I’ve already afforded Swamp Thing a place of honor in my Top Ten DC Characters list, but the full Bernie Wrightson/Len Wein run on this book merits a column of its own. It seems like Swamp Thing has been with us forever … and he’s going on four decades of funny book adventures … but that such a seemingly shallow and exploitative character is still a vital part of the comic book landscape speaks to the inherent quality and intrigue of the creation. Swamp Thing wasn’t comicdom’s first significant swamp monster (that would be The Heap), and he didn’t even beat Marvel’s Man-Thing into print, but Swamp Thing is unquestionably the best of the muck monsters, and I think one of the more underrated characters in comics.
Much of Swamp Thing’s present appeal owes to his many reinventions, first by Alan Moore in the 1980s, in what is arguably the finest run of comics of all time, but more recently from creators like Grant Morrison, Brian K. Vaughn, and even Scott Snyder in Swamp Thing’s “New 52” book. But at the root of all these reinventions are the original issues of Swamp Thing, by co-creators Len Wein and Bernie Wrightson. These worthy tales provide a foundation for a character still vital nearly half-a-century later, and they remain greatly entertaining comics in their own right. Not bad for a shambling mockery of a man in mud monster form!
I enthuse at length about Swamp Thing’s origin issue in my Dollar Box column, so I won’t repeat myself here, aside from noting that Swamp Thing #1 is a top origin issue, creepy and entertaining as a stand-alone story while still delivering all the meat-and-potatoes expected of an origin tale. Swamp Thing’s genesis is iconic and likely familiar to all readers by now — the story of scientist Doctor Alec Holland, set afire by a bomb while working on his “bio-restorative” formula in a remote swampland laboratory, the poor devil plunging into the swamp to put out the flames only to rise later as the monstrous Swamp Thing.
Later creators would re-spin the tale, with Alan Moore most famously turning the whole thing inside-out in “Anatomy Lesson,” but when Swamp Thing debuted in his own book in 1972, the origin was on-the-nose — yep, that was poor Doctor Holland trapped in that muck-encrusted body, a character purpose-built to be a misunderstood monster, with a human soul yearning to reverse its hideous physical transformation.
well before Alan Moore, Wein & Wrightson did an “anatomy lesson” of their own
That straight-ahead story style continues in the following three issues of Swamp Thing I review here, but this isn’t intended as a criticism. Rather I see it as a case of clear and deliberate storytelling, standing apart from other, more embroidered Silver Age tales in that it is so bare bones. These stories are simple and they recycle monster movie tropes but they do it so well that everything old seems new again.
I’ve seen this tale many times before, but with Wein & Wrightson I’m happy to see it again
Much of this is down to Bernie Wrightson’s tremendous artwork, but before I spin off in rhapsodic praise for the pencils I want to offer a few words for Len Wein’s scripting. Wein is easy to marginalize in any team that includes Bernie Wrightson but the exhaustive ten or fifteen minutes I spent on Wikipedia doing background for this piece indicates Swamp Thing emerged from a close collaboration between Wein and Wrightson. While it is difficult to extract at this late date who did what, exactly, we can look at Wrightson’s post-Swamp Thing work and see that he definitely benefited from his partnership with Wein. For the most part, Wein’s scripts are content to set the scene and establish tone and then let Bernie do what he does best, but in this it is possible to laud a writer for restraint, and also to recognize a case where a comics author contributes so perfectly to a piece of visual storytelling. I’m not the kind of comics fan who thinks pages must be swarming with clever word balloons to feel a comics writer has done his job; quite the opposite, in fact, and Wein’s work on Swamp Thing is this better sort of comics scripting, hand-in-glove with Wrightson’s art, fully a part of the piece and better for leaving unsaid what those Wrightson images so clearly communicate.
Ah, and those images! Wrightson’s art is as startling today as it was all those years ago, a beautiful blend of horrific character designs, expressive faces, perfectly-composed set pieces, and rock-solid storytelling. Greatly benefiting from silky Joe Orlando inks, Wrightson’s pencils transport us to all the gothic locales you’d expect of a 1970s horror book — murky swamps, creepy European castles, fog-bound Scottish moors — they’re all here, they’re all exactly what you’d expect, and they’re all jaw-droppingly wonderful.
For the most part, Wrightson breaks little new ground here, though I was was taken with the weird designs of Arcane’s Un-Men, particularly that talking hand mastermind …
… but it isn’t invention but reinvention that’s the point. I loved seeing Swamp Thing face off against Frankenstein’s monster, and the Werewolf too, and it didn’t matter to me that they were monsters by some-other-name. Copyrights be damned — Swamp Thing is a kick-ass monster and I want to see him fight other kick-ass monsters! Frankenstein vs. The Wolf Man can never compare with Bride of Frankenstein, but in his heart of hearts you know which one a twelve-year-old prefers.
