Hellblazer: The Devil You Know by Jamie Delano and others

Hellblazer: The Devil You Know is the second trade collection of the John Constantine- Hellblazer title. This is an interesting volume to read, because it is a mish mash of stories, collecting issues 10 through 13 of the series, plus the first annual, and The Horrorist miniseries. What makes this collection a diverse read is that, while Delano wrote all of the main stories, the tone shifts heavily between regular issues, the annual, and the miniseries. They do not flow together, and feel like different animals entirely, which isn’t a problem, but because of this, it seems to read better if you take breaks throughout your time with the book.

Overall, the stories were all well written, but that is to be expected, and as such, not a surprise. Even the annual, which I didn’t care for, was still a strong piece, and my only issue with it was I didn’t care for the events being told, no matter how well it was put together. The art was done by a number of different artists, but of course, the art that stood out most was David Lloyd’s work on The Horrorist. Lloyd’s work on the book perfectly depicts numbness and detachment,  one of the key themes of the story.

The book opens with what should have been the conclusion of the first volume; Constantine manages to get back into his body after the Swamp Thing takes it over, and we learn what happened to the Resurrection Crusaders’ plans to recreate another immaculate conception after Constantine taints their ‘Mary’. Overall, I thought this issue was fantastic. It had the payoff I wanted after reading the first volume, and at the same time, sets the scene for the next few issues, as a demon taunts Constantine with his past.

The next issue is a backstory issue that really helps flesh out the character of Constantine: ‘Newcastle: A Taste of Things to Come’. It shows a young, cocky Constantine and his friends planning on dealing with a supernatural event, and due to Constantine’s assumptions on how much control he could have over supernatural forces, leads to the eventual death of all his friends, and the death of an innocent girl. The well-executed story and pacing puts this pretty high up on the pile of great Hellblazer stories that I have read so far (right up there with the delightfully fun “Dangerous Habits” storyline issue where Constantine manages to trick a demon into drinking holy water disguised as beer).

After that we have the wrap up issue to the Nergal overarching storyline that started in Original Sins, where Constantine manages to deal with this demon, who was also a key instigator in the Newcastle affair. This issue, while a key plot point, was just a story, and not much really needs to be said about it.

The next issue, however, is another true highlight. ‘On the Beach’ is a one off story that starts grounded in reality, and hauntingly slips into an uncomfortable, dark, dream state. It starts with Constantine sitting at the beach and as all around people play. There is an undercurrent of dread, as a nuclear power plant sits across the bay from everyone. The beach patrons joke about the radiation they must receive when they work there and how it doesn’t affect them, while others liter and give off a laissez-faire attitude towards the environment.  Suddenly, there is a blinding flash as the power plant goes up, and birds begin to drop from the sky.  From here on in, the story takes a dark turn, and maybe it was just my mindset when I was reading it, but this was one of the true horror comics that really created the sense of dread and despair in me that horror comics are meant to. The rest of the issue shows Constantine living on the nuclear wasteland of the beach, building a life there, having deformed (animal) children, etc. For fans of horror comics, this issue stands as a strong example of how to do it right. This issue, along with the ‘Newcastle’ issue, are stories I wish I could rip out of the book and hand to strangers, as they are stories that deserve to be read, and, while they at least are still around in this trade, are not on lists of great literature or pop charts, and sadly are going to remain slightly obscure until the day they drift into the ether. If you are reading this, do yourself a favour and try to read these issues somehow, at some time, they are well worth the effort to track down.

As far as the annual goes, there’s not much I feel worth talking about. It’s mostly set in the medieval past, except for a few moments where Constantine dwells on his time in the asylum, and we have Merlin’s head talk a lot. So onto the last story in the collection instead.

The Horrorist takes up the vast majority of the book, and tells a story about a numb, unfeeling and uncaring Constantine who has lost touch with humanity. He’s lost his sense of love, wonder, and compassion, and it shows with each interaction he has as he plods across the States looking for a ‘horrorist’. A ‘horrorist’ is a person who suffered unbearable pain and suffering when alive, and now that they have passed on, they spread this pain to others in an act to try and balance out their suffering with others lack of (or at least, that is my interpretation). This sadly leads to these people going crazy, and sometimes killing people in their lives. Constantine eventually finds the spirit and through helping it deal with its pain, Constantine is once again able to feel for others.

