So which Twoface scarred design do you like based on anesthetics the most? And any theories about the variety of colors, like do any play into color theory or any meaning, or are just limited to printed color limitations/artist sole interpretation?
This would have been a much shorter answer if you hadn’t added the second part. But I’m glad you did, because I love talking about this shit!
While I do have certain… shall we say, opinionated preferences for my ideal design for the scarring, my taste is dependent on SO many different factors. Since you brought up color limitations, let’s start there, because that speaks to a certain aesthetic of Two-Face that I love.
First, let’s talk about the basic design, the gold standard of the Golden Age. The very first appearance of Two-Face has served as the model for how the scarring's looked ever since. The iconic features include a permanent snarl, a bulging eye, a wilder hairstyle with differently colored hair, and different coloring from his unscarred flesh. Every version of Two-Face since has either followed or subverted this original depiction.
(Note: I could also go on a whole tangent about how this design MAY have been based on a poster for the 1941 film adaptation of Dr. Jekyll and Mr. Hyde, which I’ve recently had reason to suspect may be bogus for reasons related to the complicated history of Batman’s supposed “creator” Bob Kane, but that’s several other essays worth a material. And that’s not even taking into account who actually drew this original comic, whether it was the credited Kane, or Jerry Robinson and/or George Roussos. The history of Golden Age comics is rife with controversy, plagiarism, and bullshit, with Batman being no exception.)
For roughly 50 years, this was, more or less, the standard version of Two-Face. Even as DC evolved through different eras of “House Styles” where all art had to maintain a certain consistency, this design underwent very little variation over five decades. While his scarring would occasionally be depicted as gray or off-purple or even flesh toned, it usually stuck to the original choice of green.
Why green? Why would a man who suffered an acid attack have green scarring? Putting aside questions of realism (which have little place in the world of comics), the reasoning was tied to those specific issues you raised about printed color limitations. The history of comic book coloring is absolutely fascinating, when companies had to rely on printers to produce the cheapest possible product on a regular deadline.
These printers (supposedly backed by organized crime) published comics on newsprint with the four-color CYMK color model, and comic artists had to work within these limitations. This led to some interesting color-coding for heroes and villains in superhero books, with the heroes depicted in primary colors like red, yellow, and blue, and the villains being depicted in secondary colors like orange, purple, and green. As you’ll note, Harvey’s design uses all three of those secondary colors, appropriately enough for a man obsessed with twos.
To this day, these colors are what are used for classic, “retro” depictions of Two-Face, which you can still see on merchandise today. As such, I have great affection for this basic design with these colors, especially when they appear on newsprint with the visible newsprint dots.Over the past couple decades, we’ve seen comics companies reprint these classic stories with cleaned-up, “remastered” artwork. As time has gone by, I’ve come to dislike this treatment of older comics, which were specifically drawn for a period where coloring and printing options were strictly limited. Removing those limitations with computer coloring only seems to make the linework appear more dated, at least to my eye.
For example, take one of my personal favorites, the third chapter of “A Lonely Place of Dying.” On the left is the current, cleaned-up version, while the other is a scan from a long-defunct tumblr user jthener-comics-vault who emphasized the newsprint dots and yellowed newspaper.
Some may prefer the version on the left, but I strongly prefer the version on the right. There’s just so much more aesthetic appeal with the second version to my eye. The version on the right looks dated, while the version on the left looks timeless because of how it embraced a certain retro aesthetic. Your mileage may vary, but that’s where I’m at with my taste preferences.
(See also: the recent revival of interest in CRT TV screens with classic video games, discussed in this popular post about how games were designed for the limitations of older TVs, and how current pixel graphics don’t look right in comparison. Given how there’s now a whole Reddit community dedicated to CRT TV pixel graphics, I’d love to see people embrace classic comics in the same way. But alas, the people who care about such things are literally a dying breed, as most comics fans seemingly don’t have much interest in anything beyond the past decade or so.)
So if you’re talking purely aesthetics within the classic limitations of comics, I consider the version on the left to be my platonic ideal for a perfect Two-Face. It’s not because the linework of the scarring is anything special (as much as I worship the late, great Jim Aparo, his Two-Face scarring looks like Harvey dipped himself into some creamed spinach), but because the scarring fits the overall aesthetic of the printing techniques of a bygone era.
