Flash #243 marks the last issue of the Tom Peyer/Freddie Williams II run on the series, and the final issue of the “Fast Money” storyline. It resolves a number of plotlines from the past year, leaving other possibilities open.
Artist Freddie Williams II has really hit his stride on this book, which makes it a shame that he’s leaving. It took a while to get used to it, but a few issues ago I started to like it. It seemed to have more life, more energy, than it did at first — and in a book that’s all about speed, that’s critical. (Interestingly, when I spoke with him at Comic-Con, he mentioned that the editor had initially insisted on a slightly different style than his usual, and he’d been allowed to go back to his regular style around the same point that I started liking the art. He also had a page of original art from Flash #241 that I would have been seriously tempted by if I’d had a spare $250…)
Story-wise, I’ve really enjoyed the last three issues (parts 3-5), but I felt that the final chapter fell short. In part, there were three major plot threads to resolve, and only one really got any focus. Additionally, that resolution seemed to hinge on a piece of knowledge which they should already have had.
At this point I’ll have to break into spoilers. You have been warned. Continue reading
I stumbled on Freddie Williams II’s Artist’s Alley table at Comic-Con today, and commissioned a sketch of Iris West II in her Flash phase.
I had time, so I waited around while he did the sketch, looked through his portfolio, and talked about the book. Several other people came by to talk, or to look at his art, or to commission sketches of their own. When he was almost done, Dan Didio dropped by to say hello. (To the artist, of course!)
He had original art for sale, including a few pages from the last few issues of The Flash. I was seriously tempted by the page that showed Wally, Iris and Jai running into battle from #241, but I just don’t have the spare $250 lying around…
I mentioned that I’d really liked his run with Tom Peyer, especially the last few issues, and he mentioned that the editor had previously asked him to go with a more open, flat, happy style to his art, and he actually felt better about the art the last few issues. We talked about the harshness of internet fandom — when people like something, they don’t always go out of their way to post about it, but when they dislike it, and when they can hide behind anonymity, it’s almost a compulsion to say so, loudly, as brutally as possible.
The Flash’s current writer Tom Peyer and artist Freddie Williams II will both wrap up their runs with the conclusion of “Fast Money” in August’s Flash #243. So what’s next on their plates?
CBR spoke with Tom Peyer about his work on Stephen Colbert’s Tek Jansen at Oni and back-up stories for the upcoming Marvel Apes miniseries.
As for the artist half of the team, The Pulse interviewed Freddie Williams II about his past and current work at DC, including his return to Robin. He answered several questions about The Flash, including how drawing a super-speed family differs from drawing Batman’s protege.
Visually, they are almost completely opposite. Even though Robin can get a bit animated, he was pretty grim and hid in the shadows allot, as well being able to use his cape and his mop of hair to show motion and movement. As opposed to Flash, which was art directed to be more open and cartoony. Flash is basically just a naked figured with nothing except for lightening to help in showing motion. Also, drawing the team dynamic was a bit different as well – having to account for some many figures.
When asked which artists most influenced his work on The Flash, Williams cited Daniel Acuña (his immediate predecessor), and Mike Wieringo.