Monday, July 9, 2012
A protracted relation around the contrary comic figure, John Constantine, Part V
V: The conscious reflection of the seeming concluding chapter featuring Moore’s compelling input configured of John Constantine and the “whole sick crew” as a revealing recall of the author’s numerous legendary recollections*. With a certain pondering around the future exploits of the cagey conjuror Constantine being overly forward.
“And I think it was this, more than anything else that made me feel that there had been something more in it than a mere succession of uncomfortable coincidences.”
William Hope Hodgson, “The Horse of the Invisible”.
“V. by this time was a remarkably scattered concept”
Thomas Pynchon, V.
This closing part of a protracted review concerning the myriad references abounding around the multipartite acts featuring the mutable mage, John Constantine, purposefully concludes under the marked distinction of the numeral V as a noted mention to the graphic influence of Thomas Pynchon’s roundabout novel, stirringly rendered by Moore as V for Vendetta (Serialized U.K. 1982-83: continued 1988-89, 10 issues D.C. Comics). Within Moore’s preceding-and continued- comic series of a masked anarchist that is involved in revealing much manipulation of socially controlled media toward affecting an active revolution, of which the closing chapters- not fortuitously- were undertaken after Moore’s revolutionary run on SWAMP THING, there is an ongoing reflection upon the needed continuance of a specific defiant antitype, or rather the adapted reclamation of a rebellious figure in comic form.
Moore’s culminating figuration of John Constantine within SWAMP THING returns the suspicious occult character to a seeming fore fronted confrontation in preventing the imminent overshadowing evil that is about to envelop the universe, foretold from past issues. It is through Constantine that the assembly of the leading magical forces generated of the parent ‘master mages’, such as Sargon the Sorceror and Giovanni “John” Zatara, are cunningly coerced by the shrewd influence of the about-faced deferential adept into forming a combined circle to turn back the impending chaotic occlusion. What would easily vapidly transpire in the hands of most writers toward this expected cosmic end is wrought by Moore with much subtly, that is aptly rendered by the creative team, penciled by Stephen Bissette, inked by John Totleben, and colorfully coordinated by Tatjana Wood. Of this ostensible heroic rally, Constantine is revealed in his many guises, from the suitable suave sorcerer that craftily persuades his paternal order, to the rebellious rake that gleefully conspires to include Zantanna, despite her father’s mortal misgivings, along with the conjuror’s assuaging touch to minor characters that are then ultimately pushed-or knowingly sacrificed- beyond their earthly capacities.
Through this possibly predictable round séance formed, there is at once the despicable distance of Constantine rendered, yet there is also the supposed strength of his considerable will that forcefully continues, while attributed powerful mages spirits waver. Of the compelling fulfilling strokes, it is not Constantine’s questionable singular determination or dubious individual methods that decide the outcome that in the final performance is mindfully conducted by the Swamp Thing through his relenting absorption. Moore then, while appearing to place Constantine at the leading edge of this inner circle of renowned magicians, reveals the many faults behind the conniving manipulator through his various facades around which it is never clear who is behind the cockeyed or cocksure mask applied. Many have expounded that this is Moore’s open entreat within his comic endeavors to disclose or discredit the heroic myth. However, the attributed ‘magic man’ of chosen graphic interplay, seems to be otherwise interweaving the multipart mythology into his thoughtful approach that acknowledges the overlapping imagined content of comic books being, on the one hand at risk of inherent mutation that restricts any creative progression, or conversely openly acknowledges its hybrid form toward more possible metamorphic growth.
In terms of Moore giving over John Constantine to future comic creators, this decided passing recalls the sardonic situation of a spawned figure that in evident fact has willfully adopted many semblances, conveying uncertain original intent or nominative claim through his many uncertain appearances and shifty appeals under his charged appellation.
Certainly, the inventive Mr. Moore is aware of the continuing demand of the parent comic book company D.C. in perpetually reaping this figures rights, and though receiving his share of the royalties, they are fully redistributed to the inceptive artists who took part in Constantine’s initial comic counter shading. Out of this seminal crew on SWAMP THING, Rick Veitch would be the successive scripter/artist that Moore would emphatically endorse in future handling of the contrary conjuror. How those wily turns proceeded to a decided 'realistic' progression toward the marked mortality of the mischievous mage to squalid sage in a possible escape from this eternal comic binding within the pages of his devoted chronicle HELLBLAZER will-if all conditions come together- be further addressed in a following imparted review.
*The lifted reference of the whole sick crew is shamelessly swiped from Thomas Pynchon's anti-novel V.
Thursday, July 5, 2012
A protracted relation around the contrary comic figure, John Constantine, Part IV
I got a black cat bone,
I got a mojo too
I got John the Conquer Root (Conqueroo)
I'm gonna mess with you
-“Hoochie Coochie Man”, Lyrics: Willie Dixon. Added lines as recorded by Muddy Waters, 1954.
I got the black cat bone
And I got a mojo, too
I got the John the Conqueror Root
Gonna mess with you
-Recorded by John Mayall & The Bluesbreakers with Eric Clapton, 1966. Lyrics: Willie Dixon, 1954.
“Well, time passed and Wicked John he snickered about that too.
But pretty soon he settled back into being…
Wicked, Wicked, Wicked.”
-‘Wicked John’, teller Mitch Barrett. Excerpt from Pamela Petro’s Sitting Up with the Dead: A Storied Journey through the American South (New York: Arcade Publishing, 2001), page 334.
