War Graphic Novel Reviews

The Masked Bookwyrm's Graphic Novel (& TPB) Reviews
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Barefoot Gen: A Cartoon Story of Hiroshima 1987 (HC & SC TPB) 300 pages
a.k.a. Hadashi No Gen
Written and illustrated by Keiji Nakazawa.
Black & White.
Originally serialized in the Japanese comic magazine, Shukan Shonen Jampu (1972-1973)
Additional notes: published in a small format, almost digest-sized; various introductory commentaries
Rating: * * * * (out of 5)
Number of readings: 1
Suggested mildly for mature readers
Published by New Society Publishers
Barefoot Gen tells the semi-autobiographical story of its author, growing up in Japan during World War II, in the doomed city of Hiroshima, in the months prior to that city being devastated by the dropping of the first atomic bomb. Young Gen is like any normal, rambunctious boy of any culture, and any time. Not a bad child...though not quite good, either, he gets in and out of trouble, both looking out for and looking down on his little brother. On one hand, it is a universal paean to childhood, on the other hand, it's a vivid recreation of wartime Japan in all its absurdity (old veterans teaching civil defence courses in how to use bamboo spears against the enemy on the cusp of the nuclear age) and its hardship (enduring air raids, hunger, and sinister secret police).
I'm not that familiar with Japanese comics -- manga -- a narrative medium that has been thriving in Japan for years, and which has started to take North American comicbook fans by storm in the last decade or so. So my review is as much filtered through my adjustment to the style as the substance.
In Japan (supposedly) comics are considered a legitimate art form, read by adults as readily as any normal book, and Japanese magna deal with adult themes and subject matter. And yet, there is also a curious cartooniness, a juvenileness to the presentation which is, at first, disconcerting, but becomes oddly effective as you get used to it. The figures are drawn in a cartoony way -- when angered, their teeth are gritted exaggeratedly, or sweat beads will literally fly off a character's forehead like something out of a Walt Disney Comic. When a character strikes another character...he'll fly across the room in a way reminiscent of any superpowered battle in mainstream American comics. But it's this very cartoony juvenileness that can make the work effective, as you find yourself lulled into its slightly safe world of caricature and exaggeration. The contrast with the reality of the story, the political themes, can serve to actually strengthen those themes, not weaken them, precisely because the style is so rudimentary, so pure. The heart of the scenes hit you immediately. And the pacing is likewise tight and focused.
With that being said, it can still be a bit distracting when contrasted with, often, more realistic American and European comics.
Gen's father is an opponent of the war, and this stance has led to him and his family suffering a degree of ostracism in their community -- the family having difficulty even getting enough to eat. Meanwhile, over the course of the story, Gen's older brother joins the air force. Through these characters, Nakazawa explores war time Japan, and shows its philosophical and cultural diversity -- a diversity, and complexity, absent from a lot of Hollywood war films.
And this is not the popularized Japan of Western media -- full of ninjas, and honour codes. The characters here act and talk, laugh and rage, very much like their counterparts would in any western country. Though Gen's good guy dad's "tough love" approach is more like child abuse -- though whether sending his sons flying across the room is intended as an accurate depiction of disciplinary measures, or is simply part of the cartoony exaggeration, is hard to say. Indeed, if the characters were Western, and done in a less cartoony manner, it is doubtful one could quite move past some of those scenes!
Interestingly, although there must definitely be an inferred anti-war subtext in a story in which we spend time with characters who, we know, will be devastated by the American bombing of Hiroshima -- a pain that the author must feel -- he doesn't pull any punches in his portrayal of Japan either. The very fact that Gen's father opposes the war emphasizes the inherent helplessness of the citizenry -- they can't be blamed for the war of their government, but neither could they necessarily put an end to it, either. "A handful of rich men started this war for their own profit, without even consulting us citizens! What do you mean 'for my country'?" the father rages at Gen's older brother after the lad vows to fight for "my country".
