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Checker Flash Gordon Reprints #1
Alex Raymond's Flash Gordon, Vol. 1
Earth braces for its final destruction in a collision with an onrushing planet, and only Dr. Zarkov can prevent doomsday. Taking Flash Gordon and Dale Arden captive, he takes off in a rocket to deflect the hurtling planet and save the world. The mad Zarkov, Flash and Dale survive a crash landing on Mongo, only to be captured by the diabolical Ming the Merciless. And the true adventure begins.
98 pages, Hardcover
First published May 1, 2004
6 people are currently reading
131 people want to read
About the author
Alex Raymond
717 books39 followersAlexander Gillespie Raymond was an American comic strip artist, best known for creating the comic Flash Gordon in 1934. The serial hit the silver screen three years later with Buster Crabbe and Jean Rogers as the leading players. Other strips he drew include Secret Agent X-9, Rip Kirby, Jungle Jim, Tim Tyler's Luck, and Tillie the Toiler. Alex Raymond received a Reuben Award from the National Cartoonists Society in 1949 for his work on Rip Kirby.
Born in New Rochelle, New York, Alex Raymond attended Iona Prep on a scholarship and played on the Gaels' football team. He joined the US Marines Corp in 1944 and served in the Pacific theatre during World War II.
His realistic style and skillful use of "feathering" (a shading technique in which a soft series of parallel lines helps to suggest the contour of an object) has continued to be an inspiration for generations of cartoonists.
Raymond was killed in an automobile accident in Westport, Connecticut while driving with fellow cartoonist Stan Drake, aged 46, and is buried in St. John's Roman Catholic Cemetery in Darien, Connecticut.
During the accident which led to his untimely demise, he was said to have remarked (by the surviving passenger of the accident) on the fact that a pencil on the dashboard seemed to be floating in relation to the plummet of the vehicle.
He was the great-uncle of actors Matt Dillon and Kevin Dillon.
Born in New Rochelle, New York, Alex Raymond attended Iona Prep on a scholarship and played on the Gaels' football team. He joined the US Marines Corp in 1944 and served in the Pacific theatre during World War II.
His realistic style and skillful use of "feathering" (a shading technique in which a soft series of parallel lines helps to suggest the contour of an object) has continued to be an inspiration for generations of cartoonists.
Raymond was killed in an automobile accident in Westport, Connecticut while driving with fellow cartoonist Stan Drake, aged 46, and is buried in St. John's Roman Catholic Cemetery in Darien, Connecticut.
During the accident which led to his untimely demise, he was said to have remarked (by the surviving passenger of the accident) on the fact that a pencil on the dashboard seemed to be floating in relation to the plummet of the vehicle.
He was the great-uncle of actors Matt Dillon and Kevin Dillon.
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Displaying 1 - 14 of 14 reviews
November 24, 2014
In 1934 a comic strip began in the Sunday papers. Now...I wasn't around for that premiere. However, in the 1950s when i was around this comic strip was still going strong. Along with Prince Valiant, The Phantom and other adventure strips it was avidly followed by we who were the "proto-nerds" later to bring about Dungeons and Dragons, arcade games featuring flying saucers and asteroids and of course many, many of the fantasy and science fiction novels to grace the shelves in the '70s and beyond.
And of course the ones to spend money on those things.
I was one of those proud pioneers of the fantastic and adventurous. From my buck skins and coonskin cap to my Superman costume I fought countless battles against evils both mundane and fantastic.
And Flash was part of that. The space faring hero who was as likely to use a sword as he was a ray-gun, who had all those hot, hot space girls panting after him (no I never went through the "yuck girls" stage, I always like girls) and in the end always triumphed over evil. What a role model.
I watched the TV series in the 1950s (that very few seem to remember) I watched the film serials that were rerun on TV in the '50s and of course the movies. These, the serials and movies staring Buster Crabbe. But fist and foremost there were the Sunday comics with exciting stories and with great art.
