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3.8 AVERAGE
3.8 AVERAGE
dark
mysterious
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
No
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
dark
mysterious
medium-paced
Plot or Character Driven:
A mix
Strong character development:
No
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Complicated
I thought this was okay, I’ve always liked Constantine as a character.
4.5 stars. Woulda been 5 stars, but I had to shave off half a star for the two Swamp Thing crossover issues at the end. They might be amazing, but I don't have the necessary knowledge of that title to get much out of them.
contains the stories:
Hunger - hellblazer # 1
a feast of friends - hellblazer # 2
going for it - hellblazer # 3
waiting for the man - hellblazer # 4
when johnny comes marching home - hellblazer # 5
extreme prejudice - hellblazer # 6
ghosts in the machine - hellblazer # 7
intensive care - hellblazer # 8
shot to hell - hellblazer # 9
l'adoration de la terre - swamp thing # 76
infernal triangles - swamp thing # 77
Hunger - hellblazer # 1
a feast of friends - hellblazer # 2
going for it - hellblazer # 3
waiting for the man - hellblazer # 4
when johnny comes marching home - hellblazer # 5
extreme prejudice - hellblazer # 6
ghosts in the machine - hellblazer # 7
intensive care - hellblazer # 8
shot to hell - hellblazer # 9
l'adoration de la terre - swamp thing # 76
infernal triangles - swamp thing # 77
"Not for the first time, I savour the liberating tang of pure evil."
I was enticed to finally start at the Beginning of John Constantine after Hellblazer: Rise and Fall.
And it was really good. I love the tone and how sharp it can be with it's political commentary as well as John's attitude and the horror attitude towards the world in which he walks. I love the way it looks and functions, John isn't a hero and it works really well.
I'd say the biggest detractor was the two issues of Swamp thing included which are a jarring shift in tone and style, though John (When he is John) is still himself.
Very good start and I'm geared up for the next volume.
4 Stars/
And it was really good. I love the tone and how sharp it can be with it's political commentary as well as John's attitude and the horror attitude towards the world in which he walks. I love the way it looks and functions, John isn't a hero and it works really well.
I'd say the biggest detractor was the two issues of Swamp thing included which are a jarring shift in tone and style, though John (When he is John) is still himself.
Very good start and I'm geared up for the next volume.
4 Stars/
Takes a bit to get used to the older graphic style but I really liked the writing and the introduction into this sub world of the DC Universe.
dark
mysterious
medium-paced
dark
mysterious
medium-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Original Sins starts as a monster-of-the-week hardboiled horror comic that frankly put me off from its dated and distasteful takes. I've been Twitter-adjacent too long to be anything but annoyed at this particular combination of the abrasive & crass with progressive politics as told through a white lens because so often, that particular perspective hurts and/or excludes those they claim to ally with and then shields itself by claiming that authenticity, realism, or grit excuses the narrative of whatever harm it might cause.
The treatment of characters of color is particularly bad; the only character with agency is Papa Midnite, a Black Haitian voodoo practitioner who helps Constantine stop a plague demon originating from Sudan (in issues #1 and #2, "Hunger" and "A Feast of Friends"), and if it isn't obvious from those set of words alone, a Black dude named MIDNITE (is it because his soul is dark or just his skin?) that practices VOODOO (makes him evil, obviously) is insulting when he is the only Black character to be found for 200+ pages. In the same story arc, there's a wise, old Sudanese shaman that Constantine seeks out to info-dump lore on his pretty blonde head; this shaman isn't a character, he's a requisite plot point. Every other character of color is only paraded on-page so they can be victims of racial violence; Vietnamese (in "When Johnny Comes Marching Home") and British-Pakistani characters (in "Waiting for the Man" and "Extreme Prejudice") are both mentioned and shown <I>only</i> to illustrate that a white character is racist. They aren't given names, let alone a life outside of these moments.
And with a hardboiled hero and structure, that is, with the issue template of a dark, but righteous man who does what needs to be done in an unfair world in order to set things as right as they can be by the end of the issue, I was bored up until "Ghosts in the Machine" (issue 7 of 9), where the disparate gold began to work in unison.
The cast had been established, the overarching plot had been sufficiently set up, and Delano's prose got a bit more punchy, altogether making the last few issues a delicious unfolding of Constantine's mounting troubles as he happened from one bad situation to another. There are still tired tropes in those issues around the depiction of women and gay men, but because the rest of the issues scraped together a strong voice, I was able to better forgive them of being so of their time.
I'm excited to continue the series despite a bad first impression. Knowing the imprint, the publication period, and the way these things go, I'm prepared for more bitter to go alongside the sweet morsels of the laughing magician.
The treatment of characters of color is particularly bad; the only character with agency is Papa Midnite, a Black Haitian voodoo practitioner who helps Constantine stop a plague demon originating from Sudan (in issues #1 and #2, "Hunger" and "A Feast of Friends"), and if it isn't obvious from those set of words alone, a Black dude named MIDNITE (is it because his soul is dark or just his skin?) that practices VOODOO (makes him evil, obviously) is insulting when he is the only Black character to be found for 200+ pages. In the same story arc, there's a wise, old Sudanese shaman that Constantine seeks out to info-dump lore on his pretty blonde head; this shaman isn't a character, he's a requisite plot point. Every other character of color is only paraded on-page so they can be victims of racial violence; Vietnamese (in "When Johnny Comes Marching Home") and British-Pakistani characters (in "Waiting for the Man" and "Extreme Prejudice") are both mentioned and shown <I>only</i> to illustrate that a white character is racist. They aren't given names, let alone a life outside of these moments.
And with a hardboiled hero and structure, that is, with the issue template of a dark, but righteous man who does what needs to be done in an unfair world in order to set things as right as they can be by the end of the issue, I was bored up until "Ghosts in the Machine" (issue 7 of 9), where the disparate gold began to work in unison.
The cast had been established, the overarching plot had been sufficiently set up, and Delano's prose got a bit more punchy, altogether making the last few issues a delicious unfolding of Constantine's mounting troubles as he happened from one bad situation to another. There are still tired tropes in those issues around the depiction of women and gay men, but because the rest of the issues scraped together a strong voice, I was able to better forgive them of being so of their time.
I'm excited to continue the series despite a bad first impression. Knowing the imprint, the publication period, and the way these things go, I'm prepared for more bitter to go alongside the sweet morsels of the laughing magician.
Content Warnings
Graphic: Death, Gore
Moderate: Racism
Minor: Sexual assault, Sexual content