Fighting MAD

I grew up with MAD Magazine. And much to my delight, I actually held on to a lot of them, including a bunch of these paperbacks. So re-reading them now is a real stroll down memory lane.

This particular book was published in 1980 but the content is drawn from magazines published from the 1950s to the 1970s. What a different world that was! What struck me as particularly strange was the target demographic. MAD was a satirical magazine, including a lot of political satire that I would have thought over the head of most young people. And while there’s not much in the way of politics on tap here, there are passing references to Harvey Matusow and Dave Beck. Give yourself a pat on the back if you recognize either of those names. Or if you get the joke about a subliminal ad in a bookstore telling people to buy a copy of The Hidden Persuaders (1957).

Maybe young people as well as the culture at large were just more aware back then. I mean, I didn’t get (and still don’t get) the 1873 on the pugilist Alfred E. Neuman’s belt buckle. “The Great Dumb Hope” is a spin on the phrase “Great White Hope,” which only goes back to 1911. But what happened in 1873?

A joke like “Great Dumb Hope” wouldn’t fly today for obvious reasons, but this isn’t the most politically incorrect cover among the Mad pocketbooks I have so get ready. Indeed, you should be braced for some of the content here as well. Things kick off with a parody primer for teaching tots how to read that describes the adventures of a brother who helps his grandfather run a stolen car ring and a sister who tortures and kills the family cat. Brother and sister (looking to be seven or eight-years-old) meet up with their buddy Bobby (a juvenile Marlon Brando from The Wild One) for some extracurricular activities:

Bobby sells reefers to the other children at school.

Sometime we buy a stick from Bobby.

We light up behind the garage.

Crazy, man.

Then, in a later piece, there are these final words of wisdom for anyone quitting playing golf:

Giving it up is easier than you think. Many former golfers find that drinking takes their minds off the game. For others, gambling provides a new outlet for that competitive spirit. Sleeping late is also a good substitute. Or beating up your wife.

What did I think of this, reading it as a pre-teen? Did it register at all? If the violence was scary, you could find solace on their being an ad for the “wife-of-the-month” club that promises domestic bliss: “How would you like to come home from the office on the first Monday of every month, and find a new wife cooking supper for you?” When you hear manosphere types talking about trad wives, remember this is the stuff they may have been raised on.

The references to smoking reefers and lines like “Crazy, man” also date things a bit. As does the modernized or “up-to-date” Shakespeare that translates the balcony scene from Romeo and Juliet into hep cat patter. “My ears have yet not drunk a hundred words of thy tongue’s uttering, yet I know the sound” turns into “My lobes have not yet dug a hundred notes of your jive, but, like, I’m woke to your sound,” and becomes less comprehensible in the process. Or take this exchange: “By whose direction found’st thou out this place?” “By love, that first did prompt me to inquire” becomes “Who finked on how to find my shack?” “Love, baby, love first bugged me to plea.”

That all sounds kind of lame today, but I still got a smile out of reading it again. And several of the pieces included here hold up very well. The parody of a Mickey Spillane novel is great, and the nursery tales retold as newspaper stories were nicely done. But really I found all of it enjoyable, however much it had dated and had slipped into an irretrievable past.

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Aliens: The Original Years Volume 2

About the only bad thing I can say about this collection is that I didn’t think it was quite as good as Aliens: The Original Years Volume 1. Given how highly I rate what’s been done with the Alien franchise in comics, that can’t be taken as a criticism though. These are all great comics.

Specifically, what you get here are a bunch of stories that ran in Dark Horse publications in the early 1990s (the rights to the Alien comics line were sold to Marvel in 2020, so that’s why these Epic Collection anthologies are published under the Marvel logo). There are three main stories on tap, introduced by a few shorts. Here’s the line-up:

Countdown: a team of space marines tries to escape a planet with a Xenomorph infestation problem. One of the survivors has a little secret. I knew where this was going but it was still great.