 I enjoyed ‘The Horrorist’, and it takes a very different tone than most other Hellblazer stories. I can’t say it was my favourite, but the art and concept were enjoyable and it was interesting to see this in depth character study of Constantine when he is at a low point as the horrors he has confronted have finally worn away his ability to feel. The only thing off putting about this piece is where it’s placed in relation to these trades. This story came out in 1995, well later than the rest of the book, and even chronologically in Constantine’s life, doesn’t feel like it fits well. Constantine goes through a lot of worse things coming up, and it may have made more sense inserting this story in a later trade. That being said, without it, this trade would have been fairly empty, and the way the story is written, it’s so self-contained that it isn’t painfully jarring here, as it hypothetically could go anywhere in Constantine’s timeline.

This isn’t a collection that I expected much from. I knew that it didn’t contain one singular narrative, and I went in knowing that there would be very little flow between the main issues and the additional works. That being said, it surprised me by containing some great stories that really stand the test of time. At this point, my only wish is that these new editions of Hellblazer trades would feature something more than new cover work, such as introductions or histories from the people that helped bring these stories to life. John Constantine has such a rich history, and passionate fans that they just scream for the need for a caring hand to put together well constructed editions. However, don’t let that stop you from reading them if you are thinking about perusing these stories, as the stories themselves are what make this series so great.

Indestructible Hulk # 1-5 by Mark Waid and Leinil Yu

I’m kind of a borderline Hulk fan. For the longest time I didn’t really see why he was anything more than a throw away character, but slowly, Hulk has been seeping into my comic reading, and I’ve grown to quite like him as a character. The first real appealing moment for me was Jason Aaron’s recent run on Incredible Hulk, where he had Dr. Bruce Banner and the Hulk entity spilt into two beings, with the story told from the Hulk’s point of view. The Hulk was finally free to be happy, and Banner had gone completely mad scientist. The second time I connected with Hulk was reading Hulk Grey by Loeb and Sale, as they recounted Banner’s early days as the Hulk and what it cost him and who it impacted (and Sale’s art was to die for). The third Hulk story that I read and loved, and finally cementing my appreciation for the character, was an old storyline of Peter David’s where the Hulk becomes a Vas Vegas casino leg breaker, and while a bit cornball, was fun and entertaining. 

All of this to say that I recently decided to give the new Indestructible Hulk series a try.

The fascinating thing about Hulk is how new writers are able to take a character that could easily be a one trick pony and find something new to say about the character. Waid’s new spin on the character is that Bruce Banner has finally come to terms with the fact that the monster is part of who he is, (as Waid puts it “Being the Hulk is a chronic condition, like diabetes or cancer or M.S. The secret to living with it isn’t obsessing over a cure. It’s managing what exists.”), and he needs to use his time as Banner to do good. To accomplish this, Banner makes a deal with S.H.E.I.L.D. to get state-of-the-art lab space and funding in return for them being able to use the Hulk as weapon when they require it. As a premise it’s brilliant, and it got me extremely excited and expectant of great things to come.

The first issue is mostly a conversation between Banner and Maria Hill of S.H.I.E.L.D. about Banner’s proposal, and while there is also a large action scene, it was the discussion setting up the premise of the book that sticks out for me. So much so in fact, that when I read references to the action scene in later issues I didn’t even remember it happening and worried that I had somehow skipped an issue.

The second issue was a solid little story that further defined what Waid wants to say during his run on the book. The main feature is Banner prepping a new invention and Tony Stark butting heads with Banner, with Stark realizing in the end that Banner is much more brilliant that Stark ever gave him credit for. The issue is a stand out for me, especially as it shows Stark’s easily shattered confidence in himself, as he must at one point excuse himself from Banner’s presence and, looking at himself in the mirror, reminds himself that at least he’s still rich even if he isn’t the genius that Banner is. It’s interesting that Stark has really taken over the role of most brilliant mind from Reed Richards, and this book suggests that they could easily take that title away from him and shift it once again, onto the head of Bruce Banner.

The rest of the issues build a bit more on the grand plan of having Banner atone for the damage he wreaks as Hulk, but mostly just turn into a bunch of issues of Hulk smashing things. The action sequences are well choreographed and rendered by Yu, but for me, they didn’t excite me nearly as much as the first two issues did simply because it’s the cerebral part of Hulk stories I enjoy more than the all-out action scenes.

