Showing posts with label James Bond. Show all posts
Showing posts with label James Bond. Show all posts

Thursday, March 19, 2026

Ian Fleming's James Bond Signature Comic Strip Collection Vol 1 Preview

 

 

 

Hot on the heels of Amazon's purchase of the storied MGM Studios, a new era of James Bond is in the works. While the world waits to learn which actor will take up Sean Connery's mantle, Denis Villeneuve, who orchestrated the rebirth of the Blade Runner and Dune franchises, is poised to direct the next installment of the famous franchise. Now, Titan Comics is celebrating the heritage of the world's favorite spy with a new collection of the original newspaper strips. What cases will James Bond investigate? And what villains will he face?

 

Here's all the info from Titan Comics: 

  

 

 

IAN FLEMING’S JAMES BOND SIGNATURE COMIC STRIP COLLECTION VOL.1

Authors: Henry Gammidge, Anthony Hern, and Peter O'Donnell

Artist: John McClusky

Publisher: Titan Comics

HC, 296 pp, FC, $49.99

ISBN: 9781806180578

On sale: September 8, 2026

 

Featuring the first seven full-length James Bond newspaper comic-strip adventures that helped inspire the James Bond cinematic universe.

 

This collection by acclaimed artist John McLusky collects Ian Fleming’s earliest literary adventures in comic strip form.

 

Often imitated but never bettered, this classic collection includes the first three years of James Bond newspaper strips from July 1958 till May 61 and includes full-length stories of Casino Royal, Live and Let Die, Moonraker, Diamonds Are Forever, From Russia, with Love, Dr. No and Goldfinger. James Bond became a cultural phenomenon and spawned a world-wide love affair with the whole spy genre which still resonates to this day.

 

This book is a must have for fans of James Bond. Mixing incredible gadgets, thrilling car chases, beautiful women, hard-hitting action and the occassional Vodka Martini, shaken not stirred. This book also includes an unique and extensive gallery of scanned original artwork selected from the McLusky archive by his family.

 

 

Now, let's take a look inside:

 

 


 

 


 

 


 

 


 

 

 

Pre-order it from Amazon, Barnes & Noble, and Forbidden Planet for the UK & Europe.

 

Thanks to Titan Comics for sharing this preview with us.

Friday, March 1, 2024

James Bond 007 #2 Review


 


Writer: Garth Ennis

Artist: Rapha Lobosco

Colorist: Jorge Sutil

Letterer: Rob Steen

Cover Artist: Dave Johnson

Publisher: Dynamite

Price: $4.99

Release Date: February 21, 2024

 

James Bond dispatched the Costanza cartel before they could kill him. He blew up the kill team in Bournemouth before they got off a shot. But Stalvoda—the weapons project stolen from the Ministry Of Defense laboratory in Porton Downs—is still missing. Can Bond recover it before the thieves deploy a weapon so secret that not even the last three Prime Ministers knew about it? Let’s grab our Walther PPKs (not your Berettas, please), leap into James Bond 007 #2, and find out!

 

Story

Thanks to a rail strike, James Bond has become a man of the people. He takes a bus back to London with noisy, uncouth fellow passengers. Moneypenny laughs at his irritation. Yet he’s all business. Bond tells her that former 00 agent Archibald Tryon resigned because of Stalvoda. He stole the weaponized water project from Russian scientists. Tryon’s triumph redeemed M.I.6 after years of government officials spilling secrets and defecting to Russia. Still, Tryon hated that Britain pursued a project begun in Hitler's concentration camps.

 

After sorting through the bodies on the beach and the long bus ride home, Bond wants a bath. He tells Moneypenny he’ll freshen up and return to the office. As Bond walks home from the bus depot, Felix Leiter calls. As with Tryon, the Americans are glad that M.I.6 assigned a capable agent to capture Stalvoda. Yet Bond’s not as unaware of his surroundings as he appears. Bond tells his C.I.A. friend he’s putting him on speaker. Let those tracking him follow Felix’s voice. Forced to blow up his car and take a bus home, Bond's ready for a rematch.

