"Wake up, sir. We're here." It's a simple enough opening line--althoughnot many would have guessed back in 1991 thatthis would lead to one of the most popular and critically acclaimed comics of the second half of the century.In Preludes and Nocturnes, Neil Gaiman weaves the story of a man interested in capturing the physical manifestation of Death but who instead captures the King of Dreams. By Gaiman's own admission there's a lot in this first collection that is awkward and ungainly--which is not to say there are not frequent moments of greatness here. The chapter "24 Hours" is worth the price of the book alone; it stands as one of the most chilling examples of horror in comics. And let's not underestimate Gaiman's achievement of personifying Death as a perky, overly cheery, cute goth girl! All in all, I greatly prefer the roguish breaking of new ground in this book to the often dull precision of the concluding volumes of the Sandman series. --Jim Pascoe

This volume of Neil Gaiman's THE SANDMAN book series features the first appearance of Death, the Sandman's older sister. As Clive Barker says in his Introduction, ". . . there is a wonderful willful quality to this mix . . .slapstick comedy, mystical musings, and the grimmest collection of serial killers this side of Death Row." Eighth printing. Graphic novel format. Mature readers.

The third book of the Sandman collection is a series of four short comic book stories. What's remarkable here (considering the publisher and the time that this was originally published) is that the main character of the book--the Sandman, King of Dreams--serves only as a minor character in each of these otherwise unrelated stories. (Actually, he's not even in the last story.) This signaled a couple of important things in the development of what is considered one of the great comics of the second half of the century. First, it marked a distinct move away from the horror genre and into a more fantasy-rich, classical mythology-laden environment. And secondly, it solidly cemented Neil Gaiman as a storyteller. One of the stories here, "A Midsummer Night's Dream," took home the World Fantasy Award for best short story--the first time a comic was given that honor. But for my money, another story in Dream Country has it beat hands down. "A Dream of a Thousand Cats" has such hope, beauty, and good old-fashionedchills that rereading it becomes a welcome pleasure. --Jim Pascoe

In many ways, Season of Mists is the pinnacle of the Sandmanexperience. After a brief intermission of four short stories (collected as Dream Country) Gaiman continued the story of the Dream King that he began in the first two volumes. Here in volume 4, we find out about the rest of Dream's Endless family (Desire, Despair, Destiny, Delirium, Death, and a seventh missing sibling). We find out the story behind Nada, Dream's first love, whom we met only in passing during Dream's visit to hell in the first book. When Dream goes back to hell to resolve unfinished business with Nada, he finds her missing along with all of the other dead souls. The answer to this mystery lies in Lucifer's most uncharacteristic decision--a delicious surprise.There is something grandiose about this story, in which each chapter ends withsuch suspense and drive to read the next. This book is best summed up by a toasttaken from the second chapter: "To absent friends, lost loves, old gods, and theseason of mists; and may each and every one of us always give the devil hisdue." --Jim Pascoe

You may have heard somewhere that Neil Gaiman's Sandman series consistedof cool, hip, edgy, smart comic books. And you may have thought, "What the helldoes that mean?" Enter A Game of You to confound the issue even more, while at the same time standing as a fine example of such a description. This is not an easy book. The characters are dense and unique, while their observations are, as always with Gaiman, refreshingly familiar. Then there's the plot, which grinds along like a coffee mill, in the process breaking down the two worlds of this series, that of the dream and that of the dreamer. Gaiman pushes these worlds to their very extremes--one is a fantasy world with talking animals, a missing princess, and a mysterious villain called the Cuckoo; the other is an urban microcosm inhabited by a drag queen, a punk lesbian couple, and a New York doll named Barbie. In almost every way this book sits at 180 degrees from the earlier four volumes of the Sandman series--although the less it seems to belong to the series, the more it shows its heart. --Jim Pascoe

From the mists of the past to the nightmares of the present, Neil Gaiman's THE SANDMAN touches the lives of kings and knaves, explorers, storytellers, monsters and children. This collection of short tales explores historical figures from Augustus Caesar to Marco Polo, from The Arabian Nights to Revolutionary France.

Delirium, youngest brother of the Endless, prevails upon her brother, Dream, to help her find their missing sibling. Their travels take them through the world of the waking until a final confrontation with the missing member of the Endless and the resolution of Dream's relationship with his son change the endless forever. .

When Brant and Charlene wreck their car in a horrible snowstorm in the middle of nowhere, the only place they can find shelter is a mysterious little inn called World's End. Here they wait out the storm and listen to stories from the many travelers also stuck at this tavern. These tales exemplify Neil Gaiman's gift for storytelling--and his love for the very telling of them. This volume has almost nothing to do with the larger story of the Sandman, except for a brief foreshadowing nod. It's a nice companion to the best Sandman short story collection, Dream Country, (and it's much better than the hodgepodge Fables and Reflections). World's End works best as a collection--it's a story about a story about stories--all wrapped up in a structure that's clever without being cute, and which features an ending nothing short of spectacular. --Jim Pascoe

THE SANDMAN, written by New York Times bestselling author Neil Gaiman, was the most acclaimed comic book title of the 1990s. A rich blend of modern myth and dark fantasy in which contemporary fiction, historical drama and legend are seamlessly interwoven, THE SANDMAN is also widely considered one of the most original and artistically ambitious series of the modern age. By the time it concluded in 1996, it had made significant contributions to the artistic maturity of comic books and become a pop culture phenomenon in its own right.

Now, DC Comics is proud to present this comics classic in an all-new Absolute Edition format. The first of four beautifully designed slipcased volumes, THE ABSOLUTE SANDMAN VOL. 1 collects issues 1-20 of The Sandman and features completely new coloring, approved by the author, on the first 18 issues, as well as a host of never-before-seen extra material, including the complete original Sandman Proposal, a gallery of character designs from Gaiman and the artists who originated the look of the Sandman, and the original script to the World Fantasy Award-winning THE SANDMAN #19, "A Midsummer Night’s Dream," together with reproductions of the issue’s original pencils by Charles Vess. Also included are a new introduction by DC’s president Paul Levitz and a new afterword by Gaiman.

This is the conclusion to the much talked about Sandman series. It may be best to start your Sandman acquaintance with earlier episodes, but The Wake stands as one of Neil Gaiman's strongest and most consistent Sandman volumes to date.