Tag Archives: war comics

“Dude, Watch me Light My Pubes on Fire”: Marines at Work in ‘Terminal Lance’

*** TW – This comic contains references to sexual violence, emotional abuse, physical abuse, and in general is about the US Marine Corp***

Why is Ad Astra Comix reviewing a webcomic about the marines? It’s a fair question. I’m not going to tell you that ‘Terminal Lance’ has good politics – indeed, I think the author and artist, Lance Corporal Maximilian Uriarte (USMC) would be bothered if he thought we agreed on much. ‘Terminal Lance’ is unapologetic in its defense of American militarism, relies often on jokes at the expense of oppressed groups and has a fan base composed largely of active-duty and since-retired soldiers (with nearly 400,000 likes on Facebook, those of us on the Left can but feebly struggle and flail to comprehend TL’s popularity).
On the strength of its politics, I can only really recommend Sun Tzu, who advises that “if you know your enemies and know yourself, you will not be imperiled in a hundred battles.”

Continue reading “Dude, Watch me Light My Pubes on Fire”: Marines at Work in ‘Terminal Lance’

Above the Dreamless Dead: A Review and Listing of WWI in Comics

Today marks the centennial of the beginning of World War I. For those looking to comics for a quick and easy fix to explain how WWI started, there is indeed a comic for that. But for those looking to take advantage of the medium’s great ability to disseminate a deeper understanding of the conflict’s human impact, there are some exceptional titles available this year. These include anthologies like Above the Dreamless Dead and To End All Wars, as well as re-releases of classics like Charley’s War and It Was a War of the Trenches, to name a few.

Book coverToday we’re taking a look at Above the Dreamless Dead (First Second, 2014), an anthology of comics written and drawn to WWI poetry and song. Contributions are made by Peter Kuper, Garth Ennis, Sarah Glidden, Hunt Emerson, Eddie Campbell, and many more.

i wonder
From the poem “Channel Firing,” by Thomas Hardy, adapted by Luke Pearson.

The space between a human being, their pen, and a piece of paper is a place not for patriotism any more than any other compulsory thought. In a time when you could have been arrested for resisting a war that saw thousands die for every mile of ground gained, poetry gave precious creative room for soldiers and non-combatants alike to process the trauma and stress of a life at war. Counting the years both during and after the conflict (1914-1918), World War I poetry, has grown to become a huge body of literary work. It is within this section of 20th century literature that dozens of comics creators have put together a creative and aesthetically varied collection for Above the Dreamless Dead.

when this bloody war is over
“I Don’t Want to Be a Soldier,” a WWI soldier song, adapted by Hunt Emerson

Soldier songs, like those illustrated by British cartoonist Hunt Emerson, satirize and make light of the harsh everyday of the soldier–whereas Eddie Campbell’s piece, illustrating an episode of Patrick MacGill’s “The Great Push”, plunges head-first into the darkest corners of the human soul. Still others transcend the ultimately subjective spectrum of human emotion, and attempt to seek solace in the naturalist truth that regardless of man’s follies, the earth will continue to be as it always has.

A scene from “All the Hills and Vales Along”, a song by Charley Sorley, adapted by Kevin Huizenga

Within the larger category of WWI poetry is the subcategory of trench poetry. Noteworthy space is given to the most well-known of these poets, namely Wilfred Owen, Isaac Rosenberg and Siegfried Sassoon. Bearing witness to some of the most hellish of situations imaginable, trench poetry takes the reader to another world of blood, mud, and pain, at one both impending and uncertain. The stress induced by the battlefield lent itself well to art, where soldiers could perhaps hold on to their sanity by airing their demons.

In Isaac Rosenberg’s “The Immortals“, adapted here by Peter Kuper, we get a real taste of the fear and paranoia of the gunner who is tasked to shoot at an enemy that seems immune to death. The feeling of this unending hoard of soldiers leads Rosenberg to feel that he is fighting not a massive army, but the same undying soldiers over and over again.

"The Immortals" by Isaac Rosenberg, adapted by Peter Kuper.
“The Immortals” by Isaac Rosenberg, adapted by Peter Kuper.

