The Hellblazer is back in London.
DC's new Hellblazer comic isn't necessarily superior to its predecessor, but it's certain;y much more in line with the classic Vertigo series. The return to England and the presence of a few familiar faces helps give this series a comfortable "back to basics" feel. Just don't expect the same level of scale and supernatural action as Constantine: The Hellblazer.
In that regard, this issue goes over a little better than last month's Hellblazer Rebirth #1. That book's biggest sin was introducing a major challenge for Constantine involving the fate of the entire city of London, only for that dilemma to be quickly and easily resolved. This time, writer Simon Oliver opts for a smaller conflict, one that emphasizes dialogue and Constantine's relationships with characters like Chas and Swamp Thing. The interaction between Constantine and Swamp Thing is frequently a highlight, even if the latter seems to serve little purpose in terms of furthering the book's plot. More compelling are the WWI-era flashbacks that bookend this issue, but what they actually mean for the series is unclear for now.
Former All-Star Western artist Moritat finds a great home with this new series. Moritat's figure work may be spartan, but his figures display a strong emotional range. He really channels the downbeat, even morose nature of Oliver's script. At the same time, Moritat has no trouble weaving in a fantastical quality when characters like Swamp Thing take center stage. Andre Szymanowicz's colors further the moody vibe of the story. The colors also help to distinguish the flashback segments from the rest of the book, bathing those flashbacks in an eerie, foreboding shade of red.
This issue may be quiet, but the top-notch characterization is more than enough to make up for that. Oliver is very pointedly illustrating the divide between the man Constantine was in New York City and the man he is now after returning home. He's depressed. He's practically nihilistic. As much as Constantine has defined himself as a man willing to screw over anyone and anything to save his own skin, there's a strong sense that he's reached the end of that particular rope. Oliver proves that he understands his protagonist. Hopefully the next step is pushing him in new and unpredictable directions.
The Verdict
So far, The Hellblazer doesn't boast the most compelling conflict John Constantine has ever faced. The series is smaller in scope than its predecessor and in no real hurry to tip its hand to readers. Luckily, the strong characterization makes it an enjoyable read all the same. It doesn't hurt that Moritat's distinctive art style is such an ideal match for the series. Given time and room to grow, this book could easily become something special.
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