Prior to the visible appearance of John Constantine as announced, there are the forwarding signs dropped, or rather tantalizingly produced in the earlier passages of SWAMP THING, that upon closer inspection- enhanced through retrospection of the series run – point, and or tap into, the syllabic and vegetal resonance recalled of the accentuated incantations or absorbent underlying material in folkloric measures. Preceding the irresoluble depiction of Sting in the passage “The Sleep of Reason”, there are the nascent outgrowths that arise from the vegetative character in the earlier sections of “Swamped” described as tubers that are similar in structure to a yam, that are- as pronounced by the visitant figure Dr. Jason Woodrue- likely edible. This inceptive relation will have implicit effects into and upon the subsequent storyline involving the ingestion and transfer of this offshoot- which is also often commonly mistakenly exchanged as a sweet potato- that if orally partook produces heightened states of consciousness of variable intensity. The various effects of this interaction within revolve around the featured characters, with all coming into contact with these bulbous offerings bearing some choice part. At the formative outset then Moore is cultivating interrelated issues that present ongoing aspects that though apparently becoming detached or split-off are adaptively spread in rotating surrounds.
Though there is no nominative distinction in SWAMP THING of the sprouted tuber, it would appear to be no arbitrary correlation that the close botanical cousin growing from a regional tropical rhizome in North America is the woody tuber classified as Ipomoea Jalapa, or as it is often resounded, “John the Conquer Root”. The body of this figural tuber though not known for any extrasensory perception if eaten, is nevertheless ill advised as being tasted or in any ways swallowed due to its extreme laxative properties, and is rather renowned in folk song to be carried on a person as a pocket piece or in a mojo bag from which to draw money, bring luck at games of chance, or enhance personal sexual power.This foremost explanted relationship substantially informs the later arrival of the spurious traveler and unsettled conjuror marked as John Constantine returning in conjunction as an occult carrier, who in close conjunction appears to internally activate the latent transfigured abilities of the Swamp Thing to universally transport his consciousness into a seemingly infinite aspect of plant life.
The figure of John Constantine, though seemingly alien to the area and supposedly arriving unanticipated or uncalled for, can amidst the corresponding symbols- if attentively looked for- suggest a intimate connection despite the literal distance occurring between the supposed separate events. As with the exploration of the transmittable aspects of the Gothic into America, there is a considerate inclusion of folkloric elements in SWAMP THING that while seeming to have centrally originated in Europe are continually found to have a wider point of derivation that is diversely spread about the many ensuing and existent relations upon the expansive continent collectively-albeit contentiously- maintained as The United States.
How this reciprocal folkloric permeation continues is appropriately intermixed through Moore and the collective creators recourse in SWAMP THING, shown in visible signs as the redolent tubers figured, textual boards displayed, such as the Briar Wood Motor Inn, and rhythmic intonations that are sometimes spoke out as unintentional invocations or spelled out in roadside displays set apart to-not irrelevantly- recall a passing sequential jingle, “Burma-Shave” that nevertheless lastingly remains. As an additional prospective vehicle adapted into American folklore, the automobile is a ranging carrier that not only practically bears the figure of John Constantine into the Southern surrounds of the Louisiana swamp in his debatable first manifestation, it is where the apparent character awaits to dramatically encounter the unsuspecting figure of Abigail Arcane/Cable; ominously emerging from the shadowy backseat of her car. Prior to this sudden appearance, as a reflective course of ‘overheard’ conversation between the regenerating Swamp Thing and Abigail, is the latter character’s prescient remark that the boggy figures former resonate voice- distorted through his newly formed vocal chords- currently sounds as a tinny ‘Jiminy Cricket’. That this is both an old-world exclamation and wry accordance to the instructive insect that animates a fabled wooden puppet is certainly no random act placed at a preceding point to the appointment of John Constantine as Swamp Thing’s pesky mentor.
This ongoing dialogue between Abigail and Swamp Thing as to the unknown whereabouts of the off the grid guide and recurring debate about whether he will turn up again has the sylph styled character Abagail remark in a subsequent chapter of being rid of the “supercilious English creep” that recalls the snaking affinity around an invasive weed, while the repeated surname of Constantine continually bantered about evokes the oft quoted line that to “speak of the devil” is to intentionally forward a spoken invitation as a certain invocation. As the practical joker Constantine summarily rings up the residence of Ms. Cable forwarding a directional message to her sylvan “boyfriend” concerning a critical meeting point it would seem the sent vibe was clearly picked up; or- if you would- conversely allow this long-distance call could be dismissed as some prankish perchance willfully dialed up. Moore’s jangling touch upon these everyday objects that are mostly outwardly benign or frequently set in the background of horror settings, does not neglect the adaptive turn that many urban legends incorporate in cars and telephones as instruments that hold many solid parts, absorbed at times of many generations. This lastingly speaks to their pervasive reach upon a crisscrossing network that is constantly exchanging that though being frequently craftily overlaid continues to house unremitting aspects that are deeply coursed in the inner workings.
Wednesday, July 4, 2012
A protracted relation around the contrary comic figure, John Constantine, Part III
“When first I knew him he lived--nowhere, being always on the move.”
