Dateline: New York City, 1938. America has seen off the worst of The Great Depression, but all is not well in the big city. In the midst of the towering skyscrapers, rowdy jazz clubs & high society glamour, crime, poverty & prejudice run rampant in the streets. One man follows his dark dreams, to take up arms against this sea of troubles.By day, he is Wesley Dodds, reclusive industrial heir. By night, he becomes...The Sandman!Sandman Mystery Theatre is a comicbook written primarily by Matt Wagner and Steven Seagle from DC's noted Vertigo imprint, a Revival of the Golden AgeSuper Hero and founding member of the Justice Society of America, Sandman, a Badass Normal in the Batman tradition, who debuted around the same time, who fought crime using a gun that fired sleeping gas.The revival title's genesis was Dodds' brief appearance in the opening issue of Neil Gaiman's celebrated series of the same title, only tangentially connected to Gaiman's work via Retcon.Dream of The Endless' runaway success inspired a new series, focusing on the original character to bear the Sandman moniker, but heavily reworked to remove the original's more Campy elements (purple cape, custom-made yellow and blue gasmask, Kid Sidekick, etc.). In fact, it could be argued that Wagner's Sandman owes about as much to the Golden Age title as Gaiman's does. We have Wesley Dodds fighting crime in a gasmask, with a gas gun who calls himself The Sandman. There the similarity to the original ends.Instead of Super Hero comics of the period, Wagner's work draws more heavily from detective stories and Two-Fisted Tales-style pulp fiction. It has a strong Noir vibe, brought to life by the various artists' dark visuals and period setpieces. The main character has also been heavily altered. Rather than the classic Rich Idiot with No Day Job persona affected by the likes of Bruce Wayne or Lamont Cranston, Dodds comes off as a bit of a short, podgy-faced, bespectacled geek, more in the style of Dan Dreiberg than anything. Were it not for occasional prophetic dreams he receives unconsciously through an ill-defined connection with the other Sandman, Morpheus, he would be the quintessential Badass Normal, just a guy in an army surplus gasmask with a fancy gun.Much time is also given to the relationship between Dodds and his Love Interest, Dian Belmont, the daughter of the local DA and eventually his Margo Lane-esque sidekick. Many of the stories are told from her perspective and it could even be argued she's the real main character, not to mention the real Badass Normal.Sandman Mystery Theatre is a wonderful read for anybody who loves classic pulp fiction, Film Noir, or costumed hero stories that stay towards the more realistic end of the Sliding Scale of Idealism Versus Cynicism. The series lasted for 70 issues, from April, 1993 to January, 1999.
This series provides examples of...
An Aesop: Most of the stories are themed around some social ill or other, for example racism, sexism, child abuse, etc. Usually handled subtly enough.
Cross Over: Sandman Midnight Theatre, written by Neil Gaiman, featuring a brief meeting between the two Sandmen. Also features a few with other JSA super people, despite not being in the same continuity as the main DCU. Maybe.
For instance, Wes is the one who first confronts the scientist who would become the Mist, one of Starman's bitterest rivals, and meets with Ted Knight in the same arc. This is confirmed as Canon in the Starman storyline "Sand and Stars".
There's also an entire four-issue story arc where he teams up with Rex Tyler, the Hourman.
Daddy's Girl: Dian at times. Then there's Cassandra from The Scorpion, who realizes who the killer is and sends an anonymous tip to the police before confronting the killer herself.
While he's questioning club members being targeted by a killer:
Barry Smithers: Lt. Burke? I've been thinking. Lt. Burke: Did it hurt?
And in a later arc while they're following a possible suspect:
Lt. Burke: Fire escape. Shephard: You want me to climb it? Lt. Burke: No, I want you to fuck it. Of course I want you to climb it.
Drama Queen: Patricia Honeywell from The Crone, though it seems rather justified when she has to deal with an abortion and lowering herself to giving oral sex to her boss in order to keep her job. She later seems to become a Defrosting Ice Queen when she is legitimately touched by Frank Bowman's concern for her, and comes to Farley Wells' defense when he's fired.
Even Bad Men Love Their Mamas: In Return of the Scarlet Ghost, Colm and Peter Petty, while both are utter sociopaths, threatened their cousin Sean when they learned that he got Peter's mother (Colm and Sean's aunt) badly frazzled for no reason. Colm states "that woman's been a fucking saint to us".
Fat Bastard: Most of The Python's victims, though his actual motive wasn't the bastard part so much, as he was driven criminally insane when his obese mother molested him. And even then, one of his victims was his black foster mother, and she did nothing to him. Burke, a moderate racist, calls him an animal because of it.
Good Girls Avoid Abortion: A notable subplot that emerged in the later half of the series involved Dian getting pregnant. The pregnancy was dealt with in The Crone, where Dian decided that it wouldn't be right to bring a child into the world during a time of war and with parents who aren't ready for the responsibility, so by the end of the arc Dian (with Wesley's extremely reluctant agreement) decides to have the pregnancy aborted. The aftereffects of this decision are felt up to the end of the series. In The Cannon, Wesley dreams of their child growing into an adult and telling Wesley that, while he forgives his parents, God may not be so forgiving. In The Goblin, a head injury is the catalyst which causes Wesley to undergo a breakdown/willing Split Personality Takeover which is implied to be his way of escaping his guilt and anger over the issue (he comes out of it sobbing and saying he misses their child). Dian's father also has a heart attack when he learns of the abortion.