 

In James Bond 007 #2, our favorite M.I.6 agent dances with death. Moneypenny and Q view him as immature. M believes Bond causes as many problems as he solves. Had Bond dispatched Sebastian Constanza more carefully, the family wouldn't have targeted him for death. Now Bond's riding public transportation instead of renting a car. Why not just paint a target on your back and be done with it?

 

James Bond doesn’t know who attacked him in Bournemouth. Their bodies and weapons—or at least what remained—told no tales. Garth Ennis' story suggests that the Russian S.V.R. ordered the beach hit. But Tryon couldn’t tell Bond who stole Stalvoda from M.I.6 labs. And if the thieves wanted to scrub Tryon, shouldn't M.I.6 put the retired 00 agent in protective custody instead of letting him return home to live with his sister? Did Pablo Constanza, the head of the Constanza drug empire, hire an organization to assassinate Bond should he and his family fail? Or am I  flaunting logic like Bond flaunts danger in James Bond 007 #2?

 

Art

Rapha Lobosco interposes Bond on the bus with Moneypenny in her office. The rain dissipates, and he walks alongside the columned porticos fronting London's historic homes. Lobosco shows a Christmas tree air freshener dangling in silhouette from a rear-view mirror as someone watches Bond walk.

 

Scaffolding rises inside the lobby of an abandoned hotel. Tilted camera angles show masked soldiers fanning out and taking defensive positions. Bond grabs an assassin and uses his opponent’s body as a shield. A dance with death plays out across the floors of this multistory building. James Bond 007 #2 becomes as choreographed as a Hollywood musical and as violent as Douglas Quaid's efforts to reclaim his memory in Paul Verhoeven's movie Total Recall.

 

Jorge Sutil shades Bond's face with purple in the bus, while textured blue suggests rain outside the darkened interior. Moneypenny's milk chocolate skin glows as she stares at her monitor. Bond remembers searching the broken bodies on the beach through a beige haze tinged with green. The same color pervades the hotel interior. As soldiers pursue Bond in their armor and green fatigues, yellow and orange erupt from guns, red plumes from injuries, and orange pervades panels. Yet the threat of Stalvoda, also called steel water or ice napalm, reveals victims frozen in cold, cold blue.

 

Rob Steen’s large, uppercase black letters in white dialogue balloons are easy to read. Balloons sprout spikes as sharp as flash-frozen water to signal Moneypenny, M, and Felix’s voices. Words grow bold, enlarge, and threaten to escape their balloons as the action heightens in James Bond 007 #2. In this issue devoid of sound effects, the cries of soldiers riddled by gunfire inform Bond that they're still alive.

 

Don't worry. James Bond will rectify that.

 

Thanks to Dynamite Comics for providing a copy for review.

 

Final Thoughts

Bond lures assassins into a trap, learns the history of Steel Water, and goes where few have gone before in James Bond 007 #2.

 

Rating 9/10

 

To preview interior art see my review at Comic Book Dispatch.

 

Saturday, January 27, 2024

James Bond 007 #1 Review

 


Writer: Garth Ennis

Artist: Rapha Lobosco

Colorist: Jorge Sutil

Letterer: Rob Steen

Cover Artist: Dave Johnson

Publisher: Dynamite

Price: $4.99

Release Date: January 17, 2024

 

Sebastian, the heir to the Costanza empire, lies in his grave. His family, infamous for their brutality, mourns his passing. Can anyone—even Britain's preeminent espionage agent--survive the Constanzas’ relentless hunt for vengeance? Let’s leap into James Bond 007 #1 and find out!

 

Story

Bond’s boss is unhappy. Bond should have avoided identification while dispatching Sebastian. Thanks to 007's negligence, the region will be in chaos as factions battle over the mighty narcotics empire.

 

But M has more weighty matters on his mind. Fifty years ago, 00 agent Archibald Tryon stole a secret project from the Russians. He destroyed everything that Soviet researchers could use to reconstruct their experiments. Ministry Of Defence scientists recently perfected the weapon at the Porton Down facilities. Within days, someone stole the project and all associated records.

