Constantine's discovery for the being really behind it all jumps off of the page at the reader, looking eldritch and different, and it makes me want Del Rey as the regular guest artist for "Constantine: The Hellblazer." This segment of the issue works a little better in terms of story, but that needed momentum just never arrives. It's a smart choice to sub in for regular artist Riley Rossmo, and Del Rey brings a sense of doom and despair to Doyle and Tynion's story. He has also written Batman: Detective Comics, Constantine: The Hellblazer, and Red Hood and the Outlaws. Someone is murdering ghosts, a supernatural crime so impossible to solve that John Constantine is forced to return to London and seek help from the one person. The portion in the present day with Constantine trying to track down a succubus certainly looks fantastic thanks to Del Rey, whose art is wispy and flows across the page almost like curls of smoke. Tynion soon began writing Talon, a series that spun out of the hugely popular Batman: The Court of Owls story line. Considering that co-author Doyle draws these pages, that's all the more frustrating I like her art and it's a welcome surprise to see it here, but I wish they were illustrating pages I was more interested in. Even though Georgie and Constantine are in both segments, the connection just never feels concrete. Every time it shows up, though, it feels like the book just stops dead in its tracks and loses all the momentum it was building. Doyle and Tynion's story here feels inconsequential we're seeing the group of friends club around, and it's really only a small handful of pages. The sequence set in the past with young Constantine and company seems to be the problem.
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