Flash Gordon #1: Dark But Not Too Dark

Mad Cave Studios and a top notch creative team revives the classic comic book hero. In Flash Gordon #1 they keep the classic story concepts, but try to come at them from a different direction.

Flash Gordon languises, imprisoned on Planet Death as Flash Gordon #1 begins. His actions to save Earth doomed many others, and now he is locked away with no hope of escape. Or maybe not. The arrival of a new captive who brings up to date information about current events pushes Gordon to try and break out. But with guards and vicious aliens between him and freedom, does Gordon have any hope?

The new series starts slow and deliberate with Flash Gordon #1. The titular character begins in a position of weakness and it drives anticipation from the moment the issue opens. That anticipation feeds into the fun and excitement when Gordon attempts his escape. It’s a triumphant moment right out of the gate to start the series and makes a quick connection with the reader.

Flash Gordon #1’s opening setting on Planet Death is dark in implication. Adams conceives of a setting where Gordon is imprisoned, held to a slab and forcibly kept alive. It’s even less humane than a typical concept of prison in the sense that no one imprisoned here can do anything but live out their life in the barest minimum of ways. Gordon isn’t tortured in any traditional sense. The torture is staying alive. The creative team doesn’t run away with this concept in as disturbing a manner as they could. But it is a dark idea and it adds heft to the relief at Gordon’s escape.

Adams introduces a mystery in Gordon’s recent past in Flash Gordon #1. His actions, much more alluded to than seen (though there is a brief one-page flashback), landed him on Planet Death. It makes for a good entry into the character and series, immediately connecting Gordon to what’s effectively an ongoing character oriented storyline.

The imprisonment sequence is especially focused on getting inside Gordon’s head, and a number of panels are close up on Gordon’s eyes. Conrad mines these to convey a variety of emotional states. He uses subtle shading to contour the curves on Gordon’s face rather than employing darker and more pronounced linework. And Conrad doesn’t go big with exaggerated facial expressions. Cheekbones are soft. Lines at the corner of Gordon’s eyes are minimized. Conrad gets most of the effect out of Gordon’s eyes–scrunched, wide, open, closed. He gets a lot of mileage out of one feature, and it’s quite successful.

Conrad’s art further reinforces the dark setting. Again, the issue doesn’t push the concept too far. The synthezoid captor isn’t the stuff of nightmares. But it’s an ugly thing–somewhat asymmetrical with a torso that almost resembles a collection of parts rather than intentional design. Its detachable hands, spider-like with syringe legs, inspire a kind of primal revulsion. It’s a memorable character design even if the character isn’t in the issue for very long.

Loughridge holds to a somewhat muted color scheme for much of the issue. The quieter scenes feel less dynamic from a coloring point of view. But the result is a major contrast with the action scenes in Flash Gordon #1 where Loughridge brightens up the issue with weapons’ fire and exotic aliens. Given the psychological focus on Gordon’s predicament in the issue’s opening pages, the color choices provide a good visual transition from contemplation to action.

Esposito’s choices for the caption boxes containing Gordon’s internal monologue are on the more difficult to read side. He goes with black text on a dark orange/red background. This is easily the least effective visual choice in the issue. But Esposito does organize captions and dialogue bubbles with a keen eye toward minimum possible interference with Conrad’s art, especially during action sequences.