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The Sandman Mystery Theatre Compendium #1
The Sandman Mystery Theatre Compendium Vol. 1
In this noir collection, millionaire Wesley Dodds becomes the Sandman to fight injustice in 1930s New York City, going after kidnappers, blackmailers and predators who prey on rich socialites.
The year is 1938, and the world is holding its breath—mesmerized by the onrushing storm that will soon engulf it in fire and steel. In New York City, one man’s sleep is filled with tormenting visions of the evils that mankind visits upon itself, compelling him to act. And so, by night, Wesley Dodds lays aside the trappings of his inherited wealth to roam the shadows as the Sandman, armed with a tranquilizing gas gun and driven by an unrelenting sense of justice.
Haunted and obsessed, the Sandman moves through a decadent, post-Depression landscape, stalking the predators who hide themselves beneath society’s callous indifference to the weak and vulnerable. No one sees him at his work until he chooses to reveal himself—no one, that is, except the woman who is destined to be the light to his darkness.
The year is 1938, and the world is holding its breath—mesmerized by the onrushing storm that will soon engulf it in fire and steel. In New York City, one man’s sleep is filled with tormenting visions of the evils that mankind visits upon itself, compelling him to act. And so, by night, Wesley Dodds lays aside the trappings of his inherited wealth to roam the shadows as the Sandman, armed with a tranquilizing gas gun and driven by an unrelenting sense of justice.
Haunted and obsessed, the Sandman moves through a decadent, post-Depression landscape, stalking the predators who hide themselves beneath society’s callous indifference to the weak and vulnerable. No one sees him at his work until he chooses to reveal himself—no one, that is, except the woman who is destined to be the light to his darkness.
984 pages, Paperback
First published May 2, 2023
25 people are currently reading
137 people want to read
About the author
Matt Wagner
967 books231 followersMatt Wagner is an American comic book writer and artist. In addition to his creator-owned series' Mage and Grendel, he has also worked on comics featuring The Demon and Batman as well as such titles as Sandman Mystery Theatre and Trinity, a DC Comics limited series featuring Batman, Superman, and Wonder Woman.
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Displaying 1 - 30 of 31 reviews
May 12, 2023
Haunted by dreams, Wesley Dodds ventures out at night in an overcoat and gasmask as... The Sandman!
I was drifting away from comics as this was originally coming out but managed to read the first trade sometime in that mythical time before Goodreads. When I saw DC was finally reprinting it, I jumped on board.
I'm a little glad I didn't read this when I was young because I wouldn't have appreciated it nearly as much. Matt Wagner took the core of the Golden Age Sandman concept, added in a dash of Neil Gaiman's Sandman, and turned it into a pulp crime book.
Wesley Dodds isn't a muscle bound character like most super heroes. He's kind of dumpy, thick around the middle, and his only super power is his brain. Sure, he has a gas gun and can take a punch but he outwits criminals rather than rushing in to punch them out. Over the course of this book, he takes on various killers but his greatest adversary is his love for Dian Belmont.
Boy howdy, Wesley and Dian are one of the best couples in comics. The book is as much about Wesley and Dian's complex relationship as it is bad guys getting what's coming to them. She's a smart lady and no shrinking violet.
This thing is almost as gritty as James Ellroy at times. Make no mistake about it, this is a mature readers book. There's cursing, sex, racism, incest, gore, violence, and all the other adult content we all enjoy.
Guy Davis handles the most of the art, though there are lots of fill-ins. Davis' art seemed scratchy at first but really grew on me after a while. The other artists like Warren Pleece, Alex Ross, Dean Ormston, David Lloyd, John Bolton, and the rest kept the mood set by Davis but gave things their own feel. Visually, it's a moody book and doesn't feel at all like a super hero book. If not for the gas mask and gas gun, Wagner's Sandman could be a forgotten pulp character from the 1920s.
Sandman Mystery Theatre is a forgotten gem of 1990s comics. I hope this sells well enough for DC to put out the other half. Five out of five stars.
I was drifting away from comics as this was originally coming out but managed to read the first trade sometime in that mythical time before Goodreads. When I saw DC was finally reprinting it, I jumped on board.
I'm a little glad I didn't read this when I was young because I wouldn't have appreciated it nearly as much. Matt Wagner took the core of the Golden Age Sandman concept, added in a dash of Neil Gaiman's Sandman, and turned it into a pulp crime book.
Wesley Dodds isn't a muscle bound character like most super heroes. He's kind of dumpy, thick around the middle, and his only super power is his brain. Sure, he has a gas gun and can take a punch but he outwits criminals rather than rushing in to punch them out. Over the course of this book, he takes on various killers but his greatest adversary is his love for Dian Belmont.
Boy howdy, Wesley and Dian are one of the best couples in comics. The book is as much about Wesley and Dian's complex relationship as it is bad guys getting what's coming to them. She's a smart lady and no shrinking violet.
This thing is almost as gritty as James Ellroy at times. Make no mistake about it, this is a mature readers book. There's cursing, sex, racism, incest, gore, violence, and all the other adult content we all enjoy.
Guy Davis handles the most of the art, though there are lots of fill-ins. Davis' art seemed scratchy at first but really grew on me after a while. The other artists like Warren Pleece, Alex Ross, Dean Ormston, David Lloyd, John Bolton, and the rest kept the mood set by Davis but gave things their own feel. Visually, it's a moody book and doesn't feel at all like a super hero book. If not for the gas mask and gas gun, Wagner's Sandman could be a forgotten pulp character from the 1920s.
Sandman Mystery Theatre is a forgotten gem of 1990s comics. I hope this sells well enough for DC to put out the other half. Five out of five stars.
December 9, 2023
Overall, a beautiful period piece and a wonderful reinvention of the Golden Age Sandman.
The Tarantula (#1-4). A solid introduction to SMT. Wagner sets up a delightful cast of characters and places them firmly in a historical time period. He then lays out a mystery that we learn about step-by-step. Meanwhile, Guy Davis cranks up the atmosphere with his terrific art that's sketchy, yet so appropriate for the pulp era. Ultimately, this is largely a tablesetter for our characters, but it works as a one-off mystery as well [4/5].
