DC Comics

October 25, 2014

The Flash #35 – Comics Review

Time travel plot threads bring Barry Allen into battle against himself from the future.The Flash #35 offers:

  • Excellent portrayal of Super Speed, and strong use of lettering, colour, and light in the artwork.
  • Insight into Barry’s character: change and potential in his future selfs actions and attitudes.
  • Unusual Time Travel perspectives and broad, science fiction ideas.

Light, electricity, and lightning crackle across the pages of this comic. Super Speed is portrayed through interesting art choices, later in the comic book.

The best art choices arrive late in the comic. It’s the introduction of a second time traveler that brings a interesting change in the art choices. Up until that point, the comic book had show off super speed as blurred fists and feet, and repeated images of The Flash and his future self running.

This character has one particular panel that shows off how super speed can work. Future Barry makes a final move against the present Barry. He tosses pebbles. They fly as fast as bullets.

In one panel the character notices the tine stones, reaches out to stop them, and then activates his powers and outruns them, stopping the pebbles from reaching Barry.

These actions all occur in one panel, representing barely a second of time passing.

Essentially, this hero has caught the pebbles at the same time he has noticed them. The panels effectively captures how quickly a character with super speed moves – faster than sound, arriving before his voice finishes travelling through the air.

While it’s a spoiler to reveal this character’s identity, the portrayal of their speed is effective.

The red clothed Barry Allen of the present, and the electric blue Barry from the future, stage their battle on a desolate plain of white salt flats. Lightning and electricity crackle across all the panels after the opening scenes, and stay for the remainder of the comic. Pages of red, yellow, and blue electricity fly across panels accompanied by giant, electric lettering.

Barry is contrasted with his future self, who has lowered himself into cynicism. Compared to his past self, Future Barry does not respect the criminal justice system, and believes in violence as a solution for his problems.

Before the battle begins, Barry of the present eats cereal for breakfast. He chooses “refined sugars and process grains”. Not a great choice for breakfast – The Flash’s metabolic rate might allow him to eat whatever calories he needs, but it’s not the best example to set. It is an interesting comment that Barry’s future self effectively stops him from eating the sugar-coated cereal.

This raises the question of if time travel were possible, would we stop our past selves eating unhealthy food choices?

Barry and Future Barry also fight over lethal force. Future Barry has concluded that arresting criminals and seeking rehabilitation for them – what he calls “virtue” is not enough. Villains continue to re-offend, and murder. He has reached the extreme point of rejecting the criminal justice system.

Fighting style also receives a comment from Future Barry. He name-drops Deathstroke, Lady Shiva, and The Batman as his martial arts teachers. He comments to his past self:

“Speed. It’s the only weapon you have…a reason to neglect honing your other skills”

The comic book explores large science fiction concepts and perspective more than deeper themes. Speed Force as exotic matter appears alongside an interesting perspective on time travel.

The plot of the comic relies on the exotic matter of the Speed Force. Fixing the broken Speed Force drives Future-Barry’s actions. Repairing the damage involved applying more Speed Force to the Speed Force problem.

Despite the re-use of Speed Force throughout the comic to explain the problems and provide solutions, the comic book provides entertaining science fiction.

Time as portrayed in this comic book does not fit into Back to the Future rules. Barry’s death in the present would not wipe away this future version of himself. Time travel ideas here are difficult to conceptualise. How would a paradox not happen if the younger Barry was killed? Would Future Barry necessarily fade out of existence rapidly?

It’s an interesting perspective – looking at time not as a cause and effect, with a series of linear events, but as a more abstract concept. It’s difficult to see time as a larger, interconnected web, or any shape other than a chain of linked events.

The Flash #35 is published by DC Comics ($2.99USD). Robert Venditti & Van Jensen (W.) Brett Booth (P.) Norm Rapmund (I.) Andrew Dalhouse (C.) Dezi Sienty (L.) Cover artwork by Booth, Rapmund, Dalhouse.

