Swamp Thing 85 (April 1989)

This issue’s extremely confusing. Veitch writes it assuming people know Hawk is Tomahawk’s son. In other words, a specialized audience at the time of its publication and an even more specialized one as time goes on. There are probably eight characters–all of them DC Western characters (except a couple for a surprise)–and Veitch has to introduce them all and their ground situations. And it gets slippery.

For example, the unseen German princes–who hire all the Western heroes–don’t make any sense. In the end, they do, once Veitch reveals everything, but when he’s hinting at it… nope, doesn’t work. He also goes too fast in those character introductions.

The issue’s about the Western heroes, not Alec. It’s too bad too; Alec’s story in the issue is a lot more interesting than anyone else’s. And he’s only in the story for a day.

It’s fine enough, just bewildering.

CREDITS

My Name is Nobody; writer, Rick Veitch; penciller, Tom Mandrake; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

Swamp Thing 84 (March 1989)

Veitch really puts Abby through the wringer this issue. Instead of supervillains, she gets to deal with the American healthcare system. Comatose ex-husband (and government operative) Matt is now ringing up ten thousand a day and the hospital expects Abby to pay up.

It’s a distressing issue. Without Swamp Thing, there’s not a lot of fantastic in Abby’s life–when Adam Strange shows up to check on her, he’s in regular clothes even–and the assault from the hospital drains her. Mandrake and Alcala show her cornered in small spaces.

All the strengths make up for the lack of resolution in Veitch’s script. He’s even got Matt Cable meeting the Sandman–who tells Cable to make things right–but there’s no explanation how things got right. Maybe there was a page missing in my issue.

Still, the “real world” horror aspect of it gives Veitch a chance to flex.

CREDITS

Final Payment; writer, Rick Veitch; penciller, Tom Mandrake; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

Swamp Thing 83 (February 1989)

This issue of Swamp Thing continues the time traveling further into the past, with Swamp Thing meeting up with Enemy Ace. Except it’s not Alec’s story, nor is it Enemy Ace’s story… it’s Abby’s grandmother’s story. The issue belongs to Anton Arcane’s mother–she narrates it, she has the biggest story arc–and it’s downright disturbing.

She’s a war wife; her husband is off fighting (she assumes) and she’s writing to him about her and their children’s struggles. Veitch does a fantastic job with the little World War I things, especially the scene at the front. He also writes a great Enemy Ace. But Countess Arcane loves little Anton–who’s experimenting on people already (along with some other awful things). It makes for an unpleasant read; she’s sympathetic, but she enables him.

Great stuff–Veitch amusingly makes the barely present Alec cute. Mandrake pencils, Alcala inks, the issue looks fantastic.

CREDITS

Brothers in Arms, Part One; writer, Rick Veitch; penciller, Tom Mandrake; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

Swamp Thing 82 (January 1989)

Veitch sends Swamp Thing back to Easy Company, which works out quite well. The pacing is key–Veitch introduces Sgt. Rock, a medic, a bad guy and then a surprise bad guy for the finish. In the meantime, Alec is inhabiting the recently deceased body of an ancestor (or just someone with the same name… it’s unclear).

While there are some big Swamp Thing moments, it’s more a war comic and Veitch seems thrilled to be doing it. He and Alcala’s art is outstanding, especially the mundane activities the troops go through.

Veitch also makes Alec more unaware of the situation than the reader. It’s a nice move and makes the time travel related moments play a lot better. The reader gets some buffer room to better enjoy them.

It’s a fun issue; Veitch acknowledges it’s not a series altering trip through time, just a device to make good comics.

CREDITS

Brothers in Arms, Part Two; writer and penciller, Rick Veitch; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

Swamp Thing 81 (Holiday 1988)

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Veitch does a sequel to one of the first Swamp Thing issues–I think back in the Wrightson days–and he captures some of that series’s cynicism. Mind you, he’s doing it with a superhero guest star and part of a big crossover event. I almost wish he hadn’t done it because it’s so downbeat. But it’s good.

Most of the issue is spent with Abby and Chester meeting an alien, but there’s a little of Roy Raymond recovering from his ordeal. Veitch doesn’t hint why Raymond gets the attention, but it gives he and Alcala a Louisiana hospital to draw and it looks fantastic.

The issue shows how essential Abby is to Veitch’s approach on the series. Alec doesn’t even show up this issue, but the issue’s outstanding anyway. Maybe even because Veitch gets to tell the story through Abby.

Veitch handles the required big event crossover issue sublimely.

