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

Intro: The comic shuffle around the nondescript non-hero or novel nonentity that is nonetheless no identical nonesuch; namely that nocuous noncompliant -John Constantine. A extensive review split into 5 posts herein.

“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.

While the collaborative contemporaries involved with Moore’s ingressive formation of John Constantine within Swamp Thing are in measured content throughout this recounting accorded less space, the matter of their importance is hopefully equally emphasized for their vital contribution. Though Moore is placed at the forefront here, and is often supposed to have single -mindedly fathered the comic creation of the enigmatic John Constantine, there is a conscious awareness of this sole fallacy and throughout this review is intently proposed around the corresponding make-up of the figure involved by many ‘hands’.

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.

The motivation ranged within this composition is not to dilute or dispel the multifaceted figure of John Constantine down to any clear cut cause through a precise examination.Nor is it otherwise plotted to go too wildly astray. The various references culled together seeks to open up the myriad creative matter closely connected, wily covered, or indirectly cast about the dubitable comic magician and other artful collaborators as a form of curious interplay, as opposed to any definite categorical essay.

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”

Often proclaimed to be a model of the musician called Sting- with nods to his double aspects as an actor in his ‘ace’ debut within Quadraphenia (1979) and pinnacle portrayal turned about in Brimstone and Treacle (1982)- author Alan Moore’s incipient comic book character, John Constantine, is also told to have sprung out of the creator’s head, or mayhap, was unconsciously prefigured.

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.

This leads some to believe that the foreshown casual doppelganger is a decided cameo of Sting, conspicuously dropped in prior to the pronounced arrival of the otherwise clothed comic conjuror.

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.

That each active creator of the comic series has a say in how Constantine came about speaks to how figures are often subjectively seen or uncertainly sighted and, particularly by Moore, would seem to have been further interrelated in the alike fair features of many of the series characters sharing similar outward traits that cast uncertainty concerning paired coincidence or intentional inherent accordance.

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.