September 27, 2014

Superman Doomed #2, New Avengers #24, Saga #23 – Short Comic Review

While I’m on vacation for three weeks, I’ve put together a short round up of comics published this week. I’ll return to full reviews on October 11, 2014.

Superman Doomed #2

The trust Lana and Lois place in Superman is a little inspiring to see. Even more so when they reach out to Superman – telepathically – and urge him to realise that no matter what he looks like, no matter how horrifying he might look, he is still Superman on the inside.

Appearance has nothing to do with strength, integrity, and everything Superman stands for. That’s the value here.

These scenes show excellent us of composition and positive and negative space. Panels and thought bubbles are expertly placed across action scenes. Worldwide, Superman’s friends (Baka, Jimmy Olsen, Supergirl, and Krypto) are all fighting to stop the villain Brainiac.

New Avengers #24

This comic has a story tied down in months of story telling. The science fiction concept of parallel universes plays out in this comic. The most intelligent characters in the Marvel Universe decided they could prevent incursions – events where two parallel universes collide, and only one of the twins can survive.

Unfortunately, the gathered heroes have fallen out. King Namor has fled to Dr. Doom for help, while the Black Panther’s country is under attack.

The artwork is widely varied. Strong facial expressions convey distaste, rage, fear, and other dramatic emotion.

There is a great deal of Orange and Black used in this comic. The colours wash over panels and scenes, with more violent scenes appearing in orange, and black in use for moments of conversation, drawing attention to the white speech bubbles.

Saga #23

The Truth is boring. If anything is clear in the opening pages of Saga, truth is not enough. People need enticement to believe in something. Life is complicated, but it’s also very short. Another idea appears. A scene between Izabel and Alana highlights that life is too short for petty ego fights, or sacrificing an entire relationship just to win one argument.

There’s some brilliant plot changes here and the artwork is stunning. A cliffhanger ending is a bit chilling.

What becomes more and more clear in Saga is that despite story focus largely centred on Alana and Marko, parents of the narrator, Hazel, there’s no guarantee that these two characters will remain to the end.

September 6, 2014

Brisbane Comic-Con 2014 Cosplay

I met several excellent cosplayers at Brisbane’s comic con this  Saturday (September 6). The costume quality was impressive. This weekend marks the first time Oz Comic-Con has arrived in the city of Brisbane. It was great to see such a wide variety of guests and costumes at the convention.

Mera

Angel

DoctorDoomIronPatriot

Roxy

Waynes

Codex

Fairyodd

Odin

Rocket

August 9, 2014

Green Lantern #34 – Comic Review

A new opponent for Hal Jordan has the power to convert emotions into energy. Simon Baz has also brought Hal Jordan a surprise. Green Lantern #34 offers:

  • Strong Inking in the opening artwork
  • Great colour choices
  • An interesting villain, who’s narration shows off the effects of fear
  • Ideas about consumption of resources

Inking for shadows and lines of action is particularly strong in the opening of the comic. The orange skies in these early scenes also contrast effectively with Hal Jordan’s Green uniform.

Ink shadows, and lines of motion are strong, and effectively enhance the opening pages of the comic. They make for defined, sharp, and fun artwork. They eye can follow the fight between Aga and Hal Jordan easily. The surface of this alien world where the two fight has vegetation, but with an orange sky. Washes of the colour contrast effectively with Hal’s shimmering emerald uniform.

Hal’s hair changes length between the first and second act of the comic – it’s now shorter around the back and sides. About a blade 2 length. He may have had time for a hair cut on the way back to Mogo.

While the scuffle with Aga, a new villain, is interesting, the core of the comic book is the conversation between Hal Jordan and his brother.

Aga is an interesting villain. He absorbs emotions, and converts that emotion into mass. Essentially, he’s an energy converter. The Green Lantern comic book has established the rule that emotion is energy – power rings convert emotion into physical, light energy. It’s plausible that Aga’s physiology converts emotions into metabolic energy.

