Swamp Thing 53 (October 1986)

Sure, Moore’s got an over-sized issue, but he still fits in an amazing amount of content. In this issue, in addition to the Swamp Thing stuff, there’s pretty much an issue of Batman. Moore continues to show how well he writes that character.

But there’s also the pacing of it–Gotham is changing and Moore tells that part of the story disconnected from Swamp Thing. Swampy’s worried about Abby, but he’s also a little enthused with his new power.

The Totleben art, which still has the horror tinges, is wonderful. It’s green and full of life; he also comes up with a bunch of iconic images this issue, including one of Batman.

Other great scenes include Lex Luthor meeting with the corrupt government guys (there’s an oxymoron) and of Chester coming to Gotham. Moore also quietly brings back another character.

It’s maybe the best example of great mainstream comics.

Swamp Thing 50 (July 1986)

While touted as an anniversary issue, Swamp Thing barely figures into this story. Moore’s upfront about his limited role–the comic opens with Cain and Abel, after all. It again features guest appearances from the DC supernatural set, with a couple deaths involved.

Moore eventually does make it all about Swamp Thing, but in a relatively quiet way. His experiences and questions about himself inform the greater story, which is a really big one. It’s an all action issue, but the most important action is very quiet dialogue.

What’s strangest about the issue is the lack of intensity. Moore’s done a lot with ominous, disturbing details, but they aren’t present here. Demons are again reduced to funny looking creatures, for example. The supernatural landscape is nowhere near as disturbing as the human one Moore’s been moving through.

Moore brings the fantastical down to manageable size.

It’s excellent, if cloyingly existential.

Swamp Thing 48 (May 1986)

For an end of the world comic, this one’s sort of tame. I guess the world itself does not end here–only a serious foreshadowing of it, especially since Swamp Thing unintentionally helps the bad guys towards that end–but it’s still very dreary stuff.

Yet, the most awful thing in the comic is the cops dragging Abby out in cuffs. They arrest her for cavorting with a swamp monster.

That subplot, which only shows up in the last couple pages, shows the problem… if the world’s going to end, why is Moore spending time on Abby’s problems?

Obviously, the DC Universe isn’t going to end, but Moore’s still supposed to be convincing the reader of that possibility. By expanding Abby’s subplot, which he should be doing under normal circumstances, he draws attention away from the apocalyptic angle.

It’s a good issue, with nice Totleben art, but Moore should’ve focused.

Swamp Thing 46 (March 1986)

While I love this issue–the way Moore tells the reader the ending is going to be awful, then still manages to make it even worse (without a drop of blood), is awesome–the cover does imply something else entirely. The cover implies, between the banner and the superheroes, a Crisis tie-in.

And I suppose Moore does deliver to some extent. He does send Constantine and Swamp Thing off into regular DC superhero land where they get a mission for helping save the world. But their mission really has nothing to do with Crisis. It’s too disturbing to be mainstream; Moore thoroughly grounds it in reality.

In many ways, even though the issue shows how Swamp Thing doesn’t fit with superheroes, it shows how Moore can make anything work. He brings horror to comedy and vice versa.

It’s excellent work from Moore, Bissette and Totleben… even if it’s superfluous.

Swamp Thing (1985) #44

Swamp Thing 44

I never thought I’d be making this statement–but I can’t tell Randall from Totleben. Randall does some of the inks here and two inkers are seamless at first read. Maybe if I had been concentrating more on the art….

Instead, this issue of Swamp Thing is a big mishmash and, against the odds, it works.

I mean, there’s a scene with Batman bumping into Constantine and Mento (from Doom Patrol) on the street. Moore’s integration of Crisis is hilarious. He acknowledges it, but treats it as inconsequential. I guess they already knew Swamp Thing was safe from a relaunch.

There’s a great scene with Abby being rude to Swamp Thing, then him sulking. But it’s a small moment and the rest of the issue is about a serial killer.

His trip to Louisiana does not go well.

It’s a good issue; however, its parts are better than the whole.

Swamp Thing 44 (January 1986)

Instead, this issue of Swamp Thing is a big mishmash and, against the odds, it works.

There’s a great scene with Abby being rude to Swamp Thing, then him sulking. But it’s a small moment and the rest of the issue is about a serial killer.

His trip to Louisiana does not go well.

It’s a good issue; however, its parts are better than the whole.

Swamp Thing 42 (November 1985)

In a strange but significant way, Moore cops outs with this issue. He concludes his possessed slave descendants story without examining any other the racial elements he brought up in the previous issue. Instead, he conveniently brings in some zombies, some hallucinations and Swamp Thing… everything ends very nicely.

Actually, it ends nicely for zombies too. It’s Alan Moore ending on a joke. It’s a creepy one… but still a joke.

What’s so inexplicable is that shift in tone. Moore set this story up to be serious and, instead, it’s a little episode in the life of Swamp Thing and Abby. Nothing to fret over.

But here’s another interesting detail… it’s utterly fantastic. Moore’s mix of horror and action works great, as does the artwork. Bissette and Totleben bring their disquieting but digestible horror art.

It’s a great issue. But it’s not special, which Moore previously implied it would be.

Swamp Thing 40 (September 1985)

This issue’s kind of a downer-in-one. Bissette and Totleben are back at full strength and do a great job. The story concerns a housewife whose lycanthropy manifests itself (seemingly for the first time) while Swamp Thing’s in town for a visit. Moore juxtaposes the woman’s problems against the history of a local Native American tribe and the sufferings of that tribe’s women.

Bissette and Totleben have the task of mixing both those elements with the visiting Swamp Thing.

Strangely, it’s not exactly a visual feast–the art isn’t exuberant as much as measured. They’re carefully telling this story and they do a great job of it.

But Moore’s also moving his Constantine story along here too, but behind the scenes. There’s only a page of Constantine and he’s only briefly mentioned before. Alec and Abby briefly talk about him.

It’s a great issue. Moore’s flexing his narrative muscles.

Swamp Thing (1985) #39

Swamp Thing 39

Something strange happens with the art this issue. It’s Bissette and Totleben, but one or both of them is darned lazy. While there’s some great Swamp Thing art, all the human characters are hurried. And the amazing Swamp Thing as landscape (first time ever) is far less amazing than I’d expect from the artists.

That unfortunate condition aside, it’s a good issue. Moore toggles between three narrators–victims, vampires and Swampy–and it all works well. Swamp Thing versus underwater vampires, with Swampy learning how to flex the plant elemental muscles.

Moore even makes the vampires sympathetic, though the vampire baby isn’t cute at all.

The comic’s definitely missing something with Abby gone, but it’s also a really short issue. Moore’s plot is a gradual and expansive, but it’s still an all action issue. It’s not rushed though.

It’s just too bad the artists were having their only weak issue.