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Swamp Thing (1972) #1-24
Swamp Thing: The Bronze Age Omnibus
Now, all of the Swamp Thing’s early adventures are collected for the first time in SWAMP THING: THE BRONZE AGE OMNIBUS. This hardcover edition features work from comics legends Len Wein, Bernie Wrightson, Nestor Redondo, Martin Pasko, Tom Yeates, Stephen Bissette, John Totleben and more!
Deep in the bayous of Louisiana, far from civilization’s grasp, a shadowed creature seen only in fleeting glimpses roils the black waters…a twisted, vegetative mockery of a man…a SWAMP THING!
One of the most acclaimed creations to emerge from the Bronze Age of Comics, this shambling, muck-encrusted figure swiftly became one of DC’s iconic characters, and his shocking stories are universally hailed as some of the finest tales of gothic horror in the history of American comics.
Collects THE HOUSE OF SECRETS #92, SWAMP THING #1-24, THE SAGA OF THE SWAMP THING #1-19 and THE SAGA OF THE SWAMP THING ANNUAL #1.
Deep in the bayous of Louisiana, far from civilization’s grasp, a shadowed creature seen only in fleeting glimpses roils the black waters…a twisted, vegetative mockery of a man…a SWAMP THING!
One of the most acclaimed creations to emerge from the Bronze Age of Comics, this shambling, muck-encrusted figure swiftly became one of DC’s iconic characters, and his shocking stories are universally hailed as some of the finest tales of gothic horror in the history of American comics.
Collects THE HOUSE OF SECRETS #92, SWAMP THING #1-24, THE SAGA OF THE SWAMP THING #1-19 and THE SAGA OF THE SWAMP THING ANNUAL #1.
928 pages, Hardcover
First published January 1, 2017
38 people are currently reading
1144 people want to read
About the author
Len Wein
1,587 books154 followersLen Wein was an American comic book writer and editor best known for co-creating DC Comics' Swamp Thing and Marvel Comics' Wolverine, and for helping revive the Marvel superhero team the X-Men (including the co-creation of Nightcrawler, Storm, and Colossus). Additionally, he was the editor for writer Alan Moore and illustrator Dave Gibbons' influential DC miniseries Watchmen.
Wein was inducted into the Will Eisner Comic Book Hall of Fame in 2008.
Wein was inducted into the Will Eisner Comic Book Hall of Fame in 2008.
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Displaying 1 - 30 of 38 reviews
January 20, 2024
Horror lite and tragic romance in a supernatural world of demons, monsters, and oddities. Although from the 1970s, Len Wein’s original tales hold up over time because of their boldness, simplicity, and lack of concern for criticism.
December 16, 2017
Swamp Thing: The Bronze Age Omnibus is really a compilation in three (and a half) parts.
Wein. The first part is the introduction of the character by Lein Wein (HoM, STv1 #1-13), and it's pretty amazing. Wein manages to meld together horror and science fiction into a harmonious whole, telling stories that are strange, scary, and sometimes dreamlike. The height is surely #10, which puts the misshapen horror Arcane in conflict with antebellum ghosts. There's a reason that this story was later reprinted in the second Swamp Thing run!
There are also an amazing number of long-running characters introduced by Wein including Alec (#1), Matt (#1), Arcane (#2), Abby (#3), Gregori (#3), and even Tim Ravenwind (#5). However, you really have to read through this run to see how long a shadow it's cast over the next few decades of the Swamp Thing comic. Wein recognized the power of Arcane by depicting him in two very different forms (#2, #10). He also introduced the idea of Alec traveling through time (#12) and even meeting Batman (#7), plots that would later be plundered by Veitch and Moore. Even when introducing adversaries that wouldn't be seen again like the fallen alien (#9) and the conquerer worms (#11), Wein offered up memorable characters.
Overall this is a magnificent moody run, marred only a bit by the wordiness of the time period. It's also nice that in his final issue Wein provides some closure for the relationship between Matt and Alec, offering some changes to the storyline, something that were pretty unknown in the era. The beautiful, spooky art by Bernie Wrightson for the first ten issues only improves that great storytelling. [5/5]
Michelinie & Conway. Unfortunately, after Wein leaves, the comics takes a quick and dramatic turn for the worse. The problem is that the main author of Swamp Thing's later run (STv1 #14-24), David Michelinie, just doesn't have the imagination that Wein did. He tries to touch upon the horror and science-fiction elements that Wein used, but the result is tired story ideas like a demon (#15), a zombie cult (#16), and killer robots (#17). Meanwhile, Michelinie also needlessly adds radioactive waste to Swamp Thing's origin (#14). Toward the end of the run, Swamp Thing descends into parody. The idea of a space collector (#21) reads like the science fantasy of Barbarella, then the final two issues (#23-24), these by Gerry Conway, make it clear that the comic has totally lost its way, as supervillains line up to fight the Swamp Thing, who meanwhile turns back into a human. (A thread that was apparently resolved in the never-reprinted '70s revival of Challengers of the Unknown, though Wein would later declare that the last few issues of STv1 never happened.)
The only really worthwhile story in the whole back half of the original Swamp Thing run is a two-parter about a duplicate Swamp Thing, also by Gerry Conway (#19-20). It offers some thoughtful commentary on what the Swamp Thing is, and also makes the last use of his supporting cast before they're inexplicably lost. The rest of these roots of the Swamp Thing, though, they're pretty dire. [1/5]
Pasko. Martin Pasko's reinvention of the Swamp Thing (ST v2 #1-19) in the early '80s manages to recapture Wein's magic. He once more blends together science-fiction and fantasy, with some particularly memorable issues including ones about a demonic possession (#4), tortured science experiments (#5), and an alien that would rule (#6-7).
The first thirteen issues form a major arc, which is quite a nice concept that brings real coherence to the title that was (again) almost unknown at the time. It runs along nicely for much of its length, but unfortunately its climax is somewhat flat, perhaps because of the increasing complexity of plotline. Throughout this arc, Pasko does a great job introducing a new cast of characters.
Pasko's last few issues are at least as good, and if anything more in tune with the original run. A story of masks (#16) could easily have been written by Wein, then we get the return of Matt Cable and Abby and the third appearance of Arcane (#17-19), and it's marvelously in-tune with what came before.
Overall, Pasko's run is more polished and technically better than Wein's, but it also misses some of the most outlandish and beautiful horror that the Wein/Wrightson collaboration brought about. Don't let that seem like faint praise though: these are strong stories, irrespective of their '80s time period, and it's great to finally have them collected, a generation later. [4+/5]
Mishkin, Jones. There are a couple of guest spots during Pasko's run. Dan Mishkin writes two issues (STv2 #14, 15) that focus on a scientist who becomes a crystalline lab monstrosity due to an accident. It could have fit right into the latter half of Swamp Thing v1, which means that it's pretty bad, and like those later stories goes straight over the top when trying to figure out Swamp Thing's mixture of horror and science fiction. It's got pretty bad art too. The Jones story (STv2 Annual #1) is an adaptation of the Wes Craven movie. It's mildly horrible, with its focus on brainless action, but it's even worse as an adaptation. Overall, these three stories are pretty skippable. [1/5]
The only downside of this book is what it's missing. Those Challengers of the Unknown issues should have been included as the missing bridge between STv1 and STv2; also, the DC Comics Presents and Brave & the Bold issues that featured Swamp Thing in this interim. In addition, Alan Moore's "Loose Ends" is notably missing, since it follows so closely on the heels of the final issue in this volume. (Fortunately, Pasko's Arcane trilogy ends fairly conclusively.) At the least, DC should have included text pages summarizing those missing issues. Despite those omissions, this is a pretty great collection, bracketed by Wein's great work and Pasko's very good work. It's good to have it all in one place (especially the ~30 issues that had never previously been reprinted.)
Now can we please have a Moore omnibus?
Wein. The first part is the introduction of the character by Lein Wein (HoM, STv1 #1-13), and it's pretty amazing. Wein manages to meld together horror and science fiction into a harmonious whole, telling stories that are strange, scary, and sometimes dreamlike. The height is surely #10, which puts the misshapen horror Arcane in conflict with antebellum ghosts. There's a reason that this story was later reprinted in the second Swamp Thing run!
There are also an amazing number of long-running characters introduced by Wein including Alec (#1), Matt (#1), Arcane (#2), Abby (#3), Gregori (#3), and even Tim Ravenwind (#5). However, you really have to read through this run to see how long a shadow it's cast over the next few decades of the Swamp Thing comic. Wein recognized the power of Arcane by depicting him in two very different forms (#2, #10). He also introduced the idea of Alec traveling through time (#12) and even meeting Batman (#7), plots that would later be plundered by Veitch and Moore. Even when introducing adversaries that wouldn't be seen again like the fallen alien (#9) and the conquerer worms (#11), Wein offered up memorable characters.
Overall this is a magnificent moody run, marred only a bit by the wordiness of the time period. It's also nice that in his final issue Wein provides some closure for the relationship between Matt and Alec, offering some changes to the storyline, something that were pretty unknown in the era. The beautiful, spooky art by Bernie Wrightson for the first ten issues only improves that great storytelling. [5/5]
Michelinie & Conway. Unfortunately, after Wein leaves, the comics takes a quick and dramatic turn for the worse. The problem is that the main author of Swamp Thing's later run (STv1 #14-24), David Michelinie, just doesn't have the imagination that Wein did. He tries to touch upon the horror and science-fiction elements that Wein used, but the result is tired story ideas like a demon (#15), a zombie cult (#16), and killer robots (#17). Meanwhile, Michelinie also needlessly adds radioactive waste to Swamp Thing's origin (#14). Toward the end of the run, Swamp Thing descends into parody. The idea of a space collector (#21) reads like the science fantasy of Barbarella, then the final two issues (#23-24), these by Gerry Conway, make it clear that the comic has totally lost its way, as supervillains line up to fight the Swamp Thing, who meanwhile turns back into a human. (A thread that was apparently resolved in the never-reprinted '70s revival of Challengers of the Unknown, though Wein would later declare that the last few issues of STv1 never happened.)