-Algernon Blackwood, The Centaur
“Then you may have sheer clotted nonsense; I once chased Julius Cæsar all over London to get his recipe for curried eggs. But, besides these, there is a certain dream of another order: utter lucidity up to the moment of waking, and then perceived to be beyond the power of words to express. It is neither sense nor nonsense; it has, perhaps, a notation of its own, but ... well, you can't play Euclid on the violin."
-Arthur Machen, “Opening the Door”
Beyond the overt comparisons to John Constantine arising as an inverse extension proposed as Moore’s off-color magical exponent or deviant comic epitome, there is the monogrammed legendary to literary attachment that further recalls many embodied figures that are suddenly displaced and recurrently called upon to be unlikely saviors. The apparent Western emblematic figure is Jesus Christ, with the evident namesake emperor-Flavius Claudius Constantinus- heralding the wider spread of Christianity, along with the ensuing Roman liberator Julius Caesar. From this mythic crowning a veritable legion of literary protagonists have been remarked or returned with the venerable monogram such as Jim Casey in John Steinbeck’s Grapes of Wrath, Joe Christmas in William Faulkner’s Light In August, to the supposed fantastic sub-realms out of which arose the superlunary conveyance of the confederate expatriate John Carter by Edgar Rice Burroughs. In the rebellious revival against further clear fictional sub-classification of a systematic order in the 1960’s, writer Michael Moorcock responded with his multiple literary manifestations crossing over into parallel stories that intentionally expounded upon their eternal remittent conveyance across all mythical lines that were rather round indefinite cycles. Many of Moorcock’s variant characters were recast with the capital initials J.C. - with Jerry Cornelius being one of the most consciously conspicuous, although not always repeatedly addressed as such.
Moore’s comic christening of his ‘own’ initial figure, while appearing to have carried this resurrected dispensation as a decided graphic continuance of a certain antitype, is suspect of once again showing the viewer further simple connotations that may be too readily presumed. Many perceive the authors perpetuation of this common Christian monogram as a cheap trick or ironic cliché, failing to comprehend that Moore has turned this allusion around upon John Constantine as a continual point of multiple reflections as to its ongoing attachment through the comic medium. Far from being merely a flat out homage or wink and nod to close compatriot Moorcock and his questionable inceptive character, Moore’s own reuse of this recurring figure relays a further striking discord in its established surrounds, as Jerry Cornelius also caused much confusion over given allowances that lead to numerous contentious comic representations. In peering beyond any overused ploy that the author employs, this extends Moore’s confronting reach of pointedly pulling on cherished characters such as his stretching revelations behind the magical and mundane in his stirring reconsideration of the familial formation within Marvelman (renamed Miracleman after the American conglomerate Marvel Comics brought undue legal contention of the title). Not many comic creators would be bold enough to reinterpret such a revered ‘golden age’ figure in the gripping graphic direction that Moore provocatively undertook in his congenital unmasking upon these inherited superhero strips.
To restate, the author’s remarkable measures upon such venerate comic treasures in Britain were of a audacious impetus that caught the attention of Len Wein to import Moore towards the then slushy American title SWAMP THING in hopes to sharpen up the sappy figures within. Not only did the writer incisively delve into the muddy constitution of the mushy main figure, he grounded the surrounding given cast with meaningful bearing despite their overused comic alliterations. Tacky minor antagonists such as the nearly forgotten Floronic Man, whose flowery powers seemed put down to be used as mere flagrant puns was poignantly-if pungently-returned through Moore’s apt reuse. Additional emphasis on the clinging aspects that haunts horror comics was intoned of one of the eternal ethereal characters The Spectre, whose mortal name Moore visibly underscored as a punctuated point in SWAMP THING was once bodily Jim Corrigan. That the figure’s variable ‘spirit aspect’ is sometimes exchanged for a corporal figure that is often found to intervene in paranormal or occult cases is no coincidental correlation to the apparent common appearance of John Constantine and his investigate involvement in mystical and mundane affairs. However, whether the latter contrary character is similarly compelled to resolve such supernatural mysteries as a comparative ‘psychic detective’ that is duly bound- though seemingly self-evident- is likely extensively involved with Moore’s appropriate misdirection. That there are visible similarities drawn not only of these occult figures in their similar characteristics and exchangeable initials, yet also in the former visage of the lead character’s past human form shown as the blond scientist Alec Holland, would suggest that Moore’s relation of John Constantine goes beyond any surface resemblance as a mere stylistic convention and is more a subtle intromission conducted by the writer as to the figures perceived place and inherent role.
Moore intentionally deals-as all mindful comic creators do- in this recast that can all too easily cause common confusion from changed continuity, in that writer Len Wein and artist Berni Wrightson 'conceived' the Swamp Thing in House of Secrets, issue #92, June-July 1971, wherein the debut story the lead scientist prior to purportedly being transformed into the Swamp Thing was named Alex Olsen. After the success of the initial story, Wein and Wrightson were asked to present a feature monthly comic book of a combined decision to update the scientist renaming him as Alec Holland, working in the Louisiana swamps. These re-workings are not at all uncommon in ongoing comic book creation, even as much as some endeavor to adhere to a prior history, with resurrections or renames constantly popping up. Alan Moore, being in particular involved in playing upon these dubious reappearances takes a clever, and poignant insight round the myriad manifestations drawn upon, where John Constantine being noticeable alike in blonde features to Alex Olsen- later Alec Holland- as well as other fair look-alikes such as Dr. Dennis Barclay (a supporting companion featured by Wein and Wrightson) and Adam Strange (a revived otherworldly traveler that in future stories attempts to aid the Swamp Thing in returning to Earth).