 

Archibald lives in Bournemouth. Bond isn’t impressed that the 00 agent reached retirement age. Nor does he view Britain as a civilizing force in a chaotic world. James Bond protects his King and Country. Whether that means attacking a crime family or recovering a weapon that kills people without harming property or the environment, James Bond won’t stop until he secures his country’s safety.

 

In James Bond 007 #1, M wishes Bond were a scalpel, not a club. Moneypenny often sees Bond as coarse. Q views 007 as juvenile and wasteful. Writer Garth Ennis paints James Bond as a man who does his best and doesn't sweat others’ expectations. His story unreels quickly, ends explosively, and leaves you wanting more.

 

But then, can you ever get enough of James Bond?

 

Art

Sebastian’s family resides in a lavish mansion. Pablo Costanza stands on the terrace and gazes at the setting sun. His family gathers in the living room and listens to their patriarch's rage. Sebastian's brothers look as cool as Bond. His sisters pose like supermodels. Despite his grandmother's failing health, fire still burns in her eyes.

 

Jorge Sutil applies a loaded palette to Rapha Lobosco’s artwork. He bathes panels in browns in James Bond 007 #1, yet brings an unexpected sparkle to even mostly monotone panels. Jorge also shows a preference for blue. Such panels emphasize Bond's cold determination, MI-6's importance to the world, and Stalvoda’s clinical effectiveness. Jorge adds drama to the Costanza family through his choice of background colors. He helps us feel the loneliness of the offseason Bournemouth coast and the cold necessity that drives 00 agents.  

 

Large, uppercase black letters inhabit white dialogue balloons in James Bond 007 #1. Stressed words and shouts are bold and italicized. Rob Steen’s sedate lettering and lack of sound effects enhance the cinematic feeling of Garth Ennis' story and remind us of the dispassionate way Bond dispatches enemies. It's more Daniel Craig than Roger Moore. But then, this is 2024, not 1973.

 

Thanks to Dynamite Comics for providing a copy for review.

 

Final Thoughts

Chimpanzees get flash-frozen, hit men pursue Bond, and a Weapon Of Mass Destruction goes missing in James Bond 007 #1.

 

Rating 9.2/10

 

To preview interior art see my review at Comic Book Dispatch.

 

Sunday, September 3, 2023

James Bond: Himeros HC Review

 


Writer: Rodney Barnes

Artists: Antonio Fuso, Pierluigi Minotti & Giorgio Pontrelli

Colorist: Adriano Augusto

Letterer: Social Myth Studios

Cover Artist: Francesco Francavilla

Publisher: Dynamite

Price:$24.99

Release Date: August 30, 2023

 

A new video game threatens the intelligence community. Its arms dealer inventor wants to sweep his salacious past under the carpet. Can James Bond uncover his secrets before the man compromises MI6? Let’s shoot into James Bond: Himeros HC and find out!

 

Story

Britain sent billionaire financier Richard Wilhelm to prison. Arms dealer Anton Banes sent an assassin to cut short his stay. M requests that a parliamentary undersecretary ask their allies to put any deals with Banes on hold and sends James Bond to Miami, Florida.

 

Bond's not in Miami to follow Alex Dimitrios or ruin Auric Goldfinger's card game. He rushes to protect Sarah Richmond, Wilhelm's right hand. Bond arrives as a hit is going down and helps the woman escape. After winning her trust, she presents a dilemma. M ordered Bond to bring her to London to testify against Banes. Richmond wants to secure evidence on Wilhelm’s fortified island to indict the arms dealer and shut down the late billionaire's human trafficking operation.

 


 

 

In James Bond: Himeros HC, Anton Banes has a painting of the Greek god of sexual desire. The arms dealer tells a client that the Greeks allowed pedophilia because they understood that people needed diverse outlets for their cravings. But after years of investigating deadly criminals, Bond knows the truth: the one thing that links them is their ability to rationalize crimes.

 

While I enjoyed James Bond: Himeros HC's pulse-pounding action and furious pace, I wish Rodney Barnes had ended the story less predictably. I didn't understand his interactions with Q and felt the video game subplot needed further development. Still, I enjoyed Bond's globe-hopping adventures and understood Sarah Richmond’s predicament. The woman wasn’t blameless, but she was another of Wilhelm’s victims.

