'Disaster Inc.' Comic Will Pit Ghost Samurai Against Tourists
There are some places no one in the world should visit — even as part of an expensive guided tour. The scary truth behind that idea is at the heart of Disaster, Inc., a new AfterShock Comics title set to launch this spring.
The series was inspired by writer Joe Harris’ love of “Akira Kurosawa movies, Toshiro Mifune and stories of the Samurai,” he tells The Hollywood Reporter, but there’s another story behind the story — one that’s arguably more surprising. ”I’ve also been interested in the concept of underground tourism for a while,” Harris explains. “It probably started with stories of people bungeeing off the Brooklyn Bridge at night, or massive raves deep inside the New York City subway tunnels, or the guys who climbed the World Trade Center Freedom Tower before it opened to the public and filmed their BASE jump from the very top.”
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Disaster, Inc., however, takes that idea one step further by focusing on a group of extreme “disaster tourists” venturing to a place where they really, really shouldn’t be.
“The story follows a group of disaster tourists who charter this underground organization to guide them inside the Japanese no-man's land known as the ‘Exclusion Zone’ surrounding the site of the 2011 Fukushima Daiichi nuclear meltdown,” Harris says. “They quickly learn there's more to worry about than radioactive fallout, or just getting busted, when they find themselves both hunted and haunted by the ghosts of those same warriors who protected this land from invaders for almost a thousand years: the Samurai.”
Illustrating the series is Sebastián Piriz (Headspace, Caped), with covers from Andy Clarke (with Jose Villarrubia on colors) and Cully Hamner.
“Piriz is wonderful artist who’s killing it on both the line art and colors,” Harris shared, adding one final pitch for the book: “It features some pretty creepy supernatural horror and grisly, bloody battles. Also: Samurai swords.”
Disaster, Inc. No. 1 is set to be released digitally and in comic book stores April 1. Before then, look below for some of Piriz’s art from the issue, as well as Clarke and Villarrubia’s main cover.
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