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https://nerdist.com/article/lupina-book-two-wane-interview-james-f-wright-legendary-comics/
Lupa’s story comes to its end with Lupina Book Two: Wane from Legendary Comics. The tale picks up after Book One and follows Lupa as she discovers her destiny and her tribe. With joining others comes the uncertainty and the struggle of making a place to belong all over again. We interviewed Lupina Book Two: Wane writer James F. Wright over email to ask about Lupa’s journey, the importance of balance, and collaborating with illustrator Li Buszka and the rest of the team. (Lupina Book Two‘s creatives also include artist Martin F. Clinch, colorist Bex Glendining, and letterer Frank Cvetkovic.) Plus, we have a preview of the first five pages.
Nerdist: Lupina Book Two: Wane advances Lupa’s arc quite a bit, figuratively and also literally with time jumps. How did you and Li plot her journey?
James F. Wright: We had always intended to age Lupa up with each successive chapter, to show how she grows and learns along the way, almost as vignettes or highlights. Lupa begins as a four-year-old and ends in her twenties, and in lieu of showing each year of her life with Coras on the road, we decided very early on to depict only those monumental steps for her.
One other aspect of that journey is told via colors, devised and implemented by Bex Glendining. It was Li’s idea to introduce a new color with each successive chapter, like a slow-motion Wizard of Oz, as a metaphor for Lupa’s treacherous journey. Phase One begins with just red on a black-and-white inks, then green in Phase Two, blue in Phase Three, and then in Book Two we add orange, purple, and finally yellow, respectively. The closer she gets to her destination, to her destiny, the brighter her world becomes.
With both the writing and the art, we see more of Lupa’s feral side—especially compared to her sisters. What was it like pushing that aspect?
Wright: In Book One: Wax, Lupa and Coras are on their own so much, and for so long, that Lupa doesn’t really meet anyone her own age, or under the same circumstances as herself. So for Book Two, when we introduced the “other sisters” at the Inner Light Monastery, we wanted the difference to be as stark as possible. These other girls are, in theory, just like Lupa—survivors of the assassination attempt on them as youths, guided by a wolf companion to this temple—but they have not had the same path as Lupa and that distinction sets her apart, at least at first. So pushing that aspect was crucial because she had to begin as an outsider and then come to some understanding about herself in relation to these other girls.
I also want to give a shout out to our letterers Ariana Maher (Book One) and Frank Cvetkovic (Book Two), both of whom went above and beyond in crafting the way Lupa speaks. The way she speaks at the outset of her journey, having been raised in a society with language and culture, versus how she speaks after years on the road with Coras is markedly different. That feral lettering is apparent when she begins her tutelage at the Inner Light, but when she leaves the lettering of her speech looks more like it did when we met her years prior back in her hometown of Kote. She’s even writing a letter to the monks and her sisters before she departs, something the wild girl who first arrived at the monastery could never have done.
I feel like so much of the story is about balance. Creation doesn’t have as much weight without Destruction, for example. How did you and Li carry that theme through the work?
Wright: Lupa is a survivor of the attack on her village that ends the first chapter of this series, and while she doesn’t understand it at the time, she feels a deep sense of guilt about that. Going so far as to blame herself as the cause of destruction that surrounds her; the “monster” her sister teases her of being. When Coras shows up, ostensibly to guide Lupa to her ultimate goal, she represents one element of calm within Lupa’s tumultuous life. As much as possible, Coras’ aim is to show Lupa another way, to show her that her desire for destruction, for revenge, will not consume her.
Initially, Paroso, the wolf who attacks Lupa at temple back in Book One, was intended to be a one-off character, but the more Li and I talked about it the more we realized he could serve as an avatar of Lupa’s destructive nature, the yin to Coras’ yang. He shows up again and again, and eventually Lupa stops fighting against him and accepts his presence, which is the point at which her understanding of who she is becomes a reality. Had Coras not shown up to protect Lupa when she did, way back when Lupa was a mere child, there is no telling who–or what–Lupa would have become.
