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Books : Comics & Graphic Novels : Cult Graphic Novels : Sandman
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"Wake up, sir. We're here". It's a simple enough opening line--although not many would have guessed back in 1991 that this would lead to one of the most popular and critically acclaimed comics of the second half of the century.In Preludes and Nocturnes, Neil Gaiman weaves the story of a man interested in capturing the physical manifestation of Death but who instead captures the King of Dreams. By Gaiman's own admission there's a lot in this first collection that is awkward and ungainly--which is not to say there are not frequent moments of greatness here. The chapter "24 Hours" is worth the price of the book alone; it stands as one of the most chilling examples of horror in comics. And let's not underestimate Gaiman's achievement of personifying Death as a perky, overly cheery, cute goth girl! All in all, there is a roguish breaking of new ground in this book which is preferable to the often dull precision of the concluding volumes of the Sandman series. --Jim Pascoe
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"Wake up, sir. We're here". It's a simple enough opening line--although not many would have guessed back in 1991 that this would lead to one of the most popular and critically acclaimed comics of the second half of the century.In Preludes and Nocturnes, Neil Gaiman weaves the story of a man interested in capturing the physical manifestation of Death but who instead captures the King of Dreams. By Gaiman's own admission there's a lot in this first collection that is awkward and ungainly--which is not to say there are not frequent moments of greatness here. The chapter "24 Hours" is worth the price of the book alone; it stands as one of the most chilling examples of horror in comics. And let's not underestimate Gaiman's achievement of personifying Death as a perky, overly cheery, cute goth girl! All in all, there is a roguish breaking of new ground in this book which is preferable to the often dull precision of the concluding volumes of the Sandman series. --Jim Pascoe
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"Wake up, sir. We're here". It's a simple enough opening line--although not many would have guessed back in 1991 that this would lead to one of the most popular and critically acclaimed comics of the second half of the century.In Preludes and Nocturnes, Neil Gaiman weaves the story of a man interested in capturing the physical manifestation of Death but who instead captures the King of Dreams. By Gaiman's own admission there's a lot in this first collection that is awkward and ungainly--which is not to say there are not frequent moments of greatness here. The chapter "24 Hours" is worth the price of the book alone; it stands as one of the most chilling examples of horror in comics. And let's not underestimate Gaiman's achievement of personifying Death as a perky, overly cheery, cute goth girl! All in all, there is a roguish breaking of new ground in this book which is preferable to the often dull precision of the concluding volumes of the Sandman series. --Jim Pascoe
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"Wake up, sir. We're here". It's a simple enough opening line--although not many would have guessed back in 1991 that this would lead to one of the most popular and critically acclaimed comics of the second half of the century.In Preludes and Nocturnes, Neil Gaiman weaves the story of a man interested in capturing the physical manifestation of Death but who instead captures the King of Dreams. By Gaiman's own admission there's a lot in this first collection that is awkward and ungainly--which is not to say there are not frequent moments of greatness here. The chapter "24 Hours" is worth the price of the book alone; it stands as one of the most chilling examples of horror in comics. And let's not underestimate Gaiman's achievement of personifying Death as a perky, overly cheery, cute goth girl! All in all, there is a roguish breaking of new ground in this book which is preferable to the often dull precision of the concluding volumes of the Sandman series. --Jim Pascoe
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When, in 1996, Neil Gaiman laid his acclaimed Sandman series to rest after seven extraordinarily successful years, the fans lamented. And with good reason: its influence on the comic book industry was immeasurable; the harbinger of a renewed literary acceptance for the medium. Gaiman had expertly fashioned a vivid Gothic fantasy world that mixed the majesty of folklore with the horrors of modern life. The rich tapestry of stories that unfolded focused on a lonely Byronic figure called Morpheus, ruler of the amorphous world of our dreams. With The Dream Hunters, fans can rejoice as Gaiman returns to his signature work with a haunting fable of love, devotion and betrayal set in Ancient Japan. A lone monk spends his days tending to his temple garden, when he meets a Fox, a beautiful woman in human form, who becomes trapped within the monk's dreams. To save her, the monk must travel to the Realm of the Sandman and face a terrible choice between love and death. Meanwhile, a sinister magician makes nefarious plans against the pair to achieve his heart's desire. On this occasion, Gaiman's evocative prose is paired with the ethereally beautiful paintings of Japanese artist Yoshitaka Amano. And what a pairing it is; this is a prime example of creative symbiosis if ever there was one. True, the story is slight, but Gaiman weaves his own magic of letting simplicity harbour a wondrous complexity that lurks in the background, wonderfully rendered by Amano. Fans will be delighted by this comeback, while others can be captivated by Gaiman's assurance that popular culture cannot displace old-fashioned tales of magic and wonder. --Danny Graydon
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