
John Constantine once again calls a native son his own in early 2007, when writer Andy Diggle joins the ongoing DC/Vertigo series as writer with
Hellblazer #230, due out in March. Diggle will team with
Hellblazer’s current art team of Leonardo Manco (interiors) and Lee Bermejo (covers). We caught up with the writer to talk about the new gig.
Newsarama: Obviously, without the monthly dose of Diggle from
The Losers and
Adam Strange, you've kind of sunk below radar for the last few months. What have you been up to?
Andy Diggle: I've been busier than ever, multi-tasking on several projects at once. Obviously there's the launch arc of
Batman Confidential, plus
Green Arrow: Year One has just been announced - my first collaboration with Jock since we wrapped up
The Losers. I'm also writing a video-game for a big Japanese company, and developing a new mini-series for another comic-book publisher - not one of the "Big Two" - that should hopefully be announced very soon.
NRAMA: You recently spoke about bring a free agent again, with the end of your DC exclusive - you had the field to play, so what got you landed on
Hellblazer?
AD: Simple - they asked! Playing the field is all well and good, but when they offer you the chance to write the best character in comics, you say yes.
NRAMA: So what's the appeal of the book/character for you? Obviously, you've dabbled in the world before with
Lady Constantine, but this is the real deal...had this been a goal of yours?
AD: Constantine's been my favorite comics character for 20 years now - Christ, that makes me feel old! I remember voting him for the Eagle Award for "Character Most Worthy Of His Own Series" back when he was just a supporting character in
Swamp Thing, and I couldn't believe it when he won. I never imagined at the time that I'd actually be writing that series one day.
Hellblazer's always held a special place in my heart, and it's the only comic series I've kept my complete run of.
Funnily enough, Jock and I had planned on doing a six-page Constantine story as a "try-out" pitch to Will Dennis back when we first approached DC - but once we got our foot in the door with
The Losers there didn't really seem to be much point.
NRAMA:
Hellblazer is one of those books with an impressive creative heritage. Give that you’re a longtime fan, do you have any favorite stories that stand out for you, that you'll be using as your own personal measuring stick?
AD: For me it goes right back to those original Alan Moore
Swamp Thing stories, the "American Gothic" arc where Constantine first appears. There was an edge to him back then - he was this sharp, cocky, dangerous little bastard, and I'd like to bring some of that attitude back. Beyond that? I'd have to say Jamie Delano's early
Hellblazer issues, especially the opening two-parter. Issue #27 is a personal favorite - "Hold Me" by Neil Gaiman and Dave McKean. Garth's run, obviously, especially the cancer arc. And I've always enjoyed Mike Carey's stuff, I thought "All His Engines" was great. I think it's a measure of Constantine's richness as a character that all these writers can emphasize different aspects of his personality, but somehow they always gel. Constantine always feels like the same guy.
NRAMA: That said, and you kind of emphasized this in naming your favorites - readers don't blink at a male creator writing a female character, a 50-something writing teens, a white creator writing African American characters, straight creators writing gay characters - yet for the bulk of his run, Constantine has been written by creators from the UK. Why do you think that is? Is there something about John that UK voices seem to capture better than, say, American writers?
AD: Well, he's British, for starters, and it does seem to be the case that British writers find it easier to capture the British voice than American writers do. I don't think it's anything to do with writing talent, just that we see a huge amount of American TV and movies over here, so we're exposed to a lot of American voices. On the other hand, I don't think there's a huge audience for British stuff in America. Everyone seems to think we're all either Cockney gangsters or landed gentry sipping tea from fine bone china while watching re-runs of Benny Hill. So I suppose it's just a question of what you're used to. I'm a Silk Cut-smoking Londoner myself, with family ties to Liverpool, so I feel like I know his world and his voice pretty well.
NRAMA: > C'mon Andy - you can admit it, do you smoke Silk Cut because Constantine smokes silk cut? They give you that tough guy edge, don't they?
AD: Actually, Silk Cut are generally laughed at for being namby-pamby low-nicotine smokes for shandy-drinking softies, so they're hardly a tough guy badge of honor. My brothers refer to them as "virtual cigarettes". If I tried smoking unfiltered Gauloise, on the other hand, my head would probably fall off and roll under the table...
NRAMA: As you mentioned, Constantine has gone through a lot in his years. Where do you find the character when you pick him up? What's driving him forward these days?
AD: Mike Carey and Denise Mina have both put Constantine through the wringer lately, so he's feeling a bit battered and bruised. A bit... crumpled. So I'm going to have him take a long, hard look at himself, and decide it's time to try and get back some of his edge. Get his sh
it together. Sharpen himself up a bit.

What's driving him forward now is the same thing it always was - he's an adrenaline junkie. Some have described it as an "addiction to magic", but personally I think magic is just a means to an end for Constantine, not an end in itself. It's the thrill he craves - he's a meddler. He can't walk past a rock without turning it over to see what crawls out from under it. He can't help but pick at the scab of the world. He just has to *know*. Constantine has faced down the Devil himself, but I think his greatest fear would probably be *boredom*. That would be John's own personal Hell - just having nothing to do, nothing nasty to stick his nose into.
I think Constantine isn't so much a cynic as a jaded idealist. After all, he wouldn't have been outraged by the social injustices of Thatcher's Britain if he didn't
care. He's disappointed at the world, and he has this overwhelming compulsion to try and fix things. Magic is just a short-cut, the quickest and easiest fix. At its best,
Hellblazer was always "supernatural horror with a social conscience", and that I'd like to bring that political element back to the book - although I have no interest in turning it into some kind of personal soap-box. It's about Constantine's worldview, not mine.
NRAMA: That said, tease a little of your run - where do you want to take John, both in the short term, and in the longer view?
AD: I'm planning on splitting my run into two roughly equal halves. The first half takes place mostly in and around London, with supernatural horror stories taking a twisted view of Blair's Britain, and Constantine sticking his nose in where it doesn't belong. Then, once the villains of the piece have emerged, the stories will begin to close in more on Constantine himself, as he finds himself the focus of a very high stakes game. In the process he'll be forced to deal with some dangerously unresolved issues from his past... including his time at Ravenscar Secure Facility For The Dangerously Deranged.