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Flash of Two Worlds

"The of Two Worlds!" is a seminal story in DC Comics history, originally published in The Flash #123 in 1961. Written by , penciled by , and inked by , the tale centers on Barry Allen, the Silver Age —a scientist empowered by a and chemicals—who, while running at super-speed during a event, accidentally vibrates at a unique frequency that transports him to a parallel dimension known as . There, he encounters Jay Garrick, the original from the 1940s, who had been presumed a fictional in Barry's world, and the two heroes team up to thwart a gang of criminals terrorizing Keystone City. This narrative marked a pivotal moment in by bridging the gap between the (1938–1950s) and Silver Age (1956–1970) eras of publishing, reintroducing Jay Garrick and other legacy characters into modern without disrupting established . The story's innovative use of dimensional travel via super-speed vibration not only explained the coexistence of multiple es but also laid the groundwork for the —a concept of infinite parallel Earths each with alternate versions of heroes and histories that has defined the publisher's shared universe for decades. Editor , who oversaw the revival of the in 1959, played a key role in conceptualizing this crossover. The impact of "The Flash of Two Worlds!" extends far beyond its initial 25-page format, influencing subsequent issues like The Flash #129 and #137, which further explored Earth-Two adventures and team-ups with the . It popularized the trope in mainstream , enabling crossovers that revitalized older characters and expanded storytelling possibilities, a legacy echoed in later events such as (1985–1986). The story's themes of legacy, heroism across generations, and scientific wonder, combined with Infantino's dynamic artwork, have cemented its status as a Silver Age classic, frequently reprinted in collections like the 2020 The Flash of Two Worlds Deluxe Edition and the 2024 facsimile edition of The Flash #123.

Publication and Production

Publication History

"The Flash of Two Worlds" was first published as the lead story in The Flash #123 (Volume 1), part of DC Comics' Silver Age series, with a cover date of September 1961. Issued by DC Comics at a cover price of 10 cents, the standard 36-page featured the story alongside additional tales, including "Fastest Trips Around the World!" and a . Under the editorial oversight of , who guided the revival of the Silver Age Flash titles, the issue marked a pivotal moment in the superhero genre's resurgence. The cover art, penciled by and inked by Murphy Anderson, depicts Barry Allen (the Silver Age ) extending his hand through a swirling dimensional portal to clasp that of Jay Garrick (the Golden Age ), symbolizing the story's theme of parallel worlds. Initial print runs for Silver Age DC comics like The #123 were estimated between 250,000 and 500,000 copies, aligning with the industry's recovery and growing demand for content in 1961. The issue's sales performance contributed to the series' momentum, as DC's line outperformed competitors amid the shift from and romance genres. The story has been widely reprinted in various collections, beginning with Showcase Presents: The Flash Vol. 2 in 2008, which gathered issues #120–140 in black-and-white format. It appeared next in Comics Classics Library: The Flash of Two Worlds in 2009, compiling the first six Flash team-up stories from 1961–1967. Subsequent editions include The Flash Chronicles Vol. 4 (2011), The Flash of Two Worlds Deluxe Edition (2020), and a facsimile reprint of the original issue in 2023, alongside and paperback releases through 2023.

Creative Team

The story "Flash of Two Worlds!" was written by Gardner Fox, a prolific scripter renowned for his adventure-oriented narratives that blended science fiction elements with superhero action, and who devised the narrative device of the multiverse crossover in this landmark issue. Fox's script cleverly integrated the revival of the Golden Age Flash, Jay Garrick, into the Silver Age continuity, establishing a framework where comic book stories from one era could influence the "real" world of another. The artwork was penciled by , whose dynamic style emphasized the Flash's super-speed through innovative , angular compositions, and exaggerated perspectives that conveyed velocity and interdimensional travel. Infantino's contributions extended to the cover, co-inked by Murphy Anderson, featuring the iconic dual-Flash pose that captured the story's theme of parallel worlds colliding. Inking duties were handled by , who provided the finishing touches to Infantino's pencils, adding weight, definition, and visual clarity to the loose, energetic lines while maintaining the overall sense of motion and depth. The issue was edited by , the influential figure behind DC's Silver Age revival, who greenlit the inclusion of Golden Age characters like Jay Garrick to reinvigorate sales and fan interest in . Schwartz's editorial direction ensured the story's innovative premise aligned with broader efforts to bridge eras under his oversight. Lettering was credited to Ira Schnapp, DC's veteran staff letterer who handled the bold, distinctive typography for the cover and interiors, contributing to the issue's clean, readable presentation. Color work was performed by standard DC production staff, with uncredited applications.

