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BOND FILM/Novel ADAPTATIONS — EDITORIAL COLUMBA

You Only Live Twice

Originally Published: D’Artagnan Extraordinario #174 as “Solo se Vive Dos Veces” and republished in El Tony Extracolor #408 under the same title

Story Type: Film/Novel Adaptation

Writer: Pedro Mazzino (under the pseudonym Pier Michele)

Artist: Charles de Vogt

Translator: Clinton Rawls

Notes: An interesting adaptation which strikes a strong balance between the novel and the film versions of this story, cleverly weaving them both together all throughout the piece. Although this version lacks the pathos of Bond’s journey and figurative resurrection from Fleming’s novel following the murder of his wife Tracy, the comic creators make up for that by focusing on Bond’s relationships with Aki, Helga Brandt, and Kissy Suzuki to fill the romantic void in Bond’s life. The depiction of Kissy Suzuki in this adaptation in particular owes much more to Fleming’s characterization, though Blofeld is straight from Lewis Gilbert’s film.

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On Her Majesty's Secret Service

Originally Published: D’Artagnan Extraordinario #226 as “Al Servicio Secreto De Su Majestad”

Story Type: Film/Novel Adaptation

Writer: Alfredo Julio Grassi (under the pseudonym Kenneth Sharp)

Artist: Lito Fernandez

Translator: Clinton Rawls

Notes: Peter Hunt’s film, with a script by Richard Maibaum, follows Ian Fleming’s novel very closely, though there are a few differences between the two. This comic adaptation features a number of details from the novel that do not reflect the film, namely Tracy’s absence from the climactic showdown on Piz Gloria, Bond and Tracy’s wedding being a small affair at the consulate, and an increased focus on Tracy’s past as a widow (though no mention of her child). Also, Bond’s inability to recognize Blofeld right away and his mention of Operation Thunderball helps to place this adaptation within Fleming’s timeline.

Artist Fernandez, while inconsistent in some panels, captures the frenetic nature of Peter Hunt’s editing in his depiction of action scenes, and despite some serious liberties taken to condense the narrative, such as excising characters and tightening the plot overall, writer Grassi creates an adaptation faithful to both sources with a few surprises of its own.

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Diamonds Are Forever

Originally Published: D’Artagnan Extraordinario #279 as “Los Diamantes Son Eternos”

Story Type: Film/Novel hybrid adaptation

Writer: Pedro Mazzino (under the pseudonym Pier Michele)

Artist: Lito Fernandez

Translator: Clinton Rawls

Notes: Truly one of the more interesting comics I’ve translated to date. This adventure is primarily an adaptation of Ian Fleming’s novel with characters and elements of the film version thrown into the mix to create a more literary reading experience. For example, in a particularly clever choice the comic creators change Seraffimo Spang’s Spectreville from a restored frontier boomtown to a replica of Cape Kennedy (better known now as Cape Canaveral). This is not only an appropriate space age update, but it allows the creators to substitute Spang’s locomotive for the moon buggy from Guy Hamilton’s film. As the comic progresses, the story takes some notable twists and turns from both narrative sources so surprises are certainly in store for Bond fans.

Artistic Licence: I must confess that I indulged myself in a couple of instances with this particular adaptation. For starters, in the original text when Bond is informed of Spang’s giant replica of Cape Kennedy, he immediately exclaims, “Blofeld!” I felt this ruined the reveal later in the story, particularly since this adaptation adheres so closely to Fleming’s novel, a book which predates the introduction of Blofeld in Thunderball, so I instead changed Bond’s text to something a bit more inconclusive. Finally, when Bond leaps from the lunar buggy, the original text as translated would have been something a bit closer to, “Time to get out of here!” I felt that this lacked a certain Bondian panache, particularly after such an inventive death trap, so I took the liberty of having a bit more fun with that moment.

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Live and Let Die

Originally Published: D’artagnan Extraordinario #310 as “Vivir y Dejar Morir”

Story type: Film adaptation

Writer: Alfredo Julio Grassi (under the pseudonym Percival W. Lytton)

Artist: Enio

Translator: Clinton Rawls

Notes: A fairly straightforward adaptation of the film with some notable, and regrettable, changes to character visuals. Much like the DC Comics Showcase reprint of the Classics Illustrated adaptation of Doctor No, Quarrel has been changed from a black man to a white man. Similarly, Rosie Carver and even the main villain Mr. Big have been changed to Caucasians as well. In an odd choice and unlike the film, Dr. Kananga is a completely separate character with yellowish skin. On the positive side, Tee Hee’s penchant for giggling in Fleming’s novel is shown, something which is lacking in Guy Hamilton’s film.

