A protracted relation around the contrary comic figure, John Constantine, Part III

III. Moore’s tricky resend in drawing on the apparent cliché given of certain nominally resurrected characters recast around John Constantine: An appropriate comic token exchanged or dreaded reminder of a known curse?

“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.