What about that ending? I had to chew it over for a while. I think it went like this: John let’s Gemma pull the trigger on him, since he wasn’t going to make it anyway. He dissipates into nothing, and we find ourselves zooming towards a pub in Liverpool called The Long Journey’s End. Is this a real place no one can go? I don’t know, but I don’t think so. In the pub, we find a withered John surround by what looks like Karen Berger, Shelly Bond, Will Dennis, and someone else I don’t know from Vertigo editorial
. To the other side, we see three chaps, who I assume are the current creative team, Milliagan, Camuncoli, and Stefano Landini. Along the walls of liquor are the names of everyone who ever worked on Hellblazer, an area I spent a long time perusing. It’s not a normal ending. It’s not a blaze of glory. But somehow, somewhere, John’s gone down the pub. He’s gone back home. He’s a story. He’s enigmatic, and what happens doesn’t always make sense, and it’s not his way to explain it to you. Is John happy to be there? What does it mean? I’m not sure, but I kind of like it that way. It also feels like a bit of a throwback to Hellblazer #120, by Paul Jenkins and Sean Phillips, where John meets his creator, Alan Moore, in a pub, setting up a precedent for the crossing over of worlds, and the acknowledgement of fiction within the fiction. The thing is, I don’t know what it means, but I’m still thinking about it. I don’t want it explained to me. I want to roll it over. I want to come up with my own ideas, knock those down, and think of some more. It was never easy being a fan of John Constantine, so why should this be any different?