Usually this is just an excuse for some angsty soliloquies, but Cates has something else planned too. Silver Surfer: Black reminds its readers that its protagonist is actually Death incarnate throughout. The second point of interest is steeped in a little more Marvel lore, and concerns the Silver Surfer’s backstory.
Writer Donny Cates’ script calls for the first page to be a “Tradd, show us what you got” moment, and Moore follows that command the whole way through. (The vivid colors are by Dave Stewart this time round.) The series swings from presenting the Silver Surfer as a pin-up superhero to a small point of light surrounded by cosmic madness. Exaggerated perspective gives the god-like Galactus a tiny helmet and enormous legs, swimming in a sea of blood. He draws his hero from underneath, highlighting his always alarming lack of genitals and abs that look more like tumors growing out of the Surfer’s torso. Moore’s art is one of the weirder styles you’ll see in a mainstream Marvel comic, rivaling Chris Bachalo at his most baroque. So how do these qualities translate to the Silver Surfer, Sentinel of the Spaceways? Oddly. His dynamic layouts mean the story’s always moving but moving in a kind of queasy slow motion. I mean his art features lingering trace-images, hanging in the air, and an organic quality that curves every straight line. I don’t just mean that it has too-bright colors – though yes, it has those as well, courtesy of colorist Heather Moore. Maybe selling a soft drink, but one you can’t buy in this solar system. It gives them a faint sense of advertising. While some pages are hyper-detailed, others are simple and stark, usually colored flat.
I came across his work first in The New World, the miniseries he co-created with Aleš Kot for Image. There are two main things of interest in Silver Surfer: Black, and the first of them is Tradd Moore.
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