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Swamp Thing (1982) (Collected Editions) #7
Swamp Thing, Vol. 7: Regenesis
After his joyful reunion with his beloved Abby, Swamp Thing, once known as Alec Holland, must now face the consequences of his long journey through space. A new Swamp Thing is being born, and the old must make a decision: destroy it and maintain his supremacy, or allow it to be born, and risk the destruction of the Green.
Collects issues 65-70.
Collects issues 65-70.
160 pages, Paperback
First published March 1, 1988
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441 people want to read
About the author
Rick Veitch
425 books82 followersRichard "Rick" Veitch is an American comics artist and writer who has worked in mainstream, underground, and alternative comics.
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Displaying 1 - 30 of 33 reviews
January 15, 2023
The first ever example of what would become a modern DC tradition: building a series out of Alan Moore's hand-me-downs. Rick Veitch's Swamp Thing is very far from the worst - in fact it's pretty good - and is one of the very few done entirely with the big fella's blessing. Veitch had been an integral part of the Moore-era Swamp Thing for years and would go on to work with Moore on a lot of his Image and America's Best work. And his interests ran as strongly counter-cultural as Moore's, too - Swamp Thing under Veitch was never going to become just another DC comic.
Even at the time, though, I bought these issues without ever thinking "Yes, that is a comic which needed to exist". Moore's Swamp Thing had an ending, a happy one even: the monster and his girl going into well-earned retirement in their suggestively shaped new home. A few years later, in the DC Comics world Swamp Thing helped make, that would genuinely have been that. At the very least anyone picking up the property later would likely have to slap a new title and first issue on it. But in 1987-8, people didn't just stop publishing titles because the story was over.
So Veitch inherits the tricky problem of a title character with nothing to do, but he also gets access to a solid supporting cast: Abbie Cable most obviously; hippie Chester Williams and traumatised Liz Tremayne; and John Constantine, who for the first half of this volume doesn't have his own title yet and is purely a Swamp Thing character. He's very prominent, but why not? This is the first attempt by an American to write the guy and honestly it's a good stab - the manipulations are a bit facile, there's no sense he's genuinely a bastard, but he's recognisably the street-level magical fixer we know from his Swamp Thing stories. Constantine though is the whole virtue and problem of the series in microcosm - stylistically, this is impressive riffing on Moore's stuff, without often being more than that.
Still, you can forgive Veitch taking a few issues to get used to his characters and the monthly grind of writing them. There's a noticeable improvement over the course of Regenesis as Veitch settles into the job and the story he wants to tell. It's a good story idea, respecting Moore's ending while opening up space for some kind of continuation. Swamp Thing has indeed got his happy ending and as such, he doesn't want the job any more. The Parliament Of Trees thought he was dead anyway and got cracking on making a new Earth Elemental, a process which has been complicated by Swamp Thing turning up again.
That's the setup, and the biggest probem with Regenesis is that after 6 issues it hasn't got much beyond that setup. (From distant memory maybe it never does) The comics are getting more enjoyable each time, Veitch is finding a voice and starting to push his own concerns - greed, corporate venality, America's fucked up media culture - nudging Swamp Thing to a more satirical zone than Moore did. But it also leaves you thinking fondly of the one bit of Moore's craft no American writer was likely to match: the years of graft writing very compact stories for UK weeklies which meant things always kept on moving.
Even at the time, though, I bought these issues without ever thinking "Yes, that is a comic which needed to exist". Moore's Swamp Thing had an ending, a happy one even: the monster and his girl going into well-earned retirement in their suggestively shaped new home. A few years later, in the DC Comics world Swamp Thing helped make, that would genuinely have been that. At the very least anyone picking up the property later would likely have to slap a new title and first issue on it. But in 1987-8, people didn't just stop publishing titles because the story was over.
So Veitch inherits the tricky problem of a title character with nothing to do, but he also gets access to a solid supporting cast: Abbie Cable most obviously; hippie Chester Williams and traumatised Liz Tremayne; and John Constantine, who for the first half of this volume doesn't have his own title yet and is purely a Swamp Thing character. He's very prominent, but why not? This is the first attempt by an American to write the guy and honestly it's a good stab - the manipulations are a bit facile, there's no sense he's genuinely a bastard, but he's recognisably the street-level magical fixer we know from his Swamp Thing stories. Constantine though is the whole virtue and problem of the series in microcosm - stylistically, this is impressive riffing on Moore's stuff, without often being more than that.
