Review: THE SANDMAN

Anyone following my blog will know that I’ve been anticipating this for some time – for me Sandman sits in the perfect mix of nostalgia, genuinely great storytelling, and weirdness.

I’m not sure if anyone felt the same but whenever adaptions for favourite works happen I get pretty nervous its going to be wrecked (next up Lord of the Rings) but probably the most important thing to begin with is that the new Series, is an AMAZING ADAPTATION.

My two main concerns for a Sandman screenplay is the either is would faithfully adapted but either look like crap or not successfully pull off the esoteric style OR be so heavily tweaked that it wouldn’t be very similar.

Shouldn’t have worried, somehow the creators have remained incredibly faithful to the original story, to the point where I struggled to notice differences, whether omissions or additions. There where a few aesthetic tweaks (such as having Dr Destiny in pyjamas rather then being a kind of deformed naked zombie/thing). There were also a few rearrangements of individual stories which worked really well, and a few adjustments to modernize which worked well.

SPOILER TERRITORY FOR BOTH SCREEN AND PAPER SERIES

It was interesting to me that the creators decided to put both Vol 1. and 2. into the first series. I assumed that each volume would map with a season, with possibly some of the more random stories (such as Tales at the End of the World) merged into other seasons. It worked pretty well for the series to be honest, Vol 1. is a good story on its own, but is more of a traditional hero journey/fetch quest which just touches on the themes of the whole story, whereas Vol 2. introduces the more eccentric tales and longer term themes.

It will be very interesting to see how later seasons go. One possible challenge is that many tales within Sandman comics don’t actually feature much Sandman, but rather interlinked characters – while its a fun concept, and Gaiman pulls it off well, I don’t know if a TV series would survive that way (although based from seasons 1 they did well speeding up the pace of random characters and making the interlinking a bit more obvious)

What I think secretly I liked most is that Sandman himself’s character development is a bit more overt and obvious, the reason I like this is that after reading the intricate graphic novel its cathartic to have a more on the nose show!

I’m really looking forward to future seasons of this show – in particularly further involvement of the rest of the Endless. My favourite part of the graphic novels was any part involving the Family and I’m extremely keen to see what they do with Destiny.

On a final note I might mention the casting of Sandman – I think they did great! I honestly think of Sandman as ever changing, sometimes being older, sometimes more childlike. But something about Tom Sturridge works really well, he seems simultaneously capture the authority and childishness of the character.

What were other’s thoughts on the show?

Weekly Writing Roundup (End of July 2022)

I have spent FAR too much time this week reading AITA and BestofRedditorUpdate posts.

The funniest/light heartediest is by far (whoa whole thing cut and pasted – bonus points for the ‘can’t waits’ at the end)

Speaking of awesome – Sandman is out this week, I’ve been waiting for this for what seems ‘Endless’ (get it?). Although with a definite sense of anxiety. I’ve actually become very open minded with adaptions lately (I even watched a few episodes of The Watch without barfing) but I feel like Gaiman’s Sandman does not deserve a bad TV show, and being somewhat more niche I don’t think its going to get 20 reboots every decade.

Anyways point is – from the trailer the show looks absolutely killer, and I’m excited. I will of course review on here so if you’re not interested this is fair warning.

On that note – what you do you think is worse, a bad adaptation OR a good series going bad?

In more writerly focussed resources I found Alyssa Matestic’s channel, above you can see a review of the Querying Trench right now. To be honest I haven’t thought about querying for years or really tried too hard to keep tabs on publishing as my main focus is having some material worth publishing before I worry about how to go about it.

It’s kinda funny, I don’t know if other writers have gone through the same experience, but when I first started writing novels in the dark nostalgic ages of the late 00s I of course believed that my first manuscript was going to sell and be the best and most especially lead me to not needing to work fulltime anymore. So I had been all over Query Shark and other such sites and learnt quite a bit about query letters. Absolutely still useful information to have stored away but not something I’ve been too worried about most of the time.

Speaking of, feels like #pitchmad literally came and went without me ever actually taking a crack at the slightly alternative pathway to traditional publishing. Hmmm wonder what’s next PitchTok? (sounds potentially problematic)

Once again we have an r/writing poster who wants to write but doesn’t like reading, post kinda blew up a bit though. Funnily what was a bit different about this OP is they genuinely liked writing and simply also genuinely didn’t enjoy reading, they were perfectly open to studying texts and learning they just didn’t have a general enjoyment. This is a bit different to the stunted individuals who want to know how to git gud at writing without having to read.

