The Swamp Thing is a superhero in American comic books published by DC Comics.[1] A humanoid/plant elemental creature, created by writer Len Wein and artist Bernie Wrightson, the Swamp Thing has had several humanoid or monster incarnations in various different storylines. The character first appeared in House of Secrets #92 (July 1971) in a stand-alone horror story set in the early 20th century.[2] The character then returned in a solo series, set in the contemporary world and in the general DC continuity.[3] The character is a swamp monster that resembles an anthropomorphic mound of vegetable matter, and fights to protect his swamp home, the environment in general, and humanity from various supernatural or terrorist threats, his archnemesis being the sorcerer Anton Arcane.
Len Wein came up with the idea for the character while riding a subway in Queens. He later recalled: "I didn't have a title for it, so I kept referring to it as 'that swamp thing I'm working on'. And that's how it got its name!"[4] Bernie Wrightson designed the character's visual image, using a rough sketch by Wein as a guideline.[4]
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In 1982, DC Comics revived the Swamp Thing series,[5] attempting to capitalize on the summer 1982 release of the Wes Craven film of the same name. A revival had been planned for 1978, but was a victim of the DC Implosion. The new series, called The Saga of the Swamp Thing, featured an adaptation of the Craven film in its first annual. Now written by Martin Pasko, the book loosely picked up after the Swamp Thing's guest appearances in Challengers of the Unknown #81-87, DC Comics Presents #8, and The Brave and the Bold #172, with the character wandering around the swamps of Louisiana seen as an urban legend and feared by locals. Pasko's main arc depicted the Swamp Thing roaming the globe, trying to stop a young girl (and the possible Anti-Christ) named Karen Clancy from destroying the world.
When Pasko had to give up work on the title due to increasing television commitments, editor Len Wein assigned the title to British writer Alan Moore. When Karen Berger took over as editor, she gave Moore free rein to revamp the title and the character as he saw fit. Moore reconfigured the Swamp Thing's origin to make him a true monster, as opposed to a human transformed into a monster. In his first issue, he swept aside most of the supporting cast that Pasko had introduced in his year-and-a-half run as writer and brought the Sunderland Corporation to the forefront, as they hunted the Swamp Thing down and "killed" him in a hail of bullets. The subsequent investigation revealed that the Swamp Thing was not Alec Holland transformed into a plant, but actually a wholly plant-based entity created upon the death of Alec Holland, having somehow absorbed duplicates of Holland's consciousness and memories into himself. He is described as "a plant that thought it was Alec Holland, a plant that was trying its level best to be Alec Holland". This is explained as a result of the plant matter of the swamp absorbing Holland's bio-restorative formula, with the Swamp Thing's appearance being the plants' attempt to duplicate Holland's human form. This revelation resulted in the Swamp Thing suffering a temporary mental breakdown and identity crisis, but he eventually re-asserted himself in time to stop the latest scheme of the Floronic Man.
During this series, it seems that the Swamp Thing and Abigail have reunited as lovers and are living in their old home in the Louisiana swamps outside Houma. The home in which they live more closely resembles the one that the Swamp Thing constructs for Abigail during the Moore run than the home in which they dwell during the Collins run. In a confrontation with Tef, the Swamp Thing explains that he has cut himself off from the Green and there seems to be no trace of the god-like powers he acquired from the Parliaments of Air, Waves, Stone or Flames during the Millar run. Also, Vaughan's Swamp Thing does not seem to have been divorced from the humanity of his Alec Holland self. The disconnection between these two entities becomes a plot point in Volume 4.
Alexander "Alex" Olsen was a talented young scientist in Louisiana in the early 1900s, married to Linda. Alex's assistant, Damian Ridge, was secretly in love with Linda and plotted the death of his friend. He tampered with Olsen's chemicals, killing him in the explosion, and dumped his body in the nearby swamp. Ridge used Linda's grief to convince her to marry him; however, Ridge was confronted by Alex Olsen, now a risen humanoid pile of vegetable matter. Olsen killed Ridge but Linda did not recognize him and ran away, leaving Olsen to wander the swamps alone as a monster.
