“DC Comics Bombshells” continues the publisher’s desire to use its digital platform to entice fans of characters, but not regular comic readers, to check out some sequential art. Bombshells started off as a line of statues, but is now 20 issues into a digital comics run. We had the chance to chat with Mirka Andolfo, the artist on this current arc, about the series, and what we can expect from this arc.
After that, we have an exclusive four page preview of tomorrow’s issue #20. Check it out, and make sure to pick up the issue on Friday!
How did you come to be involved in the “Bombshells” series? What’s your history with these characters?
Mirka Andolfo: After a few experiences working with some other publishing houses I arrived at Vertigo, where I worked on a short story for an issue of the anthology “SFX” (“Cosmic Blue” by Asher Powell). After that, my Vertigo editor (Molly Mahan) introduced me to Jim Chadwick (the editor of Bombshells) who was interested in my work and then brought me onto his Bombshells team. I was so happy to be given that opportunity! I love getting to work with Marguerite Bennett (we worked together, also, in the past at Dynamite), and in addition to this I just adore the “Bombshells” universe. I was very curious about where the series would go.
In addition to the three-chapter “Batgirls” arc I’m doing now, I’m very lucky because my first chapter in the series happened to be about my favorite DC character, Harley Quinn.
What can you tell us about the arc you’re going to be drawing?
MA: Basically, in our story, Kate Keene—aka Batwoman—has been recruited by Amanda Waller’s Bombshells project to join their underground movement in Germany. This leaves Gotham City without its main protector. So a group of girl admirers decides to take up the Batwoman mantle and all wear similar, but differently colored outfits to Batwoman and call themselves The Batgirls. What makes this so special to me is that this is the first time I got to work on a complete “Bombshells” arc. All three chapters will make up all of print issue #7.
I loved all the chapters I had the opportunity to work on before this, but this time, in particular, I found the story to be brilliant, effervescent, and suited to a great target audience. I had a lot of fun working on it because I had the opportunity to follow the evolution of the story step by step. Apart from that, I had the potential to discover new characters—characters who are unique to the series who do not exist in the Bombshells statue line—and I found them adorable!
This assignment is a little different than your average superhero comic. What elements have been most exciting for you to draw? What have proven the most challenging?
MA: Yes, it’s quite different from what I’m used to drawing for the American market. I’ve already had the opportunity to work on some comic books made with a more “feminine” approach, and I loved it because, in general, I love drawing women, even if I usually draw them in a more seductive or sexy way.
On Bombshells, though, I’m drawing younger girls (“Batgirls” in particular), so I made sure to focus on their other attributes, because they’re so young… cute. At first, it was quite difficult for me, but also an intriguing challenge. I had a lot of fun working on them, and I must say I’m also happy about the result (it’s a different style for me!).
In general, I was very excited about drawing Harley Quinn in the “bomb” scene (separate from “Batgirls”). It’s totally crazy, just like the character herself, but what I did love, in particular, about working on Batgirls (and on Bombshells in general) is that the characters are very “human.” So we have “everyday” heroes learning their way, instead of as classical “super”heroes. The Batgirls are just regular girls, they don’t have super powers, and that’s interesting.
So much of the current Batgirl title reflects a modern sense of youth culture and young adulthood. What kind of elements have you been able to play with for the 1940s Batgirls? How much of their current designs informed your interpretations?
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MA: Some of the Bombshells Batgirls were already designed by Ant Lucia (for the cover), so that was my first reference. Then, I tried to mix the current Batgirl design into a typical “1940s Bombshells” design.
I had a lot of references from the editor for the current present day Batgirl design, and also for the 1940s Bombshells Batgirl design (by Marguerite Sauvage), but without their “usual” costume, which was very useful.
I tried to understand how Ant was inspired for his designs—for all of the Bombshell characters. How was the Harley Quinn Bombshells character born? How was she similar to current HQ? And how was she different?
I tried to be inspired by that, I took a look at some of the typical clothes of the period (I usually love drawing clothes, but athletic uniforms, well, that was my first time!), and… that’s that! I hope I did a good job on them, I have to say that I was under quite a bit of pressure! I think that every Bombshells character has a great look.
Can you tell us a little bit about your process when approaching the page? What’s the usual train of thought when you’re working on a scene? Does that process change when working on a digital first book, with its different layout?
MA: My usual approach is more or less the same for digital and print. First, I read the script, and try to look for some references. I always read all of the script, and then I start drawing some layouts. My layouts are usually very rough and quick, I work on them trying to concentrate on what I see in my mind’s eye. Though, with digital, I have to admit that sometimes I forget! I am so used to thinking about layouts in print form that sometimes I forget the rules and I’ll do some panels straddling the middle of the page. I fear my editor will go crazy because of me! (Sorry, Jim!) Then after I get the OK on my layouts, I go with more precise penciling and then finally the inks.
What sort of reference were you looking at to help you evoke the Bombshells time period? Things like designs, movies, art, etc.?
MA: First, I looked at a lot of pictures about fashion (I love drawing clothes, in general, it’s a detail I care a lot about in my work). I wanted to achieve a classic result, but, also something modern and contemporary, this way they could look not only fun, but also attractive, even if placed in 2015. That’s what I think Ant Lucia did in his great job of character design—blending 1940’s style with modern appeal.
Apart from that, of course, I’ve seen a lot of movies, pictures, and so on. Today artists are very lucky, thanks to the internet!
Of course, Ant Lucia’s covers (and studies on characters) were very very important for me: as for “Batgirls” (some characters were not yet defined), I did tediously study his cover design for the arc. I think that the Bombshells covers are a kind of instruction manual for how a comic should be: one glance, and you are in the Bombshells universe.
Is there anything more you’d like to say about this current Batgirls arc? What are you really excited for people to see?
MA: I can promise readers that they will love Batgirls as main characters, as I did. At the beginning, I had some difficulties, because they’re a lot of characters, and, just like if they were real live people, I needed to become familiar with them. But, thanks to Marguerite Bennett, I started to learn them very quickly, and to understand their thoughts and their peculiarities. After thirty pages they become your friends because they’re “ordinary” girls doing uncommon things, but with this incredible human side to them.
I’m sure that readers will experience the same situation, and I hope that my art will help them, too!
Continued belowWritten by Marguerite Bennett
Illustrated by Mirka AndolfoThe Batgirls’ adventure concludes as they face down the deadly Nazi robot known as Moloch.