Eventually the story builds, inevitably, to that fateful day in August, when the bomb fell. You can find yourself hoping Nakazawa will cop out a little, offering a sanitized, happy ending. But he doesn't. The ending is particularly powerful -- although the author doesn't dwell too much on the physical horror, the "gross out" factor that no doubt would be a part of the real destruction. There is some of that, but it is diluted somewhat by the cartoony style. As such, the emotional horror and tragedy is more forceful precisely because we can't hide behind a visceral revulsion. Gen survives -- in fact, the character is followed in subsequent stories -- but not all the characters do. It's an uncompromising ending that, maybe, doesn't offer any easy solutions to war -- Nakazawa stops short of condemning the American attack, or even nuclear weapons. But it forces the reader to not be so cavalier when contemplating such trite, casual terms as "collateral damage". A "collateral" death is still a death. And for a Western audience -- though the story was originally published in Japan -- it provides a very human face, a very familiar, very comprehensible face, for the "enemy".
The "enemy", as portrayed by Gen and his family, truly is us.
Original soft cover price: $__ CDN./ $10.95 USA.

Blazing Combat 2009 (HC & SC TPB) 208 pages
Written by Archie Goodwin, with Wally Wood. Illustrated by John Severin, Joe Orlando, Reed Crandall, Alex Toth, Wally Wood, Eugene Colan, others.
Black & white. Letters: Ben Oda, others.
Reprinting: Blazing Combat #1-4 (1965-1966 - originally published by Warren Publishing)
Additional notes: old interviews with writer/editor Archie Goodwin and publisher Jim Warren; covers.
Rating: * * * * 1/2 (out of 5)
Number of readings: 1
Published by Fantagraphic Books
Blazing Combat is one of those folk legends that crop up in any artistic field (comics, TV, etc.). One of the first projects attempted by Warren publishing after the success of Creepy Magazine, it followed a similar formula of being black & white, magazine sized, with (nominally) more mature subject matter -- and taking its nod from 1950s giant, EC Comics. But whereas Creepy was modelled after EC's horror comics, Blazing Combat was modeled after EC's war comics. Each issue boasted an impressive line up of artists, drawing short, 8 page stories, but the magazine lost money and was cancelled after only four issues.
So why is it a legend? Well, it's in the "why" of the cancelling. See the accepted story is that it was killed by politics. Because what distributors were expecting from a comic called "Blazing Combat" was a boys own adventure series about yankee pluck besting foreign hordes in stirring odes to heroism and valour. And sure, there were a few stories that fell into that category. But there were a whole lot more that didn't: stories of the grim pointlessness of war, of death and dishonour, of shell shock and pathos, stories that didn't just question the value of war but even, on occasion, the soldiers themselves. And this was, apparently, a big no no, particularly with the Vietnam War just kicking into high gear -- and Blazing Combat even did stories about Vietnam, with that same sense of melancholy ambivalence! So military bases refused to carry it (presumably a big target demographic for the magazine), distributors refused to distribute it, and it was cancelled.
Yet decades later people continued to speak highly of the series, some claiming it was among the best stuff Archie Goodwin ever wrote. Some of the stories have been reprinted and collected over the years, and now Fantagraphics has released the complete run in a single collection.
And ain't it nice when, after all that hype, something really does justify all the hype?
Because Blazing Combat holds up surprisingly well -- much better than I frankly expected.
Part of the appeal is precisely the mix of impulses -- the adult themes of politics and psychology with traditional, even simplistic, unpretentious comic book story telling. After all, these are more than forty year old comics, and though technically published without "Comics Code" approval, they're pretty tame by modern standards -- barely seeming much different, in explicitness, from what you might have read in Sgt. Fury or Sgt. Rock comics from the time. And the 8 page stories are pretty brief, often little more than vignettes. Some attempt ironic twist endings, ala a horror anthology, while others are barely more than shaggy dog stories, more about capturing a moment, or a flavour, than telling a story. Yet it's precisely because of the brevity that many of the stories pack the punch they do. The ideas and plots aren't belaboured, nor have time to get repetitious.