Still, you can forgive Veitch taking a few issues to get used to his characters and the monthly grind of writing them. There's a noticeable improvement over the course of Regenesis as Veitch settles into the job and the story he wants to tell. It's a good story idea, respecting Moore's ending while opening up space for some kind of continuation. Swamp Thing has indeed got his happy ending and as such, he doesn't want the job any more. The Parliament Of Trees thought he was dead anyway and got cracking on making a new Earth Elemental, a process which has been complicated by Swamp Thing turning up again.
That's the setup, and the biggest probem with Regenesis is that after 6 issues it hasn't got much beyond that setup. (From distant memory maybe it never does) The comics are getting more enjoyable each time, Veitch is finding a voice and starting to push his own concerns - greed, corporate venality, America's fucked up media culture - nudging Swamp Thing to a more satirical zone than Moore did. But it also leaves you thinking fondly of the one bit of Moore's craft no American writer was likely to match: the years of graft writing very compact stories for UK weeklies which meant things always kept on moving.
September 10, 2016
Pretty good followup to Moore! Abby is not written as well but that's almost expected. This is all about rebirth and replacement, which fits well considering Moore had made the series one of the best while he was on it. Fantastic art, again, and some truly cathRtic moments- namely Alec destroying the parliament of trees and him and Abby having an amazing sex/hallucination scene. Glad this is still in line with the previous tone
July 12, 2023
Rick Veitch takes over from Alan Moore. Pretty big shoes to fill. Moore had a proper and dignified conclusion so Veitch had to think long and hard about how to create more conflict.
He writes most of issues 65 through 87 and annual 4. He leaves the title as DC wants him to change/censor some of issue 88.
The Parliament of Trees are upset with Swamp Thing. They are trying to create a new elemental, but Swamp Thing still being alive is causing issues. A new elemental is created, but it's a bit of a monster and just drives around a limousine for a few issues with two sleazy TV guys trapped in the back.
He writes most of issues 65 through 87 and annual 4. He leaves the title as DC wants him to change/censor some of issue 88.
The Parliament of Trees are upset with Swamp Thing. They are trying to create a new elemental, but Swamp Thing still being alive is causing issues. A new elemental is created, but it's a bit of a monster and just drives around a limousine for a few issues with two sleazy TV guys trapped in the back.
January 28, 2019
The direction in this collection is nice and little more focused on Swamp Thing's roots (no pun intended). We see a fuller picture of the Parliament of Trees and how they impact his life. I think the best part of this collection is the introduction of the previous elementals and their experiences.
side note: Could Constantine have gotten creepier baby-looking fruits/carrots off of Swamp Thing? They look like palm-sized mandrakes from Harry Potter.
side note: Could Constantine have gotten creepier baby-looking fruits/carrots off of Swamp Thing? They look like palm-sized mandrakes from Harry Potter.
December 12, 2023
Rick Veitch is presented with the unenviable task of following Alan Moore's legendary run on Saga of the Swamp Thing, and though his run doesn't quite hit the same heights, it still works as a worthy follow up. Veitch had been a major contributor to the title during Moore's tenure as writer, and as such his own run does share a fair amount of similarities to the issues that came before. Veitch's Swamp Thing is just as esoteric and haunting, even if some of the concepts aren't as well developed or connected with the literary sensibilities Moore infused into his issues. But Veitch's renegade persona worked well for the title, maintaining a unique voice that separated the title from other late '80s publications.
The main challenge Veitch faced was where to take the character after Moore gave what seemed like a fairly definitive end in "Return of the Good Gumbo" (Saga of the Swamp Thing #64). Swampy and Abby have seemingly come to their happy ending with the hopes of an early retirement for Earth's sole elemental. But Veitch takes a lot of Moore's outlandish concepts and begins to simmer a new plot centered around the idea of a new Swamp Thing. If our Swamp Thing is done serving as the elemental for Earth, then perhaps the Parliament of Trees has something to say about it. Staples from Moore's run like John Constantine, Chester Williams, Floronic Man and more all play fairly major roles in the early stretch of Veitch's run as he leans heavily on ideas explored previously to reinvent the character. Swamp Thing wants out from his duties, rebuking the wishes of both Constantine and the Parliament of Trees. It does feel a bit like a repeat of beats from Moore's run, but Veitch uses these ideas to give respect to Moore's ending while providing enough leeway to continue the saga in a meaningful direction. "Regenesis" takes a bit to get going, but by the end it's clear that the series has vision to it again and a potential unique direction for the series.
