Len Wein returns to writing the character he co-created in “Convergence: Swamp Thing” #1, while Kelley Jones supplies the art for a character that is appropriately suited to his singularly brilliant style. This is one of the best “Convergence” tie-ins so far, with enough history and enthralling art to satisfy both long-time comic book readers and readers who are new to this classic character.
Written by Len Wein
Illustrated by Kelley JonesSTARRING HEROES FROM CRISIS ON INFINITE EARTHS! The dome has cut off all the heroes from their powers – but what happens when Swamp Thing is cut off from his life source in The Green?
In the previous weeks’ “Convergence” tie-ins, some gave background to the books’ respective characters while others only hinted at origins and past adventures. With the first issue of the two-part Swamp Thing miniseries, Wein and Jones spend the bulk of the issue regaling us with the roots of Alec Holland’s transformation into Swampy. Familiar faces such as Abigail Arcane and Jason Woodrue make appearances, while the current day Swampy of the pre-Crisis on Infinite Earths encounters an earth at the end of the issue that is especially fitting for Jones. Jones has experience exploring this particular earth and it makes me giddy to imagine him going back to it in the concluding chapter.
Wein excels at expressing the solemn life that Holland must lead as Swamp Thing while writing the thoughts and words of an entity that perseveres through extremely emotionally and physically draining experiences. Although Holland’s halting language can be distracting at times, it is apt for a creature with so much weight and responsibility (both mental and physical) upon his shoulders. Wein is genuinely having fun writing his creation and it is evident in the care he brings to his words. The story flows smoothly and organically. It doesn’t feel like a forced companion piece to an epic event, but instead can stand firmly on its own. That’s what a tie-in should accomplish and both Wein and Jones, along with colorist Michelle Madsen, succeed in their endeavor with aplomb.
The main attraction of this book is Jones’ distinct artistic style. I have been drawn to his art since first experiencing it on covers to Batman books and then his interior art on the “Batman” title and the Batman vampire Elseworlds books during the 1990s. Like a lot of other great artists, his technique is truly polarizing. Where some see something grotesque, others see depth beneath the horror. While the influence of artists such as Bernie Wrightson (appropriately enough for this book, since Wrightson is the other co-creator of Swampy) is clearly on display, his artistic voice is his own. Viewing his art is like watching pure horror come to life on the page. His pencils have an aura about them that transfix and guide you to another world. One glance at the first splash page of Swamp Thing among his element is proof enough of Jones’ magic.
Nuance and emotion can be found within the eerie and sometimes bombastic layouts of Jones’ pages. Those more subtle moments can be found in such scenes involving Holland’s face and eyes. The inking and shadows show the creased face of a being with great stress during one scene where Holland must where a trench coat in order to hide his monstrous appearance. His eyes pop off the page and express the feeling of a man who must always be looking over his shoulder in preparation for the worst that humanity has to offer. On the following page, the simplicity of blank white eyes express the anguish of a creature cut off from his required sustenance. A few pages later, Holland’s eyes contain a well of despair that is heartbreaking. These are just some examples of how Jones’ art can be deceiving. There is more to explore in his art than what is merely on the surface. His pages are deemed worthy of more than just a quick read-through.
If you’ve had the pleasure of seeing Jones’ art without the addition of colors, then you know the power of his unadulterated pencils. Madsen exquisitely enhances those pencils in “Convergence: Swamp Thing” #1. The haunting quality that Jones brings to his work is married beautifully with Madsen’s equally otherworldly colors. Shades of purple color the sky behind our hero and bestow an ominous glow to the book’s proceedings that evoke as much horror as Jones’ art. The various shades of green that color Swamp Thing from one physical change to the next are chosen carefully and naturally. Madsen colors the entire issue in such a way that transforms the “Convergence” event from a superheroic story into one that should and does evince the frightening aspects of a world trapped underneath a dome.
“Convergence: Swamp Thing” demonstrates that two veteran masters of storytelling still have the ability to tell a story in evocative and exciting ways. The opening of chapter of this brief miniseries demonstrates that you can successfully revisit the past. Wein clearly loves his character and hasn’t lost the ability to effectively express Holland’s voice. Jones has been sorely missed, with a recent backup in the current “Batman” series and this Swampy story proving that he still just as brilliant today as he was when he first came upon the comic book scene. DC would be smart to snatch up Jones for any book in their stable, new or old, and let him do exactly what his pencil inspires him to create.
Final Verdict: 8.5 – If you weren’t a fan of Swamp Thing (or Kelley Jones’ art) before reading this issue, then be prepared to search for past tales of an endearing and unconventional hero.
