GRAPHIC NOVEL and TRADE PAPERBACK (TPB) REVIEWS

by The Masked Bookwyrm

Media Tie-In Stories - page 3


coverHeroes, vol. 1 2007 (HC & SC TPB) 236 pages

Written by Aron Eli Coleite, Joe Pokaski, others. Art by Micah Gunnell, Marcus To, Staz Johnson, others.
Colours/letters: various

Reprinting: the first 34 webcomics, with chapter covers by Tim Sale

Rating: * * * 1/2 (out of 5)

Number of readings: 1

Additional notes: intro by actor Masi Oka; interview with the writers; published with two variant covers, one by Alex Ross, the other by Jim Lee.

Published by DC Comics / Wildstorm

Heroes was the surprise hit TV series that shamelessly mined the last few decades of comic books for ideas, and presented it as a serialized drama about people throughout America suddenly finding themselves developing super powers. Despite the rather complex and convoluted on going narrative the TV series portrayed -- or maybe because of it -- the show's makers felt they wanted to add even more layers to the story. And so marrying the series' creative inspiration -- comics -- with the way more and more TV series try and offer supplementary material for their hard core fans on the internet, the show was instantly spun off into a weekly webcomic.

Now doing a comic book spin off of a TV series is nothing new, but the difference here was that the webcomic wasn't just a farmed out spin off telling new, apochryphal stories about the same characters, but was intended to actually act as a supplement to the episodes. Posted on-line weekly in generally five page instalments, the webcomics were meant to flesh out the weekly TV episodes, giving background to certain actions, adding more nuance to a character's motivation. It wasn't that you had to read the comic to follow the TV episodes, but nonetheless the web comics were meant to be viewed as, at least nominally, canonical.

And eventually the webcomics were collected in paper form in hardcover (and softcover) collections, of which this is the first volume.

As such, this isn't really recommended to someone wholly unfamiliar with the show. Unlike a Star Trek comic, or what-have-you, which could still be picked up by someone who had never seen an episode of the TV source, these Heroes comics will often make little sense if you haven't seen the surrounding TV episodes. In many cases, these aren't really "stories", but little vignettes (as the brief page count indicates) where much is left unexplained since it's assumed you know the characters and their circumstances from the series. With that being said, although I have seen every episode of the first season (when these comics were first posted), that was a couple of years ago...yet I still found I could remember the pertinent stuff enough that I could place the comics in their proper context 90 percent of the time. Well...would ya believe 80 percent?

But, still, it can make a not wholly satisfying read, not just if you can't quite remember the information a story is referencing, but because most of the pieces are just vignettes. And as is the way of modern comics, the five pages are often told with a lot of big panels and minimum verbiage, making for rather brief snippets. Some can nonetheless be quite effective -- such as an early piece about Hiro, providing a deeper, more emotional context for his self-imposed mission. Others, though, can seem rather inconsequential, not really much on their own, nor adding much to our understanding of the greater narrative.

As the stories progress, they indulge in a few stories spread over more than one instalment, and the greater length often makes for more meaty, memorable tales -- particularly a Vietnam War flashback. The comics also do something interesting, by using a character, Hana Gitleman, barely seen or even referenced in the TV series (though I guess she had appeared in the TV show). She is actually featured in a number of the comics, and by focusing on this character, and detailing her history, motivation, and adventures, it allows this collection a greater ability to stand on its own.

Of course this also reflects the modern trend in comics where labels are misused to make something seem classier. Specifically, I kind of object to the way the term "graphic novel" is applied, willy-nilly, to a lot of comics. This collection labels itself as a "graphic novel" even though it is anything but. A graphic novel implies something that has a beginning, middle and end -- not a collection of vignettes, many unconnected to each other, and many that have little context when separated from the TV series. The Hana Gitleman stories come closest to justifying that label, as her stories do form a bit of an arc.