Within the storied setting continually grouped as a serial comic arrangement are the familiar figures that are often found to interrelate, many deriving from direct offspring such as “John” Zatara’s daughter, Zatanna, whose secondary character was overtly exploited as a fishnet stocking pin up is -not inadvertently- accorded a respective regard by Moore within the interconnected storyline of his formative undertaking in SWAMP THING. This inborn unveiling- as it were- of the familial relationships within comics is a conscious act of Moore’s and reveals his outspoken concerns of too much reliance on internal content produced by previous forbearers leading to possible pale inbreeding. Moore’s profuse understanding of the ingrained issuance that seemingly is deep seeded is actually thinly covered and absurdly contained by set conventions that have largely been afforded undue allowance; especially from the ensuing fallout of the 1950’s when the American comic book was thereafter mostly condemned and underwent certain confining conditions.
Moore’s overturning interaction- subtly and overtly subsumed within SWAMP THING- is at once cleverly spun and openly played upon, both as to the larger implications of the comic medium and its interior subjects; that if turned too closely inward may become or fall prey to a certain insular decay. Moore’s debatable inception of John Constantine resounds across as a middling mystic who is skillfully involved in manipulating the many sides represented, aware of their apparent inward appeal that nevertheless cries out for outward recognition and indeed, in order to thrive, must freely allow such an extensive reach to expressively expand. That the figure is alert to this possible unlimited attainment while being bound by certain requisite vehicles-that range from cars, planes, and to a represent extent, people- conveys a challenging statement towards recognizing a individual fictional emplacement around a more open acknowledgement to the necessary exchange recurring that requires multiple participation beyond a single intermediary.
Thus the reader hears in the cynical intone of the character the knowledge of his wider awareness amidst this peculiar comic cast, who at times seem unaware of their larger construction and easily get wrapped up in ascribed appearances that are often garishly and grossly put on. That the figure of a relayed introspection is self-aware- or some say self-serving- as to being pinned down or ‘sussed out’ constantly inflects upon his findable position by reeling off outspoken lines such as “You see I move about a lot…” and “You never know where to look for me”. These prevaricate pronouncements tend to lend an off-center counter for fixed determination as the figure is ostensibly smack dab in the thick of this comic fabrication, while meanwhile otherwise needling about any fixed points. This ongoing adaptive use of variant communication is emphasized along coded designations and devices through which to call out, such as the telephone –another line that Constantine contacts people with- speaks to the possible means of delivering a message- even through a dubious or deceptively plain instrument.
It is by Moore, and the inventive artist’s ringing reactivation through SWAMP THING, that would subsequently inspire an ensuing revitalization of North American comic books in the mid 1980's, whereby, though often trumpeted as heralding from a second ‘British Invasion’, was equally eagerly undertaken by stateside sequential artists who had been tightly tethered too long in corporately restrictive stables. As with the musical infusion into the U.S. of the brash U.K. bands in the 1960’s, there was a rebounding relationship in response and further chords struck in the reciprocal revival of stirring folk refrains returned to its rebellious state. Though some may feel this is a far cry as a relatable defiant conduit in the 80’s continuing to be soundly remitted by Moore and his creative ensemble in the comic overture upon their re-composition of SWAMP THING, the chanting lines, touching practices, and comparable plants of powerful properties round a certain tuberous shape- in concert- speak of a resonate recall of rooted folkloric intonations emanating throughout.
Tuesday, July 3, 2012
A protracted relation around the contrary comic figure, John Constantine, Part II
"Systems of divination, from geomancy down to reading by tea-leaves, are merely so many methods of obscuring the outer vision, in order that the inner vision may become open. Once the method is mastered, no system is necessary at all."
-Algernon Blackwood, “A Psychical Invasion”
“How foolish it is to obey mere caprices. What a straw is a man!”
-Walter De La Mare, “All Hallows”.
Frequently it is stated that an author’s fictive creations contain a bit of his or her own projections, and as an adopted analytic device- that would be further adaptive of certain revelatory tools of divination- a applied psychological method could be directly turned upon to reflect that John Constantine is an outward-albeit visibly inverse- comic replication of Alan Moore. In order not to resort so readily henceforth with such a seemingly illuminating apparatus- that nevertheless is shortsighted following from given distortions- it is necessary to shed this comparitive scientific contrivance at this point. Although the mirror aspect of the creator’s graphic figure will be re-confronted later, a deeper scope is hereby required to begin to further grasp the wider relation of the writer’s creation.
In Moore’s first full launch into an American comic book there were germinating seeds spread from the outset of Swamp Thing’s essential conversion that were to expansively grow, reaching into existential explorations of ongoing universal issues through elaborate sequential story arcs. Largely Moore delved into the perpetual engagement with the supposed separate forces of magic and science that are as far as any distinct understanding rather nebulous, and of fixed determination, found to be mostly socially constructed. This interlacing consideration would be subsumed with Gothic elements, recounting how they are often found to be spread or transplanted from oral tales to written stories in the Old World, being contentiously renewed in the New World as an ‘American Gothic’, that was to be further trimmed down under the revised novel subheading of Horror. Moore’s implicate approach is periodically charged with loosing sight of the principal focus amidst his farraginous comic stories by sacrificing the super-heroic narrative to metaphysical or magical propositions around disruptive esoteric exploration perpetrated toward subversive or unconcealed personal dissemination of his occult beliefs. Within the inceptive surrounding framework of SWAMP THING, Moore’s far reaching expositions vividly expressed by varied visual descriptions combined to expose-and at their height collapse- the applied boundaries of magic and science extending into existential issues was, at the time, an audacious approach for an American comic book to present.
