James Bond: Goldfinger

James Bond: Goldfinger 

By Ian Fleming, Henry Gammidge & John McLusky (Titan Books)
ISBN 1-84023-908-5

This edition of Titan Books’ 007 newspaper strip collections comes from the period when the workmanlike John McLusky was the artist and features Henry Gammidge’s adaptations of no less than five Ian Fleming tales of the world’s most famous Secret Agent.

The title tale faithfully adapts Fleming’s novel of the world’s most ambitious bullion robbery, so if you’re only familiar with the film version there will be a few things you’ve not seen before. The action fairly pounds along and the tension is high throughout this signature tale.

Following Goldfinger is Risico. Bond is tasked with stopping a heroin smuggling gang whose motive is not profit but social destabilisation. Next is A View to a Kill, a traditional Cold War thriller with 007 on the trail of a gang who have been stealing secrets by ambushing military dispatch riders.

For Your Eyes Only, which was cobbled together with Risico to become the Roger Moore film version, is an adaptation of Fleming’s short story, wherein Bond is given a mission of revenge and assassination. Set in Jamaica with the Nazi war-criminal Von Hammerstein as culprit and target for the man with a licence to kill, it is a solid piece of dramatic fiction that once again bears little similarity to the celluloid adventure.

The volume concludes with the controversial Thunderball adaptation. That particular tale was censored and curtailed at the behest of Lord Beaverbrook, owner of the Daily Express, where the strip was running. Five days of strip were excised and for the full story you’ll need to read the ancillary text feature, but what remains is still pretty engrossing comic fare and at least some effort was made to wrap up the storyline before the strip ended.

James Bond was to return a year later in the adaptation of On Her Majesty’s Secret Service .These stories are a must for not only aficionados of Bond but for all thriller fans, as an example of terse gripping adventure uncluttered by superficial razzamatazz. Get back to basics, and remember that classic style is never out of fashion.

Strip © Express Newspapers Ltd. 1987. All Rights Reserved.

Pyongyang

Pyongyang 

By Guy Delisle (Drawn & Quarterly Books)
ISBN 1896-597-890

The only things I knew about North Korea I picked up from too many comics (mostly American) and the TV so this book was a rather surprising delight. As much lyrical travelogue as pithy autobiography, it relates the bemused culture shock of Canadian animator Delisle, who, working on a French work-permit, is invited behind the bamboo curtain to train and supervise Korean artists as a production supervisor. Cheap animators, of course, being one of the few resources that North Korea can use as a means of securing capital from the decadent West.

What he finds and illustrates both reinforces and explodes much of the modern mythology surrounding the world’s only communist dynasty. Using a simplified, utilitarian style he shows us an utterly alien environment that is nevertheless populated with people who are so very similar too ourselves, albeit they do their best not to let it show. The book is stuffed with nuggets of revelation, dryly observed by the innocuous author.

Gently-paced and often dream-like in quality, the humorous tone of drawing accentuates the oddly strictured sense of foreboding. Allowed only one book (in his case, perhaps unwisely, 1984) which must be donated to the State on leaving the country, and his CD walkman (since personal radios are banned) his airport interrogation is sheer mental torture. Only once we’ve been thoroughly immersed in the culture and the personal foibles of the people he is allowed to meet does the compliant Delisle surprise us by revealing that he risked everything by smuggling in a tiny radio so he could get more than state-controlled information – and entertainment!

Subtly playing with the ominous reputation of part of “The Axis of Evil”, Delisle has produced a readable, gentle, non-discriminating reverie that informs and charms with surprising effect.

© 2003, 2005 Guy Delisle and L’Association. All Rights Reserved.

The Originals

The Originals 

By Dave Gibbons (Vertigo)
ISBN 1-84576-011-5

Dave Gibbons is, like me, a bit of a geezer, except better looking, more talented and, hopefully, much more understanding. Our memories stretch back further than last week’s EastEnders. Combine that with the current zeitgeist (go look it up) for introspective reminiscent drama and The Originals could have been an edgy coming-of-age tale of 1960s Mods and Rockers, delivered in the meticulous and hyper-detailed graphic style that is his trademark, which might not in and of itself be a bad thing.

What Gibbons has chosen to do, however, is to move the entire thing into the future and layer it with a mythic subtext, making it more allegory than reportage or documentary. The beautiful monochromatic art captures a feel for the past but has somehow excised the grime and the grit that you know must be there.

Has the choice of setting amplified or castrated the story? I don’t know. It is enjoyable but feels like there ought to be more to it. Perhaps I should read it again with Quadrophenia playing really loud…

© 2004 Dave Gibbons. All Rights Reserved.

