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. Continue reading →
Today, Drew and Scott are discussing The Flash 24, originally released October 23rd, 2013.
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, Shelby and Scott are discussing The Flash 23, originally released August 28th, 2013.
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.
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.
Today, Spencer and Shelby are discussing the Flash 21, originally released June 26th, 2013.
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.
Today, Drew and Scott are discussing the Flash 20, originally released May 22nd, 2013.
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 →
Today, Scott and Shelby are discussing the Flash 18, originally released March 27th, 2013.
Scott: Use your gifts to help in every way you can. This is what Barry Allen believes being a superhero is all about. Or so he claims. In The Flash 18, Barry contradicts himself, telling the eager-to-help members of team “Speed Force” that they must not use their newfound powers. Despite having gifts and wanting to help, these men are not superheroes in Barry’s eyes, at least not yet. So what does it take to truly become a superhero? Does it require a fine-tuned sense of when and how to use your powers? Does it even require having superpowers at all? Looks like Barry’s about to find that out the hard way. Continue reading →
Today, Drew and guest writer Pivitor are discussing the Flash 17, originally released February 27th, 2013.
Drew: “Move forward” are the words the Flash lives by — both the man and the title. We’ve seen both accept rather profound changes, from the newfound abilities of the Rogues to his own death, rolling with the punches where most superheroes (and their series) might work to return things to their status quo. At the same time, writers Brian Buccellato and Francis Manapul are ever committed to their own continuity, recalling and building upon details first mentioned months earlier. The fact that those elements don’t come into play until long after they are introduced gives the series a propulsive sense of forward motion, allowing it to build incrementally. Thus, issue 17 can resolve plot elements first established in issue 6, as the Rogues, Gorillas, and the victims lost in the Speed Force finally get their due. Continue reading →
Today, Patrick and Scott are discussing the Flash 16, originally released January 30th, 2013.
Patrick: We expect our heroes to bravely sacrifice themselves for the greater good. If we’re blessed with complex characters, we can even expect this of our anti-heroes. But what about our ancillary characters? With the smoke-screen of a superheroic battle for the fate of city, real-world sacrifices tend to go unnoticed. Francis Manapul and Brian Buccellato deliver plenty of that bombastic hero action, but bury under it the sad, frustrated story of Iris West. Continue reading →
Today, Patrick and Mikyzptlk are discussing the Flash 15, originally released January 2nd, 2013.
Patrick: Whenever a writer keeps up several narrative threads at one time, one of us will say that he or she is “spinning a lot of plates.” It’s an odd metaphor. I mean — “juggling” works just as well to express the same thing and it’s a much more common activity. My friend Pete Pfarr had a KLUTZ book that taught him how to juggle, but there sure as shit wasn’t any KLUTZ book to teach him plate spinning. So what makes that turn-of-phrase so useful in describing the storytelling in The Flash 15? Possibly because we get the sense that the stories continue (the plates continue to spin) even when we’re not watching them. But I think the real reason we use the metaphor — and the only reason we’d want to see someone spinning plates (because: boring, amirite?) — is because we can’t wait to see what happens when too many plates are spinning and they all come crashing down. Boldly, Francis Manapul and Brian Buccellato give us just that. Continue reading →