The Flash #1 – Review

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

The Story: You have an uncanny resemblance to a guy I know.  Make that two dozen guys.

The Review: When Barry Allen returned to life a few years ago, quite a lot of people thought he would soon regain his position as the DCU’s primo Flash.  After all, Geoff Johns was writing him, the same Johns who brought back Hal Jordan and all but guaranteed he would become the most iconic of the Green Lanterns.  But somehow, Barry never really took with readers.  Even in his own ongoing, he never managed to establish a coherent identity or tone for himself.

Reading through this issue, you’ll realize the obstacle may lie in the very nature of Barry’s character: quiet, mild-mannered, more of a follower than a leader.  These qualities won’t pop out at you like the bolder, assertive personalities, but if you give them a chance, they might touch you.  You meet a lot of heroes who beat themselves up over a loss or failure, but none wear their sad heart on their sleeves like Barry, who even in costume remains a simple man who cares.

Still, when he gets into action, he gains some zip to his personality on top of the zip to his step.  While the civilian Barry seems content to let others take charge (mostly women and sometimes his boss) and lead him to the next thing, vigilante Barry charges into situations and sorts them out in a breezy (“Uuuhhh…  Note to self: don’t vibrate using that frequency.”), efficient manner.

Vigilante Barry also seems something of a player, as he has no issue dating colleague Patty Spivot (after two years of waiting to ask her out) while entertaining a flirtatious relationship with reporter Iris West.  The attraction of both women is equal and opposing: the bookish, delightfully awkward (“Methodical is kind of hot.  I can’t believe I just said that.”) Patty appeals to Barry’s inner nerd, while Iris’ take-no-prisoners attitude is in tune with the Flash’s cockier side.

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.