ABSTRACT
Alan Moore's tenure on Swamp Thing ran from late 1983 through to autumn 1987. During this period, Moore and his collaborators produced a commercially successful and socially engaged series that defied the censorship of the Comics Code Authority in its depictions of sexuality, drug-taking and fantasy horror. Constantine's comment illustrates the overarching message of Moore's Swamp Thing, which presents an anarchistic comment on freedom that emphasises the interconnection of sexuality, ecology and politics. Sexuality in Swamp Thing becomes the central site from which to explore the twin concept of interconnectedness and mutuality, which have a long history in anarchist thought and which are directly linked to ecology in the thought of contemporaneous writers such as Murray Bookchin. The emphasis on sexuality is particularly overt in Lost Girls, which, perhaps not coincidentally, is also the more fantastical of the two texts. Lost Girls places Alice, Wendy and Dorothy together in the fictitious Austrian Hotel Himmelgarten on the cusp of World War 1.
