The Flash #15 – Review

By: Francis Manapul (story & art), Brian Buccellato (story & colors), Marcus To (pencils), Ryan Winn (inks), Ian Herring (colors), and Carlos M. Mangual (letters)

The Story:  Grodd is jonesing for his Speed Force fix as Barry sees into the (possible) future(s) of Central City.

The Review:  This right here is a tale of two books.

For the bulk of the issue, it’s business as usual plot-wise, this time drawn by Marcus To.  The problem is that, if I’m being totally honest, it’s all just a little bit dull.  That dullness has been afflicting the Flash’s writing for some time.  Grodd, thus far, isn’t a compelling villain and lacks a distinct motivation beyond CONQUER!!!  Even stranger, for a book that for a while was moving TOO fast, things suddenly feel glacial – Barry is unconscious for the majority of the issue, Daniel West is still running around the city looking for Iris, Patty is still doing…not much, and Charles Xavier gorillas continue to suck up brainpower at the stadium, and the Rogues are still punching gorillas.  Precious little happens this month and worse still, Barry, Patty, and Grodd feel like little more than character archetypes: super-hero, super-villain, love interest.  None of them really jump off of the page.  Script-wise, this is pretty dry.

The Flash #12 – Review

By: Francis Manapul (writer & artist), Brian Buccellato (writer & colorist), and Wes Abbott (letters)

The Story:  Glider is crowns herself the new leader of the Rogues as Central City is torn apart by a Rogue civil war.

The Review:  While I think Marcus To is an excellent artist, I can’t overstate how happy I am to see Manapul and Buccellato back on art for this title.  They really have visually defined how best to draw a Flash comic in 2012 and, next to a JH Williams III illustrated Batwoman, I feel their Flash is the best looking book of the new 52.   We get fantastic action sequences, great lay-outs, naturally likable characters, and a wonderful sense of speed and motion.  All of this is, of course, covered by the lush, painted colors of Buccellato.  The action sequences this month are particularly enjoyable in their creativity, their tremendous awareness of space and setting, and their basic flow; once again, I feel that in the Flash‘s action scenes, you really do feel the benefit of the same guy(s) being behind both the writing and the art.  I also love their take on Glider: she’s a burst of peachy pastel colours, ethereal and constantly flowing with a sense of weightlessness.

The Flash #11 – Review

By: Francis Manapul & Brian Buccellato (story), Marcus To (pencils), Ray McCarthy (inks), Ian Herring (colors)

The Story: Barry’s leaving behind the girl he loves and making a new life—country song, if I ever heard one.

The Review: I find it pretty amazing how much stuff can happen and how little actually changes.  I mean this in any given context, but most especially with fiction.  Probably the clearest mark of a weak story is one where all sorts of events and twists take place, and yet the character has barely moved one step forward from where he started.  Quite frankly, that is the situation where the Flash finds himself now.

For all of Barry’s time-traveling escapades, run-ins with emboldened rogues, and city crises, he doesn’t seem all that affected, either within or without.  Think about it.  Has he really shifted in any of his values?  Has he become any more or less confident?  Is he any closer to a true relationship with either Patty or Iris?  Has he developed any personal relationship with any other character?  Have either of the Gem Cities changed permanently from the unfortunate blackout?

The Flash #9 – Review

By: Francis Manapul & Brian Buccellato (story and art)

The Story: For God’s sake, Barry, don’t do anything stupid like quote Planet of the Apes around here.

The Review: The Silver Age of comics might have superficially drawn upon an ever-growing understand of science to tell stories, but that did nothing to stem the tide of totally illogical and bizarre ideas and storylines upon which comics fed.  The Flash (Barry Allen flavor), perhaps as a resulting byproduct of that era, thus comes attached with some seriously wacky history, probably epitomized by his completely random relationship with gorillas.

It’s always been hard to take DC’s gorilla villains seriously—and yes, I use the plural because DC actually has at least two reputable villains of simian persuasion.  If you’ve watched Young Justice, you might know Monsieur Mallah, a hyper-intelligent gorilla who wears a beret, speaks French, and is a mutually reciprocated romance with an out-of-body brain.  Gorilla Grodd thus seems plausible by comparison, a hyper-intelligent, telepathic ape who feeds on brains to increase his mental power, but he’s still just too goofy to be considered a legitimate threat.

The Flash #5 – Review

By: Francis Manapul & Brian Buccellato (writers and artists)

The Story: Apparently, Mob Rule has a strict literal bros before figurative bros policy.

The Review: Let me tell you about a friend I have.  He’s quiet, but good-humored, intelligent, hardworking, honest, makes a fine living, and is good to pretty much everyone he knows and many strangers besides.  In short, he’s so centered and balanced (in direct contrast to me, for instance), and so devoid of drama, that most people never talk of him but to speak his praise.