Background and Context

Development of the Story

The development of "Flash of Two Worlds" stemmed from editor Julius Schwartz's response to fan letters urging the return of Golden Age Flash Jay Garrick, which led writer Gardner Fox to develop the multiverse concept as a way to reintroduce the character without overwriting Silver Age continuity. Schwartz championed the revival of pre-WWII heroes like Garrick to attract older readers nostalgic for their childhood favorites, while preserving the innovative spirit of the Silver Age by framing them as inhabitants of a parallel reality. In the , Fox outlined a narrative centered on dimensional travel achieved through Barry Allen vibrating at a specific —a technique the character had tested in prior adventures, such as phasing through solid objects in The Flash #107. Schwartz provided key editorial input by approving the establishment of as a distinct parallel world, ensuring it coexisted alongside without creating narrative conflicts. The story was conceived in early 1961 amid discussions between and , with the script finalized in time for its September publication in The Flash #123. Infantino's artwork effectively visualized the script's core idea of the two Flashes crossing paths across dimensions.

Revival of Golden Age Elements

The Flash, Jay Garrick, debuted in #1 in January 1940, created by writer and artist Harry Lampert, and starred in all 104 issues of the anthology series, which ran until its cancellation in February 1949. Following , the genre experienced a sharp decline in popularity, as public interest shifted away from wartime heroism toward other genres like horror, romance, and Westerns, leading DC Comics to discontinue most of its titles, including . By the mid-1950s, editor spearheaded the Silver Age revival of superheroes, starting with the introduction of as the new in Showcase #4 in October 1956, a modernized take on the character that emphasized elements and achieved commercial success. However, fans expressed growing demand through letters columns for connections to the legacy of characters, prompting Schwartz to explore ways to integrate them without disrupting the new continuity. This fan interest, exemplified by historian Jerry Bails' December 1960 letter to Schwartz proposing an updated with new adventures for its members, influenced the development of parallel worlds as a solution. "Flash of Two Worlds" in The Flash #123 (September 1961), written by under Schwartz's editorship, served as a pivotal bridge issue by reintroducing Jay Garrick and positing heroes as existing on , a parallel reality that preserved their original histories intact alongside the Silver Age timeline. This framework addressed continuity challenges arising from the revival, allowing to honor its past while building a cohesive . The story's success directly inspired subsequent crossovers, such as Justice League of America #21-22 (1963), the first team-up between the Silver Age and the . Amid rising competition from ' emerging interconnected universe—beginning with #1 in 1961—DC's multiverse approach provided a strategic tool to manage its expansive backlog of characters and stories, facilitating revivals without rebooting established lore.

