The Flash #795: Let’s Kick it into Overdrive

The Flash #795 starts with an abrupt costume change for Jesse Quick. She decides to put on a costume in deference to her mother, Liberty Belle, a golden age heroine. This was an odd way to start this issue, considering that the Flash family has seen some significant losses, and are in the process of regrouping for Barry’s new plan. The symbolism behind this change is told directly to the reader in way of exposition bubbles, proclaiming that the Liberty Bell that Quick’s mother based her identity off of was a beacon for the freedom of enslaved individuals. This symbolically works and doesn’t work in the context of the narrative, since the Fraction have been seen to enslave speedsters from other worlds; however, this story has only used that plot point to heighten the stakes. This was a strange way to open the issue, with the thematic goal being in the right place of heart, but missing the mark in the grand scheme of things. 

Jeremy Adams definitely knows how to tell an epic Flash story with the stakes at an all time high. This issue moves faster than the speed of light, delivering Flash action from cover to cover. The fast pace action with the non stop pace does prove to work well by the end of the issue, putting the 90’s aesthetic on full display. Not every character is given a time to shine, but the highlights on Barry, Linda, and Jesse Quick work well as an emotional core to keep readers interested. This run has been focused on Wally for the most part, so it’s nice to get an arc that catches readers up on the goings on of the rest of the Flash family. Ultimately, this issue keeps up with that goal, utilizing the sliding perspectives to tell a well rounded story. 

Unfortunately, the dialogue in The Flash #795 is not very strong, with lines like “Fools. It’s impervious,” making the issue feel like it was written back in the 60’s. Dialogue like this would have worked well with more stylized lettering, but Rob Leigh seems to hold back with a more traditional, modern approach. This issue and, more so, the entire arc, should have taken inspiration from DC’s currently running WildCATs series, where the lettering evokes the ’90s aesthetic in order to give the book a nostalgic feel, even for new readers. 

The definitive highlight of this issue comes with the three separate artists, Roger Cruz, George Kambadais, and Fernando Pasarin. Cruz takes charge of the present storyline, keeping the issue consistent with the rest of the arc. Kambadais pencils the flashbacks, gorgeously invoking a Venture Brothers-type cartoon aesthetic. This not only helps differentiate the past and present narratives, but it also keeps the book visually interesting through its more expository panels. Finally, Pasarin beautifully pencils the final two pages, where Wally appears to wake up in a new timeline. Pasarin’s final splash page in this issue highlights all his talents, from excellent facial features, to the wacky inventive costumes. These last two pages are made even better by Matt Herms colors, which bring everything to life in a vibrant way.