While all these qualities make for an excellent human being in the real world, it makes for a rather dry character in fiction.  And that’s exactly the problem—if you can call it that—with the supremely well-adjusted Barry Allen.  While it’s true the emotional and social hang-ups Geoff Johns gave our hero in the previous Flash series annoyed me, at least they gave Barry a platform upon which he could experience some conflict and, subsequently, change.

But as I noted in my review last issue, it doesn’t feel like there’s much room for Barry to develop as a character, at least in the traditional way of improving upon his flaws (of which there are few).  Furthermore, he has such a reserved personality that even when he’s being confronted, he tends to react rather passively, which makes a lot of the tension one-sided, much as Manuel’s (highly misdirected) rage at the Flash feels here.

The Flash #3 – Review

By: Francis Manapul & Brian Buccellato (writers and artists)

The Story: The city that never stops—just did.

The Review: I eat spring rolls dry.  Even though I’m Vietnamese, I can’t stand the smell of fish sauce, so the stuff rarely touches anything I eat.  When I pass on the bowl of pungent liquid, people always react with surprise, like they’ve just discovered some critical fact about myself.  Frankly, I have no idea what my prejudice against fish sauce says about me, but it’s taught me that you can get a strange sense of enlightenment when you learn these asides about people.

This applies even more so to fictional characters.  At first glance, Barry seems so good-natured and clean-cut, you’re surprised he takes coffee at all, let alone “I feel like I could use a fifty-shot espresso right about now…”  But that drink’s not an option for our favorite speedster; its jittery effect on his body, combined with his powers, can lead to unpredictable results, like vibrating through the floor into “the women’s basement locker room before getting control of myself.”  It’s a funny story which lends some much-needed color to Barry’s vanilla personality.

The anecdote also naturally preludes his rescue of a crashing jetliner by vibrating it through the Gem Cities bridge.  Interestingly, the Flash doesn’t follow up this feat by confronting the villain responsible for the cities-wide blackout; no such villain appears.  Instead, we get a sequence of something we haven’t seen in a while: our hero simply serving the public, be it retrieving kids trapped on a roller coaster or wheeling a man on a gurney straight to the hospital.

Better yet, the rest of the Central City P.D. get in on the job, with Singh, Forrest, and Patty doing their share.  Manapul-Buccellato couldn’t have chosen a more endearing way to build up the supporting cast, letting them act beyond their roles as the Flash’s out-of-costume ciphers and putting them on the same heroic footing as the star.

While her bookworm glasses tend to give Patty a soft, almost frail air, we see the woman wearing them is anything but.  Once you see her don a bulletproof vest to venture fearlessly into the darkened city, helping anyone she sees, you may start crushing on her a little.  And that’s before we get to the two of them riding the P.D. mounted division’s horses to traverse the un-drivable streets, she taking the lead while he struggles (“Whoa!  Not that way…”  “You’re a natural, Barry.”).  It’s just plain fun, something comics are in short supply of nowadays.

The Spirit #17 – Review

By: Too many to list—check out the review.

The Story: You ever get the feeling some people can only see the world in black and white?

The Review: As much history and acclaim lies behind The Spirit, it really doesn’t have much of a mythos.  You have the core cast, of course, and the faceless Octopus as Spirit’s possibly eternal archnemesis, and a handful of recurring characters, but unlike any other major comic-book figure out there, the Spirit has few defining storylines and even less continuity.  Most writers and artists use the series more as a vehicle to stretch their storytelling chops than to tell a substantial story.

In “Strange Bedfellows,” Howard Chaykin gives us the oldest plot in pulp, the “Whodunnit?”  Unfortunately, since he shares the issue with two other features, he has scale back his plot and character development to the point where you never really get invested in either.  Half the fun of these mysteries is having the detective make deductive connections from the facts you somehow miss, but Chaykin goes for the strategy of having the Spirit pull conclusions out of thin air, almost making them up as he goes along: “Wearing your husband’s shoes with Sandra on your shoulders, to leave those heavy size-twelve footprints…using a recording of Brian raging at you to sell his suicide…”  Brian Bolland offers strong character figures and detailed settings, but doesn’t use the black-and-white constraints to his advantage, making it look like very nice inks the colorist forgot to fill in.

Paul Levitz delivers one that feels like it barely moves beyond the conception stage.  “Lottery” revolves around Brenner, a newsman whose doormat personality makes him sympathetic, but no less shallow in depth.  As for Ivan, the conman who preys on the hapless newsie, his brilliant plan is to replace the state-approved lottery board on Brenner’s stand with his own, a blatant substitution that makes you wonder why frequent visitor the Spirit doesn’t catch on sooner.  It’s also baffling why Brenner doesn’t just ask the Spirit, whom he considers the only man who respects him, to help him out.  So you’re not inclined to feel all that moved by the unfortunate, but hardly tragic by any means, ending.  Dolan has a point: “Fools who play these games deserve to lose, anyway.”  Jose Luis Garcia-Lopez provides enjoyable, lively versions of our characters, but needs more inking; it all looks so pale you’ll find it difficult to stare at it for too long.

