By Kazuo Koike, Goseki Kojima, Dana Lewis
Few works can legitimately lay declare to the mantle "landmark". darkish Horse Comics is proud to provide one of many actual landmarks in image fiction, Lone Wolf and Cub. stated around the world for the intense writing of sequence writer Kazuo Koike and the groundbreaking cinematic visuals of the overdue Goseki Kojima, Lone Wolf and Cub comprises unforgettable imagery of stark attractiveness, kinetic fury, and visceral thematic strength that motivated a new release of visible storytellers either in Japan and within the West.
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Extra resources for Lone Wolf and Cub 2: The Gateless Barrier
Example text
I could even go so far as to say that I smelled its scent in the bars and parks in February and March of that year; I sensed its preternatural quiet in the bookshops and the food stalls, while I stood eating a pork taco in the Calle San Ildefonso, staring at the church of Saint Catherine of Siena and the Mexican dusk swirling deliriously, before the year 1968 was what it would become. Ah, it makes me laugh to think about it now. It makes me want to cry! Am I crying? I saw it all and yet I didn't see a thing.
I became a fixture in their group. I spent my days at the faculty, busy as a bee or, to be more precise, a cicada, coming and going in and out of the little offices, keeping up with all the gossip, all the affairs and divorces, keeping up with all the tragedies. Like the tragedy of Professor Miguel López Azcárate, whose wife left him, and who couldn't bear the pain; I knew all about it, the secretaries told me. One day in a corridor I joined a group discussing some aspect of Ovid's poetry; the poet Bonifaz Nuño was there, I think, Monterroso too, perhaps, and two or three young poets.
And then Paolo stopped talking with Arturito and said that the visa for Cuba had arrived that morning. And that was it. The noises stopped. The pensive silence was broken. We forgot about Latin American theater, even Arturito, who wasn't generally quick to let a subject go, although the theater he preferred was not Latin American at all but that of Beckett and Jean Genet. And we started talking about Cuba and the interview that Paolo was going to have with Fidel Castro, and that was that. We said goodbye on Reforma.