Various artist are involved throughout these 34 instalments, with Micha Gunnell dominating the first half. Gunnell has a simple, open, slightly cartoony style that conveys the information, but isn't my preferred style -- though perhaps suited to being read on the internet where too much detail would require staring too hard at a screen. Marcus To has a slightly more realist, detailed style. Then about halfway through this collection, the art become more realist and detailed, the chores dominated by the likes of Staz Johnson, Michael Gaydos and Jason Badower. The art becomes more textured, more rich in shadows and mood. Aside from any aesthetic preference, the advantage to more realist artists is that in any comic based on a TV series, you want to evoke the actors playing the roles. And with these mini-comics, it's even more important, since often instant recognition is kind of important. In one multi-chapter story arc, Badower takes over part way through with his more obviously photoreferenced visuals and, suddenly, I knew who the characters were supposed to be, whereas earlier I wasn't entirely sure. Actually, it was a particularly impressive visual trick, because one of the characters wasn't actually supposed to be a character from the series...he was supposed to be a character related to a character from the series. So Badower had to evoke the actor...while distinguishing the character as someone other than the actor.

As a series, Heroes has become a bit of a problematic phenomenon. After becoming a water cooler hit in its first season, the ratings have steadily declined. And I, too, found that though I quite enjoyed the first season, my enthusiasm waned over the second season...and I haven't watched much of the third, the series feeling too much like we've "been there, done that" without maybe having made any of the ensemble of characters sufficiently endearing we can watch it just for them, even if the story arcs seem recycled.

As such, not only did I read this a couple of years after the episodes they were meant to accompany...but after my interest in the series itself had started to fade. Still, this remains a decent collection. As I said, I remembered enough of the generalities from the first season that, more often than not, I could place the context, and though the five page instalments make for rather insubstantial reads, that's also the appeal...little bite size episodes to be delved into while you're waiting for your soup to come to a boil.

Not a "must have", but for fans a decent collection of hit and miss episodes.

Hard cover price: $__ CDN./ $29.99 USA.


coverIndiana Jones Omnibus, vol. 2 2008 (SC TPB) 376 pages

Written by Pat McGreal & Dave Rawson; Elaine Lee; Karl Kesel; Lee Marrs; Gary Gianni. Illustrated by Ken Hooper; Dan Spiegle; Eduardo Barreto; Leo Duranona; Gary Gianni.
Colours/letters: various

Reprinting: Indiana Jones and The Golden Fleece #1-2, Indiana Jones and The Iron Phoenix #1-4, Indiana Jones and The Spear of Destiny #1-4, Indiana Jones and The Sargasso Pirates #1-4, The Shrine of the Sea Devil #1 (1994-1996)

Rating: * * * * 1/2 (out of 5)

Number of readings: 1

Additional notes: published at 15.3 cm x 23 cm dimensions

Published by Dark Horse Comics

The character of mid-20th Century archaeologist and adventurer Indiana Jones first appeared in movies...and has spun off into novels, video games, a TV series (The Young Indiana Jones Chronicles) and comics. In addition to adapting the various motion pictures, Marvel Comics produced a monthly comic -- The Further Adventures of Indiana Jones. Then Dark Horse picked up the property, this time going the route of various mini-series. Efforts that may or may not have proved successful: Dark Horse seemed to stop after a couple of years.

None of the mini-series were (I believe) collected on their own, but now Dark Horse has begun releasing "omnibus" volumes -- clearly inspired by Marvel's Essential volumes in which vast amounts of material are collected between a single cover. Though unlike the Essential books, Dark Horse's omnibuses are in colour, on heavier paper -- therefore more expensive -- with fewer pages and in (slightly) reduced dimensions (the smaller page size a surprisingly attractive presentation). The entirety of Dark Horse's 1990s Indiana Jones stories are collected in two volumes. I decided to pick up the second one simply because you get more stories (five!) for your money.

Considered from least to best, we start with "Shrine of the Sea Devil" -- the shortest of the tales. Originally serialized in six page sections, then collected in a one shot, it only totals 24 pages. Though drawn by Gary Gianni (who also scripted) an artist whose work I was looking forward to, the plot itself is rudimentary and forgettable -- seeming more like a vignette than a story. And even the art was not as compelling as I had expected.

The four part Iron Phoenix is set just after W.W. II and has Indy getting involved with both Russians as well as the ubiquitous Nazis conspirators. The basic plot was, I believe, originally conceived for a video game that was never produced. And it definitely has a video game feel, as characterization is minimal, and the plot is basically an excuse for a lot of exotic set pieces and situations where Indy has to find clues and suss out puzzles...and do a lot of running and climbing and escaping booby traps. Strangely, there can be a kind of fun, evocative vibe to it, if you ever played such video games. The art by Leo Duranona is reasonably effective, if rudimentary at times. But it remains just a little too slight, a little too empty to quite score, though it does perhaps have the most epic scope of all the stories here, with Indy travelling across the globe and finding lost temples that would strain a movie's budget.