Constantine: Hellblazer Rare Cuts

Rare Cuts 

By Various
ISBN 1-84023-974-3

A solid representative selection of the life of John Constantine can be found in Rare Cuts, a collection of one-off stories that have managed to escape being reprinted thus far. Contained within these pages you can find “Newcastle: A Taste of Things to Come” (Hellblazer #11) by Delano, Richard Piers Rayner and Mark Buckingham, which is something of an origin story for the character and sets the thematic scene for all the issues to follow.

Next up is the excellent two-parter “Early Warning” and “How I Learned to Love the Bomb” (#25-26) by Grant Morrison and David Lloyd, a truly eerie tale of political subversion and occult possession. Delano and Sean Phillips produced “The Dead Boy’s Heart” (#35), wherein little Johnny Constantine has his first traumatic glimpse into how the world really works, and issue 56 by Ennis and Lloyd provides “This is the Diary of Danny Drake”, a moody, chilling tale of the terrors of parenting.

The last story is from Hellblazer #84 (“In Another Part of Hell”), wherein our ‘hero’ and his good mate Chas experience a truly macabre event featuring an old house, an old bag and a monkey in a wig. With a timeline and map of Constantine’s London to round out the package this is a wonderful way to introduce yourself to Vertigo’s most successful publication.

© 2005 DC Comics. All rights reserved.

James Bond: Dr. No

James Bond: Dr. No 

By Ian Fleming, Henry Gammidge & John McLusky (Titan Books)
ISBN 1-84576-089-1

The Dr No edition begins with an adaptation of Diamonds are Forever, which pits the Bond against an insidious gang of diamond smuggling criminals, in an explosive all-action romp before directly segueing into the tense, low-key thriller From Russia With Love, both courtesy of Gammidge and McLusky. The artist hits a creative peak with Dr No itself, scripted by Peter O’Donnell – before he created the amazing Modesty Blaise – as Bond returns to Jamaica to investigate the disappearance of two operatives and stumbles upon a plot to sabotage the American rocketry program.

These stories come from an age at once less jaded but more worldly; a place and time where the readers lived daily with the very real threat of instant annihilation. As such, the easy approachability of the material is a credit to the creators.

These volumes are a must for not only aficionados of Bond but for all thriller fans, as an example of terse gripping adventure uncluttered by superficial razzamatazz. Get back to basics, and remember that classic style never goes out of fashion.

Strip © Express Newspapers Ltd. 1987. All Rights Reserved.

Modesty Blaise: Black Pearl

Modesty Blaise: Black Pearl 

By Peter O’Donnell & Jim Holdaway (Titan Books)
ISBN 1-84023-842-9

The greatest heroine in comics returns for four more high-octane capers and dark intrigues. Starting off with the classic, exotic mystery of “The Black Pearl”, the deadly duo move on to an almost science fiction driven thriller in “The Magnified Man”.

We return to basics with the all-action set-piece “The Jericho Caper” and the book concludes with the little known gem “The Killing Ground”. This was produced to fill pages in the syndicated Scottish periodical when industrial action hit the parent paper (the London Evening Standard).

O’Donnell and Holdaway produced some of the best comic strips in the world during their collaboration and these breakneck pace, subtly engaging tales show all their skills at their creative peak, whilst the captivating behind-the-scenes features are an absolute treat. A ‘can’t miss’ collection.

© 2004 Associated Newspapers/Solo Syndication

Marvel Masterworks: The Fantastic Four 1963

Marvel Masterworks: The Fantastic Four 1963 

By Stan Lee & Jack Kirby, with Dick Ayers and various (Marvel/Panini UK)
ISBN 978-1-905239-61-0

Here’s another cheap‘n’cheerful UK edition of early Marvel landmarks, this time starring the first family of super-heroics.

1963 was a pivotal year in the development of Marvel. Lee and Kirby had proved that their new high concept – more human heroes with flaws and tempers – had a willing audience. Now they would extend that concept to a new pantheon of heroes. Here is where the second innovation would come to the fore.

Previously, super-heroes were sufficient unto themselves and shared adventures were rare. Here, however was a universe where characters often tripped over each other, sometimes even fighting each other’s enemies! Even the creators themselves might turn up in a Marvel Comic! Fantastic Four #10 features ‘The Return of Doctor Doom!’ wherein the arch villain uses Stan and Jack to lure the FF’s leader into a trap where his mind is switched with the bad Doctor’s. Issue #11 has two stories, ‘A Visit with the Fantastic Four’ and ‘The Impossible Man’ as the innovations continue, in a travelogue and a baddie-free, comedic tale.

FF #12 features a crossover as the team are asked to help the US army capture ‘The Incredible Hulk’, followed by ‘Versus the Red Ghost and his Incredible Super Apes!’, a cold war thriller pitting them against a soviet scientist in a race to be the first on the Moon. This tale is notable both for the moody Steve Ditko inking (replacing the very adroit Dick Ayers for one episode) of Kirby’s artwork and the introduction of the cosmic voyeurs called The Watchers.