The Face (#5-8). The second story attacks bigotry in the 1930s and also offers some good evolution of Dian's character. The mystery itself is ultimately a bit overly convoluted, and feels like it's wrapped up with dialogue instead of revelation, but it's still a good story for those other factors [3+/5].
The Brute (#9-12). This arc's focus on illegal fighting doesn't seem as interesting as first, but it ends up going some very dark places and is the most shocking stories to date as a result. Wow, what a twist on the "villain" and what an ending [4/5].
The Vamp (#13-16). Four arcs in, we finally get a traditional femme fatale. Wagner's backstory for our killer give her more depth than the usual villainess, but he also uses the storyline as a counterpoint to Dian's growing relationship with Wesley. Very nicely done [4/5].
The Scorpion (#17-20). Wagner seems to have reached a new height in his mystery design here, as we get a very tight story whose main mystery is the motive. But the characters are all well drawn, the progression of the story is precise, and it's overall easy to follow, yet intriguing. Of course, we also get a certain dawning realization that culminates on the final page, which is beautiful to see [5/5].
Annual. A deftly told story with a variety of viewpoints. It offers nice continuity for the comic as a whole and a look into some viewpoints that we don't usually enjoy. Also an interesting view of what Wesley's dreams mean. Overall, a great one-off [5/5].
Dr. Death (#21-24). A lot of this story feels like a tease for a major plot movement in the overall storyline that we didn't even know we were waiting for before "The Scorpion". It actually makes the murder plot feel like the less important part of the story, which is a somewhat uncomfortbale balance. Still, Wagner doesn't keep us hanging too long, and the murder has some surprising even shocking complications, so it's a good storyline [4/5].
Night of the Butcher (#25-28). A muddy story with an incomplete feel to it. Dian acting very annoying because of the last arc's revelations. But still, there's something haunting and memorable about The Brute and his lair and the muddy, running right of the last volume [4/5]
The Hourman (#29-32). At last! A meeting with another future JSAer! Wagner's depiction of Rex Tyler is terrific. It fits into the noir feel of SMT, but simultaneously feels true to the future of Hourman. And meanwhile we get Dian overcoming her problems of the lsat arc and becoming a more integral part of the story. The only real issue with this story is that it's slow because it places the (attempted) murder at the end, but that's nonetheless a nice variation [4+/5].
The Python (#33-36). A somewhat obvious mystery, but it's nice to see Burke both as very competent and very racist, a weird combination. And of course things continue to come to a head between Wesley and Dian, leading to Sandman Midnight Theatre. Though it likely wasn't intended as the midpoint of the series, it's nonetheless a good one [4/5].
The Tarantula (#1-4). A solid introduction to SMT. Wagner sets up a delightful cast of characters and places them firmly in a historical time period. He then lays out a mystery that we learn about step-by-step. Meanwhile, Guy Davis cranks up the atmosphere with his terrific art that's sketchy, yet so appropriate for the pulp era. Ultimately, this is largely a tablesetter for our characters, but it works as a one-off mystery as well [4/5].
The Face (#5-8). The second story attacks bigotry in the 1930s and also offers some good evolution of Dian's character. The mystery itself is ultimately a bit overly convoluted, and feels like it's wrapped up with dialogue instead of revelation, but it's still a good story for those other factors [3+/5].
The Brute (#9-12). This arc's focus on illegal fighting doesn't seem as interesting as first, but it ends up going some very dark places and is the most shocking stories to date as a result. Wow, what a twist on the "villain" and what an ending [4/5].
The Vamp (#13-16). Four arcs in, we finally get a traditional femme fatale. Wagner's backstory for our killer give her more depth than the usual villainess, but he also uses the storyline as a counterpoint to Dian's growing relationship with Wesley. Very nicely done [4/5].
The Scorpion (#17-20). Wagner seems to have reached a new height in his mystery design here, as we get a very tight story whose main mystery is the motive. But the characters are all well drawn, the progression of the story is precise, and it's overall easy to follow, yet intriguing. Of course, we also get a certain dawning realization that culminates on the final page, which is beautiful to see [5/5].
Annual. A deftly told story with a variety of viewpoints. It offers nice continuity for the comic as a whole and a look into some viewpoints that we don't usually enjoy. Also an interesting view of what Wesley's dreams mean. Overall, a great one-off [5/5].
Dr. Death (#21-24). A lot of this story feels like a tease for a major plot movement in the overall storyline that we didn't even know we were waiting for before "The Scorpion". It actually makes the murder plot feel like the less important part of the story, which is a somewhat uncomfortbale balance. Still, Wagner doesn't keep us hanging too long, and the murder has some surprising even shocking complications, so it's a good storyline [4/5].
Night of the Butcher (#25-28). A muddy story with an incomplete feel to it. Dian acting very annoying because of the last arc's revelations. But still, there's something haunting and memorable about The Brute and his lair and the muddy, running right of the last volume [4/5]
The Hourman (#29-32). At last! A meeting with another future JSAer! Wagner's depiction of Rex Tyler is terrific. It fits into the noir feel of SMT, but simultaneously feels true to the future of Hourman. And meanwhile we get Dian overcoming her problems of the lsat arc and becoming a more integral part of the story. The only real issue with this story is that it's slow because it places the (attempted) murder at the end, but that's nonetheless a nice variation [4+/5].
The Python (#33-36). A somewhat obvious mystery, but it's nice to see Burke both as very competent and very racist, a weird combination. And of course things continue to come to a head between Wesley and Dian, leading to Sandman Midnight Theatre. Though it likely wasn't intended as the midpoint of the series, it's nonetheless a good one [4/5].
April 12, 2025
Just wrapped up the first compendium (with Volume 2 hopefully collecting the rest of the series soon), and wow, what a journey. This 36-issue run took me quite a while to get through, but every bit of it was worth it.
Set in the gritty backdrop of the 1950s, we follow Wesley Dodds, a man donning a gas mask to take on the worst humanity has to offer. Sounds like a typical superhero setup, right? Not even close. This series dives deep into some seriously heavy territory—rape, murder, incest, racism, and more layered with sharp political commentary. It’s a tough read at times, but also a completely captivating one.
