What is Marvel Generations? We try to figure that out, and see what happens when Hawkeye and Hawkeye meet for the very first time... AGAIN!
Power Rangers co-star Ludi Lin did an interview on Canadian radio Wednesday afternoon that revealed new information of interest to fans of both DC Comics and the Power Rangers franchise. After playing Zack, the Black Ranger, in the recent Power Rangers feature film, the Chinese-Canadian actor was cast as a comic character named Murk in Warner Bros.’ upcoming Aquaman film. Lin was in Vancouver on a break from filming Aquaman in Australia and stopped in on afternoon drive program The Ara Show before heading back.
The host started with some light questions about Lin’s background, but the conversation quickly veered toward Aquaman. When asked about playing a general of the Atlantean army named Murk (introduced in DC Comics in 2013 by Geoff Johns and Paul Pelletier), Lin discussed the differences between the live-action and comic book versions.
“Murk has gone through some changes… like the Black Ranger really,” Lin said. “I like it when people pigeon-hole me… because then it gives me a chance to try to break out of it. You put a wall in front of me, I want to try to break down that wall. So, this is Murk [and] I think he’s going to be pretty different from the original conception. But he’s going to be pretty remarkable as well. It’s been a pleasure working with some amazing people.”
When probed further about the highly anticipated film, Lin spoke on director James Wan’s world-building and dropped a pretty exciting tidbit.
“The thing is, there is so much about Aquaman that I have seen so far in filming… there’s so much to this film,” he said. “The difference between Aquaman and the other superheroes in the DC Universe, is that it exists almost in a different world. James Wan, our director, is amazing. He’s described his vision as “Star Wars underwater” because it is! All the physics are different, their weapons are different, the characters are very unique. It’s just super cool.”
Wan calling Aquaman “Star Wars underwater” should make it clear the cast and crew are aiming high, but the statement also gives fans an idea of how different Atlantis will be. The comparison even suggests we could see the various fictional sea creatures and races from the comics. The Trench, anyone?
The interview then continued with the host moving away from Aquaman and asking Lin about his craziest story on set overall. At this point, Lin chose to tell a story about a scene in Power Rangers that got a little out-of-hand and was subsequently cut from the final film.
“I’ll tell you about this scene that never made it into the Power Rangers movie because it was too violent… too bloody,” Lin shared. “It was a scene between me and Dacre [Montgomery], who plays the Red Ranger, and we had this massive fight because there is kind of a competition going on between us. That was a funny day. Power Rangers has been going on in Japan for more that 40 years. This is their baby. And they sent the original creator of the Power Rangers to our set for a visit with his whole entourage. They were watching us fight and in Japan in Power Rangers there is not really any blood, just lots of sparks. But that day we were going full out and kept on asking for more and more fake blood. A couple of times we accidentally clocked each other for real. So, we were bleeding for real and there was fake blood everywhere. The Japanese guys were shocked.”
Bet you weren’t expecting that one, Power Rangers fans. It’s doubtful viewers will ever get to see that deleted scene, with the film already on home release, but who knows what the future may hold.
Directed by James Wan and starring Jason Momoa as Aquaman and Amber Heard as Mera, Aquaman, part of the DC Extended Universe, is scheduled for release on Dec. 21, 2018.
The post Aquaman Actor Ludi Lin Says the DCEU Film is ‘Star Wars Underwater’ appeared first on CBR.
When IDW Published announced the launch of a new imprint run by Shelly Bond called Black Crown, the big question was what kind of imprint this would be. Bond, one of the most respected editors in the industry today following her work at Vertigo, could go in any direction — but with the announcement of Kid Lobotomy as the Black Crown launch title, she caught everybody off guard once again.
Pairing writer Peter Milligan with artist Tess Fowler, Kid Lobotomy is set in an offbeat hotel known as ‘The Suites,” run by a hugely dysfunctional, dark-minded family. Chief amongst them is the Kid of the title, a young man who is assigned ownership of the hotel — but whose past includes multiple brain surgeries and a whole load of drink and drugs.
Taking his role as manager as an opportunity to try and reclaim his demons, Kid’s journey brings Fowler and Milligan into a uniquely strange, off-kilter comic — and CBR spoke to them both about how they entered ‘the Black Crown Pub’ together, and what sort of strangeness readers should expect from their series.
CBR: How did you both enter Black Crown together?