 


 

 

Art

The James Bond: Himeros HC impresses immediately with a flurry of scenes inside Belmarsh Prison. M meets with the parliamentary undersecretary secretary, and the men walk through MI6 files. Bond and Richmond exude charisma and battle with style and grace. Antonio Fuso awes you with a Porche’s beauty and a high-speed road-battle with a Lamborghini. Sadly, later artists struggled to emulate his work. While action scenes hum with energy, thick lines replace thin ones, making it harder to inhabit locations and interiors.

 

Like Fuso, Adriano Augusto starts strong. He loads his palette with colors, and the hues and textures breathe life and depth into Fuso's inks. Pierluigi Minotti and Giorgio Pontrelli give Augusto less to go on, and his work loses atmosphere and nuance. Still, highlights and shadows throughout James Bond: Himeros HC reminds us why we wear sunscreen in Florida and the Caribbean.

 


 

 

Social Myth Studios places black uppercase letters in white and colored dialogue balloons. Off-screen conversations inhabit narrative boxes, and immense, colored sound effects help you hear buzzing cell phones, machine gun reports, laser beams, and exploding vehicles. Rodney Barnes never overdoes the easy-to-read dialogue, the time and space locations appeal, and the Bertz Rental Cars sign made me smile.

 

James Bond Lego Car available at Amazon.com

 

 

Final Thoughts

Britain’s superspy defies M to close a human trafficking ring while challenging a damaged woman to become the best she can be.

 

8.4/10

 

To preview interior art see my review at Comic Book Dispatch.

Monday, October 12, 2020

E.F. Benson on the Sport of Shooting

Old British novels often portray the gentry shooting birds for sport. Period TV shows and movies reinforce this image of the British aristocracy. Movies and TV series set in recent decades, such as the James Bond movie "Moonraker" in 1979, the sitcom "To The Manor Born" in 1979--1981, and the 1980's-90s mystery series "Lovejoy," feature similar scenes. Typically, such scenes  occur amid pastoral beauty, and depict shooting as a genteel, if not regal, form of sport.

In their own way, such a portrayal of shooting birds for sport suggests a high regard for wildlife. After all, it takes a lot of work to manage the grounds of a vast estate, and a lot of education and experience to successfully maintain a healthy flock of birds.

 

Houses in the Sussex Downs
 

E. F. Benson's novel Limitations, originally published in 1896, speaks to this period of British society. Tom Markham, the son of a gentleman, has caught a cold, and stayed inside his father's mansion on the Surrey Downs for a few days. But the groundskeeper's cheery face lures him outside.

“Yes, I’ll come out in half an hour,” said Tom. “Get a few beaters, and we’ll just walk through the woods. And send down to the vicarage to ask Mr. Markham if he’d care for a tramp. They don’t have pheasants in Greece, Kimberley: there’s a country for you!”

After graduating from Cambridge, Tom recently spent a few months in Greece, where he studied the sculpture of Athens. Mr. Markham is the vicar of the local church, and like his son Ted (who studied at Cambridge with Tom) prefers to spend hours of each day translating ancient Greek literature. 

King's College in Cambridge

 

Mr. Markham was devoted to shooting, but of late years had not been able to indulge his taste.  Still, as a priest, some of his parish work, and even a quiet hour spent with his beloved Aristophanes, could easily be put off, for the opportunity to shoot birds for sport.

E.F. Benson describes Tom's favorite shooting spot this way:

It stood on a knoll of rising ground, some quarter of a mile away from the house, and by dint of long experience and frequent failure Tom had found that if the pigeons were artfully disturbed by beaters entering towards the centre from opposite sides they always broke cover at two particular points at opposite ends of the knoll, and that one gun stationed at each of these points became a fiery sword, turning, as far as the pigeons were concerned, every way.

While Tom has met Ted's sister May before, he's never paid much attention to her. But after studying the way ancient sculptors portrayed the likenesses of their gods, all thoughts of shooting flee when he sees May. "Oh, all ye gods," he says, "she is a goddess!"

