Faster than a DC Bullet: Lucifer, Part XI: Morningstar

Comic trade paperback, 189 pages
Published 2006 (contents: 2005-06)
Borrowed from the library
Read March 2012

Lucifer: Morningstar

Writer: Mike Carey

Artists: Peter Gross, Ryan Kelly, Colleen Doran, Michael Wm. Kaluta

Colorist: Daniel Vozzo
Letterer: Jared K. Fletcher

The structural similarities between The Sandman and Lucifer continue: the climax of Lucifer comes in its second-last volume.  Most of this volume is given over to the epic story "Morningstar," where everything comes to a head.  Lucifer decides to save the universe from Fenris, and in doing so, must return to Hell to convince the new ruler of Hell, Christopher Rudd, to side with the Silver City and not against it.  The story has its moments (Lucifer, Mazikeen, and Elaine Belloc are all badass), but too much of it is again generic fantasy without much in the way of apparent rules.

It all picks up when Elaine sits on the Primum Mobile, placing herself at the highest point in creation, and making contact with God, who is outside it.  The conversation between Elaine, Lilith, and God over the fate of the universe is great, as is Elaine's journey into Lucifer's universe to save all three creations from destruction.  The end of the book, as Elaine sits in ascendancy over the remaining combined universe, is fantastic.  (I also amazed when Elaine reverted to the age she held at the beginning of the series when she sat on the Primum Mobile.  I hadn't realized how much she'd aged since then; the artists have done it very gradually, which is quite clever.)

Despite the epic events of this volume, Carey still finds time for two side stories.  The first, "The Wheels of God," is another featuring Solomon, and I didn't see the point of it, besides wrapping up the fates of some of the random side characters I'd long forgotten about.  It still has its moments, though.  The second is "The Beast Can't Take Your Call Right Now," which tells what happens when a magician summons the most powerful demon in Hell... only Rudd's taken them all out and so only Gaudium and Spera are left.  Hilarity ensues (except that though Michael Kaluta's art is good, it took me too long to figure out who Gaudium actually was).

Faster than a DC Bullet: The Sandman Spin-Offs, Part I: The Absolute Death

Comic hardcover, 360 pages
Published 2009 (contents: 1989-2003)
Borrowed from the library
Read October 2010

The Absolute Death

Writer: Neil Gaiman
Artists: Chris Bachalo, Mark Buckingham, Mike Dringenberg, Colleen Doran, P. Craig Russell, Malcolm Jones III, Mark Pennington, Dave McKean, Jeffrey Jones
Colorists: Steve Oliff, Matt Hollingsworth, Daniel Vozzo, Lovern Kindzierski, John J Muth, Alex Bleyaert, Rob Ro
Letterers: Todd Klein, Jeffrey Jones

This last Sandman Absolute Edition collects the adventures of Dream's sister, Death. It leads off with two Death-centric issues from The Sandman, which was probably done to pad out the book, but I still appreciated the chance to reread "The Sound of Her Wings," which features Death's first appearance. In retrospect, it stands out: Dream narrates part of it, which rarely (never?) happened again in the series, and it also seems to set up some of Dream's decisions in The Kindly Ones, a full fifty issues later. But the primary point of this collection are the two Death-focused miniseries it collects.

The first of these is The High Cost of Living, which tells the story of a 24-hour period spent by Death as an ordinary, living person in modern New York. Primarily told from the perspective of a layabout teenager, it's a nice story with a lot of fun moments and couple reappearances by Sandman stalwarts such as Mad Hettie and Hazel and Foxglove. Death's adventures are alternately entertaining and horrifying, as you might imagine, and I enjoyed this one a lot.

The second is The Time of Your Life, which isn't really about Death at all, though she appears; it's more about Hazel and Foxglove, and how they deal with having a child and the pressures of fame. I liked getting to focus on these two because, for me, Death doesn't really work as a principal character-- even more so than Dream, she's all-powerful and all-knowing, and what's worse, she likes what she does, so what's at stake for her? She works better as a side character in the stories of others. Hazel and Foxglove go on a stranger journey in this tale, and learn a bit about themselves-- though unfortunately the story occasionally descends into the kind of cheesy aphorisms you might see inside of chocolate wrappers. Also the ending is a convenient cop-out.