Story Elements

Plot Summary

During a charity event at the Central City Community Center organized by for the Picture News Orphan Fund, Barry Allen, the Flash of , steps in to entertain the attending children after the scheduled magician fails to appear. Using his super-speed, he performs impressive feats such as playing tennis against himself and attempting an by rapidly vibrating his molecules to simulate and disappearance. Unintentionally, Barry's vibration causes him to phase through the dimensional barrier between parallel universes, transporting him to Keystone City on Earth-Two. Disoriented, he races into the city and soon encounters Jay Garrick, the Golden Age Flash from Barry's childhood comic books, whom Barry had believed to be fictional; Jay, now retired and living a quiet life with his wife Joan Williams, confirms his real existence and explains that the comics on Barry's world were inspired by his actual adventures. The conversation is interrupted by reports of bizarre crimes plaguing Keystone City: money floating through the air (the work of using telepathic control), a robbery conducted in impenetrable darkness (perpetrated by ), and hypnotic manipulations via music (orchestrated by the Fiddler). These acts are the doing of Jay's three arch-enemies, who have recently escaped from prison and formed an alliance to draw the retired hero out of seclusion; they plan a museum heist to steal gems that will amplify their powers. Barry convinces a reluctant Jay to resume his Flash identity, and the two speedsters team up, dividing tasks to track the villains: they first foil an attempted museum heist where the trio seeks gems to amplify their powers. In the climactic confrontation, Barry and Jay exploit their combined super-speed and ingenuity—using the stolen jewels plugged into their ears to block the Fiddler's sonic hypnosis— to outmaneuver and subdue the Thinker, Shade, and Fiddler, restoring order to Keystone City. Carmine Infantino's artwork vividly depicts the shimmering, vibrational nature of the dimensional barriers during these high-speed sequences. With the villains defeated and imprisoned once more, Jay thanks for reigniting his heroic spirit, vowing to continue as the of . , attuning his vibrations precisely, phases back to , where he resolves to share his experience anonymously with writer to inspire future stories, while establishing the concept through the principle of vibrational frequency alignment for interdimensional travel.

Featured Characters

Barry Allen, the Flash of , is a forensic for the Central City Police Department who gained his superhuman speed powers during a laboratory accident when struck a shelf of chemicals, drenching him and granting him the ability to move at incredible velocities. In this story, Barry is portrayed as an optimistic, scientifically minded hero driven by a sense of justice and curiosity, often relying on his intellect alongside his speed to solve crises. Jay Garrick, the of , is the original speedster, a who acquired his powers after inhaling the vapors of "" during a lab mishap, enabling him to run at super speeds and create air pressure gusts. Depicted as more traditional and paternal, Jay has retired from active heroism to live a quiet life but is drawn back into action, embodying a sense of duty and nostalgia for an earlier era of heroism. Supporting the protagonists are , Barry's fiancée and a tenacious investigative reporter for the Picture News, who provides emotional support and grounded perspective amid the extraordinary events. Similarly, Joan Williams, Jay's devoted wife and former college classmate, offers emotional grounding and domestic stability, highlighting the personal lives of the heroes in contrast to their vigilante roles. The primary antagonists are a trio of Earth-Two villains who unite for the first time: the Fiddler (Isaac Bowin), a failed violinist empowered by magical properties in his instrument to hypnotize victims and manifest solid musical notes as weapons; the Shade (Richard Swift), an immortal thief who manipulates shadows and darkness to create constructs, teleport, or ensnare foes; and (Clifford DeVoe), a brilliant turned criminal mastermind who employs a sophisticated "Thinking Cap" helmet to achieve , mind control, and precognitive insights. These rogues, each with roots in Jay Garrick's past, form a coordinated team leveraging their complementary abilities in crime. To visually distinguish the parallel worlds, Earth-One sequences feature vibrant, full-color artwork, while Earth-Two is evoked through the narrative and Jay Garrick's classic appearance.

Impact and Legacy

Establishment of the Multiverse

"The of Two Worlds," published in The Flash #123 in September 1961 and written by with art by , introduced the concept of parallel Earths within Comics, fundamentally establishing the as . In the story, Barry Allen, the Silver Age of , vibrates at a specific frequency while using his super-speed, accidentally transporting himself to , where he encounters Jay Garrick, the whose adventures had previously been relegated to fictional status in the Silver Age continuity. This innovation posited that and occupy the same physical space but vibrate at imperceptibly different frequencies, allowing for distinct historical timelines without creating paradoxes, as events on one Earth do not directly alter the other. The rules for interdimensional travel were defined through the Flashes' abilities: heroes could cross between Earths by precisely matching their vibrational frequency to the target world, typically achieved via super-speed, while maintaining the integrity of each Earth's separate history. Jay Garrick's return marked the first revival of hero in this manner, bridging the gap between DC's pre- and post-World War II eras. This framework resolved longstanding continuity issues from the 1940s-1950s reboots, where Golden Age characters had vanished without explanation, by retroactively placing them on , thus preserving both eras' narratives as valid within the shared universe. The story's foundation quickly led to institutionalization through annual crossovers, beginning with Justice League of America #21-22 in 1963, where the Earth-One teamed up with the Earth-Two against a shared threat. These events, orchestrated under editor and writer , gained strong editorial and fan acceptance for elegantly addressing continuity gaps while enabling collaborative storytelling. Serving as a precursor to expansions throughout the 1960s and 1980s, the concept provided a flexible structure for DC's growing roster of heroes until its partial reconfiguration in in 1985.