Over to r/books an interesting thread on books at people enjoyed at first but came to loathe later on. I have to confess I haven’t really had this experience with books so much, but it’s definitely something I get with movies quite often. My goto example is the Original Suicide Squad movie, at the time I enjoyed watching the movie and thought it had some pretty funny gags “ya ruining date-night bats”. It was only every-single-time I gave the movie even an once of reflection I’d be like ‘wait a minute the whole purpose of the squad was senseless’ ‘what did croc actually contribute under-water’ ‘Why is Harley Quinn so pro-child murder?”

Quest for Glory Book

So in case you’re not aware of my nostalgia tripping for Sierra games and most especially Quest For Glory, something amazing is brewing in this area where the Coles and helpers are putting together a book about the original games and will be looking at crowdfunding publication.

It’s pretty high on my list of things to look forward to 😀

Review: Shadow and Bone

I’m probably either 10 years too late for this review, or 1-2 years if latching onto the Netflix release

So first off this is going to sound like one of those weirdly negative reviews where people might be like ‘did you actually like this book’ – hopefully I can explain.

I’ve been aware of Shadow and Bone for a while but didn’t feel the need to read, until a friend recommended. I was pleasantly surprised.

Overall the tale is fairly cliche and tropey BUT I feel this was done well. Generally what I noticed is whenever something a bit tropey came up the pacing of the novel was quick enough that I never felt bogged down in it.

To explain the trope accusation, we have orphans the MC is a surprise chosen one who goes from rags to ‘riches’ love triangles, hard to access power which (why is this such a trope) seems to basically be a generalizes glowy power.

Also this might just be my person nitpick but some of the world-building was really just relegated to tweaked spellings and odd names for things – the most egregious example being referring to a “Kaptain” in dialogue and then literally referring to Captain in the narration. I’m not sure if it was a typo or just kinda lazy writing to make it seem like a ‘world.’

Anyway as I said it probably sounds like I’m being super negative, the story is actually exciting, intriguing, and the magic stuff was a tonne of fun. I wouldn’t necessarily pick this book up if you wanted something mind blowingly new or different, but if you just wanted a solid fantasy adventure then this is the book.

(Spoiler-Filled) Review/Analysis: Ozark

For anyone interested, the final half of Ozark is now on Netflix and I’m assuming if you were interested you’ve already binged it, OR simply reading this post to see the ‘whats what’

If I have my facts correct Ozark is actually one of the seminal ‘Netflix’ series by which I mean one of the first ongoing series actually produced by Netflix, although in saying that its not exactly held as a flagship or anything so its just an interesting factoid as this stage.

Enough rambling – I’m just going to do a brief spoiler filled summary, to be honest I can’t remember every details and twist and turn but the show is interesting enough to warrant some over-analysis so here goes:

Bumbling Beginngins

Ozark is interesting is that its obviously heavily inspired from Breaking Bad, in a good way, it kinda watches a bit like a ‘what if’ or kinda takes some key elements and tropes from the Breaking Bad story and spins them its own way. Generally the tone the concept are very similar.

So Ozark starts by introducing Marty Bryde, a sort of depressed middle-aged financial guy who seems to have it ‘all’ but also have ‘nothing’ – by which I mean he has a good job, friends a family however seems joyless and trapped and as we soon learn his wife is cheating on him his colleagues seem to be full of joy and ambitious and Marty just frowns.

Anyways – very quickly we learn that Marty’s firm is not only laundering money for a cartel but his colleagues and friends have been skimming. Abruptly Marty sees his lifelong friends murdered in front of him, and only through some desperate quick thinking Marty convinces the Cartel guy to spare his life as he has a great idea to launder money in said ‘Ozarks.’ Marty is challenged to launder an inordinate amount of millions in a ridiculously short space of time to spare his and his family’s life.

Just a quick symbolic aside just before Marty is almost killed he flashes back to a scene where he plays with his younger children and wife an idyllic scene. I mention this moment as this perspective doesn’t really appear again in the show which I will mention in discussing the end.

So the rest of Season 1 is a darkly almost slapstick crime drama where Marty tries to build his laundering scheme and finds himself embroiled in the local crime scene, both street-level AND massive heroin dealers already operating. I say slapstick as there is a lot of humour but my gosh some of the events of this show are dark AF. Marty also of course tries to balance keeping his family around and safe, informed to some extent – another thematic thread is his son Jonah appears to have some sort of psychopathic tendencies developing.

The Season comes to a surprise climax where Marty against all odds manages to broker a deal between the Mexican Cartel and the local dealers, only for the locals to kill several cartel members over perceived rudeness.

