The comics industry might have trained us incorrectly. We’re meant to gobble up as much story as possible, as quickly as possible. That way we buy more comics, and Batman and Spider-Man can continue to punch dudes into perpetuity. But the books we read are far from disposable — they contain some truly astounding artwork from some of the most talented storytellers out there. They’re our directors, our actors, our choreographers, our set and costume designers. These are our top 13 artists of 2013. Continue reading
Today, Scott and Mikyzptlk are discussing The Flash 25, originally released November 27, 2013.
Scott: Have you ever said goodbye to someone outside a restaurant and then proceeded to walk down the street in the same direction as them? It’s weird. That’s what I was expecting out of The Flash 25, since writer/artists Francis Manapul and Brian Buccellato are back one last time after penning what felt an awful lot like their farewell issue a month ago. But rather than an awkwardly silent side-by-side walk to adjacently parked cars, this issue feels like a wake-up call. Manapul and Buccellato illustrate (I mean, literally illustrate) the reasons why I’m going to miss them. The issue is merely a tie-in with little significance to Flash as a series, but when these guys are doing the art (as they are for only a portion of this issue), they don’t need much story to turn out something great.
Drew: Endings are hard. Part of it is simply that people tend to struggle with goodbyes — we hate to let a good thing go — and part of it is that they’re inherently unnatural. Short of every character dying, there’s always more story that could be told (not to be confused with the story that should be told). Attempting to “end” a run in a serialized setting is doubly tricky, as a creator’s desire to wrap things up neatly is at odds with the fact that the story isn’t actually ending. Technically, Flash 24 isn’t Francis Manapul and Brian Buccellato’s final issue on the series (their “last” issue is 25, and Buccellato is actually coming back for three more with Rogues Rebellion artist Patrick Zircher), but it features such a clean, unlabored assertion of their thesis, concluding their run while pointing the way forward for the series, it works beautifully as a farewell. Continue reading
Today, Drew and Patrick are discussing The Flash 23.2: Reverse Flash, originally released September 11th, 2013. This issue is part of DC’s Villain Month. Click here for our coverage of Villain Month.
Oh, if I had just lived right up to that moment… and not one second more. That would have been perfect.
Walter White, Breaking Bad
Drew: Regrets are the worst. We make hundreds of decisions every day, but our minds seem only to fixate on the mistakes and missed opportunities. We fetishize how things might have been different if only we had made that one small change, creating entire life paths that never have been, never could be, never will be walked. If the regrets are small enough (I wish I had ordered the fajitas), we usually forget about them and move on, but larger regrets can consume us, creating a vivid fantasy world of “if only.” In “Fly,” a brilliantly mediative episode from Breaking Bad‘s third season, Walt pinpoints the exact moment where his life should have ended, with every moment since steeped in regret that it didn’t. It’s a surprisingly unguarded moment for the character, revealing that, for all his machinations, he may suffer from the same uncertainties — and be driven by the same simple motivators — as the rest of us. Daniel West finds a similarly specific final moment of happiness in this issue, but of course, he locates it with the hope of going back and undoing everything that follows. Continue reading
Shelby: It’s finally here: the reveal of the identity of Reverse Flash. Cruel, murderous, and the opposite of Barry Allen in every way, the Reverse Flash has been dogging this title for a few months now, killing Barry’s friends and honing in on our favorite speedster. Despite the fact we have been speculating and eagerly awaiting this moment, at the end of the book I found myself with more questions than answers.
Spencer: Way back at the beginning of the New 52 initiative, Justice League turned the clock back five years to show us how DC’s most iconic heroes first met. Yet, even at this early stage, two of these heroes had already met and formed one of DC’s most enduring friendships: The Flash and the Green Lantern. Now, nearly two years later, The Flash Annual 2 has arrived to finally show us their momentous first team-up. It may not be a necessary story or even the most original one, but thanks to Barry Allen and Hal Jordan’s infectiously fun relationship, it’s well worth reading.
Today, Scott and Spencer are discussing The Flash 22, originally released July 24th, 2013.
Scott: I imagine being the fastest man on Earth could be pretty frustrating at times. It has its obvious advantages — you’re never late for work, no car insurance, no travel expenses, etc. — but there’s one major annoyance: the rest of the world isn’t moving at your pace. This would be doubly frustrating for a police officer trying to solve a complex murder mystery, which takes a long time to piece together regardless of how fast your body moves. This is the predicament Barry Allen has found himself in over the past several issues of The Flash, and co-writers/artists Francis Manapul and Brian Buccellato seem to enjoy taking the slow road with a fast character. The Flash 22 finds them leading Barry to the killer he’s been looking for, but still withholding crucial information about his identity. It’s a spectacular looking issue, and one that feels more focused than this title has in a few months.
Spencer: A mystery story cannot work with only one suspect. Without false leads and red herrings, everything’s too easy; we know whodunit before the story’s even begun. In Flash 21, Kid Flash becomes one of those false leads; the problem is, Barry is the only one actually trying to solve a mystery here. Us readers already know that the Reverse-Flash is behind these murders, leaving the real bulk of this issue to be carried by the first meeting of Flash and Kid Flash. I’m not sure the two of them are up to the task.
Drew: Barry Allen is a man of contradictions. As a police scientist, he is beholden to rigorously examining every scrap of evidence before coming to a conclusion. As a speed-powered superhero, he is all about decisive action. I’ve always found the tension between those two extremes particularly relatable — who among us doesn’t vacillate between those poles? — even when the series itself has been heavier on the action. The scrutiny half of this equation has always come across in the subtext, as writers Francis Manapul and Brian Buccellato have hidden details throughout their runs that reward only the most vigilantly close readings. In The Flash 20, they graduate Barry’s detecting skills from subtext to text, but the results are decidedly mixed. Continue reading
Drew: It’s hard to pick a favorite thing about The Flash. Is it the bright tone? The vivid, thematically rich art? It’s penchant for clever meta-commentary? In many ways, it feels like it was designed for the kind of nerdy dissections we do here at Retcon Punch, giving us everything we look for in a comic. Nothing brings that feeling about more than the specific pop-culture references this series drops from time to time. Things like having characters from LOST pop up randomly, or building an entire arc up to a single Planet of the Apes reference feel like they were designed rather specifically for my nerdy mentalities. Those references were fun, if entirely disposable — they amounted to little more than throwaway lines and background characters — but with issue 19, writer Brian Buccellato goes into full-on homage mode, giving us an extended Die Hard tribute that plays a key role in the plot. Continue reading