The Spirit #16 – Review

By: David Hine (writer), John Paul Leon (artist), Daniel Vozza (colorist)

The Story: Cosplaying may not all be harmless fun and games…

The Review: I’ve actually been in Paris this past week for work, and let me tell you, it’s a beautiful town with some good eatin’ and mostly fine people.  In fact, my estimation of the French really went up a notch this week when I found to my dismay over the weekend that I hadn’t bought a copy of this week’s The Spirit.  Not one to shirk my reviewing duties, even overseas, I went on an internet search blitz and found Arkham, the best and possibly only magasin des bande dessinées Americaines in Paris.

It was there that I bought this issue for a blistering four euros (thank God DC “held the line”, or else I’d have had to pay the equivalent of an Olive Garden meal for the comic).  Still, you can’t beat taking the Metro to a quiet, ancient corner of the City of Lights, grabbing a fresh peach from a corner fruit and vegetable vendor, and perusing graphic novels in a Parisian LCS with French heavy metal playing in the background.  Call me a romantic, but that’s a life I can get used to.

But enough with praising the French, and let’s get on with praising an American.  I often hassle writers who use excessive narration mostly because they like the sound of their own ideas.  Hine sticks to giving you the facts, allowing the dialogue, art, and your imagination to do the rest.  He just channels that pulp language evocatively.  Ovsack: “A cool million bucks and the eternal gratitude of the Octopus to whoever brings me the Spirit’s head.”  Doesn’t get better than that.

The Flash #11 – Review

By: Geoff Johns and Scott Kolins (storytellers), Michael Atiyeh (colorist)

The Story: Barry, can’t you see we’re trying to stop you because you can’t stop yourself?!

The Review: Juggling two A-stories in a comic can be tricky, especially when one is the ongoing tale and the other is an invasive crossover plot.  But really, Johns should actually have an easier time of it, considering he’s the mastermind of the crossover in question.  And indeed, Flashpoint seems to be integrating pretty well into Barry’s investigation of an age-changing murderer, what with all the time-space wonkiness going on in both stories.

In contrast to Action Comics #900, where Reign of Doomsday clearly distracts from the main events of that title, it’s clear Johns is turning this series into a vehicle for introducing Flashpoint.  This has the strange effect of making the non-crossover related material out of place in its own title, although the still fairly recent drop in page count affected the long-term execution of plotlines that probably would’ve had more opportunity to float with some extra space.

The Flash’s “intervention” definitely feels like it needed more time to build itself to this drastic scene, because it comes across incredibly staged—and futile, since none of Barry’s loved ones make it clear exactly what the problem is.  Jay Garrick and Wally West spend the majority of the time waxing poetic on how much Barry means to them—more of an exercise in nostalgia than doing anything useful to address whatever Barry’s issues are.

The whole thing looks like it gets set up just because “Bart said you didn’t come to the picnic because of him.”  Besides being an utterly laughable overreaction to what should be normal for Barry, given his history of flakiness, it also makes Bart seem angsty, temperamental and high-strung.  This would work if Johns was writing just another fictional teenager, but none of those qualities fit in Bart’s current personality—which Johns kind of established.

So maybe it’s a good thing Bart’s getting the timeout from Barry’s life for a while, although it happens in an underwhelming way.  Hot Pursuit doesn’t exactly do himself a lot of credit by glomming onto Kid Flash as the crux of the timeline problem, without even considering other possible suspects.  As a cop with access to information across parallel universes, you’d think he’d be more thorough in his investigation.

The Spirit #13 – Review

By: David Hine (writer), Moritat (artist), Gabe Bautista (colorist)

The Story: Do I choose the super-hot puppet, or the super-hot real lady?  Decisions, decisions…

The Review: When it comes to fiction, you can’t (or you shouldn’t) really expect incredible realism, but you do expect whatever it is you’re reading or watching to mimic reality as best it can.  But when it comes to genre fiction, you’re much more willing to let certain things slide.  For romance, it’s the ludicrously chosen lovemaking moments; for sci-fi, it’s all the pseudo-science babble; and for pulp, it’s the private eye’s rambling, uber-macho monologues.

The opening pages have the Spirit staking his claim on Central City against all the mobster vermin that threaten to take it over.  His speech, in almost any other circumstance, would be incredibly corny, but in this title, with Hine’s expert handle on pulp narration, you just get pumped up to hear the Spirit say, “They’re all wrong.  Dead wrong.  This is my city.”  The smash cut to our hero giving the beatdown to thugs across the red light district is icing on the cake.

