Do you expect me to talk?
No Mr. Bond, I expect you to read!
I’m not a hardcore fan by any means, but I’m very familiar with British secret agent James Bond. I love movies and video games featuring the titular character for the same reasons most people do: they have exotic locations, expensive cars, cool gadgets, sexy women, maniacal villains, and plenty of action. Despite their formulaic nature, these tales still manage to please us because they unapologetically embrace these dependable staples. Fortunately Jim Lawrence and Yaroslav Horak’s Bond comics in The James Bond Omnibus 004 operate the exact same way. They work within the established formula to create entertaining Bond adventures that feel right at home in the hero’s mythology.
Somehow I had never heard of Lawrence and Horak’s Bond 1970s comic series until Titan Books recently sent me a copy of Omnibus 004. I wish I had discovered the comics sooner though, because Lawrence’s writing and Horak’s artwork work very effectively together to tell engrossing, Bond stories.
Similar to the Bond films, these missions have droll names such as “Trouble Spot,” “Die with My Boots On,” “The Girl Machine,” and “The Phoenix Project.” Bond travels to interesting places and gets himself into dangerous situations, but in classic fashion, he always beats the bad guy, usually right after the villain stupidly spills all of his plans for world domination. Then Bond gets the girl.
Lawrence writes Bond in the vein of Sean Connery’s version of the character. Bond is a misogynist who patronizingly refers to all women as “luv” and frequently asks them to stay out of the way. It’s a good thing they don’t listen, since they often end up saving him from danger. He might not acknowledge it, but the women in these operations are very much equal partners in trying to accomplish the endgame. Whether it’s intended or not there are definite feminist undertones in the series.
In addition to being a chick magnet Lawrence’s Bond also has the trademark Bond sense of humor. He makes puns after killing henchmen, like a moment after he forces some off a cliff, and has a comment about them “taking the plunge.” His female counterpart is exasperated by his morbid joke, though not for very long. Bond also uses an alias to be sneaky, something I don’t remember him doing before. In several of the comics he refers to himself as Mark Hazard, a phony name that the bad guys see through very quickly. Then it’s back to “Bond, James Bond.”
One of the most fascinating parts about these comics is Bond’s partnership with black allies. These characters may have silly stereotypical names like Crystal Kelly and Smoky Turpin, but don’t be fooled. These black characters, like the female ones, are equals with Bond in helping to take out the bad guys, something that would have been pretty progressive at the time these comics were being written.
Lawrence isn’t the only one worthy of praise, Horak deserves kudos too for his distinct artwork. Strangely Bond looks the most like George Lazenby, who only played the character once. Though Horak’s version an impressive medley of Connery and all the Bonds after aside from Daniel Craig. Horak’s black and white drawings prevent the violence in these Bond tales from becoming overwhelming and allow him to show more skin than the films do. His visual style bears a retro flair that looks dated but feels like classic Bond.
If you love all things James Bond, you should check out The James Bond Omnibus 004. Even if you’re not familiar with the character though, you can still have fun if you dig comics. Inside this volume you’ll find a collection of enjoyable, easy-to-read comics which fit appropriately into Bond canon.
The James Bond Omnibus 004 is available now in stores and online at www.titanbooks.com.