Graphic Novel. This first volume, collecting issues 20-27 of THE SAGA OF THE SWAMP THING, also features a foreword by famed horror author Ramsey Campbell and a new introduction by Swamp Thing co-creator and original series editor Len Wein.
Before WATCHMEN, Alan Moore made his debut in the U.S. comic book industry with the revitalization of the horror comic book THE SWAMP THING. His deconstruction of the classic monster stretched the creative boundaries of the medium and became one ofthe most spectacular series in comic book history. With modern-day issues explored against a backdrop of horror, SWAMP THING's stories became commentaries on environmental, political and social issues, unflinching in their relevance. SAGA OF THESWAMP THING Book One collects issues #20-27 of this seminal series including the never-before-reprinted SAGA OF THE SWAMP THING #20, where Moore takes over as writer and concludes the previous storyline. Book One begins with the story 'The AnatomyLesson,' a haunting origin story that reshapes SWAMP THING mythology with terrifying revelations that begin a journey of discovery and adventure that will take him across the stars and beyond.
This final collection of master comics writer Alan Moore's award-winning run on SWAMP THING begins across the galaxy, where the Swamp Thing's consciousness has been hurled. In his attempts to finds his way back to Earth, Swamp Thing stops over on Thanagar, home of Hawkman; Rann, home of Adam Strange; and also encounters the Green Lantern of a world of sentient plants.
The legend of Swamp Thing continues here! He was an elemental embodiment of the world’s plants-the spirit of all her marshes, bogs and fens. He had a wonderful daughter and a loving wife, and the power and beauty of nature filled his life. He was the Swamp Thing. He was a god. He was happy. And then he woke up. Without warning, Doctor Alec Holland finds himself thousands of miles from the Louisiana swamp that he thought was his home. He has a life he doesn’t remember and a human body he thought he had lost forever. His time as the Swamp Thing is nothing but a disappearing dream, a hallucination, a bad trip. But the monster rampaging through the bayou he left behind is all too real. So is the beautiful woman who loved him, the danger she now faces and the terrible vengeance of the power he once served-the gods of field and forest known as the Parliament of Trees. Comics legends Grant Morrison (THE MULTIVERSITY) and Mark Millar (Kick-Ass) team with artist Phil Hester (GREEN ARROW) to dig deep into the Swamp Thing mythos in SWAMP THING: THE ROOT OF ALL EVIL, collecting issues #140-150 of the original VERTIGO series.
While John Constantine and the mystical heroes of the DC Universe wage a last-ditch effort to hold back the evil of the Brujeria, Swamp Thing, the Demon and others descend into hell itself to battle a horde of demons; includes Phantom Stranger, Spectre, Doctor Fate, and Deadman.
"He has become a modern legend, this mysterious creature of the Louisiana bayou. Feared as a monster, hailed as a god, by turns wonderfully benevolent and pitiless in his wrath, the Swamp Thing has carved his unique niche in the American Landscape. Writer Len Wein and legendary horror artist Bernie Wrightson, the original creators of the most complex creature in comics, brought the 'Swamp Thing' to life in an 8-page story from House of secrets #92. Now that classic story, plus the first ten issues of SWAMP THING Volume One, are reprinted in a new edition of Swamp thing - Dark genesis. In 'Dark genesis', learn the astonishing secret of Swamp Thing's "birth"; share the forbidden passions of Anton Arcane and the measureless sorrow of the Patchwork Man; shiver to the timeless horror of the witch named Rebecca Ravenwind and of a tortured Scottish werewolf. These eleven stories are not merely acknowledged classics of the comics field; they are an incredible reading experience, and the ideal introduction to the many-faceted creature known as Swamp Thing"--googlebooks.com.
This is the most comprehensive dictionary available on comic art produced around the world. The catalog provides detailed information about more than 60,000 cataloged books, magazines, scrapbooks, fanzines, comic books, and other materials in the Michigan State University Libraries, America's premiere library comics collection. The catalog lists both comics and works about comics. Each book or serial is listed by title, with entries as appropriate under author, subject, and series. Besides the traditional books and magazines, significant collections of microfilm, sound recordings, vertical files, and realia (mainly T-shirts) are included. Comics and related materials are grouped by nationality (e.g., French comics) and genre (e.g., funny animal comics). Several times larger than any previously published bibliography, list, or catalog on the comic arts, this unique international dictionary catalog is indispensible for all scholars and students of comics and the broad field of popular culture.
The Gothic began as a designation for barbarian tribes, was associated with the cathedrals of the High Middle Ages, was used to describe a marginalized literature in the late eighteenth century, and continues today in a variety of forms (literature, film, graphic novel, video games, and other narrative and artistic forms). Unlike other recent books in the field that focus on certain aspects of the Gothic, this work directs researchers to seminal and significant resources on all of its aspects. Annotations will help researchers determine what materials best suit their needs. A Research Guide to Gothic Literature in English covers Gothic cultural artifacts such as literature, film, graphic novels, and videogames. This authoritative guide equips researchers with valuable recent information about noteworthy resources that they can use to study the Gothic effectively and thoroughly.
What began with Alan Moore and Dave Gibbons' landmark graphic novel, Watchmen (1987) is no longer a single story, but rather a cross-platform, multi-media franchise, including a role-playing game and video game, a motion comic, a Zack Snyder movie, and a series of comic book prequels and sequels, as well as a prestige HBO TV series. Will Brooker explores the way that Watchmen expanded over time from the mid-1980s to the present day, drawing on theories of adaptation, intertextuality and deconstruction to argue that each addition subtly changes our understanding of the original. Does it matter whether these adaptations are 'faithful'? Can they ever be, as they cross over into another medium? How does each version enter a dialogue with the others? And as Damon Lindelof's series ran parallel to an entirely distinct comic book Watchmen sequel, Doomsday Clock, how do readers and viewers make sense of these conflicting narratives? Can we relate the unstable, shifting stories of Watchmen to our contemporary climate of post-truth, where we have to weigh up contradictory versions of the facts and decide which we believe?