James Bond Comic Strip Series

The James Bond comic strip was a serialized graphic adaptation of Ian Fleming’s iconic fictional spy, James Bond, which ran from 1958 to 1984. Distributed primarily through the Daily Express newspaper in the United Kingdom, the strip spanned 52 story arcs, including adaptations of Fleming’s novels and a wealth of original content. This extensive series featured contributions from several notable writers and artists and has remained an essential chapter in the evolution of the James Bond franchise. These comic strips not only extended the life of Bond’s literary persona but also offered a visual companion that brought his thrilling missions and suave demeanor to a much broader audience on a daily basis.

Infobox: James Bond Comic Strip Series

Title: James Bond Comic Strip Series
Created by: Ian Fleming (character), Daily Express (comic adaptation)
First Published: 7 July 1958
Final Strip: 1984
Total Story Arcs: 52
Authors: Anthony Hern, Henry Gammidge, Peter O’Donnell, Jim Lawrence
Illustrators: John McLusky, Yaroslav Horak, Harry North
Original Publisher: Daily Express
Syndication: Andrews McMeel Syndication (reruns)
Genres: Adventure, Spy fiction
Notable Adaptations: Casino Royale, Moonraker, Thunderball, The Man with the Golden Gun
Notable Original Stories: The Harpies, River of Death, The Girl Machine, Nightbird
Reprint Publisher: Titan Books
Reprint Formats: Anthologies, Omnibus editions, Hardcover collections
Legacy: One of the longest-running serialized adaptations of a literary figure in newspaper comics history

Origins and Development

In 1957, the Daily Express, then under the ownership of media magnate Lord Beaverbrook, approached Ian Fleming to adapt his popular James Bond novels into a daily comic strip format. Fleming was initially hesitant and voiced strong reservations. He worried that the serialized visual adaptation might trivialize the literary integrity of his spy thrillers, potentially diminishing his credibility as a serious author. In a candid letter, Fleming expressed concern that commercialization and dilution of his storytelling might lead to a kind of creative stagnation or even personal disillusionment with the project. Despite these concerns, Fleming was eventually persuaded to participate, recognizing the broader exposure the strip could offer for his creation.

To help visualize Bond for the comic strip, Fleming commissioned a portrait from a professional artist depicting his ideal image of the secret agent. However, illustrator John McLusky, who was ultimately chosen to illustrate the strip, found Fleming’s rendition too refined and old-fashioned—more suited to the pre-war aesthetic. Seeking a more contemporary and relatable appearance, McLusky modernized Bond’s look, giving him a squarer jaw, more rugged facial features, and a confident, masculine demeanor that resonated with post-WWII readers. His updated portrayal significantly influenced how Bond would be perceived by a mass audience in graphic form.

The first Bond comic strip, Casino Royale, launched on 7 July 1958. It was adapted by Anthony Hern, who had earlier serialized other Fleming novels for newspaper readers. The adaptation was followed by a series of stories primarily written by Henry Gammidge, with Peter O’Donnell, later known for Modesty Blaise, contributing the adaptation for Dr. No. John McLusky remained the principal illustrator during this foundational period, contributing to the strip until 1966.

His signature style, marked by clean lines, dramatic shading, and a classical composition approach, became synonymous with Bond’s visual identity in this medium. McLusky’s work played a crucial role in transitioning Bond from literary figure to visual icon, helping solidify his place in the pantheon of pop culture heroes.

Artists and Writers

• Writers: Anthony Hern (1958), Henry Gammidge (1958–1966), Peter O’Donnell (1960), Jim Lawrence (1966–1984)
• Illustrators: John McLusky (1958–1966, 1981–1983), Yaroslav Horak (1966–1979, 1983–1984), Harry North (1981)

These collaborators were instrumental in shaping the narrative and visual appeal of the strip. Anthony Hern set the initial tone with his adaptation of Casino Royale, laying the foundation for serialized storytelling. Henry Gammidge followed with a long tenure that defined the early voice of Bond in the strip format, staying true to Fleming’s original character while accommodating the constraints and rhythm of daily publication. Peter O’Donnell, although involved briefly, brought his flair for dynamic pacing and suspense, foreshadowing his later success with Modesty Blaise.

