Part 2: Rebooting the Legion of Doom

Part 3: Rebooting Batman

So, following the immense popularity of my 5 Essential Character Redesigns post, I decided to take a more thorough stab at revamping DC Comic’s Justice League.  I’ve already mentioned before that I think their current “New 52” reboot, aimed at gaining new readers, is terribly ineffective, so I will attempt to present DC’s top characters in a way that achieves the basic goals that a reboot should:

1. Make the characters appealing to new readers, not just old ones
2. Create new story opportunities while staying true to the core themes
3. Update, correct and redesign where necessary

With these goals in mind, here’s my take. I’ve written out each character’s “reboot” in detail, including my justification for the changes.

Superman (Kal-El/Clark Kent)

Origin: The Kryptonian civilization once spanned hundreds of worlds, their technology and knowledge unrivaled in their corner of the galaxy. Kryptonians had long since advanced to a point where technology and biology were indistinguishable, making them virtually immortal and omnipotent in the eyes of less developed races. Over time they grew overconfident, and wished to introduce their technology to undeveloped worlds, in direct violation of the most important rule of the galactic community: the Omega Law. 

In an attempt to assimilate the natives of the planet Mars, Krypton finally gained the attention of Colu, enforcer of the Omega Law, and was marked for extermination. A Kryptonian Scientist named Jor-El, specializing in passively and remotely observing nearby Earth, witnessed this and rapidly set a plan forward to save his infant son, Kal-El, from their fate.  By sending him in a conventional rocket toward the backwater planet Earth, he guaranteed Kal-El’s safety from Colu.  The rocket took over a thousand years to reach the planet, and upon reaching the surface, restructured Kal-El’s body so he would appear as a human.

Raised by simple farmers, Kal-El (now called Clark Kent) eventually learned of his heritage when examining a recorded message from his rocket. His father informed him of his fate, and that he must never dominate the planet with his immense power, as it would warp the fate of all life on Earth. Not content to passively observe humanity, though, Clark decides to inspire others through his actions as Superman.

Superman has declared that he fights for those who cannot defend themselves, owing no allegiance to a particular government (though still obeying their laws). He has particularly targeted corporate corruption and the military-industrial complex as enemies of human progress, his most prominent opponent being billionaire industrialist Lex Luther and his company, LexCorp.

Powers: Superman can “shed” his human form and appear as a Kryptonian, though he chooses not to, as to avoid violating the Omega Law. He possesses superhuman durability and strength, as well as the ability to move himself through the air. His senses are also much more sensitive than an average human’s.  Being a Kryptonian, he is actually capable of near-godlike feats, but for the safety of the Earth and his mission, Clark deliberately avoided learning of what he is truly capable.

Notes: I wanted to bring Superman back to his depression-era roots, where in the earliest stories he was mostly concerned with social justice more than representing specifically American ideals. It was only after World War 2 that he became a more “boy scout,” authoritarian character. I wanted him to be closer to the Nietzschean “Superman” (the earliest inspiration for the character) whose morality can be independent of traditional ones.

Visually, I wanted to have him look a little more working class, with the buttons suggesting the image of overalls and the sleeves appearing rolled up. With the cape and high boots, though, he still has the appearance of an adventurer. I wanted the overall look to be more of a friendly guy who wants to help people more than a demigod who watches over them. He’s more of a fireman than a police officer.

Also, as an aside, Colu was the original home planet of Braniac, so I used that name for him instead.

Wonder Woman (Diana)

Origin: Since antiquity there had been a remote Mediterranean island, Themyscira, inhabited by near-mythical women, often called Amazons.  They mastered many arts of combat, but also had a knowledge of mysterious crafts regarded by outsiders as “magic.”  Over time their numbers dwindled, but they created a special keeper of their island, a living statue whom they named Diana.  Over a thousand years later, long after the last of the Amazons had died out, Diana remained.  Her vigil was finally interrupted by the plane crash of an American pilot, Steve Trevor.  Taking pity on him and nursing him back to health, Diana decided that the “world of men” was too fragile and needed protecting, or at the very least investigating.

