Showing posts with label steve gerber. Show all posts
Showing posts with label steve gerber. 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).    


28 Jan 2014

The Three Ducks (Donald, Daffy & Howard)

Donald Duck © The Walt Disney Company / Howard the Duck © Marvel Worldwide, Inc.
Daffy Duck © Warner Bros. Inc.

I have never been a great fan of Disney's Donald Duck. Partly, this is due to his choice of outfit consisting of blue sailor shirt, cap and red bow tie; not a look I much care for.

That said, he's clearly more interesting and more edgy than his friend and rival Mickey Mouse. For whereas the latter is simply irritating, the former is amusingly irritable and often seems at odds with those around him and in general conflict with life - a bit like a feathered George Costanza. Indeed, someone should write a comparative analysis of these two characters as they seem to share a wide range of personality traits.

Despite this retrospective Seinfeld connection, as a child I had much more time for Donald's Warner Bros. counterpart, Daffy Duck. Probably this has something to do with being part of a TV generation growing up on Looney Tunes, rather than being a regular movie-goer. Also, Daffy, created by Tex Avery, was, to me at least, simply funnier as well as a more contemporary-seeming, more savvy figure than Donald. Mel Blanc's brilliant vocal characterization doubtless played a large part in this. And, crucially, Daffy spurned the sailor suit and dared to go naked.
  
The third fictional bird to have played an active role in my imagination, is Howard the Duck, created by writer Steve Gerber and artist Val Mayerik for Marvel Comics in 1973. Like Donald and Daffy, Howard is often ill-tempered and foul-mouthed (no pun intended). But unlike them, his character lends itself more to nihilism and existential angst, rather than screwball comedy. 

For Howard reveals that life is joke. But it's an absurd and often cruel joke lacking in point or punchline. As Gerber once explained, via Howard he sought to demonstrate how the things, people, and events we value and take seriously are distinguishable from those things, people, and events we despise or think ludicrous only thanks to interpretation and perspectivism (i.e. personal prejudice and the contingency of viewpoint).

Unfortunately, Gerber and his publishers soon clashed over issues of 'creative control' and the writer was removed from his own series in 1978. The comic in its original format quickly folded. Around this time, Disney was also threatening to sue Marvel for copyright infringement, claiming that Howard looked too similar to Donald and insisting that the former put some pants on!

Today, now that Disney own Marvel, one can't help fearing that with or without trousers, Howard's days are sadly numbered.