The real standout here is the dynamic between Wesley and his partner, Dian. Both are strong, fully realized characters with compelling arcs, and their relationship brings a lot of heart to a world that can be overwhelmingly bleak. That said, the book knows how to balance its darkness with moments of levity—whether it’s absurd situations, clueless cops, or just the two lovebirds enjoying a rare moment of peace.
Each story arc is distinct and memorable, from terrifying killers like The Butcher, to fallen boxers, to the rise of another masked vigilante, Rex. The world is brutal, but it’s rich with stories that keep you turning the page.
Without spoiling too much, if you’re into superhero stories that aren’t afraid to go to darker, more mature places (without feeling overly edgy or try-hard), this is an underrated gem you shouldn’t miss. A 4 out of 5.
Set in the gritty backdrop of the 1950s, we follow Wesley Dodds, a man donning a gas mask to take on the worst humanity has to offer. Sounds like a typical superhero setup, right? Not even close. This series dives deep into some seriously heavy territory—rape, murder, incest, racism, and more layered with sharp political commentary. It’s a tough read at times, but also a completely captivating one.
The real standout here is the dynamic between Wesley and his partner, Dian. Both are strong, fully realized characters with compelling arcs, and their relationship brings a lot of heart to a world that can be overwhelmingly bleak. That said, the book knows how to balance its darkness with moments of levity—whether it’s absurd situations, clueless cops, or just the two lovebirds enjoying a rare moment of peace.
Each story arc is distinct and memorable, from terrifying killers like The Butcher, to fallen boxers, to the rise of another masked vigilante, Rex. The world is brutal, but it’s rich with stories that keep you turning the page.
Without spoiling too much, if you’re into superhero stories that aren’t afraid to go to darker, more mature places (without feeling overly edgy or try-hard), this is an underrated gem you shouldn’t miss. A 4 out of 5.
May 11, 2023
I read this as single issues back when they came out and have been waiting for a book like this. I was pleasantly surprised by how well the stories hold up and how “novel-esqe” the book is as a whole. I will be looking forward to the second volume. You should definitely check this out!
July 9, 2023
If you only read one JSA comic, please make it this one. It is both the finest ever use of the JSA characters/concepts, as well as one of the finest ever crime comics (the first 50 or 60 issues, anyway). A man who (rightly) feels helpless against inexorable forces, going out and facing them anyway, with the woman he loves by his side. To any who've ever wondered about Sandman Mystery Theatre, here are the first 3 years (plus, an Annual on the level of the best DC Annuals) of the series; just waiting for you to take a chance on it.
March 8, 2025
I read these stories back when they were released as monthly comics and thought they were exceptional. Reading them as a whole over 20 years later made clear just how dark and disturbing they are. I grew to somewhat like Guy Davis' sketchy art style, which renders the women particularly unattractive, but really didn't care for the other artists utilized here. Matt Wagner's scripts are what makes the series great, but the subject matter can be truly distasteful. Not for the faint of heart.
May 9, 2023
Wagner and company create a book that is 100% up my alley. The art was hot or miss but the mysteries were thrilling and the character drama is fun. Theres some minor stuff that annoyed me here and there but other than that, good stuff.
November 28, 2024
Sandman Mystery Theatre Compendium 1
By Matt Wagner, Steven T. Siegel and Guy Davis.
Pleasant dreams.
This was a huge surprise ! A fantastic pulpy noir crime book that is gritty, intelligent and a book you can dive into as its a big chunker with quite alot of dialogue, but in a good way. Its set before world War ll and while it has very weird villains, its a very grounded book. Wesley Dodds a socialite by day is a sort of vigilante by night. He wears a gas mask and a sleeping gas gun and a fedora! And fights crime. It got a great cast of recuring characters, with my favorite a foul mouthed inspector, who is so rude, but just a all around great character. This looks and feels like a film noir, and this was Fantastic Vertigo series i had not read before. A certain other Sandman makes several apearances, although, only in dreams.
This was a truly brilliant read. And highly recomended if your interested in the noir genre and dont mid some weird and gruesome stuff.
By Matt Wagner, Steven T. Siegel and Guy Davis.
Pleasant dreams.
This was a huge surprise ! A fantastic pulpy noir crime book that is gritty, intelligent and a book you can dive into as its a big chunker with quite alot of dialogue, but in a good way. Its set before world War ll and while it has very weird villains, its a very grounded book. Wesley Dodds a socialite by day is a sort of vigilante by night. He wears a gas mask and a sleeping gas gun and a fedora! And fights crime. It got a great cast of recuring characters, with my favorite a foul mouthed inspector, who is so rude, but just a all around great character. This looks and feels like a film noir, and this was Fantastic Vertigo series i had not read before. A certain other Sandman makes several apearances, although, only in dreams.
This was a truly brilliant read. And highly recomended if your interested in the noir genre and dont mid some weird and gruesome stuff.
Read
May 10, 2024Trying to follow Big Two comics continuity is an invitation to madness, but AFAICT in the 1940s there was a detective in a gas mask called Sandman, then in the 90s there was Neil Gaiman's goth icon Sandman, and so Dark Horse brought back the 40s Sandman to be a detective inspired by weird dreams received 'from' Gaiman's Sandman.
And so we get Sandman Mystery Theatre, of which this is half, in one mega chunky tome. So many arcs! So many faithfully reproduced and EXTREMELY 90s issue covers! While the art in the comic itself (scratchy, ugly, grim, entirely fitting) hasn't aged much at all, those covers feel like they should be accompanied by Pearl Jam and Pogs.
Wesley Dodds is a rich dude with a sleepy gas gun and a mask. Dian Belmont is his girlfriend who is getting closer and closer to working out his identity, while also often having a role in the crimes under investigation. The criminals are all monstrous, sometimes barely human, carrying out cynical and gruesome murders. Apart from the angry lesbians, they were fine. The cops are also bad, often racist, and so noir coded that it's amazing the whole thing isn't a series of pitch black squares. Let me be clear, I really enjoyed this.