The only really worthwhile story in the whole back half of the original Swamp Thing run is a two-parter about a duplicate Swamp Thing, also by Gerry Conway (#19-20). It offers some thoughtful commentary on what the Swamp Thing is, and also makes the last use of his supporting cast before they're inexplicably lost. The rest of these roots of the Swamp Thing, though, they're pretty dire. [1/5]
Pasko. Martin Pasko's reinvention of the Swamp Thing (ST v2 #1-19) in the early '80s manages to recapture Wein's magic. He once more blends together science-fiction and fantasy, with some particularly memorable issues including ones about a demonic possession (#4), tortured science experiments (#5), and an alien that would rule (#6-7).
The first thirteen issues form a major arc, which is quite a nice concept that brings real coherence to the title that was (again) almost unknown at the time. It runs along nicely for much of its length, but unfortunately its climax is somewhat flat, perhaps because of the increasing complexity of plotline. Throughout this arc, Pasko does a great job introducing a new cast of characters.
Pasko's last few issues are at least as good, and if anything more in tune with the original run. A story of masks (#16) could easily have been written by Wein, then we get the return of Matt Cable and Abby and the third appearance of Arcane (#17-19), and it's marvelously in-tune with what came before.
Overall, Pasko's run is more polished and technically better than Wein's, but it also misses some of the most outlandish and beautiful horror that the Wein/Wrightson collaboration brought about. Don't let that seem like faint praise though: these are strong stories, irrespective of their '80s time period, and it's great to finally have them collected, a generation later. [4+/5]
Mishkin, Jones. There are a couple of guest spots during Pasko's run. Dan Mishkin writes two issues (STv2 #14, 15) that focus on a scientist who becomes a crystalline lab monstrosity due to an accident. It could have fit right into the latter half of Swamp Thing v1, which means that it's pretty bad, and like those later stories goes straight over the top when trying to figure out Swamp Thing's mixture of horror and science fiction. It's got pretty bad art too. The Jones story (STv2 Annual #1) is an adaptation of the Wes Craven movie. It's mildly horrible, with its focus on brainless action, but it's even worse as an adaptation. Overall, these three stories are pretty skippable. [1/5]
The only downside of this book is what it's missing. Those Challengers of the Unknown issues should have been included as the missing bridge between STv1 and STv2; also, the DC Comics Presents and Brave & the Bold issues that featured Swamp Thing in this interim. In addition, Alan Moore's "Loose Ends" is notably missing, since it follows so closely on the heels of the final issue in this volume. (Fortunately, Pasko's Arcane trilogy ends fairly conclusively.) At the least, DC should have included text pages summarizing those missing issues. Despite those omissions, this is a pretty great collection, bracketed by Wein's great work and Pasko's very good work. It's good to have it all in one place (especially the ~30 issues that had never previously been reprinted.)
Now can we please have a Moore omnibus?
January 29, 2018
I've been working through this monstrosity (haha) for the better part of a month, and I'm still not technically finished -- there's an adaptation here of the 80's Swamp Thing movie that I'll get back to, but I'm finished with the run proper, as it were.
It's odd to say this for a book that's, what, 9000 pages long? I mean, a lotta lotta pages -- but this omnibus is actually somewhat incomplete. At the same time, it's almost too overwhelming to be discussed as one book, because it is so many damn books bejeezus.
SERIES ONE, PART ONE: House of Secrets #92, Swamp Thing #1-13
First it's the Len Wein/Bernie Wrightson run, which starts with a seemingly non-canon House of Secrets short story that suggests the "root" (haha oh dear god there will be a lot of these) of Swamp Thing -- that is, a horrifying bog monster created by Weeird Science, doomed to stalk the swamps alone. It doesn't actually feature the main characters of Swamp Thing #1 which would come out the following year; instead W&W would introduce a new Swamp Thing with a shockingly similar backstory (a problem that Alan Moore would, over a decade later, stitch together into a mildly logical continuity).
The surprising ongoing idiosyncracy of these early stories (and indeed, of much of the entire volume) is they are really not about Swamp Thing. Instead, they are about the increasingly improbable situations in which he finds himself: in the first thirteen issues, Swampy fights a Mad Scientist, Basically Frankenstein, Werewolves For Some Reason, Witches Okay, Steampunk Robots, Batman (!), Some Other Stuff, and Mad Scientist again with the help of Ghost Slaves (!!), and absolutely none of it really requires him to be Swamp Thing. At most, there's dark forces at work that want to study his swamp-body or whatever, and he occasionally shows signs of nigh-invulnerability because something-something plant cellular structure, but other than that it's basically, like, a Tales From the Crypt-style anthology series that happens to have a protagonist. I mean, don't get me wrong -- for the most part these are excellent slices of 70's pulp horror. It's just, like, such an odd formula compared to our modern, Swamp-Thing-centric version of Swamp Thing.
SERIES ONE, PART TWO: Swamp Thing #14-24
W&W are followed by Gerry Conway and David Micheline swapping scripts over pencils from Nestor Redondo -- Redondo's work was new to me, but I think it's excellent stuff. In any other volume where he wasn't sandwiched between Wrightson (at the beginning) and Stephen Bissette (at the end), he'd be the standout artist. But C&M's stories aren't as strong mainly because they don't retain the classic monster movie archetypes that Wein used with abandon.
In the original W&W run, Swampy has two main antagonists: Anton Arcane, the aforementioned Mad Scientist who plays into basic horror-fantasy tropes, and The Cabal, a shadowy government agency who supplies the sci-fi. But even though Swamp Thing is essentially a product of Science Gone Wrong, it's as a horror comic that the series really shines. However, the C&M stories become far more interested in Swamp Thing as some kind of strange sci-fi fusion mashup, as the series is overrun with psychic mutants, a tribe of amazons, 50s-style giant robots and various government agencies continuing to give chase, becoming a kind of X-Files-lite more than Hammer Horror.
Eventually the creative team gives up entirely, and Swamp Thing just starts fighting more aliens and superheroes and also becomes human again, and nothing makes any sense. This is also where the collection makes its first big fumble, as the end of this series plays out in Challengers of the Unknown, in a handful of issues that aren't even collected here. Boo.
SERIES TWO, PART ONE: Saga of the Swamp Thing #1-13
Saga, by Martin Pasko with a rotating crew of artists, introduces a new supporting cast and, like its predecessor, leans hard on the government conspiracies. Even moreso (and to its detriment), Swamp Thing is almost an afterthought to his own series. Instead, this giant arc (13 issues for one storyline back in the 80s might as well have been Moby Dick) is literally just The Dark Phoenix Saga -- the government are chasing down mutants because there's one powerful girl-mutant who's gonna kill everybody, and occasionally Swamp Thing shows up. It also tries to keep up with the requirement that Swamp Thing must run into a new inexplicable weird evil creature in every issue on top of the government conspiracy plot literally happening simultaneously, and lord god. I seriously have no idea how this was the storyline that restarted Swamp Thing after a six-year hiatus. It's just awful. I felt like I went in and out of this one for two weeks wondering if it would ever end or if I could just die first.
The only good thing is that one of the stories in this section is called "I Have Seen the Splintered Timbers of a Hundred Shattered Sails," which is great, but not worth those horrible two weeks of my life.
Issues #14-15 are a fill-in two-parter where Swampy teams up with the Phantom Stranger, and it's laughably bad but I was so glad not to be reading about Swamp Thing and X-Men anymore that I just floated through it. Also the Table of Contents doesn't even mention who wrote these issues or anything, and I can't be bothered to look it up, because seriously no one even cares.
SERIES TWO, PART TWO: Saga of the Swamp Thing #16-19
So yeah, honestly, this is where the book gets really good again -- the last four issues of this monolithic tome that is, as I said, approximately 19 million pages long. Gerry Conway works with Pasko to get things ready for Alan Moore's following run, and Stephen Bissette gets hired to basically crush every artist who ever thought they could draw Swamp Thing.
I almost wished I hadn't had to go through everything I went through to get this far, but there's this beautiful scene where Swamp Thing sees his friend (and eventual wife) Abby, who was an underwritten background character in the first series, but had been dropped entirely for almost 20 issues. They look at each other across this twilight bit of swamp and call to each other -- both had thought the other was dead, and it's goddman beautiful and it wouldn't have worked if the series hadn't sucked for so long.
But these last four issues, I am telling you, they kill -- the horror vibe that is this book's lifeblood basically kicks into overdrive, with people turning into insects and eating each other and manifesting ghost-demons and it is Braindead level, gooey-icky magic.
But THEN the book commits its second and third collection-crimes, as this 2.5 billion page epic ends on a cliffhanger just so you'll go buy one measly issue of the Alan Moore run that wraps everything up.
AND THEN THERE'S A MOVIE ADAPTATION COMIC INSTEAD.
So. I'm not really sure if I could ever recommend this book to anyone -- it is, above all else, a slog.
Through, a....yknow...swamp.
HAHAHAHHAHAHAkillmeI'mgoingtobed.
It's odd to say this for a book that's, what, 9000 pages long? I mean, a lotta lotta pages -- but this omnibus is actually somewhat incomplete. At the same time, it's almost too overwhelming to be discussed as one book, because it is so many damn books bejeezus.
SERIES ONE, PART ONE: House of Secrets #92, Swamp Thing #1-13
First it's the Len Wein/Bernie Wrightson run, which starts with a seemingly non-canon House of Secrets short story that suggests the "root" (haha oh dear god there will be a lot of these) of Swamp Thing -- that is, a horrifying bog monster created by Weeird Science, doomed to stalk the swamps alone. It doesn't actually feature the main characters of Swamp Thing #1 which would come out the following year; instead W&W would introduce a new Swamp Thing with a shockingly similar backstory (a problem that Alan Moore would, over a decade later, stitch together into a mildly logical continuity).
The surprising ongoing idiosyncracy of these early stories (and indeed, of much of the entire volume) is they are really not about Swamp Thing. Instead, they are about the increasingly improbable situations in which he finds himself: in the first thirteen issues, Swampy fights a Mad Scientist, Basically Frankenstein, Werewolves For Some Reason, Witches Okay, Steampunk Robots, Batman (!), Some Other Stuff, and Mad Scientist again with the help of Ghost Slaves (!!), and absolutely none of it really requires him to be Swamp Thing. At most, there's dark forces at work that want to study his swamp-body or whatever, and he occasionally shows signs of nigh-invulnerability because something-something plant cellular structure, but other than that it's basically, like, a Tales From the Crypt-style anthology series that happens to have a protagonist. I mean, don't get me wrong -- for the most part these are excellent slices of 70's pulp horror. It's just, like, such an odd formula compared to our modern, Swamp-Thing-centric version of Swamp Thing.
