• Story: Tom Taylor
• Art: Darick Robertson
• Colours: Diego Rodriguez

Tom Taylor and Darick Robertson’s long awaited Black Label mini certainly grabs the attention. As oversized as much of that line, it’s a stunning showcase for Robertson to show off in, and there’s no doubt that, coloured by Diego Rodriguez, his art looks absolutely amazing. The attention to backgrounds, the complex emotions, there’s no doubt Roberton’s art really belongs with a character with quite as many layers as John Constantine. Taylor’s story too is amazing – Constantine Year Zero in some respects – with plenty of classic Hellblazer elements thrown in, and a rich inner dialogue to keep us invested in proceedings. That said it feels like something’s missing, and it’s that Black Label element which highlights it.

Robertson comes from a background of drawing the impossible, the unacceptable and often the disgusting. Whilst that shouldn’t limit his creative choices here, this look at Constantine feels incredibly safe, not just in comparison with both creators’ past work, but in comparison with Constantine’s pitch black adventures in the Hellblazer ongoing series. There Si Spurrier, Aaron Campbell and Matias Bergara are coming to the end of a genuinely shocking run, where story, art and colours are genuinely pushing the comics medium forwards. It’s not something which I feel these creators should feel beholden to challenge, but with Taylor’s history on Dceased and Roberton’s on Transmetropolitan and The Boys they certainly have form for it and their caution feels odd.

As detailed as the plot is, this issue feels unusually procedural. I admit I enjoy a more grounded iteration of Constantine, but he’s been done to death, and taking this more traditional approach doesn’t allow him to be the x-factor which unhinges the plot and allows it to go leftfield. The elements are all there for both class and political critiques familiar to Hellblazer comics to add an edge to proceedings, not to mention his past, but they’re largely swamped by soap operatics which keep the story (and Constantine) playing at one note, and Robertson’s art, for all its expressiveness and the freedom he has to take risks, doesn’t vary the tone either. It’s a fun read, but it’s undemanding too, at least so far.

The craftsmanship underpinning John’s unrevealed history is unquestionable, but both writer and artist feel like they’re waiting to cut loose, perhaps because of how the three issues are structured, perhaps they’re still getting a feel for what each other can do. Only the punchy, well-lit and yet still enjoyably muted colours by Diego Rodriguez feel worthy of format and franchise. The reveals about Constantine’s past are interesting, feel well intentioned but I do think they’re a little wasted – the best Hellblazer work has used John as a prism for incisive social commentary, or has taken its time for complex character work on a largely unlikeable character, but this issue doesn’t follow through on the opportunities it sets up. It looks gorgeous, is certainly entertaining, and I’ve no doubt more focused character work and darker horror is coming, but at this point I’m feeling less rewarded than I’d hoped.