Showing posts with label DC comics. Show all posts
Showing posts with label DC comics. Show all posts

26 May 2025

Heap Big Monsters: Man-Thing and Swamp Thing

 
Cover of Man-Thing Issue 1 (Jan 1974) by Frank Brunner
 Cover of Swamp Thing Issue 1 (Nov 1974) by Bernie Wrightson
 
 
I. 
 
Sometimes, it takes fifty years or so before one finally (although inadvertently) discovers the answer to a question that has (unconsciously) troubled since comic-collecting childhood in the 1970s ...
 
Who emerged from the swamps first: Marvel's Man-Thing or DC's Swamp Thing? 
 
Before I provide the answer to this, let me just briefly remind everyone who these two monstrous characters are, beginning with the Man-Thing ...
 
 
II.
 
Man-Thing may sound to some like a sex toy, but he's actually a large, slow-moving, empathic, swamp creature (formerly a human biochemist called Ted Sallis) living in the Florida Everglades, near the fictional town of Citrusville. 
 
Conceived by Stan Lee and developed by writers Roy Thomas and Gerry Conway and the artist Gray Morrow, the character first appeared in Savage Tales #1 (May 1971), but it was Steve Gerber's version of the Man-Thing - eventually given a comic of his very own that ran for 22 issues between January 1974 and October 1975 - that is now considered a cult classic.   
 
Having injected himself with a Super-Soldier serum (don't ask), Sallis unfortunately crashes his car into the swamp, where scientific and magical forces combine to transform him into a highly sensitive plant-creature with immense strength and many other astonishing powers; not least his ability to secrete highly concentrated acid when triggered by the violent emotions of others: Whatever knows fear burns at the Man-Thing's touch!  
 
 
III. 
 
As for the Swamp Thing ... created by writer Len Wein and artist Bernie Wrightson, he's had various incarnations, beginning with his first appearance in House of Secrets #92 (July 1971), in a story set in Louisiana in the early 20th century. 
 
Usually depicted as a monstrous anthropomorphic mound of vegetable matter, he uses his vital cosmic powers to protect the natural world (and mankind) from threats of both scientific and supernatural origin, so might best be described as a kind of eco-hero or an embodiment of the Green. Despite his strength and abilities, like other forms of vegetal life, Swamp Thing is susceptible to herbicides.  
 
In the mid-late 1980s, a reimagined Swamp Thing found his greatest popularity thanks to the creative genius of Alan Moore, who was given full freedom to develop the character as he saw fit. His first big decision was to rewrite the Swamp Thing's origin in order to make him a true monster (as opposed to a human being transformed into a monster). Moore also revealed that there had been dozens - perhaps hundreds - of earlier Swamp Things.    

Whilst Moore retained the horror and fantasy elements fans loved, he also broadened the scope of the story to include more eco-spiritual matters and was voted by his fellow comic book professionals for several Jack Kirby Awards in the mid-1980s.
 
 
IV.
   
Let us return now to our opening question: who emerged first from the swamps; Man-Thing or Swamp Thing? 
 
In purely chronological terms, as we have discovered, the answer is Man-Thing - but only by a few months. And so, it has to be asked if the Swamp Thing was merely a (ripped-off) version of the former, as many have suspected and like to believe.  

Surprisingly, the answer to that seems to be no: for it appears that each character arose independently of one another (albeit around the same time) and that, if anything, both the Marvel and the DC character were inspired by a Golden Age comic book character known as the Heap; another mysterious and terrifying muck-monster, who first appeared in a comic cover dated December 1942 [1].  
 
According to one comentator, this game of intertextuality, imitation, and influence is accepted practice within the world of comic books: "Whether fans see it as flattering imitation or unoriginal copying, it's very much the norm for creators to rework an older character into their own works." [2] 
 
Nevertheless, it might be pointed out that Marvel did consider taking legal action against DC when Swamp Thing made his debut several months after their own Man-Thing. They probably didn't pursue such owing to the fact that both of these characters were so similar to the Heap and, besides, Roy Thomas and Len Wein were friends - Wein was also a flatmate of Gerry Conway's - so they doubtless swapped many ideas between them.  
 
As someone who, as a child, was a Friend of Ol' Marvel, my loyalties were obviously to the Man-Thing. 
 
But, I can't help retrospectively seeing that DC's Swamp Thing was probably the superior and more interesting character, especially when Moore took creative control and gave the latter "a tale of tragedy, romance, and an odyssey-inspired journey through the universe that eclipsed Man-Thing's story" [3].
 
