Richard Piers RaynerReseñas

Access a version of the below that includes illustrations on my blog.

This set of stories take us into, ahem, "Virgin territory." I suspect I'll have more to say about this when I read the next volume, but here we get the first references to the New Adventures. In The Grief, Ace includes the Timewyrm among the most dangerous foes she's encountered; the internet tells me that Ravens take's place during Cat's Cradle: Warhead; and then in Cat Litter, we start getting footnotes that clarify placement (it opens with one saying recent adventures were seen "both last issue and in Nightshade" and ends with "Next: After Love and War, a new companion and... Sontarans!"). For the DWM strip—which for a long time barely even seemed to acknowledge that there was a tv programme—this is a huge change, and a weird one that I wish was explained more. John Freeman's notes, though, mostly focus on the issues surrounding Evening's Empire, and don't give any sense of why he might want to hitch DWM's narrative to a series of novels that were only just getting off the ground. On Down the Tubes, he off-handedly mentions that Ravens "was the first story where we tried to work with Doctor Who novel publisher Virgin, after meeting with the editor Peter Darvill-Evans and trying to cross promote what were then the only new Doctor Who adventures," but that's it. My impression is that this was a decision ultimately regretted by his successors at DWM, and part of the reason this entire era of DWM ultimately ended up kind of orphaned, but... why did they do it? Anyway, more on that when I get to Benny Summerfield's debut in Emperor of the Daleks.

Overall, this is a dark set of stories. I don't know if I would want all my Doctor Who to be like this, but it works more than it doesn't, and I found it more to my taste than many other DWM runs (i.e., #44-57, #100-47).

Living in the Past
This text story clearly should have been in the previous volume, telling as it does the story of how Ace joined the Doctor between Train-Flight and Teenage Kicks! As a story, it's okay; I found it a bit dull but the climax is amazing (Ace leading a dinosaur army), and well drawn by Cam Smith. It kind of ties into the then-ongoing Mandragora storyline; the Doctor says "I'm being distracted by trivia there's something more important going on elsewhere," but it doesn't quite fit in that the Doctor thinks, "Considering the state of the TARDIS, he was lucky to have ended up on the same planet," when in Distractions he says he can't leave Earth if he wants to!

Evening's Empire
More than any story of its era, this feels to me like Doctor Who does Vertigo. The DC Comics imprint wasn't actually launched until Mar. 1993, but of course it drew on preexisting DC comics lines, most notably The Sandman. This has the feeling on many of those stories: journeys into people's psyches, abuse both sexual and parental, mental trauma, criticism of religion, difficult page layouts and transitions. Delete the Doctor and Ace, and this could come straight out of Hellblazer or Animal Man or Black Orchid, anything trying to be Gaiman, Morrison, or Moore, but not actually written by them.

It's okay. For me, it's let down by two things. One is Richard Piers Rayners's artwork. His drawings seem reliant on photo reference in a way that often works to the detriment of the imagery. I can see the argument for why someone's mouth should be open when they are talking, but it never looks good to trace a photo of someone's open mouth. His Muriel Frost is unrecognizable as the same woman from The Mark of Mandragora, and looks like a series of an actress's glamour headshots rather than a moving, living, breathing human being. Individual images look good, but overall this doesn't flow. Though, to be honest, it is a lot like reading a mediocre Vertigo title.

I came to like it less after reading Cartmel's discussion of it in the notes, where he says he wanted to write a narrative countering adventure stories where the women are fantasies for the men. Given that, the way Frost is drawn rankles; and given that, it seems bizarre that Evening's victims are barely discernible as people, and that Ace even feels pretty peripheral; the character of Ives pretty clearly exists only to suffer a horrible fate later on. I am not sure you can write a story criticizing putting women at the margins if you yourself put women at the margins!

That said, there's stuff to like here. Cartmel, for obvious reasons, excels at portentous Sylvester McCoy dialogue; the twist about the scale of the crashed UFO is a good one; seeing Frost's home life is interesting even if it doesn't entirely come off.

Conflict of Interests
This is, I think, the first Doctor-less "main" strip in DWM's history. It follows a Foreign Hazard Duty team trying to secure some ruins for archeological study on an alien planet; they run into Sontarans. This was fine; the ending is nice, but I feel like even at seven pages it's a tad longer than it needs to be.