Seasons 2-3 carry on the story and the theme shifts a little. As Wendy Bryde gets more involved with the business a political angle comes to forefront and Wendy begins to show a ruthless streak and more aptitude than Marty at illegal activity. By now the FBI are involved and almost everyone is plotting against everyone else. One climatic point is that Wendy’s brother Ben is introduced, he’s almost universally liked however has Bipolar disorder, and struggles to manage his impulses. As he learns more about the illegal activities Wendy makes the decision that he needs to die to protect everyone’s interests.

As Season 4 begins the Bryde’s are tasked with getting the head of their cartel ‘out’ and against all odds the first half of the season deals with the Bryde’s successfully negotiating a deal to make this happen, however this is highjacked by an ambitious and annoyed FBI agent who arrests the Cartel Leader despite the plan.

By the time the 2nd half of Season 4 comes about the Bryde’s have become or are becoming considerably wealth and politically powerful as their cartel connections make them rich, like their political playing builds their power. The tension of the last part of the season is really about lining up all their pieces to finally get the “Bryde Foundation” running, the drug dealers docile, the FBI non-litigious, but the major tension ends up being Wendy’s father arriving and deciding to leave with the children. This affront creates a bizarre sequence within Wendy where she pulls an awful lot of moves to prevent this happening either cementing herself as a complete manipulator OR highlighting just how bad her father really is.

I have to admit I found this sequence fascinating in story-telling – we know that Wendy is pretty ruthless but a major theme of the last season is that her ambitious appear to be getting out of control. So when Grandad plans to take the kids (with their agreement mind) the initial though is fair enough, after all. This thought only accelerates as we see Wendy go to extremes to manipulate the children into staying. However as the story progresses we start to see the real character of her father, a mean drunk, misogynist, cheat, who physically beat Wendy severely in her childhood. The only reason he wants to take the grandchildren is to punish and humiliate Wendy.

The reason I say this part of the story was deft, is its pretty hard to justify how Wendy is the ‘good-guy’ here yet somehow through revelation of Grandad’s character we feel empathetic.

As the story progresses we see the Bryde’s get almost everything they want, the ‘legit’ foundation takes off, the cartel are relatively satisfied however still slaughter a few more characters before the end, a consequence the Bryde’s simply decide to weather.

Finally the show ends on a surprise twist. After spending the season unhappy with his parents and estranged, Jonah comes to their rescue blowing away one final obstacle, a PI who tries to threaten the Bryde’s with exposure. Just to back-track a little the significance of this is that Jonah had been shown to be developing tendencies but up until that point not engaged in any violence.

So to summarize that – the Bryde’s start off desperate and mostly broke, and emerge ridiculously rich and powerful, almost everyone around them has been killed or had their lives ruined, they are likely to get away with it all and it looks like their formerly innocent children are going to head in the same direction.

So what does it all mean?

Hmmm, so I have to confess the first thing that this was kinda what ran through my head when this series ended. Most endings have at least on some level a basic theme to their ending, for example Breaking Bad ended with Walt dying among the apparatus which had both given his life meaning but also ruined its and other’s. Son’s of Anarchy ending with inevitable Shakespearean tragedy.

Ozark’s ending actually has a lot going on other than just contrived plot threads being shoved into an ending. For example, the Bryde’s decision to simply bear their friends death, Wendy’s decision to oust a corrupt politician from their circle (this is depicted as a bizarre moral line at election fraud but I think is more about similarities of the politician to Wendy’s father). The fact that Jonah is the one that stands in to make the final murder.

My point is – what is the point :D. Flicking through online there are quite a few ideas, some are saying that the Bryde’s represent “real life” in that corrupt evil sometimes wins, others have suggested that underneath the carnage their are messages about sticking with family, being driven and single minded.

But I have a stranger take. Ozark is about good and evil across generations, and what Marty does or doesn’t do about it. Obviously good and bad choices are a massive part of the context, particularly every episode is about characters making choices and the implications of them. However if we examine the characters we see almost all characters enmeshed in generation harm. Wendy and Ruth become the most obvious examples – Ruth pretty much the entire series, but as mentioned Wendy becomes intensely an example of this with her father being more revealed.

To explain further, in the beginning we see Marty thinking of the love he has for his family and reactively dealing with the cartel to save himself. At first the plot has the sense of a man doing what he has to, to survive and protect his family, and as mentioned this shifts to ambition. Another telling scene is where the cartel boss tells Marty that he sees Marty “wants to win” this tells us that Marty doesn’t just want to protect himself and family (which partially explains how he fell into laundering in the first place).

