John Constantine

The second half of this run is even stronger than the first, with Spurrier capturing the feel of vintage Hellblazer in a story about mythical creatures being brought to life. Helped by a grungy art style in mostly dark tones (there are multiple artists, and some are better than others, but all complement the tone) the story weaves in social commentary amidst the horror and sordid encounters. While the original run back in the '80s made jabs at Thatcher's Britain, here we have Brexit, royal scandals, and the politics of Boris Johnson. And, of course, demonic entities, damned souls, and desperate cons.