The other night I sat up late and watched the old movie from 1936 (there were later ones and also a film serial). It flung upon me a nostalgic pall which could only be lifted by running down these books and again becoming the young boy who blasted off with Flash, Dale and Zarkov...you know I always thought Flash missed a good bet with Princess Aura, I mean she threw over her father Ming the Merciless, ruler of the universe for a chance with him. She was hot and in love. Dale on the other hand was always getting her feelings hurt and pouting.
Anyway...I sent for the books. These are great. They are I think reprints of reprints as the art has suffered a little. I suppose it had to. I have some reprints of 1960s comics and even those often have imprecise reprints. Still they are good even if the art isn't as clear as it was originally it's still enjoyable.
Want to "flash" back (heh, heh, heh) to an earlier decade, have some high adventure in some original space opera, fantasy (science fantasy?), like graphic novel type adventures? Then this is your ticket. Really, enjoy.
And of course the ones to spend money on those things.
I was one of those proud pioneers of the fantastic and adventurous. From my buck skins and coonskin cap to my Superman costume I fought countless battles against evils both mundane and fantastic.
And Flash was part of that. The space faring hero who was as likely to use a sword as he was a ray-gun, who had all those hot, hot space girls panting after him (no I never went through the "yuck girls" stage, I always like girls) and in the end always triumphed over evil. What a role model.
I watched the TV series in the 1950s (that very few seem to remember) I watched the film serials that were rerun on TV in the '50s and of course the movies. These, the serials and movies staring Buster Crabbe. But fist and foremost there were the Sunday comics with exciting stories and with great art.
The other night I sat up late and watched the old movie from 1936 (there were later ones and also a film serial). It flung upon me a nostalgic pall which could only be lifted by running down these books and again becoming the young boy who blasted off with Flash, Dale and Zarkov...you know I always thought Flash missed a good bet with Princess Aura, I mean she threw over her father Ming the Merciless, ruler of the universe for a chance with him. She was hot and in love. Dale on the other hand was always getting her feelings hurt and pouting.
Anyway...I sent for the books. These are great. They are I think reprints of reprints as the art has suffered a little. I suppose it had to. I have some reprints of 1960s comics and even those often have imprecise reprints. Still they are good even if the art isn't as clear as it was originally it's still enjoyable.
Want to "flash" back (heh, heh, heh) to an earlier decade, have some high adventure in some original space opera, fantasy (science fantasy?), like graphic novel type adventures? Then this is your ticket. Really, enjoy.
October 8, 2023
Alex Raymond, just after beginning work with Dashiell Hammett on the Secret Agent X9 serial in late 1933, created his own character and universe as a challenge to the popular Buck Rogers. Flash Gordon was Raymond’s opportunity to put his high creativity on display. Volume 1 of the collection includes the first 16 months of the weekly serial, in full color. It’s cool stuff.
Flash Gordon and Dale Arden, later to become his romantic interest, have their plane blasted out of the sky by a meteor falling off the planet Mongo that is heading on a crash course for Earth. They land near the lab of Dr. Zarkov, who’s been working on a rocket to fly into the planet and knock it off course. He forces the two of them onboard with him and they launch into the planet. Their crash corrects the planet’s trajectory, but leaves them stranded on what turns out to be an inhabited planet, ruled by the Emperor of the Universe, Ming. So begins their adventure.
Dale is such a lovely lady that she’s kidnapped for marriage not only by the emperor, but by lesser kings and rulers who would have her for themselves. Flash’s athleticism, fearlessness, and quick thinking make him a formidable opponent for the people of Mongo, as well as a valuable ally to those fighting against the ruthless powers of Ming. Throughout his adventures he battles Monkey Men, Shark Men, Lizard Men, Dragon Men, Hawk Men, and befriends the kingdom of Lion Men. Although he’s the leading man, his allies, including Dale and Aura, princess and daughter of Ming, rescue him from life threatening situations, help him resolve disastrous events, and allow the story to branch off into interesting new directions.