Calbraith A. H. Rodgers was born in England in 1920. Ever since he was a boy, he had heard whispers from the leaves, the flowers and the trees that something great and terrible would be waiting for him on the other side. Afraid of what would be waiting for him on the other side of death, he enlisted in the Royal Air Force to try and escape the pull of the Green. On May 3, 1942, on his fourth mission as a pilot during World War II, his plane was shot down. Landing in a swamp, the dying Rodgers felt the branches and petals reaching for him, delivering him to his new life as the protector of the Green. By fusing the man with the Green in the final moments of his life, the Swamp Thing was created.
17. Pretty Baby (1978) This was one of the most controversial movies of its era as it featured beaucoup nudity as well as a teenage prostitute played by Brooke Shields. The controversy overlooked the tasteful direction of art house favorite Louis Malle.
7. Sounder (1972) Director Martin Ritt was known for the liberal, humanitarian stance he took in movies such as The Front and Norma Rae. He was also a New Yorker who made many films set in the South such as The Long, Hot Summer, and Hud. Those two tendencies collided in Sounder.
3. Down By Law (1986) is a quirky independent film set in New Orleans. It was one of the movies that established quirky independent director Jim Jarmusch as an artist to be reckoned with.
"Swamp Thing" had already won my heart before its moment of greatness, but when that moment came, I knew I'd discovered another one of those movies that fall somewhere between buried treasures and guilty pleasures. The moment comes after Dr. Alec Holland, brilliant scientist, is attacked by thugs, is splashed with his own secret formula, catches on fire, leaps into the swamp, and turns into Swamp Thing when the formula interacts with his body and the vegetation in the swamp. Crawling back onto dry land, Swamp Thing is not recognized by his former girlfriend, the beautiful Alice Cable (Adrienne Barbeau).
But after the thugs fill him with machine-gun bullets and hack off his left arm, Alice asks, "Does it hurt?" and Swamp Thing replies, "Only when I laugh." That was the movie's moment of greatness. There are others that come close, as when Swamp Thing, dripping with moss and looking like a bug-eyed spinach souffle, says "There is great beauty in the swamp -- if you know where to look." And when the evil villain (Louis Jourdan) drinks the secret formula and confidently waits for it to transform him into a powerful genius, he discovers that the formula doesn't so much change you, as develop what is already latent within you. Therefore, once a horse's ass, always a horse's ass.
This is one of those movies like "Infra-Man" or "Invasion of the Bee Girls": an off-the-wall, eccentric, peculiar movie fueled by the demented obsessions of its makers. "Swamp Thing" first saw the light of day, so to speak, as a hero in a celebrated series of DC Comics. The movie version was written and directed by Wes Craven, who made "Last House on the Left," a movie I persist in admiring even in the face of universal repugnance. Craven also made "The Hills Have Eyes," which even I found decadent, and the made-for-NBC movie "Stranger in Our House," with Linda Blair.
This time, with "Swamp Thing," he betrays a certain gentleness and poetry along with the gore; in fact, this movie is a lot less violent than many others in the same genre. Craven's inspiration seems to come from James Whale's classic "Bride of Frankenstein" (1935), and he pays tribute in scenes where his swamp monster sniffs a flower, admires a young girl's beauty from afar, and looks sadly at a photograph in a locket.
"Swamp Thing" doesn't stop there; it also contains an exact visual quote from Russ Meyer's "Lorna," and a scene in which the jailer in a dungeon cheerfully quotes the title of a Werner Herzog film: "It's every man for himself, and God against all!" Will you like this film? Yes, probably, if you like monster and horror movies. The movie occupies familiar ground, but it has a freshness and winsome humor to fit it, and Craven moves confidently through the three related genres he's stealing from (monster movies, mad scientist movies, and transformation movies in which people turn into strange beings). There's beauty in this movie, if you know where to look for it.
A squad of National Guards on an isolated weekend exercise in the Louisiana swamp must fight for their lives when they anger local Cajuns by stealing their canoes. Without live ammunition and in a strange country, their experience begins to mirror the Vietnam experience.
A psychotic redneck who owns a dilapidated hotel in the backwater swamps of Louisiana kills various people who upset him or his business, and he feeds their bodies to a large crocodile that he keeps as a pet in the swamp beside his hotel.
Katherine Morrissey, a former Christian missionary, lost her faith after the tragic deaths of her family. Now she applies her expertise to debunking religious phenomena. When a series of biblical plagues overrun a small town, Katherine arrives to prove that a supernatural force is not behind the occurrences, but soon finds that science cannot explain what is happening. Instead, she must regain her faith to combat the evil that waits in a Louisiana swamp. be457b7860
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