Powers: Diana is composed of nearly indestructible “living marble,” which gives her superhuman strength and durability. She also possesses a sword that contains the lightning of Zeus and a shield containing the wisdom of Athena (which, when using its reflection, can reveal a person’s inner self and compel them to tell the truth).

Notes: I wanted to push the mythological angle further, not just for story possibilities but because it can make her more unique from Superman. Too often is Wonder Woman defined by as “the female superhero” rather than anything especially unique about her. The novelty of a superhero being female may have been acceptable in the 1940s, but now it’s quaint at best. Presenting her as a literal living statue is actually not far from her regular origin (she was formed by the Queen of the Amazons out of clay and given life), and it also provides an added Pygmalion or Telos mythological angle, which I think suits her character to begin with.  Visually, I gave her something more Greek-like and battle ready, more so than the little bathing suit Wonder Woman usually has.  Like most of the Justice League, she’s an alien in the regular world, but she also provides a unique perspective.  This, I believe, is an essential theme of the team.

Cyborg (Victor Stone)

Origin: Born with a degenerative nervous system, Victor Stone nevertheless became a technological savant and eventually overcame his disability with cybernetics of his own design. Having always been obsessed with human enhancement, he instantly became enamored when news of a “Superman” circulated the world.  In an attempt to win the favor of the newly formed Justice League, he proceeded to hack into their systems and even physically challenge them to prove his worth.  Despite being ultimately defeated, Victor was accepted as a member and serves as their “IT guy.”

Powers: Cyborg possesses higher than average human strength, the ability to connect himself to and to control most computer systems, and a greatly enhanced intellect.  He also possesses an impressive (though not always fully functioning) array of personal armaments.

Notes: Cyborg’s current origin (troubled teen who gets in an accident) seemed played out, so I went the technophile angle, which I think is more relevant.  It also places a more positive light on Cyborg’s prostheses, as the original origin has a very antiquated “Darth Vader” vibe to it.  Here I’ve basically based Cyborg off of Richard Ayoade’s character Moss from The IT Crowd, making him much geekier and emphasizing his intelligence over brute strength.  When you’re on a superhero team with the likes of Superman and Wonder Woman, having a gun hand isn’t your greatest attribute.  With that in mind, my Cyborg is valued more for his technical skills and madcap ingenuity.

The Martian Manhunter (John Jones)

Origin: Thousands of years ago, there existed a civilization of changelings who inhabited Mars. Unaware of greater galactic affairs, they were contacted by a Kryptonian ship wishing to advance them with their immense technology. This was in violation of the Omega Law, and both civilizations were immediately doomed to extermination. While this occurred, a single Martian was accidentally teleported to the present time, on Earth, by an experimental teleporter in LexCorp labs.  Despite this unusual arrival, LexCorp did not believe him to be an alien but a mutated version of John Jones, the astronaut they were attempting to teleport to Mars.  There the Martian was kept for several years before being rescued by Superman. 

Inspired by Superman’s heroics, the Martian took on the name Manhunter and vowed to bring justice to Lex Luthor and others who abuse their power.

Powers: ”John Jones,” like all his kind, can change his physical form at will, though it takes some effort to keep any shape that isn’t his natural one.  He is only limited by the amount of matter in his own body.  Using this, he can alter his density to become lighter than air, turn invisible and even “phase” through solid matter.

Notes: I removed most of the Martian Manhunter’s powers and focused on shapeshifting, since his other abilities are covered thoroughly by Superman and the rest of the Justice League. This version is also much less trustworthy of human beings, and with his special skill acts as the League’s detective and infiltrator.  Visually I went with something more gangly, and with an outfit that he made himself to mimic Superman. He’s explicitly meant to look awkward and out of place.  I like John being more alien and focused on simply understanding the world around him.  The first Earthlings he really encounters are all heroes so he thinks “Well, I guess I’ll assimilate into this ‘super’ culture.” 

Green Lantern (Midori Ota)

Origin: Oa is a planet that stands apart from the galactic community in that its leaders take great interest in underdeveloped civilizations. So great is their concern that, in violation of the Omega Law, they secretly send devices of significant power to backwater worlds that allows a single individual of utmost character to defend their planet from existential threats. Upon its arrival to Earth, the device chose a young animator named Midori Ota for her creativity and strength of will. While she eventually embraced this new power, Midori does not realize this “green lantern’s” origins or why she must truly wield it.