And so we get Sandman Mystery Theatre, of which this is half, in one mega chunky tome. So many arcs! So many faithfully reproduced and EXTREMELY 90s issue covers! While the art in the comic itself (scratchy, ugly, grim, entirely fitting) hasn't aged much at all, those covers feel like they should be accompanied by Pearl Jam and Pogs.
Wesley Dodds is a rich dude with a sleepy gas gun and a mask. Dian Belmont is his girlfriend who is getting closer and closer to working out his identity, while also often having a role in the crimes under investigation. The criminals are all monstrous, sometimes barely human, carrying out cynical and gruesome murders. Apart from the angry lesbians, they were fine. The cops are also bad, often racist, and so noir coded that it's amazing the whole thing isn't a series of pitch black squares. Let me be clear, I really enjoyed this.
August 5, 2023
Maybe my favorite Vertigo comic of all time? It’s impossible to choose between this and THE SANDMAN.
June 16, 2023
A Compendium of Noir that can't be missed. The Adventures and exploits of Wesley Dodds are fleshed out in this extremely graphic and mature adventure mystery. A story of a "normal" man with abnormal dreams. The ending also left me excitedly waiting for the compendium 2 to come out!
January 15, 2024
I've had a weird journey with comic books. I didn't read them at all as a younger kid, but picked them up in my early teens after the Tim Burton Batman movie came out, and even then I gravitated towards the "Suggested For Mature Readers" stories like "The Killing Joke" and "Arkham Asylum," which led me to the works of writers like Alan Moore and Grant Morrison. By high school I was reading pretty much nothing but titles from Vertigo, especially Neil Gaiman's "Sandman" and this, its less-popular cousin.
And while "Sandman" proper remains a high-water mark for the art form, don't sleep on (pun intended) this lovingly crafted title, the perfect antidote to vengeful heroes like Batman and the Punisher.
Wesley Dodds isn't seeking vengeance, just some respite from the wicked figures of pre-WWII New York City haunting his dreams. As a teeanger, I wanted to see Wesley -- who, like me, wears glasses -- unmask the various killers. At 47, I was more invested in whether he and Dian make it as a couple.
Also: the fact that Hollywood has tackled hard-to-adapt titles like Sandman and Preacher with varying degrees of success without touching this is baffling. The four-part stories would make perfect 90-minute mysteries, the type British TV does so well.
And while "Sandman" proper remains a high-water mark for the art form, don't sleep on (pun intended) this lovingly crafted title, the perfect antidote to vengeful heroes like Batman and the Punisher.
Wesley Dodds isn't seeking vengeance, just some respite from the wicked figures of pre-WWII New York City haunting his dreams. As a teeanger, I wanted to see Wesley -- who, like me, wears glasses -- unmask the various killers. At 47, I was more invested in whether he and Dian make it as a couple.
Also: the fact that Hollywood has tackled hard-to-adapt titles like Sandman and Preacher with varying degrees of success without touching this is baffling. The four-part stories would make perfect 90-minute mysteries, the type British TV does so well.
June 12, 2025
Wesley Dodds is The Sandman—no, not that one—a 1930’s vigilante armed with a gas mask, a gas gun, and a pocketful of righteous indignation.
Every night, Dodds falls asleep and dreams horrible nightmares about the monstrous criminals who stalk New York City. The only way to silence his nighttime thoughts is to venture out in the night and bring these foul demons to justice. Yes, we’re in the land of the pulps, ladies and gentlemen. Delicious pulp adventure goodness is where my heart lives rent free, and Sandman Mystery Theatre serves up a nice plate of it.
This omnibus collects the first 36 issues of the comic and weighs about as much as a Heisman Trophy. If someone comes to rob your house while you are reading, throw this at them and you’ll be charged with murder.
Dodds makes for an interesting character. The son of a wealthy industrialist, he has the Batman backstory minus the murder. His dad succumbed to a mysterious family illness and now Dodds is the public face of his father’s empire. Unlike Bruce Wayne, who rocks the playboy disguise, Dodds is a bit of a nebbish fuddy-duddy who mostly wobbles around and collects strange looks.
His girlfriend is Dian Belmont, the daughter of a district attorney and a bit of a wild child who isn’t afraid to move out of step with the times. She’s there to fall in love with Dodds, figure out his deep dark secret, and throw tantrums when she learns the truth. Still, she rings true as a character, but, it feels a bit overshadowed by predictable beats and plotting.
The fact that Dodds isn’t a super-powered crime fighter is part of what makes this fun. He’s just a shlub in a trench coat. Sometimes he royally screws up in the heat of the moment, which is a nice change from most comic book characters.
Later, I found out that this is all laying the groundwork for the D.C. Universe and the first Justice League and I swear I groaned so loud I set off a car alarm. I’m just a simple man. I don’t have time for this nonsense. I just want to watch a guy in a fedora beat the hell out of some criminals. If he’s also drowning us in the roar of his blazing .45s, all the better.
Thankfully, Sandman Mystery Theatre seems to understand this. There are a couple references to other properties sprinkled throughout but they aren’t so on the nose that it takes you out of the story.
Each arc of the plot is laid out across four issues, each featuring a “monster of the week” criminal for Dodds to take down. Meanwhile, the story of Wesley and Dian and their changing circumstances plows forward like modern day serial television. It makes for some good reading, all in one sitting, but I read that it was hell for newcomers to the series back in the 1990s when it was coming out month-to-month.
By the end of this huge book, I felt like the four-issue arc structure caused more problems than not. At times, it seemed like writers Steven T. Seagle and Matt Wagner were forced to cram all their ideas into a framework that was often too wide or too narrow for them to maneuver in.
Still, if you’re in the market for a guy in a mask and a fedora hitting people—and I always am—then you could do a lot worse than Sandman Mystery Theatre. It’s a fun yarn to read through and you’ll totally tone your arms lugging this monster around with you.
Also posted on my blog thing.
