Item Specifics

Publisher

Vertigo

Main Character

Hellblazer

Genre

Superhero

Signed

No

Item Description

Condition: Most VF or betterFREEBIE FUN PACKS with EVERY package

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John Constantine: Hellblazer (1988-2013)
Lot of 300 issues

John Constantine: Hellblazer #1-294,296-300
Hellblazer Special #1
Hellblazer Annual 1989
Hellblazer Annual 2011

This collection features a near unbroken run of 300 issues of one of the most celebrated comic series of all time, and one of the very few recent titles to go this distance (300 issues).

Slings & Arrows Picks:
1-27, 41-46, 49, 76-78, 81-82, 175-176

All issues are VF or better

Here's what the 2003 Slings & Arrows Comic Guide has to say about _Hellblazer_:

"Despite the fact that no-one calls him Hellblazer, that's the title of John Constantine's comic. He's a seedy English magician and all-around nasty piece of work, who makes a habit of sticking his nose where it's never welcome but always necessary. He was introduced by Alan Moore in _Swamp Thing _37, whimsically because artists Steve Bissette and John Totleben were big Sting fans and wanted a chance to draw him in some fashion. The manipulative, smug, cocky and ever so dangerous enigma kept popping up until awarded his own "mature audience" title, where his features slightly altered and something of a character deconstruction began. Jamie Delano and John Ridgeway's Constantine was no longer suave and inexplicable, and no longer looked or acted like a popstar. Without giving any secrets away, we saw the uncertain underside of a man who was used by, as much as used, magic, and many of his contradictory aspects were established. We learned that his friends tended to die blaming him for their fates, and that they usually hung around after death to remind him of it. We also saw that in the world of the supernatural, bluff and "face" are often more effective than power.

Constantine is no hero. Long-term enlightened self-interest is what makes him work. When he saves the world, its so he has somewhere to live. If he takes down a hunger demon (1-2), or quiets places of mystic disturbance (a platoon of dead Vietnam GI's in 5) it's a kind of pre-emptive strike. If family are endangered (a cult tries to co-opt his nice Gemma in 4, and his estranged father is menaced by a serial killer 24, 28-31), he responds because they're his. And should his own life be endangered, there is nothing he will not do. After all, this is someone who's led a bad life even by his own standards, and he know that there is a Hell. Badly injured by a cult, he accepts a blood transfusion from the demon Nergal, which almost drives him to suicide on his 35th birthday. 9-11 feature elements of _Swamp Thing_ 76's purpose, where his Constantine is used as a sperm donor to create the bog monster's daughter. The oft mentioned debacle at Newcastle, which had resulted in his brief stay in Ravenscar Metal Health Facility, used as a plot McGuffin since before Hellblazer began, was finally revealed in 11-12. Here a young and arrogant Constantine leads an exorcism that goes horribly wrong, with repercussions that impacted on the series for almost the next hundred issues. 1-15 were collected over four volumes by Titan Books in the UK, while the American 'Original Sins' collection gathers 1-9 in color.

Under Moore, and especially Delano, social issues and contemporary politics were inextricably entwined with the character, and in many ways the early series can be seen as a barometer of contemporary British life. A flashback in 3 describes an encounter with Yuppie demons on the day Margaret Thatcher became Prime Minister, and continual reference to poverty and substance abuse make for a truly modern horror experience. Themes featured include ecological trauma (13), child abuse (4), neo-Nazism (6), computer-geeks (7), nuclear paranoia (Grant Morrison and David Lloyd's 25-26), and social neglect ('Hold Me' by Neil Gaiman and Dave McKean in 27). Richard Piers Rayner replaces a Ridgway reportedly ill at ease with the subject matter in 9, offering a lighter style of art. The ambitious 'Fear Machine' occupies 14-22. On the run, Constantine is leading a sedate life with Neo-Pagan Travellers when he uncovers a Masonic plot to use ley-lines to power a psycho-mystic terror weapon. This is where the magician works best, floundering but conquering the massed forces of privilege and entrenched power. Constantine as the Arch Anarchist proving that The People just won't take any crap anymore. Mark Buckingham and Alfredo Alcala take over the art from 18 as Piers Rayner finally succumbs to his struggle with a monthly deadline, and it becomes clear that _Hellblazer_ is fundamentally a writer's comic, and that the series will always reflect their character and interests. The annual, from Delano and Bryan Talbot deals with old Paganism, and introduces the idea that the Constantine family was always involved with magic, as Kon-Sten-Tyn, ancient King of Cumbria, embraces both the new Christianity and the Dark Gods to keep his hold on power. Delano completes his tenure with 'The Hanged Man' (39-40) where Constantine confronts the knowledge he murdered his twin brother in the womb; a child who would have led mankind to a new Golden Age.