The aesthetic diversity of the art presented in Above the Dreamless Dead is a reminder that WWI poetry is in fact a huge genre–and one that the book doesn’t even illustrated to its fullest, in my opinion. Above the Dreamless Dead focuses mostly on the poets proper of the era, and in doing so missed an opportunity to take a critical look at the growing argument for sexual and racial diversity of World War I poetry.

Focusing on young white men in documenting the First World War is obviously the norm, whether you’re interested in comics, poetry, or history in general. But historian Dr. Santanu Das (King’s College, London) states that our understanding of the war’s poetry is changing as we come to recognize the diversity of the work written at the time and on the subject. “Today, no serious anthologist can ignore the poetry of non-combatants, civilians or women, such as the poetry of Thomas Hardy, or Rudyard Kipling, or Margeret Postgate Cole.” Note that neither Thomas Hardy nor Rudyard Kipling were enlisted, let alone combatants, yet they both appear in this anthology. Margaret Postgate Cole, a wonderful poet, was not, although it is arguable that she was more personally affected by the war as a socialist and activist (her brother was jailed for refusing military orders, after his application for CO status was rejected).

Das continues, “We also must move beyond Europe, because there was war poetry being written in Turkey, India, and Eastern Europe. We cannot just limit ourselves to a narrow, Anglo-centric definition of First World War poetry. We should embed First World War literary memory in a more multiracial framework by investigating, recovering, and translating First World War poetry that’s being written often in non-European languages.” Suffice to say that there is no poetry here from a non-white or non-English-speaking perspective, in addition to there being no women poets.

This criticism could surely be echoed for most graphic interpretations of World War I, but it is a point worth noting from the perspective of our mandate (see Harlem Hellfighters below, for the ONE exception to this rule that we could find!). As 2014 invites us to meditate on the “War to End All Wars” we encourage our readers to keep a lookout for examples, comics or otherwise, of marginalized perspectives/histories of the World War I.

We hope that you pick up and enjoy your own copy of Above the Dreamless Dead, or any of the other WWI titles following!

World War I in Comics: A Reading List

Book coverTitle: Above the Dreamless Dead: World War I in Poetry and Comics
Poets: Rupert Brooke, Wilfrid Wilson Gibson, Robert Graves, Thomas Hardy, Rudyard Kipling, Francis Edward Ledwidge, Patrick MacGill, Wilfred Owen, Isaac Rosenberg, Siegried Sassoon, Osbert Sitwell, Charles Sorley, Edward Thomas
Creators
: Eddie Campbell, Sarah Glidden, Garth Ennis, Simon Gane, Luke Pearson, Hunt Emerson, Sammy Harkham, Kevin Huizenga, Peter Kuper, Isabel Greenberg, George Pratt, Hannah Berry, Phil Winslade, Stephen R. Bissette,  Kathryn & Stuart Immonen, Lilli Carré, Pat Mills, David Hitchcock, Liesbeth de Stercke, Danica Novgorodoff, James Lloyd, Carol Tyler, and Anders Nilson
Edited by: Chris Duffy
Published: 2014 by First Second
Dimensions: 21.7 x 15.9 x 1.7 cm, 144 pages
Purchase: Ad Astra Online Store

Great WarTitle: The Great War
Creator: Joe Sacco
Published: 2013 by WW Norton
Dimensions: 21.8 x 29 x 3 cm, 54 pages
Purchase: Ad Astra Online Store
Launched on July 1, 1916, the Battle of the Somme has come to epitomize the madness of the First World War. Almost 20,000 British soldiers were killed and another 40,000 were wounded that first day, and there were more than one million casualties by the time the offensive halted. In The Great War, acclaimed cartoon journalist Joe Sacco depicts the events of that day in an extraordinary, 24-foot- long panorama: from General Douglas Haig and the massive artillery positions behind the trench lines to the legions of soldiers going over the top and getting cut down in no-man s-land, to the tens of thousands of wounded soldiers retreating and the dead being buried en masse. Printed on fine accordion-fold paper and packaged in a deluxe slipcase with a 16-page booklet, The Great War is a landmark in Sacco s illustrious career and allows us to see the War to End All Wars as we’ve never seen it before.”