The first few issues suggested that Waid had a very focused story he wanted to tell, but looking back on issue one through five as a whole, I feel that there are elements introduced that don’t really pay off because there simply isn’t room to tell those stories plus have the Hulk let loose. The elements that I currently feel have been left on the back burner will hopefully be dealt with soon, so I’m definitely in for a few more issues to see if the title delivers what it suggested it was going to. The big storyline I want to see continued is the group of scientists that have been gathered to work under Banner, as they clearly all have interesting backstories and some have potentially nefarious reasons for wanting to work with Banner, and yet as soon as they are introduced they are left alone until it’s convenient to mention them again.  The other element, is the introduction of R.O.B., a floating robot orb that would probably be at home in another Portal sequel, that has been put in place by S.H.I.E.L.D. to monitor Banner and the Hulk, and seems to mostly be used by Waid as a running gag, as it is destroyed over and over again. As humor, I felt if fell a bit flat, but if there is another reason for it existing, then I’m all for that being revealed soon.

Indestructible Hulk has the potential to be a great series, and right now it’s keeping me engaged enough to stick around, especially since Walt Simonson coming on art duties for a run is just starting, so I’m in this for at least a few months more. I do really hope that the initial premise that was so well laid out in the first issue really blossoms into something great, but for now, it’s going to be a matter of waiting and seeing.

Hellblazer: Original Sins by Jamie Delano and others

Hellblazer: Original Sins, collects the first handful of stories from the John Constantine: Hellblazer series, with an added bonus of a two issue Swamp Thing story guest staring Constantine, during Rick Veitch’s  run on the series.

This is a book I have wanted to read for a long time, ever since first reading the character in Neil Gaiman’s Books of Magic when I was a kid. Since then, I’ve picked up a few trades (predominately, Garth Ennis’ first story arc 'Dangerous Habits', the basis of the Constantine film starring Keanu Reeves) and a spattering of floppies I’ve managed to track down at comic shops during my travels. He’s always been a fascinating character. He’s a true anti-hero with a British sense of wit, who always manages to stay ahead of the worst of it, often at the expense of those who trust him and count him as a friend.

This first trade, while containing a few different stories, mostly deals with this theme; the sacrifice of others to reach Constantine’s goals and the psychological costs associated with these sacrifices. In this regard, writer Jamie Delano and main artist John Ridgway do an outstanding job. Constantine’s tortured inner monologues and the pain in his face when he is confronted with his past gives the reader a real understanding of the character, and helps ensure Constantine isn’t just seen as a psychopath, instead adding a depth of humanity to Constantine.

The collection contains six stories spread over eleven issues. The first was my favourite, and does a solid job of introducing readers to what the character is about, as Constantine cleans up a mess let loose by a friend. The next few are all solid stories as well, and really build upon the mythos of Constantine, showing the range of stories that can be told. The only story that might be a touch weak is the final story taken from the book Swamp Thing, as it expects the reader to know a lot about what was going on in that title at the time. Having never read the Veitch run on Swamp Thing, I didn’t fully understand a lot of the motivations of Alec Holland or Abby except for what was inferred in the story or what I knew from Alan Moore’s run, making me feel like I was only getting a small glimpse into a world I wasn’t privy to.

Speaking of Alan Moore’s run on Swamp Thing, even though this book is a decent introduction to Constantine and his world, there is a lot of references to his actions in the Swamp Thing title from when Moore introduced/created John Constantine, and the majority of the ghosts Constantine is haunted by stem from events in that title. There is also an extended sequence where he visits the former apartment of an old friend that lacks exposition, and thus loses a lot of its power unless you have read the Swamp Thing 'American gothic' storyline.  

Overall, this is a great book, and worth the read if you are into occult comics or British anti-heroes. It sets the series on the right track, and while it reads like something out the 80s with its slow burn storytelling, it’s a refreshing change of pace compared to the high octane books that come out now, and it strikes a good balance of never being too compressed, nor a bloated uncompressed arc that drags out for the sake of filling a trade. If you’ve read any of Delano’s wonderful run on Animal Man, or loved Alan Moore’s run on Swamp Thing, this is a book you’ve probably read already, but if not, you’d be doing yourself a favour to move it up to the top of your pile.