Powers: The “Green Lantern” itself is a device of Oan technology that binds itself to the chest of Midori when in use, and can project a stream of microscopic machines that can take on virtually any form she imagines. The only limitations are ones of concentration and total amount of the machine particles.  She can also fly by encasing herself in a thin layer of the material. Also, while the lantern is the literal source of the objects Midori generates, there is not always a literal trail of light connecting it to the source.  Once the substance is “projected,” she is able to sculpt and move it as she sees fit.

Notes: The only significant visual change is the removal of the ring. I did this partly because I think a visually central source of power fits with the symmetry of the outfit better, but more importantly I wanted a device that was more universal and would make sense with an interplanetary effort to empower multiple species. It also cuts out the middle man and make the Green Lantern someone who literally uses a Green Lantern to fight. You wouldn’t call Batman “Money Man” or “Cave Man” because that’s where he recharges.  Also I went with a plucky, younger character like Kyle Rayner, who I think was the most interesting to hold the title.  Midori is a person who enjoys being a superhero and revels in the action it brings, at least for now.

The Flash (Ananth Patil)

Origin: While attempting to replicate what he believed to be the origin of Superman’s invulnerability, Dr. Ananth Patil accidentally accelerated his own metabolism to a superhuman degree.  While he has gained extraordinary abilities in the process, his body has become unstable, requiring him to eat enormous amounts of food simply to stay alive and making regular sleep impossible. He currently seeks out other superhumans, hoping to find a way to cure his condition.

Powers: The Flash can and move at incredible speeds, well past Mach 10.  He has also devised a helmet that compensates for the Doppler blue shift he sees at very high speeds as well as the equivalent for sound with his ear microphones.  

Notes: I wanted a different take on the Flash than what’s usually seen, namely someone who saw it more of a curse than a blessing. Ananth is a scientist first, he’s more like Hank Pym or Bruce Banner: adventuring is a means to an end.  Visually I wanted to give him a build that was more like a sprinter with larger thighs and a leaner overall shape.  His outfit is very deliberately designed (by the Flash himself), with an emphasis on comfort and practicality.

Power Girl (Karan Starr)

Origin: Superman is considered a security liability by the US Government, as he does not recognize their authority over most matters.  As a response, the CIA secretly worked with LexCorp on replicating the Man of Tomorrow’s abilities in human beings.  The only test subject to survive the process was Lieutenant Karan Starr, who was given the codename “Power Girl” and tasked with being the United States’ counter to Superman. However, instead of openly opposing him, Karan was sent to infiltrate the newly formed Justice League as an independent “superhero.”

Powers: Strength and invulnerability comparable to Superman, though she does not have his more unusual abilities like flight. However, since LexCorp did not know that Superman is an alien, their methods of replicating his abilities were very different. This may lead to Karan experiencing side effects later on.

Notes: Power Girl’s origin story has always been a mess, so I just started from scratch. Since my version of Superman both makes him much more antiauthoritarian, it seemed natural to have a character that exists as the government’s response to a superhuman acting independent of their own interests.  Karan is essentially a Captain America character with a much more morally ambiguous origin, and is sent to basically watch over this crazy (in her eyes) band of superpowered people- I think that has story potential. Visually I wanted to keep her short, curvy build, but place emphasis on her strength instead of her sexuality.

**********

And there’s my take on it.  Overall I wanted to place emphasis on character over costume, meaning that I tried to develop the superpowers to fit each character’s personality. I also tried to develop a lineup that could provide a lot of new stories as well as various character relationships.

I’d love to hear your thoughts!

Part 2: Rebooting the Legion of Doom

In the world of superhero comics, artists and writers are (more often than not) dealt the task of handling characters that they had no hand in creating, characters that have often existed for decades.  Being able to put a fresh spin on concepts that have been around for so long is no easy task, and the history of mainstream comics isn’t short on botched reboots and the like.

