“The Walking Dead’s” Jon Bernthal, Richard Armitage and Tom Holland have joined the cast of the Irish action-thriller Pilgrimage, which will be directed by Brendan Muldowney this spring in Ireland and Belgium, Bloody Disgusting learned.
“Set in 13th century Ireland, Pilgrimage follows a small group of monks as they undertake a treacherous pilgrimage to escort their monastery’s holiest relic to Rome. But, as the true material, political and religious significance of the relic is revealed, the group’s journey becomes increasingly fraught with danger. Ultimately, the faith that binds the men together threatens to be the very same thing that will tear them apart.”
The film was written by Jamie Hannigan and will be produced by Conor Barry and John Keville of Dublin-based production outfit Savage Productions and Benoit Roland of Wrong Men North. XYZ will executive produce.
The film is scheduled to commence production in April 2015 and shoot for over seven weeks on the West Coast of Ireland and the Ardennes Region of Belgium.
A few weeks ago we learned that Independence Day 2 (also known by the awful title ID Forever) takes place 20 years after the 1996 film and sees alien reinforcements coming to earth following a distress call sent by the first failed wave of invaders that Will Smith punched in the face.
Director Roland Emmerich announced on his Twitter page that Vivica A. Fox is reprising her role as Jasmine Dubrow, the stripper who winds up marrying Will Smith’s Capt. Steven Hiller. She joins a cast that already includes Bill Pullman, Jessie Usher, Jeff Goldblum, Charlotte Gainsbourg, and Liam Hemsworth.
Smith has opted out for the sequel and it’s already been confirmed that the story will center on his stepson Dylan, played by Jessie Usher. Now that Fox has signed on, does this mean Smith’s character is dead in the new film? Will Jasmine Dubrow be a widow or a divorcee? As long as Pullman and Goldblum are reprising their roles, does anyone really give a shit if Smith’s character is dead or not?
Let the speculation begin.
Shooting on Independence Day 2 begins this May in Montreal.
20th Century Fox is planning on a June 24, 2016 release.
This impressive collection of art from concept artist Bradley Wright perfectly represents why why I fell in love with last year’s survival horror game Alien: Isolation. Had developer Creative Assembly not been as successful as they were in recreating the look and feel of the original film, the game wouldn’t have been nearly as effective as it was.
Without talented artists like Wright, Isolation might’ve ended up being as generic as Colonial Marines. It’s a good thing that wasn’t the case, so in the spirit of celebration, let’s take a few minutes to soak up some of the game’s gorgeous concept art.
For way more art like this, I recommend you head on over to It’s Art Mag.
Hands-on with Bloodborne, the reason Hideo Kojima’s name was removed from Metal Gear Solid, a possible Alan Wake remaster, and why REvelations 2 isn’t what Don wanted.
A decidedly not cryptic tweet from Raven Software has strongly hinted at a follow-up to the somewhat underrated sci-fi action game Singularity. The message “We’re going back” is all we currently have to go by, but the timing of this announcement leads me to believe we’ll be hearing from it again very soon. The original game released five years ago this June, so I wouldn’t be surprised if we saw or heard from it again in the coming months.
— Raven Software (@RavenSoftware) March 23, 2015
Today isn’t like another Tuesday. This is the day that Bloodborne makes its bloody debut. It will likely leave a slew of broken gamers in its wake, but those who remain standing will be forever changed. I’ve spent quite a bit of time with it already, and even the countless hours spent in the Souls series weren’t enough to prepare me for its horrors.
The survival horror genre can be an unforgiving one. Its games often require a level of strategy not seen in many other games. Patience, cunning, resourcefulness and the ability to remember the location of that locked door with the engraving on it you passed by an hour ago while being chased by a horde of ghouls, or something worse, because you found a key hiding under a wobbly floorboard you think might fit it.
These are skills most survival horror veterans possess. Some of us have grown lazy over the years as game design has eschewed its unforgiving nature in favor of something with a wider appeal. That’s one of the reasons why games like Dark Souls and Bloodborne are so refreshing, because they refuse to hold the player’s hand.
This leads me to my question: do you enjoy a real challenge in the games you play, or would you rather play something that doesn’t require quite as much from you?