Issue #14 features the return of ‘The Sub-Mariner and the Merciless Puppet Master!’ followed by ‘The Fantastic Four Battle … The Mad Thinker and his Awesome Android!’. Number #16 tells of ‘The Micro-World of Doctor Doom!’ in a spectacular romp guest-starring new hero the Ant-Man, and that villain instantly returns with infallible, deadly traps in ‘Defeated by Doctor Doom!’ A shape-changing alien with all their powers is next to menace our heroes in ‘A Skrull Walks Among Us!’ and issue #19 introduces one of the company’s greatest super-villains as the FF become ‘Prisoners of the Pharaoh!’. This time travel tale has been revisited by so many writers that it is considered one of the key stories in Marvel history. Fantastic Four #20 introduces ‘The Mysterious Molecule Man!’, and the next guest-stars Nick Fury, fresh from his own World War II comic book (and soon to be the company’s answer to James Bond) to battle ‘The Hate-Monger!’ (inked by veteran George Roussos, using the protective nom de plume George Bell).

The rest of the book is taken up with reprinting the first summer Annual, a spectacular thirty-seven page epic battle as Atlantis invades New York City, and presumably the rest of the world, in ‘The Sub-Mariner versus the Human Race!’. Also included is the charming short tale ‘The Fabulous Fantastic Four meet Spider-Man!’, a re-interpretation of the first meeting between the two most popular Marvel brands from the premiere issue of the wall-crawlers own comic. Drawn this time by Kirby, Ditko once more applied his unique inking for a truly novel look. Here are also a swatch of pin-ups and information pages illustrated by Kirby and chums.

Although possibly a little dated in tone, these are still classics of comic story-telling illustrated by one of the world’s greatest talents just approaching his mature peak. They are fast, frantic fun and a joy to read or re-read. This bright, joyous introduction (or even reintroduction) to these characters is a wonderful reminder of just how good comic books can be.

© 1963, 2007 Marvel Characters, Inc. All Rights Reserved.

Constantine: The Hellblazer Collection

Hellblazer Collection 

By various (Vertigo)
ISBN 1-84023-979-4

When the movie was about to leap on us at any moment, DC were banging out huge amounts of Hellblazer material, which was of course only sensible. This collection continued the procedure created for the dire Catwoman movie by producing a bookshelf version of a recently released film adaptation padded out with a selection of reprints from the characters’ back catalogue.

I haven’t seen the movie yet, and after reading the frankly appalling adaptation reprinted here, I’m unlikely to. But in case you intend to, I’ll just say that Steven T. Seagle, Ron Randall and Jimmy Palmiotti have obviously done the very best they can, and if we’re all lucky they worked from an original script rather than a final cut of the movie. If they have, there’s an outside chance that the movie actually made some sense. By the bye, in case you haven’t heard, you shouldn’t have to suffer Keanu Reeves’ Scouse accent as Constantine’s a Yank here.

Filling out the book is “Hunger” from the first issue of the Hellblazer comic by Jamie Delano and John Ridgway, “Hold Me” from #27 by Neil Gaiman and Dave McKean and “The Beginning of the End” by Garth Ennis and Will Simpson from #41. These are of course fine examples of the character at his best from some of the industry’s most talented creators, but that doesn’t make up for the fact that the stories are incomplete and if you wanted to find out how they ended, you’d have to get hold of the Original Sins and Dangerous Habits graphic collections which is, as you are also probably thinking, a bit of a cheek.

© 2005 DC Comics. All rights reserved.

James Bond: Casino Royale

James Bond: Casino Royale 

By Ian Fleming, Anthony Hern, Henry Gammidge & John McLusky (Titan Books)
ISBN 1-84023-843-7

In Casino Royale Bond is ordered to gamble with and bankrupt Le Chiffre, a communist agent who has embezzled his Soviet masters’ operating capital in a moody tale of tension that results in torture and violent death, heady stuff for newspaper readers of 1958, when it first ran. Live and Let Die has 007 and US agent Felix Leiter tackle Mr. Big, another commie agent, who rules the Harlem underworld through Voodoo, and Moonraker concerns the attempt by Hugo Drax, a Nazi officer who has infiltrated the British aristocracy to drop a guided missile on London.

These editions of Titan Books’ 007 newspaper strip collections come from a period when the dependable John McLusky was developing a less formal approach, before going on to produce some of his best work, illustrating adaptations of Fleming’s tales. Casino Royale was the opening strip in a nearly twenty-five year run, and the somewhat muted artwork here shows an artist still not completely comfortable with his task. It was adapted and scripted by Anthony Hern, who had won the author’s approval after writing condensed prose versions of the novels for the Daily Express. Live and Let Die and Moonraker are both adapted by Henry Gammidge.