In the current wake of DC Comic’s largely unimaginative (or in some cases, downright offensive) “reboot,” I thought we should take a look back at some better examples.  The criteria include:

- Theme:  the design tells us important things about the character

- Form:  a cohesive and appealing appearance

- Function:  the outfit should be practical in the context of what the character does

10. Starman - James Robinson & Tony Harris

A 90s version of the obscure Golden Age DC character, this Starman has all the right things going for him.  Since his stories often deal with the occult and the morally gray areas of superherodom, it’s very fitting that he has no real costume besides the essentials (his Star Rod and goggles for flying).  Street clothes make sense for a Vertigo character like this, too, and Starman’s a rare example of the 90s design philosophy of “dressing down” actually working.  While other artists of this time were simply putting jackets over spandex, Starman here actually has a thematically appropriate outfit.

9. Daredevil - Wally Wood

People often forget that when he was first created, Daredevil wore a pretty intense yellow and black outfit for a while before cartooning legend Wally Wood took the helm.  Wood pointed out that it’s a bit odd for the Man Without Fear to wear yellow, the color of fear, and changed it to the deep, dark reds that have dominated his design ever since.  Daredevil is a simple, direct kind of crimefighter, and the pared down aesthetic of Wood’s design really communicates that about his persona. This is one of only a few instances where another artist has supplanted a Jack Kirby design as the iconic image for a Marvel character.

8. Aquaman - Peter David & Jim Calafiore

Aquaman has generally been a lackluster character and, due to his extremely specific superpower, a constantly inexplicable member of the Justice League.  Peter David’s incarnation of the King of Atlantis in the 90s, however, was a breath of fresh air.  He grew a big hobo beard and his hand was eaten by piranas, only to be replaced by a big harpoon.  His outfit otherwise wasn’t terribly inspired, but the hook and beard worked. Overall his portrayal was just one that was more desperate and threatening, which I think better fits the notion of an ocean monarch.  It may tread a little bit into Namor territory, but that’s not a bad thing.

This may be a controversial call, and DC has since reverted Aquaman back to a clean cut dude with two hands who looks like everyone else, but I stand by it.  My general rule: whatever appearances the Bruce Timm series decided to go with are usually the better ones, since they have to distinctively encapsulate what’s important about the character. Crazy bearded harpoon-handed Aquaman is just more interesting.

7. Batman - Frank Miller

It’s easy to make fun of Frank Miller these days since pretty much everything he’s done for the past 20 years is a childish mess, but we should never take for granted what he did for revamping Batman.  While The Dark Knight Returns was never part of any continuing canon, Miller’s grim, noir portrayal of Bats has since become the gold standard for the character.  Strategic use of shadow, the broad build, functional utility pouches and an emphasis on silhouette were all pretty groundbreaking at the time.

While my personal favorite Batman interpretation comes from Mike Mignola, he’d never have gotten there without the work of Frank Miller 10 years prior.

6. Mr. Freeze - Mike Mignola

While this is technically an animated redesign, it’s worth mentioning.  Before his portrayal on Batman: the Animated Series, Mr. Freeze was basically a goofy 3rd string mad scientist.  Along with a new tragic backstory, Freeze got a wonderful, sleek art deco-style look.  With muted blues, a domed helment and long, segmented limbs, he almost looks like a robot straight out of a Fleischer Superman short.  Unfortunately, while later comic writers did adapt the more complex and compelling backstory and behavior, no artist outside the cartoons really adopted this appearance, which is such a shame.

5. Captain America - Bryan Hitch

Marvel’s Ultimates comics have some great designs in general, but one that’s always stuck out for me was the re-imagining of Captain America.  Cap’s classic outfit is a good one, but I always felt it was a bit too “costumey” for a guy who’s supposed to be a soldier.  Bryan Hitch’s redesign is very strong without massively reworking the iconic getup:  his boots and gloves are more functional, his body armor is more visible and his “mask” is actually a proper helmet (at least in Ultimates Vol. 2).  It’s a very good balancing act between Cap’s two roles:  patriotic symbol and practical soldier.  If you go too far in one direction, you lose what the character’s all about.

4. Mahr Vehl - Steve McNiven & Warren Ellis

Another Ultimate Marvel recreation, Captain Marvel retains most of his origin story (alien defects to Earth because he grows to like humans), but the way they go about it is pretty different.  Instead of giving him vague superpowers, Captain Marvel here is more like a high-tech alien Iron Man, where his superior abilities are an extension of simply being more advanced.