Leading up to its release, I had heard concerned mumblings from Dark Souls fans who were worried Bloodborne wouldn’t offer as much of a challenge that developer From Software’s other franchise had become famous for. It took me all of five minutes to confirm that those worries were unfounded, when the very first enemy, a werewolf, ravaged me next to an autopsy table. Twice.
Death is as present and necessary in Bloodborne as it is in the Souls series. It’s as much of a feature as the multiplayer is, and you’ll need to understand it, to learn your way around it, before you can master this game.
“Master” might not be the right word, since for most of us, such a feat isn’t possible. You’re getting familiar with it more than anything else. Think of death as just another adversary to conquer and you might not be as frustrated when it best you again, and again, and again.
The back of each copy of Bloodborne should have a label on it that reads something like Warning: this game will break you, because where the player’s goal is to learn enough from their mistakes to survive long enough to make progress, the game has the singular goal of breaking your will to accomplish that.
You can tell that developer From Software must glean a childlike joy from each new release. They introduced their unique brand of sadism in 2009 with Demon’s Souls, only to spend the next six years perfecting the formula with the Dark Souls series. Bloodborne is an evolution of that, another step forward for the company and one of gaming’s most challenging franchises.
I didn’t realize it until I sat down with this game, but there’s an element of nostalgia to these games that may be one of the driving forces for why I keep returning to them. Bloodborne is this generation’s Nightmare Creatures, and if you aren’t familiar with that fantastic and woefully short-lived horror series, I’d still recommend it today. The first game released nearly two decades ago, and it’s aged surprisingly well.
The first handful of hours you’ll spend with Bloodborne will be the most important. It’s during this time that you’ll find out if you have what it takes to stick with it. Its introductory hours are decidedly spooky, complete with werewolves, tortured souls, scary sounds and the first of many tough lessons you can look forward to learning in the hours to come.
Dread is thick in Yharnam, a ghostly city that could’ve been carved out of any of H.P. Lovecraft’s eerie tales. I half-expected Cthulhu itself to rise from the water like an angry Kraken. It didn’t, but I’d argue there are at least a few gargantuan beasts scattered about the world that would give that Elder God a run for its money.
Combat works much like it did in the Souls games. Your character has a light attack, a strong attack — both can be charged for more devastating blows — a ranged attack, and an assortment of evasive moves. You can lock onto a specific foe for something to focus on, but I only recommend you do that during one-on-one fights. The enemy AI is refreshingly unpredictable, so ignoring or underestimating something can, and almost certainly will, prove fatal.
You probably won’t even notice the more restricted arsenal compared to From Software’s previous games, because the developer went to great lengths to keep such a thing from mattering. The weapons are more satisfying, and they’ve been built to reward those who employ a good offense, as opposed to the more defensive play favored in Souls.
I love that your arsenal is immediately made more personal because you choose it. So much of this game is familiar that I found myself latching on to this one big change. I expected to be able to improve and customize my character’s stats, abilities, gear and, to a certain extent, the weapons, but I did not expect for the relationship to get even deeper. It does, thanks to the introduction of runes and blood gems, which give you even greater control over your character. It’s an extremely welcome addition.
The combat runs at a noticeable quicker pace that, I’ll admit, took some getting used to. I don’t often go in guns blazing, so it took a few defeats for me to be able to confidently vanquish even the most basic enemies. More strategic players will likely enjoy the health gain mechanic that’s been introduced to offset the quickened combat.
Basically, you can regain some of your lost health with well-timed blows. Mastering this will be required if you want to survive encounters with more capable enemies, like any of the game’s numerous bosses. 40-ish hours in and I’m still working on it.
Exploration is as important as ever, as there are countless rewards waiting for those who are willing to go out of their way to find hidden treasures. You’ll want to explore this world anyway, because it’s one of the most unforgettable game worlds I’ve ever had the pleasure of visiting.
The massive, inter-connected world that was first introduced in Dark Souls is back, and with it marks the return of the always fun mini game where you cautiously explore unfamiliar locales to see if your character is capable of surviving in them. I can’t tell you how many times I learned, usually through the expenditure of alarming quantities of blood, that I’m not quite ready to visit certain areas. It can be scary, but that’s part of the fun.
Loot is still very present, it just takes a while to fully reveal itself. When combined with all of the above, you get a combat system that puts a significantly greater emphasis on character builds than Souls ever did. Having a few different options is something you’ll want to consider trying out, especially if you find yourself being bested by the same baddie numerous times.