I'm reminded of Garth Ennis' recent War Stories series, in which he too attempts to deal unglamourously with the grit and brutality of war. But though Ennis' tales are more explicit, using modern style gore and profanity, I can't say they're better. Goodwin's much shorter pieces show that sometimes you can say more, with less. Another contrast is that though both men show an undeniable sympathy and compassion for the men in the field, Goodwin doesn't let that blind him to the fact that soldiers are people -- and that means they can be good, bad, and inbetween. Goodwin is willing to recognize that sometimes, even the men on the front lines weren't paragons. They know fears and doubt and bigotry, and some emerge as the villains of the piece (usually contrasted with another, more virtuous soldier).
What emerges is a decent variety of material. There are stories set amid historically researched chronicles of real battles, from the Civil War to Vietnam, and stories celebrating the pluck and courage of soldiers triumphing over enemy forces. There are also little, bitter tales, of dark moments and dark deeds. There are also quiet tales, psychological tales that almost have their biggest impact on you after you close the book and let it settle into your brain. Some of those, ironically, emerge as the most memorable, such as "MIG Alley" about an ace pilot who loses his nerve, or "Holding Action" with its memorable final panels of a soldier casually lighting a cigarette while, in the background, another is dragged into an ambulance. Another much talked about story is "Landscape" which is often cited as the one that most offended militarists with its quiet portrait of a Vietnamese farmer caught between the opposing sides, and its searing final images.
You know the collection is going to offer you more than you might have expected with the very second story -- "Aftermath" -- about two soldiers in the Civil War, which seems to be heading in one direction...then takes a bitter turn that says all there is to say about war and the human beast.
With all that being said, there are plenty of filler tales, too. Stories that aren't bad...but maybe aren't anything special, either.
But then we get to the art.
It isn't simply that Blazing Combat boasted a lot of top talents -- it's that these were top talents working at very near the top of their game, some delivering work even better than I expected from them! Maybe the short format, and quarterly deadlines, allowed them to devote more care to the pages. Maybe the black & white format meant they were able to experiment with techniques denied them in a regular colour comic. Maybe they were just excited by the edgy material in a medium dominated by men-in-capes and comedic teenagers. As I say, not only are these great artists delivering some of their best work, but they often seem to be stretching and experimenting even from story to story -- look at the different techniques Reed Crandall uses in the stories he illustrates, ranging from meticulously detailed line work in some, to painted grey washes in others. Most of these stories aren't just black & white because no one coloured them -- the art was meant to be seen in black & white, as the artists make use of greys and shading that would be lost in a colour reproduction. Perhaps the weakest of the art is Joe Orlando -- ironically, a holdover from the EC Comics era and so, no doubt, seen as a nice link to the comics that inspired Blazing Combat. And it isn't that Orlando is bad -- his storytelling and composition is quite good. But it still looks the most like, well, like regular comic book art.
What's perhaps most noteworthy about this collection, is there's scarcely a rum story in the batch. As I said, there are certainly lesser stories, stories that pretty much are what one might have expected -- or the distributors were hoping for. Straightforward tales of gutsy soldiers out gunning the enemy. But settled on your shelf, there's hardly a tale that can't withstand a re-reading somewhere down the line, either for the script, or the art. And there's a variety to the material, not just with the shifting visual styles (though all employ a realist look -- if an anthology like this were done today, presumably the realist stories would be the exception, with cartoony and manga flavoured visuals dominating), but shifting time periods, with anything from cowboy and Indian battles to world wars to Korea and Vietnam in the offing...even a throwback to the Greek battle of Thermopylae (the same battle Frank Miller later turned into the cash cow, 300) and a post-apocalyptic sci-fier. And though most are American-centric, occasionally Goodwin will focus on British or even German characters. There's even "Lone Hawk", a story about real life Canadian air ace, Billy Bishop, that, like the better stories, kind of zings you with a denouement that is understated even as it's profound.