It’s also not just the outfit itself, but how it works that impresses me.  Almost like a living suit, it wraps around Mahr Vehl in a way that’s totally alien.  In general Warren Ellis does a great job in his stories of making aliens seem plausible, and the reptiloid-alien-getting-cosmetic-surgery-to-look-human-and-gets-a-living-suit-of-armor version of Mahr Vehl is an updated, compelling alternative to the relatively obscure original Captain Marvel.

3. X-Men - Frank Quitely & Grant Morrison

The X-Men have been reinterpreted by many artists and writers over the years, but my personal favorite take was New X-Men by Grant Morrison and Frank Quitely.  I think the X-Men are most compelling when they’re acting less as superheroes and more as mutants, and Quitely does a good job of making them look a bit weird and alien.  

The removal of the spandex outfits was just the first step:  giving them uniforms without looking too conspicuous gives them a team unity without making them look like any other superhero team (though those jackets still have kevlar).  The characters also simply look a lot weirder:  the feline Beast and the addition of Xorn are just two examples.  Quitely does a great job of making each character visually distinct without relying on what they’re wearing so much, something most superhero artists simply never attempt.  Cyclops is gangly, Jean Grey is narrow and Wolverine is squat and thankfully lacking that giant hair he usually has.  These are people with personalities, not costumes.

The overall effect is a group of strange characters who don’t quite fit in the world around them, perfect for the X-Men. 

2. Catwoman - Darwin Cooke

Cooke’s take on Catwoman from the early 2000’s is, in my opinion, the first really solid visual interpretation of the character.  Catwoman’s been around for a long time, but with few exceptions, I’ve always felt she was overly gimmicky, and it was only when writers and artists started taking the “cat burglar” part more seriously that she began to take shape.

Too often have her outfits been oversexed or skimpy, with little thought placed on practicality.  The most notable historical problem (besides the need for a sports bra) are the high heels, which really are silly on any superhero or villain.  Cooke removes all those frivolities and gives her gear that fit with the cat aesthetic while still being useful.  Similar to Captain America, Catwoman’s a balancing act, this time between a practical adventurer (as Batman’s foil) and her sexuality (as Batman’s seducer).

1. Thor - Chris Samnee

As I’ve mentioned before, Thor is one of my favorite superheroes and one of my favorite superhero designs.  In my opinion, nobody’s seriously challenged Jack Kirby’s original work until now, with Chris Samnee’s rendition from the critically acclaimed Thor: the Mighty Avenger.  The brilliance of Kirby’s initial design (ie: the balance of mythical with science fiction) isn’t lost here, but there’s also an added layer of practicality and humanity.  Without throwing out the old design entirely, Samnee has made Thor’s appearance seem more appropriate for a space god while holding on to the essential humanity of the character.

Marvel’s Thor, at his core, is a man of two worlds.  He’s not just a mythic hero fighting Frost Giants, but also a person who’s fallen in love with mortals while not always understanding their world.  Samnee’s interpretation makes Thor seem a bit less intimidating with a younger face (his hair falling in the way at times) and a more clothed body to make him seem less intimidating.  The cape has become less Superman-esque and more of a traveler’s cloak (complete with hood), which makes him seem more like a transient.  The helmet wings, are less ostentatious and royal, and gone are the pointed shoulders to emphasize his enormous build.

This Thor has traded a bit of the Kirby invincibility for some human vulnerability, and his costume reflects that.  He is now covered with mail (likely taken from Olivier Coipel’s design), and even his chest piece has gone from a cloth tunic to an actual armored vest with buckles.  His belt is also incorporated into the chest design, and now comes with a useful strap to hold his trademark hammer.  Even the straps of his boots are more uneven, hailing from an older time.  Another, albeit minor, change is his hair.  While still sporting long golden locks, Thor has dropped the classic bangs and now has a neat little braid, which makes him seem ever so slightly more of a Viking, which I appreciate.

Overall, I think Samnee’s version of Thor is much more human without sacrificing the mythic qualities, which is perfect for the series’ story of a character who is basically pulled out of time.

