Broken Frontier

Darren Davis, the creator behind The 10th Muse, has handed off one of his little girls to a group of men who know how to treat a woman. This April, writer Terrance Griep, artist Nadir Balan and inker Nick Schley are taking over the controls of Davis’ Judo Girl and it looks like the sexy hero couldn’t be in better hands if she were insured by Allstate. Broken Frontier sat down with the creators behind the new Judo Girl mini-series to learn what makes the hero more than just a sexy symbol and what makes the comic more than just eye candy.

Broken Frontier: Let’s start off with the question that’s on everyone’s mind: Just how does Judo Girl maintain her composure while fighting bad guys with such a short skirt?

Nick Schley: The question is; how do I maintain my composure when inking her kicking bad guy tail in that short skirt? [laughs]

Nadir Balan: [laughing] I've been struggling with that very question. Actually, there were a few pages I did before I knew I was definitely going to be on the book. I drew about five pages where Judo Girl’s underwear was in every shot. Then I heard I would be the artist on the book so I revised the pages and cut out most of the undies.

Terrance Griep: I realize we're being a little tongue-in-cheek but I think of her greatest charm as being a virtual goddess who's all but completely unaware of her sexuality. Her charm wins her fights as often as her feet and fists. I think of the Golden Age Wonder Woman as a rough antecedent. Kudos to Team N&N for really getting that aspect of the character and visualizing it brilliantly.

BF: So tell me, as the team bringing back the character...just who is Judo Girl?

NS: She's this awesome chick who, despite being frozen in time has that up-to-date wit and enough bang for your buck (comically speaking). It's just poppy enough to grab people...we have to run with that. [It’s] something comicdom lacks.

TG: Judo Girl is half of the Judo Twins, a groovy brother-and-sister team who battled crime during the 60s. Their archenemy, Captain Steel, captured her and put her in suspended animation. Now she wakes up in the 21st Century and has to adapt to profound culture shock while saving the world.

NB: To me, Judo Girl is a hip little crime fighter from the 60s who's lost in the future, trying to get her bearings while confronting advanced enemies. She's also cute and really funny, which is all Terrance and I love drawing what I imagine her facial features to be when she's coming back with a smart remark.

BF: So are we talking about a female Austin Powers who happens to know Judo moves?

TG: I think a lot of readers will see a parallel to Austin Powers.

NS: Yes, definitely has that feel. But it's not a swipe and doesn't bite from Austin Powers.

TG: I am trying to tweak that concept, though, by emphasizing her struggle as a civilian. The hero-out-of-time shtick has been done to death. When I think being a super-hero in the 40s, the 60s, or today is pretty much the same thing. But being a real person living in this world would take some serious adjusting. Yet it's not all angsty and sad. It's funny, and hopefully it tells us a little about ourselves.

NB: I hope she has the comic appeal of Austin Powers, maybe a sexier version with better teeth. I think readers will find that Judo Girl has a great balance of comedy and drama. The story definitely grabs the reader and makes you wonder what's going to happen next. Judo Girl has the comic appeal of Austin Powers as far as cunning linguists go... and the confusion of being thrown out of time is present but I'd like to think she has a more serious side as well. I guess that's the Judo part, the serious ass kicking in the book. It’s going to be a lot of fun and perhaps even a little sexier than Austin. Fans of Austin Powers will definitely love the feel of Judo Girl.

BF: Terrance, this book's an action/comedy and you've mentioned that you'll try to make Judo Girl "real" in a sense. Can you tell me more about how you're mixing all of these elements?

TG: I think of Moonlighting as an influence. The characters often found themselves in dangerous situations, but none of them ever lost their sense of humor. They also maintained a sense that they were indeed fictional characters, giving occasional asides to the camera. We are presenting that kind of story with traits in the characters that readers hopefully recognize in themselves. The short answer: funny characters in dangerous situations.

BF: Nadir, what about you? You have to maintain a style of art that includes humor, action and a large dose of sex appeal. Can you tell us more about your style and how you came up with the look?

NB: Well, like I mentioned earlier I went through a few versions of Judo Girl. First I focused on her being a sexy chick, underwear all over the place. Then I realized she was a lot more than eye candy; she has lot of depth and wit. And when I read more about her, I realized she needed to be respectable as well as hot. So I had to balance between her sex appeal and her action, and as I went on I started to realize what her facial features would be, too. The readers will definitely go through the same things I did, because as I got to know the character, I started altering her slightly and as the reader gets to know her their "literal" view of her will change slightly as well.

BF: Now, we all know that the inker has the most important job on any comic book. Tell me Nick, do you find yourself constantly fixing errors made by these other guys?

NS: With Nadir's style, no. It's pretty cut and dry. The thing I like most about what he does is how, though it has lineweights, it's still slightly linear. So it gives me a lot of space to embellish. And the pencil style of Nadir’s is more open to me. So maybe sometimes you have to fix an error or two, but not really anything worth mentioning with Nadir's work. As far as errors in general, I don't know that you could consider them errors. Pencilers lay down the groundwork. And an inker—a real inker, not a tracer—embellishes; like framing up a house.
Writer shows you the plans; penciler pours the foundation and frames up the house. I consider what an inker (me) and a colorist does is pretty much add the siding and make the home livable. Then again, a lot of books go straight to color these days, which takes me totally out of the equation. However, for the most part, I think there will always be a home for great inkers. Average ones have a rough row to hoe...looks like I'll be applying at a McDonald’s near you, sooner than later folks.

BF: I doubt that Nick. Now, Nadir said his style went through some changes as he got to know the character. I'm sure Terrance did too. What about your inking style on the book? Did you adapt as you went?

