The Flash Vol. 2 #212

Jeff Johns / Steve Cummings2004

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Series: The Flash Vol. 2

Summary

This issue is The Flash Vol. 2 #212, originally released on July 21, 2004, with a cover date of September 2004. It was written by Geoff Johns, pencilled by Steve Cummings, inked by Wayne Faucher, and features a cover by Ethan Van Sciver. The story is titled "Mirror, rorriM, On the Wall" and belongs to the acclaimed "Rogue Profile" series within Johns's run on The Flash—standalone issues centered on villains, with the Flash himself barely appearing.

This issue focuses on the second Mirror Master, Evan McCulloch. FBI agents surround him to recover his mirror gun and gear, which allow him to travel through mirrors and distort reality. McCulloch traps the agents one by one in the mirror world, using the occasion to look back on his life: his childhood in a Kirkcaldy orphanage in Scotland, how he came to take his foster mother's surname as his own, killing the bully George in retaliation after years of humiliation, becoming a professional killer after leaving the orphanage, and the tragedy of accidentally killing his biological father on a job, after which his mother took her own life. He is later recruited by the government and equipped with the first Mirror Master's gear, before eventually leaving the system to join the Rogues. At the end of the issue, he mails the trapped agents, along with the lens, to James Jesse (the Trickster) and returns to the Rogues' card table. Captain Cold, Weather Wizard, the Trickster, and other Rogues appear. The story was later collected in Flash: Rogue War.

Editor's review

《闪电侠》第二卷在2000年代被公认为最优的超级英雄单刊之一，其口碑很大程度来自杰夫·琼斯对反派群像的重塑。本册是这套“无赖帮人物档案”中极具代表性的一期：它不靠闪电侠的超速打斗推进，而是把整整二十多页交给一个反派，让读者跟着镜像大师从苏格兰孤儿院走到镜像空间，看一个被侮辱、被暴力塑造的人如何一步步走向“镜子”这一意象所象征的自我逃避。琼斯的写法冷峻而克制，史蒂夫·卡明斯的画风也给了这段往事应有的阴郁质感。全期没有一场闪电侠与反派的正面交锋，却能让人理解无赖帮为何难缠——他们不是抽象的功能性障碍，而是有创伤、有执念、有恶习的人。对喜欢反派研究、人物塑造与DC宇宙暗面叙事的读者，这是短短二十二页里信息密度极高的一课。本册亦被收录进《闪电侠：无赖帮之战》合集，适合作为进入琼斯《闪电侠》时期的“侧门入口”。

Who it's for

A good fit for

正在追读杰夫·琼斯《闪电侠》时期，想补齐反派人物档案的读者
喜欢以反派视角展开、聚焦人物起源与心理的漫画读者
对DC无赖帮（冷队长、天气巫师、骗子等）群像感兴趣的人
研究美漫反派塑造与单期叙事结构的创作者与爱好者

Not a good fit for

希望看到闪电侠为主角、大量超速战斗场面的入门读者
对涉及童年虐待、误杀亲人、药物滥用等内容较敏感的读者
只想读完整故事线、不愿按单期顺序补齐的读者

Reading tips

可先读本卷第182、190、197期等“无赖帮档案”单期，熟悉这类以反派为主角的叙事模式
阅读时留意“镜子”作为镜像、反射与逃避的三重象征，这是理解麦卡洛克动机的钥匙
若想看到本册前后脉络，可接着读《闪电侠：无赖帮之战》合集，本册故事即收录其中
注意本册闪电侠仅以回忆片段出现，不必期待正面对决，把它当作一篇人物小传来读

FAQ

《闪电侠v2 第212册》是哪一年出版的？

原刊《The Flash》Vol. 2 第212期于2004年7月21日发售，封面日期标注为2004年9月，定价2.25美元。

这一期的编剧和画师是谁？

由杰夫·琼斯（Geoff Johns）编剧，史蒂夫·卡明斯（Steve Cummings）铅绘，韦恩·福彻（Wayne Faucher）勾墨，伊桑·范·西弗（Ethan Van Sciver）负责封面。

本册的主角是闪电侠吗？

不是。本册属于“无赖帮人物档案”类型的单期，主线人物是第二代镜像大师埃文·麦卡洛克，闪电侠沃利·韦斯特仅出现在回忆片段中。

本册讲述什么样的故事？

麦卡洛克被联邦调查局探员围捕，他将探员逐一困入镜中世界，同时回顾自己在苏格兰孤儿院长大、误杀生父、接受政府装备并加入无赖帮的一生。

这个故事后来被收录进哪本合集？

本册故事被收录进《闪电侠：无赖帮之战》（Flash: Rogue War）合订本，可借该合集一并阅读这条故事线。

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About the author

Jeff Johns Author

Jeff Johns is a prolific comic book writer, with 75 works currently held in the collection. Public information about his nationality, dates of birth and death, and educational background is limited, so this introduction focuses on his body of work. Judging from the titles collected, his writing centers on superhero comics, most notably the Superman and The Flash series. Representative works include Superman Action Comics issues 868, 864, 862, 867, 858, and 839, The Flash vol. 2 issue 193, and a chapter of Action Comics issue 862 tied to the Legion of Super-Heroes. His works are often categorized as children's books, comics and cartoons, premium fiction, and media tie-ins, suggesting that his storytelling appeals to young readers while also offering the accessible, plot-driven pacing suited to screen adaptation.

Steve Cummings Author

Steve Cummings is a comics creator about whom limited public information is available; details such as nationality and dates of birth and death remain unclear in accessible sources. Only one of his works is currently held in the collection, The Flash vol. 2 issue 212, commonly classified under art and theory. From this single issue, one can observe his involvement in the practice of superhero comics creation, dealing with stories built around the classic character the Flash. Given the very limited verifiable information, it is difficult to offer a fuller account of his career, stylistic development, or overall influence. For researchers, the more prudent approach is to treat this issue as a concrete sample for understanding his comics writing, examining its narrative handling and visual coordination within an art and theory framework, rather than inferring his personal history or the full scope of his work from it.