It’s time for another review!
This week, it’s Convergence #1 from DC. Written by Jeff King and Scott Lobdell with pencils by Carlo Pagulayan and inked by Jason Paz, the book was colored by Peter Steigerwald and John Starr, lettered by Travis Lanham, and edited by Brittany Holzherr and Michael Kraiger (as assistant editors, with Marie Javins being the main editor).
As always, I don’t give stars, I rate the comics based on Prince songs: Adore means buy it, Beautiful Strange is take it or leave it, and When Doves Cry means don’t buy it. (Don’t think I don’t like When Doves Cry. I happen to love the song a lot. The titles just fit what I’m doing here.)
What’s Convergence? Simply put, it’s yet another Crisis. DC is destroying their universe again (just let that echo into infinity), but they’re doing it Contest of Champions style. The premise is simple: all of the worlds such as Elseworlds, the Tangent universe, Pre/Post/Infinite Crisis, Earths 1- fabillion, DC One Million, Kingdom Come, and more…all of the worlds happened. They’re all canon. Somehow, Brainiac has gathered the cities these stories took place in and pulled them outside of time, and it’s now time for the various heroes of the New 52 to fight to the death. Just like Highlander, there can be only one.
That’s the setup. Again, Contest of Champions, but on a multiversal scale. And King and Lobdell do a fantastic job of getting that across. To be honest, I couldn’t find a flaw in the writing—and I was looking. I really enjoyed Lobdell when he worked for Marvel, and I’m enjoying his work here on Convergence. There’s a large cast of characters here, but no one is standing around idly. Everyone gets lines, everyone gets screen time, and it’s all germane to the story.
I don’t usually write gushing reviews. I’m gonna gush. Carlo Pagulayan did a bang-up job on the pencils here. I was never lost in the action, my eyes were led across the page properly for the most part, and all of the characters were recognizable to me. Great anatomy, proportions, and storytelling. Very, very happy. If there’s any complaint, it’s that there’s a lack of imagination with the pencils. Most of the book took place in a desert of some sort. There wasn’t a big call for imaginative buildings, vehicles, or machines. That’s not Carlo’s fault. The script didn’t call for it. No trickery here—this book lives on straight storytelling in every aspect.
The inks that Paz did were also very good. I’d like to see this team do more work together. Great textures were achieved, and there weren’t a lot of lines to clutter the place and distract the eye.
Steigerwald and Starr… I really, really enjoyed what they did here. They did their job as colorists, never overwhelming the page, but helping to tell the story. No one ever got lost, and they never got sloppy. Some of the special effects were well done, also. Just a very nice palette, even though the worlds were limited in scope.
Letterers who call attention to themselves are letterers who aren’t doing their jobs. The letterer should be invisible. Travis Lanham was invisible, even though he did some things that were obtrusive: When we went to “Battleworld”, the characters were labeled, giving their name and a brief description of who they were. It was very smooth.
Since everyone did their jobs here, that means the editorial team also did theirs, which is the way things are supposed to work. The editors here made sure everyone did their jobs, so their own job was invisible. I have absolutely no complaints.
Final Grade: Adore