As a relevant impartment around this profound import, it was by D.C. Comics ensuing crisis followed hard from the declining dearth-and close death- of comics in the late 1970’s to early 80’s, both figuratively and financially, that allowed Moore’s experimental method to be carried out with a then largely unknown and potentially unruly group of artists. What in hindsight seems altogether rather tame today for a ‘mature’ graphic series is frequently minimized by current ‘adult’ content in American comic books, that prior to the re-conception of SWAMP THING was still being largely censored by controlling outside governing approval or corporately restricted to certain internal permissive content. To those readers who experienced these provoking relations directly or first hand, it is no overstatement to convey that the artistic collaboration undertaken in the revitalization of SWAMP THING in 1985 was nothing short of a counter-revolution. As Moore emerged from the British underground press- that was in defiant continuation of the rebellious ‘comix’ movement that arose round the late 60’s within stateside America- it is not a stretch to say that his incisive makeover represented a returning act of reclamation towards conventional North American comics. Recent comic readers that are fortunately able to have many prevalent comparisons can loose sight of the radical significance brought about by the confluence of compounded occurrences that prompted such permissible inclusion and ongoing provocative practice to be regularly published through a controlling companies mainstream title. This is no novel revelation here, yet it bears re-statement, as for some retroactive readers the seeming outmoded representation of the chain-smoking conjurer John Constantine in a ‘adult’ American comic book could in of itself be seen, at best, as a foolish form of self-indulgence, or worst, presently taken for granted.
So were the punctual inclusions in Moore’s turn on SWAMP THING that attempted to penetrate, and reconfigure the conventionally confined and contained illusions afforded through the established edicts that overall in American comic books were then-and to a certain extent even now-restricted to approved characters espousing clear moral messages enforced by civil organizations. The sequential arrangements re-directed by Moore in SWAMP THING and graphically relayed by many striking artists made a incisive impact toward examining and stripping the internal constitution previously believed, especially from issue #21 entitled “The Anatomy Lesson” to the interwoven ‘American Gothic’ storyline where the development growingly revolves around existential horrors as well as fantastical or supernatural forces. Towards this twining composition Moore’s attention to the secondary character’s were no less tendered than the stout Swamp Thing, where his supporting figures though at times seemingly inconsequential were altogether vital in their substantial parts that eventual unfolded. Thus what could be carelessly wrought as a stunted comic pest in lesser consideration is by Moore sown with some fine intent; even as the least unlikely sprig may appear fairly common, as the side character John Constantine deceptively does through his slight figure. That there are many interwoven tendrils wrapped up as certain traps that are subtly shooting off this figure in much applied dressing awaiting the unwary in hasty pluck to fall into a known pitch, is to further consider the understated craftwork overlaying the obvious construction of Moore’s character, that though seemingly crude, is cunningly deep.
Aware of the potential barbs turning back upon the injudicious reviewer who would cling to so-called advanced techniques to extract the interlacing material at a sure point for a prepared measure, there has been- as previously related- a turn away of any blunt psychoanalytic precepts. From this shed premise, while there is still considerable call of reasoned estimation put forward as to the possible aspects wrapped up in John Constantine, there is furthermore stressed the palpable risk of running headlong into a entangled thicket of thorny distinctions that are extremely difficult to consider as one being, individually detached.
As the territory opened in SWAMP THING is-at the outset- firmly planted in North America, one can ostensibly connect that the author’s outside perspective as a remote Brit is visibly reflected in Constantine’s own strange outlook upon the alien land from which he is a foreign observer. Further open connections to the comic creator could be gleaned in Constantine’s coarse delivery and currish approach rendered as Moore has remarked of being a “blue-collar warlock”, who despite his rough edges-or accordingly because of them- compels an alluring second look through his deep blue eyes and boyishly blonde features. Through the character’s curt inflections- yet outward disarming traits that the author aptly connected to the golden haired and glib tongue ‘good guy’- there is an expressive statement upon the conditioned correlation that has been long established toward countless fictional manifestations clearly standing for the fair side. As Moore himself is-or was-otherwise raven-haired, it is surmised that he had heard and seen the banal share of commentary aligning him as the ‘deep dark mage’ and so preformed a derisive turnabout with the light-haired rogue magician conjured up toward the comic page for his American debut.
Other contrasting factors could be connoted that Constantine as a cross comic cousin- or as some would have it downright bastard-is a inverse reflection upon the majority of the magician-detective fops with dark mops who descended from the ‘penny dreads’ or ‘story papers’ to the ‘pulps’ such as Diamondstone or Mandrake the Magician, that became suitably reborn in comic books, elegantly attired among strikingly similar gents, ala Giovanni “John” Zatara. One could say that Moore was interrupting this ongoing act, or mayhap recalling some nearly forgotten fair-haired pulpy predecessors such as Lester Dent’s odd wizard, the not so savage Lee Nace- or sinuous Blonde Adder- who was also rather a bit shaggy. Although more of a ‘scientific detective’, the figure- of a rougher cut fashion- dealt with his share of weird and unnatural cases opposing several strange straw bosses.
