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

II. A flip side straw man or perverse boy blue? Somewhat akin to a consanguineous comic cousin or rather mistaken as some indigo-eyed devil? Wherein the seedy and spurious trickster of uncertain origin and amorphous states once again is overturned moreover through the wily writer.

"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”