Veitch's artwork needs no additional commendations as he already proved himself numerous times as the successor to Bissette and Totleben as the primary artist during the latter half of Moore's run. Alfredo Alcalá does the finishes over Veitch's eccentric linework and the final product is delightfully pyschedelic and gruesome in equal spades. The best segments remain whenever a character consumes one of Swampy's tubers and goes into a hallucinogenic trip - Veitch clearly has the most fun with these sequences.
The main challenge Veitch faced was where to take the character after Moore gave what seemed like a fairly definitive end in "Return of the Good Gumbo" (Saga of the Swamp Thing #64). Swampy and Abby have seemingly come to their happy ending with the hopes of an early retirement for Earth's sole elemental. But Veitch takes a lot of Moore's outlandish concepts and begins to simmer a new plot centered around the idea of a new Swamp Thing. If our Swamp Thing is done serving as the elemental for Earth, then perhaps the Parliament of Trees has something to say about it. Staples from Moore's run like John Constantine, Chester Williams, Floronic Man and more all play fairly major roles in the early stretch of Veitch's run as he leans heavily on ideas explored previously to reinvent the character. Swamp Thing wants out from his duties, rebuking the wishes of both Constantine and the Parliament of Trees. It does feel a bit like a repeat of beats from Moore's run, but Veitch uses these ideas to give respect to Moore's ending while providing enough leeway to continue the saga in a meaningful direction. "Regenesis" takes a bit to get going, but by the end it's clear that the series has vision to it again and a potential unique direction for the series.
Veitch's artwork needs no additional commendations as he already proved himself numerous times as the successor to Bissette and Totleben as the primary artist during the latter half of Moore's run. Alfredo Alcalá does the finishes over Veitch's eccentric linework and the final product is delightfully pyschedelic and gruesome in equal spades. The best segments remain whenever a character consumes one of Swampy's tubers and goes into a hallucinogenic trip - Veitch clearly has the most fun with these sequences.
April 6, 2025
Swamp Thing Volume 7, following the departure of Alan Moore, sees Rick Veitch attempting to fill the void left by the legendary writer's groundbreaking run. As both the artist and the writer, Veitch does manage to keep some of the same atmospheric tone and visual style, but the narrative struggles to live up to the high standards set by Moore. The exploration of Swamp Thing's relationship with Abby remains the emotional heart of the series, capturing the complexity of their bond, yet the storytelling feels more uneven. While the theme of ecological awareness is still prominent, the execution lacks the depth and subtlety that Moore once brought to the table, often veering into preachiness.
The overarching story lacks the strong direction that Moore’s narratives had, and the result is a more meandering tale that feels uncertain about its end goal. The philosophical musings and environmental messages are still there, but they often come across as heavy-handed, with the series feeling like it's force-feeding its themes rather than letting them naturally unfold. This is especially noticeable in the way the book tries to tackle moral and existential dilemmas. The story feel less engaging, despite its ambitious reach.
That said, Veitch's artwork continues to be a strong point. His work on Swamp Thing was always visually stunning, and he maintains that level of excellence here. The richly detailed panels and haunting, surreal imagery kept my attention, even when the story falters. Despite the lack of a clear narrative direction, the art remains an immersive and captivating aspect of the volume. Ultimately, while Swamp Thing Volume 7 still carries echoes of Moore's run, it struggles to maintain the same level of intellectual engagement and narrative cohesion.
The overarching story lacks the strong direction that Moore’s narratives had, and the result is a more meandering tale that feels uncertain about its end goal. The philosophical musings and environmental messages are still there, but they often come across as heavy-handed, with the series feeling like it's force-feeding its themes rather than letting them naturally unfold. This is especially noticeable in the way the book tries to tackle moral and existential dilemmas. The story feel less engaging, despite its ambitious reach.
