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 #6 – Review

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

The Story: The Flash goes on trial and tries to settle the score with Top.

What’s Good: I remember a little over a year ago, when I lived in the UK (Bristol to be exact), having a conversation about Geoff Johns with a Forbidden Planet staffer. He said that he enjoyed Johns’ work because, while it was rarely overly cerebral, he could always rely on Johns for “good old fashioned superhero stories.”

As this issue wraps up this Flash relaunch’s first arc, that really stuck in my head regarding this month’s installment, and this new Flash series in general, because that’s exactly what this book’s strong-point is. This issue ties everything up in a “good, old fashioned superhero story” sort of way and yet, while this means it doesn’t re-invent the wheel, in typical Johns fashion, it also doesn’t feel phoned in or uninspired. In fact, the book feels incredibly lively, exciting, and downright gleeful. It may be just your average superhero story, but that only makes Johns’ own excitement all the stronger and all the more infectious.

Breaking it down into its components, there’s a lot to like here. The action scenes are great and Johns does a really great job in making Top and Flash’s dialogue flow amidst and among the fighting, no small feat given how explosive the battle actually is. Johns also does surprisingly strong work on Top, creating a villain who believes the reasons behind his actions to be totally rational, even though those very reasons are so absolutely absurd to everyone else. Despite this, Top never comes across as exaggerated in his lunacy.

Johns also handles the whole time-traveling thing fairly well, which could’ve gone horribly awry given how much this issue is centered around changing the past. It’s all kept as simple as possible, never really leading to any big head-scratchers, while also opening the door for some light ruminating over the Renegades’ MO that works quite well. The fact that this reflection occurs in a conversation between Barry and Iris only makes it better, as the Iris/Barry dynamic has been one of the strongest, and warmest, aspects of this series.

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.