Peter Milligan: I received an email from my old co-chiseller at the rock-face of comics, Shelly Bond, telling me what she was trying to set up at IDW. It all sounded great. The email was titled “HEY LOBOTOMY”, for her own amusing and enigmatic reasons, and we started bouncing round emails, ideas started to quickly come… but that word Lobotomy stuck in my brain, as it were.
Tess Fowler: Shelly had already pulled me in for the Femme Magnifique anthology, as well as a side project she had been brewing. So when Black Crown came to be, I was in the stable ready to work.
In interviews Shelly has described Kid Lobotomy as “classic Milligan”. You’ve worked for a number of publishers over the last few years, but was it freeing to get to spiral into a series with Shelly once more?
Milligan: “Freeing” isn’t the exact word I’d use when working with La Bond, but what has been great about working with Shelly on Kid Lobotomy is we both have a good idea what kind of book we want to produce. That’s rule number one: that writer and editor understand what each is trying to achieve. That’s not to say that Kid Lobotomy is one of those books that can be summed up in one word — it’s too insane, it’s too genre-hopping for that.
Being the launch title for Black Crown, this book gets to set a tone for the imprint as a whole — but what kind of a tone does the story have? Is this serious, sardonic, grim or free-wheeling?
Fowler: All of the above. But mostly I’d call it absurdist gothic horror hog-tied by a ’70s punk fairytale.
Milligan: This is a book that covers the spectrum of tones, or emotions. Dark comedy, horror, love. Yes, there is weirdness here, but that means little if it doesn’t coexist with emotion and characterization. I suppose my point is, real life is weird. Our thoughts, dreams, nightmares, they’re often very bizarre. So it’s not like we’re trying to be deliberately weird for weird’s sake here. This is life. At least, it’s life if you’re someone called Kid Lobotomy.
Thematically, what can we expect from Kid Lobotomy? It initially seems as though your interest here is in exploring independence and control?
Milligan: At the heart of Kid Lobotomy is the theme of self-discovery. Who am I? Where do I come from? What has made me the way I am? Why is there a skeleton buried in the basement? Surely, these are all questions we’ve asked ourselves, and these are the problems that Kid Lobotomy wrestles with in his own unique fashion. So yes, we’re exploring identity, we’re exploring that dangerous but fertile liminal ground between sanity and madness, between the real and the imaginary.
Who is the Kid, the eponymous lead of the story? What kind of a life does he have as the series kicks off?
Milligan: Kid is a failed rock star, an ex-mental patient, an occasional neurosurgeon, a dreamer, and now the manager of one of his family’s hotels: the Suites. The Suites is no ordinary hotel and Kid is no ordinary manager.
Fowler: He’s a troubled young man… or is he?
This is, at its heart, a black comedy. His life is absurd.
What was your approach to the design of the Kid, and “The Suites”, when planning the book? Did you want this to be a contemporary or classical world?
Fowler: The Kid is largely inspired by young Mick Jagger. Which was Shelly’s idea. She sent me a photo of him as a slightly haunted fresh-faced young man, and I took it from there.
The Suites is inspired by various Hollywood hotels. I live in Los Angeles and I’m madly in love with the grim dark history around every corner. So I went on a fact-finding mission armed with a camera phone. My husband ran into Susan Sarandon in an elevator on that trip. Hollywood is full of surprises. The Suites is also inspired by our recent trip to the UK. You’ll see hints of that peppered throughout. London and Edinburgh seeped into my soul. As for it being new or old? It’s all of the above. On purpose. I want you disoriented.
Milligan: When we begin the series, Kid has not yet been given the hotel to run, nor in his wildest dreams (and Kid has a few wild dreams) does he think he’ll end up as manager. But a series of unforeseen events leads our Kafka-obsessed hero to believe and hope that the Suites might be the key to his sanity. This is a bit like trying to put out a fire with a bag of gunpowder.
It feels like The Suites, where he’s holed up, is a particular choice you’ve made for the setting. Why put him in a confining place like this?
Milligan: I don’t see it as confining. A human brain, just 15 centimeters long and weighing in at about 3 pounds contains an entire universe. And all life — at least, just about all Kid’s life — is in this hotel. This is the place where Kid grew up and its many rooms, floors, and shadowy nooks are a repository of memories, traumas, and long-buried secrets. The hotel is in a many ways an extension of Kid, and a great way for him to explore himself and what his life means.
Fowler: And the Black Crown pub is right next door. Where else is he going to get his scotch?
How’ve you found working together on the series?
