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Swamp Thing: Dark Genesis

This month at Longbox Graveyard is all about monsters, and while Swamp Thing isn’t the first of his kind (that would be The Heap), and not even the first muck monster from the Big Two (as Marvel’s Man-Thing debuted several months earlier), Swamp Thing is certainly the most famous and best-realized of all the the many fiends stalking the four-color funny book bogs.

Swamp Thing #1, Bernie Wrightson

Originally appearing in a short story in House of Secrets #92, Swamp Thing made his first full-length appearance in somewhat altered form in 1972’s Swamp Thing #1. The product of a close collaboration between writer Len Wein and artist Bernie Wrightson, Swamp Thing is one of the greatest creature designs in all of comics. With his craggy brows and half-skull face, Swamp Thing is perched on the edge of uncanny valley, with a visage by turns soulful and monstrous, the perfect mask of torment for forlorn man-turned-monster Alec Holland.

portrait_70

Later creators — including luminaries like Alan Moore, Grant Morrison, Mark Millar, Brian K. Vaughn, and Scott Snyder — would develop Swamp Thing into an elemental champion at the center of a complex and expansive comics cosmology, but the original Wein & Wrightson version of the character is simplicity itself. Tasked with creating a bio-restorative formula by the government, scientist-couple Alec and Linda Holland retire to a remote swampland laboratory, where they are immediately menaced by thugs intent on stealing their knowledge. One thing leads to another, and before long a bomb has gone off and a flaming Alec Holland has plunged into the muck, only to rise as the avenging muck monster, Swamp Thing!

Bernie Wrightson & Len Wein, Swamp Thing #1

This is a taut and effective horror comic, strongly-written by author Len Wein and lent an extra layer of creepy by the uncredited letterer, who employs drippy caption boxes to good effect. Perhaps that letterer was artist Bernie Wrightson, who put his stamp on every other aspect of the book, creating a swamp-gothic look on the fly — a world of shadowy locales that are still perfectly detailed, and populated with heavy-featured thugs rendered with such skill that you don’t recognize the degree to which the art uses comic exaggeration until you’ve read the book two or three times.

Bernie Wrightson & Len Wein, Swamp Thing #1

Wrightson would go on to become one of the most celebrated artists in the medium, but he was largely unknown when Swamp Thing debuted … and what a debut it is. This is a mature work with a rare balance of style, mood, character, and storytelling.

Bernie Wrightson & Len Wein, Swamp Thing #1

It’s also a simple story, as befits the best origin tales, setting the table for stories to follow by introducing the main characters, and establishing our (anti) hero’s all-important powers and foibles. Of interest to fans of later incarnations of Swamp Thing (or readers more familiar with the minimally-sentient Man-Thing), this version of Swamp Thing is fully aware of what he is.

Bernie Wrightson & Len Wein, Swamp Thing #1

Alec Holland’s scientific mind instantly comprehends what has happened to him, and there is a minimum of mooning around and identity crisis before Swamp Thing gets down to the business of revenge.

Bernie Wrightson & Len Wein, Swamp Thing #1

And that’s the long and short of it, really — in “Dark Genesis” we have a bare bones Silver Age horror comic, an on-the-rails story that could pass for a one-and-done entry from EC’s Tales From The Crypt. Swamp Thing’s many complications and evolutions would come later, and it is a testament to the solid foundation laid down by Wrightston and Wein that this most basic muck monster is still surprising and delighting us forty years later. I personally revere Alan Moore’s 1980s reinvention of this character, but there’s also room in my collection for this simpler version of Swamp Thing, an effective and eminently memorable character in its own right. You won’t find this 20-cent comic in dollar boxes any longer, but affordable reprints are readily available, should you wish to familiarize yourself with the original adventures of this greatest of the swamp monsters! (A digital version of the story was also available for free direct from DC Comics at the time of this writing).

Lein Wein & Bernie Wrightson, Swamp Thing #1

(And if you want even more Swamp Thing, check out my review of the rest of the series, here!)

This article originally appeared at StashMyComics.com., and as Longbox Graveyard #153, January 2013.

TOMORROW: Marvel Value Stamps!

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About Paul O'Connor

Revelations and retro-reviews from a world where it is always 1978, published every now and then at www.longboxgraveyard.com!

Posted on October 23, 2019, in Halloween Month and tagged , , , . Bookmark the permalink. 5 Comments.

  1. Priming the pump for SwampThing’s eventual victory? Just kidding. I agree 100%. Those original tales are a visual feast for the eyes–the art carries the stories in retrospect. Nonetheless, reading those tales with a filter, I can see how they were the mythopoeic core from which Alan Moore crafted his great sophisticated tales. Bernie Wrightson is incredible. His ‘Frankenstein’ deserves slow, quiet absorption. You can’t read it quickly. The detail, the mood, the panel breakdowns–just amazing.

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    • I revere Alan Moore, particularly his comics reinventions. He had a particular genius for seeing old characters in entirely new ways — for making me care about characters I’d previously dismissed or ignored. One of the joys of his Swamp Thing run was seeing how he handled cameos of other DC characters. Everyone remembers Frank Miller’s take on Superman via Dark Knight, but I think Moore’s take on Batman via Swamp Thing was just as memorable, with Bats conceding that there was essentially nothing he could do when the power of nature was unleashed on Gotham City.

      And I revere Wrightson, too … I had a poster of his “Mementos” on my wall all through my teen years.

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  2. Bernie Wrightson was amazing, unfortunately he kind of suffered an artistic burned out on the Frankenstein work. Afterward, his art wasn’t as exciting anymore and never fully returned to its previous glory (at least to my eyes).

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    • That seems to happen to artists after they put so much energy into a work. I recently read “Capote in Kansas” by Ande Parks and Chris Samnee. Apparently Truman Capote had to recuperate for some time after he wrote “In Cold Blood”. Still, Bernie at half strength still beats other artists with all guns firing imho.

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