Reapers: I did not know where this was going! A funny Aliens story from the great Simon Bisley. This is a quickie with a surprise gag ending that actually made me laugh. Not a twist I was expecting!

The Alien: the president has to go negotiate with one of the Xenomorph-hating Pilots, who is terraforming Earth for its species to colonize. The Pilot isn’t someone to be negotiated with, but the president has a nuclear-option bargaining chip.

Genocide: a pharmaceutical company that makes a super-steroid named Xeno-Zip needs to harvest a special chemical ingredient contained only in the “royal jelly” of a Xenomorph queen. A joint corporate-military mission is sent to the Xenomorph’s home planet, now riven by civil war, to grab some of the stuff. You may have sensed by now that all of these stories tend to play on basic plots and characters introduced in the first two films (the military-industrial complex seeking to mine or exploit other worlds, the kick-ass but ultimately out-of-their-depth marines, the slimy, soulless corporate hack, the question of who’s human and who’s an android, etc.). What’s odd is that the stories are all so fresh regardless. They add just enough stuff that’s new that every story has its own character.

Hive: a different team are looking for that royal jelly, now described as “the most sought-after consciousness-altering substance in existence.” Giving it a further gloss: “It gives some an intense feeling of well-being and competence. Others experience levels of their own being not normally perceived. Still others have an orgasm that seems to go on forever.” Sounds great! One of the scientists on this mission is addicted to the junk. The great new element here is that they’ve invented a robot Xenomorph to help them. Why hadn’t they thought of that before? I mean, if they can make human androids that nobody can tell aren’t real it wouldn’t seem too hard.

Tribes: this isn’t a comic but a novella with lots of art work. The art is great; the novella isn’t. I couldn’t finish it. Maybe it just wasn’t my thing.

Aliens: Newt’s Tale: this is basically a graphic version of the 1986 film Aliens, except told from Newt’s point of view. There’s some new material at the beginning giving Newt’s backstory but otherwise it’s a quick run through the highlights of the movie, including most of the main moments and memorable lines. Although Hudson’s “Game over, man. Game over!” is oddly missing. I guess it hadn’t become a meme yet.

So aside from “Tribes” this is a line-up of great, (mostly) original stories, each illustrated by a different artist in a distinctive style. I particularly liked the work of Kelley Jones in “Hive.” Another can’t-miss title then in the terrific Alien comic franchise. This is a series that, for decades now, has never seemed to miss.

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Daredevil: Chinatown

This comic constitutes the launch of the Back in Black series, a semi-reboot of the Daredevil character that was part of the “All-New, All-Different” Marvel branding exercise that kicked off in 2015. What I mean by a semi-reboot is that it isn’t an origin story but it does involve a universe jump as we’re now in a timeline where nobody knows that Matt Murdock is Daredevil except for his former law partner Foggy Nelson. Or I guess it’s the same timeline but one that’s been adjusted by the powers-that-be so that Matt has regained his virginity. How all this happened is explained later in the series. And yes, it’s lame.

That introduction aside, this is a decent story by Charles Soule that mixes the traditional Daredevil plot that has DD fighting gangs in New York (though it’s Chinatown this time, not Hell’s Kitchen), with the supernatural elements of the Hand joining the fun. Instead of a defence attorney Matt is now a prosecutor, and he has a suspicious Chinese cult in his sights that’s run by a guy named Tenfingers. So called because he has ten fingers (or nine fingers and a thumb) on each hand. To be honest, I thought this was really silly, and all the extra digits seemed more like a disability than a superpower, but it does make him stand out.

Anyway, Tenfingers stole some bad mojo from the Hand and now they want it back. This leaves Daredevil, along with his protégé Blindspot (don’t call him a sidekick, though “apprentice” may be OK), caught in the middle of a high-level gang war, with lots of innocent civilian lives in danger. Much fighting ensues.

