Swamp Thing 90 (December 1989)

16060 Alcala’s not the best inker for Pat Broderick. Broderick takes over pencils this issue. Swamp Thing looks fine, so do the plants, but the people look wrong, like there’s not enough detail to them.

Wheeler tries to put Alec on a psychedelic recap of his time travel adventures but it doesn’t work. The one panel callbacks to recent issues can’t compare to Arcane trying to escape Hell. The other modern day stuff–Constantine’s quest and Abby’s labor–overshadow Alec’s trip too.

It’s a simple problem–Wheeler couldn’t do a stream of consciousness piece for Swamp Thing. Either he doesn’t have the character down or it just doesn’t work here, since it’s a forced decision. Alec getting back to the present just takes Constantine and a tuning fork. The rest is indigestible gravy.

Besides the art and the trip, the issue’s pretty good. Hopefully Wheeler will get better at writing Abby.

CREDITS

Journeys; writer, Doug Wheeler; penciller, Pat Broderick; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

Swamp Thing 89 (November 1989)

16059 1 The issue’s beautiful to be sure–Tom Yeates drawing Alec’s adventures in a far flung past, before the continents have even shifted, meeting with the first three trees in the Parliament. At the same time, Abby is preparing to have the baby and Constantine is trying to get back.

But Wheeler’s way too ambitious. His enthusiasm is unchecked–I’m shocked his editor didn’t have him rein it in.

Swamp Thing, traveling so far back in time, becomes the starter of life on the planet Earth. As time travel arcs go, it’s dumb and way too convenient. Worse, Wheeler doesn’t have a handle on Alec’s monologue. He’s the only sentient creature on the planet and he’s boring to hear. So Wheeler just writes a lot of interior monologue, saying nothing.

This particularly trip back also messes up the pacing of the present day story in the comic.

It’s a pretty misfire.

CREDITS

Founding Fathers; writer, Doug Wheeler; penciller, Tom Yeates; inkers, Yeates, Ken Hooper and Mark McMurray; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

Swamp Thing (1985) #88

Swamp Thing 88

Doug Wheeler takes over the writing and does all right. He recaps the previous time travel adventures–this issue comes after an unexpected publishing delay–and sticks close to Alec.

Wheeler basically rips off The Clan of the Cave Bear, with Alec hanging out with Neanderthals (guess what, they should have made it, not humans), while splitting the issue between a savage human tribe (see, told you) and Abby’s pregnancy preparations. Constantine shows up for a bit too.

It’s a mellow, relaxed issue; the violence at the end is surprising as Wheeler needs it for emphasis. It’s not action-packed–Swamp Thing literally spends three days chilling out–and the tranquility is sort of nice.

Yeates excels at the prehistoric setting. It wouldn’t work without him. But in modern times, he’s disinterested. His rendition of Constantine is especially indistinct.

It’s fine. But Rick Veitch’s infamous, cancelled issue was probably better.

Swamp Thing 88 (September 1989)

Doug Wheeler takes over the writing and does all right. He recaps the previous time travel adventures–this issue comes after an unexpected publishing delay–and sticks close to Alec.

Yeates excels at the prehistoric setting. It wouldn’t work without him. But in modern times, he’s disinterested. His rendition of Constantine is especially indistinct.

It’s fine. But Rick Veitch’s infamous, cancelled issue was probably better.

CREDITS

Survival of the Fittest; writer, Doug Wheeler; Tom Yeates; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

Dark Horse Presents (1986) #63

Dhp63

Well, the Moebius story is pretty but I’m not sure it’s got much in the way of narrative. It’s a fine little diversion–I think it’s my first Moebius short story–but it’s got zero heft. No idea why they opened the issue with it.

The Creep gets near its finish with more great art and a rather big surprise in the narrative. Arcudi doesn’t just deserve credit for the concept, but the execution as well. While Eaglesham makes the series look perfect, Arcudi really does do excellent work here. It’s not just well-written in scene, he really does come up with some great plot developments.

Wheeler and Hoffman’s story about a boy being emotionally abused by his mother and grandmother brings the issue to a depressing close. Wheeler’s writing–specifically the boy talking to himself throughout–is somewhat problematic. Hoffman’s artwork is fantastic. The story is quietly devastating.

Dark Horse Presents 63 (June 1992)

CREDITS

Marie Dakar; story and art by Moebius; lettering by Karen Casey-Smith; translated by Randy Lofficier and Jean-Marc Lofficier. The Creep; story by John Arcudi; art by Dale Eaglesham; lettering by Pat Brosseau. Abandonment Games; story by Doug Wheeler; art and lettering by Mike Hoffman. Edited by Randy Stradley.