Their odyssey takes them all over Mongo, from the capitol city where Ming and his people hold rule, to the underwater city of the shark men, the floating city in the sky of the hawk men, and the distant unconquered kingdom of the caves. The settings are one of the main attractors in the story, each beautifully rendered and carefully designed. Because of the medium through which these stories were published, one page weekly serials, each installment is fast paced, the story develops over short bursts, with each segment setting up a scene, reminding us what came before, resolving some problem or difficulty, with quick scenes of action and clever use of the setting, and ending with a setup for a new cliffhanger.
The art is ideal, just the right style for a sci-fi-fantasy pulp epic: colorful, realistic, imaginative, detailed, conveying a sense of grandeur and wonder. The quality noticeably improves by the later installments, just around the time when each week’s story is given an additional page, allowing for larger, more involved artwork. The coloring, too, takes on clear improvements in its depth, realism, and complexity. One can see the growing effort as the story enters its second year, leaving behind the simple but effective formulas from which it was born, trying out new stylish presentations, and also showing us new lands of Mongo, far away from the areas that have by this point become familiar.
Flash Gordon and Dale Arden, later to become his romantic interest, have their plane blasted out of the sky by a meteor falling off the planet Mongo that is heading on a crash course for Earth. They land near the lab of Dr. Zarkov, who’s been working on a rocket to fly into the planet and knock it off course. He forces the two of them onboard with him and they launch into the planet. Their crash corrects the planet’s trajectory, but leaves them stranded on what turns out to be an inhabited planet, ruled by the Emperor of the Universe, Ming. So begins their adventure.
Dale is such a lovely lady that she’s kidnapped for marriage not only by the emperor, but by lesser kings and rulers who would have her for themselves. Flash’s athleticism, fearlessness, and quick thinking make him a formidable opponent for the people of Mongo, as well as a valuable ally to those fighting against the ruthless powers of Ming. Throughout his adventures he battles Monkey Men, Shark Men, Lizard Men, Dragon Men, Hawk Men, and befriends the kingdom of Lion Men. Although he’s the leading man, his allies, including Dale and Aura, princess and daughter of Ming, rescue him from life threatening situations, help him resolve disastrous events, and allow the story to branch off into interesting new directions.
Their odyssey takes them all over Mongo, from the capitol city where Ming and his people hold rule, to the underwater city of the shark men, the floating city in the sky of the hawk men, and the distant unconquered kingdom of the caves. The settings are one of the main attractors in the story, each beautifully rendered and carefully designed. Because of the medium through which these stories were published, one page weekly serials, each installment is fast paced, the story develops over short bursts, with each segment setting up a scene, reminding us what came before, resolving some problem or difficulty, with quick scenes of action and clever use of the setting, and ending with a setup for a new cliffhanger.
The art is ideal, just the right style for a sci-fi-fantasy pulp epic: colorful, realistic, imaginative, detailed, conveying a sense of grandeur and wonder. The quality noticeably improves by the later installments, just around the time when each week’s story is given an additional page, allowing for larger, more involved artwork. The coloring, too, takes on clear improvements in its depth, realism, and complexity. One can see the growing effort as the story enters its second year, leaving behind the simple but effective formulas from which it was born, trying out new stylish presentations, and also showing us new lands of Mongo, far away from the areas that have by this point become familiar.
September 6, 2018
Unfortunately, there is one point preventing this book from getting a five-star rating, is that in the last chapter, the strips that were printed in the form of one page per strip was altered to be two pages per strip. In that way, the scale of the art on the page became uneven with the rest of the book. The only reason I can find for this decision is an artifice to make all the four chapters constituting the book fit in the 100-page length. I, particularly, think it was a bad editorial decision. It would have been totally acceptable having a volume with fewer pages and another volume with a few more the 100 pages. Only for this strip distribution, I evaluate the book as a four-star.