Blindspot (apparently the fourth Marvel hero to go by that name) seemed like a character with some potential. He’s a young undocumented Chinese immigrant who’s invented a battery-operated invisibility suit. He knows some martial arts as well and is a handy guy to have around. Unfortunately, his mother works for Tenfingers so family dysfunction bites him in the ass. But you do get the sense that DD genuinely cares about him and is doing his best to be a mentor. That side of the comic works quite well.

The art by Ron Garney is more stylized and rougher around the edges than the generic Marvel house manner, and it fits here. I thought it really worked for the action scenes, of which there are a lot. I’m not a fan of Daredevil’s black costume though, or the flaming DD’s. Not an improvement on the all-red outfit, at least in my eyes. But maybe since they decided they were doing a reboot they figured they might as well spring for some fresh duds and see what people thought. Well, thumbs down from me.

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Gideon Falls Volume 4: The Pentoculus

Ah, things were really clicking in this series now. There’s a lot of jumping around, from the different dimensions accessed by the Pentoculus (that’s the multiverse machine Norton Sinclair built in his barn) to the different bodies that the Laughing Man (or as I call him, the Bug God) inhabits, but I found it all reasonably easy to follow. In part because the threads were starting to be drawn together, as the main characters (it is written that there must be five, constituting a kind of Fellowship of the Bug) all finally find themselves on the same page. Dr. Xu even gets to see herself as Old Dr. Xu in the village dimension, which is somehow at the center of everything.

In addition to the Fellowship of the Bug there are also other networks in play, including the uninspiring Ploughmen and the Bishop’s gathering of bug-fighting priests. Meanwhile, the Laughing Man is vomiting his bugs into his victims in the sort of mouth-to-mouth process that has long been popular in horror movies (see my note on this in my review of The Invasion). Once possessed, these people go on bloody rampages, all (I think) just to get attention since the Laughing Man only needs to possess Danny in order to open all the doors. I wasn’t sure why. Maybe it’s just because Danny, as a character, seems like such an empty vessel thus far.

Lots of slam-bang action, and Andrea Sorrentino was really pulling out all the stops when it comes to fragmenting the page into hallucinogenic collages. This is always been his style, and with this series he gets to indulge it fully. So overall it’s a series that’s finishing strong, making me hopeful for the conclusion.

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The Avengers: Four

Tight. I liked it.

Four is a retro-flavoured miniseries written by Mark Waid that has Captain America heading a new Avengers team after the OGs “decided to take some time off.” So they’re now down to four members: Cap, Hawkeye, Scarlet Witch, and Quicksilver. Since the newbies are all “reformed villains” and relatively underpowered Cap has his work cut out for him whipping them into a functional unit. A point that’s underlined by the way they get their butts kicked out of the gate by the Frightful Four, with all the bad press that follows. Egged on by the media, even the public start getting into it, mocking the “Mighty Pretenders.” Things are really not off to a good start for the not-so-fab four.

Things get much worse however when they rescue a young Thai lady named Cressida from the Stranger. Cressida has the power to drain the life force from others, leaving them dried-up husks. She can either absorb that life force or transfer it to someone else, making them “better, faster, stronger.” Which sounds a bit like being a coach for the Olympics.

The Avengers basically adopt Cressida and start calling her Avenger X. But she has nefarious plans of her own, apparently being motivated by revenge. I don’t know for what. Her character isn’t filled in very much, and she even mocks the suggestion made at one point of providing an origin story. The Stranger considers her to be not a mutant, even though she says she’s had her powers since she was a kid. I think we just have to take her as a given.

She’s a formidable enemy though, both in how she schemes to set the Avengers against one another and for her (borrowed) superpowers. Indeed, she’s basically too much for this new team and at the end the OGs have to come back and lend a mighty hand. Which I thought was a bit of a cop-out. The story arc seemed to be the familiar one of the team coming together and solving their own problems. The way they’re thrown a literal lifeline here undercut all that.

