Neil Gaiman's Sandman is often held up as an example of how good DC's Vertigo line, and comic books in general, can be. It’s not without good reason. Although the title starts out a little bland and directionless it develops during the course of the run into a story about the nature of dreams, myths and stories themselves, introducing a memorable cast (Delirious, Jack Pumpkinhead, Lucien, Matthew the Raven, and Lucifer, amongst many others) and providing some excellent storytelling along the way.
The first story arc, collected as the trade paperback Preludes and Nocturnes, is far from
special. It deals with Dream, the Sandman of the title, being imprisoned for
decades and the journey he must make to regain his power upon being freed. The
use and portrayal of Christianity, while important later, feels cumbersome and
uninteresting during a first read. The very clear links to the DC Universe
(most obviously the appearance of John Constatine and Arkham Asylum) limit the
sense of scope. At this point it feels like “just another” comic book.
But wade through that first collection and things
improve. The final issue of Preludes and
Nocturnes features a drastic change of tone. Gone is the quest, the blood,
gore and angst of the first seven issues, replaced by a conversation between
Dream and his sister Death. It is the first indication that Gaiman has realised
the opportunity writing the series represents. This relationship is revisited
multiple times during the series and becomes one of its highlights.
The Doll’s House,
the second collected volume, is where the series begins to hit its stride. We
learn more about the nature of the book’s powerful and emotional protagonist
and Gaiman seizes upon the potential the book presents. Things just get better
and better as the story progresses.
What’s nice is that Gaiman will often present one-shot
issues where his regular cast are in the background, sometimes not even
appearing at all. It allows him to construct a larger world while at the same
time conjuring an air of mystery for the central characters. Considering their
nature (which I shan’t spoil here as discovering it is one of the joys of
reading the series) it’s a smart move.
These collections of one-shots are often highlights of
the series and never feel out of place. It’s perfectly natural that a series
about dreams and stories should go off on tangents focusing on such things,
placing importance on the tales over the characters. This isn’t to say that the
regular issues are not good. The central tale is difficult to surmise but it is
essentially a story about Dream coming to understand his responsibility and
place within the universe. The various arcs of the series cover different
periods in his life and decisions he makes, all contributing to the title’s
closing issues.
A personal highlight is the use of mythology. He borrows
liberally from Egyptian, Norse and Christian mythology as well as fairy tales,
making the characters his own while never contradicting the spirit and feel of
his source material. The idea that these gods and monsters all fall within the
dominion of ‘The Dream King’ is an interesting one, and makes you consider the
nature of religion and belief.
Gaiman also takes much inspiration from Shakespeare. The
man himself appears a handful of times throughout the series and is given his
own story arc. It’s surprisingly intricate considering Shakespeare is essentially
a bit part character in the series. The concept of ‘The Bard’ being gifted his
great writing ability by Dream may seem passé now but it was original and
innovative when the title was first printed.
Gaiman also looks at the nature of names. Dream is
revealed to be a collector of titles, epithets and designations. Dozens of
names for our central character are revealed throughout the course of the
series and Gaiman also looks into the origins of some of his mythological cast.
It makes for an interesting side note (or perhaps sub-plot).
Of course, the author did not create The Sandman alone. While most of the famous titles from Vertigo
feature a regular writer and artist combo from start to finish The Sandman features a revolving door on
the visual side of things. The only artistic constant for the series are the
issue covers of Dave McKean. These evoke a wondrous sense of unknowable magic
and really help to create the right tone for each instalment.
The internal art is handled by somebody different on
practically every arc. Naturally this means some issues receive better artwork
than others, although views on that are naturally subjective. I personally love
the style of Marc Hempel on The Kindly
Ones but I know of several people who feel it’s some of the weakest work of
the series. These changes in art reflect the changing nature of dreams,
something which is never really emphasised within the series or by the author himself
but fits nicely with one of the book’s chief themes.
On the subject of the artwork it should be mentioned that
over the last two years DC have reissued the ten volume run with recoloured
pages. Naturally some portions of the series benefit from this more than
others. A Game of You feels almost
like a new story for example, while the changes made to the already vibrant
pallet of World’s End don’t strike me
as such a big deal. Ultimately it’s a change for the better and a good move on
the part of DC (even if they did only do it for the dosh).
While it may not get the credit of Watchmen for bringing large scale changes to the comic book
industry I’d say that, over the course of time, The Sandman has proven to be the more influential series. Looked
back on it is a truly epic series both in terms of scope and achievement. It’s
one of the first comic series I ever read and it remains one of the best.
Critical
information:
Writer: Neil GaimanArtist: Various, including Sam Kieth, Charles Vess, Malcolm Jones III and Marc Hempel (and covers by Dave McKean)
No comments:
Post a Comment