Why the heck did this get terrible reviews? I will never understand why people tend to dislike this portion of the Azzarello run. I adore it, primarily because Constantine himself explains WHY he behaves "differently" (read: becomes a deviant) in America: he explains the British vision of America as a place created "so we'd always have a place to be young and hard again". The devint communities through which he travels are fascinating studies on the "underbelly of America", and clearly Constantine's behavior would be altered by a different locale and a set of strange circumstances.
I'm not entirely sure that people understood the message behind this segment--Azzarello wasn't trying to rework a well-beloved character, but trying to develop the possibilities in a different set of circumstances. In addition to being an excellent post-colonial critique of the British and American mindsets, it also works in the American brand of Apocalypticism, and allows Constantine to explore a sexual dimension most male comic book readers are probably uncomfortable with--what makes the story (in conjunction with Frusin's art) brilliant is how it invites you into a disturbing story and forces you to confront some of those problematic things that lay malignant in Constantine's persona.
Azzarello's Hellblazer comes to a close I avoided the Azzarello run of Hellblazer for quite some time, having heard some negative things about it. But after giving it a chance, I'm happy to say that this run belongs up there with those of Delano, Ellis & Carey. Sure, Azzarello doesn't have a native's ear for English dialect. For this reason, it makes sense for him to set the main story arcs in America. Perhaps for this reason, he also has Constantine talk quite a bit less, with fewer internal monologues of the sort that earlier authors indulged in. This adds to the disturbing air of mystery, but long-time readers may miss the sharp political commentary, etc.
And don't be fooled by those who were shocked by the sex-club story arc. Those who have followed Constantine from the beginning shouldn't be surprised at his masochistic tendencies and/or sexual deviance. Such things are either hinted at or shown outright as early as Delano's run on the series. Sure, one of the stories in this volume takes that theme a bit further (I won't say how, since as written it's obviously meant to be a surprise), but it's perfectly in keeping with Constantine's willingness to do just about anything to accomplish his goals and eliminate a threat. But because of the lack of omniscient narrative, the reader is expected to draw the necessary conclusions.
This volume follows the story arc formed by "Hard Time" and "Good Intentions." Herein we find out what happened to "Lucky" Fermin's wife, as well as who was behind framing Constantine for his murder and why. In all, this volume does an acceptable job of tying up Azzarello's run on the series and paving the way for Carey's (which I also like very much). Be aware that the previous volume "Freezes Over," while it may seem like an unconnected speed-bump in the story, does contain the short but enigmatic bit "Lapdogs and Englishmen" which ends up being crucial to the conclusion in "Highwater."
Marcelo Frusin does much of the art of this volume, providing visual continuity between Azzarello's and Carey's runs. I like Frusin's work, myself, but art style is a matter of taste. Some might find it too "clean"--i.e. not rough or grungy enough for the subject matter. On the other hand, his representation of Constantine is capable of exuding a fair amount of menace when he wants to.
Azzarello's arc comes to an end John Constantine's search for the truth behind his imprisonment in Hard Time comes to an end, as does his trek across America, in Highwater; the last arc of 100 Bullets creator Brian Azzarello's run on Hellblazer. The TPB begins with John coming across the town of Highwater, and the crew of skinheads that inhabit it. From there on, John comes face tp face with the person behind everything, and things just get plain weird from there (you have to see and read it to believe it). The biggest complaint with Highwater in particular is Azzarello's characterization of Constantine, which finds the chain smoking master of black magic in the middle of things that would otherwise betray the character from previous writer's interpretations. However, you just have to remember that Constantine is every bit the bastard, and Azzarello takes that notion to new heights here. The various art throughout is solid and moody, with regular contributer Marcelo Frusin being the most notable. All in all, Highwater is definitely not the best Hellblazer TPB, and may be too hard to swallow for longtime readers, so proceed with caution.
Ugh....This One Hurts the Eyes.... After reading this, I actually have newfound respect for the poorly-rated Ennis arc of "Hellblazer" that I just finished.
This is vile crap. Azzarello is a good writer...but after reading this I can't help but worry about the guy's mind. It starts out pretty good with "Highwater", which has a phenomonal ending, and then it falls into the last two storyarcs, which aren't confusing and full of holes---but are disgusting and full of irrelevant garbage.
Oh and maybe everyone else knew this...because I certainly didn't until reading this but...John Constantine has a boyfriend? Not just a boyfriend but a boyfriend that he attends deviant sex clubs with?
I understand this is a graphic book, with heavy subject matter---but people like Azzarello (and sometimes Ennis) need to realize that these are still "heroes" to some extent.
Frank Miller made heroes out of some borderlining scumbags in "Sin City"...and by all means Constantine is supposed to be a character that the reader likes, and essentially roots for.
In the last storyarc, when Constantine's burned corpse is found in the sex club---you actually end up rooting for the cops investigating the case and in a lot of ways---hoping that Constantine IS dead.
Azzarello is an excellent writer, and I'm a fan of most of his work---but this book is going on Ebay.
You'll be Dissapointed with this one. The forth and collecton of Brain Azzarello's run on the popular monthly series Hellblazer is finally out.
Azzarello's take on John Constantine(pronounced Kon-Styn-Tyn) is a look back on Alan Moore's take on the character dating back to Constantine's early apperances in Swamp Thing from 1985 up to Moore's exit from that title in 1987.
"Highwater"(#164-167).Constantine heads to a town where he cross paths with a Neo-Nazi organization and the widow of the man he allegedly killed.
The story starts off okay,but the ending will leave you with plot holes.
"A Fresh Coat Of Red Paint"/"Chasing Demons"(#168-169).Two stand alone issues showcasing Constantine,FBI Agent Frank Turro(See HB:Hard Time) and the man who's most responsible for putting him in prison,S.W. Manor.
"Ashes to Dust in the City Of Angels"(#170-174)Constantine "died" in a sex club in L.A.,leaving S.W. Manor crazy with guilt and Agent Turro to bring Manor to justice.
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