Still, I loved the throwback feel to the art and the way the story held together. It’s a nice, satisfying unit, with all the different sub-adventures contributing in different ways to the main Cressida storyline. In terms of character the good guys are conflicted and the bad guys wicked in their usual bickering, arrogant way. Good and evil are complementary and evenly matched, and Waid can bring both darkness and humour to the proceedings (Wizard’s epitaph for Avenger X was a bitchy twist I wasn’t expecting!). In sum, it’s nothing wildly out of the ordinary, but it does everything a superhero comic is supposed to do, which was a treat.

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Cla$$war

In which a bunch of cynical, burnt-out, and horny superheroes, created by an ex-Nazi scientist with a thing for human experimentation, dress up in stars-and-stripes costumes and fight America’s wars. But when one of the members of the team (he’s just called “American”) develops a conscience the world’s mightiest heroes are soon fighting among themselves.

With a synopsis like that I was expecting something very much along the lines of The Boys, and that’s what Cla$$war is. But Cla$$war actually came first, running from 2002 to 2004 while The Boys was 2006-2012. And Marvel’s Civil War storyline, which also shares some similarities to what we get here, kicked off in 2006 as well. Actually, at the time Cla$$war was thought to have been influenced by DC’s The Authority, but Rob Williams says he didn’t know The Authority before he started writing and that his inspiration was more drawn from the Noam Chomsky he’d been reading.

The title, complete with dollar signs, is a bit misleading. In fact, I’m not sure why it was chosen. Nothing in the comic addresses class war in the sense of economic exploitation and the effects of entrenched social inequality. Instead, its target is American imperialism. The Enola Gay team (that’s what they’re called) are more supersoldiers than superheroes, fighting alongside the troops in foreign countries while the political rot deepens at home.

I wasn’t thrilled by the story here, not because of any political leanings (I like Chomsky too) but because the political message wasn’t new. The references here are up to date, with the president that American begins by attacking (he publicly brands the word “LIAR” on his forehead) being a stand-in for George W. Bush, and the U.S. invasions of Afghanistan and Iraq being referenced as earlier forays by Enola Gay. But it also felt a lot like the 1970s, with the Vietnam War and the political conspiracy thrillers of the time. And the invasion of Glenada is clearly a reference to the 1983 invasion of Grenada.

That said, I came away thinking this is a comic that should be better known. Perhaps being published by Com.x, a smaller British comic publisher, meant it didn’t get as much exposure. I thought the art by Trevor Hairsine and Travel Foreman was first-rate, and while the story was pedestrian I liked the way the different characters sparked off one another. American is a bit of a stick, but the other members of Enola Gay, while jerks, have distinct and complicated personalities. And the new superfreak the Nazi doctor whips up in his lab had real potential. I wanted to read more about all of these guys, but for whatever reason the series didn’t continue. It was initially planned to run for 12 issues but they only did six. As things stand the story breaks off, with only the character of Heavyweight now removed from the picture. Twenty years later I doubt we’ll see the series continued, at least in the way Williams might have intended. But I wouldn’t be surprised if we get a sequel.

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Shaft: Imitation of Life

No, this comic doesn’t t have anything to do with the 1959 Douglas Sirk melodrama of the same name. Instead, it takes its title from a long interior monologue our hero Shaft has over the question of whether art imitates life (mimesis) or life imitates art (Oscar Wilde). Doesn’t that seem a little heady for Shaft? Well, in my review of the 1971 film Shaft I did remark upon the well-stocked bookshelves in his apartment. He’s not just a complicated man but a  guy who reads!

That monologue has a point here because Shaft is looking for a missing person and his investigation takes him (as per usual) into the seedy underbelly of a rotten Big Apple, specifically a mob-run porn operation. But at the same time some indie filmmakers, financed by the same mob outfit, are making a movie about Shaft’s adventures (called The Black Dick, if you can dig it) for which Shaft has been hired as a consultant. So before long it feels like the line is being blurred between what’s real and what’s movie moonshine.

