I almost didn’t review this, because as anyone following the title will know, it’s being axed with issue 23 and if you didn’t buy it, it’s YOUR FAULT. American Virgin is like no other comic out there at the moment, and soon it won’t even be out there itself. It’s always been an ill fit for Vertigo, but the paradox is that if it had come out with another publisher, it probably wouldn’t even made it this far. It’s deeply disappointing that a book dealing with religion, sex and death couldn’t find some kind of audience, because it’s the sort of thing that could’ve really stood out if only the right people had found it, but oh well, presumably this frees up some shelf space for another zombie epic or Sandman rip-off. (Ooh, drama alert!)

As I’ve more or less said, the writing and art in American Virgin have always been high quality. There was a period about 9 issues in where it hit a bit of a slump, but it bounced back in a really big way over the last year. The artwork has done nothing but improve, and I’ll soon be sad to miss out on my monthly hit of Cloonan.

In this issue, Adam travels to Cuba with his extended family to find his real father, which Mamie attempts to dissolve his recent marriage. Particular emphasis is placed in this issue on turning Mamie, who was previously little more than an antagonistic matriarchal dragon, into an interesting and sympathetic character, something Seagle largely achieves without having to have her act against type. The mystery of Adam’s real father is something I’m glad to see tackled, and it’s just a pity that Cyndi’s pregnancy plot - the most interesting mystery left - probably isn’t going to get played out to completion before the title’s last issue. I’m going to be sorry to see AV go when ultimately, its only crime was being TOO original.

Having started his Hellblazer run with a couple of storylines that showed an assured grasp of Constantine’s character and voice, Andy Diggle turns his hand to the sort of single-issue, self-contained story that have long been the title’s hallmark, and proves adept, if not exactly spectacular (we’re not talking Hold Me, here) at doing so.

In fact, despite being a distinct story itself, with a beginning, middle and “The End” caption, the issue actually feels more like it’s setting things up for a wider storyline, which could well prove to be the case. The core idea it sets up – urban legends being made “real” by belief – is hardly original, but is at least something you can see working well in the framework of Constantine’s world. But it feels over and done with far too quickly, particularly given that so much space is devoted to setting up the concept, and the hapless protagonists, that Constantine himself isn’t given much time to come and sort things out.

Nevertheless, there are some neat touches, particularly Constantine’s rain-sodden lament about the smoking ban, and his calling the bluff of “Spring-Heeled Jack” in classically in-character fashion. There’s a fairly brutal sting in the tail, and it’s interesting that in the early stages of a run where Diggle has sought to return Constantine to his role as arch-manipulator, he’s had him be well and truly played here.

Regular artist Leonardo Manco – rapidly establishing himself as the best Hellblazer artist since Steve Dillon – takes a backseat here, with guest work instead from Daniel Zezelj. The thick linework and muted colours mean it’s hardly a departure from the norm, but while Zezelj’s storytelling his good, his character design is inconsistent - though there’s a certain vagueness about that also feels like a deliberate stylistic choice - and he feels more like a fill-in than a bona fide guest.

It’s been a while, sadly, since Hellblazer was anything like essential reading. For fans of the character, it’s always worth a look, particularly considering Diggle does at least get said character. But all the neat little London-based supernatural mysteries and lovely Lee Bermejo covers can’t mask the fact that it’s still coasting on - appropriately enough, given the subject matter of this story - Constantine’s own reputation, and the glory years of Ennis, Delano and Ellis. Isn’t it about time for some kind of cataclysmic battle with Hell, or something?

It’s a big day for DMZ as it starts its third year. This is a real milestone to anyone who remembers the days when the comic was conceived as being around 24 issues long (the current target is somewhere around 60)  because any issue from now on should taste extra-sweet.

For this arc, entitled “The Hidden War”,  Wood is once again proving his mastery of the single-issue format by telling the stories of individuals and side-characters living in the DMZ while the main cast largely sit it out. This issue specifically focuses on Wilson, the former gangster who now runs Chinatown, and shows us how he got where he is today in a story stretching right back to the start of the war and ending shortly after the series begins. As one of the series’ more colourful characters, it’s good to see what Wilson’s story is, and ultimately what drives him.

Guest art for this issue is provided by Danijel Sezelj. It has a brilliantly bleak feeling, and a sequence where a bomb explodes, leaving the art temporarily black and white before the colour slowly fades back in is a masterful use of the comics form. Unfortunately, based on the preview pages that were posted on Newarama’s Blog it all should’ve looked so, so much better. The printing job has left the pages incredibly muddy and it’s a real shame to see the art suffering from it.

While I’m thinking about it - DMZ #25, and in fact this entire arc (which began in #23) is a good place for anyone to join the series in progress if they’re interested in it. Because they’re all single-issue stories, they give you an excellent flavour of the series and of Wood’s writing without needing you to know any of the backstory. You should give it a try if you haven’t.