Every night, Dodds falls asleep and dreams horrible nightmares about the monstrous criminals who stalk New York City. The only way to silence his nighttime thoughts is to venture out in the night and bring these foul demons to justice. Yes, we’re in the land of the pulps, ladies and gentlemen. Delicious pulp adventure goodness is where my heart lives rent free, and Sandman Mystery Theatre serves up a nice plate of it.
This omnibus collects the first 36 issues of the comic and weighs about as much as a Heisman Trophy. If someone comes to rob your house while you are reading, throw this at them and you’ll be charged with murder.
Dodds makes for an interesting character. The son of a wealthy industrialist, he has the Batman backstory minus the murder. His dad succumbed to a mysterious family illness and now Dodds is the public face of his father’s empire. Unlike Bruce Wayne, who rocks the playboy disguise, Dodds is a bit of a nebbish fuddy-duddy who mostly wobbles around and collects strange looks.
His girlfriend is Dian Belmont, the daughter of a district attorney and a bit of a wild child who isn’t afraid to move out of step with the times. She’s there to fall in love with Dodds, figure out his deep dark secret, and throw tantrums when she learns the truth. Still, she rings true as a character, but, it feels a bit overshadowed by predictable beats and plotting.
The fact that Dodds isn’t a super-powered crime fighter is part of what makes this fun. He’s just a shlub in a trench coat. Sometimes he royally screws up in the heat of the moment, which is a nice change from most comic book characters.
Later, I found out that this is all laying the groundwork for the D.C. Universe and the first Justice League and I swear I groaned so loud I set off a car alarm. I’m just a simple man. I don’t have time for this nonsense. I just want to watch a guy in a fedora beat the hell out of some criminals. If he’s also drowning us in the roar of his blazing .45s, all the better.
Thankfully, Sandman Mystery Theatre seems to understand this. There are a couple references to other properties sprinkled throughout but they aren’t so on the nose that it takes you out of the story.
Each arc of the plot is laid out across four issues, each featuring a “monster of the week” criminal for Dodds to take down. Meanwhile, the story of Wesley and Dian and their changing circumstances plows forward like modern day serial television. It makes for some good reading, all in one sitting, but I read that it was hell for newcomers to the series back in the 1990s when it was coming out month-to-month.
By the end of this huge book, I felt like the four-issue arc structure caused more problems than not. At times, it seemed like writers Steven T. Seagle and Matt Wagner were forced to cram all their ideas into a framework that was often too wide or too narrow for them to maneuver in.
Still, if you’re in the market for a guy in a mask and a fedora hitting people—and I always am—then you could do a lot worse than Sandman Mystery Theatre. It’s a fun yarn to read through and you’ll totally tone your arms lugging this monster around with you.
Also posted on my blog thing.
April 27, 2025
Siendo fan de la JSA, era cuestión de tiempo que adquiriera y leyera este primer compendio de las aventuras de Wesley Dodds, el Sandman original. Bastantes de ellas ya las había leído hace años, pero algunas, como «Dr. Death» o «The Hourman» tan solo fragmentariamente, porque, en mi loca juventud, estos tebeos solo se podían adquirir mediante el mítico catálogo Previews, que a veces llegaba a la tienda de tebeos, y otras veces no.
En fin, buenos cómics en general, con un dibujo... diferente, atmosférico y apropiado para la historia que narran, aunque el bueno de Wesley parezca un gordinflas cada vez que lo dibuja Guy Davies (en las historias cuyo arte recae en las manos de otros dibujantes, no es así). Leídos tropecientos arcos argumentales de una, llego a unas cuantas conclusiones: la primera, que Steven T. Seagle se gusta cada vez a sí mismo, convirtiendo su prosa, tersa y directa en las primeras historias, en cada vez más verbosa y recargada lo que muchas veces lastra el desarrollo de la trama. Otras veces, es Matt Wagner el que falla, puesto que algunos arcos argumentales, sobre todo los centrales del volumen, cojean gravemente; por ejemplo, en «The Brute» nos quedamos con las ganas de conocer la historia del villano: solo sabemos que es un caníbal con graves problemas mentales y, probablemente, gigantismo, pero eso es todo. Las historias finales remontan en ese aspecto, con antagonistas interesantes y tramas complicadas pero bien resueltas.
Otra cosa que me llama bastante la atención es que suele ser realmente el teniente Burke, personaje complejo, atrayente por su inteligencia y repulsivo por sus prejuicios raciales y falta absoluta de empatía, el que resuelve los casos, o, en todo caso, el que obtiene pistas clave sobre los mismos, no el héroe titular, que muchas veces va a rebufo del agudo policía. Dodds es, claramente, un diletante con buenas intenciones que cuenta con la «ayuda» de crípticos sueños proféticos, mientras que Burke es un veterano competente que sabe bien lo que se hace. El antagonismo entre ambos personajes resulta lógico, puesto que el teniente detesta tanto el intrusismo de Sandman, como el hecho de que oculte su identidad, lo que le convierte automáticamente en alguien sospechoso. La dinámica entre ambos se echa a faltar en las aventuras en las que no aparece Burke.
En cuanto a la atmósfera, es perfecta. Tanto las zonas altas como las bajas de la Nueva York de los años 30 resultan absolutamente auténticas, así como las condiciones de vida en ambas. No se nos ahorra ni un detalle, tanto para lo bueno como para lo malo. Tal vez se pueda echar en cara a los autores un cierto fatalismo, ya que apenas hay personajes positivos, más allá de Dodds, de su novia Dian, el padre de esta y el forense que colabora subrepticiamente en las investigaciones de Sandman. De todas maneras, esta es una decisión creativa consciente que el lector ha de respetar, como tantas otras convenciones presentes en cualquier obra literaria.
En definitiva, un buen cómic, pero no para todos los públicos, puesto que rezuma oscuridad, violencia y pesimismo.
