What is Sandman? I think there is a complicated answer to this question, starting from the simplest, just like the ever-expanding universe of comics. Sandman’s adventure begins in 1989 under the umbrella of DC Comics and at a time when Neil Gaiman’s creative writing is in the spring.
First of all, Sandman is a story about the stories that make us who we are. We can often see this from his little stories, which organically articulate into the main story he loves to tell. When it comes to dreams and life itself, Gaiman puts a vast oman in front of us. This is not a comic book in which a different villain is defeated in every episode, where fists talk when the words are finished. It’s a universe where words and meanings mean everything, and here is the place of Thor and Loki, an ordinary woman who has slept for years and only woke up when she’s old. From the first numbers, Gaiman speaks of Morpheus, the Infinites, the brothers of the Dream. This strange family, each a manifestation of a concept, represents our dreams, desires, memories, destructions, madness, despair, and ultimately mortality. In some stories, Sandman is not even visible, in others it is about him, or it may be a disappearance. Like the complex feelings within us, Dream’s conversation with his family, sometimes he doesn’t get along with others, sometimes they are neutral with each other. She gets along with her best sister Death because the dream is also a departure, like “fall” and return death.
So what does reading this 10-volume collection of stories give us? Just what other great works of literature gain. So experience, perspective, the opportunity to touch lives that we could never visit, the chance to understand them. With this free flow, Sandman constantly surprises the reader by taking him into unexpected turns, full of references to literary history, excites him, and evokes the feeling of wonder in you, of witnessing something wonderful. Especially Volume 4, Season of the Mists, may be the best story I’ve ever read in a comic book, and it may even overtake many novels. And that includes American Gods, which Gaiman used to expand the idea here.
Like Sandman and all his classic works of literature about all our dark and light aspects, he takes you out of the boring climate of reality and throws you into that fascinating anaphor of dreams and stories, leaving you to free “dreaming.” – Eren
1. Main Post
2. Editions
3. Trademarks.
4. Side Stories
What awaits us in the 5th series?
6. 24 Hours
Late eighties, early nineties; In American comics, Sandman is a story about stories that begins and ends like a dream of dreams while the capes play corner-grabbing. It tells the story of a land where beautiful simple dreams, falling trouble-stricken nightmares and daytime dreams are plunged into it, and of Dream, aka Morpheus, who is both himself and his master.
Morpheus is the third oldest member of The Endless family, which is a collection of concepts in the universe that guide the lives of living things. Everyone in this family, which consists of Fate, Death, Dream, Destruction, Despair, Ambition and Delirium, is also responsible for managing the natural functioning of the concept in the universe after which it takes its name. Our main character is taken into a 70-year captivity by a cult leader who intends to take over his older sister, Death, and instead the mistake is caught by accident and he is far from his land that is the cradle of imagination. Living things are sorely deprived of their dreams, and dreams and nightmares remain unfettered in the universe in the absence of a higher authority to rule them. The universe, which cannot dream naturally for seventy years, and the natural power that cannot carry its dreams to that universe, are undergoing serious changes accordingly. From the moment Morpheus is released, he begins to be interested in the consequences of poverty, but he is unaware of the point that the path he has entered for this purpose will bring him.
Building on this breaking point born from bondage in the billions of years of Life of the Lord of Dreams, Neil Gaiman weaves a story that zigzags Morpheus’ past and future, incorporating both literature and mythology into the mix. This much is inevitable when the main character is the personification of dreams, imagination and therefore stories, but Gaiman goes further and goes deeper into the “state of writing”. He constructs a narrative in which inspiration, the psychological isolation that comes with this inspiration, the changes that the stories undergo sometimes in the hands of the author, sometimes in the hands of the audience that assimilates them after leaving the author, are woven into every piece of the loop. It also touches on the nature of change and the kind of death it brings. In doing so, he jumps from species to species with great success; Sometimes you read horror, sometimes you find yourself in a road story, and then you see that what you’re lost in has turned into a fairy tale or a downright fantasy of the land. These jumps and jumps of the series give him an anthology-like feeling, but when you look at the whole, there is a structure where everything is connected. Like the renewed concept of “God who survives and has power to the extent that there are those who believe in them” in American Gods, Sandman is the first place we see many of the cornerstones of Neil Gaiman literature.