Perhaps the strangest change of all is the ending of this story which deviates strongly from both the film and novel, but that’s a surprise I won’t spoil.

One more thing… Roger Moore’s James Bond is depicted with blonde hair. Take that, Daniel Craig!

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The Man With the Golden Gun

Originally Published: D’Artagnan Extraordinario #350 as “El Hombre del Revolver de Oro”

Story Type: Film adaptation

Writer: Alfredo Julio Grassi (under the pseudonym Fred W. Seymour)

Artist: Lito Fernandez

Translator: Clinton Rawls

Notes: Regrettably, this adaptation takes little to nothing from Ian Fleming’s posthumous novel which, while considered to be incomplete by some, does take Bond to some interesting depths as a character. Fleming also creates a compelling villain in Scaramanga as he dives headfirst into playing with American Western fiction archetypes and imagery, much as he had done in the novel Diamonds Are Forever. The film version of Scaramanga lost much of what made the novel version interesting, though the character is memorably portrayed by Christopher Lee.

This adaptation follows Guy Hamilton’s film version quite faithfully and in tightening the narrative manages to eliminate some of the film’s sillier moments and characters, along with—regrettably—some of its more memorable elements as well.

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Moonraker

Originally Published: D’Artagnan Todo Color #1 as “Moonraker Misión Espacial”

Story Type: Film Adaptation

Writer: Alfredo Grassi (under the pseudonym Martin Ablescayne)

Artist: Enrique Villagrán (under the pseudonym Gómez Sierra)

Cover Artist: Alfredo de la María

Translator: Clinton Rawls

Notes: I once joked at an academic conference that film adaptation comics often manage to be both overwritten and too short, and this book exemplifies just that.

What follows is a rote, by the numbers adaptation of the film with no major changes to the plot. One of my joys in adapting these books is seeing what creators pull from the films and novels, and what comes from their own imaginations, but this is a watered down version of the film through and through. The writing at times can be incredibly redundant, leading to repeated phrases and statements as if no one expects the reader to follow a fifteen page story. I removed some of this to make the text fit better inside caption boxes, but much of it still remains so that I can honor the original text as best I can.

I suspect this book was written and drawn hastily, and perhaps that explains why the creators chose to go by pseudonyms, though I can’t say for certain. The art itself leaves much to be desired, and Villagrán seems to lean heavily on photo references, displaying little of the talent he would bring to his later work for Eclipse, Marvel, and DC, among others. All of the major and even some minor characters resemble their cinematic counterparts, but for some reason Q looks nothing like himself! Perhaps the artist did not have a good reference for Desmond Llewellyn. Speaking of references, in one panel, Villagrán uses an image of Roger Moore chomping on a cigar from The Wild Geese!

As an aside, I’ve thoroughly enjoyed researching Villagrán’s art and I urge you to do so as well. These comics may have been churned out quickly and occasionally fall short, but the people who made them were talented and deserve our respect.

Artistic Licence: When Bond lands at Drax’s base surrounded by beautiful, armed guards, he exclaims, “…no he caído muy bien parado…” Thanks to insight from my friend Eva Dalila Rojano and with some additional research, I have learned that this is a common phrase in Latin countries and is often simplified to “no caer bien parado,” which literally translates in English to, “not falling on a standing position.” The expression means simply that a situation did not turn out as one had wished. Since translating this literally would rob the comic of an intentionally humorous moment, I elected substitute a joke which works better in English and fits the spirit of the original. Let me know what you think!

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From Russia With Love - COMING SOON

Thunderball - COMING SOON

COMING SOON

Dr. No - COMING SOON

Coming Soon

Goldfinger - COMING SOON

Originally Published: El Tony Yearbook #19, January 1983

The Spy Who Loved Me - COMING SOON

COMING SOON

For Your Eyes Only - COMING SOON

COMING SOON

Never Say Never Again - COMING SOON

COMING SOON

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Back to Editorial Columba
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You Only Live Twice
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On Her Majesty's Secret Service
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Diamonds Are Forever
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Live and Let Die
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The Man With the Golden Gun
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Moonraker
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From Russia With Love - COMING SOON
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Thunderball - COMING SOON
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Dr. No - COMING SOON
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Goldfinger - COMING SOON
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The Spy Who Loved Me - COMING SOON
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For Your Eyes Only - COMING SOON
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Never Say Never Again - COMING SOON

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