That said, Veitch's artwork continues to be a strong point. His work on Swamp Thing was always visually stunning, and he maintains that level of excellence here. The richly detailed panels and haunting, surreal imagery kept my attention, even when the story falters. Despite the lack of a clear narrative direction, the art remains an immersive and captivating aspect of the volume. Ultimately, while Swamp Thing Volume 7 still carries echoes of Moore's run, it struggles to maintain the same level of intellectual engagement and narrative cohesion.
February 27, 2015
On the one hand, it seems like Veitch is being very cautious in trying to mimic Moore's stories. To a large degree, he succeeds. this feels like a very organic continuation of Moore's story.
But Moore was not constrained by this sense of stability and was much more dynamic on both the micro and macro level.
This is solid, but not captivating.
But Moore was not constrained by this sense of stability and was much more dynamic on both the micro and macro level.
This is solid, but not captivating.
December 9, 2022
Relevar a Alan Moore en el título que lo hizo célebre entre los lectores del comic-book estadounidense es un testigo que Rick Veicht recoge confiado, mostrando una mezcla de tenacidad y astucia que acude como soporte a rostros familiares para el lector mientras busca proyectarse pausadamente hacia nuevas líneas argumentales. Y si bien no pueden esperarse las brillantes cuotas que alcanzó su antecesor - su aproximación a ciertos personales se siente por momentos forzosa -llevando la serie a su mejor momento, Veitch mantiene en estos primeros números al menos un interés inicial.
October 18, 2021
This is a review for the entire Rick Veitch run (and its tie-ins), not just this volume.
Alan Moore is an impossible act to follow. I applaud anyone brave enough to try. Rick Veitch had an advantage, having already been working with Moore during the latter part of that run. Because of this, he definitely has a good feel for the tone and character of what Moore set up. It feels like a direct continuation not only of the story, but of the product as a whole. Now, this is mostly a good thing, but unfortunately it also means that this run MUST inherently be compared to the previous. There's no getting around it. Thus, Veitch's success at mimicking Moore is also his downfall. Since Veitch's run merely mimics what Moore had already done, it severely lacks the ambition and explosive creativity that Moore is able to consistently achieve.
There is almost nothing in this run that isn't a retread of something already done before, only each story is stretched out to 8 or 9 issues where Moore would've spent 1 or 2. Make no mistake, this run is GLACIALLY paced, with quite a lot of meandering and focus on side characters I really don't care about (Seriously, who gives a single fuck about Labo). I don't think this is a bad run by any means. It's just not entirely satisfying as a sequel, especially considering the intense editorial meddling that happened for the final arc (which is unfortunately not collected in trades as of writing). Following up Alan Moore is a death sentence for almost anyone who tries, so it's actually a miracle that there's any good here at all, but there ARE good things here, namely the central concept of Swamp Thing and Abby having a baby. I just wish Moore had written it, and I wish he had done it in half the number of issues. And barring that, I really wish they had just let Veitch write the story he wanted to write.
Despite my criticisms, this is certainly a run worth reading for Swamp Thing fans who just couldn't get enough after the Moore run. Just manage your expectations and you'll be mostly happy with the results, I expect.
Unfortunately, after Veitch, Swamp Thing would go through a rather dark period under Doug Wheeler and then Nancy Collins, two runs which very few people are willing to recommend. Thankfully Swampy would receive new life under Mark Millar eventually, and then Tefe would get her own book under Brian K Vaughan no less!
For those who need help reading the Veitch run in the correct order here it is:
Swamp Thing 65
Swamp Thing Annual 3
Swamp Thing 66-78
Swamp Thing Annual 4
Swamp Thing 79-90 (Last three issues are by Doug Wheeler, but they finish up Veitch's plot)
Alan Moore is an impossible act to follow. I applaud anyone brave enough to try. Rick Veitch had an advantage, having already been working with Moore during the latter part of that run. Because of this, he definitely has a good feel for the tone and character of what Moore set up. It feels like a direct continuation not only of the story, but of the product as a whole. Now, this is mostly a good thing, but unfortunately it also means that this run MUST inherently be compared to the previous. There's no getting around it. Thus, Veitch's success at mimicking Moore is also his downfall. Since Veitch's run merely mimics what Moore had already done, it severely lacks the ambition and explosive creativity that Moore is able to consistently achieve.
