The 1990s was very much a decade within comic books where the lunatics took over the asylum. Long gone were the days when writers used to come to work dressed in smart suits and almost had a loathing for the apparent immaturity of their own medium. This age passed decades ago; the dark age made way for the readers - a new fan’s revolution within comic books. The likes of Gerry Conway and Marv Wolfman had appeared years before, but the writers of the nineties could unleash their inner fanboy while raking in an astonishing number of readers. Without a doubt, the most successful in this field was Grant Morrison. Once the writer of Animal Man and Doom Patrol, DC gave him free reign on JLA (vol 1) in 1997, a run which conveyed his love of the 1960s storytelling of Gardner Fox and John Broome. It was this sci-fi sensation which Morrison wished to itch further, leading him to pen The Flash (vol 2) with his (once) friend Mark Millar. During most of the 1990s, the Flash (vol 2) was written by another obsessive nerd in Mark Waid; his titanic run of the Flash with its focus on the Speed Force and a renewed Multiverse has been highly acclaimed. Unlike his decade-long run, Morrison and Millar stay for just a year on The Flash (vol 2), but it’s brevity shouldn’t be a verdict on its quality.
The Flash (vol 2) 130-135 was published from November 1997 to March 1998. With Morrison and Millar at the helm, they are joined by the regular Flash cohort in Paul Ryan and John Nyberg. Additionally, the final issue here is a third of a crossover tale with Green Lantern (vol 3) 96 (Ron Marz, Paul Pelletier and John Lowe) and Green Arrow (vol 2) 130 (Chuck Dixon, William Rosado and Sal Buscema). All of these issues have been collected in a slick and very readable collected edition.
Emergency Stop --- Written by Grant Morrison and Mark Millar, with art by Paul Ryan and John Nyberg
Grant Morrison and Mark Millar were both born in the 1960s, during the height of the Silver Age. Through the issues of the time, or those giant-size reprint compilations, Morrison and Millar read the works of Fox, Broome, and Infantino and quickly came to love them for their outlandish science-fiction and energetic creativity. Throughout their stint on the Flash (vol 2), the duo constantly aims to recreate the magic of Fox, while combining it with the drama and character development of a modern comic book. This is best displayed by the run’s opener in The Flash (vol 2) 130-132.
It all begins with the Suit. You know you are in for an interesting ride when a supervillain suit with nobody inside comes to life and breaks out of Keystone City’s jail. This instant weirdness suitably clashes with the normal(ish) life Morrison and Millar paint for Wally West. The duo writes two pages where the Flash takes his wife Linda to the Taj Mahal at superspeed; with only a few lines of dialogue, readers with little prior knowledge of this era of the Flash (like me) are brought up to speed. However, it’s with the plotting where Morrison and Millar can unleash their love of the silver age. Jay Garrick and Max Mercury – a speedster with the stench of the eighties – find Wally West’s dead body in Keystone City, with a note left on it by the Suit. This is a version of Wally West from an hour in the future – the heroes must prevent the Flash of the present from this fate. The story of the Suit – originally made as the ultimate superhero costume before it was stolen by a crook whose spirit now haunts it – is a classic 1960s tale which will extract a laugh. However, with the supernatural elements surrounding the suit, and its sheer menace through its evil acts, Morrison and Millar make it into a formidable foe. It’s typical of Morrison to make something so silly also so dangerous. What’s more, the Suit has stolen the body of the Fashioneer, a time-traveller who uses such colossal power simply to work out the fashion trends of the future! This is how the Suit managed to obtain Wally’s body in the future. Although the story does get bogged down with pseudo-science and it’s inevitable that a concept like time travel will only confuse matters, it’s the fact that time is running out and the personal drama which makes this first issue a joy to read. In the end, Wally West manages to beat the Suit at his own game through creating a fake paradox, but it comes at a price. The fastest man alive has broken both of his legs…
The opening pages to The Flash (vol 2) 131 prove just how much the powers make the hero. Wally West can’t help daydream about his powers when the reality of sitting in a wheelchair is so cold and lonely. Again, it’s typical of Morrison to pit a hero with such a fundamental dilemma – the Flash’s disability is one of the overarching themes of the Morrison/Millar stint. The Flash will recover, but he must rest. It’s both hilarious and tragic to witness the world of the speedster stop so suddenly as he struggles with real life. It’s helped because Morrison and Millar use the cast and their different personalities well. Jay Garrick is a source of wisdom, while Impulse is brash and inexperienced. As well as recreating the style of Fox, we have the dialogue and human relationships of a modern comic. Bound in a wheelchair, Wally can only watch as Jay Garrick and Max Mercury go after the Suit. As ever, Morrison and Millar add a layer of the disturbed to a silly creation like the Suit. Over time, whoever is possessed by the suit begins to decay and they are lost forever. The Suit can easily wrap itself around any victim and take their powers. Its goal is to let evil run riot – literally! It comes close to breaking out the prisoners of Keystone City and it overwhelms Jay Garrick! But that is when Wally suddenly returns to the fray.
