#granted I have a few finished comic pages floating around SOMEWHERE

[snackugaki]

hahahhahahahahahhhhahhhaa you know how in my last post I said I have insomnia and the impulse control of a local park’s naughty resident raccoon that digs in the dumpster at 4am?

that metaphorical raccoon also has rabies and has snorted a line of of the purest uncut cocaine and is currently the apex scavenger on the metaphorical continent

[onemoreepitaph]

The Saga of the Swamp Thing and the trouble of writing comic book reviews.

So, I recently finished finished reading The Saga of the Swamp Thing (or as it’s known in more modern terms, Swamp Thing volume 2). As with every comic (and most things) I finish, I want to review it. This poses a problem, as Swamp Thing is 171 issues covered by a massive amount of different staff members with low cohesion beyond canon. Pasko’s Swamp Thing is vastly different from Moore’s from Collin’s from Millar’s and so forth. This makes it difficult to review as one piece even if I can define it with a beginning, middle, and end. I’ve reviewed comics before without problem. Even comics with multiple directions (such as Miracleman) but not on such a massive scale.

Really, the writing isn’t even the thing that makes it hard to review. I can cover disjointed writing. It’s the disjointedness of everything. In visual mediums, I like to review the visual design, and swamp thing has passed through the hands of so many artists that even recalling all of them is incredibly difficult. I can give kudos to Tatjana Wood’s coloring for by far being the most consistent thing in this comic book. So rather than formatting this like I like to on my other blog, I’m going to give this a more messy crazy whirl.

(If you’re here after Alan Moore’s Swamp Thing and just want to know if you should read the rest jump down to the very bottom (past issue 171))

To start off, let me acknowledge that this is a sequel, and should be treated as such. Since the end of the first volume, Alec Holland is Swamp Thing again (this happens in Challengers of the Unknown, but for all intents and purposes treat the last 2 issues of volume 1 as non-canon, life will be better that way.) Swamp Thing finds a peculiar situation, a man trying to kill his daughter whilst declaring her the anti-christ. Swamp Thing saves her, and thus starts on his next great arc. Unlike the individual stories of volume 1, volume 2 is more arc based. This is for better and for worse, the stories have more character, more plot, and more impact, but also this can lead to dragging and near filler. Generally I’d say it’s just alright in the first few arcs, they’re interesting but unmemorable. The story really picks up in issue 16 with a few character reintroductions, and we’re off to the races from there. Swamp Thing is a famous comic book, and for good reason. The next arcs are a work of brilliance, taking the horror hero concept through some truly interesting reconstructions with absolutely brilliant writing and amazing visual design.

While it’s no painting, the cohesion between writing and visuals is near perfect. You can tell the team was skilled and in alignment. The Love and Death arc of this series is both an amazing story, and the arc that broke the comics code. This marked the evolution of swamp thing from the newspaper stand kids’ content to the saga of respectable storytelling we now hold comic books to be (at their best at least). But no gold rush lasts forever, and the other side of the 50 mark the series begins to cool down into an interesting but only somewhat above average niche it slides into by 100. After that, the series gets turbulent in some interesting ways, which each consecutive writer having drastically different visions and some moments that changed the story almost as much as The Anatomy Lesson did. Your mileage on the post-100 side of swamp thing will probably vary a LOT, with different tones both thematically and visually throughout the rest of the series. If you were to show me issue 166 and tell me it’s the same comic as issue 66, I would find it incredibly difficult to believe you (assuming I weren’t accustomed to these massive changes.) I can say however, that the final ending of the series is a true highlight. It pulls from the legacy of the character into quite a unique finale. 

So, here’s the question. Do I recommend Swamp Thing volume 2? Short answer, yes. Long Answer, maybe? It’s status as an un-cohesive story makes it hard to recommend. Most people would recommend issues 21-64, but I’m not sure I agree. I do recommend it from the start, knowing that it will get better. Issue 64 is a great ending, and the only good drop off point until the very end. I can with little doubt recommend up to there. Beyond that is less of a solid go. I firmly believe if you carry on past that point, you will at some point grow distaste with the series. It can be all over the place, and at times I thought to myself “I’d enjoy this story if it were it’s own thing and not Swamp Thing” but I found the experience to be worth it in the end. The transition from 64 to beyond is a bit rough, as 64 feels like a good point to end end the series, but it continues on with a writer who’s clearly not as good as the writer before him. When Nancy A. Collins comes along in the early 100s, she drastically changes the tone, and with Millar starting work on the series it becomes almost unrecognizable as anything before it. I do think, despite all of this, it comes together as one good piece. I think most people will grow to dislike the series at some point, but only temporarily. So if you find yourself at issue 64 and want more, I advise you to carry on, but know it will be a crazy and imperfect experience. 

