Comic Book Review: The Flash #9

Written By: Geoff Johns

Artist: Francis Manapul

Colorist: Brian Buccellatto

Cover Artist: Manapul & Buccellatto

Letterer: Sal Cipriano

Editor: Adam Schlagman & Eddie Berganza

My Awe-Inspiring Opinion

The most frustrating thing about comics is how fast one can burn through all 22 pages. (Or in Flash #9’s case, 20 pages.)  In most cases, and I’m sure I speak for all comic book junkies, I find myself finishing up a comic and wishing it hadn’t ended so quickly.  With Flashpoint coming up next month, Johns is making a valiant effort in getting it off to a good start through Flash #9.  While the writing and plot progression is great, I felt a little empty at the issue’s end.

It’s one of those stories I like the most from my comics, when the writer takes time to develop the unmasked persona of a hero.  Barry Allen is bombarded with work and isn’t receiving a lot of support from his fellow policemen.  This in turn is having a major impact on his family and social life having missed the first Allen family picnic since they began who knows when.  But of course, this side of the story helps to initiate the angst and drama as Barry does his best to solve the mystery of the 16 year old Elongated Kid who somehow died of old age in less than a day.  But to top it all off, this Flash installment ends with Barry Allen chasing after Barry Allen…wait, what?

So this issue is pretty compact with practically three plotlines running through it; Barry having issues with his family, the Elongated Kid mystery, and the motorcyclist randomly speeding through the city who happens to be Barry Allen’s doppelganger.  I realize that this is the beginning of Flashpoint and Johns is just using The Flash to help move into the miniseries, but I did feel just a tad overwhelmed…mostly because I wasn’t expecting it.

I loved the focus on Barry’s family troubles due to his job and how he’s having difficulty coping with everything else surrounding his life, especially the tension that he and his wife are struggling through.  One thing is clear though despite all the tension, those two really do love each other, which is an encouraging thought.  I certainly wouldn’t want to see Iris leaving Barry after he’s been back from the dead for such a short time.

Let’s move to the crime scene with the purposefully confusing and wrinkly Elongated Kid because this is where I have minor difficulties.  It’s the perfect way to start a mystery; creating an event that seemingly has nothing to do with the major events in the story.  But connected to the family issues and the other Barry Allen, my imagination felt a little too congested.  BUT!!! This is in no way stopping me from going to pick up flashpoint and continuing with the regular Flash title.  I guess, despite the overwhelming nature of this issue, Johns is doing a good job at keeping me hooked.

Having recently voted Manapul as the best artist of 2010, I’m certain to say his nomination for 2011 is looking exceptionally bright.  But even more impressive is Brian Buccellatto’s usage of lighting, both bright and dim.  The crime scene flushed with shades of green and the bright orange light bouncing off of the motorcycle as it glides down the side of the building, illuminating off of Barry and his office is a definite sign of pure and error free artistry.

And just a side note…sure, it’s a surprising ending, but if anyone is really THAT surprised by Barry Allen traveling from the future to meet his past self, then you’re either really easily impressed or haven’t been around comics long enough to recognize this trend in comics.

My Majestically Climactic Conclusion

I shouldn’t really complain should I?  This is the nature of comics. They come out once a month and we only get 22 pages of storyline that only takes us anywhere from 5 to 15 minutes to read through, I should expect some overwhelming stories right?  This isn’t a bad issue by any means.  It’s not the best of the series, but you won’t read it and think to yourself “What the fuck was that shit?”  It’s still worth your time.

7 out of 10 stars.

Best Artist of 2010...Francis Manapul

Sometimes it's hard for me to pick who I think made the top spot for best artist for the entire year.  There's so many good ones out there and they all do there part in giving stories life and gusto.  Amanda Conner and Gary Frank were close contenders, followed closely by Frank Quietly.  But there is no doubt in my mind as to who wins the title for this year.

In 2009 I picked Ed Benes, but he only worked on very few comics that year; it made me feel the need to alter my requirements for being the Heretic's Blog pick for best artist.  Well this year I think I got it right!  Say hello to the best artist of 2010, Mr. Francis Manapul! (applause!)

