Love and Death opens with “The Burial,” an episode that unambiguously dramatizes this theme. The story begins with Swamp Thing being haunted by the ghost of Alec Holland, the scientist whom he once believed himself to be. Knowing that, in absolute terms, he never was Holland, he angrily rejects any suggestion that he was. He asks himself, “How deep? How deep do you need to bury the past before it will stay dead?” The answer is that, as he shares Holland’s memories, he can’t deny that past, and his wrestling with recollections of Holland’s dead wife and his murder only emphasize the dilemma. Swamp Thing ultimately realizes that denial cannot be a part of moving on; mourning is necessary. Moore dramatizes this in simple, effective terms: the story resolves itself by Swamp Thing locating Holland’s lost bones near where he was murdered, and giving those bones a proper, if humble, burial. The story closes with Swamp Thing thinking, “He [Holland]’s there. I know that he is there. And I know that he is smiling. But I don’t look back.” Swamp Thing’s personal account with the past is settled, and he can now go on with his own life. It’s a modest episode, with none of the spectacle one associates with adventure comics, but it is extremely affecting nonetheless.
The bulk of Love and Death is taken up with a four-episode sequence featuring Swamp Thing’s final battle with his most popular recurring nemesis prior to Moore’s run: the mad scientist Anton Arcane. Moore isn’t settling the character’s account with the past with this continuity; he’s settling the series’ account with its own recurring, hackneyed storylines and characters. The major goal seems to be to get rid of Arcane once and for all, and Moore’s disinterest in the character and his assorted schemes is obvious. Arcane’s worldbeating plot this time around relates to having dead criminals rise from their graves and descend on the local community, but Moore spends so little space on it that he might as well have skipped including it at all. Arcane’s defeat at Swamp Thing’s hands isn’t particularly interesting either—all Swamp Thing does is clobber him with his fists. The victory is notable only for its finality: Moore makes it clear that this time Arcane is dead, and he isn’t coming back.
Arcane is a dull antagonist, but the episode arc featuring him isn’t dull at all. That’s because the drama doesn’t center around the conflict between him and Swamp Thing; its focus is the crisis of well-being—both emotional and physical—for the Abby Cable character. Moore established her as a deeply sympathetic character in the Saga of the Swamp Thing episodes, and he takes her conflicts to their limits in this sequence. As seen in the first volume, her marriage to the Matt Cable character is in its final stages. A once-promising intelligence official, he’s become a slothful drunk, and he deeply resents any demand on Abby’s time that takes her away from him, specifically her job as a caregiver to autistic children. (One imagines that her friendship with Swamp Thing might be an issue as well, but it’s never highlighted.) The story begins with Abby finding hope that Matt and their marriage have turned around. He’s stopped drinking, he’s found a well-paying job, and he even moves them in to a beautiful new home. He’s become confident and supportive in every way. The rug is horribly pulled out from under her hopes when she realizes that Matt has become a tool that’s completely at Arcane’s disposal. Not even their sex life is free from his manipulations. (This is particularly disturbing in light of the fact that Arcane is her uncle.) Her dream becomes a nightmare, and Arcane ultimately uses her to attack Swamp Thing—her best friend—as well. He ostensibly murders her and damns her soul, the only reason being to demoralize and humiliate SwampThing over his inability to save her. Swamp Thing’s easy defeat of Arcane is ho-hum by itself, but the combination of that victory with the initial failure to save Abby gives the sequence its power. Pyrrhic victories make for powerful fiction, and this continuity is no exception.
