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Created out of the Swamp by a freak accident, Swamp Thing is an elemental creature who uses the forces of nature and wisdom of the plant kingdom to fight the polluted world's self-destruction. Alan Moore took the Swamp Thing to new heights in the1980s with his unique narrative approach. His provocative and groundbreaking writing, combined with masterly artwork by some of the medium's top artists, made SWAMP THING one of the great comics of the late twentieth century. In this secondcollection, The Swamp Thing says goodbye to the illusion of his own humanity after learning that he is 100% plant, meets a crew of benevolent alien invaders inspired by the classic comic strip Pogo (also set in the swamp), and consummates hisrelationship with Abigail Arcane as only he could. Collects SAGA OF THE SWAMP THING #28-34 and SWAMP THING ANNUAL #2.
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.
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.
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 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.
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.
As properties of DC comics continue to sprout over the years, narratives that were once kept sacrosanct now spill over into one another, synergizing into one bona fide creative Universe. Intended for both professional pop culture researchers and general interest readers, this collection of essays covers DC Universe multimedia, including graphic novels, video games, movies and TV shows. Each essay is written by a recognized pop culture expert offering a distinct perspective on a wide variety of topics. Even though many of the entries address important social themes like gender and racism, the book is not limited to these topics. Also included are more lighthearted essays for full verisimilitude, including analyses of long forgotten or seemingly marginal aspects of the DC Extended Universe, as well as in-depth and original interpretations of the most beloved characters and their relationships to one another. Highly accessible and approachable, this work provides previously unavailable in-roads that create a richer comprehension of the ever-expanding DC Universe.
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.
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?