En fin, buenos cómics en general, con un dibujo... diferente, atmosférico y apropiado para la historia que narran, aunque el bueno de Wesley parezca un gordinflas cada vez que lo dibuja Guy Davies (en las historias cuyo arte recae en las manos de otros dibujantes, no es así). Leídos tropecientos arcos argumentales de una, llego a unas cuantas conclusiones: la primera, que Steven T. Seagle se gusta cada vez a sí mismo, convirtiendo su prosa, tersa y directa en las primeras historias, en cada vez más verbosa y recargada lo que muchas veces lastra el desarrollo de la trama. Otras veces, es Matt Wagner el que falla, puesto que algunos arcos argumentales, sobre todo los centrales del volumen, cojean gravemente; por ejemplo, en «The Brute» nos quedamos con las ganas de conocer la historia del villano: solo sabemos que es un caníbal con graves problemas mentales y, probablemente, gigantismo, pero eso es todo. Las historias finales remontan en ese aspecto, con antagonistas interesantes y tramas complicadas pero bien resueltas.
Otra cosa que me llama bastante la atención es que suele ser realmente el teniente Burke, personaje complejo, atrayente por su inteligencia y repulsivo por sus prejuicios raciales y falta absoluta de empatía, el que resuelve los casos, o, en todo caso, el que obtiene pistas clave sobre los mismos, no el héroe titular, que muchas veces va a rebufo del agudo policía. Dodds es, claramente, un diletante con buenas intenciones que cuenta con la «ayuda» de crípticos sueños proféticos, mientras que Burke es un veterano competente que sabe bien lo que se hace. El antagonismo entre ambos personajes resulta lógico, puesto que el teniente detesta tanto el intrusismo de Sandman, como el hecho de que oculte su identidad, lo que le convierte automáticamente en alguien sospechoso. La dinámica entre ambos se echa a faltar en las aventuras en las que no aparece Burke.
En cuanto a la atmósfera, es perfecta. Tanto las zonas altas como las bajas de la Nueva York de los años 30 resultan absolutamente auténticas, así como las condiciones de vida en ambas. No se nos ahorra ni un detalle, tanto para lo bueno como para lo malo. Tal vez se pueda echar en cara a los autores un cierto fatalismo, ya que apenas hay personajes positivos, más allá de Dodds, de su novia Dian, el padre de esta y el forense que colabora subrepticiamente en las investigaciones de Sandman. De todas maneras, esta es una decisión creativa consciente que el lector ha de respetar, como tantas otras convenciones presentes en cualquier obra literaria.
En definitiva, un buen cómic, pero no para todos los públicos, puesto que rezuma oscuridad, violencia y pesimismo.
April 21, 2025
The quintessential pulp hero reinvention.
A long time Batman enthusiast, I had not been able to enjoy reading a lot of his books lately. The biggest reason by far to me was that the character behind the mask got stale. When rereading Scott Snyder's run, or even my favourite Grant Morrison's take on the book, I found Bruce Wayne to be severely one-dimensional. Surely, the Batman himself is very compelling, but the often repeated statement that Bruce Wayne is just his mask often rings true.
The case of *Sandman Mystery Theatre* is nearly exactly opposite. Wesley Dodds is the protagonist, not his alter-ego. His inner turmoil, quirks of character, awkward romance, disillusion with the world around him make the book what it is. The criminal plots of the nine stories in this collection are pretty solid on their own, but the character really sells it.
Or should I say characters, for the other protagonist, Dian Belmont, is as much the reason for this book's success as Dodds. The way she plays off the Sandman, how she escapes the tropes she could have easily fallen into in this type of story, it all makes for a very engaging read.
The social struggles of 1930s this book tackles sometimes feel a bit too heavy-handed, as there are titles that deal with this kind of "injustice-of-the-week" narratives much better (Alan Moore's *American Gothic* stotyline from Swamp Thing remains a masterclass in this thing exactly). Ultimately however, it does not take away from the book, and when the presented dilemmas work, they work well. I just wish it didn't resolve to [SPOILERS] rich folk preying on the rich folk with the impoverished catching stray bullets most of the time, but that's life I guess.
I've got some negative thoughts. I think Dian and Wes have the best chemistry when they're not a couple yet. As is often the case with these narratives, the "will-they-won't-they" is much better written than their day-to-day life. I like the way their relationship is resolved, but the horny innuendos after all of their scenes, though in character with all their respective awkwardness, fell flat. Still, it's one of the better instances of the superhero in a relationship trope.
Some of the stories would benefit from ditching the four-issue structure. It often felt that the case was over before the players could have been introduced properly.
The standout story for me is the Hourman, a brilliant crossover with another Golden Age hero.
The art was pretty good throughout, with Guy Davies being the best. Coloring really sold the tonal consistency between the arcs.
A long time Batman enthusiast, I had not been able to enjoy reading a lot of his books lately. The biggest reason by far to me was that the character behind the mask got stale. When rereading Scott Snyder's run, or even my favourite Grant Morrison's take on the book, I found Bruce Wayne to be severely one-dimensional. Surely, the Batman himself is very compelling, but the often repeated statement that Bruce Wayne is just his mask often rings true.
The case of *Sandman Mystery Theatre* is nearly exactly opposite. Wesley Dodds is the protagonist, not his alter-ego. His inner turmoil, quirks of character, awkward romance, disillusion with the world around him make the book what it is. The criminal plots of the nine stories in this collection are pretty solid on their own, but the character really sells it.
Or should I say characters, for the other protagonist, Dian Belmont, is as much the reason for this book's success as Dodds. The way she plays off the Sandman, how she escapes the tropes she could have easily fallen into in this type of story, it all makes for a very engaging read.
The social struggles of 1930s this book tackles sometimes feel a bit too heavy-handed, as there are titles that deal with this kind of "injustice-of-the-week" narratives much better (Alan Moore's *American Gothic* stotyline from Swamp Thing remains a masterclass in this thing exactly). Ultimately however, it does not take away from the book, and when the presented dilemmas work, they work well. I just wish it didn't resolve to [SPOILERS] rich folk preying on the rich folk with the impoverished catching stray bullets most of the time, but that's life I guess.
I've got some negative thoughts. I think Dian and Wes have the best chemistry when they're not a couple yet. As is often the case with these narratives, the "will-they-won't-they" is much better written than their day-to-day life. I like the way their relationship is resolved, but the horny innuendos after all of their scenes, though in character with all their respective awkwardness, fell flat. Still, it's one of the better instances of the superhero in a relationship trope.
