54 pages • 1 hour read
Neil GaimanA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The Endless encompass seven siblings who form the core of Sandman: Dream, Death, Desire, Despair, Destiny, Delirium, and Destruction. Of these, Dream is the protagonist with Death and Desire playing the most active supporting roles.
The siblings each represent a core foundation of the universe and the way human beings act and interact within it. Unlike gods, they do not need belief to sustain them; they exist independently of any one culture. Their relationship with humanity is a point of contention between the siblings. Dream tells Desire, “We of the Endless are the servants of the living—we are not their masters” (438). Desire disagrees: “Human beings are the creatures of desire. They twist and bend as I require it” (439). This opposing view has created a rivalry between Dream and Desire, with Desire in particular scheming to undermine Dream.
Dream is among the most removed from humanity, often slow to pick up on sarcasm and contemporary vernacular. He is quick to take offense and can hold grudges for millennia; this is seen in his treatment of Nada, his explosive anger at Hob, and even his displays of temper towards Death. Much of his journey involves learning how to be comfortable in his vulnerability and showing compassion toward others; for instance, going to Calliope’s aid despite their difficult past and seeking to undo the wrongs he inflicted on Nada. His close relationship with Death has helped him grow, as she isn’t afraid to speak her mind and tell him when he’s been wrong. It’s clear that Dream values her opinion more than his other siblings and allows himself to consider her point of view.
The Endless are separated roughly into the older and the younger siblings. The older consist of Dream, Death, and Destiny, and each of them are committed to their duties to the world. The younger consist of Desire, Despair, Delirium, and Destruction, who take a more casual and playful approach to their roles. Destruction in particular has left his role behind entirely, often being referred to simply as “The Prodigal.” He is only shown once in this volume, in Sandman Special #1, which takes place centuries before the present day. Although they are all bound together as a family, there is a divide between these two groups that lead to tension and betrayal.
Rose is a young woman who serves as the “everyman” within the Sandman world. Apart from her unusual lineage, she is normal in every respect; Foxglove refers to her as Judy’s “token straight friend” (962). Her age and personal style reflected that of many of the series’ core readers when it was released, giving a deeper feeling of connection and immersion with the story.
Rose becomes caught up in the dream world when she goes after her missing brother Jed. Her story has aspects in common with the classic “Hero’s Journey” archetype and traditional quest story archetypes. After retrieving her brother, Rose’s journey moves from the physical plane to the dreaming as she learns the truth about her abilities as the dream vortex. Here we see how deeply she has become enmeshed in worlds she doesn’t understand and has no control over, dealing with it in the way that many of us would if faced with a similar situation. In a story populated by larger-than-life supernatural beings as well as major historical figures and set across centuries, Rose’s relatable normalcy is a welcome relief for the reader. Her character makes the story feel more present and contemporary compared to the fairy-tale quality of other story arcs.
Paralleling her role as the dream vortex, Rose also serves as a unifying common thread across the story. She is directly or indirectly connected to many of the characters in the series, either through crossed paths, familial bonds, or influence. By using this character as an axis for other storylines, the writer gives the overall story arc an intimacy and connectedness that contrasts its sprawling mythology.
Sandman’s lucifer is inspired by the biblical figure and the character from John Milton’s Paradise Lost. His physical appearance is relatively androgenous, and the artwork depicting him was inspired by British rockstar David Bowie. Lucifer’s role and his journey have similarities with those of the Endless; he rules Hell and manages a world for the dead, similar to the roles played by Death and Dream. However, he also decides to abandon his post and live for himself, much like the choice made by Destruction. Lucifer expresses dissatisfaction at the role he is given by humans, who believe that the devil is responsible for their evil actions. He tries to distance himself from these allegations, claiming no responsibility for their fates. This is in contrast to Dream’s attitude of symbiotic dependence on and for humanity.
These choices make him an effective foil to Dream. When they first meet, they come together as relative equals. Although there is an underlying hostility, there is also a political respect for each of their stations. When Lucifer offers Dream the key to Hell, however, it sets Dream on a path to allocating the rulership in the way he thinks best. While Lucifer prioritized his own needs, Dream takes on the responsibility of treating it fairly and justly. This contrast is further illustrated in their coloring—while Dream is shown as a personification of darkness, Lucifer is pale and dressed in white, a personification of radiance.
John Constantine is a DC character who predates Sandman, but his character here has been expanded to include his ancestor, Johanna Constantine. Constantine is a cynical, tough-talking con man with knowledge of the occult who is featured in an early issue of Sandman immediately after Dream escapes his imprisonment. This reflects the early canon that was more closely aligned with the DC universe. As one of the earliest and best-known characters who dealt with the magical underworld rather than typical superhero fare, Constantine was a natural fit for Sandman.
Meeting with Constantine is Dream’s first real venture back into the world of humans after his imprisonment. Their juxtaposition is immediately apparent in the first panel of their meeting, which shows Dream as an imposing black-clad figure while Constantine is startled and wearing a yellow trench coat. Their speech is also at odds, with Dream speaking in a formal cadence and Constantine using casual colloquialisms and British phrasing.
Although Constantine is portrayed as a strong, bitter character, his interactions with Dream show his vulnerability and care for the woman who has been taken by dreams. This humanity shows Dream a different aspect of people than his previous experiences with Burgess. The issue closes with Constantine asking Dream for help, an action that is difficult for him. This admission begins Dream’s path of healing after decades of captivity and abuse.
By Neil Gaiman
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