Finally, what was your collaboration with Li like?
Wright: Honestly? A dream. Li’s artistic talent is second to none, and they’re just a great person in general, so that made our collaboration so much easier. I tried to play to their strengths at first, writing characters and scenarios at which I knew they’d excel, only to learn that there were few things at which they didn’t excel.
Lupa’s design was all Li—the big eyes of her youth to the harder eyes of her adolescence, the errant strand of hair with a mind of its own—and as soon as I saw their first thumbnail sketch of our protagonist I was so excited to write whatever adventures she would go on. And in addition to their artistic skills, Li has been professional, patient, and unafraid to experiment to make the story better. At the risk of self-deprecation, I often say that I think the story of Lupina is good, but I think the art is outstanding. That’s due to Li’s hard work! (And the hard work of our other collaborators: Bex Glendining’s fantastic use of color, Ariana Maher and Frank Cvetkovic’s evocative lettering, Marty Clinch’s wonderful ink assists, Josh Eckert’s lovely title designs, and our incredible and incredibly accommodating editor, Nikita Kannekanti.)
Lupina Book Two: Wane is available now wherever you buy books.
Editor’s Note: Nerdist is a subsidiary of Legendary Digital Networks.
The post LUPINA BOOK TWO: WANE’s Writer on Lupa’s Journey and the Importance of Balance appeared first on Nerdist.
Lupa’s story comes to its end with Lupina Book Two: Wane from Legendary Comics. The tale picks up after Book One and follows Lupa as she discovers her destiny and her tribe. With joining others comes the uncertainty and the struggle of making a place to belong all over again. We interviewed Lupina Book Two: Wane writer James F. Wright over email to ask about Lupa’s journey, the importance of balance, and collaborating with illustrator Li Buszka and the rest of the team. (Lupina Book Two‘s creatives also include artist Martin F. Clinch, colorist Bex Glendining, and letterer Frank Cvetkovic.) Plus, we have a preview of the first five pages.
Nerdist: Lupina Book Two: Wane advances Lupa’s arc quite a bit, figuratively and also literally with time jumps. How did you and Li plot her journey?
James F. Wright: We had always intended to age Lupa up with each successive chapter, to show how she grows and learns along the way, almost as vignettes or highlights. Lupa begins as a four-year-old and ends in her twenties, and in lieu of showing each year of her life with Coras on the road, we decided very early on to depict only those monumental steps for her.
One other aspect of that journey is told via colors, devised and implemented by Bex Glendining. It was Li’s idea to introduce a new color with each successive chapter, like a slow-motion Wizard of Oz, as a metaphor for Lupa’s treacherous journey. Phase One begins with just red on a black-and-white inks, then green in Phase Two, blue in Phase Three, and then in Book Two we add orange, purple, and finally yellow, respectively. The closer she gets to her destination, to her destiny, the brighter her world becomes.
With both the writing and the art, we see more of Lupa’s feral side—especially compared to her sisters. What was it like pushing that aspect?
Wright: In Book One: Wax, Lupa and Coras are on their own so much, and for so long, that Lupa doesn’t really meet anyone her own age, or under the same circumstances as herself. So for Book Two, when we introduced the “other sisters” at the Inner Light Monastery, we wanted the difference to be as stark as possible. These other girls are, in theory, just like Lupa—survivors of the assassination attempt on them as youths, guided by a wolf companion to this temple—but they have not had the same path as Lupa and that distinction sets her apart, at least at first. So pushing that aspect was crucial because she had to begin as an outsider and then come to some understanding about herself in relation to these other girls.
I also want to give a shout out to our letterers Ariana Maher (Book One) and Frank Cvetkovic (Book Two), both of whom went above and beyond in crafting the way Lupa speaks. The way she speaks at the outset of her journey, having been raised in a society with language and culture, versus how she speaks after years on the road with Coras is markedly different. That feral lettering is apparent when she begins her tutelage at the Inner Light, but when she leaves the lettering of her speech looks more like it did when we met her years prior back in her hometown of Kote. She’s even writing a letter to the monks and her sisters before she departs, something the wild girl who first arrived at the monastery could never have done.
