Still coming to terms with the truth behind his existence, Swamp Thing explores a realm called the Green--a plane of connectivity between all living things on Earth. Meanwhile, the Floronic Man taps into the Green and uses the immense power for murder. Will Swamp Thing wake in time to stop him?
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.
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.
Something dirty, evil and dangerous is haunting Swamp Thing's home and it's left a massacre in its wake. But when Swamp Thing sees its true horror, he may not be able to stop its menace!
While traveling, a sudden roadblock brings Swamp Thing, Liz and Dennis Barclay to a halt--but it's all a trap and an impostor officer runs off with Liz!
This graphic novel contains stories which range from the terrifying to the heartwarming and feature amongst other things cute aliens, dream houses and psychedelic love songs.
While Swamp Thing, Matt, and Abby are overwhelmed by the monsters from Matt's brain, Arcane tells the captive Harry Kay the story of his last encounter with Swamp Thing.
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?