REVIEW: ‘The Flash,’ Issue #799

The Flash #799 is published by DC Comics, written by Jeremy Adams, with art by Fernando Pasarin, Oclair Albert, Tom Derenick, and Wade Von Grawbadger, colors by Matt Herms and Pete Pantazis, and letters by Rob Leigh. The Flash and his crew head outside of time and space to hunt down Granny Goodness, who has kidnapped Wally’s newborn son.

The second half of this story moves at the same speed as the first, but it is largely surprising that it ended so soon. I was in the mindset that this storyline would travel all the way to Issue #800, so I wasn’t expecting the conclusion to happen in The Flash #799. With that said, the plot is excellent, splitting between fun and dramatic. Perhaps due to the serious nature of the previous chapter, this comic has much more exuberance to counteract it. The scale and the energy are huge, literally launching into a massive battle that happens outside of where the answer to the Flash’s problems lies. When inside, the stakes are raised even higher, with little Wade in danger, and proof of what Granny Goodness can do in front of him. It leads to another fight, one completely different in style. 

The pressure of the situation is always building and building. In my opinion, it isn’t quite released in a satisfying way. There’s not this explosive final punch, but it is triumphant in a way whilst leaving a door open for more. What I do like is that it answered story threads that I didn’t even realise were being asked. Then there is a mysterious and quite haunting ending that hides a lot of the truth.

The characters and the dialogue are a large part of the spectrum of emotions in this issue and are split between the situations. Outside the Palace of Eternity, where the issue takes place, the tone is quite carefree. It’s a big battle, but the characters involved are intensely comedic and delightful. Inside it is more serious, with the likes of Flash and Mister Terrific being confronted by Granny Goodness. It isn’t melancholy, but Adams recognises that the tone needs to change for those scenes. Characters such as Mister Terrific and Gold Beetle have been brilliant inclusions for different reasons. Terrific has been a voice of advice and intelligence for Wally, whilst Gold Beetle is just pure joy and enthusiasm.

The art is great, barring some glaring moments. This issue has a lot of utter chaos happening and all of the artists are more than happy to unleash this. There are gigantic robots outside the palace that are awe-inspiring and imposing, making the heroes look like ants. But even within these huge constructions, when damage is done the panels show minute, intricate details. Then inside the castle, the quarters are closer but the fighting is just as wild. By the end of the issue, you see something rare: an unleashed, enraged Wally, and the design of those panels is phenomenal. However, it always seems like Mister Terrific’s face is really thin and oddly proportioned. At least twice there is a bizarre distortion happening around only that character.

The colors are incredible. They’re constantly changing, with bright and vibrant tones in the background and in the individual panels. With this taking place in such an ethereal, otherworldly place, the colors bring so much energy and intensity to an area that would feel too empty otherwise. The lettering is incredibly dynamic but easy to read.

The Flash #799 is a very different second half. The comic flings us straight into the action and doesn’t let up until the end. It’s frantic and dramatic and has ramifications that could affect the entire West Family and their future. This is why the way it ends feels so bittersweet. It’s positive and intriguing, but not the knockout blow this full-throttle fight deserved.

The Flash #799 is available now wherever comics are sold.