March 28, 2018
This was a fun book. Sure, if you want to nitpick, the captions overlapped the images and the characterization is threadbare, but these are just plain fun strips. The plots move a mile a minute, and Raymond does a great job showing not only how rugged and tough Flash Gordon is, but I appreciated how Flash's morality and honor frequently turned foes into allies. The art is worth all the praise it's received over the years, although Checker clearly didn't have the original art to work from. Too bad, I imagine these pages would make my eyes bleed if the lines were crisper.
November 19, 2017
This volume reprints the earliest Sunday strips (During this time, FLASH GORDON was a Sunday-only series.).
I have never read Edgar Rice Burroughs' Mars novels. Having seen last year's John Carter movie, though, I can now see what a tremendous influence they were on FLASH GORDON. Like John Carter, Flash is an Earthman who is transported to another planet and finds himself immersed in its wars. Like Burroughs' Mars, Alex Raymond's Mongo is an exotic world with monsters and barbarians, and there's an odd mix of technology and swashbuckling.
Another influence would seem to be Sax Rohmer's Fu Manchu novels. In the original strips, Ming the Merciless is clearly depicted as oriental, and his skin is colored yellow (I know that this reflects the original coloring, because the text also frequently calls Ming "yellow skinned."). There's no doubt about it - Ming is a Fu Manchu rip-off, and by today's standards, these strips are more than a little racist. In fairness, I suppose I could note that one of the heroes, Prince Barin, is oriental as well.
Alex Raymond's art is, of course, pretty lush. As the series continues, the artwork gets even better, and the panels get bigger. There are plenty of gorgeous women and heroic-looking men, and you can see why the strip was such a hit.
Not surprisingly, the writing isn't as good as the art. This volume credits Raymond as writer/artist, with "script assists" by Don Moore. In THE ADVENTUROUS DECADE, author Ron Goulart suggests that Moore is the real writer. Regardless, the story line looks pretty hokey today. The influences (as noted above) are pretty obvious, and in retrospect, there likely isn't a great deal of originality here. The science isn't particularly good, either (As the story begins, we learn that Mongo is about to collide with Earth. The ship carrying Flash, Dale and Zarkhov crashes into Mongo, and - believe it or not - that's enough to stop its collision course with our planet!).
On the plus side, the series is undeniably exciting. Every installment ends with a cliffhanger (It really does seem tailor-made for a movie serial adaptation, which, of course, occurred later in the decade.), and with all the monsters, evil villains and derring do, there's plenty to fuel the imagination.
One surprise, though, is the grimness of some proceedings. Ming is an evil dictator, and there are people being tortured and enslaved, women forced into marriages, and heroes forced to fight each other to the death. Unlike some heroes, Flash doesn't seem to have any compunction against killing when necessary: He enters a tournament in which there can only be one survivor and proceeds to battle his fellow contestants with no visible sign of remorse.
This aside, Flash is, of course, portrayed as a pretty pure and idealized hero. Ming is a pretty evil villain, and Dale Arden is, naturally, a wholesome, presumably virginal love interest. Beyond this, there are shades of grey. When we first see Dr. Zarkhov, he's a crazed madman pulling a gun on Flash and Dale. Later, he's a loyal ally. Similarly, Vultan of the Hawkmen first enslaves Flash and his friends and forces them to work with other slaves in shoveling deadly radium. Vultan also smacks Dale around and tortures a few people. Yet...once he allies himself with Flash, all this is forgiven, and Vultan is a good guy. There are other instances of this sort of thing - Ming's daughter, Princess Aura, seems to delight in playing two sides against each other, and Prince Barin briefly forgets his alliance with Flash to fight him to the death.
It all adds up to a rather odd mix, but also a strangely compelling one. There's no question: I must keep reading.
On to Volume Two!
