With only a couple of exceptions, all the stories for TEAW are now in the bag. We’ve also received a fantastic introduction from Pat Mills that is both complimentary of our efforts and scathing in its attack upon the many ‘facts’ surrounding the justification for four and a half years of bloodshed and misery. As we’ve mentioned before, the book is available for pre-order at various online book stores and we’ll be taking part in a host of promotional nuggets as the weeks roll on.
In the meantime we have some new art for your viewing pleasure.
Every Man For Himself
Story by Chris Colley. Art by Patrick Walsh with letters by April Brown
The Stainless Steel Elephant
Story by Russell Wall & James Guy. Art and letters by Ariela Rie Kristantina
Story by Sean Fahey. Art by Borch with letters by Kel Nuttall
Barring the odd heart attack, the contents of TEAW will very soon be turned over to Soaring Penguin and made into a book!
When we devised TEAW, our ethos was to put a human face on the events of the First World War, and tell stories from perspectives people would be familiar with, but through eyes they were not. One such example of this is The Black Chair, written by co-editor Jonathan Clode and illustrated by Catherine Pape. It tells the story of Welsh poet Ellis Humphrey Evans, or Hedd Wyn as he would come to be known. JC has mentioned his visit to the poets final resting place in his Ypres feature, but a few months back his co-pilot John Stuart Clark took the road less traveled and visited the Evans family home in North Wales, where Hedd Wyn’s story is kept alive and well…almost.
The Black Chair
Story by Jonathan Clode, Art and Letters by Catherine Pape
With only months to go until the official start of the centenary commemorations, you can’t turn around without stumbling over something related to the First World War. With that in mind we’ve added an Articles page where we’ll be posting insights from our contributors about the many human faces and experiences that make TEAW different from the general mass media approach to the conflict.
The TV is doing it’s best to show us several angled views of what it was ‘really’ all about, but to get a true insight you need to see for yourself, which is precisely what one of our editors has just done on a trip to Ypres.