SERIES ONE, PART TWO: Swamp Thing #14-24
W&W are followed by Gerry Conway and David Micheline swapping scripts over pencils from Nestor Redondo -- Redondo's work was new to me, but I think it's excellent stuff. In any other volume where he wasn't sandwiched between Wrightson (at the beginning) and Stephen Bissette (at the end), he'd be the standout artist. But C&M's stories aren't as strong mainly because they don't retain the classic monster movie archetypes that Wein used with abandon.
In the original W&W run, Swampy has two main antagonists: Anton Arcane, the aforementioned Mad Scientist who plays into basic horror-fantasy tropes, and The Cabal, a shadowy government agency who supplies the sci-fi. But even though Swamp Thing is essentially a product of Science Gone Wrong, it's as a horror comic that the series really shines. However, the C&M stories become far more interested in Swamp Thing as some kind of strange sci-fi fusion mashup, as the series is overrun with psychic mutants, a tribe of amazons, 50s-style giant robots and various government agencies continuing to give chase, becoming a kind of X-Files-lite more than Hammer Horror.
Eventually the creative team gives up entirely, and Swamp Thing just starts fighting more aliens and superheroes and also becomes human again, and nothing makes any sense. This is also where the collection makes its first big fumble, as the end of this series plays out in Challengers of the Unknown, in a handful of issues that aren't even collected here. Boo.
SERIES TWO, PART ONE: Saga of the Swamp Thing #1-13
Saga, by Martin Pasko with a rotating crew of artists, introduces a new supporting cast and, like its predecessor, leans hard on the government conspiracies. Even moreso (and to its detriment), Swamp Thing is almost an afterthought to his own series. Instead, this giant arc (13 issues for one storyline back in the 80s might as well have been Moby Dick) is literally just The Dark Phoenix Saga -- the government are chasing down mutants because there's one powerful girl-mutant who's gonna kill everybody, and occasionally Swamp Thing shows up. It also tries to keep up with the requirement that Swamp Thing must run into a new inexplicable weird evil creature in every issue on top of the government conspiracy plot literally happening simultaneously, and lord god. I seriously have no idea how this was the storyline that restarted Swamp Thing after a six-year hiatus. It's just awful. I felt like I went in and out of this one for two weeks wondering if it would ever end or if I could just die first.
The only good thing is that one of the stories in this section is called "I Have Seen the Splintered Timbers of a Hundred Shattered Sails," which is great, but not worth those horrible two weeks of my life.
Issues #14-15 are a fill-in two-parter where Swampy teams up with the Phantom Stranger, and it's laughably bad but I was so glad not to be reading about Swamp Thing and X-Men anymore that I just floated through it. Also the Table of Contents doesn't even mention who wrote these issues or anything, and I can't be bothered to look it up, because seriously no one even cares.
SERIES TWO, PART TWO: Saga of the Swamp Thing #16-19
So yeah, honestly, this is where the book gets really good again -- the last four issues of this monolithic tome that is, as I said, approximately 19 million pages long. Gerry Conway works with Pasko to get things ready for Alan Moore's following run, and Stephen Bissette gets hired to basically crush every artist who ever thought they could draw Swamp Thing.
I almost wished I hadn't had to go through everything I went through to get this far, but there's this beautiful scene where Swamp Thing sees his friend (and eventual wife) Abby, who was an underwritten background character in the first series, but had been dropped entirely for almost 20 issues. They look at each other across this twilight bit of swamp and call to each other -- both had thought the other was dead, and it's goddman beautiful and it wouldn't have worked if the series hadn't sucked for so long.
But these last four issues, I am telling you, they kill -- the horror vibe that is this book's lifeblood basically kicks into overdrive, with people turning into insects and eating each other and manifesting ghost-demons and it is Braindead level, gooey-icky magic.
But THEN the book commits its second and third collection-crimes, as this 2.5 billion page epic ends on a cliffhanger just so you'll go buy one measly issue of the Alan Moore run that wraps everything up.
AND THEN THERE'S A MOVIE ADAPTATION COMIC INSTEAD.
So. I'm not really sure if I could ever recommend this book to anyone -- it is, above all else, a slog.
Through, a....yknow...swamp.
HAHAHAHHAHAHAkillmeI'mgoingtobed.
December 20, 2017
Though there are some real stinkers in the middle of this book, the Bernie Wrightson/Len Wein material and the previously uncollected Martin Pasko Anti-Christ issues are wonderful (I forgot how bad the Dan Mishkin crystal man arc was though). It's also great to see again the first few issues of Stephen R. Bissette and John Totleben's run as artists on the book, right before Alan Moore comes on board as writer. Bissette's insectoid Arcane is one of the scariest things--if not *the* scariest thing--I have ever seen in comics.
Despite the bad writing between issues 14-24 (that I mercifully missed when I was a kid), this is an absolute treat overall and earns all five stars! There's so much to love in this book. Just make sure you wear a weight belt when you read it. This book is heavy!
Despite the bad writing between issues 14-24 (that I mercifully missed when I was a kid), this is an absolute treat overall and earns all five stars! There's so much to love in this book. Just make sure you wear a weight belt when you read it. This book is heavy!
September 30, 2019
**Edit**: Browsing the reviews here, there seems to be a lot of hate toward the Nat Broder/Silicon Crystal Man character. That story was one of my favorites! Because a) Phantom Stranger, and b) the character was a great mirror to hold up to Swamp Thing. Their origins were almost exactly the same: bodies suffused with strange science stuff during a lab explosion. Broder's body was literally dumped in the swamp, from which he rose up as the Silicon Man!
He was extremely the Anti Swamp Thing: made of silicon and circuitry instead of roots and moss; cold, unfeeling technology instead of moss and muck that feels too much. Yearning for power and dominion instead of belonging and family. Swampy doesn't have his connection to the Green yet, but Broder's connection to the web and weave of the Internet unknowingly predicts even that. He even *looked* like Bizarro, and was Swampy's inverse every bit as much as Bizarro is Superman's.
**Original review:**
Super fun and nostalgic. Swampy has always been one of my favorites, since I was a kid.
Started reading this when the DC TV series was going to come out. Standout moments:
1. The Monster of the Week format of the earliest issues: Swampy punches a werewolf! A vampire! A Frankenstein! A robot! An alien! A weird worm!
2. Seeing first appearances of TV series tie-ins: Nathan Ellery and the Enclave, Avery Sunderland, the Phantom Stranger.
3. One of Swampy's very first adventures lead him to Gotham, and to an encounter with Batman! Did not know that.
4. There is nothing earth elemental, and nothing about The Green at all about this entire first run. He's just a mossy green hulk who wants to be left alone.
5. The "Karen Clancy/Anti-Christ Saga" was a loooooong run full of characters and content that I've never heard of. That whole bit felt like a fever dream. When it was finally over and we got to another Anton Arcane/Un-men fight, I was happy to be back to "classic Swamp Thing" territory.
He was extremely the Anti Swamp Thing: made of silicon and circuitry instead of roots and moss; cold, unfeeling technology instead of moss and muck that feels too much. Yearning for power and dominion instead of belonging and family. Swampy doesn't have his connection to the Green yet, but Broder's connection to the web and weave of the Internet unknowingly predicts even that. He even *looked* like Bizarro, and was Swampy's inverse every bit as much as Bizarro is Superman's.
**Original review:**
Super fun and nostalgic. Swampy has always been one of my favorites, since I was a kid.
Started reading this when the DC TV series was going to come out. Standout moments:
1. The Monster of the Week format of the earliest issues: Swampy punches a werewolf! A vampire! A Frankenstein! A robot! An alien! A weird worm!
2. Seeing first appearances of TV series tie-ins: Nathan Ellery and the Enclave, Avery Sunderland, the Phantom Stranger.
3. One of Swampy's very first adventures lead him to Gotham, and to an encounter with Batman! Did not know that.
4. There is nothing earth elemental, and nothing about The Green at all about this entire first run. He's just a mossy green hulk who wants to be left alone.
5. The "Karen Clancy/Anti-Christ Saga" was a loooooong run full of characters and content that I've never heard of. That whole bit felt like a fever dream. When it was finally over and we got to another Anton Arcane/Un-men fight, I was happy to be back to "classic Swamp Thing" territory.
July 7, 2018
I previously reviewed the excellent Wrightson/Wein Swamp Thing issues 1-10 in the Dark Genesis collection review, so this review I'll concentrate on the other issues. The later issues of Swamp Thing's original run started out okay but slowly fizzled. Even for a comic book the way Swamp Thing kept falling into one crazy situation after another just became too outlandish and eventually the book lost its way and was cancelled.
The new Saga of the Swamp Thing series started off pretty strong with some very deep and dark storylines for an all ages comic in 1982. Issue four in particular featured a story where a demon possessed various people in order to murder children in horrible ways. While the violence wasn't graphic, I was still surprised to see this pass the comics code back then. I read that issue as a child and it was scary and stuck with me. Then we end up with Swamp Thing vs. The Antichrist, which once again was pretty heavy for mainstream DC in the early 80s. It was a little convoluted at times, but to me it read very much like a horror novel of the 80s. You know the kind, they always seemed to have a skeleton on the cover and were so bad they were good? True guilty pleasures!
Then this series sort of lost its way as well, but thankfully Alan Moore showed up to produce one of the best runs in the history of comics with his work on Swamp Thing.
Overall this collection is a strong bronze age horror collection. It features a superhero type character as the protagonist, but it's horror at its heart.
The new Saga of the Swamp Thing series started off pretty strong with some very deep and dark storylines for an all ages comic in 1982. Issue four in particular featured a story where a demon possessed various people in order to murder children in horrible ways. While the violence wasn't graphic, I was still surprised to see this pass the comics code back then. I read that issue as a child and it was scary and stuck with me. Then we end up with Swamp Thing vs. The Antichrist, which once again was pretty heavy for mainstream DC in the early 80s. It was a little convoluted at times, but to me it read very much like a horror novel of the 80s. You know the kind, they always seemed to have a skeleton on the cover and were so bad they were good? True guilty pleasures!
Then this series sort of lost its way as well, but thankfully Alan Moore showed up to produce one of the best runs in the history of comics with his work on Swamp Thing.
