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https://nerdist.com/article/mike-mignola-interview-bowling-with-corpses-hellboy-creator/
Legendary writer/artist Mike Mignola has been bringing his particular brand of spooky to comics for nearly forty years. Although most famous for his Hellboy universe, Mignola has created other iconic supernaturally-themed comics over the years, like Joe Golem and Baltimore. Now, he’s delving into ancient folklore in his new hardcover graphic novel, Bowling with Corpses and Other Strange Tales From Lands Unknown. We got the chance to chat with Mignola about his newest dark fantasy book, and the shared universe for Dark Horse Comics he’s started with it, Curious Objects.
Nerdist: When did you first come up with the concept for Bowling with Corpses? Is this something that came to you relatively recently, or has this been brewing in your head for some time, just waiting for the right moment? And was this something you could only tackle with Hellboy now largely in your rearview mirror?
Mike Mignola: For a long time I have wanted to create a place where I could concentrate on very loose adaptations of folk and fairytales. I’ve worked a lot of that stuff into Hellboy but really wanted to do them as their own thing. And as I do feel that I’ve done about everything there is for ME to do with Hellboy, it felt like now was the right time.
Bowling with Corpses is really told as a sequence of fables. It’s like a love letter to traditional folklore. What made you want to switch up from more straightforward comic book narratives like Hellboy to a form of storytelling rooted in something far older?
Mignola: I’ve always loved these old stories, I feel like I’ve been sliding more and more in this direction. So it seemed like just a natural step to concentrate on the stories themselves rather than one central character. I went so far as to create a WORLD before I had most of the stories or characters. I had the one story—Bowling With Corpses—but didn’t want to make that boy in that the central character of the series. so I created a whole new world, its mythology and geography. And I let the new characters and stories grow out of that.
There are a lot of classic monsters in these tales. And you’ve drawn these creatures before in things like Hellboy. And even going back to your adaptation of Bram Stoker’s Dracula. How did you approach doing these old folkloric monsters, but in a newer way?
Mignola: My goal isn’t usually to present monsters in a NEW way. If anything I’m usually trying to go backwards, to go back to the folklore roots of the characters. The real joy for me is going back to old stories, and discovering so many fantastic creators that are largely unknown. Those are the things I want to play with—those are the stories I want to tell.
There are a lot of references in these stories to creation myths, and the role of gods in relation to man. These are all obviously big heady ideas here. Did you struggle with finding a way to distill them down into relatively short, entertaining tales?
Mignola: There is a lot of that to do with this world. I created a bunch of gods and a mythology and I did tell a very short version of the creation myth here in the first book. But there is so much more to it. So many more layers. And my goal was to present that as background to be referenced in stories rather than (in most cases) the actual subject of the stories. It’s important for me to know how everything connects. But the reader should never be presented with the complete picture—certainly not all at once. As Ben and I do more stories, more will be revealed. And the reader will, I hope, get a better feel for the world and how it works. But I never want to shine too much light into all the dark corners.
This book begins a new Dark Horse imprint for you, Curious Objects. Will all the books coming out under the Curious Objects banner be a part of this shared universe? Or will any stand alone?
Mignola: I believe the Curious Objects imprint is just a place to gather all the books I’ve created or co-created together. So all the new stuff, as well as Hellboy, Baltimore, Screw-On Head, etc.
Bowling With Corpses is described as the start of a shared universe. How will your shared universe differ from all the others currently out there?
Mignola: Ben Stenbeck and I will share this world. So far I’ve done the bulk of the “world-building”—creating the rough origins, mythology, drawing up the maps. But as Ben contributes, all that will become richer and more complicated. Most of my stories in this first book take place in a certain area, but it’s a whole world. Ben’s first story starts in a place I haven’t touched on. The plan is that eventually we will flesh out the world. There are a lot of places to go—a lot to play with, create, a million stories to draw upon. I hadn’t thought to start anything this huge following 30 years of Hellboy, so I’m very happy to share this thing with Ben. I think we’re going to have a lot of fun here.
Bowling with Corpses and Other Strange Tales From Lands Unknown is now available from Dark Horse Comics.
The post HELLBOY Creator Mike Mignola Talks His Creepy New Graphic Novel, BOWLING WITH CORPSES appeared first on Nerdist.