It’s not all central casting monsters, either. Wein wrings some pathos out of the reveal of which brain resides in that Frankenstein form (and how he got there, too), and there’s even a bit of emotion in the Werewolf’s inevitable demise, a doomed child more than ready to move on but held on this mortal plane by parents all too unwilling to let go of their little boy, however murderous he has become. Wein’s around-the-gothic-world in eighty pages plotting does require some leaps of logic — the pontoon plane at the center of Swamp Thing’s transports does not withstand close consideration, unless we want to believe that hand-for-a-head Un-Man was somehow at the controls — but these are forgivable sins in service of a fast-moving and delightful plot, no more jarring than Indiana Jones hanging on the periscope of that Nazi sub for a thousand nautical miles. In a world filled with swamp monsters and a body-hopping arch nemesis such things can’t rightly be called ridiculous.
And by keeping the tale moving along and refusing to apologize for or dwell on its inconsistencies, we have that much more room for the main events, the monster versus monster fighting, the pathos of the twisted human souls stuck in those monstrous forms, and the minimal but emerging subplot of the human characters who misunderstand Swamp Thing, and are doomed to hound him to the earth’s end (among whom is Abigail Arcane, introduced in the second issue as a not-quite-damsel in distress, who will loom large as one of the most complete female characters in comics under Alan Moore’s eventual tutelage).
Abigail Arcane, in black & white (boots and hair!)
There was an era when superhero books weren’t afraid to be superhero books, with big-shouldered muscleheads striking wide stances and smashing each other through the sides of skyscrapers — and this is a monster book in the same vein, full of crazy Dutch angles and reaching shadows, and contriving to hang Swamp Thing on a cross in a cart because, well, it’s just looks so damn cool.
This whole run is like that … you can ignore the words and appreciate the art, or you can delve into the narrative and enjoy the whole package even more. Plus there are some places where words-and-pictures come together in ways that the comic form does best, as when Swamp Thing surrenders his recovered humanity to thwart the evil designs of Arcane …
… or when our hero tumbles down into the roots of Arcane’s castle.
However you slice it, this is a superior comics run, and I’m affording it a top grade, dented only slightly by a very minimal lack of originality, and that tiny bit of storytelling slight-of-hand that catapults Swamp Thing back and forth across continents on the wing of a pontoon plane, in service of a location-driven plot. Even then, I am picking nits — this is a series to be cherished and enjoyed.
So why am I restricting my review to four issues? That’s all the reprints I have! I am now on the lookout for the remaining six issues of Wein and Wrightson’s run, but perhaps a more seasoned hand can tell me if I should bother. Like the Silver Surfer, does this original Swamp Thing series peak in its forth issue, going into a painful decline, or do the remaining issues build on this very strong start? Let me know your opinion, in the comments section below!
Either way, I remain tremendously impressed with Wein & Wrightson’s Swamp Thing. Long may he shamble!
- Title: Swamp Thing
- Published By: DC Comics, 1972-1976
- Issues Reviewed: #1-4, November 1972-May 1973
- LBG Letter Grade For This Issue: A-minus
- Own The Reprints: DC Special Series
Originally published as Longbox Graveyard #81, January 2013.
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Posted on October 16, 2019, in Halloween Month and tagged Alan Moore, Bernie Wrightson, DC Comics, LenWein, Swamp Thing. Bookmark the permalink. 5 Comments.
I was going to ask, so who’s run do you prefer, Moore’s or Wein’s, but this post answers that question. Both runs really did a lot to cement Swampy’s legacy in the minds of readers, but Moore’s unique take really elevated Swamp Thing’s story and character from being simply a monster fighting other monsters to using the character to address various real world issues at the time, religion, sexuality, transcendence, and various other truly adult themes. And I think that’s the major distinction between the two writers; Lein’s run was like being in Middle School/High School and Moore is very much like growing up and going to college.
Still, no reason why you can’t enjoy both writers’ take.
I wonder if Alan Moore ever did any projects with Bernie Wrightson? That would’ve been excellent. Moore is an artist I think, while Wein is an excellent craftsman. The latter is good, even great sometimes, but can’t compare with Moore. I remember the early run of Moore’s Swampthing and one part of the comic book actually gave me chills. It creeped me out. Wein was thrilling, fun, thoughtful occasionally, but I never felt fear.
Agree. I came to Moore’s Swamp Thing first, and thought I wouldn’t care for the original. I was pleasantly surprised to find otherwise, but it is a different thing entirely.
My first Swamp Thing was actually the Alan Moore Swamp Thing. That was the era when I was exploring DC in depth for the first time (and it was a great time to do so, with Dark Knight, Watchmen, Teen Titans, & etc. going on at the time). Moore’s Swamp Thing might be my all-time favorite comic book run — I’ve never covered it at the blog in depth because I have so little to add, and any observations I might make would pale in comparison to the work.
I will say that I think Moore’s best comics work was in reinvention of other characters — I haven’t cared as much for his original creations. But watching him play with DC’s cast of characters in that Swamp Thing run was a rare thrill.
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