The Grief
The Doctor and Ace find a group of Dan Abnett space marines—not the FHD, though—investigating a planet upon which was trapped an ancient evil. I hate it when new monsters are cheaply claimed to be in the big leagues, and I found the soldier characters hard to distinguish at first, but otherwise this is a solid piece. I particularly like how well Abnett captures the voices of both the Doctor and Ace.

Ravens
Again, there's a bit of a Doctor-Who-does-Vertigo vibe to this. But I don't have a problem with that—isn't that what Doctor Who always does, take pop culture and chews it up and spits it out in its own imitable fashion? If the show had been on screen still, you could imagine it going in this direction, and though I think that would run against its populist appeal, this was an era where there was no tv show, and the strip thus didn't have to appeal to a broad audience. I thought this was much better executed than Cartmel's similar attempt in Evening's Empire. Great dark inks by Smith and Pini really support his pretentious seventh-Doctor-as-God stuff. If there's a criticism I have, it's that if you told the whole thing in order, it'd be a bit thin for three parts; it's basically just one scene told incredibly complicatedly! But what a scene. It does very well the ordinary-people-plunged-into-horrifying-world vibe.

Memorial / Cat Litter
John Ridgway is back! I'm sure these are both solid stories on the basis of their writing, but getting Ridgway back for the first time in a while adds an inestimable something—and both of these are stories that play to his strengths. (He does a good Ace likeness, for one.) Memorial is a somber but uplifting tale; slight in terms of plot, but what it does, it does well, communicating the Doctor's horror at war. Ridgway is equally at home in horrifying space vistas and the English countryside in mourning. Cat Litter I didn't really get from a writing perspective, but if you say, "John Ridgway, Ace is trapped in the TARDIS and it's a gameboard," obviously it will look great. I didn't know I needed to see Ace running from a pair of giant D20s, but now I can't imagine why I didn't.

Stray Observations:

• Normally I don't say much about the cover art of these things, because it ranges from perfectly fine to excellent, but David Roach did not do a good job with Colonel Frost here.
• Also, I am again grumpy that the new format collections omit creator credits. You wouldn't know Vincent Danks inked some of Evening's Empire without the notes at the end; several stories thus give no credit to letterers.
• Again, the idea of a coherent DWM universe continues to build. Other than the cameos in Party Animals, I think Muriel Frost is the first time a non-companion character created (for the main strip) by one writer is brought back by another.
• Due to a number of problem, part one of Evening's Empire ran in DWM #180, but there never was a part two. The complete story eventually appeared two years later in a Doctor Who Classic Comics special. Cartmel took advantage of the story being complete in one volume to shuffle the narrative around; the original part one actually begins on page five of the complete version (spanning pp. 9-15 of this collection), if I am correct. This did confuse me a bit; by the time I got to where the opening was set, I forgot all about it, and thus wondered why Cartmel had skipped over the UNIT assault on Evening's empire.
• Because the original art was lost for a few pages, Rayner chose to redraw them for this collection, working in his 2016 style rather than his early 1990s one. The replacement art pages are a bit off (see above), but the story is surreal enough it gets away with it. If any DWM strip would randomly switch styles, it would be this one! I appreciate the inclusion of scans of the originals in the back.
• Pretty unsurprisingly, Richard Piers Rayner did no further DWM work. It turns out I have read some other stuff drawn by him: he illustrated the 1989 Swamp Thing Annual by Neil Gaiman (about Brother Power the Geek), a single 1991 issue of L.E.G.I.O.N. (written by former DWM contributor Alan Grant), and some of Tony Lee's mediocre IDW Doctor Who comics in 2011. He basically left comics after this, though, and became the official artist-in-residence for the Middlesbrough Football Club!
• Conflict of Interests was the last appearance of Foreign Hazard Duty. Apparently an FHD comic book was once proposed but it never came to pass; it's hard to imagine it, because the FHD never had much to offer beyond "like them out of Aliens." I think it works fine as a consistent space organization for us to see, but it's hard to envision it fronting its own book. Maybe it would have worked better with recurring characters, but each of the four FHD teams we've seen are different. Would UNIT have taken off if it was different guys each time? Also, why aren't the ones in The Grief just FHD?
• This was Robin Riggs's only DWM work. I know him best as a prolific inker at DC in the 2000s, working on titles such as Green Lantern / Green Arrow, Birds of Prey, Manhunter, and Legion of Super-Heroes. This is the fourth DWM seventh Doctor collection with art by Cam Smith; it's also the last. He would go on to do a lot of superhero work for DC Comics, including Birds of Prey in the late 1990s and most notably (to me) Action Comics in the early 2000s, being the primary inker during the time Joe Kelly was writing it. Even before I knew them as DWM contributors, both Riggs and Smith are the kind of inker where I was glad to see their name on an issue, because it meant that I was in good hands.
• Adolfo Buylla's only other DWM contribution was way back in 1981. Unusually, he had an American comics career before working on DWM, illustrating The House of Secrets and The House of Mystery back in the 1970s. This is Brian Williamson's only DWM work (though he did do the 2007 Doctor Who Storybook), but he's illustrated a number of Titan's Doctor Who titles, including The Fourth Doctor: Gaze of the Medusa.
• Warwick Gray is the man we now know as Scott Gray, who continues to work on the DWM strip up to the present. I think he's contributed at least one story to every subsequent Doctor's run, and been the primary writer on many, including the eighth, eleventh, twelfth, and thirteenth. Imagine handing in your first ever Doctor Who comic and being told it was going to be illustrated by John Ridgway!
• As I alluded to above, here we begin weaving in and out of the continuity of the NAs. Eventually the official stance would be that everything since Fellow Travellers has followed on from Timewyrm; I disagree, as it contradicts the actual textual evidence. That article was published Nov. 1993, though, and doesn't seem to reflect intentions at time of publication; for example, the console room that debuted in The Good Soldier collection was used in the DWM preview for the first Timewyrm novel.