The Golden Fleece is only two issues, and with Indy in war-time Greece, racing both Nazis and a mysterious cult for the Golden fleece of legend, can seem a bit like a TV version of the Jones films -- as if they didn't quite have the budget. At the same time, it has some effective -- off beat -- action scenes (like a bicycle chase!) and has Indy meeting up with a feisty -- and very pregnant -- Greek woman for an amusing pairing. Ultimately, it's enjoyable, nicely illustrated by Ken Hooper (who did a neglected Aquaman series a few years previous).

The Spear of Destiny is back up to the weighter four-part length and emerges as one of the strongest of the collection. Ironically, it too has a "TV budget" feel in that the characters are just running about rural Ireland, but with good twists and turns to the plot. This re-teams Indy with his father (played by Sean Connery in the film, Indiana Jones and the Last Crusade) -- to good effect. In fact, I didn't really care for the character, or the movie, but here he works better. The reason the story works is because writer Elaine Lee tosses in supporting characters for Indy to run about with and play off of. In a series where you basically have only one regular character -- Indiana himself -- the success of a story can rely a lot on whether there are guest "stars" and how well portrayed they are. The art is largely by Dan Spiegle, an old time comics pro who's one of those guys I wasn't that fond of as a kid, but have grown to appreciate more as an adult. His work is unsplashy, but succeeds precisely for its straightforwardness (though some of his panel arrangements got a bit too clever and confusing).

The Spear of Destiny suffers a bit from a feeling that Lee knows her Irish folklore a little too well, constantly having the characters drop mythological allusions and references that really won't mean much to the lay person. There's also a feeling maybe Lee was trying to cram too much in and had to edit her storytelling a bit, as characters seem to know things (like another character's name) when we weren't shown how they knew it.

The best of this collection is also the last -- The Sargasso Pirates. And again, it's the use of a richly drawn supporting cast that really sells it, as Indiana finds himself reluctantly with a motley collection of shady figures. There's also a lot of humour to counterbalance the drama. The concept is kind of odd for a Jones story -- though the premise I've seen before. Lost at sea, Indy and his fellows find themselves on the Sargasso Sea -- the real life stretch of ocean notorious for its thick sea weed and still waters -- and where writers even before Kesel have envisioned the notion of a floating colony comprised of sailors who've become marooned there over the centuries. Set largely within this one (surreal) environment, there's nonetheless lots of running about and double crosses, the twists driven as much by the characters and their motivations as physical action. Writer Karl Kesel clearly intends there to be aspects of homage in the story -- one sailor character is named Segar, ala the creator of Popeye, while in the background of a panel toward the end, you can see characters lifted from the classic Terry and the Pirates comic strip. In fact, Kesel pauses the action periodically for captions that are clearly meant to evoke...well, something, though I'm not sure what (silent movie captions? old newspaper headlines?) I'm guessing there were other references I probably missed. Drawn by the well regarded Eduardo Barreto (from layouts by Kesel) like all the art in this collection, it's determinedly unflamboyant, telling the tale rather than dazzling us with overly indulgent artistic innovation.

There's a raciness to the story that's absent from the others, with Indy paired with an alluring femme fatale in a low cut dress, and with some rather overt innuendo in spots (as she uses her feminine wiles to seduce guards).

These omnibus volumes, like Marvel's Essential books, kind of shift the onus on stories. Read on their own, these stories are of variable quality. And even the best, might perhaps suffer under harder scrutiny. But as a collection, no one story has to carry the volume, and even the lesser stories can be viewed as just pretty padding between the winners. But The Spear of Destiny and the Sargasso Pirates and, to a lesser extent, The Golden Fleece, are all eminently enjoyably page turners. With even the breezier Iron Phoenix gaining something from the association. The various tales capture aspects of the films and the character -- indeed, I'd argue Indy comes across as a more sympathetic, likeable guy than he does in the movies -- while offering enough variety in ideas and settings and tone to avoid repetition (the potential downside to being collected in a single volume).

If you're looking for a chance to go adventuring with Indiana Jones again...Omnibus Volume 2 certainly makes a nice grab bag for the shelf.