The art of both tales is ably provided by Chris Bachalo. I especially liked his art in the second story, where Mark Buckingham's inks are clear and gorgeous. The use of color in The Time of Your Life is really great, too.

After this, there's a few mini-stories about Death, all of which look pretty good, but maybe didn't do a whole lot for me. The one about 9/11 also descends in cheesy aphorisms, I think. The AIDS awareness story featuring Death was worth it for John Constantine holding a banana while Death put a condom on it.

Faster than a DC Bullet: The Sandman, Part I: The Absolute Sandman, Volume One

Now that I've finally finished up with Green Arrow, I've moved on to a new comics project: Neil Gaiman's The Sandman. Long considered some of the most literate comics, I've never read them, and I've long felt that to be something of a deficiency. As a result, I'm forcing the ILL staff to get hold of the swanky Absolute Editions of the series, which takes some time, but lets me move through the series a bit quicker.

Comic hardcover, 612 pages
Published 2006 (contents: 1988-90)
Borrowed from the library
Read June 2010

The Absolute Sandman, Volume One

Writer: Neil Gaiman
Artists: Sam Kieth, Mike Dringenberg, Charles Vess, Michael Zulli, Kelley Jones, Chris Bachalo, Malcolm Jones III, Danny Vozzo, Colleen Doran, Steve Parkhouse
Colorists: Daniel Vozzo, Steve Oliff
Letterers: Todd Klein, John Costanza

The protagonist of these stories is Dream of the Endless, a personification of the abstract concept of "dream"-- the other Endless, who are all siblings, also personify abstract concepts that begin with "D" in English (odd, that). He can enter into people's dreams, and acquire whatever he needs from them. Despite his enormous power, he's imprisoned by a human sorcerer, but the series begins with him finally making his escape after almost a century. Now, he must return to the world and re-establish his kingdom. All of my problems with this series can be traced to Dream himself, I think. How does he feel about being locked up and powerless for such a long period of time? No one knows, since Gaiman never gives us much insight into his interiority. Dream embarks on a series of quests upon his escape in an attempt to track down and recover artifacts stolen from him during his imprisonment, but it's hard to root for a protagonist whose powers are so all-encompassing and ill-defined. There's not really any circumstance where he won't triumph; even his journey into Hell is anti-climactic; he turns out to have a power that Lucifer's demons don't.

Where this volume succeeds much more is with its depiction of the small characters, human or otherwise, caught in the wake of Dream's machinations. The snippets of those affected by Dream's imprisonment in the opening issues are the first sign of this, but it gets better with those who are subject to the evil machinations of Doctor Destiny (who just happens to escape imprisonment and steal Dream's magic ruby at the exact moment Dream comes looking for it), and even Doctor Destiny himself. Even better, however, is the substory called The Doll's House where a "dream vortex" begins to form. No one, not even Dream or Neil Gaiman, seem to know what a dream vortex actually is, but the exploration of its effects on the tenants in a Florida house is well done, as we see the snippets of all these people's dreams, and thus the snippets of themselves. Rose Walker is a good character, well drawn as a teenager struggling to come to terms with all the enormous things suddenly happening in her life. I even liked the appearance of poor Hector Hall, one of the substitute Sandmen who filled in for Dream during his imprisonment. He's a buffoon, but a well-meaning, manipulated one. The ending of the story, with Rose Walker and the heroic Gilbert at a serial killer's convention, is great. Even if Gaiman continuously tops himself in the gross-out stakes with the serial killer stuff.

Perhaps the best part of the entire volume are the side stories that show other aspects of the Dreaming. "The Sound of Her Wings," Dream's first meeting with his sister Death after his imprisonment, and "Dream of a Thousand Cats," the story of the secret dream of cats, were both good, but my favorite was "Men of Good Fortune," which is about an ordinary English granted immortality that Dream meets with every century-- the closest thing Dream has to a friend, and a rare insight into Dream's character. Curiously, the award-winning "A Midsummer Night's Dream," where Dream hires Shakespeare to write the titular play for him, left me cold. Clever, but uninvolving.