![]() Tom Sturridge manages to be convincing as the tens of thousands-year-old anthropomorphic representation of dreams. We are introduced to Morpheus, King of the Dreaming. ![]() What we are provided here in these first 10 episodes is an invitation then, our entryway into this tremendous world. If nothing else, The Sandman is a story about stories, about storytelling, the power of imagination, and, of course, dreams. Even in just its first season of 10 episodes, you get this impressive sweep of stories and tones. While you might file this under “fantasy” or “horror” alongside other shows, I assure you this is something wholly different. This rather long-winded intro, more than signaling and warning that I am a fan of the comics, should serve also to say that I am thinking about the Netflix series adaptation of The Sandman in two ways: one, as a fresh, never-heard-of-it kind of thing, and the other, as a longtime fan, who has always wondered what an adaptation could look like (And could it even be good/live up to the original?).įirst up, if you’re coming into The Sandman fresh, maybe you’ve heard of the comics, maybe this just popped up on your feeds. And it just as effortlessly featured DC characters as it slid in issues that featured William Shakespeare and Christopher Marlowe. It mashed religious pantheons together before it was cool. The Sandman‘s grandiose world-building, matched with its deft character work and its ability to bring disparate mythologies together made for an exhilarated read. For literature and especially comic book nerds of my generation (let’s say…middle-aged now), Neil Gaiman’s The Sandman was essential reading alongside “literary” comics or the emerging term “graphic novel/graphic literature” besides work like Alan Moore and Dave Gibbons’ Watchmen, Art Spiegelman’s Maus, and Frank Miller’s The Dark Knight Returns.
0 Comments
Leave a Reply. |