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The French edition of Charley’s War Volume 3 will be on sale in French stores on October 15th.  It’s astonishing and very gratifying that such a series should sell so well in France.

But this latest edition has something extra, never seen in the British editions. Selected pages in colour!  They were in a half-tone on the Titan version, but now they can be seen for the first time as they originally appeared in the pages of Battle.

Although they were coloured by an in-house artist, and not by Joe Colquhoun, they are generally sympathetic to Joe’s line work.  More importantly, now they’re printed on the excellent high quality glossy paper the French are renowned for (Grumble, grumble that the French always have the edge on us!), the colour pages look a lot better than on the original, good old British bog paper.

So here is a selection of my favorite pages in colour (apologies for the poor home-scan quality),  Including the scene where a British bobby – memorably – has a “Take Cover” sign written on him in French.  Does that only seem funny to us Brits?

La Grande Guerre de Charlie, Vol 3. By Mills & Colquhoun (Delirium)

La Grande Guerre de Charlie, Vol 3. By Mills & Colquhoun (Delirium)

La Grande Guerre de Charlie, Vol 3. By Mills & Colquhoun (Delirium)

La Grande Guerre de Charlie, Vol 3. By Mills & Colquhoun (Delirium)

The publisher, Delirium has done a truly excellent job on this version with very careful and thoughtful French interpretations on English words in the art.  My thanks and congratulations to them.

BTW… Later volumes of Titan Book’s editions of Charley’s War are now often shot from Joe’s original pages, so you can really see the beautiful detail in his artwork.


First posted on Facebook on 18 May 2012

Vol I of the French edition of Charley’s War

Delighted to learn that Charley’s War French edition is selling very well – better in fact than many successful French fantasy albums and also other British fantasy comic series reprinted in France. This is particularly impressive given that the French comic market has been going through some tough times and CW is a series never originally designed for the French market; thus it’s in black & white with a storytelling style designed for three page episodes rather than a graphic novel.  I guess there must be many factors involved in this success – the excellent art, the historical significance for France (even though it’s about a British soldier); its fairly unique anti-war stance; the approaching 100 year anniversary of the start of the Great War and not least the publisher’s great efforts to publicise the book, which have met with an enthusiastic response from the French media and French museums.  By comparison, Charley has been published in the UK and it’s only very recently that there’s been similar interest with the series featured at an Imperial War Museum event.

I like to think the real reason for Charley’s current success is that it appeals to the ordinary reader in the street who may hardly have read a comic before, but finds the story accessible, informative and about real people whom he cares about.  All too often this audience has been neglected in the UK – where no one is interested in reprinting girls comics of similar ilk, despite documentary evidence that there is a gap in the market – and I rather suspect the same is true in France.  I think our industry has paid a high price for catering almost exclusively to older male, adult fantasy fans and neglecting the original core readership on which comics used to be based.

Congratulations to Laurent Lerner (360 Media Perspective) in partnership with Editions Ca et La for making this happen.  Let’s hope we can build on this success in France and in the UK and that publishers in the UK will recognise there is an audience they are missing out on. However, I’m not holding my breath: they do know and they’re not interested. I fear they’re rather like a publicist I once met when I worked at IPC Magazines.  I talked about attracting teenage bikers to buy comics, and his response was, “We don’t want to attract those kind of readers.”  The same I fear is true today for girls comics and boys comics.  No-one actually wants to attract “those kind of readers”, even though we were all “those kind of readers” once.  No, stick to the chattering classes and mature fandom – much better for everyone’s elitist egos.

I hope CW will continue to grow in France and perhaps herald not a new era, but a revival of a great and populist era.   Those “ordinary readers” are the ones I’d very much like to attract back into comics.