Overall this collection is a strong bronze age horror collection. It features a superhero type character as the protagonist, but it's horror at its heart.
November 16, 2024
As a collection you can't get better with how huge the pages are and how brilliantly the colors work on this paper!
In terms of what's inside...
The original stories by the original creators are fantastic and definitely worth it!
After those, it goes up and down. I remember liking most of them as I read it, but it definitely loses its original spark for awhile in here.
Specifically Pasko's tale of a magical little girl starts rather interesting and then becomes an unwelcome level of outlandish while still focusing far too much on government agents and uninteresting humans.
Pasko's final few issues with Bissette and Totleben are quite masterful and don't get enough credit for setting up a lot of what is accredited to the following Alan Moore run!
Overall, if you love atmosphericly set misunderstood monsters, don't miss out on one of the best in history!
In terms of what's inside...
The original stories by the original creators are fantastic and definitely worth it!
After those, it goes up and down. I remember liking most of them as I read it, but it definitely loses its original spark for awhile in here.
Specifically Pasko's tale of a magical little girl starts rather interesting and then becomes an unwelcome level of outlandish while still focusing far too much on government agents and uninteresting humans.
Pasko's final few issues with Bissette and Totleben are quite masterful and don't get enough credit for setting up a lot of what is accredited to the following Alan Moore run!
Overall, if you love atmosphericly set misunderstood monsters, don't miss out on one of the best in history!
March 3, 2021
Starts off really great, but gets a bit lost towards the middle. I guess that is bound to happen with a book this size. Around page 500 the Swamp Thing title ends and a new one just starts. I guess they didn't know what to do with the character. It's somewhat monster of the week in the middle. Still, the beginning is very strong as Swamp Thing wanders around, struggling to maintain his humanity in an inhuman world.
October 26, 2022
A deeply mixed bag. The best of these stories are five stars, the worst are two, but most are solid occult adventure stories of one variety or another, with art that starts and ends strongly but sags (often greatly) in the middle.
October 9, 2020
I’m not usually a fan of pre-Crisis comics (and even then I much prefer early 00’s), but I actually really enjoyed the Wein/Wrightson stuff. The rest ranged from okay to not great, but it was still a great collection to read overall. Laid some great groundwork, and I’m excited to reread the Moore run with all of the background.
July 24, 2023
I love the Bronze era of Swamp Thing. It is pretty campy at parts, but always fun.
February 22, 2019
Although an incomplete collection of bronze age Swamp Thing stories, it's a really nice book, collecting the entirety of the original series plus Saga of the Swamp Thing up to the start of the Alan Moore run. Definitely get this if you're a Swampy fan.
October 19, 2018
Very entertaining, but ends on quite a cliffhanger. Kinda sucks, because the comic was canceled. Will skip to the Alan Moore run now.
February 13, 2025
The Verdant Horror of the American Psyche: A Review of The Bronze Age Swamp Thing Omnibus
Some heroes emerge from the sunlit clarity of traditional myth—figures of certainty, avatars of virtue. They fly, they leap, they rescue, they restore. But then there are the others: the brooding, the misshapen, the tragic figures who rise not from the heavens but from the earth itself, steeped in mystery, haunted by questions, and never quite at peace with their own existence.
Swamp Thing, a creature of muck and sorrow, belongs firmly to the latter category.
If Superman is the quintessential American myth of the outsider welcomed, Swamp Thing is the American myth of the outsider feared, the story of the misunderstood, the grotesque, the sublime force of nature that cannot be reasoned with, only respected. His world is one of damp horror and ecological revenge, of lushly rendered nightmares and beautifully tragic poetry.
And in The Bronze Age Swamp Thing Omnibus, collecting the original Len Wein and Bernie Wrightson run (Swamp Thing #1-24), alongside the post-Wrightson era that followed (Saga of the Swamp Thing #1-19), we see not just the creation of an iconic character but the establishment of an entire genre within superhero comics—a work that blends Gothic horror, environmental parable, and pulp storytelling into a masterpiece of mood and meaning.
It is, in a word, magnificent.
Swamp Thing and the Gothic Revival of Comics
The 1970s, for all its cultural chaos, was a golden age of reinvention in comics. After decades of straightforward caped crusaders and sanitized storytelling (thanks to the ever-restrictive Comics Code Authority), a new sensibility was creeping in—one that borrowed as much from literature, classic horror, and New Wave science fiction as it did from the superhero tradition.
Swamp Thing emerged from this aesthetic and philosophical shift, a direct descendant of the Universal Monsters, EC Comics, and the brooding ghosts of Edgar Allan Poe. This was not a hero defined by punches and triumphs but by atmosphere, existential dread, and the creeping realization that some wounds never truly heal.
When Len Wein and Bernie Wrightson introduced Swamp Thing in House of Secrets #92 (1971) before launching the ongoing Swamp Thing title in 1972, they were not merely telling a horror story. They were crafting a tragedy in the form of a comic book, a meditation on what it means to lose everything, including oneself.
Alec Holland: The Tragic Man of the Mire
Swamp Thing’s origin—by now one of the most famous in comics—sets the tone for everything that follows. Dr. Alec Holland, a brilliant biochemist, is working on a top-secret formula for accelerated plant growth, a scientific breakthrough that could end famine and reshape agriculture as we know it. But, as in all great tragedies, progress is met with violence.
When a criminal organization seeking his discovery sabotages his lab, Holland is engulfed in flames, doused in his own formula, and flung into the murky depths of a Louisiana swamp. Instead of dying, he is transformed. He emerges not as a man but as a creature of vegetation, a moss-covered revenant, a shambling embodiment of the very nature he sought to control.
But here is the real horror: Alec Holland is gone—or at least, he thinks he is.
What follows is not a story of a man turned into a monster, but a story of a monster who cannot let go of the man he once was. Swamp Thing is haunted—not merely by the people who hunt him or the dangers lurking in the dark, but by the memory of his own humanity.
This, one realizes, is pure Gothic storytelling. Swamp Thing is the lonely beast, the self-aware ghost, the sentient nightmare that wanders the landscape, yearning for the past but doomed to the present.
The Art of Bernie Wrightson: A Masterpiece of Horror Illustration
For all of Wein’s brilliance as a writer, it is Bernie Wrightson who cements Swamp Thing’s place in comic book history.
Wrightson’s pages are not merely drawn; they are crafted—each panel a lush, textured marvel of shadow, decay, and breathtaking organic beauty.
His Swamp Thing is a true horror creation—hulking, gnarled, his form covered in roots, tendrils, and the detritus of nature itself. He does not move like a superhero; he shambles, looms, emerges from the depths like a primordial force. Wrightson renders the world around him with equal attention to detail: twisted trees, crumbling ruins, the fog-drenched glow of an unseen moon.
The result? A comic that does not feel like a comic but like a collection of lost folktales, stories whispered around campfires, stories that should not be read at night.
The Stories: Horror, Humanity, and the Swamp
What makes Swamp Thing’s early adventures so spellbinding is that they are not merely horror stories; they are stories about fear itself.
Throughout The Bronze Age Swamp Thing Omnibus, our hero encounters mad scientists, grotesque mutations, cursed souls, and supernatural horrors, all of them reflecting, in some way, Swamp Thing’s own predicament.
He faces Anton Arcane, a villain so vile, so obsessed with immortality at any cost, that he makes Dr. Frankenstein look reasonable.
He encounters The Patchwork Man, a living symbol of lost humanity, a creature who, like Swamp Thing himself, is trapped between what he was and what he has become.
He battles werewolves, witches, and Lovecraftian nightmares, each issue offering a new glimpse into a world that is both terrifying and beautiful, cursed and poetic.
And always, at the heart of it all, is Swamp Thing’s solitude—his aching desire to be human again, to be understood, to return to a world that no longer recognizes him.
This is what separates Swamp Thing from traditional horror: it is melancholy, not merely frightening. The horror is not in the monster, but in the knowledge that the monster was once a man.
The Later Years: The Road to Alan Moore
As the omnibus progresses beyond the Wrightson years, we see Swamp Thing continue to evolve. Other artists and writers take up the mantle, each expanding his mythos, deepening the lore, and laying the groundwork for the masterpiece that would come in the 1980s under Alan Moore.
But even before Moore’s reinvention of the character, the foundations had already been laid: Swamp Thing was never just a monster book. It was a book about identity, loss, and the raw, untamed power of nature itself.
Final Verdict: A Masterpiece of Mood and Meaning
The Bronze Age Swamp Thing Omnibus is not just a collection of horror stories—it is a landmark work of American Gothic storytelling. It is a comic book that does what so few comics dared to do in the 1970s: embrace the strangeness, lean into the melancholy, and tell stories that are not about victory, but about survival.
And survival, as Swamp Thing himself would tell us, is never guaranteed.
Final Thought: Why Swamp Thing Endures
One closes this omnibus with an inescapable realization: Swamp Thing is not merely a character.
He is a force of nature, a modern myth, a creature whose pain is as deep as the roots that hold him to the earth.
He does not fly. He does not wear a cape. He does not stand atop rooftops, watching over cities.
He simply is.
And that, perhaps, is why he is unforgettable.
As well he should be.
Some heroes emerge from the sunlit clarity of traditional myth—figures of certainty, avatars of virtue. They fly, they leap, they rescue, they restore. But then there are the others: the brooding, the misshapen, the tragic figures who rise not from the heavens but from the earth itself, steeped in mystery, haunted by questions, and never quite at peace with their own existence.
Swamp Thing, a creature of muck and sorrow, belongs firmly to the latter category.
If Superman is the quintessential American myth of the outsider welcomed, Swamp Thing is the American myth of the outsider feared, the story of the misunderstood, the grotesque, the sublime force of nature that cannot be reasoned with, only respected. His world is one of damp horror and ecological revenge, of lushly rendered nightmares and beautifully tragic poetry.
And in The Bronze Age Swamp Thing Omnibus, collecting the original Len Wein and Bernie Wrightson run (Swamp Thing #1-24), alongside the post-Wrightson era that followed (Saga of the Swamp Thing #1-19), we see not just the creation of an iconic character but the establishment of an entire genre within superhero comics—a work that blends Gothic horror, environmental parable, and pulp storytelling into a masterpiece of mood and meaning.
It is, in a word, magnificent.