Doctor Who Magazine and Marvel UK: « Previous in sequence | Next in sequence »

Damn, but this was breathtaking. The story, the art, the attention to detail...just...wow.

Weaving a fictional story out of facts, this is a strangely heartwarming story of a boy whose father happens to be the Archangel of Death for the Looney mob. There's often an attempt by authors to imbue their hitmen with a sense of honour or a strong morale code. Think The Boondock Saints, for example. But rarely does it get pulled off.

Here, it does. This was 300 glorious pages of action and empathy, of family and honour.

If I have one complaint, it's that, at times, the same piece of reference art was used too often. There's a particular pose of Michael O'Sullivan's father, for example, that had to have been used at least five or six different times. The exact same facial expression.

But it's a minor quibble. This story is a thing of beauty.

gunman betrayed by Looney mob sets out on trail of vengence with surviving son

This is a re-read from me. Re-visiting John Constantine from way back in the early 90's. I originally read the comics, not the TPB, but they were borrowed from a friend so, except for the Horrorist (which I own), I no longer have copies.

The 4 stars would be how I felt about the stories back in the day. Now, I might be inclined to give these stories a 3 star rating, but I'm not sure that's entirely fair. I was hooked on Hellblazer, and it had to be pretty good for me to keep reading.

Constantine is great; the stories, not always up to the level of Constantine himself.

It was good to re-visit Newcastle, what with all the mentions of it in the TV show. I'm trying to explain it to my husband and what happens on TV didn't always happen in the original storyline. I'm not sure that's a bad thing, though. I liked some of the stories better than others. The artwork varies. It's great on the Horrorist. That's David Lloyd and I believe that story line was written quite a while after the other stories in this TPB.

I'll try to continue on my journey of old school Hellblazer, but that will depend on the availability of the old comics and TPBs and my budget (if I find I have to purchase copies).

2nd reading - Read from Jan 20 - 26, 2015

See my blog post on it here:

http://gypsylibrarian.blogspot.com/2006/02/booknote-road-to-perdition.html

Constantine finds himself with a group of new age hippies and seems happy but of course that never lasts long. They stumble onto a group that is tapping the ley lines in order to create fear and change the political parties in charge. John is on the run from them and also trying to get to get one of them back from the group that is using her mental powers to charge the fear machine. While on the trail he enlists some nonmagical allies that bring everything into focus but as usual nothing good happens to anyone that helps out Constantine. An ok story but didn’t leave me wanting to pick up the next volume as soon as I can.

This second collection of Hellblazer comics shows just what happened all those years ago in Newcastle. You find out what is the source of guilt that eats at Constantine. The rest of the collection is more someone off stories that would give a reader a taste of what Constanine’s daily life is like. Surprisingly, I felt you could start reading the comics either with the previous collection or this collection.