Influence on Comics and Continuity

The story "Flash of Two Worlds" from The Flash #123 (1961) profoundly shaped Comics' narrative landscape, particularly through the 1960s and 1980s expansion of storytelling. It directly inspired annual crossovers between the Justice League of America (JLA) and (JSA), which became a staple event from 1963 to 1985, spanning approximately 23 team-up arcs across 40 issues of Justice League of America. These crossovers, beginning with "Crisis on !" and "Crisis on !" in issues #21-22, leveraged the concept to unite Silver Age and heroes, fostering intergenerational narratives that revitalized interest in legacy characters. Beyond the Flash family, the framework influenced standalone tales in other titles, such as 's encounters with his counterpart in Superman #149 (1961) and Batman's parallel-world adventures in #141 (1964), allowing to reconcile disparate publication histories without erasing prior . The culmination of this era arrived with (1985), a 12-issue crossover that merged DC's infinite Earths into a single unified reality to streamline continuity, yet retained subtle echoes to honor foundational stories like "Flash of Two Worlds." Jay Garrick, the Flash introduced in the 1961 tale, was integrated into the main Earth as a retired hero and JSA founder, preserving his legacy while adapting him to the post-Crisis timeline. This event marked a temporary contraction of the but underscored the enduring impact of the original story's dimensional-vibration mechanic, which continued to inform speedster lore and parallel-reality motifs. Post-Crisis revivals reaffirmed the multiverse's viability, with (2005) attempting to restore infinite Earths through Alexander Luthor's machinations, ultimately yielding a 52-Earth structure in the weekly series (2006) that echoed the original dual-world setup. (2011), a five-issue by , further altered timelines when Barry Allen's time-travel intervention created an , rebooting the into era and compressing histories while nodding to the vibrational barriers first depicted in 1961. In the from the to 2025, "Flash of Two Worlds" remains foundational to DC's multiverse explorations. Grant Morrison's (2014-2015), a series of eight one-shots mapping 52 worlds, explicitly references the 1961 story's vibration concept as the basis for interdimensional travel and reader-as-observer dynamics. Similarly, Dark Nights: Death Metal (2020), Scott Snyder's seven-issue event, builds on this legacy by depicting a war across infinite realities, with heroes navigating collapsed multiverses in ways that trace back to the original Flash crossover. Jay Garrick reemerged prominently in (2017-2019), ' 12-issue sequel to , where he appears as a multiversal anchor aiding against metahuman threats. In the 2025 Absolute Flash series by and Nick Robles, which debuted in March 2025 and as of November 2025 is ongoing with issue #9, Jay Garrick is reimagined as Jason Garrick and appears prominently in issues including #6 and #8, serving as a key figure in the narrative involving and . The series' first issue achieved approximately 180,000 pre-orders, making it the best-selling Flash comic since The Flash (1987) #1. The story's cultural resonance extends to collectibility, with high-grade copies commanding premium prices due to sustained popularity. A CGC NM 9.4 example from the Western Penn Collection sold for $23,000 at in June 2004. High-grade copies continue to fetch strong values, with a CGC 9.4 valued at $23,000 as of 2025.