Cover price: $__ CDN./ $24.95 USA.



James Bond 007: Permission to Die
  I've left the review here (in my mini-series section)


James Bond 007: Serpent's Tooth 1993 (SC TPB) 150 pages

cover by GulacyWritten by Doug Moench. Illustrated by Paul Gulacy.
Colours: Steve Oliff. Letters: Pat Brosseau. Editors: Jerry Prosser, Dick Hanson.

Reprinting the three part mini-series

Rating: * * * (out of 5)

Number of readings: 2

Published by Dark Horse Comics / Acme Comics

Ian Fleming's super spy has had limited adventures in comics (despite a long running comic strip) -- but there was a slew of prestige format projects in the 1990s. The first was the mini-series, Permission to Die, in which writer/artist Mike Grell seemed to be trying to pull back from the more highflying excesses of the motion pictures. In contrast, Doug Moench and Paul Gulacy's Serpent's Tooth whole heartedly embraces the over-the-top action of the movies -- right down to an opening prologue leading into a title splash page meant to evoke the credit sequence of the movies.

And the result both succeeds and falters for that reason.

The story begins showing key, but seeming unrelated events -- in the South American jungle an Indian girl is kidnapped by a seeming flying saucer; in England, prominent scientists are kidnapped; and then there's the ubiquitous attack on a nuclear submarine which seems like it's begun half a dozen Bond films!

Soon Bond is called in to investigate a mysterious industrialist named Indigo who operates out of Peru -- the two men having their first encounter on opposite sides of a casino's gaming table. And soon Bond, after teaming up with local operatives -- including the obligatory sexy female agent -- uncover's Indigo's world shattering plan.

And, as I say, all this is the strength and weakness of Serpent's Tooth.

If you're a fan of the Bond films, it will all seem nicely familiar and evocative -- but the flip side is it's a little too familiar. Bond's encounter with Indigo in the casino -- a staple of the films -- is entirely generic, without really managing to create the undercurrent of veiled tension that some of the (better) such scenes in the movies do. As well, what Moench -- and I suspect many Bond fans -- overlook is that despite the action scenes being predominant, Bond films are, at their core, mysteries. Where neither Bond, nor the audience, really knows what's going on, or where it's all going to lead, at first. Often Bond movies begin with Bond investigating a seeming minor incident -- say, stolen diamonds -- that only gradually lead him to discoveer an apocalyptic plot. But here, there's a feeling that Moench plays all his cards too soon. Partly that may be less a problem with Moench's unfolding of the story than, as I say, the very cliched-ness of that story. But I do think Moench does have the characters explain what's going on too early, so that the story becomes mainly just a lot of running about and action, rather than a puzzle we're waiting to see how the pieces come together.

And the problem with the inherent superficiality of the Bond films, and their emphasis on long action scenes, is that a sufficiently charismatic actor, like Sean Connery, or Roger Moore, can add a level of emotion, or at least character, to otherwise shallow fight scenes. But in a comic, the writer has to work a little harder to make us care.

One way in which Serpent's Tooth perhaps diverges from the movies is that it's even more outrageous and sci-fi oriented -- Indigo has genetically modified himself so that he's actually part lizard, complete with scales! I don't want to give too much a way, but one suspects Moench was being inspired by a certain hit movie at the time, and asked himself, what if James Bond were inserted into that scenario?

Hardcore purists might balk, but others might see in it Moench and Gulacy deciding that if they're going to compete with a score of motion pictures, the ace they have is that comics basically have an unlimited budget. And Serpent's Tooth certainly contains scenes and ideas that, even today, would probably put it outside the capability of a Bond movie's budget -- indeed, some of the scenes are so grand, they test Gulacy's ability to depict in pencil and ink! In a way, the opposing camps of Bond can be kind of epitomized in the reaction to the Bond film Moonraker -- a movie a lot of critics hated for its outlandishness, even as it was one of the most successful at the box office (and is one of my personal favourite Bond films).

At the same time, the one way the story seems "smaller" than a movie, is the lack of globe hopping common to many (though not all) Bond films. Not that the Peruvian setting here isn't glamourous and exotic, but often Bond films unfold over a few countries and locations.