Well, what's there to say about this? There's lots of hippies, and government conspiracies, and towards the end a lot of mixing of mythologies that don't really mesh all that well to create a deus ex machina. I'm not entirely sure this comic made any sense. It starts off well enough, a mystical girl is kidnapped by the badies who want to use her powers for evil and Constantine needs to save her. But it all falls apart towards the end, and Constantine does literally nothing except maybe act like some sort of dildo? I honestly don't know, I think Delano just pulled the last 20 pages out of his ass after a bad trip.

I am torn between three and four stars with this graphic novel. I was looking for a graphic novel for this year's reading challenge & my husband casually gave me The Road to Perdition. He had enjoyed it & thought I might. I am so glad he suggested it.
A young boy is stunned when he witnesses his father commit murder. In his youthful eyes, his father is the perfect dad. To learn what his father is capable of makes him grow up pretty fast.
I sped through the story once I had time to actually sit and read it.
I would be remiss if I didn't mention the artwork. I wish I had artistic talent. My favorite was seeing how buildings were reflected in the boy's face as they rode from city to city. AMAZING.

So, didn't realize there was an entire series of reprints (I own the other cover), but no complaints. John's always a pleasure, Jamie Delano rarely disaappoints.
If a re-release gets the stories out there again, more power to 'em.

A collection of Doctor Who comic strips from the early 1990s, an odd time for the franchise when fandom and tie-in media were kicking their heels in the vague hope of a new season being announced (they'd have a long time to wait).

Andrew Cartmel, the final script editor of the show's original run and the man generally credited with leading its late rejuvenation, contributes two stories (including the title one) and continues the good work he did on the show.

The influences on the stories collected in Evening's Empire are totemic of the period and worn openly – Aliens, cyberpunk, The Punisher – but that's fine; they at least show an awareness of the franchise's wider cultural context. As late as 1987 Doctor Who was still acting as if the competition was Blake's 7 rather than Predator.

Occasionally the attempts to push the tone in new directions are misjudged, but failure is an important step towards success. Look at the strip "Ravens", for example, in which the Doctor takes a bereaved samurai from feudal Japan to a near-future service station so he may save a different mother and daughter from a murderous gang of yoofs.

The violence and idea of the Doctor commissioning direct slaughter don't feel appropriate for either the brand or character, but the story is a terrific exploration of the show's concept. The Doctor walks between times; actions and consequences, problems and solutions can be five hundred years and 6,000 miles apart for us, but clearly connected for him. The TARDIS isn't just a protagonist delivery system.

'Success' is a difficult and absolute term. A casual reader might be confused by this collection (by both the tone and the stories' increasingly complex relationship with the contemporary New Adventures tie-in novels) but for the die hards interested in the evolution of Doctor Who, this is a fascinating little source text.½

Boy finds out his dad is a gangster, the Bad Gangsters kill his mum and his brother, so boy and his dad drive around having gangster adventures and trying to get revenge, in 1930's America with mafias and prohibition etc. Fun, if you like pages of beautifully drawn men shooting each other, but not really my thing. Most interesting for the character of the boy's father, who is a hardened killer, but portrayed sympathetically by being a family man, being a man of his word, being insanely competent, avoiding civilian casualties (although not redshirts, they can all die), and lighting candles and saying confession.

Second time around (first read the Hellblazer series back in the 1980s in monthly comic form), I was surprised by how much I enjoyed this collection. The artwork feels somewhat clumsy in places, but the storyline - which sees JC taking refuge with a bunch of a new-age travellers - still resonates. It's interesting, too, how much of the social commentary remains true. The theme of female emancipation / liberation certainly rings big bells...

This young(ish) version of Constantine is more vulnerable and less hard-bitten than he's written in later years. The dialogue is no less entertaining, mind, and the series has kept its feeling of freshness, of daring. For a 'horror comic', it's remarkably daring in its blunt appraisal of the human condition.

Hellblazer can be challenging. It features counter-culture ideals, sexual expressiveness, recreational substances, a cast of intriguing supporting characters who drift in and out, and a stack of bad guys (usually but not always demons. The Snob is no good guy, for instance). It's self-referential, DC-universe referential, occult literature referential and deliberately obscure.