The innovative multiplayer this studio first gifted us with six years ago has made its way to Yharnam, too. Stuck on a particularly tough fight? Call on some allies to offer aid. Feeling mischievous? Embrace your devilish side by invading another player’s world to make their life more difficult. The former will come in handy when you’re ready to try a Chalice Dungeon — an assortment of dungeons with specific objectives and added difficulty modifiers that greatly add to this game’s replay factor.
As I’m sure you’ve gathered by now, Bloodborne is very much a Dark Souls game. Many of the ideas are here, they’re just presented in a Gothic horror package that’s darker, bloodier, scarier and so much better. From Software has learned a lot from their Souls series, and that knowledge has clearly led the direction they took with this.
The Final Word: Bloodborne is one of the most challenging games I’ve ever played. It’s also one of the most beautiful, unforgettable and rewarding gaming experiences since, well, Dark Souls II.
There’s an unsophistication about the DreadOut universe that’s at once both endearing and disappointing.
Like its predecessor, DreadOut: Act 2 is an unapologetic love letter to a now bygone era of survival horror, a time of clunky controls and claustrophobic camera angles. It’s likely it’s no coincidence that playing the latest chapter in the DreadOut series evokes memories of those stellar games of yesterday; Fatal Frame/Project Zero, Deadly Premonition, Silent Hill… they’re all echoed here, some more successfully than others.
The story picks up on the heels of the opening Act, and once again we fall into the dainty feet of the silent (and unnervingly unemotional) protagonist Linda, an Indonesian schoolgirl who falls unwittingly into a school-field-trip-gone-wrong trope.
Though the first Act 1 was a strangely solitary affair, in Act 2 we’re united – albeit briefly – with our erstwhile colleagues, which helps pack a little flesh on the otherwise bare bones of a storyline. For though predecessor Act 1 was less than successful in delivering a tangible narrative, Act 2’s tale is little more detailed, unfurling a storyline that’s cliched but intriguing nonetheless.
Again, the scant clues you collect during your exploration shed a little light on the mystery, and though the game deploys a number of horror game cliches and cheap jump scares, the design of your enemies – from their appearance to their backstory – is delightfully detailed, complemented further by competent sound design that packs more punch than the visuals alone could hope to deliver.
But whilst the detailed ghost graphics offer insight into developer Digital Happiness’ design competency, the subtle palette of blues, greys and blacks and Scooby-Doo-esque backdrops are instantly forgettable, which is a shame, given how much scope there was to expand on exposition through environment.
That said, the handful of interactive, puzzle-y touches – using reflective surfaces and props to catch incognito ghosts, or a twist to the perceived safety of your purgatory status for instance – were expertly crafted, again intimating that this indie studio may be capable of more than its currently delivering.
Whilst the combat mechanic remains chiefly unchanged from the previous chapter – again, like Miku’s Camera Obscura from Fatal Frame, you must use your cell phone or clunky SLR to capture and banish the spirits – I did enjoy the variation. Each enemy-type boasts its own unique weakness, which means much like Zelda dungeons of old, you’ll need to suss out each one’s achilles heel, revising your combat strategy on the fly and carefully surveying your environment for tools and clues.
Oh, and don’t forget your ghostpedia: despite it’s horrifying generic name, its a valuable resource, and may provide tips and hints on how to defeat your folklore foes.
The trouble is, like the opening instalment, DreadOut Act 2 is just a tad too shallow an experience.
Satisfying stories can save glitchy graphics, and beautiful backdrops can sometimes detract from a shallow story, but in this case, we’re cursed with neither scenario. It’s not awful, but it’s not all that good, either. Though steeped in Indonesian folklore, there’s little here that sets it apart from older – and, in many cases, better – games that came before, and the rich lore is barely explored, let alone fully exposed.
Linda’s nonno-syllabic nature means we rarely know how she feels, and as such you play with a peculiar detachment which alienates you from your protagonist. Unflinching in her observation of the horrors around her – and seemingly unaffected by the fates of her friends – Linda’s stoicism is unfitting at best and uncomfortable at worse. For how can you be expected to care about her when she fails to care about anyone else herself?
The WTF moments – say, the mysterious 30 foot high woman floating in air, and some of the latest encounters with the our friend the Woman in Red – are the few things that save the game from what would otherwise be a very lacklustre offering indeed.