Some of the stories would benefit from ditching the four-issue structure. It often felt that the case was over before the players could have been introduced properly.
The standout story for me is the Hourman, a brilliant crossover with another Golden Age hero.
The art was pretty good throughout, with Guy Davies being the best. Coloring really sold the tonal consistency between the arcs.
This entire review has been hidden because of spoilers.
January 17, 2024
What a great book to start the year with. It is great storytelling in a pulp style about the Sandman from the early part of the 20th century (not to be confused with Sandman of the Endless by Gaiman).
I got this book on an impulse at a bookstore because I remembered a lot of people saying positive things about the series when it first came out. I think I even read the first 4 parter in this collection a while ago and enjoyed it.
The art might be a little off putting. There are a few artists but Guy Davis does the majority of the art and he takes a little while to get used to. For better or for worse his characters all look dumpy and not very good looking. It is "better" because our Sandman Wesley Dodds is not supposed to be a jacked muscular super hero. He is a smart man who used his brains over brawn. He has his knockout gas and his eastern meditation but not much else. So drawing him as Davis does fits the character. For "worse" I do wish the other main character Dian Belmont (his eventual girlfriend) had been brawn a little bit better but over time you get used to the style.
The premise is simple - take the original Sandman form the comics - do some updated stories with him still in his original time setting of the 1930's and get two great writers Matt Wagner and Steven Seagle to do a perfect Pulp story. I love the stories, the characters and the fact each tale was 4 issues long and self contained (although the relationship between Dian and Wes does evolve). This is pretty much perfect. I would say no one story stands out but they are all enjoyable. I really appreciate the fact our hero is not some indestructible Batman and the villains aren't god-like Jokers who never get caught and plan the perfect crimes. Just fun pulp stories. Oh! And when he ran into Hourman that was a nice treat.
I should also add I was reluctant to buy a compendium format from DC. It has the same number of pages as an omnibus but is paperback and smaller in size. In the end the binding seems to have held up after one read and it was much lighter to carry around (although still heavier than your average book). So I was happy to get so many stories for such a reasonable price.
Overall - my best read of this year AND last :). Highly recommended.
I got this book on an impulse at a bookstore because I remembered a lot of people saying positive things about the series when it first came out. I think I even read the first 4 parter in this collection a while ago and enjoyed it.
The art might be a little off putting. There are a few artists but Guy Davis does the majority of the art and he takes a little while to get used to. For better or for worse his characters all look dumpy and not very good looking. It is "better" because our Sandman Wesley Dodds is not supposed to be a jacked muscular super hero. He is a smart man who used his brains over brawn. He has his knockout gas and his eastern meditation but not much else. So drawing him as Davis does fits the character. For "worse" I do wish the other main character Dian Belmont (his eventual girlfriend) had been brawn a little bit better but over time you get used to the style.
The premise is simple - take the original Sandman form the comics - do some updated stories with him still in his original time setting of the 1930's and get two great writers Matt Wagner and Steven Seagle to do a perfect Pulp story. I love the stories, the characters and the fact each tale was 4 issues long and self contained (although the relationship between Dian and Wes does evolve). This is pretty much perfect. I would say no one story stands out but they are all enjoyable. I really appreciate the fact our hero is not some indestructible Batman and the villains aren't god-like Jokers who never get caught and plan the perfect crimes. Just fun pulp stories. Oh! And when he ran into Hourman that was a nice treat.
I should also add I was reluctant to buy a compendium format from DC. It has the same number of pages as an omnibus but is paperback and smaller in size. In the end the binding seems to have held up after one read and it was much lighter to carry around (although still heavier than your average book). So I was happy to get so many stories for such a reasonable price.
Overall - my best read of this year AND last :). Highly recommended.
February 16, 2024
No, not for me. Ugly artwork and not enough suspense in these stories. Selling this and not getting Vol. 2 (if it does come out).
The idea of this book is that the main character solves murder mysteries, while keeping his secret identity in check. Every crime is contained to 4 issues, so with the 36 issues in this book we have 9 cases.
The good:
-Lieuteanant Burke is narrow minded, racist and always cursing. And all of these things make him very entertaining in this book.
- The news and rumors from Europe and how they are intersected into the narrative is done in very clever way.
- Sandman does look cool
Neutral:
- Barely any connection to anything else within DC, be it superheroes or Vertigo.
The bad:
- The art is hideous, everything looks ugly and unpleasant. It's rare that the artwork bothers me this much, especially from a book drawn in the 90s.
- Dian is a very annoying character. I like independent and strong female characters, but Dian is neither unfortunately .
- Wes is very bland and boring
- The murder mysteries are often too obvious and the resolution is often unsatisfactory. The 4 issue per crime structure often hurts the book in my opinion.
- The overarching storyline boils down to Wes and Dian and I have problems with both characters (see above)
- Sandman uses his unfair advantage (dreams, wealth, technology) over the police and solves crimes parallel to them instead of cooperating. Often times the police would solve the case without Sandman
The idea of this book is that the main character solves murder mysteries, while keeping his secret identity in check. Every crime is contained to 4 issues, so with the 36 issues in this book we have 9 cases.
The good:
-Lieuteanant Burke is narrow minded, racist and always cursing. And all of these things make him very entertaining in this book.
- The news and rumors from Europe and how they are intersected into the narrative is done in very clever way.
- Sandman does look cool
Neutral:
- Barely any connection to anything else within DC, be it superheroes or Vertigo.
The bad:
- The art is hideous, everything looks ugly and unpleasant. It's rare that the artwork bothers me this much, especially from a book drawn in the 90s.
- Dian is a very annoying character. I like independent and strong female characters, but Dian is neither unfortunately .
- Wes is very bland and boring
- The murder mysteries are often too obvious and the resolution is often unsatisfactory. The 4 issue per crime structure often hurts the book in my opinion.