The next creative team of Garth Ennis and Will Simpson immediately produced one of the most memorable stories in the series with 'Dangerous Habits' (41-46*). Constantine's life-long smokes leads to terminal cancer, and the convolutions he undertakes to beat the rap are, to many, his finest hours. It's also introduces the closest thing to an arch-foe that the series ever had, The First of the Fallen, better known to us as the Devil. Again the interests of the writer are foremost, as Constantine reveals friends he hasn't killed yet, gets a Northern Irish girlfriend, Kit, and drinking plays a greater part in the proceedings. 47-48 deal with property developers and a haunted pub, and 'Lord of the Dance' (49) is a Christmas tale with a difference as Steve Dillon draws his first issue, John drinks a skinful and saves teh pagan spirit of Drunken Revelry from oblivion. Simpson is back in 50 as the King of Vampires confronts and tempts Constantine, and 'Bad Blood' (52-55) tells of the power elite, English aristocracy, and a sex club where the Heir to the Throne is possessed by the demon who used to be Jack the Ripper.

Dillon joins as regular artist with (57-58), as Constantine stops a scheme where a lab steals corpses to test new firearms on, before a string of tales setting up his eventual showdown with the Devil (59-61). London burns as a mystical plot causes race riots, Constantine's friends start dying again (62-67*), and when Kit leaves him (70, for her own one-shot Heartland) the manner of his eventual victory leaves Constantine a drunken derelict. He's homeless on the streets of London and seemingly helpless prey for the returned and vengeful King of Vampires. Ennis' disgust with British Institutions is obviously as nothing to his feelings for the Catholic Church, and the special highlights this in the tale of a priest who nearly abused and might possibly have murdered the young runaway Constantine. The events of 71 bring him back from the gutter, and Constantine returns to America for a final confrontation with sometime ally, Papa Midnite, and a trawl through the subconscious of the concept of the USA (72-75). Ennis' final tale is 'Rake at the Hell of the Gates of Hell' (78-83) where the deal Constantine made to stave off cancer rebounds on him and those he cares for. Despite the long build-up, the culmination is everything that could be hoped for and a worthy end to a good run. All issues between 52 and 77 are available in three collections.

New regular artist Sean Phillips illustrates a low-key issue from Delano in 84, then, Eddie Campbell's engaging ghost story (85-88) that leaves Constantine stuck in New Guinea. Paul Jenkins, swiftly ends the Antipodean adventures with a tale of property speculators and the Aborigine Dream Serpent (88-89), before returning to London for an uninspired run echoing better issues. There's another new cast of "old friends" (where do they keep coming from?) and a return to pagan magic, fascist thuggery, haunted houses, post-punk drinking, and the return of the First of the Fallen (in 92-96, and again in 121-124). Jenkins' unremarkable tenure ends in 128 leaving Constantine pretty much as the writer found him. Ennis and John Higgins then bring us 'Son of Man' (129-133), a nasty tale of supernatural gang war, before Warren Ellis and Higgins dredge up Constantine's past as he goes after a gang of London mystics responsible for the ritual slaughter of an old girlfriend (134-139*). Issued at this time 'Bad Blood' is set in 2025 and revisits themes in Ennis' tale of that name, but is unrelated. An aged but unredeemed Constantine chafes under the twin leashes of the fascistically moral New Republic and adherents of the lost Monarachy. Meanwhile, the crazed worshippers of Diana, long dead Princess of Wales follow their own insane agenda. Rumors that the Republic have been assassinating the remaining members of the House of Windsor persist, but a bastard heir to the throne is still out there, and die-hard Royalists will do anything to get her. Delano, Philip Bond and Warren Pleece have a last stop at those institutions that annoy them so much in a light-hearted black comedy.