By delicately harnessing the Speed Force, Wally is able to construct a mental costume which temporarily heals his broken bones. Wally almost appears like a god dressed in the brightest of golds and yellows as he takes the fight to the suit. Although it is an impressive comeback, it does beg a question – what was the point of Wally breaking his legs if he was just going to become the Flash again soon afterwards? Sure, Wally is nowhere near his usual strength or power, but it lessens the impact of his disability. Nevertheless, the brawl in The Flash (vol 2) 132 becomes powerful when the Suit possesses Max Mercury, but in the end, using more of the famed Fox pseudo-science, Wally tricks the Suit and effectively rips it into shreds. As villains go, the Suit is a unique one who could easily feature in an array of different stories. During the three issues, the story can veer slightly too much towards pseudo-science and reams of exposition which are pretty flat to read, but I suppose this is how the writers channel their inner-Gardner Fox. Despite this, much of the dry explanations are balanced out by the human dramas and relationships between the characters, even if Morrison and Millar haven’t been helped greatly by a fairly forgettable cast. Structurally, especially in that first issue, the creative duo cannot hide their adoration for Fox. The Flash (vol 2) 130 is split into segments – chapters – which appear so nostalgically similar to the visual’s of 1960s comic books. For all intents and purposes, this is a redux of the silver age, and Morrison and Millar’s love for that era is on show.
Through The Looking Glass --- Written by Grant Morrison and Mark Millar, with art by Paul Ryan and John Nyberg
After a tense three-parter, The Flash (vol 2) 133 gives us a shorter tale, but still one of great personal drama. Wally West heads home after beating the Suit only to find Linda is speaking backwards. It doesn’t take long for readers to realise the identity of the culprit – Mirror Master.
Always a classic Flash foe, this version of Mirror Master was in fact created by Morrison during his Animal Man run. With a thick Scottish accent and never-ending dark humour, this Mirror Master is a mixture of the cunning and the comedic. The Flash has fifteen minutes to rescue Linda from a trap which could leave her stranded in the mirror dimension. This personal drama presents us with an aggrieved Flash, and that anger clashes to great effect with the jokes of Mirror Master. Just as in the previous story, this is another showcase of Morrison and Millar’s love of science and elaborate concepts. At one stage, Mirror Master throws the Flash into a prism trap whereby the speedster is multiplied, and his distinct moods are all in different bodies. While the explanation of this is laborious, it is an idea which stands out. It’s all part of a big distraction so that Mirror Master can rob a bank. At times, it seems that Morrison has gone back to taking the same drugs he was on when he penned The Invisibles – especially when a second Flash pops out of thin air – but in the end, the Flash defeats Mirror Master by rendering his machines useless. Such a simple method seems suitable for defusing the most complex of situations. In the end, Linda returns to normal, and the Flash can no longer live in fear of his most entertaining foe. By the conclusion of the issue, the Flash is back in his normal costume. Although composed of speed force, it is identical to his usual get-up, again raising questions about whether the Flash’s disability was introduced simply for a short-term shock.
Still Life In The Fast Lane --- Written by Grant Morrison and Mark Millar, with art by Paul Ryan and John Nyberg
One benefit of Crisis on Infinite Earths was that, with just one Earth, all the Golden Age heroes once of Earth-2 now live on the same world as their mainstream counterparts. This explains the presence of Jay Garrick throughout the Waid/Morrison/Millar era in the 1990s Flash title. With The Flash (vol 2) 134, we are treated to a one-off character piece exploring a day-in-the-life of Jay Garrick. From celebrating his golden wedding anniversary to taking part in celebrity interviews for magazines, Jay is a living legend with a long history. He has recently returned to the mantle of the Flash due to Wally’s disability. Morrison and Millar write a very personal story exploring concepts such as life and death. A lot of water has passed under the bridge since Jay fought Clifford Devoe, once known as the Thinker. These two fought it out constantly in the golden age, but now old age and illness is claiming the former supervillain. He has put his past cruelties behind him, but now he is dying of a terminal illness. Ever the idealist, Jay Garrick believes that he can save his former opponent by locating the Thinker’s highly advanced Thinking Cap, a device which bequeaths him with limitless knowledge. Jay’s quest to find the device is a path of mixed emotions and powerful storytelling. Jay’s meetings with the aged and confused Johnny Thunder are tragic, while the spontaneous lunch with Wally and Dick Grayson is a pleasant meeting full of reflections. We witness Jay’s diverse life, how much being a hero means to him, and the legacy he has left with the younger generation. In the end, Jay finds that Johnny Thunder has been using the Thinker’s cap as a flower vase. Upon giving the Thinker back the cap, the former villain has accepted that it is time for life to take its natural course. The Flash (vol 2) 134 paints Jay Garrick as the great idealist of the Golden Age, always seeing the best in all and striving for a happy ending. Although the Thinker’s story may end sadly, the life and times of Jay Garrick is a warming and well-written experience.