CREDITS

Widowsweed; writer and penciller, Rick Veitch; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

Swamp Thing 80 (Winter 1988)

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Poor Veitch. Swamp Thing is about to take part in another big DC crossover–they don’t announce it on the cover or in the text, but it’s Invasion!–and he’s got nothing. He basically sends Alec off into space again, or something like it. The finish, with Swamp Thing forced to escape Earth, looks exactly like the last time he did.

What’s different? Well, Abby’s pregnant and the issue opens with a funny scene of them putting together the baby’s room. Then there’s some rather good stuff with the Parliament of Trees. Veitch just can’t organically incorporate the invading aliens (even though he never shows their faces, just their hands). It’s like the Flash Gordon movie and Ming….

Crossover issues are rarely any good and often incredibly problematic, so it’s a testament to Veitch’s handle on the series he was able to get a few good scenes in the issue.

CREDITS

The Longest Day; writer and penciller, Rick Veitch; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, Tatjana Wood; editor, Karen Berger; publisher, DC Comics.

Swamp Thing 79 (December 1988)

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There’s something immediately compelling about Veitch’s take on Superman and Lois Lane. His Lex Luthor, fat and mean-spirited, is a little less interesting (if competently done), but his Lois and Clark are positively realistic. But Veitch also loves playing with the Superman standards–Clark changing into his costume while falling off a building, putting back on his suit while running up it–it’s a lot of fun.

Of course, it’s a Swamp Thing comic where Alec plays second fiddle to the guest stars. In some ways, even Chester and Liz make more impact than Alec does here. They’re at least moving forward–Alec is just responding to events outside his control. He’s reacting, they’re growing.

Veitch returns after two issues off Swamp Thing with a good Superman comic. The issue, even cleaning up old plot threads, doesn’t feel particularly rooted. It’s fine, but it’s cooler looking than anything else.

CREDITS

Waiting for God (Oh!); writer and penciller, Rick Veitch; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

Contemporaneously…

Dark Horse Presents 25 (December 1988)

Swamp Thing 78 (November 1988)

It’s another fill-in issue–Mandrake’s on pencils again (with Alcala inking); Stephen R. Bissette handles the writing chores. It’s also filler narratively, but very nice narrative filler. Bissette doesn’t have much for Abby to do, however. He sends her on another trip to the afterlife, which could be eventful, but instead she just hangs out with Alec Holland for a few pages.

The other Alec, though, Bissette’s got a lot for him. The issue’s something like Bissette musing on how Swamp Thing would be relating to the new developments. It’s a relaxer issue, but a beautifully paced one.

Bissette has this incredible twist in the issue. Bissette paces things for the one sitting read, not an eventual trade. Swamp Thing is a great example of how trades changed comics writings for the worse.

The issue’s not without problems–the end twist is a little outrageous–but the issue’s fine.

CREDITS

To Sow One’s Seed in the Wind; writer, Stephen R. Bissette; penciller, Tom Mandrake; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

Contemporaneously…

Dark Horse Presents 24 (November 1988)

Swamp Thing 77 (October 1988)

Did someone forget to tell Jamie Delano Abby is from Eastern Europe? She’s got a line about being a nervous sixteen year-old and it doesn’t seem very appropriate, given her Iron Curtain upbringings.

Actually, the guest crew of Delano and Tom Mandrake (Alcala’s on inks still) mimic Veitch so well I had no idea he didn’t write or draw it until I went back and looked. It’s a nice interlude issue, with Abby and Alec fighting a bit after her “night” with Constantine.

Delano takes his time with the pacing, following Abby through a rough day. Mandrake layers in some surprises. It’s a lovely issue, actually–it’s surprisingly two guest creators could do such a seamless, significant job.

Constantine shows up for a bit too, which would be more contrived if Delano and Mandrake didn’t introduce him so well. They slickly infer his presence before his appearance.

Excellent stuff.

CREDITS

Infernal Triangles; writer, Jamie Delano; penciller, Tom Mandrake; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

Contemporaneously…

Dark Horse Presents 23 (October 1988)

Swamp Thing 76 (September 1988)

The issue opens with a couple surprise guest stars, who provide a little commentary on the events. Mostly they inform the reader of things going on in Hellblazer, for those who aren’t reading both series.

For such a momental issue, not much happens. Not much in a good way, however. Veitch includes a little scene with a friend of Constantine’s who manipulates fights between superhumans to profit off marketing and land redevelopment. It’s a throwaway scene, texture here, but I’m sure someone at Marvel said they came up with it in the oughts and broke his arm patting himself on the back over it.

Arcane shows up, in Hell, for a bit too. It’s a big issue after all–of returning cast, only Liz is stuck off panel, but there’s a sight gag related to it.

Veitch writes Abby really well. She might be his best work on the book.

p style=”font-size:11px;”>CREDITS

L’Adoration de la Terre; writer and penciller, Rick Veitch; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.