HarlemHellfightersTitle: The Harlem Hellfighters
Author: Max Books
Illustrator:
Caanan White
Published:
2014 by Broadway Books
Dimensions:
23.5 x 15.5 x 1.6 cm, 272 pages
Purchase:
Ad Astra Online Store

In 1919, the 369th infantry regiment marched home triumphantly from World War I. They had spent more time in combat than any other American unit, never losing a foot of ground to the enemy, or a man to capture, and winning countless decorations. Though they returned as heroes, this African American unit faced tremendous discrimination, including from their own government.

ToEndAllWarsTitle: To End All Wars : The Graphic Anthology of The Great War
Creators: Brick, Jonathan Clode, Michael Crouch, Steven Martin, Sean Michael Wilson, John Stuart Clark, Ian Douglas, Petri Hänninen, Bex Burgess, Stuart Richards, Lotte Grünseid, Chris Colley, Lex Wilson, Susan Wallace, Dan Hill, Faye Turner, Joe Gordon, Russell Wall and James Guy, Colm Regan, Andrew Luke, Sean Fahey, Pippa Hennessey, Steve Earles, Gary and Warren Pleece, and Selina Lock.
Edited by: John Stuart Clark and Jonathan Clode
Published: 2014 by Soaring Penguin Press
Dimensions: 26 x 17 x 2.5 cm, 320 pages
Purchase: from their blog!

An omnibus of 27 short graphic narratives based on actual events, characters, circumstances, incidents, myths or consequences of the Great War WWI. £2 for every copy of this publication sold will be donated to Medecin Sans Frontieres. Featuring the four theatres of war (land, sea, air and the home front), spanning four continents and drawn from both sides of the conflict, the stories range from 4 to 16 pages, each by a different author and/or illustrator from the world of independent comics.

CharleysWarTitle: Charley’s War
Author: Pat Mills
Illustrator: Joe Colquhoun 
Published: August, 2014 by Titan Books
Dimensions: 26.8 x 20 x 2.4 cm, 320 pages
Purchase: Through a few places on Seven Penny Nightmare

Arguably the most well-known WWI comic of all time. From renowned UK comics writer Pat Mills and legendary artist Joe Colquhoun comes a truly classic piece of British comics history, by turns thrilling, humorous and horrifying.  From its initial publishing in the 1970s and 80s, it was widely considered to be anti-war.

Line of FireTitle: Line of Fire: Diary of an Unknown Soldier August – September 1914
Illustrated by: Barroux
Translated by: Sarah Ardizzone
Published: 2014 by Phoenix Yard Books
Dimensions: 25 x 18.2 x 1 cm, 96 pages
Purchase: Available soon!

One winter morning, Barroux was walking down a street in Paris when he made an incredible discovery: the real diary of a soldier from the First World War. Barroux rescued the diary from a rubbish heap and illustrated the soldier’s words. We don’t know who the soldier is or what became of him. We just have his words, and in his own words and Barroux’s extraordinary pictures

tardisWWITitle: Tardi’s WWI: It Was The War Of The Trenches/Goddamn This War!
Illustrated by: Barroux
Translated by: Sarah Ardizzone
Published: 2014 by Phoenix Yard Books
Dimensions: 25 x 18.2 x 1 cm, 96 pages
Purchase: Available soon!
Jacques Tardi is responsible for two acknowledged graphic novel masterpieces about World War I: It Was the War of the Trenches and Goddamn This War! To honor the 100th anniversary in 2014 of WWI, Fantagraphics has now released a two-volume boxed set collecting these two perennial classics. The first book, It Was the War of the Trenches, focuses on the day to day of the grunts in the trenches, bringing that existence alive as no one has before or since with some of his most stunning artwork. His second WWI masterwork, Goddamn This War!, is told with a sustained sense of outrage, pitch-black gallows humor, and impeccably scrupulous historical exactitude, in masterful full color.

trenchesTitle: Trenches
Creator: Scott Mills
Published: 2002 by Top Shelf Productions
Dimensions: 21.1 x 17.5 x 1 cm, 176 pages
Purchase: Ad Astra Online Store
When Lloyd and David Allenby arrive in the trenches of the Western Front, they have no idea of the misery and violence that awaits them. Can an aloof Major be the father figure and guiding force in their desperate battle for survival? Or will the estranged brothers be swallowed up before they can come to terms with each other, trapped in the clutches of the Great War? Trenches is about the beautiful stories that come out of dark times.