Legendary writer/artist Mike Mignola has been bringing his particular brand of spooky to comics for nearly forty years. Although most famous for his Hellboy universe, Mignola has created other iconic supernaturally-themed comics over the years, like Joe Golem and Baltimore. Now, he’s delving into ancient folklore in his new hardcover graphic novel, Bowling with Corpses and Other Strange Tales From Lands Unknown. We got the chance to chat with Mignola about his newest dark fantasy book, and the shared universe for Dark Horse Comics he’s started with it, Curious Objects.
Nerdist: When did you first come up with the concept for Bowling with Corpses? Is this something that came to you relatively recently, or has this been brewing in your head for some time, just waiting for the right moment? And was this something you could only tackle with Hellboy now largely in your rearview mirror?
Mike Mignola: For a long time I have wanted to create a place where I could concentrate on very loose adaptations of folk and fairytales. I’ve worked a lot of that stuff into Hellboy but really wanted to do them as their own thing. And as I do feel that I’ve done about everything there is for ME to do with Hellboy, it felt like now was the right time.
Bowling with Corpses is really told as a sequence of fables. It’s like a love letter to traditional folklore. What made you want to switch up from more straightforward comic book narratives like Hellboy to a form of storytelling rooted in something far older?
Mignola: I’ve always loved these old stories, I feel like I’ve been sliding more and more in this direction. So it seemed like just a natural step to concentrate on the stories themselves rather than one central character. I went so far as to create a WORLD before I had most of the stories or characters. I had the one story—Bowling With Corpses—but didn’t want to make that boy in that the central character of the series. so I created a whole new world, its mythology and geography. And I let the new characters and stories grow out of that.
There are a lot of classic monsters in these tales. And you’ve drawn these creatures before in things like Hellboy. And even going back to your adaptation of Bram Stoker’s Dracula. How did you approach doing these old folkloric monsters, but in a newer way?
Mignola: My goal isn’t usually to present monsters in a NEW way. If anything I’m usually trying to go backwards, to go back to the folklore roots of the characters. The real joy for me is going back to old stories, and discovering so many fantastic creators that are largely unknown. Those are the things I want to play with—those are the stories I want to tell.
There are a lot of references in these stories to creation myths, and the role of gods in relation to man. These are all obviously big heady ideas here. Did you struggle with finding a way to distill them down into relatively short, entertaining tales?
Mignola: There is a lot of that to do with this world. I created a bunch of gods and a mythology and I did tell a very short version of the creation myth here in the first book. But there is so much more to it. So many more layers. And my goal was to present that as background to be referenced in stories rather than (in most cases) the actual subject of the stories. It’s important for me to know how everything connects. But the reader should never be presented with the complete picture—certainly not all at once. As Ben and I do more stories, more will be revealed. And the reader will, I hope, get a better feel for the world and how it works. But I never want to shine too much light into all the dark corners.
This book begins a new Dark Horse imprint for you, Curious Objects. Will all the books coming out under the Curious Objects banner be a part of this shared universe? Or will any stand alone?
Mignola: I believe the Curious Objects imprint is just a place to gather all the books I’ve created or co-created together. So all the new stuff, as well as Hellboy, Baltimore, Screw-On Head, etc.
Bowling With Corpses is described as the start of a shared universe. How will your shared universe differ from all the others currently out there?
Mignola: Ben Stenbeck and I will share this world. So far I’ve done the bulk of the “world-building”—creating the rough origins, mythology, drawing up the maps. But as Ben contributes, all that will become richer and more complicated. Most of my stories in this first book take place in a certain area, but it’s a whole world. Ben’s first story starts in a place I haven’t touched on. The plan is that eventually we will flesh out the world. There are a lot of places to go—a lot to play with, create, a million stories to draw upon. I hadn’t thought to start anything this huge following 30 years of Hellboy, so I’m very happy to share this thing with Ben. I think we’re going to have a lot of fun here.
Bowling with Corpses and Other Strange Tales From Lands Unknown is now available from Dark Horse Comics.
The post HELLBOY Creator Mike Mignola Talks His Creepy New Graphic Novel, BOWLING WITH CORPSES appeared first on Nerdist.
General Motors (GM) has entered the all-electric luxury SUV market with the launch of the Cadillac LYRIQ, marking Cadillac’s debut in the electric vehicle (EV) space. Beyond the limited-edition Hummer EV, the LYRIQ is GM’s first mainstream model built on its state-of-the-art Ultium platform.
The LYRIQ has emerged as a strong contender in the luxury EV market, appealing to car lovers who value luxury, practicality, and advanced technology. According to a statement released by GM, the LYRIQ was the best-selling vehicle in its class during the first three quarters of 2024, selling over 20,000 units in the U.S.