- The overarching storyline boils down to Wes and Dian and I have problems with both characters (see above)
- Sandman uses his unfair advantage (dreams, wealth, technology) over the police and solves crimes parallel to them instead of cooperating. Often times the police would solve the case without Sandman
October 2, 2023
I bought this not realizing it actually contained material I hadn't read on here before, so this counts towards the ol' reading challenge. ;)
Anyhow:
- The Tarantula: still great
- The Face: still kinda rough/confusing IMO
- The Brute: still kinda predictable, hits a lot of the same notes as Tarantula IMO
- The Vamp: still great
- The Scorpion: still great
- Dr. Death: New stuff! And I liked it.
- Night of the Butcher: New stuff! It's alright.
- The Hourman: New stuff that I liked!
- The Python: New stuff that I didn't care for
Overall it has its low points but when it hits it hits hard. Guy Davis is perfect on this and I wish he'd done all of it.
Anyhow:
- The Tarantula: still great
- The Face: still kinda rough/confusing IMO
- The Brute: still kinda predictable, hits a lot of the same notes as Tarantula IMO
- The Vamp: still great
- The Scorpion: still great
- Dr. Death: New stuff! And I liked it.
- Night of the Butcher: New stuff! It's alright.
- The Hourman: New stuff that I liked!
- The Python: New stuff that I didn't care for
Overall it has its low points but when it hits it hits hard. Guy Davis is perfect on this and I wish he'd done all of it.
March 23, 2025
2025 re-read. Originally, I read this series as individual issues. This compendium covers the first half of the series. Wagner and Seagle reimagine Golden Age superhero The Sandman was a 1930s hardboiled pulp character. Each story arc has the Sandman solving grizzly crimes with only his wits and his trusty gas gun, which causes victims tell the truth. The stories are grounded in reality, no super villains or heroes, just real criminals set against the backdrop of pre World War II. The series is well written and smart.
April 19, 2024
A blend of highly engaging detective stories with some racial stereotypes, especially depicting Asian Americans, and some odd approaches to writing Sapphic romances that cross the line of being “true to the period “ to being disconcerting. The quality of Wesley Dodds and Dian Lim usually pulled me back in anytime the stereotypes bordered on too jarring, but I can understand why their presence might make this book unappealing for some readers.
May 15, 2024
God DAYMN!!!
This book kicks ASS!
It is what crime noir should be.
Vicious criminals and psycho murders.
A vigilante driven by his inner demons to weird fuckery fighting them.
Wesley Dodds cannot sleep. His dreams filled with terror.
Creates a gas gun and a mask (it was post WW I) and wades into the night to fight monsters.
Like most Golden Age Comic Heroes at first glance the Sandman is just plain silly.
In the brilliant hands of Matt Wagner (Mage) he becomes so much more.
This book kicks ASS!
It is what crime noir should be.
Vicious criminals and psycho murders.
A vigilante driven by his inner demons to weird fuckery fighting them.
Wesley Dodds cannot sleep. His dreams filled with terror.
Creates a gas gun and a mask (it was post WW I) and wades into the night to fight monsters.
Like most Golden Age Comic Heroes at first glance the Sandman is just plain silly.
In the brilliant hands of Matt Wagner (Mage) he becomes so much more.
July 31, 2024
Millionaire Wesley Dodds becomes the Sandman to fight injustice in 1930s New York City, going after kidnappers, blackmailers and predators who prey on rich socialites.
Spanning 72 issues, this comic run is one of the best series I've read. Full of pulpy crime and adventure, I found myself engrossed in every arc. Even the romantic sub-plot captivated me and I was totally invested in Wesley's relationship.
Truly a must read for any comic fan. A series that showcases the best of what the medium can offer.
Spanning 72 issues, this comic run is one of the best series I've read. Full of pulpy crime and adventure, I found myself engrossed in every arc. Even the romantic sub-plot captivated me and I was totally invested in Wesley's relationship.
Truly a must read for any comic fan. A series that showcases the best of what the medium can offer.
September 6, 2025
That's a great read, informed by pulp and hardboiled, but with an untypical protagonist, and even more untypical villains. The only story arc I didn't really care for was The Vamp, the other ones range from good to great, and are cemented in the period they take place - even if I find the protagonist and his love interest a little bit too open-minded and modern to be 100% realistic in the contest of post-depression New York. Anyway, another example of 90s Vertigo Comics greatness.
May 28, 2025
One of the better comics from the 90s. Some great mystery mixed with horror and an overarching story of a developing love between two people. I have read these previously but it was nice to finally have them all collected. The ending of this volume leaves off on a cliffhanger and I am excited to read the next volume which will be all new to me.
September 3, 2023
An under-rated gem of the early Vertigo line, often obscured by its more popular soundalike, Sandman, but every bit as well-written and perceptive about human nature. Definitely worth your time, especially in this excellent reprinted collection.
April 9, 2024
Pulpy and gritty, but smart and thoughtful at the same time.
May 24, 2024
I liked the style Wagner takes for this. The art and story-lines (though sometimes tough to stomach) made it hard to put down.
September 8, 2025
i wish sandman was
more mystery theatre
than romance drama
more mystery theatre
than romance drama
September 20, 2025
Sort of like if Batman was real and bad at fighting. Very good.
October 1, 2024
I read these volumes individually from a friend which I gave 5 stars to. So why only 4 (or 4.5 in all honesty)? I think the stories are as brilliant to read as they were before but they're not bingeable.
A year ago I got into watching columbo. I love whodunits and wanted to watch a classic that defined the genre. The problem though was that each episode works as a weekly where you've had a breather from the episode before.
This is where the Sandman mystery theatre falters as a compendium. I loved the stories but you become very aware of the tropes and plot mechanics that come up repeatedly and you can end up predicting this that will occur.
It's still brilliant but I really recommend pacing yourself with this book. Have a buffer story to read between each case.
A year ago I got into watching columbo. I love whodunits and wanted to watch a classic that defined the genre. The problem though was that each episode works as a weekly where you've had a breather from the episode before.
This is where the Sandman mystery theatre falters as a compendium. I loved the stories but you become very aware of the tropes and plot mechanics that come up repeatedly and you can end up predicting this that will occur.
It's still brilliant but I really recommend pacing yourself with this book. Have a buffer story to read between each case.
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