He hasn't been working in comics that long based on the information I was able to scrounge up on him, (that's right Manapul, I'm your personal stalker!)  but in 2007 he signed a contract with DC comics and has worked on some very popular titles like Legion of Superheroes, Superman/Batman and Adventure Comics.  While his career with DC is very short, he's definitely made a mark for himself within the comic book world and is progressively rising.

I should note that he has a resume with some very well-to-do comic book companies such as Aspen, Top Cow and Image Comics.  All of which truly help him boost into the artist spotlight today.

I've chosen Manapul as 2010's best artist mainly for his work in the 3rd volume of the Flash title.  For those familiar with his work, Manapul's style is unique and edgy, always pronouncing that "sketched out" look.  Most other artists out there take time to make everything they do exceptionally clean with extra smooth lines.  This isn't bad by any means, it's the way I draw for pete's sake!  But Manapul gives us something fresh and different to look at while enjoying our comic reading experience.  I hope to be at a comic book convention where he attends so I can shake his hand and tell him how much I enjoy his artwork.

Below are a few of his pieces, enjoy!

Comic Book Review: The Flash #7

Literary & Artistic Credits

Writer: Geoff Johns

Penciller:  Scott Kolins

Inker: Scott Kolins

Colorist: Brian Buccellato

Letterer: Sal Cipriano

Cover Art: Francis Manapul

Editor: Adam Schlagman & Eddie Berganza

My Awe-Inspiring Opinion

Look guys and gals, I enjoy the occasional deviation from a comic book title’s focus to dive deeper into a characters personality just as much as the next geek, but Captain Boomerang?  Of all the villains out there…

Ok, so maybe it wasn’t THAT bad.  I guess I’m just a tad bit upset by the fact that, after only six issues DC decides to take Flash out for one comic book installment to focus in on one of DC’s lamest villains.  The actual writing of this issue isn’t bad by any means; Geoff Johns is a fantastic writer and can typically turn even the most uncreative and boring characters/stories into a readable storyline.  But the outcome lends nothing to the title itself and is, more than anything, just a recap of stuff we already know.

Digger Harkness grew up in a crumby part of the world where his dad beats him, his brother enjoys the show, and his mother allows Digger to endure such ridicule from his father out of fear I’m sure.  But mysteriously, Digger constantly receives a boomerang in the mail, despite his dad’s consistent breaking of them.  One thing leads to another, and Digger becomes a master of the boomerang, leaves home and…well…you know the rest.

So let me ask this…what purpose did this issue serve other than to fill in the gap of the Flash’s deviation from a monthly schedule?  Is there a reason why Brightest Day is slapped across the top of the cover when the only connection this title has to the after math of the Zombie attack are the self generating boomerangs?  Was this merely an attempt to release the Reverse-Flash and allow him to return with a vengeance, but you needed a fill-in storyline.  I don’t understand how this specific focus on Captain Boomerang actually helps us understand the lead-in with the Reverse-Flash, nor how this aids to the title in general.

Boomerang is still a decent character, but I don’t think it merits making him a focal point in any single issue.  I’m all about the splurge of villain focused book, but keep Boomerang out of the mix.

Scott Kolins was a great replacement for Francis Manapul this month as he emulated this titles regular artist quite well.  Sure, you can tell the difference between the two styles, but by no means should anyone have anything to complain about.  The colors work even better as a representation of what Manapul and company have put in motion with this title, especially when Reverse-Flash finally pops out of his hanging, metal-cocoon prison; flashing about his yellow and red suit with piercing, blood-shot eyeballs. And let’s not forget about that cover!  Manapul, you’ve done it again.

My Majestically Climactic Conclusion

Here’s the deal, everyone will probably be entertain by this issue.  I know I was thanks to the fabulous work by writer Geoff Johns.  But to be honest, skipping this issue is also a viable option.  We aren’t given much as far as new content and it really doesn’t serve the title that well.