The LYRIQ is known for three crucial factors: range, design, and price. With an EPA-estimated 314 miles of range and DC fast charging capable of adding up to 77 miles in just 10 minutes, the EV offers drivers convenience and peace of mind for long journeys. It also features a meticulously crafted interior designed for comfort and elegance.
Here are three more reasons that make the LYRIQ a standout vehicle.
STRIKING STYLE
The LYRIQ’s bold design sets it apart from other EVs and GM models. Its sharp, angular lines give it a commanding presence that breaks from the norm of soft curves. Plus, the five-passenger LYRIQ exudes confidence and sophistication.
Inside, Cadillac’s commitment to premium materials shines through. The cabin features high-quality leather, layered wood, and metal finishes. The 33-inch curved LED infotainment screen dominates the dashboard with crisp graphics and responsive touch controls.
Though the interior impresses with its thoughtful layout, some functions—like requiring the infotainment screen to open the glovebox—may irk some drivers. On the other hand, the climate and audio controls still have tactile buttons.
Furthermore, the vehicle includes safety features such as vibrating seat alerts that indicate the direction of moving vehicles, cyclists, or pedestrians.
SMOOTH DRIVING
Driving the LYRIQ is an absolute joy. While it boasts up to 500 horsepower (in AWD configuration), this EV is more about refined cruising than aggressive performance. The suspension strikes a balance between firmness and forgiveness, handling bumpy city roads with ease while maintaining composure at higher speeds. The ride feels smooth on optional 22-inch wheels, and regenerative braking ensures effortless acceleration.
The luxury SUV also features Super Cruise hands-free driving assistance and a hands-free, semi-autonomous highway driving system. Super Cruise handles lane changes, overtaking, and maintaining distance with precision. However, it requires GM’s built-in Google Maps to function fully.
AFFORDABLE LUXURY
Starting at $58,590 (plus a $1,395 destination charge), the LYRIQ makes luxury affordable for drivers seeking a premium all-electric experience. Incentives like federal tax credits and lease offers can also lower the price significantly, sometimes by as much as $13,000.
Drivers also have the option to control the amount of convenience and luxury with the following three trim options:
- Tech ($58,590): Standard features include 20-inch wheels, a fixed-glass roof, wireless Apple CarPlay and Android Auto, heated seats, and wireless phone charging.
- Luxury ($62,690): Adds adaptive cruise control, a 360-degree camera, ambient lighting, and more interior color options.
- Sport ($63,190): Builds on the Luxury trim with sportier accents and styling.
The Cadillac LYRIQ blends cutting-edge technology with signature Cadillac refinement, offering a smooth, luxurious driving experience at a competitive price. Despite its limited physical controls, it delivers a compelling mix of style, comfort, and value. Whether you’re an EV enthusiast or new to the segment, the LYRIQ proves Cadillac is serious about the electric future.
James Gunn’s Superman is looming on the horizon, getting ready for its July 11 release date. But another member of Kal-El’s immediate family is also gearing up for her debut in the new DCU. Gunn announced on social media that principal photography has begun on Supergirl: Woman of Tomorrow. The photo released shows the back of Kara Zor-El actress Milly Alcock’s head, sitting in her on-set chair. Craig Gillispie, known for his work on I, Tonya and Cruella, is in the director’s chair for this one. You can see James Gunn’s post right here:
So what can we infer from just this one Supergirl photo? Not a whole lot, but a few things. For one, Kara is going to have long hair. In the DC Comics, she’s worn many different hairstyles over the decades. But it looks like they’re going with Supergirl’s longer hair from the Tom King and Bilquis Evely comic the film is based on. Second, Milly Alcock’s chair has the same ‘S’ symbol that our new Man of Steel David Corenswet has. Looks like that’s our House of El symbol across both films, which shows consistency. And last, the bar she’s in is probably the same alien bar Kara goes to in the original comic book on her 21st birthday.
Hopefully, we’ll see an official photo of Milly Alcock in her Supergirl costume soon. Unlike her iconic cousin, Kara Zor-El has worn a metric ton of different costumes over the years. We wouldn’t be surprised if she wears something akin to the design she has in the Woman of Tomorrow comic book. But they might do something completely different for the live-action version. And they might want to differentiate from her Arrowverse CW costume or the one used by Sashe Calle in The Flash. In any case, after her stellar work in House of the Dragon, we’re pretty sure that Alcock is going to completely own this role.