As for Mr. Markham:

The beaters beat, and the pigeons started from the branches, and flew out in the pre-ordained manner, threading their way between the tops of the thick trees, as they and their deceased relations had often done before. Mr. Markham had one of the most delightful five minutes that falls to the lot of sportsmen, and straight over Tom’s head as he stood in the path the steely targets tacked and swerved.

Even May, who unlike her father and brother, prefers to spend her days visiting the poor and sick, exhibits no displeasure in the idea of her father or Tom shooting. "Have you had good sport?" she asks.

The Church in Grantchester, a relaxing & scenic stroll from Cambridge
 

Much has changed in century-plus since E. F. Benson wrote Limitations. Even scenes such as in "Moonraker," in which multimillionaire industrialist Hugo Drax and James Bond partake of this sport, might well be rewritten to appeal to modern sensibilities. And while the antiques dealer Lovejoy might still sell old guns to the aristocracy for their shooting, I can't recall a single episode of recent TV series "Father Brown" or "Grantchester" which depict a Church of England priest shooting birds for sport.

If it were filmed today, I wonder if Audrey would approve of Richard Devere's desire to shoot birds on the grounds of the mansion she once owned in the 1979-1981 British sitcom "To The Manor Born." It's hard to imagine series creator Peter Spence currently penning a script which involved Audrey helping Richard organize the Hunt Ball on his estate. A later episode, in which she encourages him to ride along with her visiting friend in a hunt, likewise seems a relic of earlier times.

Times change, and we change with the times.

Dragon Dave


Tuesday, November 27, 2012

The Mystery of the Mask

Sure, everyone likes the helmet.
But a musical Boba Fett, sporting his
giant orange tuning fork?
Somehow, that look never caught on.

Jeremy Bullock had been acting for twenty-five years when he was offered the part of Boba Fett in The Empire Strikes Back.  But Sci-Fi resonates with people more that other forms of entertainment.  His older son (who was eleven in 1981, when the interview for Starlog Magazine Issue 50 was written) might say, “I like that play you were in,” but both boys kept a photo of Boba Fett close to hand when his father toured the country in a production of Hamlet.

After the movie’s release, Jeremy Bulloch received masses of fan letters.  Young boys might write something like, “Gee, we like you, you’re awesome,” while girls and young women found him alluring.  One woman asked if the voice Lucasfilm used was his real voice.  (It wasn’t).  In her letter, she added, “Mind you, if it isn’t your voice, I won’t stop loving you.”  Some asked him what Boba Fett would do in the next movie, and if his character represented “the other hope” that Yoda had spoken of.

Up to this point, Bullock had appeared in two James Bond movies.  Of his role on The Spy Who Loved Me, he told the interviewer (with a smile): “They put these charges under me, and I get ripped apart after twenty minutes—the story of my life.”  He played more memorable roles in two Doctor Who stories.  After the Doctor and his companions escape the warriors from Richard the Lionheart’s court in “The Crusade,” the Tardis lands in “The Space Museum.”  Bulloch says of his role, “I was the leader of a race of children. We had this swept back hair, pointed ears and sort of funny eyebrows on top of our foreheads.”  (Obviously, he wasn't wowed by the Black & White show's special effects budget).  Later, he returned to the TV show (this time in color) to play Hal, an archer who helps the third Doctor defeat a Sontaran in “The Time Warrior.”  Despite acting in a popular Sci-Fi show, he didn't get much attention from those roles, as he never went on to play a continuing character, and the BBC rarely repeated Doctor Who stories.  (Nor did most viewers have the means to record a TV show in the 1960s and '70s).  So it wasn't until the 1980s, when he donned Boba Fett’s costume, that the fan letters overloaded his mailbox.  Viewers suddenly begged him for photographs, or old articles of clothing.  Or even just a snippet off one of his ties.

I once spoke with a plumber who claimed he could instantly assess anyone he met.  When he visited a customer, he said that he could accurately guess how much the person would be willing to pay for his services.  As it happened, I was speaking with him at a yard sale, and he offered me insights on a woman browsing the sale tables.  I don’t know if he was correct in his assertions about the woman, but at the time he was living rent-free in a condominium owned by his father.  So even if he was pulling my leg about his ability to read strangers, he obviously knew how to get around his dad.