Milligan: Tess is great to work with. Full of ideas and creativity. A revelation, in fact. She’s a young woman living in Los Angeles so she brings a young, and an American, sensibility that I think is a vital ingredient of the book. Of course none of this means a thing if the art isn’t up to scratch, and Tess’ art is terrific.
Fowler: I had nightmares for the first few months! But I’m increasingly charmed by the madman. Each new script is a reason to remain in The Suites, following Mr. M into new levels of hell. I’m learning so much from him.
Do you feel that working with him on the book has changed your artistic approach at all?
Fowler: Mr. M is driving a jalopy around hairpin turns in a graveyard at midnight, and I’m just the kid in the passenger seat trying to shine flashlights in the faces of whatever undead nightmare goblins he awakens. But usually the goblins are funny. Witty. Not so scary after all. The ride itself is what freaks me out. And therein lies the challenge.
And has Tess surprised you with her approach on the book? When writing you have one thing in mind, but what’s it been like to see her bring the weirdness to life on the page?
Milligan: There have been surprises, but good ones. For example, Kid has a sister — Rosebud, who is a vital character in the book — a Goneril to Kid’s Cordelia, if you will — and the way Tess visualized her was very different from how I imagined her. But that’s great, that’s adding a different spice to the dish. As soon as I saw Tess’ Rosebud I was sold. These are good surprises, good creative surprises.
Amidst the hallucinatory excess and lobotomies, this seems like a comic with a sense of heart beating away through the corridors. How do you feel Kid Lobotomy stands apart from anything you’ve worked on before?
Milligan: Heart is vitally important for me. True emotion, true feelings. Without those, the rest is just sound and fury. I think I’ve usually tried to connect to these in my comics, from Shade the Changing Man to Hellblazer I’ve tried to locate and hone in on the human emotions, albeit amid a storm of strangeness. In that way, Kid Lobotomy is related to my former work. I suppose what makes this feel different is the more gothic or even classic horror territory (the fading hotel, the brain operations, the madness, etc.) and the focusing on what is a family drama, though one set against the backdrop of Kid’s journey into the lower depths of the strange hotel wherein the terrors of his past await.
Fowler: A sense of heart, yes. But more than anything it’s full of dark, absurdist humor. Beyond the scary, beyond the sweet, it’s funny. Or maybe I’ve just spent too long with Mr. M and now I’m twisted too.
Kid Lobotomy #1 is scheduled for release on Oct. 18 from IDW Publishing.
The post Milligan & Fowler Check In to IDW’s Demented Dark Comedy Kid Lobotomy appeared first on CBR.
Writer Tom King dropped a bombshell inside the pages of Batman #24 when the Dark Knight proposed to his longtime love interest/nemesis Catwoman. While fans have to wait until the flashback tale “The War of Jokes and Riddles” concludes for Selina Kyle’s response, King has released a piece of artwork teasing her answer.
Meanwhile, in Batman 32. Catwoman is giving her answer. pic.twitter.com/raxh7wNKYn
— Tom King (@TomKingTK) August 31, 2017
The writer shared the image with the message, “Meanwhile, in Batman 32. Catwoman is giving her answer.” The black-and-white art, by Mikel Janin, comes from Batman #32 and shows the Bat and Cat’s alter egos of Bruce Wayne and Selina Kyle in what looks like a tender moment, with Bruce caressing and kissing Selina’s left hand. The real mystery is whether this takes place before or after Catwoman’s made her decision on marrying the Batman. Is this a kiss of joy, or sadness? Your guess is as good as ours.
“The War of Jokes and Riddles” is running through Batman #25-32 and follows Bruce as he recounts to Selina a turf war between the Joker and Riddler in his early days as Batman. Before the story arc wraps up, Bruce will reveal to Selina a deep, dark secret that he’s kept only to himself.
Batman #32, from writer Tom King and artist Mikel Janin, goes on sale Oct. 4.
The post Tom King Teases Catwoman’s Answer to Batman’s Proposal appeared first on CBR.
The newest take on the Teen Titans has found its Robin, as Brenton Thwaites has been cast in the role of Dick Grayson in DC's upcoming Titans series.
Thwaites joins a cast that already includes Anna Diop as Starfire and Teagan Croft as Raven. One of several characters to take up the Robin mantle in DC lore, Grayson's parents were murdered during a circus act, and Bruce Wayne became the orphaned boy's legal guardian. He eventually struck off on his own after working alongside Batman, serving as a leader of the Titans in the comics and the DC animated series.