Rating this series in final is difficult, at any point it was somewhere between a 6 and a 9, but usually floated around 7. Overall I think I’ll give it a 7.5, albeit a very interesting 7.5

So, here’s the gloves off spoilers in section. If you’ve never read any of swamp thing volume 2, I implore you to take your leave here. This is mostly for those who have read Moore’s run. I’m going to do a run by run break down. Martin Pasko’s run (1-19) is fine. I found it enjoyable, mostly towards the very end, and it lays the groundwork for some stuff that will pay off later. Really, throw issue 20 into this as well, as it’s just an ending piece for this run. I think it’s a fine enough lead up to the Moore run, but if it existed in isolation I wouldn’t remember it one bit. I recommend it for first time readers, but if you’ve already read beyond it there’s no real point in going back to it. The Moore run (20-64) explains itself. It’s famous. It’s pretty awesome. I generally liked it, even if I didn’t love it. It’s not my favorite Moore work because I don’t think it builds on itself all that well, but the good parts are damn good and art and prose are excellent. I really feel like the space arc was definitely in the territory of “more neat than interesting” but it was a good read nonetheless. oh god my cat wants attention he’s so adorable aaaaaaaa Everytime i type he paws at me for attention ok he went to go do something else. Okay so, Rick Veitch (65-87). Veitch worked as an artist with Moore, so he and Moore are very much on the same page. Despite Moore closing the book in 64, Veitch reopens it with something that feels consistent. The nearly logical next step, the problem is Veitch is not Moore. Veitch had a shitty job, of following that up. He did it the best he could, but he just wasn’t as skilled. If you want more Swamp Thing, it will give you that, but if you want more ground-breaking comics kino, you’re out of luck. It’s a fine read, but the gap is noticeable. The other problem with Veitch is that due to the issue 88 fiasco, his plot didn’t finish by his own hands. Some people read just Veitch, but his ending isn’t an ending. He was supposed to be followed up by Gaiman (who wrote the excellent annual 5), but the issue 88 fiasco made Gaiman also back out. While this was a pretty damn respectable move on Gaiman’s part, it makes me sad wondering what that run could have been. Doug Wheeler (88-109) came in and finished up the arc and then wrote his own war epic, Quest of the Elementals. While Wheeler is a lot of the times criticized as being the bottom of the barrel for Swamp Thing, I found him to be about on par with Veitch. Interesting, but not remarkable. I do give him credit for having an actual ending to his run, which I suppose could be used as an ending point for the series but it’s clearly an arc ending and not a story ending. Then Nancy A. Collins comes in (110-138). Her Swamp Thing is tonally quite different. It’s a much slower, toned down Swamp Thing. A lot of times people describe it as being closer in tone to the pre-Moore era. I liked how it spent more time developing the supporting cast and actually giving Swamp Thing time to be at home with his family. The run was almost comfy until right after the move to Vertigo, it stopped being so. I don’t know why, but on the way out Collins decided to break the status quo, leaving a really unhappy ending. The early parts of her run were some of my favorite parts of Swamp Thing in awhile, but the ending was just upsetting. This is followed up by a one issue Black Orchid crossover, which is neat I suppose. Then we get to Millar (140-171). He starts out his run working with Grant Morrison in this 4 issue story that’s almost pure insanity. It was interesting, but really was a prologue to Millar’s greater run to come. At first I did not like Millar’s run at all. A fuckload had changed. The art was in this simplified, dynamic style that contrasted abrasively with the prior style. The story had become lonely and quite a dark downer, but it picks up. The first real arc, Parliament of Stones, is the biggest offender of being both a downer and not very good. I think from here, it really starts to improve. It still is pretty dirty and down, but it’s got a bit more humanity to it rather than just being shitty for shitty’s sake. The last stretch, Trial by Fire, was quite fantastic. It makes real good on the size of the Swamp Thing legacy, running this clearly Alan Moore like story, and just keeps pulling brilliance out until it ends on an ultimately upbeat note.I see why Millar’s run is the most recommended past Veitch, but it really is rough getting used to. Ultimately though, it justifies both itself and a lot of the weight that the series has gained.