How do you escape from an Italian Opera singer in a seaplane, when you’ve got no weapons, no aircraft of your own, and your only help is from a six-foot-six Soviet who makes up for his lack of English language with his fists?! Issue 5369 of Commando has the answer, in my latest comic story, Flight to Freedom. It’s a tale of daring adventure set during the Second World War, and is out now through UK newsagents and Comixology.
Thanks to the hard work of my co-author Russell Phillips, we have a special deal for you. A bunch of novels themed around the cold war, including our own The Bear’s Claws, are on sale in their e-book format at only $0.99/£0.99 until the 7th of September. Following this link to get a range of thrilling novels at bargain prices.
Spain, 1813: Former opponents Tom Hopper and Samuel Jones are part of Wellington’s army, driving back the forces of Napoleonic France. When their captain is captured, it falls upon Hopper and Jones to rescue him. But it will take a daring escape and a lesson in humility before they can join their comrades to face down the French at the Battle of Vitoria.
Out today from Commando Comics, V for Vitoria is the sequel to my previous Napoleonic story, The Forlorn Hope. See Hopper and Jones continue their journey through a wartorn country, aided by Maria, a washerwoman who is more than she seems.*
V for Vitoria is available through Comixology and wherever paper copies of Commando can be found.
*No, she’s not Toad of Toad Hall, though that would also be cool.
I’m delighted to announce that my fantasy novella Silver and Gold is going to be published as an ebook by Candlemark & Gleam later this year. It’s a tale of magic, friendship, and rebellion set in a world inspired by the Aztec and Mayan civilisations.
The goldsmith Cualli lives in a land of endless summer, where blood sacrifices hold back the dark of winter. Through her craft, she grants power to priests and soldiers, channelling the magic of Emperor Sun. But what matters to Cualli is not power; it is proving herself as the empire’s finest goldsmith.
Not everyone feels blessed by the empire’s blood-stained faith. Dissent is turning to rebellion and the rebels want Cualli on their side, whether she likes it or not. When the season of sacrifice threatens the lives of her closest friends, Cualli must face a choice: will she fight for change through the illegal magic of silver, or will she bask in her own triumph and the endless golden summer?
You can read the full announcement for the book on the publisher’s website, and I’ll share more details here when I have them.
The second of two comics I wrote for the 80th anniversary of the Dunkirk evacuation, Durand’s Dunkirk follows the crew of a French SOMUA S35 tank. With the French armies shattered and the Allies in retreat, Regis Durand and his indomitable crew gain a new mission – to hold up the advancing Germans and allow the British to evacuate through Dunkirk.
A Story of Sacrifice
Both Durand’s Dunkirk and its companion comic, Dodger’s Dunkirk, are stories with a message, but those messages are very different. During the Dunkirk withdrawal, the British showed that there could be courage and even triumph in a well-executed retreat, that not every battle should be fought to the bitter end. But the French army showed how sometimes you have to fight on, one person’s sacrifice becoming another’s salvation. The French fought hard to buy time for the Dunkirk evacuation, even knowing that it would leave their country undefended. That’s the battle that Durand fights.
Just as the evacuation didn’t only rescue British troops, the stand that made it possible wasn’t only fought by the French. The film Darkest Hour touchingly demonstrates this, in a section dealing with the fate of British troops in Calais who fought on as a distraction for the others rather than being given a chance to escape. But it was the French army that provided the greatest barrier to the advancing Germans in those last days.
An International War
Another point of this comic was to explore the international nature of the World Wars, a point I bang on about so much it’s probably getting boring, but that bears repeating.
Originally, Durand and Dodger’s comics were pitched as a single script, one that showed how the very different fates of the withdrawing British and the French rearguard were connected. I wanted to celebrate the British success at Dunkirk while remembering how many other countries were involved. It was thanks to my editor at Commando that the one story became two, and I’m really glad I got the chance to expand on that original idea.
In England, we refer to the First and Second World Wars but often neglect that “world” part. Our stories tend to be focused on British experiences, which is understandable but also a bit repetitive, limiting how many facets we see of an incredibly complicated story. There have been some interesting exceptions in recent years, such as the film Hurricane and the recent inclusion of a Sikh soldier in a scene from 1917. I think it’s good that we’re doing that more, as it makes the stories more interesting and more representative of reality. So of course I wanted to depict the French as much as the British in exploring Dunkirk, and also to show other nations, such as the Belgian soldier who plays a key part in both these stories.
One of these days, I might stop banging the drum on this subject. Today is not that day.
The Myth of National Character
This story is also about one of the big myths of late 19th and early 20th-century military thinking – the power of superior national character.
Across Europe, every country found a way to convince itself that it was inherently superior to the rest and that this was reflected in its armed forces. A superior fighting spirit would ensure their victory over a far less impressive enemy. This is a myth that Durand, the tank commander of this story, buys into.
The inherent flaw in this thinking is obvious – if everybody has a superior national character then nobody is actually superior. The myth falls apart based on logic, never mind evidence. It can be a useful myth in motivating troops, but it’s also a dangerous one if it encourages soldiers, commanders, and politicians to ignore reality. Germany didn’t win the Battle of France because of superior national character, but because it had better tactics and the element of surprise. Russia didn’t defeat the Germans in the east because of a greater fighting spirit, but because of superior numbers and a willingness to spend lives in a war of attrition.
Durand goes into the story believing in a superior French fighting character. The question the story asks is how that attitude can stand up to the prospect of defeat.
Both of my Dunkirk comics are out now. Both work as standalone stories, but together they create something more complex, showing the same events from different angles. You can buy them electronically through Comixology, or get paper copies wherever Commando is stocked.
I have not one but two Commando comics out this week, with matching covers by the excellent Keith Burns.