So while the plot appears to be Wendy taking over and becoming the more ‘evil’ Bryde and Marty just kinda gets side-lined I see the story as more like a “two wolves” analogy where Marty lets his ambitious wolf take over (it just so happens his ambitious wolf is represented by IRL Wendy). He makes half-ass attempts to do ‘good’ but ultimately goes along with the ‘evil.’

It’s odd to me that most of the other characters get a lot of family development whereas Marty is somewhat of a blank slate, it does kinda make the message that the strength of intergenerational abuse is almost invincible, especially ending on the note of Jonah shooting the final obstacle. Both Wendy and Marty look immensely proud of their son as he does this, Jonah himself closes both eyes before pulling the trigger which speaks to themes of darkness, giving up on goodness and so forth.

In conclusion I think the theme of Ozark is a bit of a bait and switch, we’re introduced to a story about a relatable, but in a terrible spot character, who keeps having to do Wrong to get Right and where will this lead? But I think as the tale evolves this struggle is bit of a red herring. Over and over again we are presented with messages about family, and impact of parent’s evil deeds on their children. I don’t think the ending is nihilistic because the Bryde’s become successful, I think its nihilistic because the ‘Good’ in Marty is powerless against the tide of evil entrenched in the generations of families we meet. The cartel is endlessly violent with little regard for family bonds, the Langborn family is sadly hopeless in the face of poverty and petty crime, Wendy is damaged by her Father’s abusive treatment. Even a relatively minor character introduced in the last season – the head of a pharmaceutical company whose name escapes me – is in her position as CEO of the family company due to some sort of familial scandal. My points is that the story isn’t really about a singular decision of a flawed man and then what happens, its about family. The final message does feel pretty darn nihilistic though.

I say nihilistic as well because unlike similar tales one feels there isn’t that much opportunity for a better outcome or escape. Yes there were a few parts where Marty or the Bryde’s were offered deals from the FBI, one had the sense that these would not have been particularly safe and would still have left many many people’s lives in a total mess.

We also have the general ‘no good people’ style of story, where very few people in Ozark were classically ‘good’, the FBI are presented as mercantile, ambitious and callously unreliable, local law enforcement both naïve and corrupt. Characters with moral traits are often presented as doofy and foolish, or hypocrites. Our most sympathetic characters were flawed but with some redeeming code such as Ruth.

The ending in my opinion is very unusual in terms of storytelling – as usually doing ‘nothing’ for MCs is a deal-breaker, yet Marty’s decision to do nothing is the face of Wendy’s ambition, Ruth’s death, and finally as his son shoots a man in cold blood sends a more interpretably and interesting message than a more clear-cut storybook ending.

Over-analysis done!

Have you seen the Ozark series – comment your thought’s I’ve be keen to hear them!

A Deep Dive into Sandman

Assuming anyone following my blog is aware I’ve been working my way through the Sandman Graphic Novels!

Before going any further I better chuck up some warnings both SPOILERS but also TRIGGER warnings for Suicide and Sexual Assault.

I don’t know if there is any particular structure to this post, I’m basically just going to work through my response to the series and discuss my thoughts and look forward to anyone chiming in! Sandman seems to have been published in an unusual spot – late 80s into mid 90s which was just before the internet really took off and a lot of focus on Gaiman seems to be more around his contributions to recent TV shows (American Gods, Good Omens) which bodes very well for the fact a Sandman series is coming, BUT for now it seems like there is relatively little online resources to sink your teeth into if you want to consider Sandman material.

Broad Strokes

My understanding is that technically Sandman is set in (a?) DC comics universe, there are very brief appearances from DC characters however, I think it would be more useful to say that Sandman is set in a ‘Gaimanverse’ which requires a little bit of explanation. For those who are fans of both, Neil Gaiman and Sir Terry Pratchett, the two authors were friends and collaborated on Good Omens. They both have a very similar approach to the theology of their world building, although with some subtle differences. Pratchett tends to create worlds on the power of ‘belief’ wherein things exist if people believe in them, and the stronger or more people believing the stronger that thing will be. There are some exceptions, such as DEATH and other entities that appear to be more personifications of various ‘rules’ of the universe. I should add that this typically applies to the Discworld, however if I have my facts straight I think other stories are based on or play on this concept.

Gaiman on the other hand has an extremely similar perspective except that his worlds run on ‘stories’ which morph and change (and die) over time and similar to beliefs can empower or create and destroy. There is a fair amount of discussion of whether Gaiman’s stories are in a shared universe and I think the point of Gaiman’s style is a resounding ‘yes’ but they could change as the stories do. At any rate Gaiman’s Sandman universe is very much a story universe, but similar to Pratchett’s theology, there are a few rules in place as well (more on that later).

