Fleshy Gordon: Alex Raymond’s Pop Erotica

Alex Raymond loved bodies. Male bodies, female bodies, animal and alien bodies. He couldn’t wait to disrobe them, pop on loincloths or skin-hugging gossamer robes and bras, put them on show, flex their muscles. And this made his 1930s space opera Flash Gordon (1934) a masterpiece of subverted sexual energy. Two of the most famous satires of the great strip, Harvey Kurtzman’s MAD magazine parody, Flesh Garden (May, 1954) and the software porn cult classic Flesh Gordon (1974) got this about Raymond’s work. In many ways, Flash Gordon was laughable. Its dialogue and plotting were sub-literate. Its conceptions of aliens (Lionmen, Sharkmen, Powermen) pedestrian. Its conceptions of technology (Disolvo-Rays, Oxo-Liquifiers) paled beside even Buck Rogers. And its even sillier sexual politics (alien princesses pursuing the irresistible Flash and the forever jealous, swooning, fawning, nagging Dale Arden) were embarrassingly adolescent. And yet it was a fetishist’s delight, and certainly the most erotic mainstream comic strip of all time.

The special genius of Flash Gordon is Alex Raymond’s talent for visualizing primal urges and tired tropes with such detail, energy, operatic extravagance that they registered deeply with the viewer. His mastery of bodily form, facial expression and panel composition supercharged visually the familiar adolescent fantasies and fetishes that he and co-writer Don Moore lifted from pulp fiction magazines of the era. Xenophobia, hyper-masculinity, emasculation, dominatrices, bondage, miscegenation – all of the fodder of adventure pulp stories were dialed up to eleven by Raymond’s art.

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The Bungles Are Us

Misanthropic and petty, scheming and nagging, reviled by their neighbors and barely tolerable to themselves, The Bungle Family was the quintessential domestic comic strip of the 1920s. Critical historians like Bill Blackbeard, Rick Marshall and Art Spiegelman have singled out Harry J. Tuthill’s masterpiece as an especially dark and pointed critique of the modern petit bourgeoisie. But George, Jo and Peg Bungle were really the penultimate satirical family of 20s strips. George was no more a man on the make, looking for that get-rich-quick invention or financial scheme, than Barney Google, A. Mutt or even Andy Gump. His wife Jo was no less socially self-conscious and ambitious, nor more of a nag, than Jigg’s Maggie. And Jo wasn’t even in the habit of throwing things. Nor was the Bungle family dysfunction any worse than the in-fighting at Moon Mullin’s boardinghouse.

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Wimpy Gives Popeye a Sissy Lesson

In early 20th Century theater and film, the “sissy” was the dreaded antithesis of two-fisted pulp hyper-masculinity, at best, and at worst was a stereotypical euphemism for what was unspoken in general culture, homosexuality. Wimpy, the dandyish, appetite-driven counterpoint to Popeye’s principled violence, is of course Popeye’s best tutor for all things “sissy.” To make this sexual dynamic even weirder we have Popeye’s Pappy bewildered by his prancing progeny. It reads like an unintended burlesque of Popeye “coming out”. Per a previous post, These dailies precede Popeye deceiving the underground demons to come up and fight.

It is important to note that this gender-bending sequence was followed immediately by another adventure cycle involving Popeye getting the crap beaten out of him in a land of highly muscled women. And this is all happening right after E.C. Segar’s death in October 1938. The strip was being continued unsigned by assistants for the time being.

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Giving Image to Feeling: “How You Felt” (1914)

I don’t know who this Ferd. C Long was, nor how long the engaging “How You Felt” strip ran. But it captured me instantly as a great example of early cartoon experiments that explored some of the unique qualities of the new medium. The great team at Barnacle Press, who nobly harvest every scrap of early comic strips they can, gathered these. Like many strips of the day, it took up a simple single conceit – in this case using visual exaggeration to capture a feeling. The result is a fantastic surrealism that communicates in a singular way a range of small and common responses to the world.

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