Hine also brings his characteristic twist of drama into the proceedings.  The Professor’s puppet fetish is of course driven by personal tragedy from his past, although Hine smartly leaves events open-ended: was Esmerelda (the model for the Professor’s first lady-bot) really his first sweetheart, or just love from afar?  Did she betray him, or was he just paranoid of her doing so?  And was her subsequent death truly “an accident,” as the Professor states?

These are some juicy questions, but Hine never answers them—at least, not directly.  He sprinkles the issue with subtle clues you can weave together for your own conclusion: how the eyes in Esmerelda-bot’s disconnected head follow the Professor around the room; how he covers her unblinking face while trying to seduce Ellen Dolan; and the haunting final embrace between him and the restored automaton (“I love you…I’ll always love you” never chilled you more).

The Spirit #12 – Review

By: David Hine (writer), Moritat (artist), Gabriel Bautista (colorist)

The Story: You ever get a feeling from dolls that their eyes keep following you around the room?  Well, you should be worried—because actually they might kill you.

The Review: With any genre of art, you’ve got a few ways of going about it: stick to conventions for a traditional, if formulaic, work; stretch the boundaries and give a new spin to the genre’s spirit; or bring in elements from other genres for a mash-up category all its own.  An ongoing comic has the luxury of using all three routes as it sees fit for the story it wants to tell.

For the first leg of his run on The Spirit, Hine gave pretty standard fare as far as pulp stories go: mobsters and their dicey business, femme fatales, private eye cases.  But lately he’s grown more confident in offering more dramatically challenging material, and now he’s even bringing a bit of retro (even uber-retro, since puppeteers and their servant golems are old news for fiction) sci-fi stuff to the table.

By itself though, the robot mannequin concept would seem gimmicky and out of place in a title so obviously rooted in straight-up detective work.  But Hine smartly doesn’t give too much focus to the puppets themselves (although the Spirit doll is all kinds of creepy fun), but rather to their creator, mad-scientist assassin, the Professor.  What started out as a rival mafia premise is slowly becoming more of a character piece, the kind of thing Hine’s proven himself very good at.

The little layers Hine gives to the Professor this issue elevate the old man from creepazoid to a sympathetic figure.  Even though we know nothing of his history, the way Hine writes his behavior and reactions, especially to Ellen Dolan, says a lot about what a life starved of love he’s had—it certainly explains the robot-dame he has as his escort, and why her physical affections towards him in the end result in her beheading.

The Spirit #11 – Review

By: David Hine (writer), Moritat (artist), Gabriel Bautista & Pia Guerra (colorists)

The Story: The Spirit takes on Central City’s illegal immigrant problem, mafia style.

The Review: A good story can be told given any length.  In fact, when page or word limits constrain a writer, it forces the writing to cut the fat and keep only the material that works—which, given the babbling style of some writers, can be a very good thing.  But you can’t deny the benefits of getting more room for storytelling: it allows you to get better immersed in more detailed, richer settings and characters, and seeing how they evolve.

With the second feature now cut from the title, Hine has more freedom to deliver a more involved, plot-driven story, unlike the character pieces he’s given us before.  Not that those weren’t good, but they did end up relegating the Spirit to a kind of symbol in those people’s lives.  In this issue, the Spirit gets a sticky, but fairly clear-cut case, giving him a more active role in showing why he’s the hero of choice in Central City.

What’s more, the supporting cast also gets involved.  Usually Dolan gets relegated to expository duty, delivering the newest details of a case for his vigilante partner to tackle.  Here, Dolan’s balancing act as ally of both justice and crime lets him use his own brand of power to take down the human trafficking ring popping up in his city.  Kudos to Hine for getting Ellen involved by way of her ties to progressive community action groups.  In one issue, you get the vigilante, government, and citizenry working together to remove the same plague.

The addition of the Octopus’ manpower to their efforts is a surprising element, but great for bringing some character to these Zoot-suited bozos.  It goes to show that even in the crime world, there are degrees of despicable behavior.  You got to love Mr. Ovsack’s explanation of how he’s on the high road here: “Our drugs are clean, we don’t sell guns to kids, our girls are all over eighteen.”  But Hine wisely reminds us that mobsters are mobsters, as the factory explosion (with all the immigrant workers still inside) grimly shows.

The Flash #9 – Review

by Geoff Johns (writer), Francis Manapul (art), Brian Buccellatto (colors), and Sal Cipriano (letters)

The Story: Barry Allen finds himself assigned to a very unusual homicide case as Hot Pursuit runs amok in Central City.

What’s Good: For the second month in a row, Geoff Johns hits it out of the park on the Flash.  However, what makes it more important this time around is that while last month was a one-shot of sorts, this is a prelude to the coming months of Flash and Flashpoint.  In other words, this issue being as good as it is a very good sign for the future.