And there you have it, some of my thoughts on superhero redesigns from here and there.  See?  Redesigns don’t always have to be bad, if you put a little work into it.

**P.S. For a whole blog about superhero redesigns, check out Project Rooftop!**

I ran across the most interesting thing yesterday.  Apparently a clever teacher of a “Narrative and Technology” course assigned her each of her students to analyze a page of their choosing from my comic.  What I found were probably the most insightful things people have ever said about Dresden Codak.  The spectrum of input, from both people who were longtime readers of comics or those who never bothered before, makes for a fascinating read.  If you’re interested in webcomic analyses in an academic setting, you should check these out:

http://postprintfictions.wordpress.com/2011/03/22/1729/

http://postprintfictions.wordpress.com/2011/03/21/eye-catching-colors-and-mother-instincts/

http://postprintfictions.wordpress.com/2011/03/21/hob-4-after-many-a-summer-dies-the-swan/

http://postprintfictions.wordpress.com/2011/03/21/hob-14/

http://postprintfictions.wordpress.com/2011/03/21/fabulous-prizes/

http://postprintfictions.wordpress.com/2011/03/21/storytelling-in-hob-1/

http://postprintfictions.wordpress.com/2011/03/21/comic-layout-techniques/

http://postprintfictions.wordpress.com/2011/03/21/a-codak-of-formats/

http://postprintfictions.wordpress.com/2011/03/20/dark-science-07-intermezzo/

http://postprintfictions.wordpress.com/2011/03/20/mirror-images/

http://postprintfictions.wordpress.com/2011/03/20/dresden-codak-hob-7/

http://postprintfictions.wordpress.com/2011/03/20/hob-4/

http://postprintfictions.wordpress.com/2011/03/20/the-dichotomy-of-memories/

http://postprintfictions.wordpress.com/2011/03/19/concerning-continuity/

http://postprintfictions.wordpress.com/2011/03/18/humanity-in-machines/

http://postprintfictions.wordpress.com/2011/03/17/playing-with-shape-and-forced-focus/

Continued from the last article about costume design, today we’re going to talk about those wacky things you hide underneath clothing.  Figure drawing is a pivotal tool to any artist, but being able to effectively render humans and creatures is only part of the equation.  Even if your draftsmanship is solid, you won’t get far if your designs are uninteresting.  Effective and dynamic figures are the cornerstone of having compelling characters in pretty much any comic.

The Purpose of Character Design

The focus of art in general is to generate a particular response out of your audience; the mechanics of what you literally create are often secondary to this goal.  Something can be abstract or literal, but the point in both cases is the effect is has on the viewer/listener/reader; the creation itself is a means to an end.  In comics, authenticity and realism are not defined by what you are actually drawing, but rather how your drawings are viewed by your reader.  In the context of a visual narrative, a simplistic drawing can be “more real” than a more realistically rendered one if that simplistic drawing evokes a more authentic response.  A stickman can be a more convincing character than a photorealistic painting; it all depends on how that stickman is conveyed.

When you design your characters, you have an opportunity to both communicate information about them, as well as provide a conduit through which information about other characters and even environments can be shown.  Their appearances can augment the actions in the narrative, or even take the place of regular action.

Focused Caricature

When designing characters for comics, then, it’s not universally important to faithfully recreate how people look in real life or even caricature real life.  This may sound contentious at first glance.  After all, isn’t a big part of cartooning exaggerating elements of real life?  Certainly, but that’s only half of the equation when it comes to visual narratives. A regular caricature is mostly about emphasizing what’s visually obvious, and while that’s still present in comics and animation, on top of that there’s often the need to convey information about the character.  Even if you’re basing a design on a real person, what you choose to emphasize can determine how the audience views that character.  Again, what part of “reality” (in this case people’s appearances) you select to share can profoundly change how those characters are perceived.

Implied Motion

While they can be very similar, a fundamental difference between the needs of comic design versus animation design is the presence of literal motion.  