So that would be ONE example of my preferred take on the scarring, with a specific version that emphasizes his classic newsprint roots. But it’s not the only one, because those limitations were soon expanded by the 1990’s, with advances in printing quality and coloring techniques. On top of that, DC started hiring artists for stories far outside their usual “House Style,” which led to all manner of weird and varied interpretations of characters like Two-Face, depending on the story. In fact, his appearance–along with his personality, motivations, and even his own backstory–would change drastically from one appearance to the next. His scarring alone could be green, pink, red, blue, purple, or some variation of the above! And that’s not even taking into account the pen-and-ink linework choices!
This finally brings me to your original question of which version of the scarring I prefer. While I still love the classic retro take on the character as well as stylized “dark deco” versions like his appearance in Batman: The Animated Series, there are certain traits I look for in modern depictions of Two-Face. These preferences were undoubtedly informed by the fact that I saw Sam Raimi’s Darkman as a young teen and fell in love with the prosthetic makeup effects by Chet Zar and Toni Gardner, who created a viscerally horrifying template for what I wanted to see used for Harvey Dent ever since.
So these days, when it comes to what I really want to see in the scarring? At this risk of being too graphic, I like the flesh to be stretched and warped, the lips and eyelids peeled back and exposed. I also STRONGLY prefer there be no clear line down the middle between the scarred and unscarred sides. There should be some sense of integration between the sides, rather than two separate faces–one realistic and one cartoonish–slapped together. Some of my favorite examples include Alex Ross and Doug Braithwhaite’s Harvey cameo from Justice #2 and Brad Walker and Doug Hennessey’s from “Ugly Heart.”
Basically, I prefer a style that’s evocative of movie-style body horror, adding realism without being realistic.He should appear shocking while simultaneously looking like someone who has suffered, and continues to do so. It should compliment (but NOT play up) the good/evil dichotomy, without veering into cartoonishness. Doing that leads to him being treated as more of a gimmick crook rather than a three-dimensional character.
Again, we’re talking my own personal preference here. As a character, Two-Face represents different things to different people. When creating the story Batman: Faces, artist Matt Wagner wanted Harvey’s scarring to be red because it emphasized the “devil inside” motif. For many people, Two-Face is a character who conveys the evil within normalcy. Fair enough.
But for me, I like red because it looks like exposed flesh and tissue, emphasizing the raw pain Harvey has and must endure. I prefer when the scarring emphasizes tones of flesh and blood, like reds, pinks, and purples. I loved the blue scarring of Batman: The Animated Series on its own merits, but it only works within that specifically stylized “dark deco” context.
And when it comes purely to linework design, I think my ideal model would be the work of sculptor Andy Bergholtz, who not only designed a bust I will never afford despite dearly wanting, but who also created an incredible pumpkin carving of Two-Face which, weirdly enough, endures as one of my favorite depictions of the character.
Notice how Bergholtz doesn’t draw a distinct line between the two sides, but instead shows how the flesh stretches and warps from one side to the next. It looks painful, while also being perfectly integrated with the rest of the head. Hell, even the choice to go with the classic green coloring works, because of how it looks sickly and gangrenous! It still looks fleshy, even with the comic-book-y coloring choice!
These sculptures are my baseline for how Harvey’s scarring should ideally look. But at the end of the day, the scarring is only one factor I look for when it comes to depictions of Two-Face. It’s how the scarring looks with his unscarred side, especially if the artist actually chooses to DO something interesting with Harvey’s face rather than just depict him as a Bland White Dude or Generic Gangster. It’s also how both sides of his face look in whatever he’s wearing, how they’re drawn in the linework, how they’re colored and depicted on paper and/or online scans. So many factors go into making/breaking Two-Face, just as they do with pretty much every other comic character who has existed for decades at this point.
But ultimately, none of that matters to me as much as the writing. Harvey could look absolutely terrible in the artwork, and I wouldn’t care so long as the writing treats him with empathy and compassion. Still, I appreciate you giving me this opportunity to reacquaint myself with his aesthetics, which I’ve too long disregarded because–for many–that’s all they see when they think about Two-Face. Not as a three-dimensional character, but as a walking pile of aesthetics. But it's nice to revisit those aesthetics as a reminder of why he's continued to endure as an iconic character for eight decades.