Supergirl: Woman of Tomorrow hits theaters on June 26, 2026.
The post James Gunn Shares First SUPERGIRL Set Photo, Annoucing Production Has Begun appeared first on Nerdist.
Remember when Lyft and Uber first took off? I know you remember the prices for a ride back then. We lived through it becoming a norm to call a total stranger to come, pick us up, and deliver us to a location. What I always remember is the interactions with the drivers. I’ll never forget asking a driver the most memorable story he had from driving Lyft. “A couple having sex in the back seat.” My friend asked, “How’d you know it was happening?” The driver (Ryan) said, “Well. First, I smelled it.” To this day I burst out laughing thinking about that. Nowadays, I feel like we don’t get interactions like that too often, especially since you can request a driver not be talkative. I always remember that as a fun interaction, and I don’t get that feeling going into rides anymore; however, Kevin Iso’s new web series, One Star, captures that feeling.
I first saw Kevin Iso a few years ago tagging along with a friend to a comedy club. He was the comedian I gravitated to that night, and I had to tell him. He then told me about the web series he was working on at the time along with fellow comedian Dan Pearlman called Flatbush Misdemeanors. The show was brilliant and then a few years later got picked up for 2 seasons by Showtime. A huge draw for that show is how down to earth, squirrely, awkward, and sincere the characters were. In One Star, Iso’s new project, I can see that same sense of honesty. Iso has a knack for capturing situations that you can either feel yourself in or have actually been in before.
One Star Deserves Mad Stars
In the first episode of One Star, he’s driving a woman talking to her partner on speaker phone. Her man starts wanting to talk that “Cinemax after dark” talk, asking what she’s wearing. When she mentions the driver, dude’s response is immediately, “Man, fuck that *****”.” Iso’s character turns around, entirely apologetic saying, “Oh, it’s no problem, I got earbuds in” in order to accommodate his rider. Meanwhile, the dude on the phone is still going off. When I tell you, I have been in that exact situation. Except it was the driver talking to his girl on speakerphone, and I turned up my music in my earbuds so damn loud. I saw that first episode and knew this man had a banger on his hands.
The second episode deals with trying to put on the right song for a passenger (Bryson Brown) but he keeps messing up the vibe due to a common thread among all the artists he”s selecting. Bryson plays up the frustration over the music perfectly as he has to keep reminding the driver about the very subtle issue at hand. The third episode, tho? You gotta see that shit. It’s the most energetic one and a perfect build as the passenger (Raven Jenai) consoles her friend with a trifling boyfriend. They way she elevates the scene to a crescendo is perfect as Kevin Iso reacts solely through facial expressions to how outrageous things are getting.
I’m going to show my age a bit here but, yall remember that late night HBO show Taxi Cab Confessions? For those of you that don’t, it was basically a documentary series that ran from 1995-2006, where taxi cab passengers were spilling their guts. At the end of the show they are told about the camera and could sign a waiver to release the footage or not. That shit sounds insane now, but back then it gave way to real ass stories. Unfiltered, graphic, hilarious, it was a look into what strangers were going through in their day to day lives. I feel like One Star is a return to that time that never went away but through the lens of a skit. Being able to capture that feel and turn it into comedy feels like putting a thunderstorm in a Pepsi bottle, but that’s what Kevin Iso excels at.
When it came to the inspiration behind One Star, Iso stated, “Creating takes so much time. To get financing. To get green lit. All that stuff makes you feel like your work is good depending on someone else’s approval. I wanted to make something on my own. So right before I bought a car, I was thinking what if I drove Uber. What would it look like if I was the worst Uber driver? Hence, the title ‘One Star’… I learned a lot about arcs, structure, and being cheap during ‘Flatbush’. Applying some of that here. If anything, this project feels like a mixtape.“
I asked Kevin what made him want to tell this story. “I haven’t even really started telling it yet. I’m just making videos of a dude that’s already kind of over his job. The real story I want to tell when I’m done playing around is one of a man that has to humble himself to take care of his family.” That’s why I rock with this comedian. I love a story where a man gotta humble himself in order to move forward. It’s one thing to write some shit that’s funny but putting a heartfelt story behind it with a character going through trials and tribulations. That’s my shit right there, and that’s the shit Kevin Iso stay on too. You can catch the rest of the series over on Kevin Iso’s Instagram page and social media.
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The post Kevin Iso’s ‘One Star’ Web Series Bangs Like a Classic Mixtape appeared first on Black Nerd Problems.