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Interview with Van Jensen, Author of Casino Royale (Dynamite, 2018, Pp

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Interview with Van Jensen, Author of Casino Royale (Dynamite, 2018, Pp Interview with Van Jensen, author of Casino Royale (Dynamite, 2018, pp. 160) ELLEN J. STOCKSTILL In March 2018, Dynamite Entertainment published a graphic novel adaptation of Ian Fleming’s first !ames "ond novel, Casino Royale# Dynamite secured the li$ cense to adapt the novel from the Fleming estate back in 201& and slated 'riter (an !ensen and artist Dennis )alero to produce the adaptation# In the follo'ing intervie', !ensen describes the process of adapting Fleming’s novel, some of the challenges of 'or%ing 'ith an iconic character li%e !ames "ond, Fleming’s 'rit$ ing style, "ond s current and historical relevance, and the 'ays in 'hich Flem$ ing’s legacy lives on in different mediums. Ellen Stockstill: )an you explore the relevance of this particular medium to the "ond franchise? ,hy this form, and 'hy this %ind of adaptation no' in this par$ ticular period of "ond s cultural lifespan+ Van Jensen: -ltimately, the .uestion of /,hy a graphic novel+0 is one that 'as considered and ans'ered by the Fleming 1ublishing Library, as it 'as their deci$ sion to pursue the publishing partnership 'ith Dynamite Entertainment# I do Ellen J. Stockstill is Assistant Professor of English at Penn State Harrisburg where she teaches courses on British literature and critical theory. Her scholarship fo- cuses on Victorian literature and culture. She is co-author of A Research Guide to Gothic Literature in English (Row- man & Littlefield, 2018), and she has published essays in Vol. 1, Issue 2 · Spring 2018 Public Domain Review, Nineteenth-Century Prose, Victorian ISSN 2514-2178 Medicine and Popular Culture (Routledge), and The Moral DOI: 10.24877/jbs.33 Panics of Sexuality (Palgrave). Distributed under CC BY 4.0 UK %no' that the novel adaptations 'ere the first project to be discussed, and I un$ derstand that it is very dear to them. For me personally, I find comic books and graphic novels to be an essential medium because they e*ist at this perfect half$ 'ay point bet'een prose and film. 1rose asks readers to fill in so much sensory information# Film provides pretty much all of it# "oth are great, but I 3ust love the 'ay that they provide visuals but then stimulate the mind to fill in so many gaps. Sounds. Smells. 5he movement bet'een the staccato moments of the pan$ els. My hope for these adaptations is that they come at a time 'hen "ond is ripe for reflection and reevaluation, that generations 'eaned on the movies or even video games can go back and discover the foundation beneath all of that# ES: 6ou came to this project having 'or%ed 'ith some iconic superhero charac$ ters7 5he Flash and 8reen Lantern# Did that experience help you approach a character li%e !ames "ond? ,hat %ind9s: of pressure do you feel as a 'riter 'hen 'or%ing 'ith an iconic character loved and %no'n by so many+ VJ: ,riting superhero comics, the challenge is ta%ing a property and character that s been around for eighty years and doing something ne' 'hile not really changing anything. 5he Flash, for instance, can t 3ust give up his superhero-ing 'ays and become the 'orld s fastest actuary# !ames "ond has been a bit different in that this is a direct adaptation of Fleming’s first "ond novel# 5he desire on all sides 'as to leave the story intact, 3ust make it 'or% in the comic format# So 'hat carried over from my earlier 'or% in comics is really 3ust the experiential in$ sights of %no'ing ho' comics 'or% as a medium, ho' the story flo's through panels on the page, ho' to craft moments that grab readers. "ut pressure? ;h, yes, plenty of pressure. 5his is !ames "ond< I gre' up on the films, then moved on to the novels in high school and college, so I had my o'n reverence to con$ tend 'ith before I even got to the matter of this being one of the most iconic characters in all the 'orld# ES: ,ere there aspects of the novel that you immediately %ne' 'ould 'or% 'ell in the visual and textual medium of a graphic novel? ,ere there aspects that you %ne' 'ould not 'or% 'ell or that 'ere more of a challenge to adapt+ VJ: Casino Royale is uni.ue in the series of novels in that there s precious little that obviously and readily translates 'ell to visuals. 5here s gambling. 5here are fancy dinners. 