Drew: I have a friend who used to love Law and Order — er, he liked it as much as a person can really like an episodic primetime drama — the point is, he was happy to tune in every week to see how the team handles the new case. That is, until his son pointed out to him how formulaic the show really is — right down to when in the episode they’ll nab the wrong suspect, find that key clue, or offer a plea bargain. It ruined the show for him — knowing what would happen next robbed every development of any drama, so he just stopped watching it. In some way, we all have this same experience with storytelling in general: the more stories we consume, and the more familiar with common formulas we become, the better we are at predicting what happens next. We recognize foreshadowing, we notice if we’re being intentionally misled — we just become harder to fool. Many of us are willing to put that aside to suspend our disbelief that maybe the hero won’t make it out this time, or maybe the lead couple won’t end up together, after all, but sometimes a writer still wants to surprise us. This often requires going into DEEP left field, which can make the resulting developments feel arbitrary, or even nonsensical. Unfortunately, those are the kinds of final act reveals we get in Flash 29.
Scott: As a kid, I didn’t enjoy ghost stories very much. I did my best to avoid them, but sometimes, late at night at a slumber party or around a campfire, it was impossible. I endured; listening wasn’t the hard part. In the moment, whatever shock or gore the stories contained didn’t affect me much. It was the aftermath, the lingering psychological torment — the fear, however irrational, that maybe the deranged killers they told these stories about might actually exist. In The Flash 28, Barry Allen is confronted with my greatest fear: the murderous monster from his childhood ghost story is real. A ghost story combined with a detective story, this issue is as fun as you can imagine, even though all of the elements don’t mix together quite right.
Today, Drew and Scott are discussing The Flash 27, originally released January 29th, 2014.
Drew: As a society, we emphasize “truth” above all else — even as we often acknowledge the necessity (or at least convenience) of small lies. We tell lies to beg off of social invitations, or to save face after doing something stupid — I once even made a fake email account just to avoid having to explain a too-complicated truth. These lies are generally pretty transparent, but we feel compelled to maintain the facade because “actually, your band sounded terrible,” just feels cruel. Of course, all of those lies flying around make it possible for people to get a false sense of themselves (or at least a false sense of how interested coworkers are in looking at pictures of their cats), that is, those little lies can become a bigger truth, upon which someones own sense of self might be based. Its those kinds of truths that seem to be in play in The Flash 27, as Barry begins to chip at the finish of his candy-colored world. Continue reading
Today, Patrick and Drew are discussing The Flash 0, originally released September 26, 2012. The Flash 0 is part of the line-wide Zero Month.
Patrick: This issue is essentially the two discrete pieces of Barry Allen origin story that you might already be familiar with. DISCRETE PORTION A: Barry’s mother was murdered when he was a child. His father was arrested for the crime and Barry became a forensic scientist in the hope of catching the real killer and clearing his father’s name. DISCRETE PORTION B: Barry is struck with lightning and doused with chemicals, transforming him into the Fastest Man Alive. Previously, Geoff Johns’ The Flash: Rebirth attempted to dovetail these discrete story points mythologically — and that’s the best tool in his tool box, so I can’t fault him for using it. Francis Manapul and Brian Buccellato, revisit these moments and connect them emotionally. It is a story at once more sensible, more compact and more powerful. Continue reading