Writer: Garth Ennis
Artist: Howard Chaykin
Publisher: Marvel Comics Max
Price: $3.99

Review by Ben Crofts

After the misfire that was their work on Punisher #50, this opening issue is a very strong demonstration of how good the Ennis-Chaykin team can be, as we are thrown into the bloody world of World War I. As to the nature of aerial combat in this era, the best summary can be found in Blackadder Goes Forth: .

“Darling: I think we’d all be intrigued to know why you’re called the Twenty Minuters. .

George: Oh, Mister Thicko. Imagine not knowing that. .

Flashheart: Well, it’s simple! The average life expectancy for a new pilot is twenty minutes.” .

What War Is Hell tells us is that you would be lucky to last even those twenty minutes! .

After a brutal summary of the development of aerial warfare, which is stunningly illustrated by Chaykin, we are introduced to the central character, the mysterious and very gung-ho Lieutenant Karl Kaufmann, who in conversation with his superiors makes several startling comments that suggest he may not be who he claims to be; or even that he truly knows where he is and the nature of what he wishes to be involved in.

Kaufmann’s deception is uncovered by Captain Clark who finds his orders to be forged, but Clark only realises it as Kaufmann is about to join the rest of C-Flight on an introduction to the local area. He attempts to stop the flight but runs into the propeller, which also destroys the orders. With nothing to stop him flying, Kaufmann takes off but quickly loses sight of his fellows. He then sights an enemy plane, targets and destroys it. What was unexpected was that his victory would be more of an execution than a fight. Sobered by the reality of aerial warfare he makes it back to the base where he finds the rest of the flight were shot out of the sky! He asks how and is told the Germans have better planes and pilots.

Throughout this wonderfully drawn first issue, it is indicated that Kaufmann is a deluded glory hound but the aerial execution brings it to its zenith, for after sneaking up and shooting the enemy to pieces, Kaufmann is distraught. The other plane was supposed to fight, to engage – not sit there and die! The illusion of glorious warfare in Kaufmann’s head evaporates in a shower of blood and body parts. When he returns to the base he is already a shadow of his former self, which state of mind compounded when he finds out about his comrades’ fate, which could so easily have been his own, and that he has no way out. .

Although Ennis is known for producing good war stories, this is something of a departure for him in that there’s a brutal sense of life being cheap, so characters are only seen briefly, often before dying. Despite this, they are effectively established due to Chaykin’s expressive artwork, which conveys the personalities of the various players very well in a very short amount of time. Nor, in Kaufmann, do we have what appears to be a heroic character, instead we have to put up with an unsypathetic and boorish buffoon; yet by the end, we have a somewhat different character. The only question is how he will continue with it all given the reality of it. .

It is hard to say how good the series will prove to be, but this is a strong opener and an excellent example of both Ennis’ writing, which can be far better when he reins in the dark humour, as he does here, and Chaykin’s art. The depiction of World War I is very well done, with the aerial theatre mirroring the ground war: Both are very effective mincers, slicing up lives by the score, with your chances perhaps being slightly better on the ground! All in all, if you are after something a little different from the usual comic stories, consider giving this a try.