Wally West resumes his Flash identity, complete with a thoughtful narration where he describes his motivations, his feelings, his role in Keystone City and in the DC universe. This is all very compelling for Flash-fans, particularly his line about dealing with Wonder Woman. But it can also get old after awhile. If Johns isn't careful, the whole "blue-collar hero who is just one of the people" thing can turn into another stiff routine, just like the "gritty urban avenger" or "defiant young hero" schticks that we see in other titles. Thankfully, Johns remembers that comic books are about action, not words. We soon see Flash coming up against some old foes, including some old faces almost everyone had forgotten. Gorr! There is a nice balance between the superheroic and soap operatic aspects of this title and it really looks like it is going places without forgetting where it came from.

Porter's art has also shown dramatic improvement. It still has a grand, highly-detailed, kinetic look about it and his human anatomy has also become less stiff and more naturalistic. The scene of the rogues meeting in a hidden location has a truly menacing atmosphere, almost out of a horror comic.

Turner's cover looks nice but fails to impress. They must have thought that a scene of the Flash just standing still would be novel and clever. In the end, it makes the fastest man alive just look like another muscle-bound hero.