Ghosts of PasschendaeleTitle: The Ghosts of Passchendaele
Creator: Ivan Petrus
For more info: Check out his website!
Launched in 2014, this is the third book of a graphic novel trilogy by Ivan Petrus featuring Belgian, British and French soldiers and their true stories from the First World War. Painted in bold, dark, muddy colours, his art powerfully invokes the iconic post-war Passchendaele landscape. Petrus said: “My first graphic novel was about Nieuport, my second about Furnes and Pervyse, so the battle of Ypres in 1917 at Passchendaele was the next logical step. It was an iconic battle for the British and Anzacs troops. Plus, 1917 was the wettest year imaginable. Passchendaele is all about courage and fighting spirit – in deep mud.”

Two Fisted Tales, Harvey Kurtzmann and the Birth of the Anti-war Comic

When Two Fisted Tales first hit the presses in the 1950s, comics were the medium of choice for kids all across North America. They came after radio, but before television was a common household item, and so held the attention of young people as something new and exciting, all for 10 cents a copy. Although the art was often very good, the writing was largely composed of short, campy stories with horrible dialogue. The artistic layout as well (including the interplay between the images and their captions) had yet to really mature.

Issue # 25 is used on Wikipedia and in other sources to exemplify TFT’s ‘anti-war’ leanings. The soldier on the left comes running, yelling, “Guys! I just got word they’re arranging an armistice!” His comrade answers back, “Yeah! Yeah! Tell Jonesy here about your armistice! He’ll be glad!” The third soldier, to the right, lies face-down in mud, recently killed. Just to put this into perspective—Hollywood had yet to barely begun showing dead bodies in war movies. Putting one on the front cover, of a kid’s comic, during war-time, in a way that questioned the price of war, was largely unique.

At this time, the ‘war comic’ was at its peak in popularity. Comic historian and lecturer Roger Sabin writes:

“During the war years patriotic superheroes were sent off to fight for their country, and the conflict was polarized into one between supermen and supervillains: Tojo, Hitler and Mussolini stood no chance. These comics were unashamed morale-boosters, and retailed in unprecedented numbers: by 1943 it is estimated that they were selling nearly 15 million copies a month, thereby totally dominating the industry.”

Enter a young up-and-coming Harvey Kurtzman:

“When the Korean War broke out [in 1951], I naturally turned to the war for material. But when I thought of doing a war book, the business of what to say about war was very important to me and was uppermost in my mind, because I did then feel very strongly about not wanting to say anything glamorous about war, and everything that went before Two Fisted Tales had glamorized war. Nobody had done anything on the depressing aspects of war, and this, to me, was a terrible disservice to the children. In the business of children’s literature you have a responsibility, and these guys feeding this crap to the children that soldiers spend their time merrily killing little buck-toothed yellow men with the butt of a rifle is terrible.”

It’s really difficult to sum up Harvey Kurtzman’s life, and how it influenced such a leap forward for comic books, but it’s impossible to talk about TFT without him. Although his career began earlier, he is largely credited with the success of Two Fisted Tales and its companion comic, Frontline Combat, as the editor of the pair. In this time, he also went on to be the founding editor of MAD Magazine, among other projects. The contribution MAD has made in comedy cannot be overstated. Some have even suspected that it’s impossible to think of anything within American satire today that hasn’t somehow been influenced by MAD, and therefore, by Harvey Kurtzman.

That being said… what made Two Fisted Tales a good political comic? And Harvey a good writer?

Two Fisted Tales did two incredible things for comics, concerning both form and content. Stylistically, Harvey pushed the envelope in creating amazingly detailed layouts, stronger dialogue, and a text-and-image interplay that seemed much more seamless than work before it (I dare call it ‘cinematic’, even though cinema hardly had this down yet). Qualitatively, he told war stories that were researched and historically accurate, with realistic characters engaged in purposeful dialogue. More importantly, the stories would show blood, grit, death, destruction, civilian casualties, people losing parts of their bodies along with their minds. He showed the things that weren’t supposed to happen in war, but always do. In essence, amidst piles of war-time comics being published, TFT and FC were the first to properly convey that “War is all Hell.”