Of course, when telling a comic book, it is a shame to only mention its author, but Sandman is a work that jumps from illustrator to illustrator many times due to the variable nature of the story. If I say that the series has more than twenty-five illustrators during its publication life, I guess a little whistle will come out of your lips. It’s like a new plotter for every three numbers when you hit that average. There is such a branch-to-branch jump. So if you’re one of those hair-catchers on the cartoon change of series, Sandman isn’t really going to be a comic book for you. Oh, but for the reason I gave above, you may conclude that it has a structure in which it is justified, and you will come to the right conclusion. Because it has hosted cartoonists suitable for these styles while switching between different styles. Still, he saw a peak, and J.H., who drew The Sandman Overture, which came out for the 25th anniversary of the series. It is possible to say that it is Williams; he is a god among cartoonists because he is himself.
In short, Sandman is a masterpiece that will have no precedent for the many reasons I have mentioned so far and listed in this file. That’s why it’s a big thing that the series is being made. It seems like it’s going to be very, very difficult to get under, to give it its due, and so on; It seems to me that Netflix, which can make Jepiter’s Legacy for $ 200 million, needs to spend $ 1 billion or something to do justice to it. I’m scared, but I can’t help but hope that Neil Gaiman is supervising the job. I hope that he is in good hands, as he says, and that we have prepared you to adapt this dossier in the right ways. – Honor
Prints
Somewhere around here, I mentioned that DC automatically makes money from Sandman reprints. That’s why standard paperboard editions are occasionally refreshed and reprinted cover drawings. In addition to these standard editions, there are also special editions with a glamorous one. This is really the part where it comes out because DC is trying to give each one different charm instead of making one enormous edition to dominate them all. There are 1,000-page editions called Omnibus, for example, where you can collect the main series with the first two, and the third with the three extra stories written by Neil Gaiman (see side stories box). They cost $150 each, have a burgundy black design, and are printed on black paper. Even bigger than these are the “Absolute” editions, which cost $100 (but the main series is four volumes, the extras are 2 volumes, it examines more), the script drafts, sketches, they contain whatever extra material they have, they come in a printed cardboard box. Then there are the editions called “Annotated,” which under normal circumstances would be the most comprehensive, but which they printed in black and white because they probably didn’t want everyone to go and get them. They are printed on large sheets of paper and have explanations and footnotes in the margins on the sides with the setting “we referred to this in this dialogue, this place was inspired by this”.
By the way, if you have a lot of money, I am putting them here so that you want to look at the shape chimes even if you want to buy or not buy them, friends, then do not swear 🙂 Otherwise, those of us who are at the normal income level will train in hand-held cardboard cover Turkish editions. In our country, Arkabahçe first attempted to raid Sandman, but they left it unfinished as an Arkabahçe classic, which was disastrous. They had old covers from that era. Then Laika took over and completed the main series, and then added the 11th Division. He published Endless Nights by saying skin, but it’s not easy to find a full set of them. As of now, Ithaki, the publisher of the series in our country, and the series has finally received a professional translation at the level it deserves, but Ithaki has only completed the main series yet, and has not entered extras such as Overture and Endless Nights. When the series arrives, they reprint the main series with gorgeous 30th anniversary covers, even if the bookstore shelves see beauty.– Honor
Signs of Sandman
Helmet: This helmet, which dates from a war ages ago, is made from the skull of a forgotten god defeated by Morpheus and is used as a symbol of the Dream. Although it is not well known what their power is, it is highly likely that they were used to strike fear into the hearts of their adversaries because they described an ancient victory.
Sand Pouch: One of the sources of Morpheus’ power, these endless sands allow sleepers to dream when sprinkled on their eyes, and they will not run out until eternity. These sands, which create a drug-like addiction when they fall into the wrong hands, can be used in various ways in accordance with the will of the Dream.
Ruby Dreamstone: This red ruby is the largest of the power stones and contains a considerable part of Morpheus’ power. After the end of Sandman’s captivity, this stone falls into very wrong hands and becomes polluted with evil, and eventually disappears, allowing Morpheus to regain his lost powers.
Morpheus’ Powers: The lord of dreams has various abilities of various kinds. His ability to dominate dreams means that he has a considerable will over reality. Illusions, various spells, being able to take on any form he wants, dominating nightmares and fears, traveling between dimensions, immortality, healing, putting words into matter with light, and knowing all the stories that have been told are some of his immense abilities.