That said, I’ll admit that I’m biased.  I’m a huge, huge fan of Brian Bendis and Michael Avon Oeming’s Powers series.  The idea of homicide detectives investigating superhero murders will never stop being awesome.  This month sees Johns send Barry into just such a task.  There’s a mysteriously dead “cape,” pre-naturally aged, found dead under mysterious circumstances.  It felt like Johns had basically taken Barry Allen and thrown him into a Powers comic, and the resulting mash-up of superhero noir and classic DC comic was an absolute pleasure to read.  It’s a plot I’m really looking forward to seeing more of, as Johns sets this up perfectly as a superhero-related detective/police drama.  It’s very, very cool.

Johns also does a very good job this month of highlighting Barry’s faults as a human being.  Barry’s presented as a man tied to his job, but not in the traditional, clichéd sense.  He’s tied to his job because he’s utterly bound to doing what’s right and doing as much public good as possible.  The tension and loss that this creates in his private sphere is obvious, however.  It’s a familiar, but really effective clash that Johns puts forth, that between doing the public good and the private, with Barry seemingly unaware of the latter.  This also leads to yet more fantastic writing when it comes to the Barry/Iris dynamic, which Johns has been doing so well with.  Iris is understanding and forgiving beyond belief, but she’s also clearly aware of Barry’s failings and isn’t immune to disappointment, however patient she may be.

Art-wise, this the best looking Flash comic in months.  The reason for this has been colorist Brian Buccellatto’s major adjustments.  While Manapul’s artwork is always really awesome and likable, I’d found that Buccellatto’s colors were getting increasingly brown and muddy to the point where they were starting to mute and detract from Manapul’s great work.  This month, Buccellato completely reverses on that.  Things are lighter and crisper, augmenting Manapul and allowing him to shine.  What results is crisper, cleaner, and much more impressive.  I also have to mention that both men did really well depicting Hot Pursuit’s motorcycle in action, which was a treat to watch.

The Spirit #10 – Review

By: David Hine (writer), Moritat (penciller), John Kantz (inker), Gabriel Bautista (colorist)

The Story: No one’s very fond of the cockroach, but Roscoe Kalashnikov is crazy about them—not in a good way.  And yes, his craziness involves guns.

The Review: Considering the ongoing nature of comic books, you’d think writers could afford to let their stars take a break from the limelight now and then to build up other characters.  When even incidental personalities get fleshed out, stories take on a whole new depth of flavor; you become that much more convinced this world exists out there, somewhere.

The Spirit is ostensibly about the titular hero’s never-ending struggle for justice in a city that resists it, but really, the star of the series is the traumatized city itself.  David Hine makes a pointed effort every issue to delve into the backgrounds of his featured characters, to the point where the Spirit feels like a guest in his own title.  The results are a Central City that genuinely feels populated with people, all with their own bag of inescapable hang-ups, damning flaws, and redeeming virtues.  It really brings home what the Spirit faces every day.

Take Roscoe Kalashnikov—great name, by the way.  The origins of his personal set of crazy are delivered matter-of-factly, in the voice of someone who has clearly embraced his screwed-up childhood.  But as the story progresses, Hine expertly teases out the stains still painfully lingering on Roscoe’s psyche, letting you get an almost sickening firsthand view of the guy’s total meltdown.  It’s a bit like reading Lolita—even as Roscoe pushes himself down the path to his own undoing, the little bits of honest-to-goodness insanity peppering his thoughts and behavior still invoke your sympathy.

The story takes on new meaning in light of recent current events.  I should stake my claim right here that Hine’s story is no intended statement on the Arizona shootings, but there’s an interesting reflection regardless.  You have a man with some disturbing psychoses that he represses, absorbing rather than healing the damage.  When the literal drop-in of one of fiction’s most potent plot devices—a loaded, silenced gun—comes his way, the unexpected consequences, hastened by the impulsive use of drugs, end up devastating him and others very quickly.  The beginning of the issue emphasizes Roscoe’s desire for power to put to use the self-control his father twistedly trains into him.   But once he gets it, you see how incapable he is at handling it, revealing the weak grasp of self-control he really has.  It may be an old story, but Hine executes it in gripping fashion.

The Flash #7 – Review

by Geoff Johns (writer), Scott Kolins (art), Brian Buccellato (colors), and Sal Cipriano (letters)

The Story: As Captain Boomerang has a meeting with the Reverse Flash, his back-story is explored.

What’s Good: At the very least, Geoff Johns gets an A for effort on this one, as he works his butt off to put as much emotion, heartbreak, and hatred into this retelling of Captain Boomerang’s origins.  There’s a sense of trauma and a building up of seething anger that works quite well.  This issue does wonders in making the reader actually care about Digger, which is crucial given his position in Brightest Day.  It brings the reader close to Digger, and that’s certainly a good thing.