Of course, I can be cynical. I mean, whether Blazing Combat was really the victim of conspiratorial forces...or whether it just makes a good story -- who knows? Even publisher Jim Warren, in an interview, suggests that no one ever officially owned up to an attempt to kill the mag. It's not as romantic, nor as dignified, but it's quite possible the poor sales...really were poor sales. I mean, the comic biz is full of titles that crash and burn. And the very things that make the stories weather the test of time as well as they do, might very well have turned off readers just looking for a little escapism on a Sunday afternoon. I mean, everything can be spun according to the "vision" of the teller. In the introduction to an interview with Archie Goodwin included here, it credits Goodwin with securing Marvel the comic book rights to "Star Wars" which, though technically true as Goodwin was ed-in-chief at Marvel then, my understanding was it was Roy Thomas who pushed for the acquisition. It's also then stated that the Star Wars comic "probably saved" Marvel Comics -- hyperbole which smacks a bit of an editor/interviewer eager to spin things so that Goodwin emerges as a creative and commercial visionary.
But whether Blazing Combat was a martyr on a cross of artistic integrity...or simply a comic that didn't quite click with a paying audience, doesn't change the fact that, collected here in its entirety, this is a strong anthology, full of great art, and stories, that on occasion, in their short, eight pages, will linger with you as memorably as any epic graphic novel, motion picture, or prose novel on the subject of war.
War is hell...but sometimes the chronicling of it can be art.
Original hard cover price: $28.99 USA
Soft cover price: $ ___

The Creature Commandos! (2024) 280 pages
Written by J.M. DeMatteis, Robert Kanigher, with Mike W. Barr, Dave Manak. Illustrated by Fred Carrillo, Pat Broderick, Dan Spiegle, with Bob Hall, Dave Manak. Inks by various.
Colours: Adrienne Roy, Jerry Sherpe. Letters: various.
Reprinting: the Creature Commando stories (which could range from literally 1 page to the whole issue) from Weird War Tales #93, 97, 100, 102, 105, 108-112, 114-119, 121, 124 (1980-1983) - with covers
Rating: * * * (out of 5)
Number of readings: 1
Review posted: Oct. 2024
Published by DC Comics
The Creature Commandos might seem like an odd property to get a collected editions. Though these days any and sundry old series have been reprinted, so maybe it was just its time; or more likely it got a boost because James Gunn, charged with overseeing the DC movie line, announced his interest in developing an "adult" animated program based on this relatively obscure property. (Though -- based on trailer clips -- that version seems more like just a re-hash of the Suicide Squad, which Gunn made a movie based upon, rather than directly based off these comics and characters; changing the characters and moving the story to modern-times).
The Creature Commandos never carried their own comic, nor were they even a regular feature, but cropped up periodically in the pages of DC's Weird War Tales comic. At the time DC had a few war-themed comics, but this was where gritty war stories overlapped with horror and fantasy themes.
The premise is that during World War II there's a misfit commando unit made up of classic monsters: a vampire (complete with slicked-back Bela Lugosi hair); a werewolf; and a Frankenstein monster-type creature. The twist is that they are products of science, not magic (despite the vampire able to turn into a bat and the like). Soon they are joined by a woman with snakes for hair ala Medusa for a little bit a gender parity. Rounding out the team is Lt. Shrieve, their human commander.
And the Creature Commandos is great example of what superhero comics do best (even if not technically superheroes): taking the stupidest, silliest ideas...and then treating them completely seriously.
Because instead of treating it as a joke, the series is rife with pathos and themes of acceptance and alienation. The Commandos essentially the war-time equivalent of the X-Men or the original Doom Patrol -- a misfit team putting their lives on the line for people who often regard them with horror and revulsion. Shrieve himself treats the commandos terribly, often mocking and belittling them -- the obvious subtext: the human member of the team is more of a monster than the monsters. As well, the stories themselves often play around with themes of the horror of war, and the moral ambiguity of conflict -- again, often with the idea the commandos have more morality than the humans.