Rating: 6.7 out of 10

Writing: 7

Art: 8

Themes: 5

Comic Book Review: The Flash #6

Literary & Artistic Credits

Writer: Geoff Johns

Penciller: Francis Manapul

Colorist: Brian Buccellato

Letterer: Sal Cipriano

Cover Art: Manapul & Buccellato

Editor: Adam Schlagman & Eddie Berganza

My Awe-Inspiring Opinion

Do you know why stories dealing in time travel are so hard to write?  Because no matter how hard you try there will always be that paradox causing confusion within the storyline.  Very few books that use time travel as the plot base work fluidly and prevent headaches from occurring.  The guiltiest culprits of poorly written time travel stories are comic book writers, who taken advantage of this sci-fi genre, going a little over board and loosing track of the story in the midst of the excitement of jumping back and forth through time.  The exception to this crowd, however, is Mr. Geoff Johns.

The plot involves Flash calling the Renegades out in their methods and motivation. Flash manages to escape the futuristic police force and proves once again that he is the greatest Flash of all time.  Barry goes back to his own time to save the women he loves and clear his name.  But can he make it back in time before Top accomplishes his deed?  (I’m sure you can figure this one out right?)

Johns still has much to deal with, what with the same paradoxical issues that string along with this arc, but he manages to address those issues in elegant form and style.

First, as stated above, time travel stories face confusion and continuity problems; always deviating from reality and providing conclusions to the story that makes readers slap their hands against their foreheads in disgust.  Bill and Ted is one of the more successful plots involving time travel.  But here, Johns takes these unrealistic and confusing aspects of time travel storytelling and makes sense out of it, putting all the fault on the renegades and showing how they were the ones making the bad time traveling decisions.  This gives off the realistic vibe that trying to change the past really can’t succeed in the way you want it too.

Secondly, the tie-in with what’s currently going on in many of the DC titles helps to solidify that fact that the time stream in the DCU truly is having problems, which is why the Renegades made such awful mistakes to begin with.  Wonder Woman, Bruce Wayne, Brightest Day, etc, it all ties-in to this specific story in “The Flash,” but helps explain some things that many fans, I’m sure, have been severely disappointed in.  (Wonder Woman guys, Wonder Woman!)

As readers, we are tied between the uncertainty of the justice system in the future and wanting crime to be done away with using this type of enforcement.  We aren’t left with any easy answers and Johns does a good job in ending this issue very ambiguously; we still have a fairly happy ending, but both sides of the argument are presented in both positive and negative lights.  Even the villain, Top, wasn’t completely bad.  Living under a system such as this could drive anyone to committing a crime to clear his or her name.  The point is, you can’t put blame on any single person or group as everyone has done something a little sketchy.

How is it Francis Manapul continuously improves the quality of his art as the months push on I have no idea.  I’m beginning to like his style so much that I almost prefer it over the cleaned up, inked-to-hell look.  This sketched out look gives it a very fresh feel that forces the art to stick out, begging to be noticed and praised. 

My Majestically Climactic Conclusion

Though Brightest Day is having a lot of trouble standing on its own, Johns is making the tie-in with the Flash fantastic.  But even if you aren’t following Brightest Day, the Flash #6 will still stand on its own and doesn’t RELY on the major DC event for excellence.  The Flash is a great book and you NEED to pick it up if you haven’t already.

Rating: 10 out of 10

Writing: 10

Art: 10

Themes: 10

Comic Book Review: The Flash #5

Literary & Artistic Credits

Writer: Geoff Johns

Art: Francis Manapul

Colorist: Brian Buccellato

Letterer: Sal Cipriano

Cover Art: Manapul & Buccellato

My Awe-Inspiring Opinion

Where does Geoff John’s heart lie? (Other than with Green Lantern…) Why, with The Flash of course!  Johns seems to be luckier any other writer on the planet because he always lands the titles he cares about the most.  The Flash has been a delight to read from beginning to now; and with only five issues in the run, it’s still showing more potential and gusto than I could have hoped for.

