October 2, 2008 at 10:39 am (Comic Books)

Sorry things have been nonexistent around here. I’m going to post something soon, I promise! Probably involving Omega the Unknown (which gains so much from a single spine instead of 10 disparate ones), or maybe why Alan Moore’s Swamp Thing is so awesome and influential.

For instance:

Morrison practically steals some narrative tricks from Moore for Doom Patrol and Animal Man from it, such as when strange, unconnected BUT CONNECTED actions occur around the globe during Love and Death. Morrison didn’t even come up with the reuse and manipulation of old panels to inform the present as he rewrote Animal Man’s origin post-Crisis! #33 has the first Swamp Thing story reprinted wholecloth with hair color and names changed to turn Swamp Thing into a recurring elemental force instead of a freak science mishap.

To find out that Morrison’s most innovative bits of super-hero horror weren’t entirely his own is shocking, to say the least. Mozzle can pull off the bits with shrieks more bizarreness and strangeness, not to mention dread, mythic meaning in his work, but their progenitor seems to be Alan Moore. (Or perhaps some Gothic writer first adopted “fish eating each other in an ocean, bank vaults opening automatically, and a butterfly stretches its beautous wings,” but the accusation remains the same).

And this is besides Moz practically owing his current identity as reconstructor of the DCU (well, Final Crisis is hurriedly distancing him from the mainstream, but…) to two people: Moore for his clever reinsertions of forgotten characters, and Kirby for his sheer creative zeal (that’s a much more inherent trait, but surely our favorite whacked out scribe could not call himself the agent of a sentient universe as he called himself to DC were Kirby not seen as the creator of an organic universe wholecloth). Swamp Thing’s awesomeness is singlehandedly making me question Morrison’s.

And so a child becomes a thought more an adult. More later! Promise!

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