Without discipline, his body’s ability can be undermined. When he encounters fear, that emotion drains his energy, and shrinks him down. A good message here.

The core of the comic introduces Hal’s brother into deep space. Simon Baz – another human and Green Lantern corps member – has transported his family from California on Earth to Mogo, which is the planet where the Green Lantern corps are based.

They have a great conversation over drinks – strong, Khundish Ale, which is sold in packs of 5.

Aga’s story arc makes a comment about the effects of fear. There is a statement about the consumption of resources in this comic book. The final pages allude to a new story arc with more answers.

While Aga’s short story arc in this issue shows that physical size can not protect someone from the debilitating effects of fear, there’s an overt statement about consumption of resources in this comic book.

Hal Jordan is stressed. Using will power to fire energy from his ring comes at a cost. Apparently, the universe has a finite amount of emotional energy, which the Green Lanterns burn up regularly with their emerald light.

Hal’s brother gives Hal some enlightenment – he says “life is consumption. We breathe, we eat, we build houses from trees.” The question is what we do with the resources we use.

The message here seems to be conservation of resources. The answer is still unclear. The conclusion of the comic seems to point out that the the problem of energy in the universe running out is not as simple as Hal Jordan thinks.

Green Lantern #34 is published by DC Comics ($3.99 USD). Robert Venditti (W.) Billy Tan, Rob Hunter, and Martin Coccolo (A.) Alex Sinclair (C.) Dave Sharpe (L.) Cover artwork by Billy Tan and Alex Sinclair.

July 26, 2014

Batman #33 – Comic Review

Batman #33 marks the end of Zero Year, which has chronicled the Batman’s first year in Gotham City. The last battle in the Ridder’s war of the mind takes place here. If Batman cannot solve twelve riddles, a squadron of jets will destroy the centre of Gotham City. The clock is ticking. Batman #33 offers:

  • Tension filled artwork
  • A great value discussion: Zero year represents a personal struggle against pain
  • A suitable comic for students studying perseverance, resilience, and symbols of strength in comics.
  • A worth story to celebrate 75 years of Batman comics

A series of very close shots build tension in the early pages. The Riddler’s exotic and toxic green colours dominate this comic. Black pages also appear, which are important to Bruce Wayne’s backstory.

Scenes in this comic relies on very close shots at dramatic points to punctuate the story arc. Particularly when the ending approaches. This restricts what the reader can see, and adds to the tension. It is not until the end of the comic that the comic pages allow the artwork to flow widely across the page.

Green dominates the comic book. It’s the Riddler’s influence. Early on in the story, the Riddler plays a game with Batman. The colour of his green suit seems to flood the panels, saturating the air with neon green light, and even warping the colour of his eyes. Scenes where Commissioner Gordon stands outside in the bright afternoon sunlight contrast with their variety of colours.

It’s also worth noting the blackout. Two pages of the story are blacked out. They only have a small amount of dialog. They tie into Bruce Wayne’s backstory, which sets up the comic’s values.

Without his guardians – Commissioner Gordon, Lucius Fox, and Alfred – the Batman would be unable to confront the Riddler.

In a long speech delivered close to the finale, Bruce Wayne comments that zero represents nothingness. All throughout his conflict with Edward Nygma – The Green Suited Riddler – The double meanings of seemingly everyday and ordinary objects, names, and places has become clear many times.

Through Bruce’s complete backstory, the value of zero becomes more clear.

Lucius Fox and Commissioner James Gordon are heroic, and Alfred is a lifesaver to the Batman. There is no way that any of the Riddler’s plans could be foiled without these three men supporting Bruce. They are his guardians, and have a lot to teach him.

The comic values facing pain, rather than becoming numb to the world. Zero year becomes a symbol of the battle for identity and personal strength against pain. Batman becomes a symbol of strength.