Swamp Thing and the Gothic Revival of Comics
The 1970s, for all its cultural chaos, was a golden age of reinvention in comics. After decades of straightforward caped crusaders and sanitized storytelling (thanks to the ever-restrictive Comics Code Authority), a new sensibility was creeping in—one that borrowed as much from literature, classic horror, and New Wave science fiction as it did from the superhero tradition.
Swamp Thing emerged from this aesthetic and philosophical shift, a direct descendant of the Universal Monsters, EC Comics, and the brooding ghosts of Edgar Allan Poe. This was not a hero defined by punches and triumphs but by atmosphere, existential dread, and the creeping realization that some wounds never truly heal.
When Len Wein and Bernie Wrightson introduced Swamp Thing in House of Secrets #92 (1971) before launching the ongoing Swamp Thing title in 1972, they were not merely telling a horror story. They were crafting a tragedy in the form of a comic book, a meditation on what it means to lose everything, including oneself.
Alec Holland: The Tragic Man of the Mire
Swamp Thing’s origin—by now one of the most famous in comics—sets the tone for everything that follows. Dr. Alec Holland, a brilliant biochemist, is working on a top-secret formula for accelerated plant growth, a scientific breakthrough that could end famine and reshape agriculture as we know it. But, as in all great tragedies, progress is met with violence.
When a criminal organization seeking his discovery sabotages his lab, Holland is engulfed in flames, doused in his own formula, and flung into the murky depths of a Louisiana swamp. Instead of dying, he is transformed. He emerges not as a man but as a creature of vegetation, a moss-covered revenant, a shambling embodiment of the very nature he sought to control.
But here is the real horror: Alec Holland is gone—or at least, he thinks he is.
What follows is not a story of a man turned into a monster, but a story of a monster who cannot let go of the man he once was. Swamp Thing is haunted—not merely by the people who hunt him or the dangers lurking in the dark, but by the memory of his own humanity.
This, one realizes, is pure Gothic storytelling. Swamp Thing is the lonely beast, the self-aware ghost, the sentient nightmare that wanders the landscape, yearning for the past but doomed to the present.
The Art of Bernie Wrightson: A Masterpiece of Horror Illustration
For all of Wein’s brilliance as a writer, it is Bernie Wrightson who cements Swamp Thing’s place in comic book history.
Wrightson’s pages are not merely drawn; they are crafted—each panel a lush, textured marvel of shadow, decay, and breathtaking organic beauty.
His Swamp Thing is a true horror creation—hulking, gnarled, his form covered in roots, tendrils, and the detritus of nature itself. He does not move like a superhero; he shambles, looms, emerges from the depths like a primordial force. Wrightson renders the world around him with equal attention to detail: twisted trees, crumbling ruins, the fog-drenched glow of an unseen moon.
The result? A comic that does not feel like a comic but like a collection of lost folktales, stories whispered around campfires, stories that should not be read at night.
The Stories: Horror, Humanity, and the Swamp
What makes Swamp Thing’s early adventures so spellbinding is that they are not merely horror stories; they are stories about fear itself.
Throughout The Bronze Age Swamp Thing Omnibus, our hero encounters mad scientists, grotesque mutations, cursed souls, and supernatural horrors, all of them reflecting, in some way, Swamp Thing’s own predicament.
He faces Anton Arcane, a villain so vile, so obsessed with immortality at any cost, that he makes Dr. Frankenstein look reasonable.
He encounters The Patchwork Man, a living symbol of lost humanity, a creature who, like Swamp Thing himself, is trapped between what he was and what he has become.
He battles werewolves, witches, and Lovecraftian nightmares, each issue offering a new glimpse into a world that is both terrifying and beautiful, cursed and poetic.
And always, at the heart of it all, is Swamp Thing’s solitude—his aching desire to be human again, to be understood, to return to a world that no longer recognizes him.
This is what separates Swamp Thing from traditional horror: it is melancholy, not merely frightening. The horror is not in the monster, but in the knowledge that the monster was once a man.
The Later Years: The Road to Alan Moore
As the omnibus progresses beyond the Wrightson years, we see Swamp Thing continue to evolve. Other artists and writers take up the mantle, each expanding his mythos, deepening the lore, and laying the groundwork for the masterpiece that would come in the 1980s under Alan Moore.
But even before Moore’s reinvention of the character, the foundations had already been laid: Swamp Thing was never just a monster book. It was a book about identity, loss, and the raw, untamed power of nature itself.
Final Verdict: A Masterpiece of Mood and Meaning
The Bronze Age Swamp Thing Omnibus is not just a collection of horror stories—it is a landmark work of American Gothic storytelling. It is a comic book that does what so few comics dared to do in the 1970s: embrace the strangeness, lean into the melancholy, and tell stories that are not about victory, but about survival.
And survival, as Swamp Thing himself would tell us, is never guaranteed.
Final Thought: Why Swamp Thing Endures
One closes this omnibus with an inescapable realization: Swamp Thing is not merely a character.
He is a force of nature, a modern myth, a creature whose pain is as deep as the roots that hold him to the earth.
He does not fly. He does not wear a cape. He does not stand atop rooftops, watching over cities.
He simply is.
And that, perhaps, is why he is unforgettable.
As well he should be.
Read
February 28, 2022Cạn nghĩa phu thê hậu trúng độc đắc xổ số kiến thiết
Hậu trúng độc đắc xổ số kiến thiết được hơn 1 năm thì tình cảm vợ chồng chị rạn nứt, cả hai đưa nhau ra tòa, tranh chấp tiền trúng số và quyền nuôi con.
➦➦➦➦➦➦➦➦➦➦➦➦➦➦➦➦
[image error]Nhanh tay xem ngay kết quả xổ số kiến thiết các tỉnh thành mới nhất tại Xổ số 3 miền
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Tôi gặp chị giữa lúc sóng gió bủa vây cuộc đời, nhìn cốc trà chanh sóng sánh trước mặt, chị gượng cười, hơn 7 năm gắn bó, nghĩa tình vợ chồng giờ không bằng một nửa tờ vé số trúng độc đắc xổ số kiến thiết.
Hậu trúng độc đắc hơn năm thì gia đình tan nát
Anh chị yêu nhau từ ngày mới ra trường, lấy nhau vì tình yêu và sự tự nguyện, những tưởng tình cảm sẽ gắn bó lâu dài, bên nhau cho đến khi đầu bạc, nhưng năm rộng tháng dài, con người có thể vì nhiều thứ khác mà sẵn sàng đổi thay.
Trước khi ly hôn chồng cũ của chị may mắn trúng số độc đắc
Chẳng hạn như người yêu cũ, chẳng hạn như tờ vé số trúng độc đắc xổ số kiến thiết. Một năm ấy với chị có quá nhiều cảm xúc thăng trầm. Trước khi lấy chị anh đã có mối tình hơn 4 năm với một cô gái khác. Vì sao họ chia tay chị chưa từng hỏi. Sống với nhau có 2 mặt con thì anh may mắn trúng độc đắc khi xem XS nhanh nhất.
Trước khi trúng xổ số, chị đã biết anh còn vấn vương người cũ, nhưng sau khi nói chuyện, anh thề thốt sẽ chấm dứt thì chị đều cho qua hết. “Đời người còn dài, sao vì một người đã từng mà khiến gia đình tan nát?”, chị nói.
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[image error] Mời các bạn đón xem kết quả XS nhanh nhất tại Xổ số
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Cạn nghĩa phu thê
Trúng độc đắc xem sổ xố được hơn một năm cũng là lúc cuộc hôn nhân của chị tan vỡ, có quá nhiều chuyện không thể tha thứ và quan trọng hơn cả là tình cảm vợ chồng đã cạn. Chị nói với anh, tiền trúng độc đắc xổ số kiến thiết của anh chị không đụng đến, là của anh hết, nhưng ngôi nhà phải là của mẹ con chị, chị sẽ nuôi hết 2 con để anh rảnh rang với người cũ nối lại tình xưa.
Tiền trúng số cuối cùng chia đôi
Anh không chịu, anh nói tiền trúng XS nhanh vốn dĩ là của anh, ngôi nhà chia đôi, con cái cũng chia đôi. Vốn muốn chia tay trong hòa bình. Không ngờ chẳng ai chịu ai, thế là họ đưa nhau lên tòa trong sự căng thẳng và nỗi đau tột cùng của chị.
“Cuối cùng tòa xử mỗi người một con, tiền trúng độc đắc XS nhanh nhất của anh cũng chia đôi luôn”, chị cười nói mà nỗi buồn còn nhiều hơn niềm vui, “lặng thà như lời chị nói thì anh ta còn được phần hơn”. Sau cuộc hôn nhân tan vỡ, phải mất thời gian dài chị mới lấy lại được tinh thần, sống vì mình, vì con, vì ba má, những chuyện còn lại, những người không còn liên quan, tất cả đều không còn quan trọng nữa.
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Thống kê kết quả xổ số 3 miền chính xác nhất tại XS3M
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January 20, 2022Giả mạo nhân viên xổ số lừa đảo hàng tỷ đồng xuyên bắc nam
Tự xưng là nhân viên xổ số XSMB thu 6 , biết trước kết quả, nhóm thanh niên này đã lừa đảo rất nhiều người chơi xổ số, chơi lô đề trên phạm vi cả nước.
Cụ thể, vào ngày 21/2 vừa qua, công an tỉnh Bạc Liêu đã chuyển hồ sơ sang Viện KSND cùng cấp, đồng thời đề nghị truy tố các đối tượng là Trần Văn Nhựt (29 tuổi), Lưu Giàu Em (29 tuổi), Đặng Chí Tâm (43 tuổi, cùng trú tại huyện Hòa Bình) và 11 đối tượng khác về hành vi Lừa đảo chiếm đoạt tài sản.
Nhóm thanh niên lừa đảo
Từ điều tra ban đầu của công an tỉnh Bạc Liêu cho biết, để có tiền tiêu xài, NHựt và Giàu Em đã bàn bạc với nhau, lên kế hoạch, gọi điện liên hệ với nhiều đồng phạm. Nhóm đối tượng này đã cùng nhau xây dựng kịch bản, gọi điện xin làm quen với nhiều người từ nam ra bắc. Đối tượng mà nhóm tiếp cận đa số đều là những người thích chơi xổ số và ham mê chơi cờ bạc, lô đề.