Duchesto: The land of Dream consists of fragmented islands and vast lands floating in the air, in the middle of which is its castle, where it can see and follow everything from the throne room with high ceilings. Ruined and exhausted by his powerlessness during his captive years, Düşdünya soon transforms into an even more magnificent place than before with his re-arrival and enables Morpheus to fulfill his duties properly. In the story of Season of Mists, the palace welcomed guests of all sizes and times and won the admiration of many. – Eren
Side Stories
One of the things that makes Sandman special is that it’s finished, yes. Sandman’s copyrights aren’t with Neil Gaiman, it’s on DC Comics, yes to that. You might say, “Well, since the power is in DC, why isn’t Sandman’s milk milked on the comic book side?” but he’s actually milking. Aside from the sheer amount of money that comes from the many different editions and their reprints, the agreement between Neil Gaiman and DC is not to print any series for someone else where the main character will be Morpheus, and to consult Gaiman on other side materials. The agreement in question is not a legally valid agreement, but a promise made by the DC administration is only interesting, it has been obeyed for 30-odd years. The more D.C. is at odds with Alan Moore, the better he gets along with Neil Gaiman. In this context, the main series was seriously finished, but DC did not hesitate to pump the side series so much that it was not written by Neil Gaiman and that we cannot list here.
There is only one name of great importance that makes a name for itself with its quality, and that is Lucifer, written by Mike Carey, another British Invasion soldier. Lucifer, the comic book supposedly adapted from the Netflix series, is a comic book that is not inferior to The Sandman in terms of quality, even if it does not have the popularity. The series has nothing to do with the tone of the series from Supernatural, there is a magnificent mythological structure where events revolve on a universal scale. Oh, but except that the main character, Lucifer, first appeared in Sandman, doesn’t cross paths with Morpheus and his people again. So it comes out of Sandman, but it goes to a lot of other places. I would definitely say read it, though.
Neil Gaiman himself is not at ease, by the way. They added 3 more important stories to the mythology they created: The Dream Hunters, Endless Nights and The Sandman Overture. The Dream Hunters is a short novel that places Morpheus in Japanese folklore stories, illustrated by Yoshitaka Amano, who will be known to Final Fantasy lovers. It was later translated into a comic book illustrated by P. Craig Russell. Endless Nights is an anthology dedicated to each member of the Endless family, illustrated by different illustrators. The Sandman Overture, on the other hand, is a complete eye feast that Gaiman wrote for Sandman’s 25th anniversary, which J.H. Williams was able to make and finish his magnificent drawings in 2 years, which should be read later, since it can spoil the surprises of the end of the main series. Each of these is recommended. – Honor
What awaits us in the series?
Although we have known about Sandman’s Netflix adaptation for 1-2 years, this is a project that has been tried to be adapted to the screen since the mid-90s. The production, which has been circulating in different studios over the years in the hands of names such as David Goyer, James Mangold and Joseph Gordon-Levitt, will finally be under the control of Nail Gaiman and will be a guest on the white screens with Netflix’s generous budget.
In Gaiman’s own words, this is a small overhaul of the work, changing and polishing the left and right, a kind of restoration operation. We’ll have a female Lucifer and a black Death. In particular, Kirby Howell-Baptiste’s selection to such an important role as Death (and, let’s be honest, black) took fans by storm. Although Neil Gaiman, who I have never seen so angry with this much-stricken debate that smells of racism, puts an end to it, I can say that the series was a little wounded from the very beginning. It recovers over time, though. In fact, Gaiman’s main philosophy in the series is based on the question, “How would I think if I were doing Sandman today?” For example, the events in the first volume will take place in 2021 instead of 1989, which is a 105-year bondage period for Morpheus. This change alone may move many stones and open many different doors for us, but these doors will still carry us to familiar paths and events, Gaiman said.
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One of the casting choices that I was very happy about was that Gwendoline Christie, who was highly acclaimed as Brienne in Game of Thrones, took the role of Lucifer. I can’t even imagine what Lucifer, a figure reminiscent of David Bowie in the comics, would do in the image of a burly woman. In the meantime, let’s remind you that Tom Ellis, the lead role in the Lucifer series, which is based on the Sandman universe but no longer has anything to do with the character there, was also considered, and Christie was chosen to be a Lucifer who was ultimately loyal to the comic book. And then there’s Tom Sturridge, who will play Morpheus. I am eagerly waiting for how the actor, who reminds me of the master of dreams even in his make-up state, will perform against John Dee, who will be brought to life by a master actor like David Thewlis.
