
Back when Robert Kirkman was busy becoming
Robert Kirkman, the prolific creator put out
Brit, a series of three one shots released by Image, starring an older hero, but one that still was quite capable of kicking ass when the job called for it. In the world of altruistic super-heroes, he was strictly blue-collar. Fighting the bad guys was a job, first and foremost. Think an older, and slightly cynical Captain America, and you’re starting to get the idea. He’s a touch jaded, to put it lightly.
Semi-retired, Brit owned a strip club, had a wife and a kid, but would come back when asked, and…hey – if we can borrow a page from the unrepentant salesman Kirkman, check out the darkly comic
Brit trade released earlier this year - not to mention Image’s Free Comic Book Day offering, or
here for a 26 page look at the first
Brit one-shot. Over the years, Brit has become one of the recurring characters in Kirkman’s sub universe within the larger Image universe.
In August, Brit returns in a new series, but with a new name in the writers’ credit box – Bruce Brown. No, he’s not Kirkman’s Richard Bachman, he’s really Bruce Brown.
Instead of having Newsarama do the howdoyado? interview, we tapped Kirkman to introduce us to his friend – oh, and give us a peek at the series’ art by Cliff Rathburn.
We’ll just get out of the way now…
Robert Kirkman: First off, Bruce--tell me a little about yourself. I know you. Hell, I LOVE you, but to some people you're a new name to the comic industry. But you've in fact been writing comics here and there for some time. There's a reason I hand-picked you to take over
Brit. Could you just chat about yourself for a bit and tell these good people who you are and where you've been?
Bruce Brown: To kill the rumors, I'm
not Robert Kirkman. I did go through a Mark Twain phase-- worked the indie trenches and wrote a pair of Batman bits for DC as Kimo Temperance (one of which appeared recently in the Volume 3
Batman Black and White hardcover). I finally decided it was more interesting to be me than a matchstick man. And I couldn't carry Mark Twain's moustache. Lately, I'd been out in the wilderness punching bears. Then
Brit. It was nice to be hand picked for the series, like a Florida orange.
KIRKMAN: Very much like a Florida orange actually. Okay, I'm trying to make a joke here and it's just not coming... moving on. I know what Brit's about, you know what's Brit's about, but to fill in the uninitiated few – what's the story behind Brit? What differentiates it from the other superhero books on the stands? Is it obvious I'm reading some of these questions from a card?
BROWN: Not too obvious, no. Brit is the unrelenting super soldier. He's spent the majority of the last century in government work, and he's come out of retirement because the work still needs an unkillable man. Brit is even older than he looks but he's approaching death in slow motion. He's not stronger or smarter or more skilled, but he's just a diamond man in a world built like bird bones. I don't think we're remarketing the wheel here, but I do think the difference will be in the stories. We'll take all the old things, break them off the frame and twist them in happy distortions that will please the buttery lizard bits of your comic brain.
KIRKMAN: With each
Brit one-shot I attempted to move the character to another stage of his life. He went from a swinging – if not elderly - bachelor, to a caring boyfriend to finally a doting dad. Where are you starting Brit off and where would you like to take him?
BROWN: I'm starting Brit off at the verge of divorce, and going downhill from there. Or uphill, hells of union vary. Physically Brit is the unbreakable man, so I'm looking for the different ways people shatter. Brit won't be serial hopelessness, but there will be razor bitters with the joys.
KIRKMAN: I ate almost a whole box of Razor Bitters for breakfast this morning.
Brit shares a lot thematically with
Invincible, namely the importance of family. Do you foresee yourself expanding on that with the series? We've seen Brit's wife's folks, will we be finally seeing more of Brit's origins?
BROWN: At the moment I think that the whole of Brit's origin should be undiscovered country, more interesting untouched. I'm interested in visiting some of his history, glimpse his tours of duty. He's been a soldier for a long time, and I love a good war story. But until they need to meet, I'd rather think forward than work backwards. We'll definitely meet some of Brit's family; see that's fallen from an odd tree. Dysfunctional makes the best families .
KIRKMAN: Not only is
Brit thematically linked with
Invincible, but it also has a very set place and relevance in from that book's universe. Are there any particular characters you're dying to bring to the new ongoing? Will we be seeing any familiar faces?