Johns does a decent job of making Digger’s life follow the track of a boomerang; that being that everything comes back or comes full circle, often violently.  It’s a nice way to structure the issue and plot Digger’s emotional trajectory.  That said, Johns plays it fast and loose with this structure, which means that it’s only ever a subtext and never becomes overbearing.

The end result is a character that is still most certainly a bad guy, no questions asked.  That said, he’s the sort of bad guy that’s comprehensible and human, even if there aren’t many shades of grey.

Moreover, Johns, through focusing on Digger, manages to write a Brightest Day tie-in where the Brightest Day stuff doesn’t feel out of place and doesn’t detract from the comic or distract from its actual story.  Instead, Brightest Day fits well here, forcing an otherwise small-fry villain in Captain Boomerang to look at the bigger picture.

Johns also does a fantastic job of writing the Reverse Flash, who is nothing short of pure evil.  It’s nothing particularly overt or detailed in his dialogue, only its tone.  While Thawne may be a bad guy like Digger, he’s far less human and clearly functions on a different level.  Praise is also due to Scott Kolins, who does an absolutely fantastic job illustrating the Reverse Flash, making him seem downright demonic, which really went well with Johns’ dialogue.

The Flash #5 – Review

by Geoff Johns (writer), Francis Manapul (art), Brian Buccellato (colors), and Sal Cipriano (letters)

The Story: The Flash and Top try to stop the Rogues from unleashing the Mirror Lords while the Rogues and Renegades to battle.

What’s Good: Despite my feelings to the contrary during the first couple of issues, I’m really starting to warm up to this whole Rogues/Renegades plot.  The involvement of Captain Boomerang, Top, and the Mirror Lords have imbued the story with a needed life.

Top in particular continues to be an asset this month.  He gives the otherwise bland Renegades personality, giving us an individual character to latch onto.  There’s also something rather cool about seeing Barry Allen team up with a Rogue lookalike.  While I can’t go into things too much for fear of spoiling the issue, Top is most definitely a star this month and is just as much fun to read as he is to see in action.

And really, between the giant Mirror, the Rogues, the Renegades, and Captain Boomerang, there’s a lot of action this month.  There’s a feeling of total mayhem that lends the issue quite a bit of excitement, truly making it feel like the penultimate issue of a story arc.  There are explosions and desperation aplenty, and as a result, this ends up being a pretty fun ride.

Of course, Francis Manapul again deserves his due on this end, as his art really defines this new volume of the Flash and is a good chunk of why it’s as much fun as it is.  Manapul’s action scenes and his depictions of speed are fantastic, and his illustrations of the Rogues’ powers in action are no different.  Seeing the Weather Wizard conjure a cyclone is magnificent and when it combats a spinning Top, it’s all the better.

Speaking of Weather Wizard, I liked how Johns gave him a moment to shine this month.  It’s these little moments that show how great Johns is when it comes to dealing with the Rogues.  While the rest of them don’t have big moments like Weather Wizard does, each of them maintains a distinct and uniquely villainous voice.

The Flash #4 – Review

by Geoff Johns (writer), Francis Manapul (art), Brian Buccellato (colors), and Sal Cipriano (letters)

The Story: The Flash battles Captain Boomerang in downtown Central City and learns the secrets behind his future murder of Mirror Monarch.

What’s Good: I think part of what marks out this issue is the sense of wonder that is present in the depictions of the Flash’s powers.  It shows Johns’ love for the character and it’s creative in a way that evidences that Johns has thought quite a lot about the Flash’s super-speed.  Johns and Manapul, together, are masters at depicting the Flash’s powers, putting Barry in positions that allow for cool feats and ridiculously awesome demonstrations of his speed.  The result is truly awe-inspiring, at one point resulting in a double-page spread that got an audible “holy shit” from me.

The battle between Captain Boomerang and the Flash feels every bit like the classic duel between old foes that it is.  Johns is doing a great job at building the character back up.  I also enjoyed Boomerang’s feeling out of sync with current events, always trying to catch up after being out of the loop; this only makes him a more appropriate nemesis for Barry, given Barry’s own recent struggles.

The Flash #3 – Review

by Geoff Johns (writer), Francis Manapul (art), Brian Buccellato (colors), and Sal Cipriano (letters)

The Story: Captain Boomerang makes a break for it after getting a mysterious upgrade; the Renegades continue their quest to apprehend the Flash.

What’s Good: Atmosphere and tone continue to be the strongest thing going for Johns’ new Flash ongoing.  This remains a warm, honest, and positive book that lives up to the current Brightest Day aesthetic more than any other book in DC’s line-up.  This month, part of this easy-going feel is evidenced by just how fast this issue flies by.  Normally this would be a bad thing for a comic, but for the Flash, it feels natural, appropriate, and a testament to its energy.

