Welcome back to another weekly roundup of Ice’s comic reviews!
Comics for this week: The Flash #50 and Uncanny Inhumans #7!
The Flash #50
Written by: Van Jensen
Art by: Jesus Merino, Paul Pelletier & Joe Eisma
For The Flash’s 50th issue, it felt like DC’s other current #50’s where it didn’t have the monumental anniversary feel it should have for the occasion, but nonetheless it was still a good read. The Flash gets captured by the Rogues (if you remember it when it happened two months ago) and gets taken to Iron Heights. And of course since this is dealing with a superhero and villains (even if they’re temporarily not playing that role) nothing goes smoothly and instead we get an unintentional breakout from a miscalculation from another prisoner. Oopsie, am I right? But because this is the kind of issue where something important has to happen (even if it’s not much) we get more of the mysterious figure who’s been pulling all the strings behind stage. From having the Rogues hired, drones used to search for Flash, holding an old Rogue somewhat prisoner and using another against his own team, it’s shown what the big picture is, up to the big cliffhanger reveal. Well, not much since DC let the cat out of the bag some time ago. The issue also comes along with a Wally backstory where he finally learns that he has power and get a sneak peek at his future hero-self using them, which is where we get the third artists used in the book. Flash has two issues left before ending its current story while still having to give us glimpses to what it’ll have to tell when it comes to its Rebirth launch.
Uncanny Inhumans #7
Written by: Charles Soule
Art by: Brandon Peterson
What makes Uncanny Inhumans one of most interesting books Marvel is publishing currently is how it feels like an actual soap opera that’s interesting. Someone you thought was dead is back, plot twists (if ever minor) and so on. The mystery of a stolen item quickly gets resolved, which seemed kind of a bummer since it looked like that’s where the story was mainly going to be about, but it shifts into something else, dealing with Ahura- the son of Black Bolt and Medusa, and the company that won’t go away, Ennilux. And just because that’s happening doesn’t mean what was going on early in the issue is over, no-sir-ree. That’ll of course come back into the fold later on (you can just tell these things sometimes) and then the real big picture will come into the fold. Brandon Peterson continues to amaze with his art since taking over from Steve McNiven. His style has a bit of the “sketchy” style you typically see from the likes of Liniel Yu, but not as much, yet it makes what he produces as great (or greater, depending on opinion) as Yu. When you can tell what Black Bolt is thinking or what he’d say through his facial expressions, then you’re definitely doing your job right. If Marvel can keep him on as the regular artist (or at least one of them) then the series will continue to be in great hands.