If DreadOut: Act 2 had captured some of the intrinsic intrigue of the heyday of survival horror, had told a retro story in a new, challenging way or even stuffed its world with plentiful narrative clues that rewarded off-the-beaten-path exploration, I’d be more forgiving. As it stands, the game offers good value for money (if you’ve bought Act 1, Act 2 is available at no extra charge) and is short enough that you’ll probably complete before feeling bored.
Yup. I’m using the game’s shortened playtime as a positive here.
If you’re a fan of Fatal Frame et al, I’d be surprised if you didn’t enjoy a few hours of exploration with Linda. But just don’t come in expecting any contemporary twist here. It plays, looks and feels just like a fifteen-year-old PS2 horror title, but with little in the way of the puzzles or combat that so defined the genre. It lacks complexity and depth in both story and approach, leaving me straddling a no-man’s land of neither love or loathing.
Final Word: Play it or don’t play it – I don’t think your life will be drastically affected one way or the other, I’m afraid.
Developer Daybreak has announced some impressive sales figures for H1Z1, the zombie survival game where players gradually realize they’re not playing DayZ, which has sold over a million copies on Steam since it arrived on Early Access in January.
The news of this milestone came from a tweet by Daybreak president John Smedley, who, just a few hours earlier, had posted an arguably more exciting announcement that over 5,000 dickheads cheaters had just been banned from the game. That’s great news for everyone.
I haven’t played H1Z1 yet and Tyler didn’t seem to impressed with it. If you’re still in the thick of it, I’d like to know.
One of the big questions that has loomed over the storied career of legendary metal band Metallica was, “Why does …And Justice For All have no bass to it?” It’s a question that has been brought up many times over the years and has puzzled countless fans, especially after the fantastic Master Of Puppets.
But that question can now be laid to rest as Steve Thompson, who mixed the album, has opened up and explained everything that happened to lead to the absence of bass on that album.
In an interview with Ultimate-Guitar, Thompson explains exactly what happened:
We had to get the drum sound up the way he had it. I wasn’t a fan of it. So now [Lars Ulrich] goes, “See the bass guitar?” and I said, “Yeah, great part, man. He killed it.” He said, “I want you to bring down the bass where you can barely, audibly hear it in the mix.” I said, “You’re kidding. Right?”
He said, “No. Bring it down.” I bring it down to that level and he says, “Now drop it down another 5 db.” I turned around and looked at [James] Hetfield and said, “He’s serious?” It just blew me away.
I wanted to take “Master of Puppets” and blow that away. That was my sonic direction for “… And Justice For All.” It was all there but I think they were looking for more garagey-type sound without bass. And the bass was great; it was perfect.
It was a shame because I’m the one getting the sh-t for the lack of bass.
But do you want to know the kicker? You want to hear the real zinger in all of this? Check out the chutzpah of Ulrich several years later at the Hall Of Fame:
I remember when Metallica got elected to the Hall of Fame, they flew us out and I’m sitting with Lars. He goes, “Hey, what happened to the bass in “… Justice?” He actually asked me that. I wanted to cold cock him right there.
Well, there you have it. The most vocal and noticeable member, Mr. Lars Ulrich, is again the reason behind yet another issue in the band’s career. Good job, sir.
Last year Sony Pictures won a heated bidding battle over In the Deep, a spec script written by Tony Jaswinski (Vanishing on 7th Street). The script was called a cross between 127 Hours, Jaws, and Gravity. The story centers on a young woman who’s grief-surfing over the loss of her mother when she gets stranded 20 yards off shore with a massive great white shark circling beneath.
Today Deadline reports that big budget filmmaker Louis Leterrier is in talks to direct. Leterrier’s resume may be short, but he’s got some hefty flicks on there like The Transporter, The Incredible Hulk, and the painfully stupid Now You See Me. His works aren’t really known for their emotionally powerful roles, which, according to Deadline, the central character of In the Deep will require.
Sick of exorcism movies yet? Well how about an ass-kicking teenage exorcist in the vein of Buffy the Vampire Slayer? I hope you were sitting down when you read that.
Deadline is reporting that the Rebecca Sonnenshine spec script Realm has been purchased by Relativity Media for a mid-six figure sum. If the teenage angle didn’t tickle your fancy, they’re bringing in Step Up 4 director Scott Speer, who will also executive produce.