Idiot Ball: Played with regarding Cassandra in The Scorpion. She realizes who the killer is and tips off the police that her father may be in danger, though the "idiot" part comes into play when she confronts the killer by herself. Of course, Cassandra didn't have enough tangible proof to show the police who the killer was, confronted him with a gun, and only let her guard down because she's been falling in love with him and he took her by surprise.
Inspector Javert: Burke, at first, though after he find out the Sandman had his office bugged he decides he'd rather just kill him than arrest him.
Jerkass Fašade: In The Crone Wesley puts on a rather surprising one when he becomes the new sponsor of the radio drama The Coming Of Night. In order to lure out the killer Wesley fires the entire cast, stating that he believes at least one of the actors knows why the killings are being perpetrated, and having that person on staff would be bad for business. The ploy works.
Leatherman: The Phantom of the Fair, a homosexual man in denial (though possibly suffering from either schizophrenia or a Split Personality) who captures, tortures, and kills other homosexuals and dumps their bodies at the World's Fair.
My Beloved Smother: The villain of The Crone was trying to frame his mother, a literary professor and avid hater of the radio by dressing up like an old woman and leaving behind books which he had taken from her personal library. He did so because she never supported his desire to become a radio star, however, he was also doing it in order to rise up in the show's cast and to win the affection of the female lead. His mother claims, however, that she never directly disapproved of his aspirations because he wasn't even as good as his father.
Mythology Gag: During the Hourman arc, Wes attends a costume party in a ridiculous looking getup resembling a costume he wore for a while in the original comics.
Noble Bigot with a Badge: Detective Burke, most notably. Gets a taste of his own medicine in The Vamp when questioning suspects at an exclusive club who look down on his Sicilian heritage.
Only a Flesh Wound: Handled just a touch more realistically than most. Though Wesley is often visibly pained by the various injuries he suffers on the job, they ultimately don't impact his performance too much. The man somehow manages to get shot in the gut with a revolver, fend the attacker off with his gas gun, cauterize the wound with a red hot poker & he's up and about the next day with only some minor first aid.
Papa Wolf: In The Brute, Ramsey beats to death the homeless man who molested his young daughter.
Also featured in The Python, where the villain was traumatized from being molested by his obese mother as a child.
Parental Neglect: Wesley's father wasn't a very loving man, and he's often reflecting on how his life may have turned out had his father been different. This is also a plot point in The Brute and featured in Doctor Death.
Politically Correct History: Mainly averted. The series does a decent job of showing the casual racism of the times, though the protagonists' attitudes are still somewhat anachronistic. May be justified by their characterization, though, as Wesley traveled a lot in his youth & got to know people from many different backgrounds, while Dian is noted to be a very progressive sport of person.
Politically Incorrect Villain: Averted, or perhaps subverted. Ray Kessler is insane and kills people out of a seriously misplaced drive for euthanasia. He is also a terrible father and ends up raping his younger girlfriend, who he tends to treat like shit. He is also implied to go through a string of younger women. He is, however, always perfecting polite and kind to blacks and is good friends with a black doctor whom he sticks up for.
Precision F-Strike: Wesley is generally very calm and collected in both his civilian and Sandman identities. His learning of Arthur Reisling's attempted rape of Dian is the first time we see him not only angry, but furious:
Wesley: Why, that...that SONUVABITCH!!!
Psycho Lesbian: The title character of The Vamp is a textbook example, but they at least try to balance it out with some more positive lesbian characters, namely Carol, who manages to be sympathetic despite being rather promiscuous & flighty, as well as her girlfriend, who, though something of a Love Martyr, is an even more realistic character (and thus not interesting enough to feature for very long...).
"The Reason You Suck" Speech: In The Goblin, Dian starts joining Humphrey's daughter Etta in doing some charity work at an orphanage. However, the two are sent to run an errand at another orphanage called Standard House, and it looks more like an asylum. The manager of the building, Mr. Ricketts, calls the two out on their "desire to help children" by showing them the children who get sent to Standard House: malformed, ill, developmentally disabled, simply too old or not white. Basically, children that aren't able to get adopted because they aren't "pretty" enough. Dian decides to devote more time at Standard House because she realizes these children are the ones who need help.
Rogues Gallery: The Sandman has a few recurring nemeses, most notably The Face.
Screw Politeness, I'm a Senior!: Dr. Estelle Beauvedere from The Crone lacks patience when dealing with people she considers to be idiots, which usually consists of anyone who disagrees with her. Though her responses sometimes are limited to a simple Death Glare.
Shur Fine Guns: The rusty old pistol Rocket Ramsey uses to take revenge on the gangsters who ruined his life blows up in his hand after a few shots.
Start of Darkness: The ending of The Mist. This is a subversion though, as he never actually appears in the book after this arc.
Story Within a Story: Return of the Scarlet Ghost features snippets of a pulp magazine and comic book renditions of the Sandman's fictional exploits against the Scarlet Ghost. The comic is credited towards Joe Simon as the writer.
The Brute: The title character of the third story arc.
The Mafia: Italian gangsters make a few appearances, though they're usually not the main focus. Many other organized crime outfits feature more prominently. For example, the gangsters in the Tarantula arc were Jewish.
The Summation: Wesley, Dian & sometimes her father & others usually sum up the plot at the end of each arc, in case you missed anything.
The Vamp: The title character of another story arc.
You Killed My Father: The killer in The Scorpion blames the oil executives for the death of his father. Not that they cheated him out of pairing a fair price for his lands, but that they shunned him once he became rich.