As the strip settles in for the long haul, McLusky warms to the potentialities of the job with cracking tales of Cold-War intrigue and fast, dangerous living set in a multitude of exotic locales. This is a welcome return to public gaze of some of the most influential – and exciting – comic strips in British history.

Strip © Express Newspapers Ltd. 1987. All Rights Reserved

James Bond: On Her Majesty’s Secret Service

James Bond: On Her Majesty’s Secret Service 

By Ian Fleming and Various (Titan Books)
ISBN 1-84023-674-4

There are sadly very few British newspaper strips that can rival the influence and impact of the classic daily and Sunday “funnies” from America, especially in the field of adventure fiction. The 1930’s and 1940’s were particularly rich in popular, not to say iconic, creations. You would be hard-pressed to come up with household names to rival Popeye, Dick Tracy, Buck Rogers, The Phantom, Mandrake the Magician, Flash Gordon or Steve Canyon, let alone Terry and the Pirates or the likes of Little Lulu, Blondie, Li’l Abner, Little Orphan Annie or Popeye and yes, I know I said him twice, but Elzie Segars’s Thimble Theatre was funny as well as thrilling, constantly innovative, and really, really good.

What can you recall for simple popularity let alone longevity or quality in Britain? Rupert Bear? Absolutely. Giles? Technically, yes. Nipper? Jane? Garth? I hope so, but I doubt it. The Empire didn’t quite get it until it wasn’t an empire any more. There were certainly many wonderful strips being produced: well-written, beautifully drawn, but that stubborn British reserve just didn’t seem to be in the business of creating household names. Until the 1950’s.

Something happened in the ‘fifties in Britain – and I’m not going to waste any space here discussing it. It just did. Now we’re moving on. In a new spirit that seemed to crave excitement and accept the previously disregarded, comics got carried along on the wave. Eagle, the regenerated Beano, girls’ comics in general, all shifted into high gear, and so did newspapers. And that means that I can go on about a graphic collection with proven crossover appeal for a change.

The first 007 novel – Casino Royale -was published in 1953 and was serialised in the Daily Express from 1958, beginning a run of book adaptations (by Anthony Hern, Henry Gammidge, Peter O’Donnell and Kingsley Amis) before Jim Lawrence, a jobbing writer who had scripted the aforementioned Buck Rogers, came aboard with The Man With The Golden Gun to complete the transfer of the Fleming canon to strip format, thereafter being invited to create all new adventures, which he did until the strip’s demise in 1983.

The art on the strip was always of the highest standard. John McLusky provided the illustration until 1966 and the conclusion of You Only Live Twice. Although perhaps lacking in verve, the workmanlike clarity of his drawing easily handled the immense variety of locales, technical set-ups and sheer immensity of cast members, whilst accomplishing the then novel conceit of advancing a plot and ending each episode on a cliff-hanging “hook” every day. He was succeeded by Yaroslav Horak, who also debuted on Golden Gun with a looser, edgier style, at once more cinematic and with a closer attention to camera angle and frenzied action that seemed to typify the high-octane 1960’s.

What’s in this volume? Possibly the two best novels adapted back to back. After a falling out with the Express’ owner, the Bond strip was missing from the paper’s pages from February 1962 until June 1964. The gap was explained as Bond’s year long search for arch villain Blofeld. On Her Majesty’s Secret Service has the agent finally discover his enemy and his perfect woman in a high-octane action extravaganza in the Swiss Alps. Closely adhering to Fleming’s script – as did the George Lazenby film version – the adventure ends with the wedding day murder of Bond’s bride, an atypically downbeat conclusion that directly leads into You Only Live Twice.

Eight months after the death of his wife, a broken Bond is called back from compassionate leave for a routine mission to Japan. Both he and ‘M’ know that this will be a make-or-break job for the demoralised super-agent. Initially indifferent, Bond warms not only to the culture but the characters of Japan, and when circumstances alter the mission into one of ultimate revenge, Bond is back with a vengeance!

Titan Books is re-releasing collected editions of these classic strips after an abortive first attempt in the 1980s. The utterly minor niggle that they’re not coming out in chronological order (I’m a fanboy too, so sue me) is easily countered by the informative checklist in each volume; and these are superb examples of the best of British – even if Lawrence is a damn Yankee and Horak an Ozzie by way of Manchuria. Get them all and sort it all out in a big leather chair over a Vodka Martini. You know the way it should be served… and by the time you read this it won’t matter anyway, so just remember your instructions. Buy them all!

Strip © Express Newspapers Ltd. 1987. All Rights Reserved.