I’m also happy to see Johns’ building up of Captain Boomerang.  It’s clear that in Boomerang, Johns is crafting a real nemesis for Barry Allen.  Captain Boomerang comes across as a badass, especially in his willingness to go for the throat, even when outnumbered, injured, and without powers.  It’s a time-tested strategy for garnering respect for a villain:  have him beat down a group of despicable, faceless goons that are even bigger jackasses than he is.  I also liked Captain Boomerang’s power upgrade.  It’s a great way to bring Blackest Night’s legacy into the Flash, without it feeling jarring or unnatural in the series’ positive environment.

Barry and Iris’ relationship continues to be a highlight for me as well.  There’s a loving familiarity and joviality that’s imbued into every last of dialogue shared between them.  They actually feel like a happily married couple in that its clear that they know each other better than anybody.  Their conversations continue to be an absolute pleasure to read.

Manapul’s art continues to be lush and inviting.  I especially liked his work on Iris and Barry’s faces; their expressions make them instantly likable and really convey the intimacy of their relationship more than any dialogue could.  Under Manapul’s hand, Barry and Iris lovable characters.

The Flash #2 – Review

by Geoff Johns (writer), Francis Manapul (art), Brian Buccellato (colors), and Sal Cipriano (letters)

The Story: The Flash runs from the Renegades and begins his quest to figure out who really killed the Mirror Monarch.

What’s Good: The fun and vitality that had me raving about the first issue is still present.

This is best evidenced this month by a gag that sees Barry save everyone from a collapsing building, before rebuilding said building better than it ever was before.  This sequence is easily the highlight of the issue and it’s guaranteed to put a smile on the face of all but the most stone-hearted.  It’s ridiculous, sure, but that’s why it’s amusing, sunny comedy.  All told, this is the sort of stuff that just oozes the love Johns has for the character and it continues to be infectious.  The scene is representative of a sort of bright cheeriness and niceness that runs throughout the comic and makes it perfect for Brightest Day.

Barry’s office politics are also fairly enjoyable.  You knew he was going to butt heads with Singh and the coldness of the new department sooner or later.  The scene quickly demonstrates Barry’s dogged idealism and it was welcome, with Barry feeling appropriate out of place.  Judging from the strength of this scene, as well as Barry’s warm dynamic with Iris, the Barry Allen portions of this series are just as strong as those focusing on the Flash, despite their more mundane nature.

The Flash #1 – Review

by Geoff Johns (writer), Francis Manapul (art), Brian Buccellato (colors), and Nick J. Napolitano (letters)

The Story: Barry Allen gets his first job back at the Central City Police Department, as one of the Rogues turns up dead.

What’s Good: As a first issue, I can’t imagine a better outing for the Flash.  This is everything a #1 should be.  It feels fresh, fun, accessible, and new.  There is absolutely nothing in here remotely related to Rebirth in subject or tone, nor any significant Flash continuity.  There isn’t even a single mention of the Speed Force, nor is there any reference to any speedster other than Barry himself.  The result of all this is refreshing and so different, and so much livelier than Johns’ oft debated miniseries.  All told, this issue feels like a legitimately new start for the Flash.

Working in this environment also seems to make for a more free Geoff Johns.  It’s clear that Johns absolutely adores the Flash and his corner of the DCU, and that joy permeates every page here and is certainly very infectious.  For instance, the book opens with an extended action scene that is awesome in a quintessentially “Flash” sort of way.  It’s as though Johns is saying “this is what the Flash is about.” It’s grand, touching, iconic, and all sorts of fun.

That being said, this sense of fun extends to the little points of characterization as well.  Iris Allen and Barry’s new/old co-workers come off great, with Barry’s dynamic with his wife being especially enjoyable.  I guarantee that Iris and Barry will put a smile on your face more than once.

After Blackest Night, it’s great to see that Johns is still capable of writing something so light-hearted and simple.  And I mean “simple” in a good way, as in, “the opposite of convoluted.”  This book feels honest and truly alive and is the sort of comic that’s gurantees to brighten up your day, all while remaining completely and totally open and accessible to those not steeped in continuity mythos.

All of this would be impossible without Francis Manapul.  This comic is only as warm and inviting as it is because Manapul makes it so.  His renditions of Iris and Barry only make them all the more lovable, and his bright, cheery renditions of Central City make for the kind of bright escapism that superhero comics should be capable of delivering.  Furthermore, while Johns writes a Flash comic that feels completely new, Manapul’s art makes it look accordingly.  Between his and Buccellato’s efforts, we have a comic that looks like it could only have been produced in 2010.  There are no hints of the 90s or past renditions of the Flash.  This lends a sense of complete freshness, while Manapul’s natural abilities nonetheless make for a style that fully captures the fast and dynamic feel of a Flash comic. It’s a good, honest superhero story that hits all the right notes without falling into the mediocrity of cliches.  It’s also a bright, happy book that never feels sappy or artificial.

