Joshua Williamson Sends Winter Soldier and More on the Hunt for "Red Skull"
Blade of the Immortal, Hiroaki Samura’s samurai tale, reaches the end of its long run this week with the publication of Volume 31. Dark Horse began publishing the series in 1996, at a time when manga was not only flipped but chopped into single-issue comics. The world has changed a lot since then, and so has Blade. Samura spent almost 20 years writing and drawing the series, and his storytelling style evolved quite a bit over the years.
Samura’s superb art belies the startling violence of his story: Manji, a renegade samurai, cannot die because his body harbors bloodworms that heal every wound. To shake the curse of immortality, he must kill 1,000 evil men. This task gains focus when he teams with Rin, the daughter of a dojo master whose father was slain in front of her; she seeks not only to avenge his death but also to stop his killers from slaughtering the members of the other dojos to consolidate the power of their own school of fighting, Ittō-ryū. Samura fills the pages with baroque villains and and elaborate weapons of his own invention. The early volumes have a punk feel to them, but eventually he settles into a more traditional style.
In addition to discussing the new status quo for Monkeybrain (which surprisingly stays much the same as before, as Roberson explains), we also delve into Edison Rex – Issue 16 arrives Wednesday — and dig into the writer’s first work for Dark Horse, Aliens: Fire and Stone, which debuts Sept. 24.
On general principle, I love any project with an alliterative name like Brain Boy. And even though JK Parkin just interviewed Dark Horse Assistant Editor Jim Gibbons, when I found out he had the scoop on the Brain Boy Archives that Dark Horse is set to release this Wednesday, November 16, I pestered Gibbons for a brief email interview. The 1962/1963 six-issue series serves as the only comic written by prose novelist Herb Castle. And while Castle developed the origin with legendary artist Gil Kane, after that first appearance, the actual series was drawn by then-newcomer Frank Springer. Inspired by the Cold War landscape of the early 1960s , the short-lived series proved a great springboard for discussion with Gibbons.
Tim O’Shea: How did the idea first come about to develop a Brain Boy archive?
Jim Gibbons: This was all Dark Horse Comics’ head honcho Mike Richardson’s idea. That guy knows his old comics like nobody’s business and we—as a company—wouldn’t have as extensive or as impressive an archival collection series without the passion Big Mike brings to the table for a lot of these projects. As a relatively young guy, I’d never heard for Brain Boy—and may not have had I not been assigned to work on this project with editor extraordinaire Philip Simon—but man, I enjoyed every wacky turn of this short-lived comic series.