Since All Quiet on the Western Front is set among officers battling on the front, one of its principle centers is the ruinous impact that war has on the warriors who battle it. These men are liable to steady physical threat, as they could actually be blown to pieces at any minute. This exceptional physical risk additionally fills in as a constant assault on the nerves, constraining warriors to adapt to basic, intuitive dread amid each waking minute. Also, the officers are compelled to live in shocking conditions—in dirty, waterlogged dump loaded with rodents and rotting carcasses and invaded with lice. They much of the time abandon nourishment and rest, satisfactory garments, or adequate restorative consideration. They are constrained, in addition, to manage the incessant, sudden passings of their dear companions and friends, regularly in closeness and in to a great degree vicious mold. Remarque depicts the general impact of these conditions as a devastating over-burden of frenzy and sadness. The main route for fighters to endure is to detach themselves from their sentiments, smothering their feelings and tolerating the states of their lives.
In Remarque’s view, this passionate separation has a tremendously dangerous effect on a fighter’s humankind; Paul, for example, ends up unfit to envision a future without the war and unfit to recall how he felt before. He additionally loses his capacity to address his family. Fighters never again respite to grieve fallen companions and confidants; when Kemmerich is on his deathbed, toward the start of the novel, the most squeezing inquiry among his companions is who will acquire his boots. Among the living officers, nonetheless, Remarque depicts extraordinary obligations of dedication and companionship that jump up because of the common experience of war. These sentiments are the main romanticized component of the novel and are for all intents and purposes the main feelings that protect the officers’ key mankind.