By Jamie Delano, Richard Piers Rayner, Mike Hoffman, Mark Buckingham, Alfredo Alcala & various (Vertigo/DC Comics)
ISBN: 978-1-4012-3519-2 (TPB)
Youâ€™ve either heard of John Constantine by now or you havenâ€™t, so Iâ€™ll be as brief as I can. Created by Alan Moore during the early days of his groundbreaking run on Swamp Thing, John Constantine is a mercurial modern wizard, a dissolute chancer who plays like an addict with magic on his own terms for his own ends. He is not a hero. He is not a nice person. Sometimes though, heâ€™s all there is between us and the voidâ€¦
Given his own series by popular demand, he premiered in the dying days of Reaganite Atrocity in the US but at the height of Thatcherite Barbarism in England, so as weâ€™re singing the same song now – but with second-rate Britainâ€™s Got Talent cover-artist wannabes as leaders – I thought Iâ€™d cover a few old gems that might be regaining relevance in the days aheadâ€¦
In 1987 Creative Arts and Liberal attitudes were dirty words in many quarters and the readership of Vertigo was pretty easy to profile. Jamie Delano began the series with relatively safe horror plots, introducing us to Constantineâ€™s unpleasant nature, chequered history and odd acquaintances but even then, discriminating fans were aware of a joyously anti-establishment political line and wildly metaphorical underpinnings.
Skinheads, racism, Darwinian politics, gender fluidity, plague, famine, gruesome supernature and more abound in the dark dystopian present of John Constantine – a world of cutting edge mysticism, Cyber-shamanism and political soul-stealing. In Delanoâ€™s world the edges between science and magic arenâ€™t blurred – they simply donâ€™t exist.
Some terrors are eternal and some seem inextricably tied to a specific time and place. The Fear Machine (available in paperback and digital formats and collecting issues #14-22 spanning December 1988-September 1989) is an engrossing extended epic which begins in â€˜Touching the Earthâ€™ (by Delano, Richard Piers Rayner & Mark Buckingham) as the wizard goes on the run thanks to the tabloid press pillorying him as a sex-crazed Satanist serial killer.
Forced to flee his London comfort-zone, Constantine is adopted by neo-pagan Travellers and journeys through the heartland of Britain. Apparently, these dangerous non-conformists are responsible for all the ills plaguing society of the 1980s and 1990s, just like fat people, the poor and immigrants are todayâ€¦
Going native amongst the drop-outs, druggies, bath-dodgers and social misfits, Constantine buddies up with an immensely powerful psychic girl named Mercury and her extremely engaging mum, Marj, but even amidst these freewheeling folks he can feel something nasty and unnatural building. The first inkling occurs in â€˜Shepherdâ€™s Warningâ€™when Mercury discovers an ancient stone circle has been fenced off by a quasi-governmental company named Geotroniks. It seems someone is trying to shackle Mother Earthâ€™s circulatory system of Ley lines.
Meanwhile elsewhere, people are compelled to kill and mutilate themselves while Geotroniks boffins watch and take notesâ€¦
Mercury is abducted when police raid the Travellersâ€™ campsite in â€˜Rough Justiceâ€™. Imprisoned in a secret complex where the mindâ€™s limits and the Earthâ€™s hidden forces are being radically tested, she witnesses horrors beyond imagining and cutting-edge science. If only the subjects and observing scientists can be persuaded to stop committing suicideâ€¦
Mike Hoffman illustrates fourth chapter, â€˜Fellow Travellersâ€™ wherein Constantine heads back to London for help in finding Mercury and uncovering Geotroniksâ€™ secrets. He gains one horrific insight when the train heâ€™s on is devastated by a psychic assault which forces the passengers to destroy themselvesâ€¦
With Buckingham & Alfredo Alcala assuming the art duties, â€˜Hate Mail & Love Lettersâ€™ begins two months later. Marj and the travellers are hiding in the Scottish Highlands with a fringe group called the Pagan Nation, led by the mysterious Zed – an old friend of the wily trickster. Constantine keeps digging, but across the country, suicide and self-harm are increasing. Society itself seems diseased, but at least the Satanist witch hunt has been forgotten as the bloody pack of Press vultures rage on to their next sanctimonious cause celebre â€¦
Touching base with his precious few police contacts and pet journalists, the metropolitan mage soon stumbles into a fresh aspect of mystery when a Masonic hitman begins removing anyone who might further his enquiries in â€˜The Broken Manâ€™. Constantine saves journalist Simon Hughes from assassination in a particularly exotic manner guaranteed to divert attention from his politically-damaging investigations, and discovers new clues. It all points the psychic horror and social unrest being orchestrated by reactionary factions of the government employing a sinister and all-pervasive â€œOld Boy networkâ€â€¦
And somewhere dark and hidden, Mercuryâ€™s captors are opening doors to places mortals were never meant to goâ€¦
As the Pagan Nationâ€™s priestesses work subtle magics to find the missing girl and save humanityâ€™s soul, a disgusting, conglomerate beast-thing is maturing, made from fear and pain, greed, suffering and deep black despair: provoking a response from and guest-appearance by Morpheus, the Sandman, which prompts Constantine, Hughes and possibly the last decent copper in London to go huntingâ€¦
After picking up another recruit in the form of KGB scientist Sergei in â€˜Betrayalâ€™, events spiral ever faster as the Freemasons – or at least their â€œMagi Caecusâ€ elite – are revealed as organisers of the plot to combine Cold War paranormal research, economic imperialism, divisive Thatcherite self-gratification and the Orderâ€™s own quasi-mystical arcana to create a situation in which their guiding principles will dominate society and the physical world. Itâ€™s nothing more than a greedy, sleazy power-grab using blood and horror to fuel the engines of changeâ€¦
All pretence of scientific research at Geotroniks is abandoned in â€˜The God of All Godsâ€™ as Masonic hitman Mr. Webstergoes off the deep end, ignoring his own Lodge Grandmasterâ€™s orders to abort the project amidst an escalating national atmosphere of mania. He is determined to free the fearful thing theyâ€™ve created and unmake the modern world at all costs. Constantineâ€™s allies are all taken and the wizard is left to fight on alone.
Knee deep in intrigue, conspiracy and spilled guts, humanity is doomed unless Constantineâ€™s band of unhappy brothers and a bunch of Highland witch-women can pull the biggest, bloodiest rabbit out of the mother of all hats in spectacular conclusion â€˜Balanceâ€™â€¦
The heady blend of authoritarian intransigence, counterculture optimism, espionage action, murder-mystery, conspiracy theories and ancient sex-magic mix perfectly to create an oppressive tract of inexorable terror and shattered hope before an astounding climax forestalls – if not saves – the day of doom, in this extremely impressive dark chronicle which still resonates with the bleak and cheerless zeitgeist of the time.
This is a superb example of true horror fiction, inextricably linking politics, religion, human nature and sheer bloody-mindedness as root cause of all ills. That our best chance of survival is a truly reprehensible, exploitative monomaniac seems a perfect metaphor for the world weâ€™re locked intoâ€¦
Clever, subversive and painfully prophetic, even at its most outlandish, this tale jabs at the subconscious with its scratchy edginess and jangles the nerves from beginning to end. An unmissable feast for fear fans, humanists and political mavericks everywhereâ€¦
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