A major secret in Batman’s past is revealed. The pain he went through after the murder of his parents reached a point so intense, he voluntarily sought electroshock therapy. His plan was to be rebooted. Like an appliance, the brain runs on electricity. Bruce almost went through with the therapy to reboot himself. To delete himself, and the pain as well.

He decided to remain Bruce Wayne at the last moment, and find the reason to keep fighting and living. Before he could articulate what he wanted, Bruce states he knew he needed something important: he called it the “crazy thing that keeps me from going crazy”. Many years later, the Batman arrived.

This is a story about identity, and symbols. The Riddler’s attempt to deprive Gotham city of light and technology – resetting it back to zero – is defeat. Batman’s fight across zero year symbolises the fight for identity and personal strength against giving up, and defeat, in the face of pain. The Batman became Bruce Wayne’s reason to keep going – a symbol of strength he could use to protect Gotham City.

It’s a fitting anniversary story to celebrate 75 years of Batman comics.

Batman #33 is published by DC Comics ($4.99 USD). Scott Snyder (W.) Greg Capullo (P.) Danny Miki (I.) FCO Plascencia (C.) Dezi Sienty (L.) Cover artwork by Capullo, Miki, and Plascencia.

June 28, 2014

Superman #32 – Comic Review

A new creative team takes on the challenge of writing Superman comics at DC entertainment – this new direction contains large artwork with powerful action, and a new character – a man whose story mirrors Superman’s.

Superman #32 offers:

  • Powerful action scenes, and artwork that controls light effectively
  • A new character with a name from Greek Myth
  • A story that shows off the mythic quality of superhero comics, with themes of isolation

Large, splash pages, spread over two smaller pages, shows off powerful action scenes in this new, Superman comic. Light is used effectively throughout the comic book

While the comic begins with the origin of  a new character, a giant opening page introduces Superman. The man of steel knocks down a mechanical, giant gorilla with a right hook. Light changes convey a sense of tension or relaxation: the daily planet office is a cold grey, while Clark’s house is a warm, lighter yellow.

A splash page overflowing with blue electric lights introduces the sheer power of the new character. Ulysses has a name from greek myth, and a backstory that mirrors Superman’s, albeit on much smaller scale. Artwork for Ulysses scenes make excellent use of space. Each panel moves the reader in a circle around the two heroes.

Another interesting contrast is Ulysses costume contrasts Superman’s: Black, white, and grey against red, blue, and yellow. Greyscale to primary colours.

A new male character with powers comparable to the man of steel raises a point about diversity. A  dialog point intended to build character may need attention.

It’s interesting that Ulysses is a male character. Considering DC’s initiatives to add more diversity to their casts, I was expecting a new female character, or a character who shows diversity in some other way. A new female character is mentioned however: a political correspondent name Jackee Winters has started working at the daily planet. Winters and Lane have made friends, and as a black, female character, there’s no questioning the cast has diversity.

There is a dialogue point that had me confused:

“Klerik said he’d find my homeworld and destroy it. I believed it to be gone and that his threats where empty, but … it wasn’t destroyed.”

-Ulysses

So if Klerik threatened to destroy Ulysses’ homeworld, and he thought Klerik’s threats were empty, why did he believe Earth was gone? The exposition confuses a little. Either Ulysses is bewildered, or the sentence needed some more attention to clarify.

The comic establishes a theme of isolation in Superman’s behaviour, and Ulysses origin, and the theme ties these characters together. This issue shows the mythic quality of super hero comics, since myths are constantly retold, and this issue replicates Superman’s story.

Mythology plays a big role in this comic book. The key thing that defines myths are that they are retold. Encapsulated within this Superman comic is a smaller superman comic – Ulysses origin story is Superman‘s story on a smaller scale. Naming the character after a the well known Greek legend only highlights this quality more.