Adaptations and References

In DC Comics

The story "Flash of Two Worlds," originally published in The Flash #123 (September 1961), has been directly referenced and built upon in subsequent DC Comics publications, particularly in establishing crossover narratives. In Justice League of America #21 (August 1963), the tale is explicitly cited as the foundational event for team-ups between heroes from parallel Earths, with Barry Allen recounting his meeting with Jay Garrick to explain the Justice League's alliance with the . This reference solidified the story's role in DC's emerging . It was further echoed in The Flash #179 (May 1968), where the introduction of additional Earths expanded on the vibrational travel concept introduced in the original issue, allowing Barry Allen to access Earth-Prime and interact with real-world elements. Homages to "Flash of Two Worlds" appear in various covers and artistic nods throughout DC's history. The cover of The Flash #200 (1970) parodies the original issue's iconic image of Barry Allen shaking hands with Jay Garrick across dimensions, using a similar layout to celebrate the character's 200th issue. This motif was revisited in Kingdom Come #1 (1996), where Alex Ross's artwork depicts a multiversal gathering of Flashes in a style reminiscent of the 1961 cover, emphasizing themes of legacy across worlds. Similarly, Flashpoint #1 (2011) features a cover homage that mirrors the dual-Flash pose, tying into the event's reality-altering multiverse plot. Reprints of the story have kept it accessible to new generations through collected editions. It was included in Crisis on Multiple Earths Volume 1 (2002), a trade paperback compiling early crossovers, highlighting its pivotal role in DC's Silver Age history. The issue also appeared in DC Universe: Origins (2009), a showcase of key debut and origin stories that contextualizes the 's beginnings. As of 2025, digital editions remain available on platforms like (now part of ), ensuring ongoing availability in DC's era. Modern DC Comics continue to nod to the story's elements, particularly Jay Garrick's Earth-Two heritage. In the Earth 2 series (2012–2015), Garrick is portrayed as a central figure on his native world, with narrative arcs directly referencing his crossover with Barry Allen as a key historical event in the . The "flash" trope of breaching dimensions reappears in The Flash #750 (2020), where Barry's vibrational phasing evokes the original story's mechanics during a multiversal threat. A notable occurs in Justice League Incarnate #1 (2021), featuring the signature Barry-Jay handshake as a symbolic motif for interdimensional unity among the variants.

In Other Media

The story's concept of interdimensional team-ups between speedsters has been adapted into live-action television, most notably in the CW series . In Season 2, episode 2 titled "Flash of Two Worlds," aired on October 13, 2015, portrays Jay Garrick, the Flash from Earth-2, who arrives on Earth-1 via a breach caused by a singularity event and warns Barry Allen about the villainous speedster . This episode directly echoes the original narrative's crossover dynamic, with Garrick seeking aid from Allen against a shared threat, while establishing the Arrowverse's early framework. Garrick's role expands in subsequent Arrowverse crossovers, reinforcing nods to the classic team-up. In the 2019-2020 giant crossover "Crisis on Infinite Earths," Garrick appears on Earth-3 with his wife Joan Williams, tracking antimatter waves threatening the multiverse; Barry Allen visits them for guidance on the impending crisis, directly paralleling the original story's mentor-protégé vibration travel. In animation, the multiverse travel central to the story influences episodes of Justice League Unlimited (2004-2006), where Flash (Wally West) encounters alternate realities and speedster variants, such as in the Cadmus arc's interdimensional threats that evoke parallel-world heroism without naming the source issue. Jay Garrick makes a brief appearance in the 2013 direct-to-video film Justice League: The Flashpoint Paradox, depicted as a scientist who inadvertently aids Barry Allen's speed acquisition in the altered timeline, underscoring the Golden Age Flash's foundational role in speedster lore. The comic has cameo references in live-action sitcoms, appearing as a valuable collectible in 's Season 3 episode "The Jiminy Conjecture" (aired September 28, 2009), where wagers his copy of The Flash #123 during a bet at the comic shop, highlighting its cultural status as a key issue. Multiverse elements in (2021-2024) draw inspiration from the story's legacy, with the series exploring alternate Earths and family dynamics across realities, as seen in crossovers involving alternate Supermen that mirror the original's parallel-hero interactions. Gunn's 2024 DCU announcements further reference mechanics, including vibration-based dimension-hopping akin to the story's method for crossing worlds, as teased in discussions of interconnected Earths for upcoming projects like .

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