There is almost nothing in this run that isn't a retread of something already done before, only each story is stretched out to 8 or 9 issues where Moore would've spent 1 or 2. Make no mistake, this run is GLACIALLY paced, with quite a lot of meandering and focus on side characters I really don't care about (Seriously, who gives a single fuck about Labo). I don't think this is a bad run by any means. It's just not entirely satisfying as a sequel, especially considering the intense editorial meddling that happened for the final arc (which is unfortunately not collected in trades as of writing). Following up Alan Moore is a death sentence for almost anyone who tries, so it's actually a miracle that there's any good here at all, but there ARE good things here, namely the central concept of Swamp Thing and Abby having a baby. I just wish Moore had written it, and I wish he had done it in half the number of issues. And barring that, I really wish they had just let Veitch write the story he wanted to write.
Despite my criticisms, this is certainly a run worth reading for Swamp Thing fans who just couldn't get enough after the Moore run. Just manage your expectations and you'll be mostly happy with the results, I expect.
Unfortunately, after Veitch, Swamp Thing would go through a rather dark period under Doug Wheeler and then Nancy Collins, two runs which very few people are willing to recommend. Thankfully Swampy would receive new life under Mark Millar eventually, and then Tefe would get her own book under Brian K Vaughan no less!
For those who need help reading the Veitch run in the correct order here it is:
Swamp Thing 65
Swamp Thing Annual 3
Swamp Thing 66-78
Swamp Thing Annual 4
Swamp Thing 79-90 (Last three issues are by Doug Wheeler, but they finish up Veitch's plot)
November 13, 2019
Rick Veitch does his level best to live up to the mantle handed to him by Alan Moore, but who the fuck wants to follow that guy?
I haven't written hugely about these stories, but suffice to say that they woke my environmental side, the Moore run of titles, when I first read them in the 80s and it's sadly not surprising that the themes in those books are still relevant, even more so.
I haven't written hugely about these stories, but suffice to say that they woke my environmental side, the Moore run of titles, when I first read them in the 80s and it's sadly not surprising that the themes in those books are still relevant, even more so.
March 2, 2023
Some comic book creators runs on a title are so good they are hard to top. A lot of times it is because nobody wants to be the guy to take book X away from fill in the blank because even if you're good, you'll never live up to what came before. But the nature of the beast is that unless you're a lesser title on the verge of cancelation, somebody is gonna have to do it.
If anyone could live up to the standards set by Alan Moore, it would be Rick Veitch. Maybe it has to do with the fact that Moore hand picked him as a successor, something writers at the big two rarely get to do.
Really, the only three things keep this from getting four stars. 1. The pacing is slow. Even by the standards set by Moore's previous run, it's really not until 1 1/2 issues in when things start to happen. 2. I love super hero comics but Swamp Thing's relationship to the DCU at this point was odd to say the least. It was far more grim and serious than anything else DC was publishing at the time, and seemed to be embarrassed by the fact that it was a DCU book but at the same time issues of the Daily Planet in the background and cameos by Fluronic Man, Batman, Superman, etc. 3. Some of the issues feel like Veitch would much rather be writing a John Constantine comic series than Swamp Thing. Which is a complaint I was lodging against Alan Moore by the end of his run as well.
The one major improvement i see between Moore and Veitch is this. Often times, Moore's characters, regardless of what country they were from, used British slang. Whereas you see American characters not only using American slang... but occasionally even written in different accents.
If anyone could live up to the standards set by Alan Moore, it would be Rick Veitch. Maybe it has to do with the fact that Moore hand picked him as a successor, something writers at the big two rarely get to do.
Really, the only three things keep this from getting four stars. 1. The pacing is slow. Even by the standards set by Moore's previous run, it's really not until 1 1/2 issues in when things start to happen. 2. I love super hero comics but Swamp Thing's relationship to the DCU at this point was odd to say the least. It was far more grim and serious than anything else DC was publishing at the time, and seemed to be embarrassed by the fact that it was a DCU book but at the same time issues of the Daily Planet in the background and cameos by Fluronic Man, Batman, Superman, etc. 3. Some of the issues feel like Veitch would much rather be writing a John Constantine comic series than Swamp Thing. Which is a complaint I was lodging against Alan Moore by the end of his run as well.
