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THE 10 MOST CONTROVERSIAL COSTUME CHANGES THAT ROCKED COMICS' FANDOM | | Writers and artists Tom DeFalco, Peter David, Rob Liefeld and more weigh in on the contentious costume changes during their runs | | | By the Wizard Staff | | Posted 05/20/08 | |  | |  INVISIBLE WOMAN (1993)
A pair of thigh-high boots here and a snipping of "4"-shaped fabric there, and disapproving fans got a pretty clear view of Sue Storm's "Fantastic Two." "People used to look at Sue Storm as their mother, and they were outraged that we would put their mother in this sort of costume," says then-Fantastic Four writer Tom DeFalco. "A lot of people claimed we had crossed a terrible, horrible line."
AQUAMAN (1994)
The King of Atlantis was never king of fashion—orange and green gear clash harder than the Titans. And then came the redesign. "The long hair and beard, yes," says then-Aquaman writer Peter David. "The harpoon, definitely. I was never wild about the shirtless look and the gladiator arm piece. Sure, I understood that the shoulder piece was supposed to be invocative of Roman gladiators, but the problem is that Aquaman is not a Roman gladiator."
IRON MAN (1985)
When then-editor Mark Gruenwald wanted a revamp for Shellhead, he turned to veteran Iron Man guru Bob Layton, who, while working with the book's artist, Mark Bright, would also suggest a new color scheme. "A large group of fans are very fond of that particular armor," says Layton. "It was, for me, personally, one of my least favorite designs only because it violates my philosophy of technology, that things should get more streamlined and sleeker, not bulkier and clunkier."
DAREDEVIL (1993)
With Daredevil in a slump, then-editor Ralph Macchio opted to "throw everything and the kitchen sink" in the book—including a metallic makeover by then-DD artist Scott McDaniel. "I think that may have contributed to the increase in sales," says Macchio. "I think people picked up the book for several reasons, one of which was to see what was going on. Daredevil has not had many costume changes in his life—I think only two or three."
BATMAN (1993)
When Azrael took over as Batman while the real deal mended his broken back, Az amped up Bats' look. Robin's first reaction summed it up: "You've got to be kidding." Nonetheless, then-Bat-editor Denny O'Neil stands by the switch. "I think we made a number of mistakes in that series but the costume is not among them," admits O'Neil. "We did what the movie people are doing; take that basic icon and make it more contemporary."
CAPTAIN AMERICA (1996)
The Star-Spangled Avenger stands as a symbol of America, but when the "A" on his forehead was replaced by an actual symbol of America, fans seceded. "I think the eagle gave people something tangible to rally around when they were upset the ['Heroes Reborn' revamp] was happening," says then-Cap plotter-artist Rob Liefeld. "If I had to do it over, I wouldn't do it. That's as honest as I can be because you just sit there and go, 'That didn't get off the ground.'"
SUPERMAN (1997)
As if killing the Man of Steel and then giving him a mullet didn't rile up fans enough, this "shocking" makeover gave the "Electro-Superman" an additional set of energy-based powers. "I wasn't that thrilled with it because I thought it made him look like an ice skater," laughs Superman writer-artist Dan Jurgens, although he admits the storyline saw support too. "I think the younger readers wanted to see new things done with Superman and a new spin on the character."
SPIDER-MAN (1984)
The harbinger of Venom may be Spidey canon now, but its debut proved a harder sell. "We received tons of letters from fans that stated if we went and changed Spider-Man's costume, they would stop reading the book and leave Marvel forever," says then-Spidey editor Tom DeFalco. "After the costume came out, everybody suddenly decided they loved it, and when they heard we were getting rid of it, all of them threatened to quit the book and never read Marvel again."
THE HULK (1986)
Although often miscredited with the change, writer Peter David admits he began his long Hulk tenure because of the green-to-gray color swap instituted by then-writer Al Milgrom and editor Bob Harras. "I thought it was brilliant," says David. "The brainless, green Hulk smashing sh-- all the time didn't really float my boat. But when they went back to the original incarnation of the Hulk—all the way to issue #1—I thought, 'You just don't get more down to roots than that.'"
WONDER WOMAN (1968)
Nothing says "late '60s style" like a powerless Wonder Woman wearing a mod jumpsuit. (It was handy for her newfound martial arts prowess.) Even Gloria Steinem herself was not a fan. "Steinem's point, and the point of many others," says then-writer Denny O'Neil, who collaborated with artist Mike Sekowsky, "was that I took the one truly powerful woman in the comics pantheon and denatured her." But at least she was ready for yoga class.
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