Anywho the point of the rambling beginning was just a sort of scene setting for introducing Sandman and his stories.

Enter Sandman

So the world we experience Sandman in, while often based on Earth (probably because I’m an Earthling, I’m sure there is a Xenomorph busy reading through the Xenomorph version of the stories) is set in a universe where ‘everything’ is real: Heaven, Hell, Faerie, Asgard, children’s stories, adults stories, and so on.

Around (or on-top, or amongst) that is the Seven ‘Endless’ these being Destiny, Death, Dream, Destruction, Desire, Despair and Delight/Delerium. Even with everything and anything being real the Endless are some of the most significant and powerful creatures within this universe – that said its made very clear that there are still ‘rules’ and as I will get onto later, these stories are not really shallow in the respect of whether Odin could beat Oberon, or is Sandman stronger than Lucifer..?

Having a main character be an Endless extremely powerful? being is a very interesting story choice and the fascinating thing is the games that Gaiman plays to keep the narrative interesting – while the first Volume is more of a simple ‘depowered’ type situation where we see Sandman as protagonist, much of the story is told from other characters who have interacted with Sandman, sometimes as an antagonist, saviour, love interest or friend, and like all good stories is not really about our MC overcoming practical barriers and winning the day but the choices of our characters especially Sandyman.

The Story so far.

So now what follows is my attempt to summarize the story of Sandman – please forgive as I’ll probably forget, or completely miss some important points, or fail to succinctly cover the tale – I don’t mean to just provide the blurbs of each Volume, but to try and capture the significance of the events of the tale and try to surmise some insights.

The Story of Stories

Sandman has the most interesting of introductions, obviously he is Endlessly ancient, but our tale with him begins with some occult group ~1930 trying to summon death and instead getting Dream. After pilfering his stuff, they keep him trapped, demanding something/anything for their troubles.

Dream, being a total badass literally just sits in their summoning circle/orbs and stares at them for 70 years until someone accidently scuffs the protection circle.

Its a very unusual introduction on many levels – interestingly though it actually reveals much of Dream’s character even as he just sits imprisoned, we see his stubbornness, and pride, we also in some respects see his lack of personal insight with others. While this may be a harsh take, one feels that a more socially adept character would have talked their way out of the situation much faster. Yet Dream just waits.

The rest of Volume one deals with Dream reclaiming his lost belongings, its a very intense and fantastical tale, and we start to see hints of Dream’s character, that he has been extremely vengeful and petty historically but we also see hints of sympathy develop post imprisonment. Probably the main character point is we’re introduced to a former (try like 10s of thousands of years ago) love interest that Dream pettily doomed to Hell for rejecting him, while we are given little context in this issue the story continues later in the series.

Volume Two continues to follow Dream as he rebuilds his domain, and discovers that some of his creations are ‘missing’ and effectively lose upon the world. The volume contains a lot of significant plots points while also having a pretty bad-ass contextual plotline. The major plot developments are that we learn more about Nada (the lady from Vol 1) and why Dream banished her to Hell, we also learn that Despair and Desire, two of Dream’s siblings are plotting against him. The nature of the plot as is revealed is to trick Dream into killing his ‘own blood’ a disturbing and elaborate plan that involved Desire impregnating a comatose woman, in the hopes that Dream would kill their child. This is where we are introduced to the concept of and Endless spilling their ‘own blood’ being some sort of death sentence, although the specifics are still unclear. We also see later but chronologically earlier Desire lamenting that their plan to attack Dream thus will work eventually.

We also meet Lyta, who (bear with) is trapped in a dream with her dead(?) husband with whom she is pregnant. Unfortunately upon release of the dream Lyts is still pregnant with a child conceived (magically not grossly like Desire) and doesn’t realize her husband was dead the entire time, so sees Sandman as responsible for her husband’s death, and most probably is disturbed by Sandman’s claim to the child as his heir.

This is a useful time to segue a little. One of the fascinating challenges of Sandman is the mystery and many things left unsaid. We are revealed an obvious plot from Desire against Dream, however its not explicitly laid out the whys and wherefores. In Vol 11. we get a (massive like billions of years) flashback where Dream and Desire seem extremely close – Desire is even spoken of as Dream’s favourite sibling. This is due to Desire doing something for Dream to match him up with a lady-friend – but what is super odd is we doing exactly here what this is, but that the Endless are pretty awkward with it and later when said lady-friend hooks up with their home planets sun (don’t ask it makes sense). Dream obviously blames Desire. The general assumption is this the beginning of the animosity between the two, however many questions remain. My current theory is that Desire gave Dream the ability to love others, after all the other Endless don’t seem even particularly interested in romantic relationships whereas Sandman stands out as being particularly unlucky in love, a theme which appears again and again throughout the story.