BROWN: I'd love to get hold of Invincible, but out of costume. I'm scheming on co-opting some
Invincible second stringers for some Dirty Dozen/Suicide Squad shenanigans, but you have a grip like a brick mason. And I'd love to work a Tech Jacket vs. Donald thing.
KIRKMAN: I did ask that question knowing full well that I'm not going to let you use anyone else. Silly me. Expanding beyond
Invincible, where would you place
Brit amongst the other Image superhero books? Do you view it closer to the off the wall superheroics of
Savage Dragon or something more grounded like Jay Faerber's
Noble Causes?
BROWN: I'm not sure where Brit would fit. I don't think in terms of a superhero book. I'll abuse the elements, but why not abuse and devour much, much more? I envy the character relationships that deftly center
Noble Causes and I envy the gonzo plotting that makes
Savage Dragon the chest hair and Charles Atlas of comics. You can't kick sand on rugged arms of dynamite. Those comics are chocolate and peanut butter to me. I'm hoping to magpie the spirit of those books and handfuls of my other favorite graphic drugs and influences into Brit.
KIRKMAN: The series artist, Cliff Rathburn, is, well... a goddamn genius. I try to use him on every book I do, whether it's coloring covers, penciling, inking, lettering, stapling, whatever. He's gray-toning, coloring covers and doing back covers for
The Walking Dead. He's been inking
She-Hulk for Marvel. He drew
Fantastic Four: Foes, where he drew the Negative Zone Prison from
Civil War for the first time ever. Now he's penciling, inking and coloring this book. How much do you engage him in your creative process? Has he altered the way you initially wanted to approach the book?
BROWN: As an artist Rathburn is the best spider, because he can take a script, suck it to a husk and then shi
t a beautiful web. He has altered the way I approach Brit. It's like feeding a fire. I keep throwing things at him to watch them burn. The detail and bent of his work is a creative push. In the past I've found it hard to trust artist any further than I could throw them bundled in the crawlspace but (hopefully) I'm learning to pare back the micromanaging of detail and panels and trust my brutally talented artist.
KIRKMAN: I've been working on Brit in one way or another since I started at Image. And, y'know... I'm totally awesome and stuff. How are you going about making a book that's been associated with someone else for so long your own? Is it tougher to do than an original work?
BROWN: The one reservation I had about Brit... was your addicts. Like any good chemist you have Kirkwhores, the walking invincibles. They're like dedicated antennas for radio free Kirkman. Pimping ain't easy when it's stranger candy to the old faithful. I've been trying to set deep hooks in familiar sweets. For the first few issues I've been attempting some sleight of Kirkman, layering mimics of your style from dialogue and plot patterns. The goal is to pay homage but still build my brand of nitroglycerine and let it uncurl like a headslug in Chekov.
Working on Brit is less like sharecropping at DC or Marvel, but I can still feel the limitations. It's like I don't own the riverboat but I get to deal the cards.



KIRKMAN: Well, I have know clue where the riverboat is going... so feel free to take it wherever. I probably wouldn't even notice. The book and characters have a lot of influences from outside of comics. Sometimes it's more reminiscent of those "one last job" Clint Eastwood or Charles Bronson films from the 1970s. Are there any particular works you're drawing from outside of comic books to the series?
BROWN: Clint Eastwood, John Wayne, Abraham Lincoln spaghetti westerns, Hong Kong cinema, new science, Carl Jung in a tentacle suit, the hammer sequence from Oldboy, space crack and volcanoes
KIRKMAN: This is always the part of the interview that I choke on, and I hate these kinds of questions... but I'm throwing it at you anyway. Without spoiling anything... can you give us some kind of tantalizing, insider information on all the cool things you have planned for the series? Make sure you mention the sharks with jet packs from issue #4. That's been my favorite part so far.
BROWN: I think that's all we need to say: sharks with jet packs.
KIRKMAN: Heh, you choked too. Anyway, when the all-new Brit series gets underway here in August I don't think anyone will be mistaking you for me after they see how much this series puts what I did with the character to shame. I can't wait to watch it all unfold.
Brit #1 is due in stores on August 15th, and will carry a $2.99 cover price.