With his meticulous sense of design, sweeping alien vistas, bold heroes, vile villains, and scantily-clad females, it is quite possible that artist Alex Raymond invented the concept of eye-candy for his seminal newspaper comic strip Flash Gordon. 

The 1930s were a golden period for the newspaper adventure comic strips, and 1934 in particular was a signifcant year as it saw the debuts of two of the most celebrated comics strips of all: Terry and the Pirates, which bowed in October, and Flash Gordon, which premiered several months earlier on January 7.

Flash Gordon was created for King Features Syndicate as a direct response to the success of Buck Rogers, which began publication exactly five years earlier on January 7, 1929 by a rival outfit.  However, the talent of Flash's creator Alex Raymond quickly brought the character to heights of popularity far surpassing its charming albiet relatively primative progenitor.  No mere knockoff, Flash Gordon upped the ante for what a science fiction comic strip could achieve in both story and art.  It helped solidify the template to which all ensuing space fantasy sagas owe a debt.  Flash's arrival and battle with Emperor Ming on the planet Mongo, while ostensibly broken up into discrete story arcs, actually comprise a continuous seven-and-a-half year grand narrative the likes of which were not seen before and rarely since.

We can't say with full conviction that Flash Gordon was the most lavishly illustrated strip of all time – that honor would likely go to Hal Foster's breathtaking Prince Valiant – but both Alex Raymond and Flash Gordon are at the pinnacle of comic strip achievement and this masterwork is finally being collected in a format that showcases its full impact.

What makes these collections so mandatory for any serious fan of comic books or comic strips is that these books afford one an opportunity to watch a master storyteller take a strip from its embryonic

stages to its full potential.  As the series begins, Alex Raymond keeps things neat and orderly sticking to a four-tiered, twelve-panel grid.  As the weeks go by, the strip begins to find itself, and its underlying themes and concepts begin to coalesce.  It takes a bit longer for the growth in art style to emerge, but by July 22, 1934, Raymond eschewed the old twelve-panel layout for good and began to open up his art by using fewer and larger panels of varying shapes and sizes.  At this point, there was no stopping Raymond, and fans will be in for a treat as they can now bear witness with each turn of the page to the blossoming talent of a legend growing into his full creative powers.  Soon, he was experimenting with camera angles and perspectives, and by mid-1935, Raymond's pencils develop the more intensely detailed feathered texture for which he became justly renowned. 

In this first volume of six, the Sunday strips from January 1934 to May 1936 are reprinted – more than enough to be introduced to Flash and his friends and enemies whose names have seeped into the national pop culture consciousness: Dale Arden, Dr. Zarkov, and Ming the Merciless.  In these initial strips, we also meet other key figures of the alien planet Mongo as Flash careens from one gloriously preposterous escapade to another: from fighting the Red Monkey Men for Ming's amusement to befriending Prince Thun of the Lion Men to battling for his life underwater against King Kala of the Shark Men to escaping from the City Above the Clouds led by King Vultan of the Hawkmen.  All this while dodging the unwanted attractions and amorous attentions of every nubile femme fatale on Mongo: Ming's daughter Princess Aura, Azura the Witch Queen of the Blue Mountain Men, and Queen Undina of the underwater Coral City. 

Flash Gordon, the character, is the typical heroic male that existed in fantasy before the 1960s: strong, confident, square-jawed, and uncomplicated.  He sees a wrong that needs to be righted and just dives in and goes for it.  His mission always takes precedence over his own personal wants or needs.  His relationship and ever-impending, but never realized, marriage to Dale Arden always takes a back seat to whatever crisis is at hand.  Flash is largely a cipher, personality-wise – his adventures are more interesting than he, himself is – but that's what gives characters like these their aspirational allure and allows their readers to project themselves into their places more easily than it would be with a character who is full of specific quirks and idiosyncracies.  Our hero fights tirelessly against Ming and the evil hordes of Mongo for almost a decade without reservation, without asking for reward – without even so much as a bathroom break – just because that's who he is.  No nihilistic pessimism here.  The tone of the strip is empowering because it proudly embodies the American ideal that one good man can make a difference and that you could be that man.

