Miss Murder’s word balloons do not have a tail, so it appears as a narration context later in the book. The lettering is terrific aside from one small gripe. But these characters also spend a lot of time in the shadows and the backgrounds can be presented as sickly and dystopian in their shades. The Fraction is frequently embossed with blue and purple which generates an inhuman feeling around them. All of the costumes and science fiction elements of the comic can be bright and vibrant. The colors are really fitting for the tone of the book. The chaos of the situation is captured well, but it is always easy to see the direction a character is moving or what they have planned. The action is unleashed and full of vigour, bringing with it some fun aspects that made me smile. In contrast, the heroes tend to have rounder features. There is a ferocity to the Fraction, the villains of the book, with pointed armour. This is largely due to the inking, but it completely alters the perception of the art. The difference in the character design is fascinating, blending sharp angles with curved and gentle lines. Jay is hurt, yet still displays temerity. It isn’t just the young that excel in this part of the story, with the elder statesmen of the Flash Family stepping forward too. It is the smallest word balloons that draw out the most emotions. The script is stunning, not using many words but utilising extremely effective ones instead. But her youth and inexperience lead to a really heartbreaking second act. She is superb in this issue, with resilience and real anger against those that threaten her family. In the centre is Irey, having to be brave as she is left on her own with her back against the wall. The characters in this comic are fantastic, with their struggles bringing the best out of them. The action is still high and energetic, with those glimpses of hope returning with every move. But the script also taps into the hurt and pain that happens when a family is torn apart. Family brings strength and hope, and so many issues have been spent building that unit. The theme of family has been pivotal to Adams’ run on The Flash, and still is now. This gives each moment in time power and suspense where cutting away may damage that. The scenes play in a linear fashion instead of intersecting with one another. Adams structures this chapter beautifully. Taking place immediately where the last issue concluded, Irey faces a villain that the older heroes struggled against, with much more at stake. From the opening page, things are dark and bleak. This story arc has been constant intensity, and The Flash #794 is no different. With Wally seemingly dead and Jay mortally wounded, Irey is left protecting the frozen heroes as the grown-ups face disaster. The Flash #794 is published by DC Comics, written by Jeremy Adams, pencils by Roger Cruz, inks by Cruz and Wellington Diaz, colors by Luis Guerrero, and letters by Rob Leigh.
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