In this would be the postulation that Constantine carries a regressive representation, recalling a past prime golden age comic magus who under his helmeted guise shone glorious blonde locks, that was- in the so-called mature incarnation- once Kent Nelson, the eternal Dr. Fate. Other professed and formerly prosperous prime figures would be re-called by Moore in SWAMP THING besides the vivid visage of Dr. Fate, such as D.C. comics purportedly 'original' mystic master, Dr. Occult. While Constantine would be decidedly drawn against this majestic resplendency, or said to openly mock any fated ascendancy, is it not the secret wish of all sorcerers to continually attain higher awareness unto unlimited spans of cosmic consciousness or unknown states of comprehension? Then again, there is the corresponding trade off ‘ennit? Of separating ones self and leaving behind any Earthly connections, all the while ceaselessly resisting the corruption of unlimited power that such infinite perception would continually offer. And so… the sordid aspect of John Constantine, appearing at times as to have taken a tumble in the straw, with the dreamy blue eyes and corn silk, albeit, tousled hair. In a lick though them windows to the soul could burn with azure fire as sure as many mistaken devils are often wrapped in other unassuming forms rumbled about of the ceaseless bounder- trickster. Hence, despite the cool comic swagger, the many pratfalls; most of a perilous nature upon some risky venture. With the keen intellect, still the profuse consuming habits that no doubt are foolhardy and tempt all kinds of rack and ruin. Many say a bunch of bad’un’s rolled into one - unadvised companion, uncalled for guide, unlikely medium and undaunted thief - John Constantine.
Within this ongoing shuffle, wherein the dealt face card is always in doubt as to which one will turn up at the needed point or desired position, the perspicacious reader may recall the Major Arcana of the Tarot that are symbolically related to represent intellectual, emotional, physical, and spiritual aspects of humankind through various archetypes, 2 of the 22 being The Fool and The Magician. As with the multiple characteristics rendered round uncertain trickster these figures are variously drawn upon, yet of all are often collectively considered or critically reviewed as certain archetypes, despite the common danger of easily overlooking any especial relation to a specific figure within a particular context through a selected medium. Here again, one must be aware of a convenient accounting around any complex and compounded creations that even though being aligned as multifaceted epitomes, are not always so easily explained. To wholly resort to such recognized round-ups is to dangerously disregard the delightfully devious interrelations within the interwoven elements of a comic book; comprised of textual and visual descriptions informed from multiple legendary relations. As Lewis Hyde has recollected in the introduction to Trickster Makes This World, the responding reaction of writer Ralph Ellison toward such classic comparison over individual regard of his complicated character in Invisible Man warns the reviewer of the caustic actions of over refining by the declarative rejoinder “Don’t dip my novel in that vat of archetype acid”
Sunday, July 1, 2012
A protracted relation around the contrary comic figure, John Constantine, Part I
“One of those cases of continuity of thought producing a positive action upon the immediate surrounding material,” replied Carnacki. “The development must have been going forward through centuries, to have produced such a monstrosity.”
-William Hope Hodgson, noted by his imaginative medium, Carnacki, The Ghost Finder, within “The Whistling Room”
"The true clairvoyant deplores his power, recognizing that it adds a new horror to life, and is in the nature of an affliction. And you will find this always to be the real test."
-Author Algernon Blackwood, recorded through his imaginative medium, John Silence, in “A Psychical Invasion”
This compiled review was carried over from some recent research in which the fictional creation and visible continuation of Jerry Cornelius was revisited to expand on the literary characters original import from author Michael Moorcock’s inception through spurious narrative incorporations, with especial note to the various comic strip or sequential graphic creators adaptations of this interchanging figure. Following from a current portrayal of Jerry Cornelius- alternately described through writer Alan Moore’s League of Extraordinary Gentlemen, wherein the converse figure appears in the sequential escapades recomposed around 1969- there was some extended reflection of Moore’s earlier questionable personification sharing a capitalized designation denoted through the deliberate dub of John Constantine.
As this graphic character has some pronounceable relation to Moorcock’s order inverter Jerry Cornelius, that bears much relevance to their chronic reappearance into sequential strips- or as they are usually bound in North America comic books- this consequent study was conducted to expand upon Moore’s shrewd representation of John Constantine. Introduced within Moore's formative venture in the States as prospective scribe for The Saga of the Swamp Thing.
Mostly this sectioned review delves into John Constantine’s apparent creation and multifaceted impartment spun about in Moore’s re-imagining of Swamp Thing, with selected principal sources that may relate any telling aspects on re-inspection.
As to the eventual handover of John Constantine, this being a matter of extra import, requires ample coverage that to be fully realized requires connected estimable columns.
From this rationale the following parted assay while touching upon further accounts and future plans toward the continuing comic character John Constantine is mostly portioned from Moore’s principal descriptions and relative partnered renderings begun on the writer’s run of Swamp Thing, up to his departure, whereupon Rick Veitch would be awarded the successive direction of the series.
Though it is planned to continue to add to the leading articles presented here with succeeding sections of appropriate regard for each ensuing creator contributed in featuring the side figure in Swamp Thing- unto a further turn upon forgoing and ongoing aspects within the ‘offshoot’ series entitled Hellblazer- the admitted slow process from other part-time positions occupying this reviewer precludes any immediate pieces being punctually conducted. Still, it is hoped at some prospective point to follow up these forward sections so that its heady composition may be connectively informed around a collective, if not entirely comprehensive, body.