Khi đã liên hệ được với nạn nhân, nhóm đối tượng này tự xưng là nhân viên công ty xổ số kiến thiết miền bắc. Bởi là nhân viên nên họ biết trước được kết quả xổ số xổ số miền trung thứ 6 .
Nhóm này tiếp tục lấy lòng tin của nạn nhân bằng cách nói rằng công ty xổ số hiện đang có chương trình để cho đối tác ghi số lô đề, hoạt động này nhằm mục đích đánh sập các chủ thầu đề, số tiền lấy được từ các chủ thầu đề sẽ được sung vào ngân quỹ Nhà nước và làm từ thiện.
Lừa đảo vé số không hiếm
Mỗi ngày, nhóm này đã liên hệ với hàng trăm người, từ bắc đến nam, sau khi thỏa thuận được với nạn nhân, nhóm sẽ cho nạn nhân 2 cặp số ngẫu nhiên khác nhau. Những người lấy trượt số thì không nói, còn những người may mắn trúng thưởng lại hoàn toàn tin tưởng vào mánh khóe này.
Sau khi lấy được lòng tin từ những người trúng thưởng, nhóm này cho biết nếu họ muốn tiếp tục trúng lớn thì phải nộp tiền đặt cọc vào tài khoản của công ty mới được tiếp tục lấy số. Rất nhiều người đã tin vào thủ đoạn này dẫn đến tiền mất tật mang, số tiền mà nhóm này lừa đảo được từ nạn nhân lên đến hàng tỷ đồng.
Đây không phải là vụ án chiếm đoạt tài sản đầu tiên liên quan đến việc giả dạng nhân viên công ty xổ số, song vẫn có rất nhiều người trở thành nạn nhân do thiếu kiến thức, tin vào lời dụ dỗ ngon ngọt. Còn những người bị lừa mất tiền loại không dám đi tố cáo bởi chơi lô hay chơi đề đều là những trò chơi không được pháp luật cho phép.
Hi vọng bài viết sẽ là hồi chuông cảnh tỉnh đối với người chơi xổ số, chơi lô đề trên khắp cả nước.
Xem thêm: Xo so 3 mien
This entire review has been hidden because of spoilers.
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December 6, 2021
Người chơi dự đoán xổ số chính xác trong 2 năm liên tiếp
Mới đây công ty xổ số đã vô cùng bất ngờ về người đàn ông may mắn dự đoán kết quả xổ số siêu chính xác với tổng giá trị lên tới 4 triệu USD. Điều đáng nói chính là ông đã chiến thắng hơn 16 triệu người khác và cách đây 1 năm ông cũng đã nhận được một giải thưởng tương tự. Cùng theo dõi và tìm hiểu về người chơi may mắn nhé.
Chủ nhân dự đoán kqxs soi cầu hôm nay chính xác là ai?
Người đàn ông dự đoán xổ số miền ngày hôm nay chính xác là ông Oliver Davis. Chiến thắng và vượt qua hơn 16 triệu người chơi khác giúp ông nhận được giải thưởng trị giá 4 triệu USD (tương đương với giải thưởng 92 tỷ VNĐ). Đây là giải thưởng được quay số ngày 23 tháng 3.
Theo như chia sẻ của ông, cơ hội và vận may dự đoán xs 3 miền bắc trung nam trúng thưởng đến từ việc thường xuyên tham gia mua vé số thử vận may. Và điều đặc biệt chính la cách đây 1 tháng ông cũng đã có cơ hội chiến thắng giải thưởng lớn tương tự không kém giải thưởng lần này.
Xem kết quả xổ số trực tiếp mỗi ngày chính xác nhất được cập nhật tại 
Du doan xs 3 mien
May mắn trúng số 2 lần
Chia sẻ về tấm vé cùng giải thưởng
Được biết theo như những chia sẻ từ nhân viên của cửa hàng, họ khá bất ngờ khi bắt gặp hình ảnh của một người chơi may mắn chiến thắng giải thưởng lớn nhưng lại không hề có bất kỳ phản ứng nào. Có lẽ ông đã quá và vô cùng quen thuộc với việc này sao?
Bên cạnh việc nhận giải, ông cũng chia sẻ về cơ duyên dự đoán kết quả xổ số siêu chính xác này của mình như sau “trước đó khi đi trên đường cùng gia đình mình trong chuyến nghỉ cuối tuần tại công viên về. Tôi đã ghé qua cửa hàng tiện lợi để mua vé số, khi đó vợ tôi đã ngăn cản vì trời sắp mưa. Tôi đã cố mua chúng, có lẽ tấm vé này sinh ra là để cho tôi”.
Theo dõi dữ liệu thống kê kết quả xổ số trong thời gian dài cùng nhiều thông tin liên quan hữu ích khác như dự đoán xổ số ngày hôm nay tại 
Du doan xo so
Người đàn ông 2 năm liên tiếp trúng số triệu đô
Ngày hôm sau khi đi làm về, tôi có tiện thể đi qua cửa hàng tiện lợi để mua chút đồ và tiện thể đối chiếu kết quả vé số, khi đó nhân viên đã nói rằng tôi đã trở thành chủ nhân của giải thưởng xổ số trị giá 4 triệu USD, Tuy nhiên lúc đó tôi cảm thấy khá bình thường và không hề biểu hiện ra mặt. Cách đây 1 năm tôi cũng từng có cơ hội nhận được một giải thưởng tương tự như thế này.
Khi được hỏi đến kế hoạch tiếp theo trong cuộc sống, ông chia sẻ rằng sẽ tiếp tục mua và dự đoán xs 3 miền bắc trung nam vì rất có thể may mắn sẽ đến bên ông thêm một lần nữa. Với số tiền khổng lồ này, ông sẽ thực hiện tiếp những ước mơ và gửi tiết kiệm để dự phòng cho tương lai.
Các bạn mong muốn có được cầu đẹp dự đoán kqxs soi cầu hôm nay, phương pháp soi cầu chuẩn và xem kết quả xổ số trực tiếp miễn phí thì đừng quên cập nhật tại Du doan xo so 24 
hàng ngày.
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December 2, 2021Xổ số điện toán Vietlott chính thức có mặt tại 3 thị trường mới
Mới đây, công ty xổ số điện toán Việt Nam thông báo đã mở rộng địa bàn kinh doanh của mình tại 3 thị trường mới, gồm 3 tỉnh Tuyên Quang, Bắc Ninh và Long An. Theo đó, trong năm 2018, công ty Vietlott đã nâng tổng số thị trường phát hành vé số tự chọn XSMB - SXMB - Kết quả xổ số đài miền Bắc hôm nay nhanh nhất - KQXSMB của mình lên 48 tỉnh, thành phố.
Vietlott khai trương các điểm bán hàng xổ số tại 3 tỉnh mới
Kể từ ngày 27/12/2018, người dân ở 3 tỉnh Bắc Ninh. Tuyên Quang và Long An sẽ không cần đến các tỉnh khác để mua vé xổ số Vietlott mà mua trực tiếp tại địa bàn mình sinh sống, trực tiếp mua vé tham gia dự thưởng các sản phẩm xổ số điện toán của Vietlott.
Vietlott khai trương các điểm bán hàng xổ số tại 3 tỉnh mới
Tại 3 thị trường, công ty xổ số điện toán Việt Nam mở hơn 100 điểm bán hàng, sẵn sàng đáp ứng nhu cầu tham gia dự thưởng của người dân ở đây. Đại diện công ty xổ số điện toán Việt Nam cho biết, số điểm bán hàng ở mỗi tỉnh sẽ được bổ sung, điều chỉnh thích hợp tùy theo nhu cầu phát triển của thị trường.
Theo đó, sau 2 năm ra mắt người dân Việt Nam, công ty xổ số Vietlott đã triển khai phát hành vé số xổ số điện toán tự chọn trên 48 tỉnh thành trong cả nước. Trong năm 2018, công ty đã mở rộng thêm 14 thị trường mới.
Các thị trường mà xổ số Vietlott khai thác thực hiện theo đúng đề án hiện đại hóa ngành xổ số và đáp ứng nhu cầu giải trí của đông đảo người dân ở các địa phương.
Truy cập KQXSMB xem kết quả xổ số hôm nay và dự đoán kết quả xổ số ngày mai chính xác
Người dân ở các thị trường mới của Vietlott sẽ tham gia những sản phẩm xổ số nào?
Công ty xổ số điện toán Việt nam mở rộng thị trường kinh doanh xổ số tại 3 tỉnh thành mới với đầy đủ 3 sản phẩm xổ số của doanh nghiệp là Mega 6/45, Max 4D và Power 6/55. Người dân có thể chơi bất kì sản phẩm nào theo sở thích và có thể lựa chọn hình thức chơi theo vé đơn hoặc chơi bao lô.
Người dân ở 3 tỉnh mới được tham gia nhiều loại xổ số
Giá vé xổ số điện toán Vietlott vẫn ở mức giá 10.000 đồng một vé đơn. Mệnh giá này của vé số là phù hợp với khả năng tài chính của đông đảo khách hàng muốn tham gia dự thưởng.
Bên cạnh việc chơi xổ số điện toán Vietlott, người dân ở 3 tỉnh Tuyên Quang, Long An và Bắc Ninh cũng vẫn tiếp tục với các sản phẩm xổ số kiến thiết vốn có. Sự xuất hiện của xổ số tự chọn đã làm đa dạng hóa thị trường các sản phẩm xổ số ở 3 tỉnh này.
Như vậy, kết thúc năm 2018, xổ số điện toán Việt Nam đã chính thức có mặt ở 3 tỉnh Long An, Tuyên Quang và Bắc Ninh. Con số này đã nâng tổng số thị trường xổ số của công ty XS Vietlott lên 48 tỉnh, thành. Dự kiến trong năm tới sẽ có nhiều hơn các tỉnh thành được Vietlott triển khai hoạt động kinh doanh.
Xem thêm: SXMB
June 12, 2024
This is getting 5 stars despite some poor issues, because it's done by averages. Swamp Thing Annual #1, a dreadful adaptation of an awful film (John Constantine sneers at it in a video store during the Alan Moore run), rates charitably about -2, and there's plenty of evidence of floundering along the way during both comic runs included here, but the original House of Secrets experiment with the idea and the initial Len Wein/Bernie Wrightson stories rate somewhere around 10 out of 5 every damned time, and this handsome (and heavy) volume repackages some pretty essential comics quite well. Quite well...