I have never read Edgar Rice Burroughs' Mars novels. Having seen last year's John Carter movie, though, I can now see what a tremendous influence they were on FLASH GORDON. Like John Carter, Flash is an Earthman who is transported to another planet and finds himself immersed in its wars. Like Burroughs' Mars, Alex Raymond's Mongo is an exotic world with monsters and barbarians, and there's an odd mix of technology and swashbuckling.
Another influence would seem to be Sax Rohmer's Fu Manchu novels. In the original strips, Ming the Merciless is clearly depicted as oriental, and his skin is colored yellow (I know that this reflects the original coloring, because the text also frequently calls Ming "yellow skinned."). There's no doubt about it - Ming is a Fu Manchu rip-off, and by today's standards, these strips are more than a little racist. In fairness, I suppose I could note that one of the heroes, Prince Barin, is oriental as well.
Alex Raymond's art is, of course, pretty lush. As the series continues, the artwork gets even better, and the panels get bigger. There are plenty of gorgeous women and heroic-looking men, and you can see why the strip was such a hit.
Not surprisingly, the writing isn't as good as the art. This volume credits Raymond as writer/artist, with "script assists" by Don Moore. In THE ADVENTUROUS DECADE, author Ron Goulart suggests that Moore is the real writer. Regardless, the story line looks pretty hokey today. The influences (as noted above) are pretty obvious, and in retrospect, there likely isn't a great deal of originality here. The science isn't particularly good, either (As the story begins, we learn that Mongo is about to collide with Earth. The ship carrying Flash, Dale and Zarkhov crashes into Mongo, and - believe it or not - that's enough to stop its collision course with our planet!).
On the plus side, the series is undeniably exciting. Every installment ends with a cliffhanger (It really does seem tailor-made for a movie serial adaptation, which, of course, occurred later in the decade.), and with all the monsters, evil villains and derring do, there's plenty to fuel the imagination.
One surprise, though, is the grimness of some proceedings. Ming is an evil dictator, and there are people being tortured and enslaved, women forced into marriages, and heroes forced to fight each other to the death. Unlike some heroes, Flash doesn't seem to have any compunction against killing when necessary: He enters a tournament in which there can only be one survivor and proceeds to battle his fellow contestants with no visible sign of remorse.
This aside, Flash is, of course, portrayed as a pretty pure and idealized hero. Ming is a pretty evil villain, and Dale Arden is, naturally, a wholesome, presumably virginal love interest. Beyond this, there are shades of grey. When we first see Dr. Zarkhov, he's a crazed madman pulling a gun on Flash and Dale. Later, he's a loyal ally. Similarly, Vultan of the Hawkmen first enslaves Flash and his friends and forces them to work with other slaves in shoveling deadly radium. Vultan also smacks Dale around and tortures a few people. Yet...once he allies himself with Flash, all this is forgiven, and Vultan is a good guy. There are other instances of this sort of thing - Ming's daughter, Princess Aura, seems to delight in playing two sides against each other, and Prince Barin briefly forgets his alliance with Flash to fight him to the death.
It all adds up to a rather odd mix, but also a strangely compelling one. There's no question: I must keep reading.
On to Volume Two!
November 14, 2014
More a philosophic discussion inspired by reading this than a review in some respects. . . .
It definitely has its historical interest going for it, if you want to understand the SF of the era.
It explains well why E.E. "Doc" Smith, talking about the balance of action, characterization, and thought, is at pains to explain how the others slow down the action, and lament the action writers who don't bother with characterization to keep their heroes in peril. He wrote in this era. The rule appears to be that every strip must end, not with a turn to reward the reader, but with a full blown cliff-hanger. Indeed, at one point the river bearing them to a monster's maw just happens to sweep them on instead, and at another, Dale and Flash, tangled in a prehensile tree's vines, are saved by a chance lightning stroke, because the dangers were fudged up for the cliffhanger and would interfere with the plot.