The deal comes on the heels of Speer’s short, which he released online two weeks ago. The short stars Adelaide Kane (The Purge), who has the power to enter the soul of the possessed to rumble with their inner demon. Here she fights a demon with Baraka-like claws while wearing some Underworld style gear. Judging from this, Realm is gearing up to be light on horror with lots of hollow video game style. The concept is fairly interesting, but the execution in the short leaves a lot to be desired.
Hard rock band Breaking Benjamin have released “Failure”, the first single from their upcoming album Dark Before Dawn, which comes out on June 23rd (pre-order via iTunes). This is the first new song from the band since their 2009 album Dear Agony.
The mid-tempo track is very similar to the style that made them so popular in the first place. The saying, “If it ain’t broke, don’t fix it,” is very applicable here.
This new album sees an almost entirely new lineup for the band, with only vocalist/guitarist Benjamin Burley remaining. He’s joined by guitarist Keith Wallen (Adelita’s Way), guitarist Jasen Rauch (Red), drummer Shaun Foist (Picture Me Broken), and bassist Aaron Bruch.
Ain’t It Cool News reports that Joe and Anthony Russo have just locked a deal with Marvel to direct “Avengers: Infinity War” Parts 1 and 2. This has been expected for some time, but the deal has just been offically made. The duo have been doing great work for Marvel Studios, and are about to shoot “Captain America: Civil War” in two weeks.
The Russos have been lobbying to champion on the third Avengers film. Working out a deal was strictly a formality.
CAPTAIN AMERICA: CIVIL WAR is due out May 6, 2016. THE AVENGERS: INFINITY WAR – PART ONE hits on May 4, 2018, while PART TWO arrives on May 3, 2019. Both AVENGERS movies will be shot back-to-back.
Okay, let’s get through the nitty gritty first and then I’ll give myself a little bit of a rant, okay?
British alt-rock band Muse have released a lyric video for their new single “Dead Inside”. It’s the second track to come from their upcoming album Drones, which will be released on June 9th via Warner Bros. Records. The band first released “Psycho” on May 12th.
Says lead singer Matt Bellamy about the track:
This is where the story of the album begins, where the protagonist loses hope and becomes ‘Dead Inside’, therefore vulnerable to the dark forces introduced in ‘Psycho’ and which ensue over the next few songs on the album, before eventually defecting, revolting and overcoming these dark forces later in the story.
Those who pre-order the album via iTunes will get both “Psycho” and “Dead Inside” as immediate downloads.
Okay, now that we’ve gotten that out of the way, permit me this platform to lay my opinion: Seriously, what the hell happened to these guys? They used to be incredibly exciting. Just look at tracks like “Stockholm Syndrome” and “Hysteria”. These tracks played with expectations, showed a fantastic communication between the band members, and had this thrilling bombastic attitude. Now they’re releasing one boring, monotonous track after another. I’d be okay if they were at least being adventurous but they’re playing it so goddamn safe.
The big problem here is that this is something I noted when the band first released “Madness” a few years ago. I’m still of the mindset that that song is boring and overly simple. So what’s happening is that a pattern is emerging. The band has steadily been releasing mediocrity and that’s just so damn disappointing. These guys were bucking the trend and offering something different and now they’ve lost it. There’s no fire anymore.
You can watch the video for “Dead Inside” below, but I have to warn you it’s NSFW due to nudity.
Bloody Disgusting has an exclusive new clip from the phenomenal Spring, the stunning new genre-defying supernatural love story from directors Justin Benson and Aaron Moorhead (Resolution, V/H/S: Viral), now in theaters and on VOD nationwide from Drafthouse Films and FilmBuff.
“Evan (Lou Taylor Pucci, ‘Evil Dead,’ ‘Thumbsucker’) is a young American fleeing to Europe to escape his past. While backpacking along the Italian coast, everything changes during a stop at an idyllic Italian village, where he meets and instantly connects with the enchanting and mysterious Louise. A flirtatious romance begins to bloom between the two – however, Evan soon realizes that Louise has been harboring a monstrous, primordial secret that puts both their relationship and their lives in jeopardy.“
In the clip, someone sadly sacrifices a bunny. It appears that she has some regret…
The horror comedy Zombeavers was released on VOD this past weekend and to celebrate the fact that stoners everywhere can get blazed and watch a bunch of beavers attack college kids, Legolambs has released a video that mixes footage from the film with the end credits theme. The song features vocals from Nick Amado, who’s doing his best Frank Sinatra impression.
