Milligan assumes scripting the exploits of London-based sorcerer John Constantine with two story arcs. In one, the magician’s body is enveloped by a horrifying scabby growth that has its origins in a decade-old scandal. In the other, Constantine confronts ghosts buried beneath the construction site of the Olympic Village. Concurrently, he’s trying to come clean with a new girlfriend about the pitfalls of a relationship with a disaster-prone, lone-wolf warlock. Milligan captures Constantine’s sardonic nature but has yet to invest his contributions with the quirkiness that has distinguished his work elsewhere. Giuseppe Camuncoli and Goran Sudzuka’s art is similarly serviceable but unremarkable. --Gordon Flagg