Being one of the most popular comic strips of all time, Flash Gordon has been released numerous times before in a variety of formats.  However, it's never been released like this.  The folks at The Library of American Comics are releasing this series in their celebrated Champagne format.  The book measures a large 16"x12.5" and presents the Sunday strips at pretty much their original full size.  Better still, the book contains the Jungle Jim topper strips that debuted with Flash Gordon and were also drawn by Raymond.  When each strip was given a full page to itself for several months, they are each presented in this book in their full page formats.  Some of these pages are iconic classics of the series such as the full page splash of the horde of Hawkmen warriors bearing down on Queen Azura's forces, and it's a treat to see them presented in all their pulpy glory.

Alex Raymond's classic Flash Gordon Sunday page (from June 16, 1935)

As for the presentation of the art, although it appears syndicate proofs are not available for use and so the results cannot be as sharp as if they were, we were still generally pleased with what we saw considering these were scans of old newspapers and fine lines – a tip of nose here, a partial jawline there – disappeared in both the original printing process and the aging of the materials over the last 75 years.  We would make special note of the coloring job, which we found to be more subtle and readable than the highly-saturated colors in, say, the Checker Books editions of a few years ago.  Everything is printed on heavy, crisp white matte paper making for a sumptuous end product.

Once again, LoAC goes out of its way to present wonderfully detailed supplemental essays to place Flash Gordon, and his creator Alex Raymond into historical context.  Beyond the de rigueur Raymond biography, it was also much appreciated that they attempted to give Flash Gordon's writer, Donald W. Moore, his just and due credit in spite of the fact that no clear records exist on what the extent of his contribution was during the twenty-odd years he worked on the strip.  Different expert suppositions are presented and all appear to have validity, but for us, it seems clear that Alex Raymond was always in the driver's seat and created the characters and the broad strokes of the story for Moore to script.  We say this because the layout of the strip changed over time as Raymond began using fewer and fewer panels to showcase his growing artistic ambitions, and it would seem to be a case of the tail wagging the dog to suggest that Raymond began drawing larger panels simply to accommodate shorter scripts from Moore.  In our estimation, the relationship between Raymond and Moore likely followed a template similar to the way daytime television serials are written using a tiered approach that starts with a head writer who comes up with all of the plot machinations and story beats followed by breakdown writers and script writers who structure the specific episode scenes and lay in the dialogue.  Whatever the case, the Raymond-Moore combo made for some memorable and thrilling all-ages fun.

Today, we are truly fortunate to be in a time where printing techniques and publisher resolve have combined to present the classics of the American comic strip to a new audience in the formats that they deserve.  Through the efforts of the Library of American Comics and other publishers, new readers can be exposed to classic writers and  illustrators such as Hal Foster, Alex Raymond, Milton Caniff, Roy Crane, Frank Robbins, Harold Gray, Lee Falk, Chester Gould, and so many others.

Creators like these are to be admired for their devotion to their craft and for their perfectionistic work habits because they could not possibly have known at the time that their efforts would be seen, discussed, collected, and admired 70 to 80 years after they wrote and drew it – that dedicated book editors would scour the countryside looking for the best possible samples of the strips and doing painstaking digital restoration and remastering of them in order to keep their work alive for a new generation of readers.  All Alex Raymond, for example, could count on is that each Sunday strip would be seen for a single day and then it was highly likely that it would disappear forever after that.

Flash Gordon and Jungle Jim volume 1 by Alex Raymond is an important record of the artist's versatility as an illustrator as he moves deftly from the jungles of Southeast Asia to the outermost reaches of space without missing a step.  And the stories are just plain fun reading to boot.