It’s a simple story, of the kind that was popular at the time (that time being the 1970s). Think of movies like Hardcore. The bit of a twist they give it is that the missing person is a young gay man rescued by another gay man who teams up with Shaft. But to be honest, I didn’t find this part that interesting. It does benefit though from keeping things simple, and Dietrich Smith’s clean artwork is an incongruous but oddly effective fit with the sleazy proceedings. With his skin-tight turtlenecks showing off an overdeveloped chest that casts a pronounced shadow in any light, Shaft himself seems more than a bit like a plastic action figure, but that works too. They could have gone with a generic look, which is what I was expecting, but I like how they went with a more cartoonish change-up. Yeah, I could dig it.

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Mighty Marvel Masterworks: Daredevil Volume 2

This volume is a direct continuation of Daredevil’s beginnings as collected in the first Mighty Marvel Masterworks: Daredevil. As such, a lot of what I said about the character there still applies. To take just a few of the points I raised in my review of that book:

(1) “Effectively, Daredevil isn’t blind at all. Anything he needs to be able to do, he can do.”

To take some examples from the issues collected here: In the boat to Ka-Zar’s home of Skull Island (not that original, is it?) Daredevil can “sense vegetation . . . such as Earth has never known for millions of years! As though I’ve been transported to the dawn of time!” Now how would he know what vegetation smelled like (I assume he’s smelling it) millions of years ago? Also, he can identify people at a distance not just from their smell (as in previous issues) but from reading their emotions. How does that work? Just reading heartbeats?  And what are we to make of his “indescribably accurate hearing” that allows him to “tune in” to police short-wave radio broadcasts as he vaults above the city? There seem to be no limits to his (dis)abilities.

(2) “For the most part Daredevil is taking on B-list baddies who are nonetheless a lot of fun.”

So in this volume the “omnivorous”(?) and “omnipresent”(?) Owl is back. The Masked Marauder shows up, is defeated, and then teams up with the Gladiator, and is defeated again. Not the Strontian Gladiator, by the way, but Melvin Potter, a big guy with a chip on his shoulder who runs a superhero costume shop. So they’re a pair of B-listers. Then there’s the Ox, who is a big dumb guy (I’ll bet you never would have guessed) who gets a genius-level intelligence upgrade when a mad scientist switches bodies with him. The Plunderer (or Lord Parnival Plunder, to give him his full title) is a modern-day pirate who would have more of a Marvel afterlife because of his family connections (he’s actually the brother of Ka-Zar). Because I wasn’t as familiar with these guys I actually enjoyed them a lot more. They don’t have god-like super powers but are mostly just either really strong or really smart. And they’re all driven by a sense of bitterness at the world for not respecting them enough. I think this might have had been one of Stan Lee’s hang-ups.

(3) “On the downside, and as I’ve mentioned before, there’s his hopeless portrayal of women. The love triangle going on between Matt, his law partner Foggy Nelson, and their secretary Karen Page is just an annoyance.”

The office-romance stuff with Foggy always lusting after Karen who in turn has a secret crush on Matt plays out again here. And at least Lee seems to have recognized how painful it all was. After one cutaway to the land of thought-bubbles revealing hidden desires we get this editorial comment: “See how we try to please everybody? We even presented the preceding page for the benefit of soap-opera lovers!” And in a later issue, after another such romantic interlude, we get this apology: “Many thanks, Marvelite, for staying with us during the hearts and flowers portion of our yarn!”

This self-awareness, however, only goes so far. This part of the Daredevil story is painful. It does play a bit of a role when Foggy dresses up as Daredevil in an attempt to gain Karen’s affection, but otherwise it’s pointless. Pointless and annoying. At one point “Sensation-monger Stan” even gives his “batty bullpen” a “no-prize award” for presenting seven thought balloons in one panel. Which is as awkward as it sounds.