Legolambs is Jon and Al Kaplan, who also wrote the film, along with director Jordan Rubin. A soundtrack to the film will be released in the near future via La-La Land Records.
The video, which is HIGHLY NSFW, can be viewed below.
Acclaimed director Russell Friedenberg’s latest feature, Wind Walkers, has completed post and is primed for an Autumn 2015 release in both the US and UK.
“A group of friends and family descend into the swamp lands of the Everglades for their annual hunting trip, only to discover that they are the ones being hunted. A malevolent entity is tracking them and they begin to realise that one of their party, Sean (Zane Holtz), may be possessed by something he has brought home from a tour of duty in the Middle East – a demon of war so horrible and deadly that even he is unaware of its devilish presence.
Or are they facing something even more unspeakable? Is a legendary Native American curse about to unleash its dreadful legacy? Has the mysterious Wind Walker beast, thirsting for colonial revenge, returned to claim more souls?
With no place to run, the group, starved and consumed with fear, must make a final stand – before madness and murderous mayhem consumes them all…“
Apart from Holtz, who is currently starring as Richie Gecko in the Robert Rodriguez TV series “From Dusk Till Dawn”, the film also stars Glen Powell, Kiowa Gordon, Philip Burke, Castille Landon, Russell Friedenberg, Johnny Sequoyah and Christopher Kriesa with J. LaRose and Rudy Youngblood.
Michael Moreci’s “Roche Limit” was an inspired neo-noir science fiction series that embodied the best parts of Blade Runner. Now, after an incredibly successful and suspenseful first arc, Moreci is fast forwarding 75 years to show a new part of his world with new series artist Kyle Charles.
In ROCHE LIMIT: CLANDESTINY #1, it’s 75 years after the events that left the Roche Limit colony in flames. When a crew of military and science personnel are sent to the forgotten and desolate planet on a mysterious expedition, they quickly learn its dark secrets—and that their mission is not what they thought it to be. With danger lurking all around, the crew members fight to find a way off the planet and resist the mysterious presence that haunts them all.
Bloody-Disgusting sat down with Moreci and talk about what to expect in this brand new series.
BD: First off, why the name change and new numbering?
Michael Moreci: Well, we all know renumbering is, for the most part, a sales ploy. You slap a new number one on there and say “jumping on point!” and, viola, an increase in sales numbers. The decision to do so with Roche Limit, cross my heart, is purely creative. Each volume is very, very much its own story. It isn’t accurate or fitting to have the “Clandestiny” story be #6, because that would make it seem like it’s a direct continuation of issues 1-5, which it is not. Don’t get me wrong—these stories, all three volumes in the trilogy, link together in a very purposeful way. But they all have their own story and characters and stand on their own. You can read “Clandestiny” without having read volume one (which, little known fact, is titled “Anomalous”). It’s a better, richer, and more rewarding experience to read them both, but it isn’t essential.
As for the new name, I think I just like weird-sounding words!
BD: Clandestiny does rolls right off the tongue, but it also seems to allude to a secret fate. Do you find this relates more to the characters or to Dispater itself or possibly both?
MM: Definitely more that characters. The tagline for this volume is “This Is Where You Belong,” and I think one of the most prevalent threads in this story, and Roche Limit in general, is discovery yourself, internally and externally. There’s something to be said about a destiny that’s hidden, because that means you have to find it—but what if you’re wrong? We all thing that, individually, we’re supposed to do something meaningful or worthwhile with our existence; collectively, we have a similar sense of forging ahead with technology, exploration, things like that. The dangerous thing is that we never wonder if we’re even supposed to—who said we’re meant to “boldly go…”? That’s a big part of the book, seeing characters whose reach exceeds their grasp. I’m not saying that we shouldn’t do these things, not at all, but I do think there’s something to be said about what happens when we get too ambitious or want things without ever really knowing why.