I feel like so much of the story is about balance. Creation doesn’t have as much weight without Destruction, for example. How did you and Li carry that theme through the work?
Wright: Lupa is a survivor of the attack on her village that ends the first chapter of this series, and while she doesn’t understand it at the time, she feels a deep sense of guilt about that. Going so far as to blame herself as the cause of destruction that surrounds her; the “monster” her sister teases her of being. When Coras shows up, ostensibly to guide Lupa to her ultimate goal, she represents one element of calm within Lupa’s tumultuous life. As much as possible, Coras’ aim is to show Lupa another way, to show her that her desire for destruction, for revenge, will not consume her.
Initially, Paroso, the wolf who attacks Lupa at temple back in Book One, was intended to be a one-off character, but the more Li and I talked about it the more we realized he could serve as an avatar of Lupa’s destructive nature, the yin to Coras’ yang. He shows up again and again, and eventually Lupa stops fighting against him and accepts his presence, which is the point at which her understanding of who she is becomes a reality. Had Coras not shown up to protect Lupa when she did, way back when Lupa was a mere child, there is no telling who–or what–Lupa would have become.
Finally, what was your collaboration with Li like?
Wright: Honestly? A dream. Li’s artistic talent is second to none, and they’re just a great person in general, so that made our collaboration so much easier. I tried to play to their strengths at first, writing characters and scenarios at which I knew they’d excel, only to learn that there were few things at which they didn’t excel.
Lupa’s design was all Li—the big eyes of her youth to the harder eyes of her adolescence, the errant strand of hair with a mind of its own—and as soon as I saw their first thumbnail sketch of our protagonist I was so excited to write whatever adventures she would go on. And in addition to their artistic skills, Li has been professional, patient, and unafraid to experiment to make the story better. At the risk of self-deprecation, I often say that I think the story of Lupina is good, but I think the art is outstanding. That’s due to Li’s hard work! (And the hard work of our other collaborators: Bex Glendining’s fantastic use of color, Ariana Maher and Frank Cvetkovic’s evocative lettering, Marty Clinch’s wonderful ink assists, Josh Eckert’s lovely title designs, and our incredible and incredibly accommodating editor, Nikita Kannekanti.)
Lupina Book Two: Wane is available now wherever you buy books.
Editor’s Note: Nerdist is a subsidiary of Legendary Digital Networks.
The post LUPINA BOOK TWO: WANE’s Writer on Lupa’s Journey and the Importance of Balance appeared first on Nerdist.
Ted Lasso is back. Season three of the series about the lovable soccer coach/fish out of water follows AFC Richmond once more, this time in the Premier League. The underdog team has a number of rivals they must defeat to come out on top, but Rebecca is focused on one team in particular: West Ham. Her ex-husband Rupert Mannion owns the club—the same club Nate Shelley betrayed Richmond to join. The season three premiere took us to West Ham’s offices, showing Rupert’s office with an extremely Emperor Palpatine vibe. The nod to Star Wars‘ ultimate villain was intentional.
Speaking with Variety, Ted Lasso’s production designer Paul Cripps said Rupert’s office has Return of the Jedi influences. The circular window, the color scheme—nothing about it is warm and inviting. Cripps said:
We always talked of Rupert being like — not saying anything about West Ham the team — but wherever Rupert is, it’s his empire, and he’s the Dark Lord who’s interfering all the time. I just thought, well, actually, why can’t we make him an office that feels like the scene when Luke meets the Emperor?
We have no doubt that Rupert has plenty of dark side behavior up his sleeve.
New episodes of Ted Lasso air on Wednesdays on Apple TV+.
The post TED LASSO’s Season 3 Premiere Has an Excellent Emperor Palpatine Reference appeared first on Nerdist.
Who doesn’t love a good action movie? Especially one starring Keanu Reeves! If The Matrix was too sci-fi or out of the box for you, well, John Wick: Chapter 4 is practical stunt fighting at its best.