I re-read the Wein/Wrightson sequence fairly regularly, so it was interesting to read straight on through. One of DC's repeated problems with the character since that first story arc has been knowing what to do with him. (Alan Moore solved it in his own way, but I think the problem's not gone away). So the handling by David Michelinie and Martin Pasko shows some disorientation, I think, although Pasko and Tom Yeates's Sage of the Swamp Thing manages to include some more serviceable industrial/governmental conspiracy plotlines alongside its rather unformed Nazi occultism stuff.
By the end of the initial Swamp Thing run you can see the disorientation that led to ST roaming other DC titles as a guest: when the series fizzled out, Alec Holland was in human form again and with his brother Edward. I might have to track down the wandering appearances to follow whatever wrap-up was suggested for that sequence.
Art-wise, Wrightson's stories are toweringly beautiful and a hard act to follow. Revisiting the work of Nestor Redondo, who took over from him, I find it a valiant effort, just not in the same league. Yeates's SoST work is similarly functional, but it's only really with the arrival of Steve Bissette (with John Totleben inking) that you get an emerging style that suits what the comic will become. (I started reading ST in the late '80s, during Moore's run, and the arrival of Bissette's art here just set me up for what I know follows).
You'll find lighter reprints of the Wein/Wrightson stories, but this will also get you from there to Alan Moore's tenure, when it once again became an astonishing and pre-eminent comic. Maybe this review's of the comic as phenomenon rather than the book, but... it really is that important.
I re-read the Wein/Wrightson sequence fairly regularly, so it was interesting to read straight on through. One of DC's repeated problems with the character since that first story arc has been knowing what to do with him. (Alan Moore solved it in his own way, but I think the problem's not gone away). So the handling by David Michelinie and Martin Pasko shows some disorientation, I think, although Pasko and Tom Yeates's Sage of the Swamp Thing manages to include some more serviceable industrial/governmental conspiracy plotlines alongside its rather unformed Nazi occultism stuff.
By the end of the initial Swamp Thing run you can see the disorientation that led to ST roaming other DC titles as a guest: when the series fizzled out, Alec Holland was in human form again and with his brother Edward. I might have to track down the wandering appearances to follow whatever wrap-up was suggested for that sequence.
Art-wise, Wrightson's stories are toweringly beautiful and a hard act to follow. Revisiting the work of Nestor Redondo, who took over from him, I find it a valiant effort, just not in the same league. Yeates's SoST work is similarly functional, but it's only really with the arrival of Steve Bissette (with John Totleben inking) that you get an emerging style that suits what the comic will become. (I started reading ST in the late '80s, during Moore's run, and the arrival of Bissette's art here just set me up for what I know follows).
You'll find lighter reprints of the Wein/Wrightson stories, but this will also get you from there to Alan Moore's tenure, when it once again became an astonishing and pre-eminent comic. Maybe this review's of the comic as phenomenon rather than the book, but... it really is that important.
November 4, 2017
This omnibus has some ups and downs, but is pretty fun overall. The first half of the original run is probably the best of the bunch here. We get swamp thing vs Frankenstein monsters, werewolves, black magic, and Lovecraftian horrors. The last half of the original run, however, gets a little silly and tedious and ends on a cliffhanger that never gets resolved. Also, the idea of Cable thinking that a swamp monster somehow blew up one of his friends and shot another to death is also pretty laughable (I mean, the guy didn't even check up on the gangsters that he knew was harassing them? Some detective!).
Next, we have the run from the mid-80s leading up to the famous Alan Moore run. The first half of these stories is one long, continuous plot that wears out its welcome long before its over. The ending, too, is ridiculous, as swamp thing beats the bad guys by developing psychic powers, flying around, and shooting beams out of his mind. Also, Swamp Thing spends most of these early issues sitting around, sleeping, getting knocked out, etc. The last set of stories here picks up the pace a bit and reintroduces some original characters like Cable, Abby Arcane, and Arcane himself.
One strange thing I noticed about all of these stories is all of the talk of god. Swamp thing is always calling out to god and saying things like "I pray to god that...". The long story that starts the 80s run is even more in your face about this as Swamp Thing and friends must stop the antichrist from appearing in the world and, along the way, discuss the bible, the number of the beast, and even Jewish mysticism. At one point Swamp Thing even exorcises a demon "in the name of god". Some of the story titles are even biblical references, such as issue 19: "And the Meek Shall Inherit". I don't think this was accidental, either, because I looked into this and found that a Swamp Thing writer went on to quit in protest after the Alan Moore run because DC didn't want him to publish a story where Swamp Thing meets Jesus.
So, anyway, this is a hit-and-miss collection of stories and it is safe to skip right to the Alan Moore run unless you are really interested in these older tales.
Next, we have the run from the mid-80s leading up to the famous Alan Moore run. The first half of these stories is one long, continuous plot that wears out its welcome long before its over. The ending, too, is ridiculous, as swamp thing beats the bad guys by developing psychic powers, flying around, and shooting beams out of his mind. Also, Swamp Thing spends most of these early issues sitting around, sleeping, getting knocked out, etc. The last set of stories here picks up the pace a bit and reintroduces some original characters like Cable, Abby Arcane, and Arcane himself.
One strange thing I noticed about all of these stories is all of the talk of god. Swamp thing is always calling out to god and saying things like "I pray to god that...". The long story that starts the 80s run is even more in your face about this as Swamp Thing and friends must stop the antichrist from appearing in the world and, along the way, discuss the bible, the number of the beast, and even Jewish mysticism. At one point Swamp Thing even exorcises a demon "in the name of god". Some of the story titles are even biblical references, such as issue 19: "And the Meek Shall Inherit". I don't think this was accidental, either, because I looked into this and found that a Swamp Thing writer went on to quit in protest after the Alan Moore run because DC didn't want him to publish a story where Swamp Thing meets Jesus.
So, anyway, this is a hit-and-miss collection of stories and it is safe to skip right to the Alan Moore run unless you are really interested in these older tales.
This entire review has been hidden because of spoilers.
July 3, 2024
You can't kill a dead man, Ferrett... And the man I was is most definitely dead!I have been curious about the Swamp Thing before but it wasn't until some friends recommended me specifically the Alan Moore run of the comic that I decided to actually go out and give it a shot. Though I wasn't able to get the Moore comics at the time and settled for this omnibus instead, collecting the original 70s run by Len Wein and Martin Pasko's issues of the 80s revival over whopping 900+ pages that I blasted through in a month to make the library deadline.
Wein's original series was a mostly fun but chaotic romp, jumping around wild scenarios with each issue, many of them too brief to really get to the interesting parts of the concepts. Also, there is barely any actual swamp in the first 10 or so issues which was kind of funny but also a bit disappointing to me, considering this whole series is literally called Swamp Thing.
There were still some neat ideas and good art, and past the first 10 or so issues, the story does get a little bit more coherent between issues to make it a bit more engaging.
The revival run of the 80s called Saga of the Swamp Thing, helmed by writer Martin Pasko, was a blast though especially after reading it immediately after the originals. Because these issues were much more coherent between issues, actually trying to tell a bigger, overarching story, and Pasko manages to bring back concepts and characters from Wein's comics in much more interesting ways. Additionally, there are some amazing creature designs by the illustrators in here.
All in all, this made for a good look at the beginnings of this DC character and seeing the development from Wein to Pasko was actually really interesting.
But now I'm extra curious to see how this series developed once Moore took over since it seems to me like his take on Swamp Thing is considered the best one and Pasko already did some pretty great things with it.
July 16, 2018
Este omnibus podria divirse en tres etapas que definieron al personaje en su primera epoca y le dieron las bases para reconocer su identidad dentro del universo DC.
La primera es el comienzo con Lein Wein, quien deja claro los temas y el contexto en el que vive Swamp Thing. La imaginacion y creatividad de Wein nos lleva por aventuras de ciencia ficcion y horror que fluyen muy bien (a pesar del exceso de texto de la epoca) y definen el drama sobrenatural de un humano asumiendose monstruo en un mundo de monstruos. Con toda esa imagineria ambientada y muy bien narrada en detalle por el arte de Bernie Wrightson.
La segunda, luego de que los autores originales no siguieran en la serie, logra mantener el tono aunque no tanto el foco bajo la escritura de David Micheline, pero sigue siendo muy disfrutable sobre todo por el impresionante arte de Nestor Redondo. Finalmente la serie reconoce haberse perdido y le da un cierre a la etapa de la mano de Gerry Conway.
La tercera es la resurreccion de la serie luego de 6 años de haber sido cancelada su primera etapa (1971-1976) para revivir motivada por la pelicula de Wes Craven en 1982. Aqui se hace cargo Martin Pasko quien a pesar de estar editado por Lein Wein, trata de establecer una historia, pero basicamente queda claro en sus primeros numeros que no sabe que hacer. El arte tampoco esta a la altura de lo conseguido en su etapa anterior, pero ya en sus numeros finales se destaca la llegada de Stephen Bissette con John Totleben.
Ademas viene la adaptacion al comic de la pelicula, pero ya en este punto yo estaba haciendo salud por Lein Wein y Bernie Wrightson por crear a uno de mis personajes favoritos. Y si estas aqui aun, ya deberias estar empezando con la etapa de Alan Moore!
La primera es el comienzo con Lein Wein, quien deja claro los temas y el contexto en el que vive Swamp Thing. La imaginacion y creatividad de Wein nos lleva por aventuras de ciencia ficcion y horror que fluyen muy bien (a pesar del exceso de texto de la epoca) y definen el drama sobrenatural de un humano asumiendose monstruo en un mundo de monstruos. Con toda esa imagineria ambientada y muy bien narrada en detalle por el arte de Bernie Wrightson.
La segunda, luego de que los autores originales no siguieran en la serie, logra mantener el tono aunque no tanto el foco bajo la escritura de David Micheline, pero sigue siendo muy disfrutable sobre todo por el impresionante arte de Nestor Redondo. Finalmente la serie reconoce haberse perdido y le da un cierre a la etapa de la mano de Gerry Conway.