The story has so much going on that Johns is justified in stretching the arc out as far as it has.  Most arcs we find today are prolonged for the sake of making it six to twelve issues long.  Johns is giving this Flash story so much meat that it leaves you wanting more.  Barry Allen is presented with the ultimate minority report, (Thanks Spielberg!)  going to jail for a crime he didn’t commit, or allow the inevitable to occur which results in the death of a human life.  And with Barry’s wife in jeopardy, Captain Boomerang on the loose, and the dilemma with the Rogues and Renegades, this Flash installment is nothing but pure excitement and thrills.

Speaking of thrills, Manapul certainly takes us on a roller coaster ride of sparks, flashes, and lighting bolt trails.  The structure and maturity in his artistry and talent is beginning to stick out as an unmatched quality among the comic book gods of art.  Even the depth, presented by colorist Cipriano, is so immensely defined and intense that Ed Benes could be challenged to the ump-teenth degree.

I do have some complaints about how much this title is tying in with Blackest Night and Brightest Day.  I really wanted the Flash to start off fresh and be able to stand on it’s own without referring back to Geoff John’s incredible hit mini-series.  Continuity is important, but can become a bit cumbersome in the midst of a fantastic story.

And of course, how many times have we seen a superhero go on trial by a futuristic police force, or an intergalactic alien government, leaving the hero clueless to the accusations. (That damned trial of Superman back from my childhood really left a bad taste in my mouth.)  And I really do wish we could move past the whole time paradox that exists within our comic books.  I understand it comes along with the territory of science fiction, but honestly, it seems to pop up more often than it should.

My Majestically Climactic Conclusion

Apart from some minor gripes, this issue is a fantastic read and I recommend it to all.  Now with Iris in danger and the Flash on trial for something he hasn’t done yet, I can’t help but wait with great anticipation on what will happen next.  I wish comics didn’t have to be limited to 22 pages.

Rating: 9.66 out of 10

Writing: 10

Art: 10

Themes: 9

Comic Book Review: Brightest Day #7

Book Information

Written by Geoff Johns & Peter Tomasi
Penciled by Ivan Reis, Patrick Gleason, Ardian Syaf, Scott Clark, Joe Prado
Colors by Aspen MLT’s Peter Steigerwald with John Starr
Lettered by Rob Clark Jr.
Cover by David Finch, Scott Williams, & Steigerwald

My Awe-Inspiring Opinion
Alright, now we’re getting somewhere. Finally, things are starting to make sense, and just when I was ready to call it quits with this comic. Johns and Tomasi have definitely raised the bar this week with the promised and much anticipated revelation in this issue. While the bulk of the story is still a mystery, we’ve been given some angst to hold onto for two weeks to help boost our confidence that Brightest Day is actually going somewhere.

Each character gets their time in the spotlight, but none like Deadman. One of the questions at the forefront of my mind dealt with the King Arthur figure and who would actually be able to lift the white lantern from the ground. I don’t want to call it too soon however, it’s still fairly early in the story, but finally we can be certain of Deadman’s importance within Brightest Day.

The artist toggle didn’t work for me as much this time through; there was a lot more bumpy transitions from style to style that I wish would have felt more seamless. I just have a REALLY hard time going from this…

To this…

However, the artistry of each separate unit was executed quite well. Some parts of the toggling were actually very interesting, especially during the revelational two paged spread where each character is given a specific task to perform. And while the artistic finality of the two pager spread is quite ingenious, the whole idea that the white lantern entity is setting destiny in motion seems rather contrived to me. I felt the entity was very helpless against Nekron; being displayed as very innocent, ignorant, and like an infant unable to understand the world around him. (Or is it a her?) But this is part of the overarching mystery I suppose, I shouldn’t knock it quite yet.

Is it just me, or does Aquaman’s dilemma seem a bit TOO odd? First he can only control dead sea creatures, now he can bring them to life? I would really like to know where Johns and Tomasi are going with this. I understood the connection with death since he is, after all, a retired Black Lantern. But now, all of the sudden whatever he touches comes to life? Maybe this falls into place somewhere that I’m not seeing, but I would very much like this to resolve sooner rather than later.

My Awesomely Climactic Conclusion
Nicely done. I truly was ready to give up on this series. I was afraid the Morrison disease was spreading into Johns and Tomasi writing a story with a confusion lead up to a eventual poor ending. I’m keeping my fingers crossed.

