his ability at illustration.

Instead of a 3/4 view with photoshoped lensflares, we get what a straight on view that is reminiscent of the a fertility statue I recall from my art history books. If it’s not obvious, I picked to review this design because I think it’s one of the best that has been done. I love clean simple lines, and this design has it in spades. But let’s start with the best and work our way around. I LOVE the black arm bands and leg bands that can get “lost” in her waves of flowing hair. A very neat trick that isn’t overdone.

Also, the costume reminds of the motherbox for some reason. (Disclaimer time.. I might assume this design is based on the new Mr. Miracle design? I haven’t read that comic, but just found out it’s not even Scott Free, so it’s not really Mr. Miracle in my mind. Back to the review…) The inclusion of the miniskirt gets a big thumbs up for retrochic. I also think the new face painting would add much interest to talking heads.. when they appear in comics. But IS it face painting or a mask or something else? And working our way around the design.. I’m not sure about the feet. I think she needs souls. And maybe some toe coverings. But then again, it is cool to see painted toes, and if they’re indestructible, yeah, why not go for comfort!

And best of all.. she’ll give the Jack of Hearts a run for one of the toughest costumes to draw. Rock.

Joel Priddy:

When I first saw this design at thumbnail size, I was pretty excited. We all know that Kirby was one of the Great Original Visionaries of American Comics, and that the Fourth World stories were Kirby at his most Kirbyesque. Not many people seem to be able to hone in on that weird Kirby vibe, and it’s sad to see his stuff get slowly homogenized over time. This thumbnail didn’t look like Kirby, but it seems to share in the same essential weirdness. And that is rare and interesting.

But then I clicked on it, and saw the enlarged version. Micro-mini-skirt? Stockings with garters? Headlight boob cups? On Big Barda?

Barda’s not some little club-scene sexpot. Comics are full of those, and I’m not sure we really need another. Barda is one of superherodom’s more realized female characters. She’s more Hestia-played-by-Lucy-Lawless than Circe-played-by-Catharine-Zeta-Jones. I highly recommend Michael Chabon’s excellent ode to Big Barda Woman of Valor. It’s a smart little essay, and an astute articulation of Barda. Some of this character can be seen in the face, which is the best part of the design, but the rest of the design undermines it.

I hadn’t planned on reviewing this design, because I didn’t want to seem to be slamming it. But, the truth is, I’ve thought about it several times since I first saw it. There is something quite arresting going on here. I’d like to applaud the visual sensibility that informs this design, and encourage it to be taken further. Embrace that weirdness. But this design is not right for this character.

Character: Longshot
Publisher: Marvel Comics
Artist: David Lackey
Reviewer: Chris Arrant

At his essence, Longshot is an interesting character; especially when placed in comparison with the ‘regular’ mutants of the X-men corner (or half) of Marvel’s Universe; A four-fingered rogue neither mutant nor magic with luck on his side, and a relatively innocent mind in an imperfect world. Created in 1985 by Art Adams and Ann Nocenti, the alien from an alternate dimension had a fashion sense seemly inextricably tied to the fashion of the time: namely, the haircut. While a feathered look on top with flowing locks in the back might have been a no-brainer in the cultural landscape of 1985, it proved to be a shortlived and long-cliched choice. Although Longshot’s appearance has generally remained the same during his infrequent appearances in the modern Marvel Universe, a major visual overhaul was given to the character in the Ultimate Universe by the hands of artist & Project: Rooftop Stuart Immonen.

With David Lackey’s design shown here, we see a long-overdue updating of the hairstyle to something more modern (and probably easier to draw in repetition and in various angles). But Lackey’s not just given his hair the Project: Rooftop treatment, but has taken his jacket a more personalized variation with the storage of Longshot’s cleaver-like blades on the shoulders and arms instead as a separate bandolier outside Longshot’s original jacket. The trademark glowing scar over his left eye wisely remains, as does the graphic representation as a logo on the breast of the jacket.

Overall, I think this design shows remarkable awareness of the original character and a clear delineating of what is timeless and what as a product of the time. While a radical change of hairstyle is an apprehensive moment before-hand and a sometimes slow acquiescence, Lackey has give Longshot what he needs to take on the 21^st Century.

Character: Wolverine
Publisher:Marvel Comics
Artist: Chad Townsend
Reviewer: Eric Stephenson

This isn’t a huge departure from Wolverine’s original costume, but I like it quite a bit. Wolverine looks appropriately short here and that’s good. An unnerving number of artists seem to forget that Wolverine really isn’t a big guy, and I think there’s something really cool about a little guy who can go toe-to-toe with the Hulk. I like the big eye thing here – I’m not sure if that’s intended to indicate that he’s wearing some kind of protective goggles or not, but if that’s the case, it’s a good idea and well-represented here. I also like the way Chad’s used the stripes as a motif in Wolverine’s gloves and boots and along his legs. They’re in keeping with the classic Wolverine design, but this somehow seems more contemporary. Overall, really nice stuff.