Writer Charles Soule wraps up his run on “Swamp Thing”, as well as ending the series itself, with issue forty. With artist Jesus Saiz and colorist June Chung assisting him, Soule brings the series to a satisfying conclusion with a finale that celebrates the power of storytelling and the endless possibilities that can emerge from one’s imagination.
Written by Charles Soule
Illustrated by Jesus SaizThis issue’s cover is presented in a special sideways format.
FINAL ISSUE
After Scott Snyder’s acclaimed (and rightfully so) run on “Swamp Thing”, Charles Soule took the reins of a book and character that have been in the hands of some of comicdom’s heavy hitters since Swampy’s creation. Soule built his own mythology and supporting cast (and villains) to support a title that continued to remain one of DC’s best after Snyder’s departure. Although not discussed as much as books such as “Batman” and “Wonder Woman”, it contained just as much of a singularly unique voice as those books. With “Swamp Thing” #40, Soule concludes his run with a particular surprise that is unexpected yet befitting the serialized and constantly evolving nature of the medium (and life itself).
Without spoiling the inventiveness of the issue, Soule makes the concept of “story” itself into a character. As cryptic as that sounds, Soule is successful at using that idea to wrap up his personal epic and appropriately leaving us with an open ended conclusion. Story, according to Soule, is full of potentialities. Using one’s imagination is a form of creation and the act of being creative births ever-evolving worlds that remain eternally alive. We, the reader, are a main ingredient in a story’s success and Soule’s exploration of that idea is brief but powerful. With “Swamp Thing” #40, Soule has taken an already intelligent series and compelled us to ponder ideas that great writers such as Grant Morrison have also explored in their work.
Legacy is a vital part of this issue, with the various kingdoms working together to defeat the machines of the Rithm. The fate of not only the other kingdoms, but of the world itself, is on full display in both story and art. Jesus Saiz brings each member of the Green’s parliament to distinctive life and assists Soule in making this issue feel vital and epic. We are invested in the outcome of a story where the stakes are high and the survival of characters we have grown to love is the only outcome we are begging to occur as we turn each page. The glorious splash pages and operatic nature of both story and art not only inject life into the book’s world, but the rich legacy Soule has added to the Swamp Thing mythos as well.
The detail in Saiz’s renderings of Swamp Thing and the other avatars is breathtaking. His ornate penciling brings his characters to life, with each meticulous line of their face and body adding a rich emotional layer to both art and story. Whether its Anton Arcane’s ghastly visage or Alec Holland’s shocked expression in the reflection of a particular object that won’t be spoiled by this reviewer, Saiz brings as much beauty and creativity to his art and layouts as Soule brings to the story. When Alec befriends a new character, his swamp body transforms into material that would be difficult for lesser artists to coax emotion from. Saiz, however, takes an idea that could be made into something ridiculous and imbues it with a complexity and tactile nature that brings a richness to this imaginative scene.
Saiz’s panel placement is just as inventive as the story. Saiz shows off his storytelling skills, whether it’s an epic splash page that contains great dramatic flair befitting the high stakes of a war between kingdoms or a series of panels that build to heartstopping moments. One particular battle between hero and villain toward the end fills two pages, with a visceral quality that brings us up close and very personal with the battling twosome. The brutality of the fight is so effective because Saiz zooms in with a closeup flair. This scene also exhibits Saiz’s commanding inks and the 3-D quality the darkness of those inks brings to the scene. Javi Pina’s inks four pages in the issue and brings a cold and barren quality to pages that demand more light.
Continued belowJune Chung’s colors are wildly diverse and she wields her palette with a prowess that proves her talent is as singular as that of “Swamp Thing”’s writer and artist. The crackling intensity of the Machines’ sparks pop off the page. A place where Alec Holland nor reader has gone before is bathed in white and produces colors that have a Heavenly tinge. The green hues that Chung utilizes in the Green appear to wash over the page and saturate the proceedings with an immaculate beauty. It’s as if we are in the Green ourselves and immersed in another world or dimension. A separate review could be devoted to this issue’s coloring alone and to Chung’s ability to transport the reader to another world. A great colorist is a vital component to a book and this issue is extreme proof.
Like the Green itself, Swamp Thing can never die. He is a vital character to the DC Universe and has proven himself a versatile character not only in his past stories but in Snyder and Soule’s runs during the New 52 era as well. Soule brought so much to the character and proves, through the ideas explored in this final (at least for this volume) issue of Alec’s series, that any character can live on if creator and reader work together to breathe life into them. The cover proclaims “Season’s End” and is an indication that this isn’t the last we’ve seen of ol’ Swampy.
Final Verdict: 8.5 – “Swamp Thing” #40 is a fitting finale to a consistently great series. The passion and love for Alec Holland and the craft of storytelling is boldly on display through the work of Soule, Saiz, Pina, and Chung.
