The Flashpoint volumes of Convergence strike me as distinct from the earlier ones. Almost all of the characters in the Crisis, Infinite Earths, and Zero Hour volumes continued to exist after the points where they were plucked from for these tales: the Earth-One Legion had many more adventures, so did the Justice Society, so did Aquaman and Kyle Rayner. Those stories mostly revisited old status quos that the characters had moved on from. But Convergence: Flashpoint picks its characters from around the time of Flashpoint: this is, from around the time they ceased to exist. After Flashpoint, the Superman we'd been following in DC Comics since 1985 was gone, so was Renee Montoya, so was Stephanie Brown, so was Nightwing and Oracle. DC brought them back in different forms, but these characters just stopped, without endings.

So Convergence: Flashpoint is different, in that many of its stories seek to give closure to characters whose stories never received it. How did Clark Kent's marriage to Lois Lane turn out? Did Barbara Gordon and Dick Grayson get over there will-they-won't-they thing? How did Stephanie Brown's tenure as Batgirl go? What ever came of Renee's weird relationship with Harvey Dent, the man who had outed her?

All of these questions (with the added complication that the characters spent a year in a domed Gotham) are answered in Convergence: Flashpoint. Unlike with some volumes of Convergence, these are character versions I'm familiar with: I know the post-Crisis, married Superman; I know Nightwing and Oracle from reading all of Birds of Prey; I know Renee Montoya from Gotham Central and 52. So these stories carried a lot more weight than the ones in, say, Infinite Earths or Zero Hour. Plus, in many cases, the writers in this volume worked on these characters themselves. Dan Jurgens wrote and drew the post-Crisis Superman a lot in the 1990s, Greg Rucka didn't create Renee but he may as well have, and Gail Simone defined Oracle in what's still the best Birds of Prey run.

All of this is to say that as exercises in nostalgia and loose ends, these stories mostly worked for me. The Superman tale, where Lois ends up giving birth to a super-baby, is a heartwarming one of how Superman stands for light against darkness. I liked that Rucka used the Convergence framework to have "our" Harvey Dent confront a version of himself who never became Two-Face in a city-to-city fight unlike any other in the series so far. I actually haven't read a lot of Stephanie Brown Batgirl stories, but this seemed a fitting and cute way of tying up her adventures, with her finally finding an identity of her own. And though I never was a Babs/Dick shipper, letting them both get married and be badasses one last time is a nice final story. There's some great art, too; both Lee Weeks and the Dan Jurgens/Norm Rapmund team draw a stunningly heroic Superman; and I was delighted to see Jan Duursema (who I know from decades of Star Wars comics for Dark Horse) doing her thing in the DC universe.

The book's not perfect. I've complained before that the rules for city battles are different in each story, and the ones in the Stephanie Brown story are in particular difficult to reconcile with other volumes-- Stephanie finds out she's Gotham's champion from watching tv (did Telos send them a news bulletin?) among other weirdnesses, and in the Nightwing/Oracle story, Telos has enforcer robots that appear in none other of the thirty-five Convergence battles I've read thus far. Also, I've never read the pre-Flashpoint Justice League, but Frank Tieri's take on it doesn't make me want to. They're obnoxious "strong female character" types, and they don't exactly acquit themselves well here.

The title has a double meaning. These are the versions of the characters from the time of Flashpoint, but in all of the stories, they're fighting Gotham from the "Flashpoint" universe. This actually worked surprisingly well, especially in the first story, where Jurgens extracts some pathos from having the Flashpoint Kal-El ("Subject One") meet the Earth-Zero Lois Lane, and having the Flashpoint Thomas Wayne (who realizes these characters come from the same world as the Flash he met) get to talk to Superman about the kind of man his son became. Wayne's sadness that his universe didn't vanish in a flash is a nice touch.

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