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Charley's War was a comic strip published in Battle Picture Weekly, written by Pat Mills from 1979 to 1985. The series focused on Charley Bourne a British Soldier who enlisted during the First World War. It was recognized for its frank and accurate depiction of the war. Mills originally intended to continue the story in the Second World War, but left when the editors refused to grant him a research budget. The comic's new writer was Scott Goodall, but it ended in 1986.

8 pages out of 100

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[personal profile] history79

"It could be summed up as “My Vampire Romance”, a nightmarish Romeo and Juliet as a German soldier Heinrich and a Jew Rebecca fall in love during World War Two. Their love is so strong that when they die they find themselves on the planet of Resurrection – Earth turned inside out – ruled over by Vampires. Heinrich becomes Requiem Vampire Knight and looks again for Rebecca. But love is outlawed on Resurrection."

- Pat Mills

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[personal profile] history79

FANGORIA: Do you think the Marshal is still relevant 25 years later, and are there any plans to put him back on the streets?

PAT MILLS: Probably more relevant now than back then, because we live in such a beaten down world today where there is little social change and idealism has been crushed. I’d love to see him back, but it feels problematic because Kevin’s on THE LEAGUE OF EXTRAORDINARY GENTLEMEN and I’m on other things. But I do need the outlet to attack heroes, so I do a bit of potshotting at them in DEFOE (Mills’ current 2000AD steampunk zombie series) where there are the 17th century Vizards, smug establishment superhero bastards who Defoe–the last Leveller–wants to kick their heads in. See, it’s still in me!

Warning for Rape

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[personal profile] history79

FANGORIA: Grant Morrison is actually fond of comparing superheroes to the ancient gods, arguing that they fulfil a similar mythological need in our modern psyche. Is it this sort of deification that bothers you? Should we have moved past myths and gods by now?

PAT MILLS: Yeah, I think the deification of superheroes is rather worrying. The neo-Christian elements, e.g . Messiah Syndrome, have been written about before, although not in a critical way to my knowledge. Abdicating our power to messiahs is a dangerous business.

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[personal profile] history79

FANGORIA: You clearly have a deep and abiding loathing for superheroes. Which, in the age of THE DARK NIGHT and THE AVENGERS, must be fun for you! Do you feel superheroes have moved on at all since you first started putting the boot in during the 1980s?

PAT MILLS: Nah. They seem more self aware and pretentious now, but the 21st century so far is hardly a time of creative progress. I read some highly-rated Superman origins book by Grant Morrison a couple of years back, expecting some new Scottish insights into the character and was surprised by how deferential it was. Well, I guess that’s what the fans want. Don’t blame us. If they want the forelock tugging approach it only reflects the wider world.

My loathing is more for what they represent—nothing wrong with a hero with special powers, if he isn’t just a tool of the establishment. So I did an Indian super hero once–BLACK SIDDHA–who originally didn’t want to be a hero (like they do). He said, “I can’t be a superhero. I’m not American.”

Well, it amused me!

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[personal profile] history79

FANGORIA: What was the genesis of MARSHAL LAW?

PAT MILLS: [MARSHAL LAW artist] Kevin O’Neill came up with this amazing looking future cop and we then searched for a story for him. Initially we trod the MAD MAX road. Then, I had a plot about future crime in a TOUCH OF EVIL world. We sold this to Marvel. But then I felt that the guy really was some kind of superhero and the story should reflect this. But I hated superheroes! So I thought: What about making him a superhero hunter, where I could vent my spleen on them, a story I am supremely qualified to write. I tentatively suggested this to Kevin who added a future war context and we were away. So Marvel didn’t actually get the character they commissioned, but rather the same story with a whole new dimension. I’m not sure they were altogether happy about that, although they never said anything.

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I am indebted to the entertaining and informative Britishcomicart blog for this strange little series (of which I only have these two pages

Meet Kid Chameleon! (No, not the videogame character, a different one... what do you mean you didn't know there was another one? Actually, given how old it is, many of you have probably never heard of the videogame one either!)

Aaaaaanyway, back to the post at hand;

And you thought Black Condor had a strange origin! )

Now, five years ago (Gosh, that long ago!) I made a Halloween post featuring stories and art from a 1970's and 80's British comic, which featured fantasy and horror stories aimed at the teenage girl market; Misty.

I am delighted to say that it was announced this week that Rebellion, the publishers of 2000AD are to return Misty to print, with reprints of some of the stories that were so well beloved, starting with Pat Mill's classic "Moonchild" about a young woman with telekinetic powers.

A nice quote from one of the publishers

Ben Smith, head of books and comic books, said: “When Pat Mills tells you there are great comics hidden in an archive and someone should really publish them, a sensible publisher sits up and takes notice.

Pat was talking about Misty and girls comics in general to graphic novels editor Keith Richardson and myself on a plane to San Diego Comic Con and was so enthusiastic about the material we had to go looking for it.

Heralding from an era when comics for girls outsold comics for boys, Misty was shortly-lived but burned terribly bright. It remains unlike anything else with its collection of shocking and varied subject matter. It’s a great pleasure to be able to bring this spell-binding work back into the public eye and we look forward to surprising people all over again.

Emphasis in the last paragraph there mine, but worthy of note.


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