Often he exhibits, through differing stories, a multitude of versions of worlds/universes (hence the use of the term “multiverse”) where one or the other attempts to permanently tilt the balance in its favor, and the dehumanizing and even fatal effects which inevitably follow. This underlying conflict is often called “the Eternal War”, and is one of the chief metaphors of all his work that struggle between the individual and society to find a balance which allows for dynamic growth in each without overriding the proper liberties and expectations of either. It is the ever-present tilting of that balance which provides the impetus for the conflict of each narrative, whether outwardly fantastic or not (see, e.g. but, again, can devolve into a mere quest for sensation, novelty, and rebellion for its own sake, unless balanced by Law see his Elric story “The Last Enchantment”/”Jesting with Chaos”). In addition, Moorcock has long made it clear that such concepts as “good” and “evil” are more than a little childishly simplistic, even when it comes to heroic fantasy he is more interested in complexity of character and philosophical shadings, hence “Law” and “Chaos”, neither of which is truly “evil” OR “good”, but CAN be both, depending it is important to strike a balance between Law (which, unshackled, tends to be too rigid and thus stultifying) and Chaos (which represents the act of spontaneous creation, imagination, etc.

Far from it! There are multiple references to the former throughout, particularly such books as “The War Hound and the World’s Pain”, “The City in the Autumn Stars”, “Behold the Man”, “Breakfast in the Ruins”, “The Eternal Champion” itself, “The Blood Red Game” (aka “The Sundered Worlds”)… not to mention the Cornelius books, where Jeremiah Cornelius himself was (at least in one version out of many he has had) apparently attached to the Catholic Church in an official capacity… which may explain his complex ally/enemy relationship with Bishop Beesley and the like as well as having the tell-tale initials, J.C., occasionally called “the Messiah of the Age of Science”, who often sees himself as Harlequin the Trickster, but is honestly closer to Pierrot the Fool). The above makes for an odd view - having read the bulk of Moorcock’s work, he certainly doesn’t avoid the subject of either the god of the Christian religion, nor Christ, nor, for that matter, any other deity where such is germane to what he is addressing either dramatically or thematically.

Michael moorcock eternal champion