Jim Lawrence, in particular, was pivotal during the later years, taking on both adaptations and a prolific range of original stories. He infused the strip with complex plots, inventive villains, and a modern sensibility that kept Bond relevant through changing times. Among illustrators, John McLusky’s clean and classic style defined Bond’s initial look, while Yaroslav Horak’s bold lines and cinematic compositions gave the series a gritty, contemporary edge that aligned with the darker tones of the stories. Harry North, though contributing only one story, added a unique satirical flair, drawing on his experience with MAD Magazine.

The Daily Express Era

From 1958 to 1977, the James Bond comic strips were a staple feature in The Daily Express, appearing daily and captivating readers with serialized tales of espionage and adventure. The strip was initially a straightforward adaptation of Ian Fleming’s novels but gradually evolved into a more ambitious and wide-ranging endeavor. In 1962, a significant disruption occurred due to a disagreement between Lord Beaverbrook and Ian Fleming concerning the rights to the short story The Living Daylights. This dispute led to a temporary suspension of the series, ending with the incomplete adaptation of Thunderball. Fortunately, the strip resumed in 1964 with On Her Majesty’s Secret Service after the parties reached a reconciliation.

This marked the beginning of a new, more experimental phase. Writer Jim Lawrence and artist Yaroslav Horak became the core creative duo behind the strip, and their collaboration was both prolific and influential. Over the course of their tenure, they not only completed adaptations of the remaining Fleming works but also developed over twenty original Bond storylines. These original tales introduced new villains, cutting-edge gadgetry, and complex plotlines that reflected contemporary global anxieties surrounding espionage, nuclear threats, and geopolitical instability.

Horak’s bold, cinematic illustration style brought an invigorated realism to the strip, while Lawrence’s writing added psychological depth and moral ambiguity to Bond’s character, reflecting the evolving expectations of Cold War-era readers. Their era is widely considered the creative apex of the comic strip, where it matured into a distinct storytelling format that could stand independently of its literary and cinematic origins.

Syndication and Final Years

After the Daily Express ceased publication of the James Bond strip in 1977, the series found continued life through syndication abroad and in other UK newspapers, most notably the Sunday Express and Daily Star. During this period, veteran illustrator John McLusky returned to contribute to five additional story arcs in collaboration with prolific writer Jim Lawrence, continuing to uphold the visual style and narrative tone that had defined the strip’s earlier success. One particularly unique installment, Doomcrack, was illustrated by Harry North, whose background with MAD Magazine brought a slightly satirical edge to the Bond universe.

These final stories often showcased more intricate plots, psychological depth, and a broader range of international settings, reflecting the global nature of espionage in the late Cold War era. The last official strip, Double Eagle, was completed in 1984, symbolizing the end of a nearly three-decade run. While no longer appearing in daily newspapers, the creative ambition and visual flair of these concluding stories cemented the Bond comic strip’s reputation as a significant and enduring component of the larger James Bond franchise.

Selected Titles and Timeline Highlights

Fleming Adaptations (1958–1966)

• Casino Royale (1958)
• Live and Let Die (1958–1959)
• Moonraker (1959)
• Diamonds Are Forever (1959–1960)
• From Russia, with Love (1960)
• Dr. No (1960)
• Goldfinger (1960–1961)
• Thunderball (1961–1962)

Original Stories and Post-Fleming Adaptations (1966–1984)

• The Man with the Golden Gun (1966)
• The Living Daylights, Octopussy, The Hildebrand Rarity
• The Harpies, River of Death, Colonel Sun, and many more original titles
• Doomcrack (1981) – Art by Harry North
• Polestar (1983) – The final serialized strip before cancellation

These stories expanded Bond’s universe with a unique blend of suspense, gadgetry, and international intrigue, solidifying his presence in serialized adventure storytelling.

Titan Books Reprints

Titan Books has republished the James Bond strips in several formats:

First Series (1987–1990)

• The Living Daylights (includes: The Man with the Golden Gun and The Living Daylights): This volume showcases Bond’s pursuit of Scaramanga, a notorious assassin, and a dramatic Cold War-era sniper scenario, representing two iconic missions that reflect Bond’s ruthless precision and emotional complexity.

Octopussy (includes: Octopussy and The Hildebrand Rarity): This edition delves into morally ambiguous missions where Bond uncovers hidden treacheries, including a smuggler’s betrayal and the brutal consequences of greed. The stories highlight the fragility of trust in espionage.

The Spy Who Loved Me (standalone story): A rare narrative told from the perspective of a female protagonist, Vivienne Michel, this story explores Bond’s role as both savior and symbol of danger. The volume is notable for its deviation from traditional Bond storytelling structure.