If this is the case I suspect Desire’s enmity towards Dream is perhaps understood as being something in Desire’s nature rather than having a specific scheme, I believe Desire’s story in Vol. 11 while not specifically commenting on any events of the overall series discussing the nature of Desire as being something like a double-siding nuclear weapon.

Anywho on with the story – while Desire apparently tries to get Dream killed in Vol 2., its fairly ambiguous from then on how involved Desire is in any plotting against Dream, they still have parts to play across the story but no more overt schemes are displayed (personally continuing my theory, I believe that Desire may have played the odd in future events but was more manipulated by Dream than anything)

The next major points from Volume Three is the introduction of Calliope, I won’t dive into the disturbing and sexual tale specifics, but its revealed that Dream and Calliope were once lovers and have a child together. Little is revealed about the child at this point, but by all things sacred they come to play a very significant part.

Volume Four contains one of the more epic sequences. We get a proper meeting of the Endless, where we see more of Destiny probably the most mysterious of the seven, the meeting appears entirely to prompt Dream to do something about his mistreatment of Nada. It’s a fascinating series of events because initially its portrayed as a potential epic battle between Sandman and Lucifer. Instead in a bizarre twist Dream arrives in Hell to find that Lucifer is giving up the job and hands the key to Hell over to Dream. Its a major thematic moment that also mirrors the story of Destruction, a member of the Endless family who left their realm, and story elements that will related to Dream’s later choices.

The majority from the tale from there on out is the bizarre consequences of Lucifer’s choice, and Dream having to hold court to any number of other major entities who want to be given the Key to Hell. It may be worth pointing out at this stage that their is reference to ‘The Creator’ but in this ‘everything is real if there are stories about it’ universe there is no clarity around power hierarchies of specifics of theology (unlike say a show like Supernatural which specifically spells out who is more powerful than who, who goes where, and constantly has to add new all-powerful enemies and strange dimensions to keep creating stories).

With all irreverence intended, the actual decision of who gets to rule Hell is of minor significance, next to the character points of Dream, who finally gets to rescue Nada and at least partially make-good on his past actions.

The next Volume – feels contextually Similar to Doll’s house, focusing mainly on mortal characters having some sort of ‘Dream adventure’ if my memory serves Sandman himself is barely in this tale. An astute of observer will see the same themes being explored that become important in the conclusion, change and dead feature heavily.

Volume (keep track now…) Six is another collection of stand alone stories, most of which are picked out of the past. The significance is mostly around showing Dream’s almost disturbingly cold approach pre-captivity, the most extreme example being to watch his own son get torn to shreds, to later become a bodiless ‘Oracle’ which later on we come to learn has to continue his existence as revered head for thousands of years. While that story is directly relevant to the overarching tales, many of the others address key themes of power, responsibility, and of course stories.

Possible one of the most epic and powerful Collections Volume Seven (Brief Lives) chronicles Delirium and Dream trying to find their missing brother Destruction. Up until this point little is known about Destruction’s decision to leave the Endless, there is implications that Dream is to blame, but that seemed more like Despair’s interpretation. In order to find Destruction Dream must make some rather intense decisions (in this case visit his son, and eventually kill him as per son’s request).

The eventual meeting with Destruction is both fascinating, confusing, but ultimately in fitting with the styles of this tale. There are no real epic reveals, no revelations (other than mildly petty Dream confirming he didn’t drive Destruction away). Destruction discussing his reasons for leaving and declining to return are opaque and philosophical, what I found fascinating is Destruction discussing the two sides of a coin. Interesting because throughout the story Destruction is not seen as particularly ‘destructive’ and its not really ever spelt out exactly what the nature of his persona is, other than mentions of the Heart of Stars being his domain. The suggestion in my mind is that in order to accept things being their own inverse e.g. creation also being destruction one cannot simply be the personification of the one thing.

This has big significance for Dream, as its not 100% clear what his inverse is in this philosophy, he has been shown up to the beginning of this story to be a haughty, cold (yet petty in love) individual focused on his responsibilities. But where to from there?

Of course the conclusion to the story where Dream ends his sons life, finally creates the scenario Desire originally pushed for, where Dream has spilled his ‘own blood.’

