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** He had reworked an essentially reactive, perpetually [[{{Wangst}} brooding]] character--"Theatre/{{Hamlet}} covered in snot," as Moore put it on ''Series/PrisonersOfGravity''--into a more proactive and genuinely [[TheHero heroic]] protagonist, by freeing the Swamp Thing from his PinocchioSyndrome.
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** He had reworked an essentially reactive, perpetually [[{{Wangst}} brooding]] character--"Theatre/{{Hamlet}} covered in snot," as Moore put it on ''Series/PrisonersOfGravity''--into a more proactive and genuinely [[TheHero heroic]] protagonist, by freeing the Swamp Thing from his PinocchioSyndrome.wanting to BecomeARealBoy.
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* CryForTheDevil: Despite all the death and destruction he's caused, it's hard not to feel sorry for the Floronic Man when he pleads with a single flower to heal the loneliness he now feels after the plant world has abandoned him, and subsequently when he tries desperately to reassume his human identity, only to find he now belongs in neither world.
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** He had reworked an essentially reactive, perpetually [[{{Wangst}} brooding]] character--"Theatre/{{Hamlet}} covered in snot," as Moore himself once put it--into a more proactive and genuinely [[TheHero heroic]] protagonist, by freeing the Swamp Thing from his PinocchioSyndrome.
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** He had reworked an essentially reactive, perpetually [[{{Wangst}} brooding]] character--"Theatre/{{Hamlet}} covered in snot," as Moore himself once put it--into it on ''Series/PrisonersOfGravity''--into a more proactive and genuinely [[TheHero heroic]] protagonist, by freeing the Swamp Thing from his PinocchioSyndrome.
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** He had transformed an essentially reactive, perpetually [[{{Wangst}} brooding]] character--"Theatre/{{Hamlet}} covered in snot," as Moore himself once put it--into a more proactive and genuinely [[TheHero heroic]] protagonist, by freeing the Swamp Thing from his PinocchioSyndrome.
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** He had transformed reworked an essentially reactive, perpetually [[{{Wangst}} brooding]] character--"Theatre/{{Hamlet}} covered in snot," as Moore himself once put it--into a more proactive and genuinely [[TheHero heroic]] protagonist, by freeing the Swamp Thing from his PinocchioSyndrome.
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** On the commercial side, he had transformed a little-read, nearly-[[{{Cancellation}} cancelled]] comic into one of DC's biggest-selling and most-talked about titles. This led in turn to the recognition of the writer--as opposed to just the artist--as a primary determinator of a comic's success or failure. It also kickstarted the 1980s through 1990s "British invasion" of American comics, in which other UK-based writers, such as Creator/NeilGaiman, Creator/GrantMorrison and Creator/WarrenEllis reinvigorated or revived forgotten characters, or created new ones, with innovative and literary approaches.
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** On the commercial side, he had transformed a little-read, nearly-[[{{Cancellation}} cancelled]] comic into one of DC's biggest-selling and most-talked about titles. This led in turn to the recognition of the writer--as opposed to just the artist--as a primary determinator of a comic's success or failure. It also kickstarted the 1980s through 1990s "British invasion" of American comics, in which other UK-based writers, such as Creator/NeilGaiman, Creator/GrantMorrison and Creator/WarrenEllis Creator/WarrenEllis, reinvigorated or revived forgotten characters, or created new ones, with innovative and literary approaches.
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** From a purely commercial point of view, he had transformed a little-read, nearly-[[{{Cancellation}} cancelled]] comic into one of DC's biggest-selling and most-talked about titles. This led in turn to the recognition of the writer--as opposed to just the artist--as a primary determinator of a comic's success or failure. It also kickstarted the 1980s through 1990s "British invasion" of American comics, in which other UK-based writers, such as Creator/NeilGaiman, Creator/GrantMorrison and Creator/WarrenEllis reinvigorated or revived forgotten characters, or created new ones, with innovative and literary approaches.
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** From a purely On the commercial point of view, side, he had transformed a little-read, nearly-[[{{Cancellation}} cancelled]] comic into one of DC's biggest-selling and most-talked about titles. This led in turn to the recognition of the writer--as opposed to just the artist--as a primary determinator of a comic's success or failure. It also kickstarted the 1980s through 1990s "British invasion" of American comics, in which other UK-based writers, such as Creator/NeilGaiman, Creator/GrantMorrison and Creator/WarrenEllis reinvigorated or revived forgotten characters, or created new ones, with innovative and literary approaches.
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* GenreTurningPoint: The arc beginning with [[{{Recap/SwampThingVolume2Issue21TheAnatomyLesson}} The Anatomy Lesson]] and concluding with this issue was what first made comic fans and industry insiders realize that Moore was doing things that had never been attempted on such a scale in mainstream American comic books before:
** He had radically [[{{Deconstruction}} deconstructed]] the title character, showing how his presumed origin didn't make sense, and given him a new one which did, without necessitating a complete series [[ContinuityReboot reboot]].
** He had transformed an essentially reactive, perpetually [[{{Wangst}} brooding]] character--"Theatre/{{Hamlet}} covered in snot," as Moore himself once put it--into a more proactive and genuinely [[TheHero heroic]] protagonist, by freeing the Swamp Thing from his PinocchioSyndrome.
** He had turned a third-tier, gimmicky bad guy (the Floronic Man) into a TragicVillain whose rise and fall also served as a PlotParallel to the protagonist's CharacterDevelopment.
** He had introduced a formalist and literary approach to a genre-fiction "[[WhatDoYouMeanItsNotForKids funny book]]."
** From a purely commercial point of view, he had transformed a little-read, nearly-[[{{Cancellation}} cancelled]] comic into one of DC's biggest-selling and most-talked about titles. This led in turn to the recognition of the writer--as opposed to just the artist--as a primary determinator of a comic's success or failure. It also kickstarted the 1980s through 1990s "British invasion" of American comics, in which other UK-based writers, such as Creator/NeilGaiman, Creator/GrantMorrison and Creator/WarrenEllis reinvigorated or revived forgotten characters, or created new ones, with innovative and literary approaches.
** He had radically [[{{Deconstruction}} deconstructed]] the title character, showing how his presumed origin didn't make sense, and given him a new one which did, without necessitating a complete series [[ContinuityReboot reboot]].
** He had transformed an essentially reactive, perpetually [[{{Wangst}} brooding]] character--"Theatre/{{Hamlet}} covered in snot," as Moore himself once put it--into a more proactive and genuinely [[TheHero heroic]] protagonist, by freeing the Swamp Thing from his PinocchioSyndrome.
** He had turned a third-tier, gimmicky bad guy (the Floronic Man) into a TragicVillain whose rise and fall also served as a PlotParallel to the protagonist's CharacterDevelopment.
** He had introduced a formalist and literary approach to a genre-fiction "[[WhatDoYouMeanItsNotForKids funny book]]."
** From a purely commercial point of view, he had transformed a little-read, nearly-[[{{Cancellation}} cancelled]] comic into one of DC's biggest-selling and most-talked about titles. This led in turn to the recognition of the writer--as opposed to just the artist--as a primary determinator of a comic's success or failure. It also kickstarted the 1980s through 1990s "British invasion" of American comics, in which other UK-based writers, such as Creator/NeilGaiman, Creator/GrantMorrison and Creator/WarrenEllis reinvigorated or revived forgotten characters, or created new ones, with innovative and literary approaches.