Death At The Top of the World --- Written by Ron Marz, Chuck Dixon, Grant Morrison, and Mark Millar, with art by Paul Pelletier, John Lowe, William Rosado, Sal Buscema, Paul Ryan, and John Nyberg
It’s been well over three years since I last read – and reviewed – this crossover between the worlds of Green Lantern, Green Arrow, and the Flash. Re-reading it here, my opinion hasn’t altered much, but it’s worth looking at again. The story doesn’t begin with the high stakes and disaster that engulfs the lives of everyone on board the cruise ship. It begins as a simple holiday between friends – Kyle Rayner, Connor Hawke, and Wally West need a break. They go on a cruise holiday and throughout Green Lantern (vol 3) 96, you can see the three characters for what they are – close friends. Sure, there are some levels of tension between two of the characters, but on the whole, the opening issue is filled with laughs between friends and reflections on relationships and recent events. Writer Ron Marz is adept at writing much of these scenes, and he captures the humour of Kyle Rayner and Wally West brilliantly. Meanwhile, Connor Hawke is very much the inexperienced hero, and he never realises when people are flirting with him. The great dynamics are disturbed – unsurprisingly – by three supervillains. Enter Hatchet, Heatwave, and Sonar – this trio couldn’t qualify for any great prizes in the supervillain world, but they are on a mission. There is some special cargo on board the ship which the supervillains have obtained from Iraq. Naturally, the worlds of the heroes and the villains combine – almost by comedic accident – and the socialising of Marz’s writing style gives way to the fast-paced action of Chuck Dixon.
Green Arrow (vol 2) 130 is, for all intents and purposes, a brawl. Although the heroes are held captive by the villains and the cruise ship comes to a standstill, it doesn’t take long for Green Lantern, Green Arrow, and the Flash to begin the fight back. Each issue in this three-parter reflects a different style of storytelling. Marz’s style is more dialogue and character-focused, while Dixon’s revolves around quick and dramatic action. It all goes wrong quite quickly as the villainous trio accidently blow a large hole into the side of the ship. Just as it begins to sink, that is when the identity of the cargo is revealed to all. The cargo is a weapon, but a living one – it is Doctor Polaris!
With such a great revelation, Morrison and Millar’s style of storytelling in The Flash (vol 2) 135 instantly sets itself apart from Marz and Dixon’s. The boat has now sunk; we are in a courtroom. There are many victims of the terrorising trio and Doctor Polaris, who tore the cruise ship apart. Even as the heroes tried to save as many civilians as possible, the villains fought back. The question Morrison and Millar explore in their issue is whether Heatwave, Sonar, and Hatchet are guilty. Anyone with a brain can see that they are, but Morrison and Millar write a high-intensity courtroom drama where the pages just keep on turning. The antagonist is a Mr Weinstein, a lawyer who has made a reputation for defending the indefensible.
His creepiness and slick and quiet tactics aim to discredit the emotionally charged heroes. Along with such a well-written courtroom drama, the writers reveal missing passages of the backstory brilliantly. We discover that the mission to take Doctor Polaris to the north pole so that the three supervillains could use his power for evil is part of a kind of military operation. This raises even larger questions about who the real villains are, but through a legal technicality, Morrison and Millar give the heroes the final punch. As the cruise ship was in Alaskan waters, the law of Alaska says that any legal protection related to a covert military operation can be overridden by the district attorney – he just so happens to be backing the heroes. I have no clue how Morrison and Millar came to learn about such a legal fact, but it makes for a surprising and satisfying ending. The third part is certainly unique compared to the first two, but it is far more preferable than a typical fight-to-the-death scene. With its personal drama and great dialogue, the final issue is a page turner. Overall, although the styles of the three writers may differ, but they each bring their own unique takes and storytelling to a good and memorable crossover.
Paul Ryan and John Nyberg were the regular artistic team on The Flash (vol 2) during much of the 1990s. With their smooth and dynamic style, it’s easy to see why they remained with the book for so long. With its flair, colour, and sense of speed, it is like a revitalised version of Carmine Infantino and some of the other great 1960s storytellers. What’s more, Ryan and Nyberg are great character artists – the Flash’s redesigned costume doesn’t look as ridiculous as it could have, and the Suit is made to look a tad creepy. The storytelling of Ryan and Nyberg correspond with the fast pacing of a title like the Flash, and thankfully it isn’t too stylised – were it to be, then the smoothness and rapidity of the art could have been lost.
VERDICT
Overall, the first half of the Morrison/Millar Flash run is excellent. Emergency Stop is an impactful opener, and while the Flash’s disability appears to become more redundant with each issue, it certainly adds more drama to the fight with the Suit. The fight against Mirror Master is brilliant, as is the one-off with Jay Garrick. Even though the three-part crossover has three very different styles of writing, each creative team brings their unique talents to create a fantastic Green Lantern/Green Arrow/Flash tale. Where next? We shall see!
Next Week: The Flash: The Human Race (The Flash (vol 2) 136-141). Written by Grant Morrison and Mark Millar, with art by Paul Ryan, John Nyberg, Ron Wagner, Pop Mhan, Chris Ivy, and Josh Hood.
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