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.