Isolation is a theme that plays out when Ulysses is introduced, and when Perry White a the Daily Planet points out that Clark’s increasing isolation. Ulysses parents, in their brief appearance, point out that their son will be alone in a new world. Later, Clark sits at home, calling Wonder Woman, leaving a message with Alfred for Bruce Wayne, and leafing through photo albums. He switches on his super hearing, and listens to Metropolis, rather than going out into the city, and flying between the sky scrapers.

Ulyesses last comment: He’s not alone anymore.

Popular Culture References:

As mentioned, naming a character Ulysses is a big reference to myths, and not just a popular culture reference: Ulysses, AKA Odysseus, was a Greek king, and main character of Homer’s Odyssey.

Superman #32 is published by DC Comics ($3.99 USD). Geoff Johns (W.) John Romita Jr. (A.) Klaus Janson (I.) Laura Martin (L.) Cover artwork by Romita Jr, Janson, Martin.

June 7, 2014

Action Comics #32 – Comic Review

In interview with Lois Lane, Superman reveals he made a terrible mistake. Killing the monster Doomsday has left him infected, unwell, and toxic. This decision has cost Superman his health, and his trustworthiness.

Action Comics #32 offers:

  • An insight into Superman‘s capacity as a symbol of hope and optimism after he decides to step over his values, and kill the monster Doomsday
  • artwork that captures isolation, and slowly adds new details to Superman‘s infection across each page, which shows time passing
  • Arrogance themes

Symptoms of the Doomsday infection worsen over time: the comic artwork captures time passing by adding more detail across the panels. Light and shade are used carefully in this comic book’s artwork

The comic opens with a great moment for the artwork. Superman’s pained facial expression. A forest burns down to ash. Superman turns pale. Themes of infection play out across the length of the comic: the art depicts Superman‘s worsening symptoms as the comic moves forward in time.

Superman sitting hunched and alone on a mountain top is a striking image. His read cape is blown askew by the wind. All around him is shadows. It’s one of a few, strategic ways light and shadows are used to show off Superman’s downfall through the artwork. The other moment is his meeting with Steel, Dr. John Henry Irons. Sunlight flows into the panel from the top right as the two shake hands.

Doomsday infected Superman moments after the monster died, once and for all. This has dramatic consequence, which affects how other characters trust Superman.

Superman‘s symptoms started moments after he attacked and killed a key villain, Doomsday. Doomsday stands up as a physical wall to Superman’s seemingly limitless strength. Doomsday pushes a dread into Superman’s ordinarily optimistic outlook, which makes the monster a strong psychological wall also.

This comic tells the story of Superman’s attempt to break down that wall with excessive force. Superman admits he made a mistake killing Doomsday. His arrogant action has caused Superman to become the monster he tried to destroy.

Superman is a trustworthy and optimistic symbol, and his downfall has several character consequences:

  • Lois Lane publicly declares Superman untrustworthy.
  • Jimmy Olsen, Perry White, Wonder Woman, and Lana Lang all declare their support for Superman.
  • Sam Lang, now Senator Lang, assembles a small carnival of monster to attack the man of steel. He turns the crisis of a toxic Superman into an opportunity to clear away his past mistakes
  • Steel has a lengthy exchange with Superman, and lets him know that he has a plan to contain the toxic field.
  • Lex Luthor joins in on the Superman support party: He adds his own insights to Steel’s plans. Luthor admits despising Superman. He tries to help regardless.

It’s in these exchanges that Superman’s downfall becomes more clear.

Superman ignores advice, and launches himself into a battle to save John Corben. This raises a question about his capacity to help when he is infected, and brings out a theme of arrogance.

Superman should take his friends advice: seclude himself, and accept their help in containing his toxicity. Instead, he launches himself against Senator Lane’s carnival of monster villains. He’s in no condition to fight. He still tries to save the tortured character Sergeant John Corben. This is arrogance.

The question raised here: where is the line drawn between being helpful, or endangering other people when one is in no condition to help others?

Superman acted arrogantly. Especially when he has claimed in the past to never kill living things. His faulty decision making appears again when he ignores all advice and tries to fight his way back to being a hero. The infection takes hold in the final moments of the issue. The “S” shield Superman wears fractures, and breaks apart. A darker symbol to close the comic.

