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By Tom Beland

Tom Beland, author of the a number of Eisner-nominated sequence real tale, Swear to God, returns with an all-new image novel. Heads will roll in 2014 while the area will get a style of CHICACABRA! In Puerto Rico, there's a woman, Isabel Sanchez, who may be like every different lady you spot in excessive school... aside from the creature who lives inside her that's a ruthless killing computer. Chupacabras, Vejigantes, fistfights, and weed!

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8). Other plays tend to present a romantic myth of military life. The fictional frame mostly has an authentic historical reference to wars in the past, such as Charles Wood’s plays Cockade (1963), Veterans (1972) and Jingo (1975) (ibid. 10). In 1959, John Arden’s ‘un-historical parable’ Serjeant Musgrave’s Dance broached the issue of the cyclical nature of revenge killings within the framework of a colonial war, and in the 1960s, one of the most important British plays on war emerged: Joan Littlewood’s Oh, What a Lovely War!

Because witnesses are ‘something more than passive viewers’, theatre audiences in their role as witnesses ‘are physically engaged by that which is present to them, to the extent that they might be physically possessed by it’ (2006: 73). Through the physical presence of the bodies on stage the acts of violence one has been aware of in an abstract way, in the form of statistics and reports, become again connected to actual bodies. Of course, it is not genuine violence that is witnessed on stage – the witnessing is an approximation rather than a replaying; a ‘shadowy representation’, played out, if one wanted to apply this analogy, against the back wall of a cave.

Oh, there is food. Didn’t you know that? We may be under siege but food does get in. After all they need food to feed the ten-year-olds they call the men. Leonard: He’s eight. Maud: So they’ll let him starve for another two years yet. (6–7) Because young people display such a ‘remarkable insouciance in the face of danger’ and because their instinct for self-preservation is less developed than that of adults, they also display less inhibition in using violence, make no allowances for defenceless people and often display a particular cruelty and brutality, which results in them becoming ‘the most feared participants in the new wars’ (Münkler 80).

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