Everything of course works out in the end, and Abby is returned to her old self, but Moore has put the final nails in the coffin of the series before he took it over. Swamp Thing’s self-pitying quest to regain his human identity is past, the cheesy archenemy is gone, and Moore even clears the deck of the distraction of the Matt Cable character. SwampThing and Abby are the series protagonists, and the volume’s concluding episode shows their relationship taken to its logical conclusion: their rapport has gone beyond friendship and become love. Couples in adventure comics before Swamp Thing and Abby never really seemed to be in love with each other—the feelings always came across as mutual infatuation. There was lots of kissing and “I love you,” but there was never much sense of a rapport between the characters. (This can also be seen in the movie adaptations of the material; just look at the way the Peter Parker and Mary Jane characters interact in the Spider-Man films.) Swamp Thing and Abby come across as loving couples do in real life: they find comfort and a sense of security in each other’s presence. The outlandishness of a romance between the two aside—as Moore has Abby say, “I mean, it’s just so ridiculous, right? It’s impossible, it’s bizarre, it probably isn’t even legal”—the relationship Moore depicted rang truer than any shown in adventure comics when these episodes first saw print in the mid-1980s. It was a signal achievement in the field.
However, like most innovations, its handling was imperfect. Moore has Swamp Thing and Abby consummate their relationship in a shared hallucinogenic trip, and he uses it to indulge the worst aspect of his writing: namely, the purple verbal incontinence he falls into whenever he’s called upon to write descriptive prose. His ear for voices is terrific, and his expository prose is admirably concise—the dynamic he creates between it and the images is especially effective. But when Moore is called upon to be descriptive, he launches into a faux-poetic extravagance, and the reader gets passages like this:
A smear of platinum scales breaks the surface, rolling, resubmerging. There is a delicious ambiguity. Looking up through his eyes: The pale woman gazes down, a burning waterfall adrift on the milk waterfall of her hair. Its lank tips draw clear sable brushstrokes between the lichens engraving my chest.There’s just one descriptive trope piled on one after another; Moore doesn’t develop them into a conceit, and he doesn’t create a dynamic between them. It’s rhapsodic blather. The context offers some justification, as the passage reflects perceptions during a hallucinogenic trip, but that doesn’t make it enjoyable to read. It’s most remniscent of song lyrics from ‘70s acid and progressive rock bands, and I don’t care for those either.
The trip sequence is somewhat redeemed by the gorgeously hallucinatory art provided by Stephen Bissette and John Totleben, ably complemented by the work of colorist Tatjana Wood. Their work throughout the rest of the volume is superb as well, with their atmospheric handling of settings being particularly strong. I also was struck by their effective use of abstractly rendered facial close-ups. The weakest aspect of the art is the occasional use of fill-in talent. Rick Veitch does a seamless job of substituting for Bissette in one episode, but Alfredo Alcala’s collaboration with Bissette in another lacks the delicacy of the latter’s teamwork with Totleben. Shawn McManus and Ron Randall’s approaches seem completely incompatible with that of the Bissette-Totleben team. McManus’s renderings have an exaggerated sculptural dynamism that comes on too strong in comparison, and Randall’s work is tacky in the manner of Hammer horror films: a woman in a nightgown is embarrassingly used for cheesecake fodder, and everything’s blowing in the wind. Bissette and Totleben have a sense of nuance and propriety that most of the substitute artists lack.
In Love and Death, Moore completes his redefining of the Swamp Thing series. The character’s new core is the fulfillment he finds, both in his acceptance of his circumstances and his relationship with Abby. It’s also clear that the foundation of the strip will be the tension between maintaining the happy aspects of his life and the demands on his sense of duty. Moore started with a self-centered hero and he ends with one, but he gives the character a self-centeredness that is admirable: Swamp Thing now has faith in the present rather than the past. And uniquely among superhero characters, he trusts the world around him. The effectiveness with which Moore and his collaborators bring it off clearly mark his Swamp Thing as one of the most noteworthy strips in the superhero genre.
Other posts in the Comics Renaissance--Alan Moore series (click to read):
- American Flagg!: Lustbusters
- Batman: The Killing Joke
- Big Numbers 1 & 2
- Big Numbers 3
- Superman: For the Man Who Has Everything
- Superman: Whatever Happened to the Man of Tomorrow?
- Swamp Thing, Book 1: Saga of the Swamp Thing
- Swamp Thing, Book 3: The Curse & Book 4: A Murder of Crows
- Swamp Thing, Book 5: Earth to Earth & Book 6: Reunion
- Tales of the Green Lantern Corps: Tygers