THE GREATEST ANTI-WAR STORY EVER TOLD. Injured in The Battle of the Somme, Charley returns to wartime London and meets a deserter from the French Foreign Legion, Blue, who tells of his brutal experiences of the Battle of Verdun. All too soon Charley returns to the front line at Ypres where the threat from the German army is matched only by the inhumanity of his superiors! In the face of suffering and injustice, seeds of mutiny begin to grow among the ranks... This second volume of Pat Mills and Joe Colquhoun's masterpiece continues to tell the story of an ordinary soldier's experiences in World War One, including the vibrant re-mastered colour pages from the original comic.
Pat Mills, born in 1949 and nicknamed 'the godfather of British comics', is a comics writer and editor who, along with John Wagner, revitalised British boys comics in the 1970s, and has remained a leading light in British comics ever since.
His comics are notable for their violence and anti-authoritarianism. He is best known for creating 2000 AD and playing a major part in the development of Judge Dredd.
Los horrores de la Guerra de Trincheras siguen siendo tan espeluznantes como en el tomo anterior, pero el conjunto termina resultándome algo repetitivo. Sin embargo, la inclusión del personaje de Azul aporta un interés renovado y una perspectiva distinta.
La guerra es asquerosa, y la de Charley es, sin la menor duda, la más asquerosa de la historia de las viñetas. Gracias, Pat Mills, por crear el cómic más antibélico posible, el cómic para acabar con todos los cómics de guerra. Es maravilloso saber que hubo gente que se negó a participar en la más inmoral de las actividades humanas gracias a haber leído las páginas de este tebeo. Y también es bueno saber que, tantos años después, Mills sigue siendo el viejo activista idealista que siempre fue. Ojalá existiera un equivalente americano de esta gran historia (lo de Joe Sacco son más bien reportajes en viñetas), pero el tibio The 'Nam de la good old Marvel no se acerca ni por asomo a este verdadero compendio de los horrores que es La guerra de Charley. Por supuesto, los excelentes dibujos de Joe Culquhoun reflejan a la perfección todo lo que Mills pretende mostrar, con un escalofriante realismo que nos transporta directamente al infierno plagado de ratas de las trincheras o a los repugnantes páramos repletos de cadáveres de la Tierra de Nadie. Las ejecuciones a sangre fría están a la orden del día, y la deserción no se presenta como un crimen odioso, sino como una opción perfectamente cuerda ante la insania en la que muchachos perfectamente inocentes se ven inmersos sin comérselo ni bebérselo, engañados por propagandistas sin escrúpulos y mercaderes de muerte. En definitiva, La guerra de Charley no es solo un cómic excelente: es un cómic necesario.
Aloitin lukemaan Pat Millsin ja Joe Colquhounin Charley's Waria keskeltä, toisesta kokooma-albumista, joskaan en kauheasti tuntenut että se olisi haitannut lukunautintoa. Kyseessä on harvinaisen fiksusti kirjoitettu ja upean ronskisti piirretty sodanvastainen ja avoimen kriittinen sotasarjakuva Korkeajännityksen hengeen. Millsin raadolliset ja tarkasti taustoitetut käsikirjoitukset piirtävät ensimmäisestä maailmansodasta sellaisen kuvan, jota en ole aiemmin nähnyt missään muualla. Matkan varrella käsitellään niin kaasuhyökkäykset, brittiläisten upseerien typeryys kuin rintamakarkuruuden monet kasvot. Todella suositeltava sarjakuva niille jotka haluavat sotasarjakuviinsa muutakin kuin sodan ihannointia ja sankaruutta.
The protagonist is no hero. But maybe he is. Or rather he is an ordinary person doing his best in extraordinary circumstances that depict the true occurrences during what is termed World War I or the First World War.
This is bizarrely both unpleasant reading and a great read all at the same time. It is right that historic representations should be accurate in both fact and tone. Yes, some literary liberties can be allowed but only to allow the storytelling to remain true. Few liberties have been taken. None of which are to deviate from the truth.
The writing and the art come together to provide a compelling read that defies what I feel is counter to my instinct given the length of it. I am gripped and horrified in equal measure. I suspect that this was the aim of Mills & Colquhoun.
Hasn't shed one bit. Searing, harsh realities of WW1 for intelligent readers.
Charley's War still has the power to shock a generation after it was the best story in the successful Battle comic of the early 80s. Reading it again as an adult I can feel so much more of the anti-war power of the stories, subverting the hero tropes of Commando comic book war porn by revealing the senselessness of the fighting, the blind alley heroism and ultimately pointless nature of warfare for the ordinary young people who end up fighting and dying for it.
The duality of the ordinary working class lads and their scrappy durability against the vicious privations of trench life versus their potential as a revolutionary force against the vainglorious officer classes is subtly and often blatantly portrayed, with the war presented as the ultimate abuse of the workers by an utterly oblivious and exploitative ruling class, which is an astonishing subtext even today, forty years after it was written.
Drawn beautifully by the amazing Joe Colqhoun, Pat Mills' epic vision is still rightly regarded as one of t he greatest comic book sagas ever produced, and has lost none of its power in the intervening years. A total classic.
4.6 out of 5. Brilliant, brilliant, brilliant! The 2nd book in the series and another cracker. This book includes the account of the battle of Ypres as told by Blue, a deserter from the French Foreign Legion. This was one of my favorite stories at the time - and I could remember specific pages very clearly. This edition again has a commentary at the end from Pat Mills on the writing and creative process for each episode, which is fascinating.