- Gebundene Ausgabe: 160 Seiten
- Verlag: IDW Publishing; Auflage: 01 (27. Mai 2014)
- Sprache: Englisch
- ISBN-10: 1613779178
- ISBN-13: 978-1613779170
- Vom Hersteller empfohlenes Alter: 13 - 16 Jahre
- Größe und/oder Gewicht: 31,2 x 2,3 x 41,1 cm
- Durchschnittliche Kundenbewertung: 1 Kundenrezension
- Amazon Bestseller-Rang: Nr. 289.778 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Definitive Flash Gordon and Jungle Jim Volume 4 (Englisch) Gebundene Ausgabe – 27. Mai 2014
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“This meticulously remastered and restored edition…will be the definitive edition for the ages.” —Bud Plant
Über den Autor und weitere Mitwirkende
Alex Raymond (1909-1956) is regarded, with Milton Caniff and Hal Foster, as one of the three giants of newspaper adventure strip artists. Raymond apprenticed with Chic Young on Blondie and Lyman Young on Tim Tyler's Luck. The year 1934 was a major turning point in his career: he illustrated Secret Agent X-9, a new detective comic strip written by Dashiell Hammett, and then created Flash Gordon and Jungle Jim. He left X-9 after a couple of years and continued drawing Flash and Jim, with a writing assist from Don Moore, until 1944, when he enlisted in the Marines. In 1946 Raymond created the ultimate post-War cool detective series, Rip Kirby, which is also available from the Library of American Comics.
leider endet mal wieder alles mit dem ausstieg von A.RAYMOND. was fehlt, bis heute, ist eine komplettausgabe aller FLASH GORDON abenteuer. bisher sind nur immer wieder fragmente erschienen. man muss als smmler da auf italienische oder spanische ausgaben zurückgreifen, soweit sie überhaupt noch erhältlich sind, um eine art gesamtausgabe zusammstellen zu können.
schade dass man sich nicht entschlossen hat weiter zu machen, ähnlich RIP KIRBY.
inhaltlich 5 punkte, abzug eines, wegen der begrenzung auf RAYMOND - wieder mal schade.
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There will never be another tome collecting E. C. Segar's 'Popeye'.
And we will never see a single additional panel of Alex Raymond's 'Flash Gordon' beyond this fourth, and last, volume. In February 1944, Raymond left his family -- including a daughter who was just a few weeks old -- to enlist in the Marine Corps, leaving the strip that had given him both fame and money, 'Flash Gordon'.
But, truth be told, it wasn't Raymond's (arguably) most famous creation that led me to choosing this series over that released by Titan (more or less simultaneously). It was because IDW-LoAC chose to add the 'Jungle Jim' topper strip to their book. More Raymond art is always a good thing!
In this volume -- representing the years that America was at war -- 'Jungle Jim' complements 'Flash Gordon' in some ways. The topper is America taking the offensive; 'Flash Gordon' seems to be a paean to the resistance in occupied countries. (Although, of course, I have no idea if those were deliberate creative choices made by Raymond. Or if I'm finding significance where none exists!)
Brazor is little different from, say, Count Malo of Frigia, when he makes his first appearance, the jealous noble who resents his queen falling for the handsome stranger. But he quickly reveals himself as something far worse than Malo -- who redeems himself -- becoming a figure that is entirely evil.
Where Ming -- much missed in this volume! -- had been the 'Yellow Peril' come to life in the funny pages, Brazor is the stereotypical sneering Central European villain of melodrama.
From time to time there are reflections of the real world. Did the destruction of Placida for the 'crime' of hosting Flash and his friends [1-8-1943, Page 97] reflect the devastation of Lidice in 1942 for supposedly harboring Heydrich's assassins?
Of course, the writing was never the main draw. And there are points in this volume when you sense that Don Moore was barely making an effort. On 3-19-1944 Trico, prince of the beggars that live underground, introduces Flash to the dancing girl Gypsa; three weeks later Jungle Jim meets a hostess working for the underworld named 'Gyp'! And a ship named the 'S.S. Albatross'?! Would any sailor set foot on a craft with a name of such ill omen?
Mercifully, Raymond's superb art continues to enthral even sixty years after he stopped drawing 'Flash Gordon' and 'Jungle Jim'. It definitely inspired his younger contemporaries in the nascent world of comic *books*.
DC Comics' Hawkman seems an obvious copy of the Hawkmen, but it wouldn't be the only time where Raymond would show the way to aspiring comic book artists.
Take a look at the central panel in the lower half of the 4-9-1939 strip [Page 19 of Volume 3], where Flash is standing on the steps of Fria's ice palace. In another, slightly later, context you would swear that it was Alan Scott, the Green Lantern of DC Comics' Golden Age, who made his debut in 1940.
And, of course, there are the Power Men [7-7-1940, Page 84 of Volume 3]. That is the Silver Age Flash, red costume, yellow boots, and all, right down to the stylized lightning bolt on the chest.
If it wasn't costumes then it was poses. Look at the first panel of the 7-19-1942 strip, with Flash trying to rescue Desira from a whirlpool; that frame of Flash, his torso bent backward, is achingly familiar.
All good things must come to an end. For 'Flash Gordon' that day was 4-30-1944; for 'Jungle Jim' it was 5-21-1944. Austin Briggs took over the first of those strips, and John Mayo started work on the second. With all due respect to those two professionals, their work is best described as 'competent'.
But none of that can take away even a tiny speck of the magic that was 'Flash Gordon' and 'Jungle Jim' when Raymond was at his glorious best. And this four volume set truly is the 'Definitive' collection.
IDW-LoAC has done its usual superb job on this book. Bruce Canwell's introductory essay in this volume introduces us to another of the artists who inspired Raymond himself, namely John La Gatta. That first panel on Page 9 is hauntingly like Flash Gordon!
Thoroughly recommended, both to fans of the American adventure comic strip, and to admirers of art in general.
The Flash Gordon story line involves essentially the same characters through most of this volume. The art is very good.
The last few pages conclude the episodes that were in progress when Raymond left these series to join the Marines during WW2. The quality of the art work drops noticeably, but mercifully it's only for a few pages at the end.
If you have the first three volumes you'll want this book to complete your set.
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