In animation you can give your character a nervous tick, a particular walking pattern, or any other number of facial and other motion cues to add flavor and depth to a character.  However, with the static images of comics, this approach is limited.  As such, more pressure is placed upon the designs themselves because they’re the primary visual resource the reader has for gaining information about the character.  Luckily, there’s a plethora of tools at our disposal for doing just that.  The shape, size and position of a figure can be designed in such a way that it implies motion.  Upturned brows and lips can suggest someone who is frequently bemused, an exaggerated posture can give the impression of a certain type of gait, and so on.  And since the reader’s eye can dwell on a comic panel indefinitely (at least in theory), there’s more freedom to employ subtler facial and body elements to add to a character’s flavor. 

The Body

Shape Up

Silhouettes and overall shape are the first pieces of information to reach the reader, and because of this they will always dominate any character’s design.  If your silhouette isn’t doing its job, the rest won’t matter.  Starting with a simple, clear shape and working backwards is a good rule of thumb.  And while this is naturally easier with monsters and other fantastical creatures, it applies just as much to regular people.

Body Types

People are not divided into skinny/fat/muscular.  While these body states do obviously exist, each of these will still differ from person to person.  For example, there’s not a single “athletic” body type, but dozens (as this amazing photo series shows). Don’t fall into the trap of old superhero comics where everyone looks like a bunch of clones wearing different costumes.  People’s builds, postures, hands, feet and musculatures are extremely diverse, going far beyond simple factors like age, height and weight.

Body Language

Your character’s motions can inform you quite a bit on how you could design their form.  If a character often stoops or shuffles, you can warp his or her spine and posture to bring attention to that sort of behavior.  In general, you want the figure to emphasize and accentuate the type of body language indicative of that person.  This is really important.  In animation, there’s a little less of a required connection between body language and design because you can literally show motion, but with comics being a static medium,  you have to imply a lot of motion without showing it.  Naturally, if your character has a very wide range of motion, your design should reflect that too.  Main characters aren’t usually designed around a single posture, for example, but side ones often are.  In the end, this is all a tool to efficiently communicate information about a character to the audience.

The Head

Shapes Again

Even more so than with the body, you should be able to reduce each character’s head to a fairly recognizable shape.  This is the foundation for developing a good head silhouette, which is vital because the focus of a page is often on peoples’ faces; recognition should be established on a subconscious level with little to no effort on the part of the reader. 

If the reader can’t immediately and clearly distinguish who is who without using details, the designs are bad.  Also note: using hair alone to distinguish heads is cheating. Similar to the superhero body problem, don’t fall into the crappy anime trap of having identical heads that are only distinguishable by their wacky hair.  Obviously hair is a component of character design, but to rely exclusively on it is taking a shortcut that only ends in sloppy composition and no variety.  

Similar to the Naked Test (which we’ll talk more about shortly), you should be able to immediately distinguish all your character’s heads without any adornments or hair.  Shave ‘em down and compare.  

Variety is Your Friend

Ears, eyebrows, skulls, eyes, eyelids, noses, cheekbones, nostrils, hairlines, necks- these are all elements that will vary from person to person.  Don’t be afraid to go beyond normal human proportions.  Exaggerating or simplifying to the point of even being a stickman is perfectly fine, so long as it suits what you’re trying to do.

Dominant Expressions

What types of facial expressions and body language do your characters exhibit?  Main characters generally require more of a range than side characters, while less three-dimensional characters can be designed to fit only a handful of expressions.  

A lot of character information can be shown to the audience this way.  Showing rather than telling your readers means you’re playing to the medium’s strengths.

The Naked Test

Once you’ve designed your figures, we move on to the Naked Test.  When developing a cast or even just a couple of characters, they should always be instantly recognizable without the aid of clothing.  Even if their clothes have some key distinguishing elements to them (which they probably should), the bodies themselves are the foundation, and if the foundation is too generic, then you’re left with a flat design that can’t be corrected by adding stuff on top.  All the basics should be present at this level: distinguishable silhouettes, unique body types and proportions, and unique facial shapes should all be there to tell your character’s story.

Figure drawing isn’t easy.  Because we’re hard-wired to distinguish even the tiniest variance in human appearance, there’s a lot of pressure to get figures right compared to other subjects.  As such, it’s easy to play it safe with conservative designs that don’t strain our draw-muscles, but it’s important to push past that. Effective and compelling character design is a skill that’s indispensable for cartooning of every kind.