How break-neck the action is, is shown by how we learn nothing of Dale's past, and of Flash's only that he's a Yale student and a polo player. And that they are madly in love is shown only by Flash's fighting for her and Dale's heroically offering herself to his captors to spare him. (To be sure, since everyone male lusts after her, and female after him, they are clearly very attractive.) The opening is particularly absurd, with a mad scientist pushing them into a rocket to go and deflect Mungo from crashing into earth. (Yes, it's Dr. Zarahov. No explanation is given for his change in character when he reappears many strips in.)
Now in action and adventure webcomics, the genre's picked up a few more tricks. Order of the Stick and Rusty & Co may be bad comparisons, since in the opening comics at least, the point could be the gag, even though as they went on, they gave more: a plot twist, or a revelation, or a change of mood. Even on occasion, a cliff-hanger. Impure Blood and Girl Genius are better examples, though, as they don't go for the punch line (except perhaps as comic relief occasionally), so you have a pure action and adventure tale. But while something happens every strip -- and it's a good thing for a prose writer to analyze, about how quickly you can keep things going with twists and turns -- it's not always a cliffhanger. Indeed, it seldom is. And as a consequence, the writers can marshal their menaces. Flash needed to have the planet filled with monstrous plants and animals so they could challenge our characters when logically nothing else would. When Agatha Heterodyne lands in the wilderness, she can go plugging her way out, observing the landscape, and not fighting anything irrelevant to the main plot. When the band in Impure Blood takes a cart from one town to the next, they can talk instead of having a dramatic fight -- and even talk in a way that advances the plot but not with stark twists.
To be sure, it probably helps that on a webcomic, the reader can always go on an archive binge and get caught up.
It definitely has its historical interest going for it, if you want to understand the SF of the era.
It explains well why E.E. "Doc" Smith, talking about the balance of action, characterization, and thought, is at pains to explain how the others slow down the action, and lament the action writers who don't bother with characterization to keep their heroes in peril. He wrote in this era. The rule appears to be that every strip must end, not with a turn to reward the reader, but with a full blown cliff-hanger. Indeed, at one point the river bearing them to a monster's maw just happens to sweep them on instead, and at another, Dale and Flash, tangled in a prehensile tree's vines, are saved by a chance lightning stroke, because the dangers were fudged up for the cliffhanger and would interfere with the plot.
How break-neck the action is, is shown by how we learn nothing of Dale's past, and of Flash's only that he's a Yale student and a polo player. And that they are madly in love is shown only by Flash's fighting for her and Dale's heroically offering herself to his captors to spare him. (To be sure, since everyone male lusts after her, and female after him, they are clearly very attractive.) The opening is particularly absurd, with a mad scientist pushing them into a rocket to go and deflect Mungo from crashing into earth. (Yes, it's Dr. Zarahov. No explanation is given for his change in character when he reappears many strips in.)
Now in action and adventure webcomics, the genre's picked up a few more tricks. Order of the Stick and Rusty & Co may be bad comparisons, since in the opening comics at least, the point could be the gag, even though as they went on, they gave more: a plot twist, or a revelation, or a change of mood. Even on occasion, a cliff-hanger. Impure Blood and Girl Genius are better examples, though, as they don't go for the punch line (except perhaps as comic relief occasionally), so you have a pure action and adventure tale. But while something happens every strip -- and it's a good thing for a prose writer to analyze, about how quickly you can keep things going with twists and turns -- it's not always a cliffhanger. Indeed, it seldom is. And as a consequence, the writers can marshal their menaces. Flash needed to have the planet filled with monstrous plants and animals so they could challenge our characters when logically nothing else would. When Agatha Heterodyne lands in the wilderness, she can go plugging her way out, observing the landscape, and not fighting anything irrelevant to the main plot. When the band in Impure Blood takes a cart from one town to the next, they can talk instead of having a dramatic fight -- and even talk in a way that advances the plot but not with stark twists.