Volume Nine, is another collection of stories, however these are more directly connected by the fact the tale-tellers are all gathered at the World’s End by some sort of storm, their tales also relate to what’s about to happen in the next volume. which is of course:

Volume Ten The Kindly Ones, as my individual review covered is an extremely epic story, captured many of the previous stories characters and pulling them into the final story of Dream.

The plot is very intricate and in a cunning twist is quite contextually dramatic, alongside thematic, by which I mean alongside the musing there is a surprisingly amount of violence and suspense, basically Lyta, the woman who believes Dream killed her husband, finds their child missing and also blames Dream. Thusly she sets the ‘Kindly Ones’ on Dream, who zips between encounters apparently seeking the boy in question while trying to manage the attacks of the Kindly Ones.

When it comes to the final showdown, we have quite the twist in store. Rather than procuring the boy to return him to Lyta and prove his innocence Dream prepares the boy as his replacement and effectively suicides in the presence of the Kindly Ones. There is a brief and unusual interaction between Dream and Death, where Death accused Dream of planning this outcome all along, Dream denies this, but somewhat unconvincingly.

I have to confess I found the finale quite shocking to say the least, while the series is older, and Dream’s death was pretty blatantly foreshadowed not only in the earlier editions, but throughout the story of the Kindly One’s, I did kind of expect something like Desire finally hatching a plot, or perhaps the Corinthian, one of Dream’s nastiest nightmares somehow turning the tables on him.

Instead we have a highly ambiguous ending, was Dream in control of the whole sequence of events? Did he at some point decide to simply accept them? Could he see worse futures ahead should he stay alive?

The Character Of Dream

This is probably where things get most convoluted and interpretable. Dream is a fascinating character as we’re effectively introduced to him in the last few years of his ‘life’ when he has in fact existed for(ever) or something. Initially the story of his character seems to be about him changing for the better, from a cold petty being to someone trying to right their wrongs.

But then an alternative vision is that the story is basically Dream getting his affairs in order before ending his life he hasn’t “changed” so much as preparing to end his unchangeable life. Gaiman himself has said the story is about someone who must choose to change or die.

While perhaps not that overtly pleasant the theory does have some strength, e.g. when Sandman is initially captured they are trying to summon Death, so why questions why would Dream appear when Death is summoned?

To circle back to Dream in general, his character to shown to be highly contrary. On the one hand he is shown to be intensely wise, sensible, and with a strong sense of honour and responsibility. Flip that around and he is depicted as disturbingly petty, at times pathetically haughty and strangely naïve to personal interactions – it takes Death to explain that his treatment of Nada was over the top and he should atone.

Atonement aside being unlucky in love seems a fairly consistent theme for Dream, many of his relationships end with being dumped, he is oblivious to the affection an elf gifted to his realm gives him and as already mentioned is pretty brutal when he believes he has been spurned. Its hard to interpret these interactions, especially since on the surface they feel almost like the McGuffin of the ‘Change or Die’ theme rather than a key Theme. Although I think Dream’s relationship woes reflect elements of the change theme, namely his rigidity not only makes him hard to love, but also hard to forgive his loves. Dream himself tells us the essential torment of his existence that he is “I will have no story of my own” (are all the most brilliant quotes highly ironic), which to me lends credit to that Desire gave Dreams the ability to love, however it backfired powerfully.

Gaiman loves writing stories about stories, and in many respects Sandman is the most meta story about. Sandman himself represents the bleak nature of stories – change or die – the whole story could be interpreted as a critique of the idea of “canon” in stories where Sandman represents a desperate attempt to maintain a rigid story, when in reality stories will be retold and changed throughout time.

Another interpretation is that the Endless while contextually representing aspects of reality, their characters represent ways of dealing with existence. Destiny is stoic and accepting, Death sees the beauty in all things dark and light, Destruction tries to run, Desire and Despair are both Schemey and pursue petty goals, Delirium, well goes mad.

Dream dives into taking responsibility for what areas he can and does have an impact on. In Kindly one’s he even admits to Matthew the Raven that his ‘responsibilities’ aren’t exactly responsibilities but more the areas Sandman can have an impact on.

So…

For me the brilliance of Sandman is to have a taste of many aspects of good story-telling, namely having strong contextual stories and thematic elements too. I won’t lie there are frustrations with the tale, but very much intentional frustrations, specific facts that we are not meant to know, a resolution that makes you think rather than breathe a sigh of relief.

One final point is that the nature of comics, having many different artists and styles fits with the trippy dreamlike quality of the story. I initially embarked on a re-read (and in some cases just a first read) of Sandman to refresh before the series came and found myself falling back into the series – its definitely something unique in the story-world and a much appreciated treasure.

