A Journey Into Mystery

Odin, "Seasons of Mist"
Sandman #26

When Neil Gaiman included Odin, Thor, and Loki into the “Seasons of Mist” storyline for his seminal Sandman series, he scripted characters that were worlds different then their archetypes present over in Marvel Comics. Even though Walter Simonson introduced truer Norse myths into the Thor comic during his incredible 80s run on the Marvel series, Gaiman’s characters were wilder, grittier, and mayhap, more believable. Fast forward nearly thirty years later and Gaiman re-visits those Norse characters, speaking epics and whispering myths as they would have been recited centuries ago hyped with Gaiman’s unique, fan-pleasing style. Although he doesn’t. That hype appears as vague as the number of Odin’s children.

Odin, Loki, Thor
by Walt Simonson

Norse Mythology has Neil Gaiman presenting fifteen Norse myths, many of which are indeed new and exciting, especially for those fans who automatically equate the Golden Realm of the Gods with Chris Hemsworth and Tom Hiddleston. The book is light read and mixes tales of heroism and tragedy with honor, naivety, and humor, but all told in a straight, matter-of-fact way that is almost more of a YA style in language, and very unlike Gaiman’s past works. Granted, Gaiman does have the stories build upon each other in a close-to narrative continuity, but they are all quick, working superficially when many of these stories cry out for that deep, archaeological dig that is simply not present here.

There is no insight to the metaphor present in the telling. No relational value in comparing these myths to Bablyonian or Judeo-Christian creation stories. No transforming heroic plight for the gods, save for the end that is a beginning as told during Ragnarok. Verily, Gaiman does unearth these ancient tales in a fresh and entertaining way, making the book an enjoyable one, but he doesn’t quite capture the lightning one would expect with the majestic Mjollnir gracing the book’s cover.


As Always,
theJOE

Thankfully, not Endless

The Sandman:
Endless Nights

An extremely uneven collection both in story and art. Seeing as how Neil Gaiman, who created both Sandman and his brethren the Endless, wrote all seven chapters, this can be frustratingly odd, as Gaiman usually brings his a-game. However, one can look at this collection with the understanding that he, along with some of his artistic collaborators, were simply in the mood for exploration.

The Sandman: Endless Nights contains seven chapters, each depicting a tale that spotlights a member of the eternal Endless. At least that’s the concept, even if not fully demonstrated. “Fifteen Portraits of Despair” is exactly that, fifteen vignettes of personal, rather than the entity’s, woe presented, with what we’ll call art, by Barron Storey. “On the Peninsula”, supposedly Destruction’s story, instead focuses on two archaeologists, as well as Delirium, but not as much of the lone brother whose name graces the chapter page. However, the concluding story, on Destiny, does indeed prominently show the character… as he walks through his garden.

The other four tales are all much more in line with both the characters and the prose expected by Gaiman, and all with beautiful art. Particular of note is Delirium’s “Going Inside” as Bill Sienkiewicz’s mixed-media renderings are a fantastic call back to his early Marvel work.

Endless Nights was published in 2003, which is when I originally read, and promptly forgot about, this graphic novel. Mostly targeted towards series completists, this novel is completely accessible for all of Neil’s impressive fanbase as he delves into the realms of fantasy and history, science-fiction and horror, and, of course, dreams. Gaiman’s library, however, certainly contains other top-shelf reads for the promotion of a good night’s sleep. Endless or not.


As Always,
theJOE

A Short Story Slowly Expanded Upon

In a strange set of circumstances, Neil Gaiman’s Neverwhere is a novelized adaptation of a BBC miniseries he co-created. Working backwards, as opposed to having a written work adapted for film (Stardust) or TV (American Gods), Neil fleshes out the everyman hero of Richard Mayhew and delves deeper into the fantastical and eye-winkingly comical land of London Below, complete with black friars and elephants within castles, and where Richard, looking for an exit back to his terribly-mundane and beautifully-predictable life, is essentially trapped after helping the injured Lady Door. The question being if such elaboration was entirely required.

Certainly, Neverwhere is completely Neil Gaiman. The worlds are imaginary, the characters are rich of back-story and tales, and his intricate writing style flourishes with grand, beautiful descriptions of settings, feelings, and thoughts. Through all that, Neverwhere is also too long, too slow, many of its scenes are missing the pop of a fast-paced television series.

Neverwhere could have been a fantastic, longer entry in Trigger Warning, Gaiman’s 2015 collection of short-ish stories, or even a novella akin to Ocean At The End Of The Lane. The complete novelization of Neverwhere makes a tiring marathon out of what could have a pleasant afternoon jog. Absolutely, an enjoyable, magical read by a master, but shorter can sometimes be sweeter.


As Always,
theJOE