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Raindog

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About Raindog

  • Rank
    Constanteen PG15
  • Birthday 09/14/1979

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    http://www.apostrophepress.com

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  • Gender
    Male
  • Location
    White River Junction, Vermont
  • Interests
    London, Comics, Loud Music while Drunk, Nick Cave and the Bad Seeds, Tom Waits, Martin Millar, Neil Gaiman, Warren Ellis, 50FootWave, Kristin Hersh, Elvis Costello, Raymond Chandler, Kurt Vonnegut, Sex, Film Noir, Futurism, Jim White, Jim Mahfood, Eddie Izzard, Hellblazer
  1. I've always liked Sean Murphy's approach to an aging Constantine. Shame he got some of the worst scripts to draw. City of Demons still pisses me off whenever I think about it...
  2. I'm going to chime in with a small positive: I liked that Constantine smoked himself back into being (even if it sounds damn stupid to just say, it was a very cool visual). When the title of the final storyline was "Death and Cigarettes" I though it was a stupid, vapid phrase. "Death" because this is a horror title's end, and "Cigarettes" because… well, it's Constantine, right? Can't just say "Death and Trench Coats." Used "trench coat" in the title of a storyline barely a year ago. So (and this might be the soft bigotry of low expectations) the fact that cigarettes actually had an important role in the story was a sublime little moment. Having first read Gemma in Ennis' run and really liking who she became in Mike Carey's hands, seeing her reduced to this trembling, stuttering shadow of her former self seems really unfortunate. On one hand, she's the most obvious symbol of all Constantine's failures, and not even his occult ones, just his simple failure to be a reliable family member for his niece. On the other hand, Milligan doesn't seem at all interested in exploring her as more than a paper-thin persona. Milligan's women in this story, from his cheap fat jokes at the expense of Angie, to the abuse heaped on Gemma, even Epihany (who I like) are thin shadows of real people. Constantine's final departure from Piffy seems ridiculous, too. I don't know if Gemma's magic bullet kills Constantine and he disappears and we see that for John hell is really being an ordinary old codger in a Liverpool pub, or if it's mean to be a kind of Finnegan's Wake wherein the whole series has been the fleeting thought of an old man, or we're seeing John's future as having escaped his fated death but now is just a lonely old man and we're catching him in the moment of realization of what an idiot he's been, or (as mentioned previously) that the bullet destroys "magician" Constantine and we see the 60-year-old man he really would be. Maybe it's just a cruel joke at his expense or a curse. Either one is kind of appropriate if we look at John turning his back on everything good in his life in another "nobody hurt anymore" bout of self-pitying avoidance that finally bites him right on his old arse. Or maybe it's a little meta commentary. He winds up an old man surrounded by hipsters, trapped. Just another undying piece of intellectual property... and nothing makes you show your age like never growing old. Hellblazer is dead. Long live Hellblazer.
  3. Thanks Rogan, the worst part is that it's not even likely to be an ending, just a stopping point, y'know? There's been a lot of comic blog posts I've read about Hellblazer's cancellation, and I think the central thing everyone's essentially getting at is how its a shame that there's no build up to this. There's no valedictory lap for John or the title, no big finale. Just a useful issue-number coincidence.
  4. It's the terrible resolution to his arcs that have driven me mad. The plots where even if there's a good set-up, as I thought the insanity/thumb cutting issues did, the resolution is often "Well, lets not do that." When I've dropped Hellblazer in the past, it's always been a matter of finances - comics or food. Reading these last few issues has been the first time I've looked at Hellblazer as some weird obligation. Looking back over the past dozen issues or so, I like the rare times when Milligan tries to look at John as the aged former rebel. When he tries to pull out the punk duds or walks past a 99% rally at the beginning of the latest arc. But it never seems to really go anywhere.
  5. Eh. *cough* Hello. Came to (re)join as the end is nigh for John. I first ran into Constantine in the Books of Magic trade, and years later got properly introduced to him with Ennis' "Fear and Loathing" trade (I couldn't resist the title). I didn't start picking up the individual issues until Azzarello's "Lapdogs & Englishmen", which I thought was an awesome little two-part con. I enjoyed how far Azz stretched the concept of what JC could be, and it really hooked me on Constantine and made me go back to see what had come before. I kept up all through Carey's run, loved the opening to Dina's first story (c'mon, that t-shirt gag was great... and then the rest of the story happened, and even Manco's art couldn't keep me interested). I couldn't afford most of Diggle's run, but picked it back up with Milligan's stuff. Here we are