For now, Netflix seems to have opened the purse in the production and effects section, and the signals are fine, and if we wish it was beautiful enough to decorate our dreams when it came out, I think we would not exaggerate too much, because fans have been waiting for this magical moment for 30 years. – Eren
24 Hours
When we watch comic book adaptations, we always get angry that the source material is not faithful, and the producers say that it is impossible to adapt such works exactly. Hah, 24 Hour Diner is a 32-minute proof that all this is bragging.
Based on the story 24 Hours in Sandman’s first volume, this short film is incredibly faithful to its original. So much so that every dialogue, every scene and every character in the comic book is used exactly. Even television shows, commercials and songs! The result is a film that is so extraordinary that one cannot say that it is a fan production. Not to mention the amazing animation part where we see Sandman and Death in action. I hope the series will be close to this. by Ihsan T.
Importance in History
Sandman’s importance in American comics comes from the fact that he accomplished more than just popularity. Before all, in the early eighties, DC Comics began to hunt for talent from around the UK, which had its own comic book market. Alan Moore, who was a writer on “British” comic book anthologies at the time and whom we know mostly from V for Vendettta and Watchmen today, is the first of those talents to hit the scene like a bombshell.
When Judge Dredd’s home attracted the attention of editors for the anthology magazine 2000AD, Moore took up the writing of Swamp Thing, a horror comic book in DC. Moore is followed by Grant Morrison, Warren Ellis, Garth Ennis, and even the “British Invasion.” One of the soldiers of the British Invasion is Neil Gaiman. Neil Gaiman, who learned from Moore how to write a comic book script and in what format, says that a few years later, he starts to negotiate with DC to write the classic character Sandman.
Things get a little complicated here, but if you get a little involved with comic book history, you’ll probably find it normal. The Sandman in question is not our Morpheus. Normally DC has the character Sandman, a superhero created in the 1940s, who walks around in a gas mask and fedora.
The second incarnation of this character, conceived by Joe Simon and Jack Kirby, the team behind Captain America in 1976, is also imagined as a version of the character in Scandinavian folklore, who sprinkles magical grains of sand on people’s eyes.
Here Neil Gaiman comes up with the idea of refreshing this second version, which is also a cheap superhero, but at the end of the day, it is decided to create a brand new Sandman. The story, which grew from an eight-issue plan to 75 issues, began broadcasting in October 1988 and ended in 1996.
In this process that has taken years, there are three major details that make Sandman a very meaningful and important comic book:
1) Sandman; Superman achieves sales figures that will make love with mainstream comics like Batman and does this by creating a serious female readership. This makes his hitherto male-dominated comic book hobby pregnant with some of the changes he needs, causing Sandman to be one of the works that rightly started the Modern Age of Comics. “Every day we signed for Sandman, I saw more and more women in line,” says Neil Gaiman.
2) Although Sandman is primarily in the DC universe, he has no contact with popular parts of that universe. What’s more, unlike superhero comics, the content of which is prepared in a way that children can read, it also gives plenty of room for adult themes. So it stands apart from DC’s other comics. As a result, in 1993, under the leadership of the legendary DC editor Karen Berger, the decision was made to establish a brand new publishing arm that would gather such different works under one roof, and Vertigo was born. Vertigo’s main importance is not only that it includes relatively niche businesses, but that it is one of the first successful initiatives that value creative rights. Although Sandman is a DC intellectual property because it is older than Vertigo, most of the work that comes out under the Vertigo roof belongs to his creative team.
3) The confusion of names and versions of characters in comics comes from the fact that something never really ends, never ends. Characters who bring money are killed for dramatic effect, brought back so as not to give up the money they bring. Some of the characters who don’t make money are renovated and changed until they bring money, and that’s how Sandman started out. Of course, by revealing the difference here, it ends.. Neil Gaiman ends the series by promising DC that they will not write Sandman to anyone other than him, and with the exception of The Sandman Overture mini-series, which he wrote for the 25th anniversary of the work, no series with Morpheus as the main character is written and drawn. – Honor
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