Flash Drive - a look back at DC's Flashpoint *will contain spoilers*

A few months ago I was happily reading the Flash knowing that big things were on the way. By big things I mean a shake up of the whole universe as far as DC was concerned.

This was of course then followed by a plethora of marketing showing off the launch of all 52 titles that are beginning (or beginning again) in September, which gave a few more things away as well.

So, into the breach (once more) steps Geoff Johns, supported by Andy Kubert’s artwork, to create the five part series Flashpoint.

Following on immediately from the Reverse Flash’s arrival back in the storyline for the Flash, actions were set in motion which - when Barry awoke - had altered the entire world around him.

Normally a miniseries would be self contained and may occasionally slip into other brands, but on this occasion it has created several new ones. For example there was Kid Flash Lost, Deadman & the Flying Graysons and Abin Sur (to name a couple) and an entire political dynamic with an outright war between the Amazonians and the Atlanteans. Considering that all the different titles are written by different writers, the continuity between them all is very good as they revolve around Johns’ central storyline.

Having read several different DC events, I have come to associate Johns with fantastic stories and this is no exception. The issues lead you through the struggle that Barry faces in not only realising what has happened and trying to prevent it from going further down the wrong path. Typically, also with Johns there are misdirections and hints which lead the reader in various direction complete with one almighty moment which changes everything too.

Andy Kubert, as I mentioned earlier, has provided all of the artwork for the main story. As an artist that I like it’s hard to find fault with his work but on this occasion I didn’t feel he always lived up to his normal standard. Don’t get me wrong, it is still incredible work but on occasion I felt that the sheer number of characters that demanded attention (as quite often they were big names involved) meant that you just couldn’t spread the focus and so some of the detail slipped. In other instances you can see where he has tried really hard to pack absolutely every frame with power, energy and vigour.

The final thing to mention is that drawn/written into the final issue is a two page spread that has been raved about as it potentially sets the scene for the new DCU and how things may play out in the broader sense of thing. I’m personally more interested in what happens next as the ambiguity also starts in the issue as well as Barry visits a rather young looking Batman in his cave which raises questions about what has really happened and where this now fits (see arcs such as Battle for the Cowl and subsequent Batman issues to see what I mean).

Love or hate what is happening now this is a miniseries you want to have or try to procure as it tells the story of HOW things changed. Maybe not necessarily why but most definitely how. Plus you get to see so many people in such a different light, it’s worth taking a peek just for an alternative. This hasn’t been my absolute favourite series of the year so far but it is most definitely one of them and I would happily recommend it to any readers Flash fans or not.

This week Matt knew there was a paradox on the horizon and so rode towards it...

Flashpoint badges raffle with Flashpoint #5

Flashpoint #5 came out today and its release marks the beginning of the Flashpoint badge raffle!

DC created a series of badges for each of the Flashpoint tie-in issues which were available to retailers who ordered obscene amounts of these side story comics. Suffice to say - other than for Batman Knight Of Vengeance - Proud Lion did not! But DC did send each retailer a free display board containing one of each of the 16 badges. I've had numerous inquiries for the board, but the fairest way to do it is to do a raffle!



All issues of Flashpoint #5 will come with a free raffle ticket.

Beyond that, you may purchase additional copies of Flashpoint #5 for a lower price than the first (just £2.00!) and receive extra raffle tickets to increase your chances of winning!

This landmark issue includes a double page spread that shows the formation of the new DC Universe - marks the end of the old continuity and the final few pages are the first moments set in the new timeline. Some people are already talking about framing those two pages. It's a memorable issue for both all DC fans, but especially Flash and Batman fans.

The prize draw will be done on November 1st or when we sell out of Flashpoint #5.

The Mane Event - Batman: Knight of Vengeance

If you have not yet read Flashpoint #1 please be aware that this review will touch on elements and changes that may be considered a spoiler.

Without a doubt, Flashpoint has overnight changed the face of the DC Universe. Its reach has already been seen and has some very interesting new twists. Batman: Knight of Vengeance is certainly no different.


The story, written by Brian Azzarello, opens with a cold and bitter Wayne under scrutiny for his health insurance. This is quite an ironic thing considering his alter ego. He is more concerned with continuously providing a strong image, being right and his business empire built on hotels and gambling. So the heart and soul that drove Bruce on has gone, but then this is not the same man. Due to the machinations of the Reverse-Flash, this is Dr Thomas Wayne.

During the story we see a change in approach, not only from Batman but also the former GCPD as well. As I said in my review of Flashpoint, there are people within the DCU that will have changed (or not) as a ripple effect. Harvey Dent is now a prime example of this, as he is not displaying his well-known persona.
Half of this issue is written well and conveys a lot of pent up aggression and frustration through the story. Not to say that Azzarello has collaborated with someone else, but there is a large portion, where Batman goes hunting, which relies solely on the artwork and a small splattering of words to convey everything else. This is inherently its weakness as well though.