This is probably more explicit in the early stories penned by J.M. DeMatteis who created the team (along with artist Pat Broderick who drew their first adventure). Robert Kanigher takes over the writing after a few stories -- Kanigher basically DC's go-to guy when it came to war comics. And it's not that he doesn't maintain the themes (especially the idea of the commandos being tragic outcasts) but maybe not to the same degree (even softening Shrieve into the more stereotypical hardcase-with-a-heart at times).
Is the irregular series great? A lost classic of sequential art?
Not really. Truth be told, it's not that great. But that doesn't mean there isn't an appeal -- if only recognizing a genuine potential and ambition it sometimes evinces. DeMatteis certainly sets up some interesting ideas, making the characters slightly more than caricatures: Velcro, the vampire, is actually the most straight-forward heroic of the group; while Griffith, the werewolf, has a kind of split personality: blood-thirsty as a wolf-man but a shy, nervous type when he's not; plus the whole Shrieve-more-monstrous-than-the-monsters. And the later addition of Dr. Medusa adds an interesting touch in that she is treated as just as capable and effective of the men (these days reactionaries would no doubt have filled the letters pages with complaints about wokeism!)
These are late-Bronze Age comics, so still assuming a mostly youthful readership. And the fact that it wasn't a regular series, but presented in irregularly appearing stories -- some taking up the full comic, but often just short 12 page adventures (or in some issues just a single page "gag" story by Dave Manak) -- obviously limited the ability (or the desire) to develop the premise or the characters beyond the core ideas. The themes and ideas are pretty repetitious with nothing really advancing or developing. Heck, at one point "Lucky" (the Frankenstein-monster) is given surgery to give him speech...and yet he continues to just grunt in later stories; when Dr. Medusa is added to the cast "Lucky" is infatuated with her...but nothing comes of it.
DeMatteis would go on to be a respected (and frequently quite ambitious) writer of comics. But I believe this was among his earliest work. While Kanigher was a kind of odd duck. An important figure in the development of comics, I'll admit I often find his writing can often lean to steam-of-consciousness plotting and clunky dialogue, as if he was just stringing the story along from page to page. He was the foremost war writer of his day and (despite my above criticism) could be quite effective there because he would invest the war stories with a weird, brooding, almost dreamlike atmosphere.
But here you're aware the Creature Commando stories aren't usually well constructed or even well-conceived plots, but more just rambling episodes as they go off on fairly generic missions. An example of this rambling plotting is one issue -- one of the longer stories at 23 pages -- which begins in Allied territory (with the usual theme of the CC being shunned by normal folk), they go off into enemy territory to sabotage something...and then half-way through discover their contact in the Resistance just happens to have been building a time machine...and the second half of the story is them travelling to the far future! But I suspect that was Kanigher's approach: just keep the plot moving.
There are also a few stories where the commandos crossover with a few of DC's other "weird" war concepts, including one story where they journey to an island full of dinosaurs (which was featured in another irregular series) and they occasionally had a guest star in G.I. Robot -- literally a robot G.I. -- to the point where he was almost an honourary member of the team.
Pat Broderick drew the initial story. But the series' primary artist was Fred Carrillo, an artist not that commonly used on superhero stories, but with his realist style, and a touch of the Gothic, cropped up in these kind of anthology comics, and drew a run of The Phantom Stranger. It's appealing work. Dan Spiegle also draws some issues and quite effectively, bringing a greater dynamism than Carrillo while still maintaining an appropriate grittiness.
This is one of those collections that is hurt by its price tag -- and enjoyed more if bought on sale. Because there is a certain fun delving into this off-beat property, and appreciating that there was more thought and effort put into it than you might expect (especially in the early DeMatteis stories). But it's also fair to say it's not that great, with few of the individual stories standing out as memorable. Although it's worth remembering, of course, these stories weren't primarily intended for readers like me. Unfortunately -- that's the only way I can review them. With that said, younger readers will probably appreciate the strengths more and notice the flaws less.

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