But, stripping all that down to be more direct about “Clandestiny,” the thing we’ll see is characters struggling with where they belong, the reality they’ve made for themselves and if it’s truly what they want. And if not—maybe they can change it…
MM: Oh, for sure. It’s like Chekov said “if you have a gun on the mantle in the first act, it must be fired by the third.” Similarly, if you show a bomb in a characters chest in the second issue, well, that thing pretty much has to go off. I don’t know that I really had an exact reason for killing off so many characters, although I like that it plays out like a Shakespearean tragedy in the end. But, also, there’s this sense of death pervading over the book, the death of idealism, ambition, dreams, and I think the literal deaths followed from that. Langford’s death was the most profound, I’d say, because he had the most significant fall from where he was too where he ended up—his dreams broken around him, powerless to do anything about it. But, still, in his mourning, he realizes what is most important and delivers, in issue four, the most direct, hopeful message of the book: the best change we can make is within ourselves, and the greatest heights we can hope to achieve, as humans, is to love. It sounds hokey, it worked for The Beatles!
BD: 75 years seems specific for a time jump. Is that length of time important to the events that’ll unfold in Clandestiny?
MM: Not precisely, no. I figure that’s enough time where the colony and what happened there could realistically be forgotten. A generation has come and gone, and history moves fast, so it’s not too much of a stretch to believe that the place, and everything that happened there, would fall out on public consciousness. And that’s what I wanted—I never want to blow this story up so you have, like, the U.S. president getting involved and secret agents and all that. The story is intimate and has to remain so by keeping it low-fi. That closeness to the characters and richness of the world, to me, really helps make Roche Limit effective and resonate with on a more deeper level.
BD: Big stories can often become too focused on spectacle, losing profound character moments in the process. It’s nice to know that Roche Limit will stay true to itself in this sense.
Clandestiny looks just as astounding as Roche Limit did before it, but was it hard saying goodbye to Vic Malhotra & Jordan Boyd?
MM: Absolutely. We got close, as a team, and I’ll always have respect for those two guys. We still talk, and I consider them both friends. But things happen, and for various reasons it made sense for all of us to move on. I couldn’t be happier to welcome Kyle Charles and Matt Battaglia to the team; not only are they both tremendous artists, but they are absolutely perfect for the tone, look, and feel of “Clandestiny.” These guys are crafting something special, and I’m so excited for people to enjoy their stellar work.
BD: Is it important to you that your work be scientifically accurate? For example, the Roche Limit anomaly is fictional but is any of it based in real science?
MM: I’ll be honest—I’m not really interested in the science beyond the idea of what a Roche limit is being a cool parallel to the story. A Roche limit is the distance where one body enters another, larger body’s gravitational force and is basically torn apart. That’s how Saturn got its rings, some speculate—a smaller moon got too close and Saturn broke it into pieces, and those pieces got caught in its orbit. My story, of course, is very keen on things coming apart by overwhelming forces. But otherwise, no, I’m not too concerned with science. There’s this strange, ridiculous onus on serious sci-fi that it must be accurate. Like, if you don’t, Neil DeGrasse Tyson is going to tweet you apart. Movies like Transformers, though, are somehow excluded from this scrutiny.
What matters to me, what will always be paramount, is story. As long as there’s nothing horrendously egregious on a factual level—like people breathing in space or something—then I think there isn’t much of a problem.
BD: Would it be safe to assume that the soul Alex forgot to retrieve at the end of Roche Limit will play heavily into Clandestiny?
MM: So glad you picked up on that! The answer is ohhhhhhh yeah. It most certainly does.
ROCHE LIMIT: CLANDESTINY #1 hits stores on May 6. Cover A (Charles) can be pre-ordered with Diamond Code MAR150507. Cover B (Malhotra) can be pre-ordered with Diamond Code MAR150508.
Huge Hannibal news has dropped! In anticipation for the third season this June, series creator Bryan Fuller made a series of tweets last night that revealed three exciting tidbits of information.
First he revealed that the Hannibal season premiere is set over four time periods:
Next he revealed that Vincenzo Natali (Cube) will be directing the first three episodes, whose Italian cuisine titles were also given:
As the cherry on top, Fuller revealed that Neil Marshall (The Descent) will be directing the season’s 8th episode. It’s title? “The Grand Red Dragon.”
Fuller has previously stated that he intends for Hannibal to run three seasons before adapting Thomas Harris’ novels, the first being Red Dragon, and finally wrapping up the series however the hell he envisions it. The title of Marshall’s episode seems to back up this game plan.
Hannibal returns June 4th on NBC.