Casino Royale (includes: Casino Royale and Live and Let Die): These two foundational tales define Bond’s origin and his early confrontations with SMERSH and Mr. Big. Themes of love, betrayal, and high-stakes gambling are vividly portrayed through McLusky’s crisp illustrations and Fleming’s taut storytelling.

Second Series (2004–2010)

• Expanded volumes featuring both original and adapted James Bond stories, each carefully restored from the original newspaper prints to preserve the authentic strip layout and artistic detail. These editions include contextual background essays on the development of each story, insights into the collaboration between writers and illustrators, and the cultural significance of Bond’s adventures during the Cold War and post-Cold War periods. Additionally, the reprints often feature rare sketches, character studies, and introductions penned by actors from the Bond film franchise—such as Roger Moore, George Lazenby, and Britt Ekland—offering personal reflections on Bond’s enduring legacy in popular culture. These added features elevate the reprint volumes beyond simple collections, transforming them into rich, archival resources that highlight the evolution of Bond as a visual and narrative icon.

Omnibus Editions (2009–2014)

• Six meticulously curated volumes containing all 52 James Bond comic strip stories presented in chronological order. Each volume includes extensive annotations that delve into the creative decisions behind individual strips, as well as detailed context regarding the historical and political environments in which the stories were produced. The annotations highlight changes in narrative tone, artistic evolution, and editorial influence over the years. Additionally, these collections feature interviews with artists and writers, rare behind-the-scenes sketches, original draft panels, and commentary from comics historians. These enhancements offer readers a comprehensive understanding of the strip’s artistic legacy, its adaptation process from Fleming’s novels, and its lasting significance within both comic book and spy fiction genres.

Hardcover Collections (2015–2017)

• Themed editions including SPECTRE, Dr. No, Goldfinger, and Octopussy were released as part of Titan Books’ fourth series of hardcover collections beginning in 2015. These carefully curated volumes preserved the original strip layouts and design to maintain the authentic visual experience of the newspaper run. Each edition typically included up to six interconnected or thematically related storylines, emphasizing key narrative arcs and villainous organizations like SPECTRE. Alongside the restored artwork, the books feature newly commissioned introductions by actors from the Bond film franchise, in-depth historical essays, and supplementary materials such as rare character designs, original artist notes, and previously unpublished concept sketches. These features serve to contextualize the comics within Bond’s broader literary and cinematic universe and demonstrate their role in expanding the character’s mythos across media. The hardcovers provide both collectors and new readers with a comprehensive, archival-quality presentation of Bond’s serialized comic strip adventures.

These collections have been essential in preserving and reintroducing Bond’s newspaper legacy to new generations and enthusiasts of espionage fiction.

Legacy

The James Bond comic strip series stands as one of the most enduring and influential newspaper serializations centered around a fictional literary character. Spanning over a quarter-century, it not only brought Ian Fleming’s iconic spy to a broader public but also showcased how the medium of newspaper comics could mature alongside its readership. Featuring the talents of acclaimed writers and artists, the series captured the tension, glamour, and geopolitical intrigue of the Cold War era and beyond, all while evolving its visual language and storytelling style to reflect changing cultural and political landscapes.

The collaboration between artists like John McLusky and Yaroslav Horak with writers such as Henry Gammidge and Jim Lawrence created a unique aesthetic and narrative rhythm that became instantly recognizable to generations of readers. The comic strip succeeded in preserving the essence of Bond while introducing new dimensions—infusing original stories with complex villains, advanced spy technology, and morally ambiguous missions that mirrored global anxieties of the time.

It progressed from straightforward adaptations of Fleming’s novels into a robust platform for original espionage storytelling that paralleled and often foreshadowed developments in Bond’s cinematic incarnations. By continuously evolving its tone—from polished elegance to gritty realism—the strip demonstrated a flexibility and longevity rarely seen in syndicated comics.

Status

Officially concluded in 1984, with reruns syndicated by Andrews McMeel Syndication to preserve its legacy and reach new audiences.

Cultural Impact

Beyond extending Bond’s mythos into the realm of sequential art, the strip profoundly shaped the spy genre within comics globally. Its serialized format influenced narrative pacing and character development techniques in graphic storytelling. Additionally, its aesthetic contributed to the visual vocabulary of modern espionage comics, while also serving as a gateway for many readers to discover the Bond universe beyond film and prose.