The one major improvement i see between Moore and Veitch is this. Often times, Moore's characters, regardless of what country they were from, used British slang. Whereas you see American characters not only using American slang... but occasionally even written in different accents.
March 11, 2020
I understand Moore-devotees being upset that their favorite writer wasn't on the title anymore. But while this isn't on the level of The Best Of Moore's Swamp Thing, it's consistent with Moore's average issue. We continue to spend a great deal of time with John Constantine, as well as investigate more of The Parliament Of Trees, and Abby's personal life.
I found myself skimming portions an then feeling guilty and going back to read them properly. But, mush like the bulk of Moore's run, the story didn't grab me. I'm glad to take a bit of a break from the series for a while.
I do recommend this if you liked the Moore run more for the story than for the writer. There's no reboot or reset button with Veitch taking over, the story continues to build off Moore's work, and does an admirable job of it.
I found myself skimming portions an then feeling guilty and going back to read them properly. But, mush like the bulk of Moore's run, the story didn't grab me. I'm glad to take a bit of a break from the series for a while.
I do recommend this if you liked the Moore run more for the story than for the writer. There's no reboot or reset button with Veitch taking over, the story continues to build off Moore's work, and does an admirable job of it.
April 1, 2021
As far as narrative and continuity matter, Veitch almost seamlessly picks up from Alan Moore here, concerned with similar themes, a good handle on the characters—perhaps overwriting in places. As a volume, this seems long-winded and repetitive, with much story information going in circles, and the art seems rushed; Veitch's pencilling too loose, with poor anatomy and inconsistent likenesses, and Alacala's inks are often scrappy.
April 16, 2025
For coming directly off of Moore's run, this was a pretty great next step. We left off with Swamp Thing leaving everything behind to live a peaceful life...now he is finding out that if he wants that peaceful life he will have to fight everything he has known to get it. And that truly feels like the next stepping stone for such a tragic character, never a moment of peace. I include the bulk of my notes on the specific issues included in this collection: Swamp Thing #65-70.
This entire review has been hidden because of spoilers.
April 28, 2022
It's certainly hard to follow-up Alan Moore and Steve Bisette. This run makes a decent attempt at progress with Swamp Thing returning to the Green already replacing him. And the culmination of Swamp Thing and Abbie having a child.
Unfortunately, DC interfered in Veitch's vision, which led to Neil Gaiman and Jamie Delano dropping out in solidarity.
Unfortunately, DC interfered in Veitch's vision, which led to Neil Gaiman and Jamie Delano dropping out in solidarity.
September 12, 2021
Hits the mark more often than not, with a skilled writer at the wheel of continuing the world of Alan Moore’s classic run on Swamp Thing. Art is solid, but you yearn for Bissette And Totleben unsurpassed work on the series.
February 9, 2024
I love this series commitment to Swamp Thing's girlfriend being blissfully happy in her relationship with Swamp Thing. This girl's commitment to monsterfucking is like the most functional relationship in comics.
July 14, 2018
One star for art. One star for trying. Couldn't get on board with this one. Feel like maybe if I was on acid I would have felt something. Also did this series predict or inspire Timothy McVeigh?
April 12, 2023
too much exposition. not enough showing. too much telling. which is weird considering its a comic book. like you literally have images to show what's happening. why does it feel like a novel.
July 11, 2024
This series doesn't seem to miss a beat after the departure of Alan Moore. I was delighted to see Alfredo Alcala's finely detailed artwork grace these pages.
January 30, 2023
Not a bad start, though I have the feeling Rick Veitch is trying to mimic Moore too much. He's not as good at meandering.
3.5 stars
3.5 stars
May 21, 2017
As I noted in my review of the first volume of Scott Snyder's New 52 reboot of the character, I am a huge fan of Swamp Thing. I was initially exposed to the original Len Wein and Bernie Wrightson run in Swedish translation, in a DC anthology title, and I have also revisited this in English; I was buying the American comicbook through the Vertigo years, more or less (with some back issue-hunting) from the start of Nancy A. Collins magnificent run and through the Mark Millar run (begun with a splendid if brief collaboration with Grant Morrison); and, of course, the trade paperbacks of Alan Moore's phenomenal run found their way into my at hands along that route too.