Action Comics #32 is published by DC Comics ($3.99 USD). Greg Pak (W.) Scott Kolins (A.) Wil Quintana (C.) Carlos M. Mangual (L.) Cover artwork by Aaron Kuder and Wil Quintana.

May 24, 2014

Forever Evil #7 – Comics Review

The conclusion to DC comics event, Forever Evil, finally arrives, and delivers a story about power, family, humans, and monsters.

What Forever Evil #7 offers:

  • The story of villain changing through his experiences: valuing families, and seeing himself clearly.
  • Themes of power, and a theme of humans vs. monsters
  • Comic book artwork that shows lightning strikes, and shadows.
  • Mature themes and violence mean this comic suits older readers: high school students and college students can look at this comic for comments about power, monsters, and character development.

Light plays across the panels: towards the end of the story, more light from the sun arrives. Massive Lightning bolts strike, and Cyborg strides into the watchtower, carrying the recently deceased Grid.

Massive lightning bolts casts both deep shadow, and bright lights across panel. In most panels, one point of light fills the empty rooms. This source casts long shadows.

One point in the art could have received more attention. Cyborg makes a dramatic entrance. He drops the lifeless shell of The Grid onto the floor. It’s difficult to image Cyborg would carry the Grid’s broken frame all the way back into the watchtower after their battle. It serves for a dramatic entrance. It’s not completely plausible, however.

A true criminal from Earth 3, a villain the Crime Syndicate tried to contain, breaks away, and clashes with Lex Luthor, who is experiencing change and character development

Since this story began, Lex Luthor has told narrated events as the viewpoint character. Later, a large threat emmerges. How the real enemy behind the Crime Syndicate operates is fascinating. For readers wondering what would happen if super powers and abilities were mixed and gathered together by one individual, the character of Alexander Luthor – a true criminal from Earth 3 – has a lot to offer.

He has the ability to absorb and retain the abilities of his super powered victims.

When Lex Luthor meets this twisted copy of himself from another universe, real character development starts to happen.

I look into his eyes…and I see mine

In this true villain – uncompromising and dark – Lex Luthor sees all his negative traits magnified; he sees his greed; he sees his power-hungry nature; he sees his cruelty, unchecked.

This is one of several character development moments for Lex Luthor. The flat, bald villain known for his relentless and failure-ridden attacks on Superman changes. He is human. Not a punching bag. He can be called human because characters in comics and stories who live through an experience – an arc – and are changed by it are no longer two dimensional. They progress, and show they audience what the have learned.

The type of change Luthor shows in Forever Evil #7 is satisfying for readers looking for interesting stories in comic books.

A human vs monster theme appears in the comic, in addition to a themes of power. Through Luthor’s story arc, value is placed on family connections.

Alexander Luthor asks Captain Cold and Black Manta if they are human or not. Later, Lex Luthor says that Bizarro is his monster. There is an clash between humans and monsters here. Sinestro is not human, but behaves like one – calling Black Adam his friend. Bizarro is not human either. Yet he tries imitate what he sees. In a scene where he witnesses Batman and Nightwing hug, he tries to hug Lex Luthor. He understands emotion.

Luthor notices their embrace. He reflects on his relationship with his sister. Clearly, the importance of family stands out to him. Meeting Bizarro, meeting The Batman, and meeting himself has brought about this value recognition.

There is also a great, short, comment about the necessity of failure. Luthor attempts to pull some of the stigma away from mistakes. Making mistakes on the path to a goal is necessary. That’s the place that Luthor has arrived at. The questions remain: what is his goal? and is his redemption authentic?

