Gerry Anderson’s Project SWORD is finally leaping from 1960s toy aisles and annuals to the modern comic page thanks to the team at Time Bomb Comics. We spoke with writer Lizbeth Myles and artist James Gray about their work on this revival, which brings the vintage property into a new era. Myles draws on her extensive sci-fi background with Big Finish’s Doctor Who to handle the complex world-building, while Gray’s experience illustrating iconic vessels for Star Trek and Space Precinct adds technical depth to the visuals. Together, they are breathing new life into a franchise that has remained dormant for decades.
Building a World for Gerry Anderson’s Project SWORD
Lizbeth, you’ve worked on massive franchises like Doctor Who at Big Finish. Is the process different when you’re building a whole world from scratch?
Doctor Who often requires a fair amount of world-building when you’re on an alien planet or visiting the future. That part felt familiar. I was also very keen to take on the pieces of the world already shaped in existing stories. I didn’t want to ignore the foundation. I wanted to build directly on top of it.
You mentioned finding “nibbles of world-building” in the original annuals. Was there one specific line from sixty years ago that became a major plot point?
Yes! There was a specific moment where Janson gets a list of two thousand people being evacuated to a new city on Jupiter. This is out of millions of refugees on Earth. He wants someone on the list who had a breakdown, and when they aren’t included, his reaction is just: “The computers know best.” The idea of a computer deciding who lives and who dies inspired the entire story. I found it fascinating that the protagonists were so comfortable with that cold logic.
Most Gerry Anderson properties like Thunderbirds or Stingray stay in the 21st century. Did jumping to 3031 give you more room to get weird?
The world was already engaged with a strange relationship between science and weirdness. The meteor impact that caused the apocalypse reignited extinct volcanoes. It started random earthquakes everywhere. We didn’t have to invent the weirdness. It was already baked into the setting.
A meteorite stuck in the Earth’s core is a heavy premise. What inspired the way society falls apart in your script?
That foundation came straight from the original annual. It featured massive refugee camps, rebels, and evacuations to cities across the solar system. There was a deep-seated hatred for the system deciding who gets to leave. I just took those elements and pushed them to their logical conclusion.
How do you keep that classic Anderson optimism alive while the world is literally sinking under rising seas?
In the attitude of the characters. The protagonists never give up hope. They believe humanity, and Earth, can be saved, and no matter how overwhelming the situation gets, they believe there’s a way out.
The Visual Legacy of the Space World Organization
James, you’ve drawn iconic ships for Star Trek and Space Precinct. What were your first thoughts on the retro-future designs needed here?
I was elated beyond words. It’s one thing to accurately reproduce a ship that already exists in the Anderson universe. Adding your own to that back catalogue is daunting and exciting at the same time. I was lucky enough to have the great Mike Trim as an art tutor during my A-Level days. He used to bring in photocopies of his drawings to show us. I knew back then I wanted to do exactly what he was doing.
How did you approach the ship aesthetics?
If you look at the Thunderbirds ships, they’re simple and iconic. They are all curves with no boxes. I had to start simple and build from there. It’s easy to go too far and end up with the Nostromo instead of a Thunderbird 2. That’s my personal favorite ship. I had to keep that specific DNA in mind.
Jamie Anderson is keeping a close eye on the visual legacy. What was the most important feedback he gave you about honoring his father’s style?
Being a big fan of his father’s work helped a lot. I already knew what would fit and what wouldn’t. Jamie didn’t have a bad word to say about the ships, vehicles, or clothing designs. We were on the same page from the start. Lizbeth’s script also had great pointers. The only minor change was the color of the uniforms. My first draft had them in orange and green.
There are “epic vehicles” that only existed as toys or pictures but never moved. Which “lost” designs were you most excited to animate?
Most people would probably point to the main rocket design. It’s quite different from the Booster Rocket in the original annual. For me, I loved designing the Scramble Bug and the Beetle the most. I really unleashed my inner Mike Trim on those.
Anderson fans are obsessed with technical details. Is there one specific ship you’re excited for the gearheads to see?
The Beetle is the big one for me. It’s probably the closest to the original 1960s design, but I’ve added my own seasoning to it.
Survival and Teamwork in the Sword Universe
If you were in a real survival situation, would you want a SWORD operative or a Spectrum agent helping you?
Lizbeth: I’d choose SWORD. They deal with so much more. I could be stuck on the peak of Vesuvius during an eruption and they’d find a way to get me out alive. Probably.
James: That’s a tough choice. You’re asking me to choose between a Garibaldi and a Dark Chocolate Hobnob. Most people would pick a Spectrum agent because they’re more famous. I’d go with a member of SWORD for the versatility. Plus, they actually get to go into space.
What was the most surprising thing you learned about each other’s workflow?
Lizbeth: James’s art reflects the world in my head perfectly. It’s just much cooler than what I imagined.
James: I wasn’t surprised. I knew about Lizbeth’s involvement with Doctor Who. I couldn’t have asked for a better partner in crime. Well, we’re solving crimes, not committing them.
Are there any “behind-the-scenes” design sketches or script notes in the final editions?
Lizbeth: I still have my planning notes. My handwriting looks like confused spiders, though.
James: We don’t have them in the book at present, but we can definitely make things available on the Kickstarter page for the fans.
What should a fan who has owned a Project SWORD toy for 50 years feel when they open this book?
Lizbeth: I want them to feel like a kid settling in for an episode of Captain Scarlet, Joe 90, or Space: 1999. Specifically season two. You’re going to get a cool adventure with awesome vehicles. One of the joys of Space: 1999 was the Eagle transporter model work. I wanted to make sure our Moon Crawlers and Scramble Bugs got that same spotlight.
James: I’d like them to feel like they’ve found a long-lost friend. You haven’t seen them since you were a kid, so you’ve both aged. But you’re still the same deep down. It should give you that warm feeling that everything is going to be alright.
How to Support the Project
It’s a joy to see this team bring Gerry Anderson’s Project SWORD back. You can support their mission and grab a copy of the graphic novel over on their upcoming Kickstarter campaign.