However, for one reason or another, I never got around to picking up the three volumes collecting at least the beginning (and arguably bulk) of Rick Veitch post-Moore run that follows immediately after the Moore volumes; and then when I wanted to, the first of the three was out of print and excruciatingly hard to track down (I still have not succeeded). But, having obtained the second and third volume, I was happy to discover that my local library actually have the first one, allowing me to read these issues in order, without a substantial (and initial) gap.
So, what do I think? Well, first off I have to say that it has been a while since I read the Moore run, and unlike the Wein and Wrightson material, it is not really something I have revisited; so, my memory of plot details and story arcs there is, sadly, a bit murky in more than a few places. And I felt this when starting this one. That said, Veitch quickly brings me back into Swamp Thing's world and expands and plays around with what he and Moore had been at work with prior to this point. It is an arc about a Swamp Thing returning to Earth in order to find his place and navigate between questions of love (Abby) and responsibilities (the Parliament of Trees), and this arc really continues directly into the following volume.
All in all, it is very good read and an interesting take on the continued narrative of the character.
However, for one reason or another, I never got around to picking up the three volumes collecting at least the beginning (and arguably bulk) of Rick Veitch post-Moore run that follows immediately after the Moore volumes; and then when I wanted to, the first of the three was out of print and excruciatingly hard to track down (I still have not succeeded). But, having obtained the second and third volume, I was happy to discover that my local library actually have the first one, allowing me to read these issues in order, without a substantial (and initial) gap.
So, what do I think? Well, first off I have to say that it has been a while since I read the Moore run, and unlike the Wein and Wrightson material, it is not really something I have revisited; so, my memory of plot details and story arcs there is, sadly, a bit murky in more than a few places. And I felt this when starting this one. That said, Veitch quickly brings me back into Swamp Thing's world and expands and plays around with what he and Moore had been at work with prior to this point. It is an arc about a Swamp Thing returning to Earth in order to find his place and navigate between questions of love (Abby) and responsibilities (the Parliament of Trees), and this arc really continues directly into the following volume.
All in all, it is very good read and an interesting take on the continued narrative of the character.
June 29, 2025
See Rick Veitch Vol. 3 (Swampy Vol. 9) review...
July 13, 2009
The last section, with Constantine chasing down all the information he needs is kind of interesting, but it's really a story about Constantine, rather than Swamp Thing. That's a shame because the rest of the book is pretty lackluster. The idea is pretty good, and the idea of Swamp Thing being the antagonist as a result for his own selfish desires could go somewhere interesting, but Veitch is unable to channel whatever it was that made Alan Moore able to make a plant elemental so very human.
Sadly, I have a fear that the remaining volumes will only be worth picking up for any Constantine crossovers.
Sadly, I have a fear that the remaining volumes will only be worth picking up for any Constantine crossovers.
October 27, 2010
Not bad story, as Swamp thing works to create his own replacement, so he can step down as guardian of the earth, but it drags and meanders around and some of Veitch's bits of expirimental story teller feel a bit too 'Oh, look at how clever I am'.
He does a nice job of writer Swamp thing and his wife and I did like the resolution to the Roy Rammond sub-plot, but otherwise, this was when I started to lose interest in Swamp Thing.
He does a nice job of writer Swamp thing and his wife and I did like the resolution to the Roy Rammond sub-plot, but otherwise, this was when I started to lose interest in Swamp Thing.
February 18, 2010
You almost feel a little pity for a writer following on Alan Moore's heels; I think that Vietch was afraid to make the series truly his own and take it in a radically different direction. Sadly, it wasn't bad, just not nearly as good.
November 8, 2014
It's instantly noticeable that Alan Moore is no longer writing this. The long-winded expository and/or preachy stuff is back, but it's less silly and overdramatic than it was before Moore took over. Also, anything with Constantine is kinda awesome anyway.
January 17, 2013
Haven't read Swamp Thing for years. I remember it being better than this. Maybe I was thinking of the Alan Moore issues, or maybe I've out grown it.
November 8, 2014
Can't say I've liked it much since the Alan Moore part ended. It's become long winded again. Constantine's presence is a big plus though.
June 3, 2016
The departure of Alan Moore was noticeable, but not earth shattering.
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