Also set in the past, or, more accurately, through the ages, it begins when Morpheus and Death overhear one Hob Gadling, late 14 th century peasant, declare “The only reason people die is because everyone does it. It’s a very good, yet simple story, and equally valid representing elements in which Gaiman would later sometimes over-indulge during the series, with portentous dialogue and meta-fictional overtones.Ī second interlude story, this illustrated by Michael Zulli, is more whimsical. We start, though, with a faux African fable in which the imperious Queen Nada is courted by a rather petulant Morpheus. Here it takes flight, although returns to far better conceived horror for the final content. We now see Neil Gaiman progressing greatly as a writer, becoming more assured as he sheds the horror trappings that previously confined his imagination. In that first collection Sandman was freed from confinement and retrieved the objects that enabled him as ruler of the Dreaming. This was the first Sandman material to be issued as a graphic novel, in 1990, when such publications were relatively rare, and so the earliest editions also featured the introduction of Death, now consigned to the preceding Preludes and Nocturnes.
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