This self-contained story is reasonably easy to get to grips with, but even then if you're unfamiliar with the series then some of the back-story will be opaque.
7/10

On the run for murder, Constantine connects with a group of new age travelers whose psychic abilities will be exploited by a defense contractor out to create a Fear Machine. Even if John Constantine as a hippie is on the unlikely side, it's still entertaining to see his acerbic self mingle with more earthy people. Mercury is also a great character and it is interesting to see how Constantine connects with her without being flippant. The first half of the volume is a little slow as Constantine is such a passive character and some "real" magic and action would have kicked the pace up, but after the train "incident," the story picks up properly and comes to a very convincing resolution (other than the absolutely ridiculous egg-situation at the end!). Constantine is one of my favorite comic book characters, though, so I have a hard time faulting his sarcastic, witty self regardless what he does, but I think the story is universal enough to be interesting to all fans of good-versus-evil comic book readers.½

Road to Perdition (DVD)
Audio/Visual
Road To Perdition is a beautiful movie. Gorgeous cinematography coupled with a haunting score deliver a story rich in subtlety in spite of a violent theme. Tom Hanks plays an understated hitman whose attempts to keep his family protected from his occupation fail suddenly and shockingly. What follows is a touching story of growing, bonding, and redemption. (You can listen to samples of the soundtrack at Amazon.com.)
Recommended by Geo, February 2005

John Constantine is one of my favorite characters in literature, mainly because he manages to be such a genuine bastard at the same time has having a staunch set of morals. Not that being a nasty character is a great thing, but because it makes him more real than had he been a nice guy. Also, most of his battles are "fought" with cunning and smarts rather than with magic spells, which is a huge amount of fun to read, especially since Constantine is a master of the sarcastic remark.

The Hellblazer issues included are "Sex & Death" where Constantine realizes he's been cast into the astral dimensions by the Swamp Thing and takes the opportunity to make Zed useless to the Resurrection Crusade before heading back to his own body, "Newcastle: A Taste of Things to Come" which is the story of Newcastle and when everything went awry with Astra, "The Devil You Know" where Constantine gets an unexpected message from Ritchie Simpson and uses him to get to Nergal, "On the Beach" where Constatine's mind bring him to a calm beach where a nuclear accident happens and horrors literally fall from the sky, "The Bloody Saint" where Constantine is discharged from Ravenscar and meets an old friend from his musical past and the story segues into one of King Arthur (as a magus) and Merlin, "Venus of the Hardsell" which is a music video by Mucous Membrane, and "Antarctica" where Constantine takes on the services of a dominatrix and then goes to find a beautiful (but dangerous) refugee from war-torn Mozambique.

I liked the ending of the Newcastle storyline. I loved the "On the beach" issue. It left me somewhat disgusted and fascinated. I was ready to give it 4 stars, but The Horrorist ruined it. Visually, it doesn't fit in with the rest of the volume. And I have a feeling there are more things wrong with it but can't figure out what.
Overall, if you take out The Horrorist, this is fairly enjoyable.

(Reprinted from the Chicago Center for Literature and Photography [cclapcenter.com]. I am the original author of this review, as well as the owner of CCLaP; it is not being reprinted illegally.)

DC Comics imprint Vertigo recently announced the coming cancellation of one of their flagship titles, John Constantine, Hellblazer*; and that has inspired me to finally read all 300 issues that will eventually make up the run (or at least as many of them that the Chicago Public Library carries), after reading individual issues here and there over the decades but never really becoming a regular fan. After all, this was one of the seven original comics from the late 1980s that convinced DC to launch Vertigo in the first place (and the only one still being published to this day), after coming to realize that a growing amount of their titles were starting to display a level of sophistication and edginess simply inappropriate for younger readers; and it could be argued that Constantine is the most well-loved of them all among actual comics creators, in that this grumpy, good-looking Brit with one foot always in the supernatural world is the one Vertigo legacy character most allowed to display an acerbic wit and world-weary attitude about the fantastical things going on around him, which is like catnip among an industry of writers whose jobs mostly revolve about the latest derring-do escapades of shiny happy superheroes.