Speaking of Foggy putting on a Daredevil costume, it’s interesting how this is a motif in several of the comics here. When the Ox goes on a rampage he dresses an unconscious Daredevil in his clothes so that the police will mistake him for the troublemaker and lock him up. And then later the Masked Marauder has his entire gang wear Daredevil costumes as a way of diverting DD from the heist that the Marauder is planning. By sheer coincidence I read this volume at the same time as I was reading Chip Zdarsky’s Daredevil comics and the idea of people dressing up as Daredevil was a significant plot point there too. I also remembered that this was something that turned up in Frank Miller’s Born Again story arc, when Kingpin got a psycho killer to wear a DD costume to kill Foggy and Karen. Were imposters something Daredevil had a special problem with?

On a final note, when a gang of thugs break into Matt Murdock’s office he tells them that he has “business with Murdock too – and I hate to take sloppy seconds!” Today the expression “sloppy seconds” basically has only one meaning, and it’s one that goes back quite a ways. Though I’m not sure what it would have meant to readers in September 1966, the date of the issue Daredevil uses it in here. Good for a laugh anyway.

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Old Man Logan 2: Bordertown

Let’s start off talking about place. I don’t like visiting the Marvel multiverse because I’m never sure what timeline or alternate Earth we’re in or on, but at least I was getting adjusted to the set-up in this series after the Berserker volume. In that book Wolvie was sent back from a dystopic (post-supervillain takeover) Wild West to what I guess is our current reality. But things kick off here at X-Haven: “Refuge for mutantkind and headquarters of the X-Men. Located in the Limbo Dimension.” Damn it, we’re in another dimension now? I had to look X-Haven up online and found out that it was created in 2015. Who can keep up with all this except the most determined fanboys and –girls?

Anyway, after a bit of talking between Wolverine and Storm at X-Haven, Logan is back (via teleportation) to the present day and driving his motorbike north. “Really north. Through Canada and beyond . . .” Wait, north of Canada? What does he mean? Russia? Because to get there he’d have to drive over the North Pole and technically be heading south. But then we’re told he arrives at Killhorn Falls in the Northwest Territory: “Nothing but a few rows of trailers and shacks along the Alaskan border. Whole community is built around a gravel quarry sitting on a small port in the Gulf of Alaska.”

Now wait just a minute. The Northwest Territories (it’s a plural) does not share a border with Alaska. That would be Yukon Territory. And the shoreline of the Gulf of Alaska is all part of Alaska (the panhandle), and notably not northern Alaska but the south-east part.

And this was all written by Jeff Lemire, who is Canadian. I don’t get it. Are we in another weird dimension or is Lemire just lost when it comes to geography?

Putting this to one side, I liked this instalment of the Old Man Logan series, but in terms of the larger story I felt like there wasn’t much there. Basically Logan heads off to this remote mining town when Lady Deathstrike and the Reavers show up, so he destroys them while defending a little girl who in one timeline he is going to eventually marry. At least I think I have that right, but don’t hold me to it.

The fighting is good and Sorrentino’s art is aces again in evoking the dark world of aging butchery that Wolverine inhabits. That double-page spread of skeleton Wolverine laughing with skulls dropping from his mouth is quite something. Then in issue #8 we get a vision of the depressing Gotterdammerung that was the supervillain uprising and it’s pretty bleak. But as Logan knows, getting old is itself pretty bleak. That’s just the kind of series this is. I was going to say that’s the kind of world this is, but since it’s many worlds I can’t.

The bonus comic is Uncanny X-Men #205 from 1981, a Chris Claremont story that has Wolverine fighting Lady Deathstrike and the Reavers again. Or not really again, but before. Or maybe not before because time is as loose a construct as geography in the multiverse. It’s a good comic though.

So lots of Wolverine’s claws coming out with a Snikt! sound and lots of limbs being detached. Plus Wolverine learning to accept his identity as agent of chaos, madness, and death, which is a familiar character arc for him. You do get the sense that he’s growing tired of all this though, and that now the game is playing him.

