Those who have been pining for a return to classic Hellblazer after Azzarello's decidedly different approach to the character should be quite happy with Carey, who is turning in work every bit as good as Ennis did. In fact, the book has a flavor not unlike that of Ennis's run, helped along by having Steve Dillon back on art chores. The only downside is that those who aren't fans of the character from way back may be quite lost, as Carey isn't going out of his way to provide information about the characters and history, rather diving right into the atmosphere and the plot that drives the story. It's a good read for anyone who has been a Hellblazer fan, but may be a bit impenetrable for those who are just following a creator they liked over from Lucifer.
Mind you, though I'm not the biggest Hellblazer fan in the world, I do know most of the characters and continuity that's being referenced in this issue. John's love for his niece, and the notion that she's in some kind of trouble, resonates for me because I've seen the two of them together and know that relationship. John's actions to save his newfound friend have meaning for me, because I know that he has demon blood in him. I don't quite get the slang that John uses, but I can make it out from context. It all contributes to the greatest strength and weakness of the book, the feeling of being connected to a larger history and the inaccessibility that comes with it.
Carey has made his name on writing a bastard with style, and while Constantine may not work on the same scale as Lucifer, that central characterization definitely applies to him. His angry words to his brother-in-law or his smart mouthed dismissal of Angie are vintage Constantine, and Carey definitely gets the style that he's supposed to have, a sort of world-weariness combined with a sarcastic streak a mile long. I also found the plot here, a strange bit of nasty magic, to be exactly the kind of thing Constantine would get involved with, and it fights right in with Warren Ellis's take on the character, and to a lesser extent Garth Ennis's as well.
Helping to give that old time feeling to the book once again is Steve Dillon, with inks by Jimmy Palmiotti, and the artwork looks great. I'm ready to see Constantine lose the beard, as it just looks wrong, but it makes sense in context and definitely serves to disguise his appearance. I also love that Dillon can convey menace and danger with mundane scenes, giving the innocent and sweet-looking Gladys a sinister air or playing up the quick brutality of the violence at the end. Once again, Loughridge's colors look a little rough, too monotone in their application, which sort of helps to establish the mood and atmosphere but also serves to make the art look a little drab, which just isn't right.
Fans of John Constantine classic should heed the call; it's safe to come back, and you'll not find any of the crime/con man style that Azzarello brought to the book. And although I enjoyed Azzarello's run on the title, I can't begrudge the fans their desire to see a more classic rendition of the character... I'm just hoping that the book will become a little more accessible as it moves on, so that any fan with an interest can get onboard, not just fans who have read a lot of Constantine already.