Nevertheless, masks and costumes are powerful tools that we use in real life.  We may not wear an actual mask, but we adapt our facial expressions, dialogue, and clothing in relation to the people we are with.  We have learned what others expect from us, and we either act in accordance with their expectations, or in defiance of them.  Such masks shield the truth from others, and hence repress true growth, but we use them because life has taught us that they are necessary.  Like actors, we play the roles assigned to us, because others have stereotyped us based upon their expectations and desires, as well as our previous performances. 

Of course, it would be nice if we could interact with everyone without hiding behind a mask, or portraying the persona we’ve decided to show the world.  But that way lays danger, and unlike Boba Fett, most of us don’t carry blasters.

Dragon Dave

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Tuesday, November 6, 2012

Returning to London with The Saint


Saint or Stooge?  Templar or traveler?
Adventurer or Ad-libber?
Wise, or merely weary (and jet-lagged)?
You decide.


In The Saint episode “The Paper Chase,” Simon Templar walks across Westminster Bridge.  Against a dull, gray sky, Westminster Palace, also known as the Houses of Parliament, rises in the distance.  As he walks down the steps to the Victoria Embankment, we hear him intone: “London, Five a.m., Westminster.  The Embankment, a boulevard or a bedroom, depending on how Fate dealt its hand.  For those of us who are not asleep it is a time to love, pray, hate, argue, cheat, sometimes even kill.”  He walks past a man sleeping on a park bench, covered in newspapers, and pauses to stare out upon the Thames.  Already, boats ply the dark waters.  Nearby, two men argue.  Although he does not yet know it, he will soon become embroiled with those two men, when a member of British Intelligence begs him to travel to Germany to secure information one of them carries.

The Saint came before my time.  Growing up in America, I did not notice all the books written by Leslie Charteris in my library.  I did not watch reruns on the TV.  If the comic strips made their way to American newspapers, I did not notice.  When the movie version of “The Saint,” starring Val Kilmer, appeared in theaters in 1997, I knew nothing of the character’s rich fictional heritage.

Discovering this old TV series has been a joy.  Everyday, Family Network plays an episode.  Some were shot in Black and White, some in Color.  Much of the scenery grows familiar after awhile, as studio interiors and exteriors are redressed to match the current story.  Many of the same actors reappear, playing different characters.  Only the Saint remains unique, mysterious.  What is he?  Who is he?  Why do the authorities constantly suspect him of wrongdoing, yet rely on his assistance in bringing criminals to justice?  How does he manage to live such a lavish lifestyle, have so many friends, and drop anything on a moment’s notice for a person in need?  Played by Roger Moore, who would later take over the role of James Bond, Simon Templar seems a better man than the more famous secret agent.  Watching him as The Saint, I understand why I liked Roger Moore so well as Bond.  Perhaps some of the Saint rubbed off on him.  Roger Moore was certainly aware of how young people idolized Bond, and always fought to soften the rough edges of Ian Fleming's hero.  Unlike Timothy Dalton and Daniel Craig, his James Bond never gloated when vanquishing an enemy.  He never smiled while others died.

The British call these dolphins.
Don't ask me why.

“The Paper Chase” comes as something of a surprise.  Although it would return to some of those familiar sets, the episode offers us a few new production locations.  Simon Templar boards a train, and like James Bond, soon engages in a fight-to-the-death as he travels to Germany.  But my favorite moment of all is the beginning, when he steps off Westminster Bridge and onto the Victoria Embankment.  For I have been there too.  At the time, my thoughts might have been on Doctor Who and Monty Python, but I walked those same steps, passed those same light posts, and watched the boats traveling the same river.  When next I return to England, and visit London, I shall return to that place so immortalized by the TV shows I love.  I may not be dressed in a tuxedo, and I may not be drafted by British Intelligence for an important mission, but my visit there will still be rich with meaning. 

Perhaps this time I’ll even ride the London Eye, the famous ferris wheel erected to celebrate the Millennium.  That’s probably the only thing Simon Templar couldn’t have done back in 1960s London.  But only because it did not then exist.

Dragon Dave

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