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Swamp Thing: The Bronze Age Volume 3

After the initial run of Swamp Thing comics ended, along with Swampy’s brief sojourn with the Challengers of the Unknown (covered in The Bronze Age Volume 2), it looked as though the character was going to be left on the shelf for a while. Luckily, DC changed their mind and so we got a new series titled The Saga of the Swamp Thing, which was written by Martin Pasko. This omnibus edition presents #1-19 of that run, along with The Saga of the Swamp Thing Annual #1, which is a comic adaptation of Wes Craven’s 1982 movie and doesn’t really fit into the canon.

Because they were sort of starting over here we get a quick recap of the origin story. Which is understandable. What’s harder to get is why they keep coming back to retell this same bit (Alec Cross blowing up in his lab and then jumping into the swamp, where he’s transformed by his “biorestorative” formula). After a while, wouldn’t they think that regular readers knew how Swamp Thing came about? But perhaps there weren’t enough regular readers yet.

Immediately a depressing note is struck. Swampy is still mourning the loss of his beloved Linda, and wishing to God that he could join her in death. And as things proceed it seems as though that wish may be granted, not through mortal combat with the forces of evil but because we’re constantly being told that the mucky monster is “dying of some as-yet-unknown-ailment.” But why they keep making such a fuss over this is beyond me, for two reasons: (1) the ailment doesn’t seem to slow him down much, if at all; and (2) in the end it just turns out to be a bit of E. coli that’s quickly cured with a dip in his bio-restorative swamp. This seems to be the sort of thing that an editor should have been asking Pasko about. “Martin, where are we going with this disease angle?” And perhaps there was a point to it all in the beginning but things took a different direction. That happens.

The first 13 issues tell a single story, with a couple of minor digressions. This has Matt Cable and Abigail Arcane being replaced by Lizabeth Tremayne and Dennis Barclay as Swampy’s traveling companions. These three are opposed by the Sunderland Corporation, which is a generic bunch of baddies who basically run the U.S. military-industrial complex, and a “herald of the Antichrist” figure in the form of a fast-growing girl who is clearing a path for the coming of the Beast. She’s also tied in with Nazi occultism and such. Basically, she’s just everything bad. Her Van Helsing is a former concentration camp kapo named Dr. Helmut Kripptmann who soon joins the monster-hunting team.

It’s all wildly overwrought in a mythic kind of way (you can see what Alan Moore saw in the franchise), but I found it quite interesting and compelling on its own. My main problem with it is that Swamp Thing sort of became someone just along for the ride a lot of the time, especially since he was feeling poorly. And indeed I think this is a problem that all these early Swamp Thing titles had. They had good stories and well-drawn supporting casts, but Swampy himself keeps fading into the background. Maybe it’s because he has such trouble communicating, barely able to croak out a few words at a time. That’s quite a limitation for a leading man. Also, he’s obviously without any love interest (though one story here does play with the idea of him missing out on a woman who would understand him).

The digressions from the main storyline are also a lot of fun. The empaths who are used to absorb the injuries to Sunderland operatives were a neat idea, and the island of shipwreck survivors who reshape reality into classic old movies (King Kong, Casablanca) was a laugh. Things didn’t just fall apart after the initial 13-issue run either, as we then get a two-parter with Swampy facing off against a crystal man/living computer and then having to deal with the return of Arcane in a revolting insect form. There’s no keeping that guy down, even if he keeps coming back more damaged than ever.

A dark comic, what with the empaths, the town of vampires, and the child slayer storyline (dedicated, in 1982, to “the good people of Atlanta, that they may put the horror behind them . . . but not forget”). But it’s still full of the free-form imaginings that made Swamp Thing something just a bit different in the comic book canon. The outlier is the final comic, which, as mentioned already, is an adaptation of Wes Craven’s movie. It’s pretty standard stuff, and doesn’t connect well with the rest of the Swamp Thing mythology (Arcane, for starters, is a completely different sort of character), but fans will like having it in here anyway.

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