This is the second, and sadly last, run of this iteration of Hellblazer by writer Simon Spurrer and artists Aaron Campbell, Matias Bergara and Jordie Bellaire. I'm really disappointed by this as I thought the first graphic novel, Marks of Woe, was solid return to form for Constantine. It managed to balance the new set of characters and had a cohesive story arc which did its own thing whilst also paying respect to what had gone before in the original Vertigo Hellblazer run.
I have loved this version of Constantine.
In the same way Delano offered social critique and a dark commentary on Thatcherism and the 80s, this Hellblazer is very much of the moment and all the more searing in its indictment of society. The overarching theme running over the trade is that change is occurring and can be unsettling but hatred leads us nowhere.
The first story, Britannia Rule the Waves, is a dark story about the fishing industry and how a lowly fisherman makes a deal with the devil (old Constantine) that leads to a monkey paw situation. In the case of Hellblazer, there's always a monkey paw/hubris cautionary tale but this is a great political criticism about how the French are blamed for diminishing catches as we exhaust the fishing supply.
The second story, The Favourite, features a British Prince with a prediction for very young ladies who is given a boon with which to redeem himself in front of his mother's esteemed and privileged eyes. It's doesn't go well as an offer of a special steed goes awry and a monstrosity is released.
The final story arc, This Sceptured Isle, sees the young and old Constantine battle it out and it gets all magical and weird. As usual, the fallout is tragic as Constantine loses another colleague but isn't that always his way?
I loved the return of the Constantine we all know and love and in the hands of writer Spurrer, we got a little of what made the original graphic novel run so phenomenal. The artwork is varied in style but stunning in all its forms. We have the darkly drawn panels with sketchy art from Campbell which creates a pervading sense of dread but then we also have Bergara and Bellaire giving the book a more comedic look. The shift in art style and colours is never jarring and is thematic to the stories.
I'm sure Constantine will return again but until then, it is sweet sorrow as we part on such a high.
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