5here s a long stretch in a hospital# Aside from the brief car chase and the botched explosion early on, the novel is bereft of the action-adventure 2 International Journal of James Bond Studies · Vol. 1, Issue 2 · Spring 2018 sequences 'e’ve come to expect of the genre. Ma%ing the baccarat 'or% 'as tricky# = big table 'ith a ton of characters and lots and lots of narration# =nd lots of te*t is a recipe for the most boring comic ever# 5here s also the t'o-page stretch of "ond, post-torture, lying in a hospital bed 'orrying that he might be impotent# For each of these, I challenged myself to come up 'ith some innova$ tive approaches, either by deliberateness in perspective, or symbolic representa$ tions, to tell the story visually# ES: I read that you 'ere surprised by the /interiority0 offered in Fleming’s novel# >o' did you strive to convey "ond s interiority in your adaptation+ Do you find interiority difficult to convey in a graphic novel? VJ: 4pecifically, 'hat surprised me is the character of "ond, ho' unformed he is, and vulnerable. 5he novel is all third-person narration, delving deep into "ond s character as he takes on the form 'e %no', but exploring the thoughts of other characters in detail# It s a lot of te*t# =nd 'ith comics, space is the great limiting factor, so having lots of te*t means you lose a lot of visual space on the page. 5he thought bubble 'as the old tactic to represent such interiority in comics, but that tool is 9sadly: vie'ed as passé in the medium. I came up 'ith the idea of /"ond$ vision,0 'hich is going to be an overlay of "ond s thoughts on top of his sur$ roundings. Every room he goes into, every person he meets, he is si@ing up threats, analy@ing potential outcomes. It s a coldness and shre'dness inherent in his person and his craft# Fleming brought it alive 'ith prose, and my challenge 'as %eeping it present 'hile not dro'ning Dennis )alero s gorgeous art 'ith te*t# ES: Did you do any research or secondary reading to help you in your 'or%+ If so, 'hat and 'hy? VJ: I returned to the other "ond novels and some of the "ond resource guides out there, both ne'er and older# I cast a pretty 'ide net in researching the time, to get a feel of post$'ar France. And then I 'atched a bunch of videos on 6ou5ube of baccarat# I hate to say I had no real familiarity 'ith the game before embar%ing on the project# =nd no'### ,ell, I probably could at least not embar$ rass myself completely if I attempted to play# E. Stockstill · Interview with Van Jensen, author of Casino Royale (Dynamite, 2017) 3 ES: In his book The Politics of James Bond, !eremy "lack 'rites that "ritain s de$ cline /and the changing "ritish 'orld role and vie' of the 'orld, can all be ap$ proached via "ond# Alongside the apparent timelessness of the icon, there is a timely a'areness of historical change ABC =side from being a mixture of )old ,ar 'arrior and a medieval %night rescuing maidens from modern dragons, even at risk to his mission, "ond 'as also a conduit through 'hom Fleming e*$ plored the ambivalent relationship bet'een a declining "ritain and an ascendant -nited 4tates0 9200D, *:# Do you see "ond as a character of history as "lack sug$ gests+ ;ne moment I thin% of in Casino Royale 'here this gets played out is in Leiter s lifeline to "ond at the baccarat table 'ith his /Marshall =id0 of E2 million francs. VJ: 1art of approaching this adaptation 'ith no efforts to moderni@e the story or change context 'as exactly this. !ames "ond is a product of a specific 'riter in a specific time, for good 9mostly: and for bad 9the casual sexism and racism:# I ve al'ays been a reader of history, so that 'as an aspect of returning to Casino Royale that I en3oyed, of putting it into this geopolitical context# =nd that rela$ tionship bet'een "ond and Leiter, "ritain and the -nited 4tates, is even more fully formed in Live and Let Die, the ne*t novel# ES: Follo'-up .uestion7 is "ond relevant in our current historical moment? VJ: 5he thing that resonated 'ith me the most is "ond s place amid a changing 'orld in terms of gender and se* dynamics. ,e re in a period of time in 'hich the hegemony of the straight, 'hite male is gone, and some straight, 'hite males are no' coming a'are of this and becoming angry, even violent# 5o me, that s the fire behind the political rise of certain right$'ing movements. "ond is the .uintessential representation of that lost hegemony# >e s confident, a lover and murderer 'ho never 'orries about family, only about career# >e does 'hat needs done 'ithout concern for others.
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