La tercera es la resurreccion de la serie luego de 6 años de haber sido cancelada su primera etapa (1971-1976) para revivir motivada por la pelicula de Wes Craven en 1982. Aqui se hace cargo Martin Pasko quien a pesar de estar editado por Lein Wein, trata de establecer una historia, pero basicamente queda claro en sus primeros numeros que no sabe que hacer. El arte tampoco esta a la altura de lo conseguido en su etapa anterior, pero ya en sus numeros finales se destaca la llegada de Stephen Bissette con John Totleben.
Ademas viene la adaptacion al comic de la pelicula, pero ya en este punto yo estaba haciendo salud por Lein Wein y Bernie Wrightson por crear a uno de mis personajes favoritos. Y si estas aqui aun, ya deberias estar empezando con la etapa de Alan Moore!
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September 11, 2023Người chơi mua vé số ngẫu nhiên khi đi uống cà phê và trúng số
Manuel chính là người chơi xổ số may mắn trúng thưởng mới nhất tại california, được biết anh Manuel đã vừa nhận giải thưởng xổ số 264,531 đô la cho mình tại văn phòng xổ số của quận.
Đừng quên xem thêm nhiều tin tức trúng số hơn nữa cùng những thông tin kết quả xổ số kiến thiết hữu ích nhất tại trang 
Xo so 3 mien của chúng tôi mỗi ngày bạn nhé.
Thông tin của người chơi trúng xổ số toàn quốc
Manuel là một người yêu thích chơi xổ số và đương nhiên anh còn một sở thích thực tế nữa là thích uống cà phê. Hàng ngày anh Manuel đề uống nó rất nhiều và anh thích nó nhiều đến mức một ngày lại đi uống cà phê ít nhất 1 lần. Chính sự ngẫu nhiên này đã giúp anh Manuel có được kqxs online đầy ấn tượng cho mình.
Người chơi mua vé số ngẫu nhiên khi đi uống cà phê và trúng số
Khi Manuel đang đi uống cà phê cho mình như thường ngày, anh Manuel đã mua cho mình rất nhiều tờ vé số mega Millions cho mình. Tất nhiên nhiều lần mua tấm vé số cào đó những anh Manuel chưa có lần nào được trúng thưởng. Nhưng điều đó vẫn không ngăn anh mua chúng.
Chi tiết về giải thưởng trúng xổ số toàn quốc
Chính sự trùng hợp này đã giúp anh Manuel có được tờ vé số ngẫu nhiên khi đi uống cà phê đã giúp anh trở thành chủ nhân của giải thưởng xổ số 264.531 đô la. Manuel có nói thì anh mua cho mình tờ vé số may mắn đó vào ngày 29 tháng 3 năm 2013.
Lấy phương pháp soi cầu kqxs online nhanh nhất, dò xổ số chuẩn nhất tại Kết quả xổ số
Người chơi mua vé số ngẫu nhiên và trúng số
Anh Manuel cảm thấy thật sự hạnh phúc khi có nó cho mình, chắc chắn anh vẫn sẽ tiếp tục mua xổ số sau lần chiến thắng này. Được biết, anh Manuel đã bước vào Daily Donuts, nằm ở 18766 Amar Road ở Walnut (Hạt Los Angeles) để mua vé số cho mình, đây là cửa hàng mà anh thường xuyên mua vé số cho mình.
Manuel nghĩ rằng chưa chắc mình đã là chủ nhân của tờ vé số trúng thưởng. Nhưng ai vẫn phải kiểm tra tờ vé số đó cho mình. Điều đặc biệt là anh đã may mắn trở thành chủ nhân của tờ vé số trúng thưởng mang dãy số 25-31-46-53-36, chỉ thiếu số Mega là 21.
Anh nói rằng chắc chắn sẽ tiếp tục chơi xổ số cho mình dù là có trúng số hay không, đây cũng giống như một thú vui giúp anh giảm stress sau những ngày làm việc mệt mỏi vậy. Một phần là do xổ số luôn mang lại may mắn cho người chơi, chính vì vậy hãy cùng tham gia chơi xổ số ngay hôm nay cho mình bạn nhé.
Hãy cùng tham khảo thêm nhiều thông tin hữu ích liên quan tới kết quả xổ số kiến thiết và dò xổ số nhanh nhất tại Ket qua xo so 3 mien
October 26, 2019
This was a hard rating to give. It’s been a while since I’ve read this so I decided to wipe the slate clean and treat it like this was the first time I’d ever read it. So here is my reasoning for it.
The first ten issues are very good. But as the original creative team departed the book( the original writer lasted three more issues) the story quality went down quite a bit. It feels like they didn’t have a clear direction for where the new creative team wanted the story to go. So issues eleven through twenty four aren’t that great. Then the book was canceled.
Saga of the swamp thing issues one through nineteen: good. The later issues are amazing once the Karen Clancy storyline is finished and some of the ongoing plots are finally resolved( or at least explained.) When the new artists are brought in at issue sixteen, the art(while never bad) becomes extraordinary. Anton arcane is suddenly drawn as if he stepped out of a cronenberg film. There is a panel somewhere towards the end where swamp thing is swathed in pink smoke that I absolutely adore. I could go on and on. And I haven’t even gotten to Alan Moore’s run on the series yet. But don’t worry.... I will.
The first ten issues are very good. But as the original creative team departed the book( the original writer lasted three more issues) the story quality went down quite a bit. It feels like they didn’t have a clear direction for where the new creative team wanted the story to go. So issues eleven through twenty four aren’t that great. Then the book was canceled.
Saga of the swamp thing issues one through nineteen: good. The later issues are amazing once the Karen Clancy storyline is finished and some of the ongoing plots are finally resolved( or at least explained.) When the new artists are brought in at issue sixteen, the art(while never bad) becomes extraordinary. Anton arcane is suddenly drawn as if he stepped out of a cronenberg film. There is a panel somewhere towards the end where swamp thing is swathed in pink smoke that I absolutely adore. I could go on and on. And I haven’t even gotten to Alan Moore’s run on the series yet. But don’t worry.... I will.
December 22, 2019
The genesis of the character, in House of Secrets, as well as the first 13 issues written by Len Wein, are pretty good indeed, with intereseting characters and plots and a nice blending of gothic, fictional science and supernatural themes. When Bernie Wrightson takes the reins, however, the series descends into a decadency while still conserving its interest.
Then it gives way to the second volume of the series, that is quite poorly written, with horror plots excessively sordid and grandiloquent, resulting in an absurd pastiche of satanism, nazis, diabolical megacorporations, fictional science and whatnot. The characters surrounding Alec Holland fail in generating interest on the reader, as well as the villains. In its final arc, the series tries to resuscitate the characters and plots of the first series, but surprisingly enough, it again strips them off charisma and interest. The obvious and logical failure of the beginning of the second volume gave way to the Moore era of Swamp Thing, that I'm more than eager to read.
Then it gives way to the second volume of the series, that is quite poorly written, with horror plots excessively sordid and grandiloquent, resulting in an absurd pastiche of satanism, nazis, diabolical megacorporations, fictional science and whatnot. The characters surrounding Alec Holland fail in generating interest on the reader, as well as the villains. In its final arc, the series tries to resuscitate the characters and plots of the first series, but surprisingly enough, it again strips them off charisma and interest. The obvious and logical failure of the beginning of the second volume gave way to the Moore era of Swamp Thing, that I'm more than eager to read.
October 15, 2021
Swamp Thing is one of my favorite super heroes, but these stories can be pretty hit or miss. All of Len Wein’s work is great, but it quickly loses its speed once it changes writers, shifting from horror stories to more generic sci-fi/fantasy. Once Saga of the Swamp Thing begins, it’s a pretty tedious storyline about Nazis and the occult, and it’s pretty convoluted and over-worded, but beyond that storyline it’s pretty decent. The artwork is all great throughout, with some impressive full page artwork consistently. Despite some weaker stories, it’s still cool to see the introduction of some memorable characters, especially Abby and Anton Arcane. Swampy is a thoroughly tragic character, and the sadness of his story is consistent throughout the every issue—a sadness that marks the appeal of his character. Overall a solid collection for fans of Bronze Age comics and Swamp Thing.
August 12, 2020
Swamp Thing was my gateway book into the world of comics and I have never looked back. This omnibus collection is a time machine back to comic and pop-culture horror of the 70s and 80s. The first part of the collection is the original 24 issue series from the 70s in which Swamp Thing encounters gothic horror monsters like werewolves, witches and wizards to sci-fi creatures as alien worms and radiated mutants. The second, more inferior part collects Saga of the Swamp Thing issues 1 through 19 in which Swamp Thing battles 80s horrors as demons, satanic monsters and telepathic villains. This omnibus is one of the best printings of these stories available and a must-have for fans of the character.
December 3, 2017
Overall I enjoyed this collection. Issues 1-14 which is Wein's run is by far the best part of this collection. David Michelinie takes over after Wein and doesn't do as well at mixing science and horror that makes Swamp Thing a compelling read. Gerry Conway fills in for a few issues and I really enjoyed the arc towards the end of the original run that features a duplicate Swamp Thing. Saga of the Swamp Thing which is the next volume is a step back from the initial volume. It does end well pulling in some of the original character arcs.
Hopefully this omnibus sells well and DC will finally collect Alan Moore's run in an omnibus.
Hopefully this omnibus sells well and DC will finally collect Alan Moore's run in an omnibus.
August 1, 2021
En general son buenas historias pero no siento que hayan envejecido del todo bien, no son historias tan profundas y trataban al lector como ingenuo recordándote cosas que pasaron en el número anterior y con diálogos repetitivos, no es fácil de leer, son páginas cargadas de diálogos, y hay muchas historias similares, no abordan tanto el horror o al menos no se sienten así al leerlas hoy en día, con ganas de leer lo que sigue a cargo de Alan Moore, este tomo lo recomiendo más que nada para conocer el origen y para tener de referencia.
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March 23, 2022
I've liked the saga of Alex Holland since I read reprints of the original series that DC published around 1978. This is the first time, however, that I've read the entirety of the original series and the first 19 issues of the second series. With writers like creator Len Wein, Martin Pasko, and Dan Mishkin and artists like co-creator Berni Wrightson, Nestor Redondo, Tom Yeates, and Bo and Scott Hampton, there is a lot to enjoy and savor as far as the stories go. The only real negative, in my opinion, is how long the "Casey" story went on in THE SAGA OF THE SWAMP THING (13 issues!).
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