Ratings
Writing: 8
Themes: 8
Art: 6
Overall: 7.33 out of 10

Comic Book Review: The Flash #4

Book Information

Written by Geoff Johns
Penciled by Francis Manapul
Colors by Brian Buccellato
Letters by Sal Cipriano
Cover by Manapul & Buccellato

My Awe-Inspiring Opinion
When it comes to Geoff Johns, there’s one thing we can be certain about…his ability to successfully revive a hero is unmatched. No wonder DC hired him to remap the DCU, he gives each reawakening such a fresh new start. The work he put in Flash: Rebirth and the secret origin stories of Green Lantern and Superman have been remarkably well done. And with being four issues into the reinstatement of Barry Allen’s once owned Flash title, it’s one heck of jump start.

With the first two issues of this run, we understood right from the beginning that the renegades weren’t necessarily bad people, but we still didn’t like them right? #4 shows us a different side to this futuristic police force, one of compassion combined with a conflicting sense of loyalty to their jobs and fallen comrades. Who should I route for? If the Flash beats these guys, then the Renegade’s deceased partner stays dead. But if the Renegades complete their task in apprehending the Flash, will this time paradox of arresting citizens before they commit a crime become a lawful standard in the future? With each positive option comes a necessary evil that isn’t beneficial to anyone. Just like in Alan Moore’s “Watchmen,” Johns makes us ask the question, “Which side do you choose when both sides are wrong?”

But Johns also brings to the literary table a sense of urgency. With Barry Allen’s new found knowledge of his wife’s possible life threatening predicament, and the secret plotting by Captain Cold and the Rouges to finally put and end to the Flash once and for all, all I can do is hold on tight for 4 + weeks and await the outcome. I just might die in all the angst driven anticipation!

Then there’s Francis Manapul, who has shocked me completely with his uncanny ability to create such marvelous works of art. The separation Manapul makes between what the world looks like when the Flash is running vs. when he isn’t is crisp and eloquently jaunting. And with the very unique painted look Brian Buccellato adds to the Flash Motif, you could honestly sit down in your chair, take an eraser and wipe out all of the dialogue and gaze upon each and every panel and still enjoy Flash #4 just as much as you would with the words. I think I have no choice but to make Mr. Manapul a candidate for my top comic book artists of 2010 list.

My Awesomely Climactic Conclusion
Alas, it hurts me to wait so long for the 5th installment of this awesome title. Johns, like always, has put so much hard work into making this title unique and fresh while still holding on to some of those classic story telling techniques. While I can say with absolute certainty that this issue will not make it as the best comic for 2010, it sure as hell is in the running for making the top ten.

Ratings
Writing: 10
Themes: 10
Art: 10
Overall: 10 out of 10

Comic Book Review: The Flash #3

Book Information
Written by Geoff Johns
Penciled by Francis Manapul
Colored by Brian Buccellato
Lettered by Sal Cipriano
Cover by Manapul & Buccellato

My Awe-Inspiring Opinion
Isn’t it nice when you buy a comic, sit down, open it up, and you’ve read over ten pages without running into a single advertisement? I haven’t gone back to look but I believe it’s over ten pages before the first advertisement punches me in the face! It’s one of the more satisfying revelations that I can have in my comic reading experiences.

Aside from that very joyous aspect of Flash #3, the bulk of this issue continues the mystery of Flash outrunning the futuristic time cops who have an apparent legal right to arrest someone for committing a murder that has not happened yet. #3 also begins the connection between Digger Harkness and the Brightest Day/Blackest Night fiasco. Reestablishing a hero is not an easy thing to do, which is why Geoff Johns is such a gold mine for DC Comics; he has the ability at making a hero’s purpose meaningful and mysterious.

Flash #3 doesn’t really give us anything new to further the story along. There is a brief mentioning that if the time cops take Iris, the whole ordeal would be finished. But it’s merely icing on this mysterious cake that doesn’t extend further than what you see on paper. You could almost say #3 is a complete rehashing of last month’s “Flash” installment; time cops come for Barry, he and Iris meet for coffee, Barry gets into a verbal tussle with his coworker, it all has a familiar taste to it. This issue’s main concern was bringing in Captain Boomerang and showing off his new supernatural ability which is a result of what happened during Blackest Night. It’s quite interesting to think about, out of all the villains to choose from, Captain Boomerang is the one at focus here. It’s not a bad thing by any means, just interesting.