The Flash: Secret Files & Origins 2010 #1 – Review

by Geoff Johns (writer), Scott Kolins & Francis Manapul (art), Michael Atiyeh & Brian Buccellato (colors), and Rob Clark Jr. (letters)

The Story: A primer serving as an introduction to the Flashes’ universe, preceded by a short story where Barry grapples with his past.

What’s Good: If you’re a reader unfamiliar or only slightly familiar with Flash lore and are looking forward to get into April’s relaunched Flash monthly, it doesn’t get any better than this.  In a little less than 40 pages, this book gives you everything you need to know about the major heroes, villains, and locations in the Flash’s corner of the DCU.  As a reference work, this book is a lot of fun for new readers.  The encyclopedic entries are written in about as lively a style as is possible and are matched with absolutely beautiful full-page illustrations.  If you know nothing about the Flash’s world, you will leave feeling 100% comfortable heading into the ongoing and with your Flash knowledge in general.

The short story that precedes this primer is also some pretty outstanding stuff, touching on many of themes Johns clearly views as important in a Flash comic, while also ominously setting up for things to come, directly leading into Johns’ first arc.  All told, the story touches upon family, the camaraderie of DC’s speedsters, Barry’s battles with his past, and what the Rogues are up to, while also making really great use of time as only a Flash comic can.  As a first taste of Johns’ upcoming run, this is really solid stuff and an enjoyable, at times surprisingly emotional, read.  It gives a good sense of the tone Johns will be writing in.

I also have to reiterate just how awesome the art is throughout this double-sized book.  There really isn’t a single page here that isn’t a total blast.  Both Manapul and Kolins, though very different from each other, are perfect for the Flash, both artists emanating the sort warmth and energy that perfectly suits the books tone and atmosphere.  If the art on the ongoing can live up to this standard, we are in for something special.

The Flash:Rebirth #3

by Geoff Johns (writer), Ethan Van Sciver (art), Brian Miller (colors), and Rob Leigh (letters)

The Story: Barry Allen and the Justice League wrestle with him being the Black Flash.

What’s Good: First things first: With Speed Force and lightning aplenty, Ethan Van Sciver’s art continues to be absolutely amazing.  I’ve read that several people nitpick his performance on this series and frankly, I have no idea what they’re whining about. This book looks fantastic. It’s big, bright, explosive, and ridiculously detailed. Miller’s fantastic work only takes the art to another level, centering it all around the color red. This book is simply gorgeous and only the crabbiest reader– someone that’s deliberately looking for faults, will find anything to complain about.

Meanwhile, Johns continues to develop Barry Allen as a distinct voice. Allen feels increasingly lost and morose with every issue and I enjoy it more with every passing month. It brings a necessary grain of almost Batman-like darkness to the Flash. Allen is out of place and struggles to grasp what he’s missed, best evidenced by his well-written internal monologues, particularly as they relate to Bart or Wally.

We also get yet another foot-race between Superman and the Flash and as always, it’s good fun, resulting in the best one-liner of the series.  Though some will gripe about Superman “not flying,” I’m happy to say that the “who’s faster” issue is settled in blow-out fashion.

Far and away the best part of this issue was Barry’s solution for his current state, again highlighting the self-sacrifice that defines him as a character. His actions this month led to the best scene in this series thus far, as Barry runs as fast as he can, breaking the time barrier and watching his life flash before his eyes. It’s a truly emotional and tragic moment, beautifully depicted by Van Sciver. Furthermore, the story led to yet another cliffhanger that has me hungering for next  month’s issue. The new end result: we are finally given a central villain for the story.

What’s Not So Good: Johns needs to stop it with the filler. I realize that he’s wrestling with the extensive Flash mythos, but it ends up seeming needless. The comic did not need the scene with Liberty Belle. Also, for yet another month, we get a pointless flashback scene that accomplishes nothing save reminding us of Iris’ bow-tie fetish. This comic is about Barry’s return, so focus on Barry and focus on his return! I don’t need to know about Liberty Belle’s relationship to her father.

My biggest problem with this comic though is that there’s just too many goddamn Flashes/ Speedsters. Last month was great because it was just Barry and Wally. This month we get Jay and Bart, as well as visions of Johnny Quick and Max Mercury. I feel like this dilutes Barry’s importance and centrality.

Another couple things:  Star Trek-style techno-babble regarding the Speed Force and Barry’s abilities are a no-no. Also, some readers may be underwhelmed by the big reveal at the end of the issue regarding Barry’s new nemesis, feeling it to be not particularly fresh or surprising, perhaps even formulaic. I personally liked the decision, as it made sense and I’m a big fan of the character, but I can understand this reaction.

Conclusion: A solid issue. Better than #1, but not quite as good as #2, this issue has a slow start, but the last third of it is the best bit of the series thus far.

Grade: B-

-Alex Evans