Thus, whether Swamp Thing may have initially borrowed story elements from Man-Thing, is ultimately irrelevant.  
 
 
Notes
 
[1] The Heap was created by writer Harry Stein and artist Mort Leav, in collaboration with Ed Cronin. He first appeared in issue 3 of Air Fighters Comics (Hillman Periodicals, Dec. 1942). 

[2] Ashley Land, 'Man-Thing Vs Swamp Thing: Both Were Based On An Older Monster', published on the comic book website cbr.com (19 July, 2023): click here

[3] Ibid.
 
 
Musical bonus: Malcolm McLaren, 'Swamp Thing', from the album of the same title (Charisma Records, 1985): click here
      Whilst the song has little to do with the comic book character, it's worth noting that McLaren and Alan Moore met and briefly worked together on a film script in 1985, when the latter was in the process of reimagining Swamp Thing. Each man was impressed by the other and Moore would later provide the Foreword to Paul Gorman's biography of McLaren (2020).    


13 Oct 2021

A Brief Note on the Queering of Superman

Superman: Son of Kal-El
Detail from a variant cover to #5 by Inhyuk Lee 
DC Comics (2021)
 
 
Let me say at the outset, if DC Comics are happy with writer Tom Taylor's decision to transform Superman into a cocksucking social justice warrior, then I have no problem with that. 
 
In other words, I really don't care if John Kent, the Son of Kal-El, enters into a same-sex relationship with his pink-haired boyfriend Jay Nakamura; he can even be bi now and gay later, it's all fine by me. 

However, what is troubling is the argument made by Taylor that everyone deserves to see themselves reflected in their fictional heroes and be able to say: Wow! They're just like me! And if that means the queering (and/or racially transforming) of a previously straight white cis male character, then so be it. 
 
The concern I have is this: doesn't this narcissistic need to self-seek and identify even with those from other worlds ironically erase the difference and diversity that is supposedly being celebrated? How do you learn to imaginatively engage with otherness if you insist that everyone is supposed to walk, talk, look and act like you, sharing your desires and your values? 

Ultimately, if you are only ever going to look for yourself in love and seeketh your own glory in art, then you are inevitably going to spend your life masturbating before a full-length mirror in solipsistic isolation.
 
 
See: Superman: Son of Kal-El, #5, (DC Comics) written by Tom Taylor, illustrated by John Timms. Available in all good comic book stores on 9 November, 2021.  


8 Oct 2017

Black Wonder Women 1: Nubia

 Wonder Women (detail) by Marcus Williams (2017) 


Due to the huge commercial and critical success this summer of Wonder Woman (2017), dir. Patty Jenkins and starring Gal Gadot in the lead role, everyone is talking once again about the Amazonian princess and her place within popular culture as a feminist icon and/or slightly kinky, somewhat sapphic sex symbol.

Thanks not only to her adventures in print, but also the classic seventies TV show starring Lynda Carter, Wonder Woman is undoubtedly the best known of all the DC Comics characters apart from Superman and Batman. Most people instantly recognise her revealing star-spangled, red, white and blue costume and many - even outside the geeky world of comic-book fandom - probably have some memory of her Lasso of Truth, indestructible Bracelets of Submission, and Invisible Plane.    

Far fewer people, however, will recall that her origin story tells how she was sculpted from clay by her mother, Queen Hippolyta, and given life by the goddess Aphrodite along with superhuman powers gifted by other Greek deities, including Athena, Hermes, and Heracles. And only real fans will recall that Princess Diana had a dark-skinned twin sister made from black clay called Nubia ...

Conceived by writer Robert Kanigher and artist Don Heck, Nubia made her debut in Wonder Woman (vol. 1) #204, in January 1973; i.e., over thirty years after Wonder Woman was created by Charles Moulton, but perfectly suited for a period in which blaxploitation was suddenly big business.

Like Diana, Nubia has various super powers and possesses magical weaponry. But if, as Gloria Steinem argues, the former symbolizes many of the values that feminism wishes to affirm - including, for example, strength and self-reliance, sisterhood and mutual support - then surely this might equally be said of the latter, who, as a black woman in a white male world, probably has it significantly harder than her pale and privileged sister.

And yet, as Camille Paglia writes, Nubia is today a forgotten character ... Although perhaps this is not quite the case, thanks in part to the gynaecentric work of Jamaican-American artist, photographer, and activist Renee Cox ...   


To read part two of this post on Raje, click here.