The chance calling up or devious resounding of a questionable mage amidst a conglomorate crisis
In dealing with such a crafty comic crew that inventively compiles cumulative accounts describing this graphic magician, any relations regarded are highly suspect as to any concrete foundation or binding testimony set down. As it is we have these dual descriptions-image and text- in interplayed variations that are recorded in a relational way of a certain place and time, yet are taken out of a succesive context even as this conscientious reviewer attempts to re-present them in a correlated respect around the subject being reconsidered.
Realizing this complete limitation, sources are noted to further contextual reference for the reader to actively pursue a more inclusive consideration, as no fictional creation arises separate from societal or temporal considerations. Fictional characters in essence do not exist outside of their surroundings, and as Alan Moore has consciously chosen the comic vehicle to redress conventional conceptions of all that this signification entails- the inclusive substance of the medium is chronically intertwined in the creator’s multiple implications, being actively recovered or inventively transferred through it. Moore’s revolving inundations are recurrently involved in an extensive overturning of the given form, not only of comics themselves, yet the continual charachter casts that are widely drawn upon.Either impressed as internally set within or expressly rendered of a more open view that-one would hope- is eternally released.
That comic books especially are often an ongoing serial concoction that includes an extensive colorful cast – as in the case of the Swamp Thing and aside character John Constantine- that continue to be added to while at the same time retroactively embellished upon by multiple creators, is a especial challenge as to properly sorting the mass of compounded material presented.
About this multifarious muddle is the often exacting outlines of D.C. Comics, whose applied ordering though endeavored as a linear continuity is mostly erratically unwound over the overlapping course of incalculable interchanging figures being incessantly overwritten and re-drawn. Or, as has been boldly emphasized, overdrawn-is contrastingly bound to lead to chaotic confusion toward any resolute accounting held. It is precisely this mire that Moore was in the midst of when writing for D.C. Comics in the early to mid 1980’s that the company attempted to explain/exploit in a connective comic campaign, capitally outlined as Crisis on Infinite Earths.
To the incoming author’s credit and Len Wein’s- with later, Karen Berger’s- editorial backing, Moore brought his incisive craft and intellect towards acutely cutting through this comic morass. However, there are many thorny problems in disentangling the validity of what is finally presented, be it seemingly pointed in introductions and interviews, or shrewdly commingled in the ensuing comic content. The approaching reviewer, even of the most reputed recognition concerning the tarry comic wiles that are wrapped up in this unseemly mix, is ever in constant peril of clearly communicating and risks certain traps that though marked, are difficult to break free of.
Adding to this overmuch material there are abounding clusters or picked passages on my own part put forward that entertains many internal or external sound refrains and visible inferences of past citations to outer speculations that are hereby re-presented. Though some of these foremost references may indeed be over the top-appearing fragmentally emplaced- they have been partially exhumed for their overarching Gothic inscriptions that continue to be further imparted in horror comics, however disconnected they may furtively appear upon first glance.
That Moore is very aware of this pervasive influence is most clear in his apocalyptic subtitle around the larger storyline on his authorial run of Swamp Thing set off in issue #35 as an “American Gothic”. A further classic reference is stated by the author in his introduction to the re-collected volume re-presenting his re-imagining of Swamp Thing from issue #21-27, where he mentions Dracula as a compelling novel example that continues to absorb current readers yearning for that which is horrific, no matter how awful the form described.
Addressing the leading American stanzas otherwise re-aligned within atop ensuing sections that arose in the ‘Deep South’, yet traveled to all points ‘till they reverberated back cross the pond; these rebounding chords are recalled of a familiar fleshy root that has some similar effects to the peculiar tubers dropped and swapped in Swamp Thing, that could be internally mistook. Yet, here again, are near enough recalling some wards out of many revised refrains of taking in that sweet bit o - John the Conqueror Root.
Although these spreading accords and sounded discords may give rise to this composition going far above and beyond the principle character,John Constantine, the supporting excerpts are presented upon a wider immersion to the supposed periphal figure shooting into and about within Moore's intertwining scripts on the resurrected Swamp Thing weaving vital parallels to the contiguous development of the main figure and supporting cast. Raising continuous questions as to if one can be resolved or considered as a stand alone character, even as that may-on the surface-seem to be how they are presented.
I.
The folly of allowing any firm quintessence round a known comic conjurer
“Any action or ‘meddling’ on the part of the experimentalist is tremendously enhanced in its effect if the action is taken within barriers composed of these colours, in certain proportions and tints.”
-William Hope Hodgson, “The Hog”
“This is his wood, I believe—” then stopped dead, because it was no man at all, but merely an effect of light and shade and foliage. He stepped back to reconstruct the singular illusion, but the wind shook the branches roughly here on the edge of the wood and the foliage refused to reconstruct the figure.
-Algernon Blackwood, “Ancient Lights”
Other accounts tell that the peripheral persona accordingly collaboratively arose from artist’s Steven Bissette’s and John Totleben’s input toward drawing upon the rising British front man to be slyly featured as a side figure in the recast of the freshly overturned stateside comic book The Saga of the Swamp Thing that was ripe for a promised revision through Moore’s spirited instigation in 1985.
Arising underground author Moore- receiving acclaim for his meaningful comic strip direction in the U.K.- was expectantly called toward reviving the withered figures of this stateside sludgy series in hopes of infusing the pulpy creature feature towards a more highly evolved composition to renew circulation. The author perspicuously responded by reconstituting the previously formulaic comic substance in unsettled mythological and viable grounds to replant any preconceived stock casts that had been in danger of becoming stale in their slumping state.