Brian Azzarello is the first non-British writer of _Hellblazer_, and his 'Hard Time' (146-150) has Constantine transplanted to the USA, beginning a life sentence in prison for murder, using his "powers" to swiftly make himself top of the heap. Rich Corben provides the requisite gritty visuals, and Marcelo Frusin drawn 151-156 as yet another girl from his past embroils Constantine in the grubby underside of rural America. Steve Dillono returns for a bar tale in 157 and Frusin for 158-161, a simple tale of ordinary fold snowed in at the local diner, except that one of them is a legendary serial killer and another is our English magician. With 'Lapdogs and Englishman' (162-163) Azzarello finally remembers he's on Hellblazer, not 100 Bullets, in a flashback to John's days with punk band Mucous Membrane, and a scam played on a rich American that will impact upon the rest of Azzarello's time on the series. Although a quality creator, his Constantine is uncomfortable to read, and the unshakeable feeling is that nobody concerned really wanted to be doing this.

In recent months Mike Carey has slipped behind the keyboard (175 to date) returning Constantine to England, and sucked into magic conspiracies that directly endanger his family, and with Dillon and Frusin on the art the series is rapidly improving. Let's keep our fingers crossed.

Recommended: 1-27, 41-46, 49, 76-78, 81, 82, 175-176, Annual 1"

Read this legend for an understanding for how our grading system works:

M = Mint
a
perfect, unread comic. White pages, sharp corners, perfectly aligned
cover, tight staples, sharp square corners, no creases, marks, fading of
any kind - no flaw whatsoever. We have never actually graded a book as
Mint. to Quote Phil Seuling: "Mint is a flavor of chewing gum."

Nm = Near Mint
This
is what most comics look like when purchased new, presuming no
harassment on the racks. Tight staples, glossy cover, sharp corners, no
marks, white pages. Any flaws are HINTS of a flaw. Maybe look very
closely and you the perfectionist will see a miniscule mis-alignment of
the cover with the pages, or the hint of the rounding of a corner. Run
your fingers down the spine and you may feel a crease which isn't
visible to the eye. Those are the kind of things which mean that nearly
all "as new" comics are graded as Near Mint rather than Mint. You will
notice that in our 1000s of listings, we don't use this grade either.
VF-NM is usually our top grade.

VF = Very Fine
Excellent
condition. Sharp, bright and clean. May have minor spine wear or a
small corner crease, or slight surface wear. Often, at first glance a
Very Fine comic will appear Near Mint, although closer inspection will
reveal trace ( but distinct) imperfections. This is typically the best
grade seen for Silver Age comics.

F = Fine
a
nice book, still attractive to look at. An optimistic first glance
might reasonably hope for a VF or even a VF-NM. Staples still firm,
there is at least some gloss, good corners, but closer look reveals yet
more imperfections.

Vg = Very Good
a
solid book. Immediately visible but not dramatic flaws - conversely no
dramatic virtues either. Just clean somewhat worn and solid. Maybe some
creases but no significant tears. Staples still solid. Book still
solid, but clearly worn. 

G = Good
As
VG, but with flaws more pronounced. Creases are a little bigger, maybe a
larger tear, staples still well attached, but may have stress tears
around them. There may be small chips out of the cover. The wear is
everywhere but the book is still sound.

FR = Fair
A
Fair comic is well worn with large flaws, but the book and cover are
still, possibly a piece or two missing from the cover, a staple may be
loose. OK for a reader, a cheap placeholder for a collector.

Pr = Poor
Any
graded book should be complete. A book in POOR has its cover and all
its pages. Things may be loose or waiting to get lost, there may be a
piece missing here or there, but the book is there. Still readable. We
do not give incomplete books a grade. 
Note
that when a grade appears as (VG-F) or something similar, it means the
book was somewhere in-between the two selected grades. And when a
listing appears as (G+), it means that the book was slightly better
than the grade described, or slightly less in the case of (G-). 

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Seller Information

Seller

kochcomics (6650)

Registered Since

03/09/2010

Feedback

99%

Store

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Item Location

New York, United States

Ships To

Worldwide

Returns Accepted

Yes

Returns Policy

Money Back - Returns Accepted within 30 Days (Buyer pays Shipping Cost)