The Flash #755: Legacy

Benevolence is the key to victory in Flash #755, as the day is saved by the last person readers would expect doing the one thing they’d least expect him to – especially given all the red herrings in the previous issue as to the course of action he’d take. Not to get too deep into spoiler mode, of course, but the way this issue plays out is a true treat, with several twists and one genuine shock that at best give Barry Allen a Pyrrhic victory.

Credit where credit is due: writer Josh Williamson really pulled out all the stops for this issue. “Flash Age” has been a big, crazy, over-the-top comic-booky rollercoaster ride – and has been worth every second of it. As strong as the last few arcs of Flash have been, this story has outdone them all, completely willing to lean into the curve of superhero sci-fi lunacy and wholly embrace every aspect of it with manic glee. Grand poobah of brainy comic book insanity Grant Morrison could not be prouder of Williamson’s adherence to this ethos.

It’s not all perfect flights of fancy, though. I could personally do without Barry’s cheesy dialogue as he repeatedly tries to persuade Reverse Flash not to kill Paradox before he got his powers. Every line he says to that effect is cringe-worthy and straight out of the “stereotypical superhero dialogue” playbook. Paradox himself, as begun last issue, has by now become cartoonishly over-the-top evil, willing to destroy the entire fabric of time to serve his own means. He’s just sort of a ranting monster who can’t stop yapping about how the Flash is actually a bad guy. Considering he started being a genuinely sympathetic villain, it’s discouraging to see him devolve in this way. That doesn’t necessarily detract from the story, but it does sap him of his individuality and ability to be empathized with.

Rafa Sandoval does his usual stand-up job on the art, although there are a few awkward panels and/or pages here and there that don’t quite land as intended. He’s still a fine artist, perfectly capable of holding his own alongside rotating series regulars Christian Duce and Howard Porter. His art is a cut above workmanlike, especially thanks to Arif Prianto’s vibrant coloring. I don’t mean to damn Sandoval with faint praise in that phrasing – I genuinely think he’s great and there is absolutely nothing wrong with being workmanlike, because it means the artist is consistent and capable. Sandoval is a shining example of this high-caliber work ethic, and together with Josh Williamson’s scripting, the Flash is in fine hands indeed.