Entering into the final act of Heroes in Crisis, we are no closer to knowing who committed the murders at Sanctuary than we were issues ago. The mystery thickens a bit when we learn that Wally West is involved in something with Poison Ivy. We are still left not knowing all the victims of Sanctuary and whether Wally West is actually alive or dead. With most of DC's "Crises," a speedster usually dies and the rupture of space/time is involved. What we do get out of this issue is a bit of coalescence. Harley Quinn and Booster Gold duke it out until they come to an understanding. We are left with a team of Harley Quinn, Batgirl, Booster Gold, and Blue Beetle together on the same page trying to solve who attacked Sanctuary.

Meanwhile, the driving narrative of this issue is Wally West dealing with the trauma still of being alive in the "Rebirth" universe, but detached from it. He is grappling with the expectation of his friends and heroes that he be a symbol of hope. Clearly, this is a parallel of how Wally being brought back was sold to audiences at large when Rebirth occurred. What audiences, and by extension the DC universe, never paused to question, is at what price did that hope cost?

For Wally, his detachment is the result of not having many people remember who he is, and most importantly, the loss of his wife and children who were well established for years in the DC universe pre-The New 52. It is these conversations that Wally has, through exposition and his interviews at Sanctuary, that make it seem like he could be the one behind the atrocity at Sanctuary. I think that is more of a red herring. With two issue left, Tom King will drop a twist on the story that we aren't expecting.

As the case has been throughout HiC, the artwork has been phenomenal. The innovative splash pages that Clay Mann has created for each issue's title card could be collected into a mini coffee table book. Of particular note for this issue, we have art duties handled by Clay Mann, Travis Moore, and Jorge Fornes. ow each artist is handling which pages goes to show how important the entire production team is to making this book flow seamlessly. Jorge Fornes’s work is so different from Clay's yet it doesn't feel out of place at all. Since his pages are used exclusively in scenes with just Batman and The Flash [Barry Allen], his style feels more complementary than a detraction. It is like when watching a show or a movie and the camera cuts to a locale that is lit in a completely different manner than the primary action scene to tell the B-storyline before cutting back. Meanwhile, Travis's work in feeling like Clay Mann is quite superb.Flipping between pages that Clay and Travis have pencilled, it becomes a bit difficult to distinguish who is doing the art. This is a good thing as Clay is the point artist. All of this is tied together once again by fantastic Tomeu Morey colors that bring a consistent atmosphere to all of the pages.