Moench and Gulacy have been on again/off again collaborators for decades, and this project seems like a logical effort for them. After all, their mid-'70s work on Marvel Comics Master of Kung Fu was clearly inspired by the spy antics of James Bond. And Gulacy has a nice, cinematic eye for story telling, and a semi-realist style of drawing (though he's become more caricaturish in recent years). Though someone needs to tell him that drawing the philtrum on women isn't necessarily attractive! In fact, his realism can be an unintentional problem, when Bond's good guy South American contact looks uncomfortably like Saddam Hussein! The colours too are richly vibrant, bold and attractive -- another necessary part of Bond films which are often as much travelogues, set in beautiful and exotic locales, as action-thrillers!

Bottom line: if you're looking for something that has the look and feel of a James Bond movie -- Serpent's Tooth succeeds quite well. But despite some of the over-the-top plot elements, it remains blandly generic, with none of the characters, or even many of the action scenes, muscling their way to the upper echelons of Bond iconic characters and scenes.

But for what it is, it's a modestly enjoyable romp.

This is a review of the story as it was originally serialized in the mini-series.

Cover price: __ 


James Bond: Vargr 2017 (SC TPB) 160 pages

Written by Warren Ellis. Illustrated by Jason Masters.
Colours/letters: various

Reprinting James Bond (1st Dynamite series) #1-6 (2015)

Rating: * * 1/2 (out of 5)

Number of readings: 1

Reviewed: Oct 2018

Suggested for mature readers

Published by Dynamite

James Bond, the seminal super spy of novels and films, historically has only had sporadic forays into comics -- but recently Dynamite seems to have gone all in with a bunch of Bond projects. And this TPB collects the first story arc from Dynamite's first Bond series (they've done a couple, plus mini-series).

Like a lot of pop cultural properties, there can be debate among fans as to what constitutes the "true" Bond -- from novelist Ian Fleming's original conception of the character, to the movies which catapulted the character to being a global cultural touchstone (movies themselves that reinterpret the character for different actors), as well as non-Fleming novels, video games, etc. And then there's the version of a character that exists in the fans' minds -- irrespective of its roots in the actual property. There are some fans who will dismiss, say, the movies, and talk about the "true" Bond of the novels...when I have a sneaking suspicion they've never actually read an Ian Fleming novel. But they nonetheless have this idea of what they must be like.

All of which is a preamble bringing us to Vargr -- a six chapter Bond adventure penned by Warren Ellis. And I can't decide if Ellis and co are trying to write to the "true" Bond vision -- or they just don't care one way or the other.

Certainly in one sense it can feel more like a slightly subdued Bond adventure -- in that instead of Bond traipsing about exotic locales he's mostly in drably generic European cities, and his assignment involves trying to break a drug smuggling ring. While the action scenes are mostly just fights and shoot outs on side streets or in office buildings. Q, Bond's ordinance provider, just provides him with guns (that presumably you can find listed in any Guns n' Ammo magazine) rather than the spy gadgets familiar to the movies. However equally there are outlandish ideas, including that the illegal drug is secretly laced with an infectious plague, and some of the bad guys are augmented with bionics, imbuing them with super strength (giving the story more of a "comic book" vibe at times).

And the whole thing can feel a bit...bland. Now this is the issue with kicking off a new Bond comic: you maybe want to start out safe, just hitting the appropriate marks before stretching your creative muscles. But it really is just a loose plot stringing together heavily detailed, page-consuming fights (read in monthly instalments, each chapter can feel like a couple of talking head scenes buffering a long fight). There are no big twists, and supporting characters are pretty utilitarian and disposable (in one issue Bond meets the members of MI-6's Berlin station as if we're being introduced to significant supporting characters...except then they get summarily killed off a few scenes later). Even the villain's motive is unclear: Bond point blank asks him about it and the response -- at least to me -- seemed unilluminating.

Ellis uses the idea of the lethal drug as basically just a MacGuffin -- a plot device just to give the villain some master scheme to be thwarted. I couldn't help thinking how they could've actually used the comic book as a chance to tell a story slightly more adventurous than the movies can (which have to follow certain formulaic ruts given the box office expectations). The comics could be a chance to push a bit outside the familiar tropes or to import from other genres (such as how the comic James Bond: Serpent's Tooth took Bond and added a bit of Jurassic Park!). To whit: I thought what if they had done this as a kind of Disaster Movie? Y'know, James Bond meets Outbreak, or James Bond in one of those quintessential Old School British apocalyptic tales (like Dr. Who in the Pertwee era). Have the outbreak of a disease actually BE the plot, with Bond racing against the clock to find the cause and the cure, running through London's eerily evacuated streets.