The story and themes themselves, like I stated above, doesn’t do much as far as pushing forward with this story arc. However, Johns seems to be more concerned with establishing Barry Allen since he’s been gone for so long. Barry still has a knack for using his connection to the Speed Force very intelligently and doesn’t just “run away” from his enemies. However, I do hope next month we get a better picture about why the Renegades are after Flash. Who does Flash kill? I have my suspicions, but I’ll leave that to myself for right now. I just hope Iris is kept safe!

I’m becoming a big fan of artists whose artistic style doesn’t resemble the typical style you find in comics these days. You got Jim Lee, Ed Benes, Tony Daniel, Ivan Reis, Doug Mahnke, etc., and they’re all GREAT, but their styles are quite similar. When you compare them to Amanda Conner, Frank Quietly, and Francis Manapul, the styles are just so different that, from an artist’s perspective, it quite artistically rejuvenating. Manapul definitely has a style that I constantly go back to after reading an issue merely to gaze upon his work. The best way to describe it is rough and smooth, all at the same time. But credit is also due to his colorist, Buccellato, whose painted look brings out the artistry even more.

My Profoundly Climactic Conclusion
Nothing profound or enduring, it’s just a lot of fun and engaging to read. I wonder when we’ll find out who Flash is supposedly going to murder.

Ratings
Writing: 9
Themes: 8
Art: 10
Overall: 9 out of 10

Comic Book Review: The Flash #2

Book Information

Written by Geoff Johns

Penciled by Frances Manapul

Colored by Brian Buccellato

Lettered by Sal Cipriano

Cover by Manapul, Buccellato

My Awe-Inspiring Opinion

Flash #2 begins where #1 left off.  Flash must decide if he accepts the fact that these futuristic versions of his old foes have traveled back in time to arrest him, or to escape.  (Gee, I wonder what he’ll do?)  After a pretty intense battle sequence, and one speedy rebuilding of an apartment, The Flash resumes his daily job routines only to discover that he is actually a suspect in a much bigger mystery. 

I can’t complain, this was a fun read.  It may not be the best issue of the month, but by no means is it the worst, far from it actually.  All Flash #2 is doing is doing is pushing the story forward and creating even more tension within the mystery while keeping it fun and exciting to read.  I love how Johns isn’t letting up on the unrelenting relationship the Flash has with time and space.  He only recently escaped his entrapment in time, now people from the future are coming back to take him through it all over again.  But even after the battle was done and these mystery men were sent back to their time, Johns puts Flash in a sticky spot by causing a near by, run down apartment building to crumble where he must use all his energy to save every tenant before the building crumbles away. 

I know what you’re thinking, “Where will these people live now that their home is gone?”  Don’t worry, Geoff Johns isn’t so evil that he didn’t have a backup plan.  I would recommend reading Flash #2 to discover how Barry Allen learns all of his construction skills.

I’ve never seen Manapul do much work in comics, at least not in the DC arena.  It’s a shame too, he is almost flawless in his artistry.  The one problem the Flash has been met with since his inception are the over abundance in speed lines.  Artists over the years have never quite been able to figure out how to make it work without becoming too much of a distraction.  Manapul loads up on the speed lines but somehow makes it work.  And while I’ve never been a huge fan of the trailing lighting bolts, it doesn’t detract from the visual appeal.

I'm not sure I understand the significance of slapping the "Brightest Day" title on the front cover.  I would think that connection between Brightest Day and Flash would at leasts be somewhat predominant in the story, but no such evidence has occurred.  maybe someone can enlighten me.

My Profoundly Climactic Conclusion

Flash has never intrigued me until now.  I have always found him to be a creative idea but never thought of him as a timeless character.  That’s one of Geoff Johns’ many positive attributes as a comic book writer, he gives the characters purpose and a reasonable sense of being.