Durand’s Dunkirk and Dodger’s Dunkirk tell the stories of two soldiers, one French and the other British, taking part in the fighting that led up the Dunkirk evacuation of 1940. The two stories stand alone but are connected, with events and characters crossing over between the two. It’s one of the coolest projects I’ve had at Commando, and I’m really pleased with the results.
You can get both Dunkirk issues on Comixology or wherever copies of Commando are sold.
I have a pair of linked Commando comics coming out this week, to mark the 80th anniversary of the Dunkirk evacuation. Today, I’m going to talk about the first of them – Dodger’s Dunkirk.
One Man’s War
Dodger’s Dunkirk follows a British infantryman caught up in the Allied withdrawal to Dunkirk.
The Battle of France, fought from May to June 1940, was one of the great disasters of World War Two. The Allies badly misjudged both German capabilities and the terrain they were fighting over. In one of the most dramatic campaigns of the war, the Germans smashed through the Allies’ weakest positions and ripped their forces in half. Thanks to the incredible blitzkrieg advances of German generals such as Guderian and Rommel, the bulk of the Allied forces were surrounded, forced to retreat into an ever-shrinking pocket against the coast, unable to effectively manoeuvre or bring their forces to bear.
This is the chaos that Dodger is caught up in – a shattered army trying to pull itself together, groups fighting desperate, heroic rear-guard actions while the generals try save what they can. But Dodger doesn’t want to withdraw. To him, retreat is failure, and the only thing a soldier should do is fight on. With a gun in his hand and a stiff attitude fixed across his face, he’s set for conflict with his own side as well as the enemy.
Different Forms of Courage
I created Dodger to represent a particular attitude towards courage and fighting spirit.
Holding strong in the face of danger takes a certain stubborn willpower, something that’s a necessity in war. Without the courage to hold your ground despite terrible odds and others’ fears, many battles would have been lost.
But that stubbornness can go too far. Great military disasters have been born from an unwillingness to compromise, to back off, to accept the limits of what can be achieved and so to salvage something of value from a loss.
Dodger has that stubbornness gone too far. He has his reasons for this, which I won’t spoil here, but that doesn’t mean that he’s right. No Retreat is about a man learning that there’s something dangerous, something toxic in a virtue taken too far. Can he bend with the wind, or will the raging storm of Dunkirk break him?
Why Dunkirk Matters
The Dunkirk evacuation is rightly remembered as a significant moment in history, especially in Britain. The evacuation of 338,226 soldiers in eight days was an incredible logistical achievement, one that saved the bulk of the British army from destruction, along with 100,000 French troops and other Allied personnel. Without it, the Allied armed forces would have been significantly diminished and the remainder of the war might have been very different.
For me, there’s something even more significant about Dunkirk, and that’s the fact that we celebrate a retreat. Well-executed withdrawals are hugely important and hugely challenging to achieve, yet they’re almost never marked in this way. We just want to talk about the victories. With Dunkirk, we acknowledge the importance and the challenge of knowing when and how to give up. It makes the right retreat into a heroic achievement, breaking our narrow view of what qualifies as success.
In challenging and reshaping our view of history, it’s one of the key moments of the 20th century.
The Historical Details
While Dodger’s Dunkirk exists to explore the big picture, historical fiction is also about the little details. So what is there to look out for in this comic?
One of my favourite bits is the Canal Line. As in the First World War, the Belgians opened the slices of their canal system to waterlog the ground, bog down the enemy, and create a stronger defensive line. It’s a small thing amid the carnage, but it’s also a good example of looking beyond the obvious in tackling a problem.
As with many of my Commando stories, the international element is important. The Dunkirk retreat wasn’t just a British effort. Belgian, Dutch, and French forces also played a significant part, and without them the withdrawing British troops would probably have been overrun. An encounter with a Belgian sergeant helps shape Dodger’s approach to the fighting, and there’s also a French tank crew who we’ll come back to in a minute.
This being a Commando comic, you can be sure that the artist will have filled in a lot of extra details, like the uniforms of the soldiers and the equipment they use – enough to please fans of the period. I’ll leave it to you to explore the visual treats that I can’t claim credit for.
More to Come
Dodger’s Dunkirk is released on the 28th of May, alongside a companion comic, Durand’s Dunkirk, which follows a French tank crew through the Dunkirk retreat. I’ll provide some commentary on that one next week, and on Friday a short story tying into them both.
Until then, if you’re looking for more historical fiction then you can check out my mini collection of short stories From a Foreign Shore, and pick up copy of No Retreat on Thursday.
Berlin, April 1945. Sergeant Nikolai Kulikov is part of the Russian army advancing into the city. When his unit is sent to clear out an apparently abandoned orphanage, they discover that the children have been left behind. Faced with enemy aggression and his own men’s indifference, can Nikolai get the children out alive?
This week sees the release of my latest Commando comic, Rats in the Rubble. It’s a story about the devastation of war, about struggling to survive, and about the power of stories. You can get a copy now through Comixology or direct from the publishers.
My latest Commando comic, “Out of the Woods”, is out today! Set in the First World War, it follows twin brothers Tom and Harry as they travel from Canada to the trenches of Belgium. Far from home, their courage is put to the test during the horrors of a gas attack.
You can buy individual issues of Commando online, get digital versions through Comixology, or subscribe through the publisher’s store.
The Western Desert, 1941. When they find information about an abandoned squadron of German planes, RAF intelligence officer Captain Ian Thompson and daring Squadron Leader Samuel Westwell head out into the desert to steal a Stuka. But rising tempers and enemy action threaten to keep them from their coup…
My latest Commando comic, “Stealing Stukas”, is out today! You can buy it electronically through Comixology, or get a paper copy through newsagents in the UK.