Anyhoo...

With that said: I kind of brushed over the idea of the long fight scenes. But, obviously, that's part of the point. A lot of the readers will come to it from the movies, so it makes sense to cram the thing full of cinematic-style brawls. Masters has a fairly realist style, and this allows the action scenes to be broken down into carefully blocked out fight scenes that can almost feel like storyboards from a movie. Whether it be Bond and his foes playing deadly hide n' seek in a warehouse, or trading blows in a panel-by-panel breakdown.

However there's another matter.

Namely: its tendency toward graphic, sadistic violence. While James Bond films remain (mostly) of a PG variety, Ellis and the artist go whole hog on scenes of the back of characters' heads exploding when shot by a bullet, or close ups of fingers being chopped off by a shovel. And there's a lot of it because, as mentioned, there's a lot of fighting. And it's often presented in meticulous detail -- from an entire sequence of panels depicting sentries being shot by Bond (with a sniper rifle) to panels "cleverly" showing an x-ray style picture so we get every detail of a bullet tearing through bone. It can be a bit disconcerting, especially when you start to realize such scenes aren't simply a by-product of what Ellis and Masters are doing -- they're the point. And fans are supposed to be pouring over the scenes going "coooool!" and thinking how much neater this is than those wimp-ass movies. Especially as Bond himself is often at the centre of it, ruthlessly gunning down/executing people in cold blood 'cause, y'know, like, that's what cool heroes do. (And yes, I know Bond would sometimes do that in the books/movies -- but Ellis takes it to a whole other level of nihilism).

Now this brings me back to my original point about the "true" Bond -- because I suspect a lot of fans of this approach will insist Ellis is just going back to Ian Fleming's Bond who was leaner and meaner than the movie versions. Which, y'know, isn't entirely true. The books were often quite a bit slower-paced (Fleming was writing mystery-suspense novels as much as he was action-adventure). And if we're going back to Fleming -- Fleming's Bond was actually far more introspective than the movie version, and more vulnerable, physically and emotionally (he actually fell in love in some of the books).

Ellis' Bond comes across as a caricature of the Bond-archetype -- he has little personality, and remains blithely unflappable for much of the story (this is a problem with the medium, of course; in movies you can have a charismatic actor bring the character to life, in a novel you can have paragraphs of internal description -- but in a comic, it's too easy for Bond to just end up a plot device).

And that relates to the one thing Ellis has conspicuously omitted from the Bond cliché -- a love interest! Which not only runs counter to most of the movies and books, but also affects Bond as a character: with no one to play off of, and no one for him to care about, his main function is just to go around glibly killing people. Which, y'know, given my qualms about the comics' violence becomes telling: the comic ups the violence and brutality while getting rid of the mushy stuff (which seems like the comic is aimed more at 14 year old boys than anything). Viewed that way, it makes the fact that one of the villain's henchmen is an attractive woman -- so there's a scene where they fight and Bond kills her -- more curious.

I suppose if I'm going to go down this road of snarkily questioning Ellis and company's motives and ethics, I might mention a certain undercurrent of right wing politics (Bond whinges about not being allowed to carry a gun on British soil -- though it has little impact on the plot; and another scene has an MI-6 officer say "bugger" them when asked if they should get permission from a friendly foreign country before violating their sovereignty in pursuit of the villain). I also can't decide if the comics' use of non-white characters is progressive -- or simply tokenism since they tend not to have big parts (Moneypenny is black -- as she is in the current movies -- but I don't think this is meant to be the same Bond/continuity as the films).

So where does that leave us? In a way I'm showing my age because when I talk about different Bond incarnations I talk about books and movies -- and completely ignore that whole other medium of the modern-era...video games. I suppose maybe that's what they are going for when I talk about a few talking head scenes sandwiched around meticulously detailed action scenes: a video game come to (comic book) life. Vargr lacks the mood and introspection of the novels, the fun and flamboyance of the movies, while jettisoning any romantic or softer side in favour of brutal violence -- all in service of a plot that can feel a bit like a generic template for a Bond adventure.

This is a review of the story as it was originally serialized in the comics.

Cover price: __ 


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