On first glance Risso’s artwork came across to me as similar to styles I have preferred (usually on the Marvel payroll) but on closer look inspection I am let down. You have a story that has emotion almost oozing out of each bubble of speech but the intensity simply hasn’t been matched by the artwork. The feeling of the approach taken here is minimalist with very little detail being used anywhere except for the sole focus of the frame. Large parts are left empty with simply a wash of colour to fill the void. It just didn’t feel full and in others that there had simply not been enough effort used leaving me let down.


As a slightly odd point as well, for once the lettering stood out to me. Clem Robins seems to love punctuating statements with bold type and on the whole it works well passing on a much more aggressive tone. However, I can’t decide whether this supports Azzarello or goes over the top by using the effect too much. Whichever it was, it caught my eye, so I’m still not sure if that’s good or not.

I’ll be collecting the other 2 issues in this mini-series but that’s purely because it’s Batman and Flashpoint. I can’t see how this is going to develop into a deep enough story in such a small amount of issues. This is more a labour of love for me and sadly an uglier version of one too.

Before anyone asks, no - Matt Puddy has not read 100 Bullets. But yes, he probably should...

The Mane Event - Flashpoint #1

A few weeks ago I reviewed Marvel's event book du jour - Fear Itself. Timed a few weeks after its release, DC has launched Flashpoint.

I have been trying very hard not to get involved in all the hype. There have been teasers and thoughts pushed by every major comic site - avoiding them has been an exceptional test of restraint. With many early statements leading to speculation of whom, what and how I’ve only been unable to stay away from, ironically, The Flash as I have followed it since the rebirth. Setting up since the late times of Brightest Day, the entrance of Eobard Thawne has pointed to a fractured universe for the Flash where nothing is as it was.

You can tell that DC is investing in this as well. Not only are there more than 14 crossovers hitting every main character and some of the Flash’s more significant enemies of the past too, but also they have stepped outside of the DCU to pave the way. This could be make or break as it will challenge all of the preconceived ideas we have about our favourite heroes, as they may not have come to be, or even exist in the way we know them at all. The glue that will hold it all together is the scripting of none other than Geoff Johns.

His workload must be hectic considering all the other titles he is involved in at present but it’s worth it. Essentially, if it has Johns’ name on it at the moment it is at least worth picking up and taking a peek at and Flashpoint is no exception. Johns has the DC Midas touch right now.

From the moment the main story starts it moves at a very fast pace... but not the pace of the Flash as we know him. Waking up mid-case after pulling an all-nighter, Barry Allen runs as fast as he can, slips, trips and falls down the stairs into someone he never thought he’s see again, his mother. This is just the first of many changes he has to adjust to in this brave new world.

As the issue opens out further we are given insight into other ripples that have crossed the DCU. Batman is now sporting red instead of yellow, a tiny change but even more noticeable is his demeanour. The subsequent discussion with Cyborg and his assembled team, which contains an interesting assortment of characters from both sides of the former moral fence, is another pivotal point as it’s here that we learn of the war on this earth. The only difference is that it is between Atlantis and the Amazons and affecting everyone.

With the changing outlook of different players and a whole new environment, Johns has managed to set a multitude of scenes in waiting for this series. Admittedly not all of them, and there are plenty that aren't even alluded to, but that is also a good thing as there is simply not enough space to do that effectively. What he does do is leave you hanging with a massive twist at the end. One I have to admit not see coming at all.

Andy Kubert has teamed up for the artwork and he makes an impact immediately with the cover shot. It is vibrant and intriguing all at once, fantastically drawn and definitely an eye catcher.

The contents of the issue are no different either. I’ve not seen a lot of Kubert’s work as he has been on titles I don’t normally read but now I’ve seen his work I’m really impressed. There is a huge amount of detail in every frame, both fore and background, without crushing or cramming the frames. There’s also been the chance to be more expressive too, considering that all the individuals we see are people we know but just not quite, meaning that a new take or twist can be added when drawing them. Batman’s horned shoulders are but one example of this. I’m also fairly sure that there are plenty of references and hints in there that I’ll only notice in retrospect. Sandra Hope has worked harmoniously with Kubert as well to give a very well presented issue.

The upshot of this all, without blowing too much from the issue, is that I’m glad that I have pre-ordered Flashpoint as well as specific cross over pieces. If this is a mark of what is to come then things are looking very bright. More importantly, the delicate balance of the DCU isn’t being messed with so it also means that anyone who isn’t a fan is not going to be left out or left behind too.

Matt Puddy feels this is another gem from Geoff Johns.

Flashpoint begins...