The John Wick franchise is all about its practical effects and stunning fight choreography. John Wick: Chapter 4 does not disappoint. When filmmakers can make a film beyond the standard trilogy that still keeps the audience engaged and wanting more, you’ve clearly got something special. From the cast and crew in front of the camera and behind, everyone has done what’s needed to make this new chapter not only lovable, but memorable.
Chad Stahelski continues as director of the franchise. The writers are Shay Hatten (John Wick: Chapter 3 — Parabellum), Michael Finch (Hitman: Agent 47), and Derek Kolstad (John Wick). This new chapter catches up with our favorite hit-man following the events of John Wick: Chapter 3. John Wick (Keanu Reeves) is laying low while the price on his head steadily increases. The Marquis (Bill Skarsgård) has been tasked with finding John and getting rid of him, permanently. John charts a path to defeat the High Table and gain his freedom. Chaos and death follow, pitting John against players from the underworld from New York to Paris to Japan to Berlin. It’s a wild ride across the globe.
This cast is brilliant. The movie also stars Donnie Yen (Caine), Laurence Fishburne (Bowery King), Hiroyuki Sanada (Shimazu), Shamier Anderson (Tracker), Lance Reddick (Concierge Charon), Rina Sawayama (Akira), Scott Adkins (Killa), and Ian McShane (Manager Winston). These top tier actors played well off each other. The characters are developed so well, and each actor highlights them to perfection.
In a film where everyone is a criminal, you still have someone to root for or want to see die. That being said, one of the major plot points that really keeps this story going is the conflict between Caine and John. Caine is a blind assassin caught between his ties to the High Table to protect his daughter and his friendship with Wick. His depiction by Yen (Rogue One: A Star Wars Story) easily became a favorite. To pit the two against each other made for great drama and even greater action.
There were high stakes for the audience. You didn’t want to see either die. Yen is an accomplished martial arts actor, but he was too smooth with the samurai sword. It was fun to watch. The use of his cane in John Wick: Chapter 4 was reminiscent of his scenes with his walking stick in Rogue One. His humor shines through as well.
Like Halle Berry in John Wick: Chapter 3, Anderson as Tracker brought action to the film with his dog. This franchise loves their dogs. After all, dogs are part of the foundation for the whole series, the reason John Wick is on his killing spree of the High Table. Skarsgård is such a great villain.
Reeves delivers as John Wick yet again. It’s a character I can’t see anyone else playing. He brings this clumsy, sometimes aloof, dangerous, deadpan emotion, and quirky edge to the character. Sometimes you wonder how he’s still alive, then other times you wonder how he hasn’t killed everyone yet. There was a moment where it looked like his fighting was in slow motion, or the choreography wasn’t as seamlessly integrated. But, I chalked it up to age and the real life look they were going for.
From start to finish, the action in this film is top notch. Not only are the fight sequences choreographed to perfection (thanks, Laurent Demianoff), but the way they are captured on screen is mesmerizing. The cinematography (Dan Laustsen) and direction go hand in hand with the stunt work. It all comes together beautifully.
You can’t have an action flick without a car chase scene, and this one was one of the coolest I have ever seen. Round and round they went below the Arc de Triomphe in Paris. It was that edge-of-your-seat frenzy that we love to get from movies — another reason you can’t miss this one in theaters. John Wick: Chapter 4 is thrilling and the action is ridiculously awesome and funny and entertaining. You don’t mind that the film is almost three hours long. The pacing keeps everything where it should be. The film keeps your focus where it should be.
Action movies seem like a dime a dozen these days, but nothing compares to the John Wick franchise. It’s smart and cool. It doesn’t rely on gigantic explosions or out of the box, farfetched car chases, or hypersexualized women. It’s pretty close to being the perfect action film. Go for the action, stay for the cast. Be wowed in the theater with realistic fight scenes.
John Wick: Chapter 4 hits theaters March 24, 2023.