Making Comics - The Sandman

- I wanted to talk about the different panel transitions from Making Comics as it relates to my reading of The Sandman before talking about other connections between our readings.

There are all sorts of transition devices being used. I don't know if the series as a whole favors one kind over another or not (because I haven't read all of them yet), but I was able to pick out when one kind was being used in a given "episode" and the effect it tended to have. There isn't a huge need to blow through the story, since there's a lot of room to tell it, and so there are a number of instances where images are being shown without time passing quickly, or with no reference of time at all. You can notice an aspect-to-aspect transition in the page shown below, where Hell is depicted, but there is no clear sequence of happenings. It's just showing different scenes and landscapes with some narration occurring to give a sense of the vastness of the place.

This technique fits in especially well with this part of the story (which you'll just have to read).

And here is an example of moment-to-moment transition, used to draw out an action for emphasis, which compliments/mirrors the thought process of the character involved.

- Choice of Image is also significant in this body of work. The group of contributing artists change throughout each episode, and so some incarnations of characters warp slightly. This is fitting considering the ethereal nature of some of them, but I also felt that in many instances, the image existed solely as an expression of that artist's personal taste. By far the most important "Choice" though is Choice of Word. The language and story as represented by words is the true strength behind this series, and is what motivated me to keep reading, as I often found myself at odds with the art direction.

The Sandman: Season of Mists - Adam Borgia

1. Analyze: Character - Primary
Both Character and Event seem to be almost equally persistent in vying for attention. Without spoiling too much (and robbing the next reader from their own analysis), there is an actual event that is "foretold" in the beginning, realized halfway through, and then dealt with as the story reaches its conclusion--but I really felt that the whole event (and sub-events) existed as a means for the main character to show his true character. I viewed much of this story as one about growing up, albeit in a very different way from the typical adolescent perspective we're used to seeing. The protagonist, Dream, is actually more of an idea or power or force that is eternal, and less like your average conflicted hero. We as the reader wonder as he does himself throughout the story whether someone like him is to be held to the same standards as mortals or other persons. Isn't he beyond that? Or are there certain traits and qualities that themselves are eternal in nature and ought to be upheld by everyone and everything? Deep stuff.

Amidst all the bizarre and fascinating things happening here, I was intrigued, and actually invested the most in witnessing the personal development--and in some ways, penance--of Dream. Someone so inhuman in so many ways becoming more human is a great transformation. And I suspect there is much more to be seen.

2. Rating: PG-13.
There are a lot of heavy thematic things going on in the story. Some range from the common trials and disappointment we all deal with to several "What the Heck?!?" themes (I apologize, but that is honestly the best way for me to describe certain parts). There are some gruesome scenes depicting torture in Hell, and the dialogue, while relatively clean from a profanity point of view, contains a handful of instances of amorality and debauchery (pg. 11 of episode 2, pg. 10 of episode 4, pg. 1 of episode 6), as well as a few suggestive visuals here and there. I can't recall anything outright explicit. However, if the artists or writer had wanted to expand any of these to a more graphic level (which wouldn't have done anything for the story, in my opinion), then this rating could be R.

3. Springboard
Mythology runs throughout this story, and I expect throughout the entire series. Neil Gaiman is not exclusive in his preference however, as he seems to be comfortable combining Norse, Greek, Japanese, Egyptian, Faerie and Christian theology and mythos. I would expect that he had done substantial research into each of these fields in preparation for this work. His take on some major characters are both faithful to other depictions while unique in their own right. I went back to look into some apocryphal sources regarding angels, the fall and the domain of Hell to see where Gaiman drew particular bits of inspiration. I learned somewhat of the heiarchy of archangels (Michael, Gabriel, Raphael, Uriel) and their roles, but in Gaiman's treatment, Lucifer is the one listed as the greatest of the archangels, second in power only to God (by the way, Satan is not at all what I expected here, and that's a good thing. I found him to be a very original take on a very, very old figure).