Ratings

Writing: 10

Themes: 9.5

Art: 10

Overall: 9.83 out of 10

Comic Book Review: The Flash #1

Book Information

Written by Geoff Johns

Art by Francis Manapul

Plot

A mystery is at hand! (like always) Barry Allen is back in the “Flash” and keeping people safe from the thugs and criminals who wish ill-will on the innocent bystanders of Central City.  But a Mirror Mask look alike has descended upon the City and Barry Allen has no idea what is going on.  The Flash must do all he can to solve this mystery before he is wrongly accused of murder.

My Thoughts

This issue was not what I expected it to be, which isn’t necessarily a bad thing.  Flash #1 focuses more on the reestablishing of Barry Allen and the people around him in the DCU, which means this is a much more dialogue driven script than anything else.  So I would implore those of you who are hoping for a lot of lighting bolt trailing action to sit back and not allow your pre-conceived ideas of this book to dictate your feelings about the story.

Writing

The book starts out with a nice entrance as the Flash shoots down the street after the Trickster who seems to have chosen a poor get away car to outrun the cops in.  But I guess the make and model of a vehicle is a secondary concern for Geoff Johns since the entire chase scene is pretty epic, ending with the automobile flying off a harbor dock and the Flash ripping the car apart mid-air to save a kid in a pretty silveristic-age style.

The next 13 to 14 pages place Barry Allen back into his old forensic position at the Central City crime lab.  My problem is I was never a huge fan of the Flash, especially during the whole aftermath of that damned Zero Hour so many years ago.  So for me, having a reintroduction to a lot of the classic Flash characters was a nice re-cap.  However, seeing as how fans wouldn’t want a complete history lesson of stuff they already know, Johns pushed through the re-capping pretty quickly, giving us enough to be informed without dragging the story down.

It’s interesting to me that virtually no time is spent on Iris and Barry catching back up on the years they have missed together.  I’m very much a fan of nostalgic story lines so I was a tad disappointed that Johns didn’t take advantage of that literary opportunity.  There was an instance where Iris and Barry look back on an agreement they made, defining the professional boundaries Barry has to take between his personal life and work; this moment was equally happy and sad, foreshadowing what this married couple’s future could be like.

Rating: 8.5

Themes

As the book reestablishes Barry Allen into the DCU, the loneliness that seems to following him along is an interesting aspect.  Not one character in this book is an unfamiliar face in the eyes of Barry Allen, yet the amount of loneliness I sense in Barry is more than I could have endured.  He walks into a city he hasn’t seen in years, finds himself at semi-odds with his wife, and is unable to make himself comfortable in his old workplace.  Now while Johns is presenting The Flash as a happy-dappy man who goes with the flow, and it’s possible I’m seeing things that aren’t there, I can’t seem to get past those moments of utter loneliness.

Rating: 7.5

Art

If you take out the word balloons and thought boxes, I would still find myself enjoying this book equally as much.  Francis Manapul might have just boosted himself as one of my favorite artists.  His style seems to combine both the clean, finished look with the rough sketch approach which makes it very appealing visually as no one else draws like that.

I’ve never been a huge fan of the lighting bolts trailing after the Flash (any of them) so it is a bit annoying to me to have to see that happy trail every time he shoots off.  But minor annoyances aside, I love how well done the speed lines are in this issue.  This is an important and vital aspect in the Flash mythos and if it’s not done well, it’s possible the book could fail.

I do find it odd that Both Barry and Iris look a lot younger than they probably should, but Power Girl has been around for ages and her boobs are perkier than ever with no sag in sight.  I guess I can live with a 70 year old man living in a 30 year old man’s body.

Rating: 9

Overall

A fun read; probably one of the better “first” issues I’ve read in a long time.

Rating: 8.3 out of 10 stars

Next Issue Coming May 12, 2010

BRIGHTEST DAY shines its light on the continuing saga of Barry Allen – The Fastest Man Alive! The Flash continues his investigation into the "Dastardly Death of the Rogues" as the case takes a dramatic turn and Barry corners a suspect...and can't believe who it is!