“I think the best way to look at the war stories, both historical and contemporary, in these comics is to think of them as attempting a previously unseen level of realism and historical accuracy,”  says Peter Birkemoe of The Beguiling comic shop—and a big fan of Harvey’s work. “Since Kurtzman and most of the artists were veterans of the Second World War, it is easy to see any attempt at realism ending up showing the actual horrors of war.”

Kurtzman was drafted in 1943, but he never did go overseas. I mention this, because if he had in fact seen combat, I would have more easily attributed his qualitative difference with what he may have seen/experienced in war himself.

Since this isn’t the case, then we might conclude that even more influential than his time in service was his liberal/radical upbringing (his step-father was a staunch trade-unionist, his mailbox the receiver of the People’s Daily World of the Communist Party.) Kurtzman never considered himself a socialist or communist, but he had made his opinions clear on several occasions about war, racism, and religious intolerance.

Still, accuracy does not indicate political leanings–just honesty. Saving Private Ryan wasn’t an ‘anti-war film’, even though it was arguably the most accurate depiction of war in film when it was released. …So is Two Fisted Tales “anti-war”?

Relatively speaking, yes, according to Peter. “Other war comics that rushed to the market when the Korean War started were decidedly jingoistic and make Kurtzman’s work seem politically ‘anti-war’ in contrast.”

When compared to comics and even film of the time, it was definitely an opposing view politically. TFT was so much more multi-dimensional than anything else out there, in terms of both style and content. Specifically, the constrictions within the Hollywood film industry—thoroughly in bed with the U.S. government and military in the 40s and 50s—were so confining graphically and stylistically that films had to fit into the confines of 6 predetermined topics, according to the Office of War Information (OWI): The Armed Forces, The Enemy, The Allies, The Production Front, The Home Front, and The Issues (whatever that means–I don’t seem to remember any poignant films about fascism, Antisemitism, or imperialist rivalry). Obviously, showing civilian casualties, the ‘enemy’s’ perspective, or even blood was out of the question…

I agree with Peter in that these were not “anti-war” comics per se in their agenda—but they were anti-war as a result of their accuracy. This again goes back to the type of person Harvey was.

“I think Kurtzman’s message on war is not entirely different than his message on culture that comes through in his issues of MAD,” says Peter. “[That is,] ‘If you step back and look at this clearly, it is really quite absurd’.”

I will also add that it falls into Harvey’s habit of not being categorized easily. As a political comics enthusiast, I have yet to find a good ‘political’ comic that placed a political agenda before the telling of the story, and I think Harvey understood that well, having worked with comic artists who published everywhere from Marvel to the communist party newspaper. To begin, you create uncompromisingly, and in doing so, you largely defy (or re-define) categorization in your work.

… And yet, perhaps it was even a little bit more than that. I quoted Harvey earlier speaking to a certain “responsibility” in children’s literature. It is possible that Harvey felt a responsibility to show young people an opposing view of war as well as history (including Custer’s Last Stand and The Alamo—not how you learned them in school, kids!). That’s not just a strive for accuracy; that’s pro-actively seeking out an improperly remembered event or ‘hero’ of American history, and trying to set the story straight. In my opinion, that makes Two Fisted Tales not just an anti-war comic relatively speaking, but anti-war and political at its core.

[LEFT: Two Fisted Tales Issue #23 “KILL!” includes some interesting examples of TFT’s superior story-telling skills, as well as the recurring theme that these are war stories being told from someone who abhors war.]

Whether you see it as a bittersweet rite of passage or as a cannon fodder-drive for the imperialist war machine, there is no denying that war is a horrible thing. And sometimes telling it like it is will be enough to set you aside from everyone else. It was a bit of star-crossed fortune that Harvey made TFT at the time that he did… everyone had their gaze fixed so tightly on Hollywood films as the next big medium that comics fell under the radar as an unsophisticated business of “kids’ books”. As such, comic book writers had more freedom—intellectually and politically—to spread their wings. If Two Fisted Tales had been a TV or film series, you can bet Harvey Kurtzman would have been thrown into some Red Scare kangaroo trial. And the world would have been shorted a creative genius.