UN SITIO PARA AMANTES DE LOS COMICS.

martes, 13 de mayo de 2008

Dos visiones de la guerra.


Werewolfie nos habla en los comentarios del post anterior de Vaughn Bodé (no confundir con Mark, su hijo y también dedicado a la historieta) y su obra. Si queréis acercaros a sus comics, en esta web: Golden Age Comic Book Stories encontraréis páginas de "Cobalt 60" y un episodio de "The Junkwaffel Invasion of Kruppeny Island", obras muy representativas de este autor norteamericano, muerto muy joven, y que criticaba con saña la guerra allá por 1968.
Paradójicamente en la misma web podréis encontrar una espléndida selección de páginas dominicales a todo color de otra obra sobre la guerra, aunque en un registro completamente opuesto. Se trata de "Tales of the Green Beret" de 1966 a 1969, donde Jerry Caplin de guionista no acreditado (firmaba los guiones el novelista Robin Moore) y sobre todo Joe Kubert realizaron, en palabras de Catherine Yronwode en La Historia de los Comics, "... una glorificación de las vidas de los componentes de las tropas especiales enviadas a Vietnam". Joe Kubert hace uno de los mejores trabajos de su carrera. Lo dice Yronwode y lo digo yo. Y por las muestras que podemos ver justifican por sí solas una petición de publicación por muy "facha" que sea el guión.


O sea que, más madera. Y decían que se había publicado casi todo...

(gracias Anónimo por fijarte en los errores que he corregido algo tarde)

1 comentario:

Anónimo dijo...

Mark Bodé no es el hermano de Vaughn Bodé sino su hijo.

El escritor acreditado como guionista en "Tales of the Green Beret" no era Robin Wood sino Robin Moore:

http://en.wikipedia.org/wiki/Robin_Moore


Un par de fragmentos de una entrevista a Joe Kubert extraída de la revista americana "Comics Interview" nº9 (1984) en donde habla de su trabajo en esta tira:

"Robin Moore was very enthusiastic about it, especially since he was trying to push the book at that time, and we really completed quite a coup by selling it to the syndicate. It was a military type strip, but actually the whole strip, the whole story, revolved around a reporter any place in the world and pulled it away from The Green Berets, just as "Terry and the pirates" no longer dealt with pirates after it got started. But somehow the writer got the bit in his teeth. The understanding when we started was I would have final say over the editorial content. That was the basis upon which the strip was sold. But once it started going, the writer suddenly ran away with himself, and suddenly in script form, I would be getting all kinds of political and patriotic treatises, in the form of comic strips. They were supposed to be interesting. They sure as hell were not! The strip was just not the platform for that kind of material. We were using the military and the book tie-in gimmick to get the thing sold into the newspapers, but that could not be where it was going to stay once we got rolling. We wanted a strip full of romance and adventure and all those other things. That was what the whole idea of the strip was about."


"The thing ran for about a year afterwards - despite the writing and not because of it. There were several people writing it, and my trying to re-write proved impossible. If you've ever worked on a syndicated strip, you get a whole bunch of scripts from a writer, and then, before you can start to draw them you have to go through them and make some semblance of senses out of them for yourself - well, it's a horror. An absolute and total horror. And eventually I just stepped away from the strip. I said, "I can't tolerate this." And I just stopped it. The strip continued -there were several artists who tried doing it- but then it went down the drain. But I don't think it was because I left. I don't think that "anybody" could have made it go with that kind of storyline. It was really spelling its own demise."