To be sure, it probably helps that on a webcomic, the reader can always go on an archive binge and get caught up.
January 21, 2012
It can be difficult to read these back to back, because the narration can get redundant -- keep in mind that these were strips that were intended to be read once per day, or even once per week, and so they suffer from "Last time, on Flash Gordon..." syndrome.
That said, these are an entertaining must-read for any fan of early sci-fi. These strips and Buck Rogers bear a lot of responsibility for shaping our modern conception of early sci-fi. Raymond's renditions of rockets and ray guns are the gold standard against which all others must be measured. His artwork is unmatched; unlike a great deal of early sequential art, his strips can stand against some of the greatest artists of today.
The characterizations are paper thin, the plots are canned and rife with deus ex machina, and Flash Gordon is alternately a military genius or a bumbling doofus, depending on the needs of the strip, but you just can't beat the raw creativity and enthusiasm of Flash Gordon, particularly in these early strips (things kind of take a turn in later volumes, once Flash leaves Mongo).
That said, these are an entertaining must-read for any fan of early sci-fi. These strips and Buck Rogers bear a lot of responsibility for shaping our modern conception of early sci-fi. Raymond's renditions of rockets and ray guns are the gold standard against which all others must be measured. His artwork is unmatched; unlike a great deal of early sequential art, his strips can stand against some of the greatest artists of today.
The characterizations are paper thin, the plots are canned and rife with deus ex machina, and Flash Gordon is alternately a military genius or a bumbling doofus, depending on the needs of the strip, but you just can't beat the raw creativity and enthusiasm of Flash Gordon, particularly in these early strips (things kind of take a turn in later volumes, once Flash leaves Mongo).
March 17, 2008
Flash - a-ah - saviour of the universe
Flash - a-ah - he'll save everyone of us
Raymond was a master artist. His line work is a thing of beauty. Who cares if the stories were ridiculous at times.
Heck, they aren't anymore ridiculous than Queen's theme from the 80s movie.
Just a man
With a man's courage
He knows nothing but a man
But he can never fail
No one but the pure in heart
May find the golden grail
Oh oh - oh oh
Flash
Flash - a-ah - he'll save everyone of us
Raymond was a master artist. His line work is a thing of beauty. Who cares if the stories were ridiculous at times.
Heck, they aren't anymore ridiculous than Queen's theme from the 80s movie.
Just a man
With a man's courage
He knows nothing but a man
But he can never fail
No one but the pure in heart
May find the golden grail
Oh oh - oh oh
Flash
Read
June 6, 2008Flash a-aaah
Hua hahaha zaman masih di Pejaten dulu saya pernah menonton versi layar lebarnya. Flash Ksatria Bumi yang terdampar di Planet Asing berhadapan dengan Kaisar Ming.
Di TVRI juga pernah ada film kartunnya. Serta tidak lupa drama kasetnya...
Ada cetakan ulangnya?
Flash a-aaah
Hua hahaha zaman masih di Pejaten dulu saya pernah menonton versi layar lebarnya. Flash Ksatria Bumi yang terdampar di Planet Asing berhadapan dengan Kaisar Ming.
Di TVRI juga pernah ada film kartunnya. Serta tidak lupa drama kasetnya...
Ada cetakan ulangnya?
Flash a-aaah
Want to read
April 25, 2016An American SF classic like Buck Rogers
July 1, 2010
Great book with beautiful art. Stories are fine, fun but marred by redundant exposition.
January 8, 2015
Un dibujo magnífico, una imaginación desbordante... y unos guiones que más que ingenuos resultan estultos.
Read
August 23, 2008isbn,original
Want to read
January 16, 2019Synopsis: the comic strip ran as a daily from 1934 to 1992 and the Sunday strip continued to 2003. The space adventures of Flash and friends.
Displaying 1 - 14 of 14 reviews