Adding to this re-composition of the surrounding figures, the author applied another unlikely occult agent under the designation of John Constantine- last syllable of the conferred surname rhyming with vine rather than bean.
While Moore has credited the artistic team of Bissette and Totleben with the suggestion that the appearance of the furtive character could recall the foxy features of Sting, the author apparently named the contestable comic conjuror.
Moore has downplayed either a direct or discrete resemblance to Sting in a adroit foreword within the first re-collected volume of the comic character’s offset title Hellblazer. Wherein the paternal creator recounts about the popstar’s applied features ever wholly bearing the sure semblance of John Constantine. Rather, the contrary author- stressing the comic corporate overreactions of D.C. and parent company Warner Brothers higher-ups from any undue approximation unflatteringly undertaken- contrarily related a chance meeting with a flaxen trench-coated ‘punter’ being closer to the raffish persona that was - perhaps prophetically-graphically portrayed in the pages of Swamp Thing.
Moore’s prescient remarks could be read as a cryptic counterexample that may be scoffed off by seasoned skeptics as- at most- a chance run in with a emulated look-alike, or as the artist has recorded in a second spoken reencounter, following proof of a pursuant fanatic impersonating the comic mage under the unsound delusion of some physical manifestation.
By curiously looking back into the recorded frames of Swamp Thing, there is the visible likeness of Sting that crops up in a panel within issue #25, page 21, that some contend is a prefigured graphic glimpse of John Constantine.
Yet of what is seen of the character’s paired garments- a colorful stripy shirt under a black jacket- this would seem to contradict the ensuing side figure’s rather blue suited ensemble with white shirt, bold or black tie and ‘trademark’ tan overcoat that by Moore’s following fully figured descriptions from issue #37 on through his term on Swamp Thing are rarely redrawn or totally removed in any subsequent appearances rendered around the marked magician.
Participating artist Bissette retorted in a recent introduction to the recollected series, in which Constantine later dramatically enters in issue #37, that the previous sightseer in the aforementioned issue was- with John Totleben’s finish- their take on the farraginous figure, referenced from the pop stars fine features. That these disordered portrayals are artfully exchanged that despite their distance in time continue to cause chronic confusion and recurrent debate, would suggest that their contested similarities occurring at odd points throughout Swamp Thing belies any fixed inherent relations and instead speaks to pervasively deeper resounds pervasively rung upon certain descents or definite beliefs.
That Constantine has fair features very similar to Alec Holland-who as redescribed by Moore and depicted by Stephen Bissette in their revision of the scientist- who was thought to be the human inside the resurrected Swamp Thing is no resembled coincidence, and rather appears as part of a larger interchange intended by the creators.
Artist Rick Veitch would be called in to shape the vulpine smirking ‘Johnny- come- lately’ as a full-fashioned figure, fleshed out by Totleben’s inks that in turn were aptly layered by Tatjana Wood’s colours; which while appearing of a similar countenance to the Brit pop star is altogether suitably clothed in the aforementioned modest/modish manner, presumably according to Moore’s detailed scripts that are reputed to be quite exacting. While not personally party to the inner circle of creators conducting this supposed switch, or prescient of their secret designs in conflictingly substantiating that the double representations are one and the same, or otherwise derived from some pre-existing leering lad later physically encountered, this perceptive reviewer could comment that these clashing accounts of appearances are part of some complex synchronous relation perpetually unfolding, or perhaps a deviously drawn out version of a visual shell game, that depending on how you look at it could all be construed as a convoluted sting.
As Moore would become widely renowned as a master of the comic remark, adding to his graphic re-conceptions of known sequential strips that were in the U.K. rightfully called marvelous-yet contentiously exchanged in the U.S. as miraculous- his superlative wordplay, that would incisively be brought to re-invigorate certain characters in Swamp Thing, should in all particular usage by Moore though at once singular, not be too hastily taken as relaying any straight intent. To do so is to overlook the author’s variant resonance, which though regularly mistakenly held as an overused comic one-note that is incessantly reapplied in the writer’s insistent graphic reuse, is upon sustained absorption and thoughtful consideration carrying multiple reverberations that continually abound. As such complex comic material is being deftly rewoven through Moore’s remarkable textual tapestries, it is not at any time wise to accept simple surface relations or gleefully denoted descriptions implicitly describing the given reasons that lie behind any of his vast character’s multifarious twists and turns.
Lest of all should one explicitly trust the noted particulars attributed to the shifty figure of John Constantine, who should in every way be seen as duplicitously suspect, with the various details of any self-prescribed origins kept in mind pertaining to his purported fictional inception and continual deceptive handling informed by Moore and re-conveyed through other inventive comic creators.
Such are the inherent dangers in patently perceiving that the outward articles attached to the slippery sorcerer ever followed any clear material path overtly laden with obvious connotations that are otherwise laid to outwardly confront the unsuspecting viewer. Aware of the inherent jeopardy in allowing the creative author or artful interpreters to effectively consecrate any nominal overtone or certain features around John Constantine as stuck off from some actual scarper, or roundly modeled on some mod bloke as a certain joke- with other readably consented opinions toward a resurrected fictional figure being under base consideration- there is considerable cause to further peer into the character’s possible underlying implications.