NS: I have a lot of history with the Judo Girl character. An old friend did her first with Darren Davis long ago. I hoped to ink that title way back then. It just didn't pan out. So when I got the chance this time, there was no way I was passing it up. So no. I mean, after I warm up to a penciler, one page or so, and it’s pretty much all the same from there on out.

TG: I'll add this if I might: both of my collaborators are thinking and feeling as they create, and the final product benefits tremendously.

NS: It just dawned on me...I didn't even answer the question. Why doesn't that work at the DMV? I pretty much ink with brushes, pens and templates. So I mean, aside from it being an extreme style difference, something I'm not used to, my personal inking style stays the same on most stuff; so not much adapting. With Nadir’s work, I snuck in some zipatone here and
there—they seemed to like it—and I love using it but I don't get the opportunity to with most stuff. I usually take a couple of character profiles and a page or two, to warm up to anyone.

BF: Starting with you Terrance, I’d like to know how you each would answer this question: Judo Girl is Darren Davis’ creation and I assume that he’s a part of her still. So how much freedom do you have, in each of your rolls, in the characters upcoming adventures?

TG: Ah, a very insightful question! That was a misgiving going in, working with the publisher's baby but I sent a detailed proposal to Darren to ensure that we wouldn't have any unpleasant surprises along the way. Darren liked the proposal and he hasn't offered any input since. I believe that means he's completely comfortable with my take. Darren, it's worth noting, is the great unsung hero of Judo Girl. He is, of course, an idea machine but his most redoubtable contribution is that of editor. Like all the best editors, he's got a knack for matching characters with creators. He also knows when the creators need editorial feedback and when creative freedom is the efficacious course.

NS: I just do what I do. Darren is my friend. I consider him a good friend. But on the same token, if I do something that looks like complete crap, he'll tell me. It hasn't happened on Judo Girl yet but we can't rule that out. [laughs]

NB: Darren Davis created Judo Girl and approved of her design before I got on board but I've found that I have a lot of freedom with the look of the book. Darren is really good with letting you explore what you think will work and giving you feedback when he thinks something should be changed. So far things have been going really good and the slight changes I've made to Judo Girl and supporting villain Judo Bot have worked out without any problems. Filtering an already established character through your own style can be a lot of fun, and as I get more into the Judo Girl characters it starts becoming more apparent. So I'd say I have a good amount of freedom but use it wisely.

BF: Now let's talk a little more details about the book. In another interview, Terrance, you mentioned you enjoyed doing the "retro-halves" of each issue. What are "retro-halves"?

TG: The first four issues of Judo Girl are split in half. The first half is set in the modern age, just after she awakens from her involuntary suspended animation. The second half of each issue is set in the 1960s and details the first encounter between Judo Girl, Judo Boy and Captain Steel. Everything in the modern stories is foreshadowed in the second half of each issue, the retro halves. I also used that wonderfully purple narration style of Gardner Fox, John Broome, and Robert Kahniger in telling the retro story, daddio.

NB: Since we're on the topic, I'd like to point out that the retro halves are also colored in the "big ol’ halftone dot" style. This is one of my favorite things about how the two halves of the book contrast to each other.

TG: I believe it's little details like that that set Judo Girl apart.

BF: While this has humorous and action elements, you've said the story is also grounded a bit. Are there any themes this story will be dealing with, or is it all about fun?

TG: I've done stories which were about larger issues but Judo Girl emphasizes entertaining. It does embark on a pretty serious exploration of relationships, though. Judo Girl and Captain Steel are forced to team up against Judo Boy in the 1960s, so the dynamics of all of those relationships have to be re-established after they've been established.

BF: Thanks for the great segue, Terrance. Nadir, you've seen the scripts for a number of issues. What sets the Judo Girl story apart from the other books on the stands?

NB: I've seen a number if scripts? No way. [laughs] Actually, I think the first thing that sets Judo Girl apart for me is…

NS: The incredible traces by Nick Schley.

BF: [laughing]

NS: Errr, sorry. Continue. I hadn't talked in sooooo long, I needed it. [laughs]

NB: [What sets it apart for me] is the dialogue. One of the first things readers will notice she talks in this great style Terrance mentioned. It reminded me of how much fun I have when serious characters get campy with their villains, which I don't see too often and always look for. Judo Girl goes through a lot of confusion when she's thrown into the future but we also get to see her in the past, where she's in her element. So we get to see her in different emotional settings, which adds greatly to understanding who she is when she's not kicking butt, which is also there…kicking a lot of butt, especially a wide variety of awesome characters like ninjas, robots, and cyborgs. So we get a book that has a great story that is told through this rich character but all the while we have amazing and fun visuals!

BF: Nick, as the inker, you get to see how Nadir handles Terrance's script. From what you’ve seen, what do you think sets Judo Girl apart from other books?

NS: Well, I think they both pretty much summed it up. And I said it about four questions ago: It's campy, fun, poppy, she kicks tail to the 25th power and it's fresh. Something the comic industry needs right now...some fresh air.

BF: Terrance, you can probably figure out where I’m going next. I'm assuming you've seen the whole package when I ask: What do you think sets Judo Girl apart from the rest?

TG: I hope it's a general likability. The heroes are funny, the villains are funny and yet, I hope the story and its consequences are serious. Although it's set deep within an established continuity, I'm working hard to make sure that any reader can pick up any issue and be swept away in the fun. It's different and accessible.

NB: Sorry for butting in, but when you read the book you hopefully will feel like you're a kid again, enjoying the old greats, without much pressure. Judo Girl is 100 percent pure adrenaline!

- James W. Powell