 

image from http://supermanrebirth.wikia.com/wiki/Forever_Evil_%28Vol_1%29_7

Forever Evil #7 is published by DC Comics. $4.99 USD. Geoff Johns (W.) David Finch (P.) Richard Friend (I.) Sonia Oback (C.) Rob Leigh (L.)  David Finch, Richard Friend, and Sonia Oback (Cover Artists)

May 10, 2014

Earth 2 #23 – Comics Review

The team of heroes assembled by Green Lantern and Batman are under attack from new monsters brought from Apokolips. Red Tornado has finally reunited with Superman, and the battle for Earth 2 expands. The new Kryptonian Val Zod also expand, adding to his powers and confidence.

What Earth 2 #23 offers:

  • Fiery and energetic artwork that captures emotion and action.
  • The return of Green Lantern, and a powerful moment for Lois Lane: the new Red Tornado.
  • A theme of Guardianship – the comic shows off a key part of being a superhero: acting as a guardian.

Continue Reading

April 26, 2014

The Flash #30 – Comics Review

In 2014, Barry Allen (The Flash) reels from the shocking ending of Forever Evil, since this comic book is set after the DC Universe has moved on from the vindictive and destructive attack of the Crime Syndicate.

Multiple places in Barry Allen’s own time line receive attention here. 20 years away, The Flash (2034) receives one scene, which sets up events for the approaching story arc in Flash comic books. 5 years away, (2019) The Flash faces a shock, which kick-starts the events of issue #30.

What The Flash #30 offers:

  • The return of a character from the Flash Family.
  • Varied artwork, which shows off The Flash’s speed.
  • Themes including time management and mental health.

This review contains one major character spoiler

In a bright red and gold blur, The Flush runs out onto the streets of Central City.

What’s impressive about the different scenes in Flash #30 is the varied pace. Barry rests at his desk. When the Flash runs, his costume leaves a bright red blur.

When Barry visits Doctor Janus’ – a psychologists – office, there is a gold light. Behind Doctor Janus, buildings damaged by the Crime Syndicate’s attack are rebuilt. Skies are clear.

There is a great sense of optimism as The Flash rushes out into the streets to rebuild Central city.

After a long disappearance, a key character returns to the Flash family. He has no dialogue in this issue, however.

The return of Wally West is a key scene. A part of the story, but not the entire story – Wally does appear here, but unexpectedly.

Wally West ethnicity has shifted. A new character for the new 52.

But what is the purpose of renewing an old character – updating their story and character arc with the perspective of a different skin tone – if that character is silent, and in this case, dead before the comic even begins?

Wally appears to have died in a road accident.

Wally West is an epitaph in a newspaper. He is a bleeding body on the road. A shame. Either this is a clever trick, and that time travel elements will pay off, or Wally’s return has been mishandled.

There are two key details in this opening scene:

  • The paramedics at the scene could not detect a heartbeat – however, it is possible to hide a heartbeat from medial equipment in Popular Culture at least.
  • Wally is wearing some kind of yellow arm band – maybe a hint of his costume?

These points indicate something bigger might be at play here.

However early this new story is, Wally’s first appearance as a silent character, I think, is not a strong decision.

Time management, and Mental Health are two themes that appear. Barry’s new goal is to learn to manage his time, and stop running late.

Mental health and time management are strong themes in this comic. Doctor Janus talks about the effect of disasters. That even the strongest can feel torn down when faced with overwhelming disasters.

There is a small note addressing stigma attached to making an appointment with a psychologist.

Barry’s ability to manage his time is also brought up. He has a watch now. Whether it changes his ability to run on time is questionable. In the future, he’s still running late.

A possible Popular Culture comparison exists between The Doctor (Doctor Who) and Wally West. Season 6 of the new Doctor Who series, starring Matt Smith, contains a similarly shocking opening.

The Flash #30 is published by DC Comics ($2.99USD). Robert Venditti & Van Jensen (W.) Brett Booth (P.) Norm Rapmund (I.) Andrew Dalhouse (C.) Dezi Sienty (L.) Cover artwork by Brett Booth, Norm Rapmund, Andrew Dalhouse.