Reading Comics 234 "Mark Russell's Giants"

Reading through the rest of the September Walmart giants this morning, I reached the Mark Russell material from Swamp Thing Giant #1 and Villains Giant #1, and...

Look, I loved discovering Russell in the pages of Prez.  Prez was a wicked political satire.  Russell slowly developed a favorable reputation among fans thanks to his Flintstones, which was less about the classic cartoon and more social satire.  He scored again with Exit Stage Left: The Snagglepuss Chronicles.  I've still yet to read any of Snagglepuss Chronicles.  Despite my increased misgivings about being a full-on fan of Russell, I'd still like to.  Recently he's begun branching more into the mainstream, although noting he's the writer of the first-ever Wonder Twins comic may not seem to help make that case.

At any rate, I initially viewed discovering him in the latest round of Walmart giants as another sign of DC's increasing trust in his career.  You don't have to have a career trending upward to get into these pages, but I figured Russell was this round's version of including Brian Michael Bendis and Tom King in the last round. 

And maybe that's still the case, but unlike what I thought of Bendis and King's work, I wasn't overly thrilled with Russell's.

In Swamp Thing Giant #1, Russell writes one of several new features with Swamp Thing himself (a perennial favorite of DC's when considering TV adaptations, although I guess the most recent one was cancelled after a single season; I think the idea would work much better as a movie).  His involves Swamp Thing agonizing over his place in the world, and periodically purging all his negative thoughts into a kind of "beet" he discards.  Then along comes an evil agricultural conglomerate that's been choking the environment in the name of profit.  Swamp Thing turns to an old friend to find answers about what's happening.  The old friend turns out to have betrayed him.  But the joke ends up on her, because she unwittingly eats one of his poison "beets" and ends up paralyzed and buried alive.  The company gets ahold of the poison "beets," too.  And Swamp Thing is basically none the wiser about what's happened.

In Villains Giant #1, Russell writes a Joker story in which he uses viral marketing to trick people into performing outrageous stunts in order to win free money to cover healthcare costs because although Gotham has finally been cleaned up, the budget has to cut healthcare in order to fund the expanded prison system.  And then the solution the city reaches to end Joker's latest reign of terror, ingeniously free of any overt criminal intent, is to reinstate the healthcare budget...this time at the cost of funds intended for higher education.

My problem with both stories is Russell's cynical conclusions, and asking the reader to accept them with characters of higher and higher profile.  Imagine him writing Batman directly with this approach.  It would become less about the character and more about Russell's conclusions, and that's the problem.  This sort of thing works when you're handling minor or obscure characters, but less so when the reader theoretically actually cares about the ones being used.  And it exposes Russell's narrative limitations.  He doesn't really tell stories at all, it can sometimes seem, but a threadbare account of what you read on social media. 

Infamously or not, but Russell's attempted launch for the last wave of Vertigo comics, Second Coming, was cancelled by DC before it ever saw print.  I can begin to understand the company's trepidation.  (It was later picked up by another publisher.)  Russell made his name lampooning the Bible in God Is Disappointed In You and Apocrypha Now, neither of which is actually well-known even now.  The idea that nothing is sacred to Russell is hardly a new phenomenon, then, but he might have finally found territory he couldn't, or couldn't any longer, cross, at least with a major publisher with an increased profile. 

(It's sort of what Alan Moore discovered, too, but that's a different story.)

I have no idea what Russell's future with DC looks like.  Does he eventually get a truly significant assignment?  Does he learn how to really tell a story?  Time will tell...