  6. Fascinating, and very, very cool. Thanks surrealist and Andy
  7. Ask Andy? Ah. Good idea.
  8. Think he'd sell it once he's done? Seems like it'd be a mint.
  9. A last question. A Brixton flat? I like the idea of John back in London, living the dirty streets, and I hope the book tackles some angry political, topical stuff... but Brixton? What happened to the asylum he owns? Or is the rent in London even higher than I thought?
  10. "War... What is it good for?" Yeah. I'm tempted to wager a drink if someone can explain what, exactly, happens on that next-to-last page. Couldn't we have just had a half-panel "War" Constantine on the end? Ditto for the dead celt who glows only in distance. Really had to look at that twice. I liked the "trail of smarties and a care bear" line, sounds a little like Diggle is paying a bit of homage to Ellis' run since he's using Ellis' character, but it's a little like a joke that didn't come off quite right. A brain-fucked politico and a victim who shoved himself headfirst down a choked chute? Ellis would've made that fuckin' funny. Still. A story so far I'm quite enjoying, even watching the lead gang member dimly realize he's being framed. Hard to judge right now. But if some of those "3 of 7" stories had a cover this gorgeous, I'd have no problem at all buying them. I liked Bermanjo before, but this was just stellar! Speaking of art, I'll forgive some of Manco's narrative confusion for the neat bits behind the lodestone. "Hammer Horror!" "Dawn of a new era!" and demonic cereal characters on the page before. "No smoking while reading this magazine!" ...hysterical! Should be printed on the cover of every Hellblazer.
  11. To me the second half was done perfectly well, and while the first part was probably a bit thin, it would've been stretching things a bit to get it all done in one. I'm not a long-time reader of Hellblazer. I've picked up a couple of Ennis and Azzario (sp, sorry) trades, but I didn't really stick with the book until the last arc of Brian's run that led into Carey's. I've heard enough about how John punted bits of himself away into golems and what not that I understand the loop fear happening, but I'm giving Diggle the benefit of the doubt that we're not just going to see Constantine get all full of himself just to fall. I'm very curious about that dialogue from the doc at the end of the flashback. Who did he want to talk to? And like many people pointed out, that John realizes his sense of control is, i think he said something like "stupid, blind arrogance" just before he lights up and feels all devilish... all that has very intriguing possibilities. Besides that, what if it wasn't his guilt he tossed off a cliff? Conscience, maybe? (Fuck I took forever to get to this. #234 probably out soon.)
  12. And all this talk about Delano brought this line by an annonymous hotel employee to my attention (bugger... forgot the page number. It's from when we first meet the house dick who's suspicious of Constantine...): “Jamie from reception said he asked for his old room back...” Was that intentional? Is Andy making a reference to “bringing Constantine back”? Certainly, as people have put right on the fuckin’ nose, John’s been dragged around by the plot without even having time to try and do something. And for all the wonderful little moments like in the end of down in the ground, it don’t fit for the character. Oh, and what’s with the arse tattoo?
  13. Raindog

    Hellblazer #231

    Hello all, 'nother first time poster: Thought this was a great one-two punch of a story, and, along with Manco's magnificence, how about a mention of that great Bermejo cover? I haven't always loved his stuff, but I thought this one rivaled Bradstreet's in brilliance (and use of cigarettes). I think what was so great about this story was the simple little way John screws over Karen for his own benefit. Lots of lip service is made to Constantine being a bastard when he's more often than not just gruff and refusing to suffer fools. Here he knows full-well she's going to be screwed (actually split in half by a spiked tenticle, maybe not, but anyway...) and he mocks her with his gains from the whole thing right to her face. Personal nit pick: Does Pearly's mocking mean that, if John's not going to tuck his shirt in ever again, he'll at least wear a different tie now and again? The coat is a classic and Manco draws it fantastically, but for cryin' out loud, John's clothes are getting as regimented as superhero tights.
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