Tom versus the Flash number 312 or biting another man's style never works.

Welcome back to the Flash number 312, the August 1982 issue featuring a cover pencil by

Gil Cain, inked by Dick Giordano with the issue being edited by Len Ween. That's right,

Len Ween back as editor, our first story is

Dead Heat for a Scarlet Speedster, written by Carrie Bates, pencil by Carmen N. Fantino, inked by

Dennis Jensen, colored by Gene DeAngelo, lettered by Ben Oda. We begin with a scene of a television

with an old woman talking on the phone, and it's a long-distance commercial, you know, for long-distance phone call. It's back in the day when cell phones were not as prevailing. It says long-distance is the best way, the next best thing to being there. And what's going on? We see Barry Allen in this flash costume, Kyle pulled off talking to his parents. You see, the commercial reminded him to give a call to his parents. He haven't spoken to a lot since the whole thing where his dad got taken over by the top and they were in a horrible car accident. And his mom knows that since he's the flash, he doesn't have a lot of free time to call the parents, but she does wish that he would call more often. Barry apologizes. doesn't mention that it's the, it's a long-distance commercial that's made him think about giving them a call. In fact, he decides to run on over at super speed, and all of a sudden, bam, there he is sitting on the couch next to his dad, he's reading the paper and smoking a pipe. It's nice to see the whole events with the top weren't traumatic for the

Allens for Henry and Nora. They seem pretty well adjusted. In fact, they're adjusting quite well

to him being the flash. He told his dad when his mom was in a coma and he just came out and told

him, even though it was the top, I guess once you make that sort of commitment to sharing everything

with them, you just go ahead. Though it's probably still true, he was closer to his dad when it was actually the top. I guess once you make that sort of commitment to sharing everything with them, you just go ahead. Though it's probably still true, he was closer to his dad when it was actually the top, which is

sad. Mom starts going on about how he looks too skinny, he needs to eat more, Barry agrees to

stay for dinner and breakfast if he can sleep over and his room is always ready for him. Oh, isn't that

nice? Well, we go back to

Central City. We're at a parole office, I assume, an office of a parole officer. I don't know if he

just rents out an office for it. A parole officer by the name of Mr. Hobart. He's meeting with a very

special costume criminal who's trying to change his ways. It is McRory, who you might know better as

he's trying to change his entire life around. He's trying to become a good guy or just a normal

member of society. Perhaps it was his run-in with Clive Yorkin that shook him to his very core and

decided to turn his entire life around. Well, he's gotten a job at a glassworks factory.

Now, usually a parole officer, as Hobart says, wouldn't let Aconi obviously has such a fixation

with fire like Mick Rory does to have a job at a place like this.

...