I started my epic read with the first two graphic novels, Original Sins and The Devil You Know, comprising the first thirteen standalone issues from way back in 1988 and '89, both of them primarily written by Jamie Delano and drawn/inked by a variety of artists; but I have to admit with a little sadness that these are really starting to show their age, including purple prose that is much too overblown simply because Delano could now get away with it, illustrations that sometimes belie the pro/am state the comics industry was still in during the '80s, and a manytimes laughable obsession with such trendy targets as yuppies, Margaret Thatcher, London skinheads and other such instantly datable subjects. But much like my fellow CCLaP critic Oriana Leckert when she first disappointingly read Frank Miller's The Dark Knight Returns 25 years after it too first came out, perhaps my own disappointment with the first year of Hellblazer is actually a very good thing; because it means that the comics industry as a whole has been greatly expanding and maturing in those resulting 25 years, that it has reached such a level of legitimate sophistication that these first experiments from the start of this maturation now seem clunky and childish in comparison. I'm going to continue reading, because I'm fascinated to see how this title changes once taken over in the '90s by such industry legends as Warren Ellis, Garth Ennis and Brian Azzarello, and I also recommend these early volumes to anyone like me who's interested in seeing the long and slow morphing of both this title and comics in general as an art form; but certainly you should keep your expectations low when picking up these first collections, and understand that they were being produced in an age still dominated by campy TV Batman and throwaway titles still sold literally on spinner racks at drugstores.

Out of 10: 7.5

*Let's make it clear, however, that John Constantine as a character will still be going through new adventures, although to explain this to the uninitiated takes a few minutes. See, in 2011 DC made the unprecedented decision to literally cancel every comic their company was producing, reboot the entire shared universe where their stories collectively took place, and relaunch the "DC Universe" under a series of brand-new titles, collectively known as the "New 52." Then at the same time, they also decided to turn Vertigo into an entirely creator-owned comics line, and to take all the DC-owned characters in Vertigo titles and pull them back into DC comics; and so in practical terms that means that the character will now be appearing in a post-reboot comic put out by DC simply known as Constantine, the character itself rolled back to his early twenties in age (he had been aging in real time in Hellblazer, making him in his late fifties when the original title was cancelled), and now no longer beholden to any of the plot developments from these previous 25 years of stories. Which like all "New 52" decisions has been controversial among DC's original aging customer base (i.e. me and all my Gen-X hipster-douchebag friends), but that has had new issues selling to young people again like hotcakes, which of course was the whole point of the reboot in the first place.

Interesting historical crime comic

Drawn in highly detailed, stark black and white, this is an arresting crime story of revenge, of family in an evocative time of corruption and poverty, of Elliot Ness and Al Capone. It's theme of father/son relationship set in a deeply violent world twists and softens the revenge story of ex-hit man and his young son going after their families killers. It is a great tale too, one where you can feel time slowly running out, where doom is on the horizon but you are still gripped. Does he get revenge? Will he get redemption? Will the son follow the father?

There is slight repetition in the narration but really that's the only complaint. The setting is superb (the historical research shines), the characters (real & imagined) feel spot on and the dialogue is hard and reassuringly familiar from all those gangster flicks. Indeed they made this into a rather famous film, which I haven't seen but cannot for the life of me picture Tom Hanks as the 'Angel of Death'½

Good early-1930s era story about a gunman for the mob as seen (mostly) through his son's eyes. When that son accidentally sees his dad in action, he puts his dad's life in jeopardy. The dad, though, has a few tricks up his sleeve. A few of the panels are very dark and there are a few spots where the characters are hard to distinguish from each other, but generally it's a great match between the "unclean" story and the gritty illustrations.

--------------------------------
LT Haiku:
A gangster story:
Boy's dad is Angel of Death;
Turns around vengeance.

Saw the movie last night and thought it might be interesting to compare the movie with the graphic novel. Book and movie were quite dissimilar. I did not really like either. The book was much more violent than the movie, but I did find the book's ending more satisfying than that of the movie.

I loved the film version of this book, and I very much like the graphic novel which was the source of the film. There are modifications between the print and the screen versions, including some names and plot lines, but I found both to be entertaining, thoughtful, and just great midwestern crime (ala Capone and company).

I haven't seen the movie, but it's possible that the ridiculously dynamic art in this book is actually more cinematical than the film based on it.

I watched the movie on a whim, and was impressed by it. Then I found out it was a graphic novel, and picked up that up. The inking is spectacular, very particular to detail and effective on the strokes for effect.

Tradução de: John Constantine, Hellblazer, Vol. 1: Original Sins