So have you read any of the Sandman graphic novels? Any thoughts

I will be back once the series comes to review of course!

Finally I will also give the prequel a re-read as well, I wanted to analyze the original books first and then consider Overture later.

Review: Sandman Vol. 10

If you’d asked me hypothetically whether an entire volume dedicated to a ‘wake’ would be a good read, I probably would have not been enthused.

Yet somehow between the artwork, the resolutions, the traumas, and the stream of backstory reveals Sandman Vol 10. Is just as amazing to read as the rest. Something of interest is that there aren’t any corny plot reveals or story twists, but there are quite a few reveals and non-reveals through characters discussing Dream. I don’t really know how Gaiman pulls it off, but the story of Sandman is both fantasy epic stuff, but also heartfelt and characterised so personally.

I confess now I’m a little lost, I read Vol 11. which I’ll review shortly but now I guess I just sit back and hope that the Streaming series isn’t a steaming pile…

Review: Sandman Vol 9.

I’m not sure I’ve ever been quite so nervous and excited to read an entry in a series as Sandman’s Kindly Ones. In hindsight I am a little sheepish because as a teen I read through Sandman in a very haphazard random order, pretty much based on what was available at the library at any given time. I’d never captured the whole tale but actually had most of the material somewhere in my memory banks.

So finally reading the epic conclusion(s) of this series was quite the experience, I never realized or expected Gaiman to actually put together so many threads and characters of the series, to be perfectly honest I’d assumed that the series being about “dream” would have a nebulous dreamlike quality, which it obviously does, yet simultaneously does have proper story ‘etiquette’

Vol 9 is the bulkiest of collections with plenty of material to process probably only matched by volume 1 with having the most collected ‘story.’

There isn’t too much more to say other than if you’re wanting an emotional, complex, return of past characters and generally epic story this is it!

Review: Sandman Vol. 8

Oh man, so even thought I thought that Vol 7. was my favourite Sandman collection I then moved onto World’s End!

Now technically I’d read World’s End before, but quite a while ago, and also out of order in the series and missed like 9/10 of the important parts of it!

The premise of World’s End is several characters gathering at the World’s End in the middle of a ‘reality storm.’ While on the basics it seems similar to the other Volume’s that gather standalone stories – World’s end has some recurring characters, with connections to past stories and importance for the next stories and of course has a pretty devastating finale (spoilers I guess, I don’t know how well known the conclusions to Sandman are)

I confess I’m already 1/2 way through Vol. 9 already before getting around to this review and HOLY MOLY my mind is already disintegrating! When is the Netflix Series coming?

Review: Sandman Vol 2

We’re all dolls

Doll’s House is an interesting second Volume for the Sandman. perhaps better targeted for a more patience audience (or one that enjoys the weird diversions and ‘slice of lifes’) this volume doesn’t actually feature much of The Sandman. Instead we follow the mortals (and others) affected by the Sandman’s absence in the previous volume. There are a couple of segues/stand alone stories which build the character of Sandman – however the majority of the tale is about the mysterious ‘dream vortex’ and four creatures missing from The Dreaming. We are also introduced to a couple more of the Endless and learn some pieces of lore for the ongoing story.

Overall the story maintains a level of gruesome that the first volume did, however is perhaps more grounded, in the sense we see much more human evil and evil the odd dreams are character based rather than Sandman zooming off to Hell, or to battle super-villains stealing his powers.

Review: Sandman Vol 1

Endless(ly) Classic

Re-reading (although huge confession, I haven’t read all of Sandman YET) Sandman in anticipation of the upcoming Netflix series. I’m partially anxious as far as adaptions go I think its generally accepted that they can be a mixed bag. Especially a story like Sandman…

Gaiman’s Sandman captures so many things its hard to do it justice in a review. Dark, mysterious, timeless, yet nail-biting. I think what I love most about Sandman is how Gaiman manages to create the mythology to feel like our protagonist is indeed Timeless, but also fallible, and ‘human’ in many respects. It’s easy to take for granted, but somehow through a mix of genuine mythology, original creations and balanced story-telling the universe of the Sandman and the Lord of Dreams himself feels both supernatural and not OTT.

Strangely as a side note Sandman is based in the DC Universe, although if I have my facts straight I think its considered its own universe or a unique cannon.

Rereading Sandman in the era of ‘gritty reboots’ its interesting and mildly disturbing to be reminded that dark AF stories have existed for a number of decades and in some respects stories like Sandman seem way more intensely grim than modern stuff.

So at any rate I’m deeply curious about the upcoming TV series, and looking forward to working through the graphic novels too.