#it's the Sandman Companion :(

[thatcerealkiller]

“Are you a spider who's spun a web of cunning and deceit and now waits patiently for his prey to come to him; or are you a deer frozen by the light of a hunter's flame, as disaster comes toward you?”

art by arkeresia

[plantdad-dante]

hi. adding one (1) voice to the "The Dead Boy Detectives was really good and needs future seasons" chorus. I mean, the show already had me completely, ever since the trailer had Welcome To The Black Parade playing over it (come on, how could I not watch it, I know when I am being advertised to), but the show itself is also!! so good!! and warm and nice and wonderful, and above all, it has the potential to be a really breathtakingly amazing series. so, while I know that like, due to bullshit, we can't have nice things anymore, I would really like this one to slip through the cracks and get a second season regardless. please.

[seasonn]

finally got to watch the new doctor who episodes and i fear the person i become (my girlfriend is going to be sick of me)

[so-i-grudgingly-joined-this-site]

Since apparently this needs to be clarified in this fandom

Dream/Morpheus did NOT kill Nada's civilization. The Sun/Sol did as punishment for a mortal loving an Endless. One could argue that Dream did kill Nada by hounding her to suicide, but he very much did not intentionally destroy her people as revenge or something.

Per The Sandman Companion, we are SUPPOSED to see Dream's disapproval of slavery as hypocritical. It fully acknowledges that he has no ground to stand on morally when he sentenced a black woman to hell and possibly cursed all black people in the narrative to horrible fates by doing so.

[orionsangel86]

The insanest hot take in The Sandman Companion is that it tries to say The Corinthian isn't sexually attracted to men

Um wut

Ah my dear no wonder youve been feeling so negative towards the comics if youve been reading this book as a guide! I am still working on your other ask but I think we can confidently dismiss the Sandman Companion as utter bullshit if its gonna attempt to straightwash the Corinthian!!!

So according to this supposed "official" Sandman comic guide Morpheus is an abusive rapist who deserved to die and The Corinthian is Straight. Okay then. Sorry Neil Gaiman but this book sounds like it needs to be put out of print, or updated to actually provide analysis that isnt 100% moronic and baffling that has no actual basis in the comics themselves.

What garbage! Hard pass on ever reading such a thing! Ive read some pretty appalling published analysis in my days (usually articles related to Supernatural where we already knew the writers were hot garbage) but this is a whole other level!

Pro tip for anyone curious about interpreting the Sandman comics - avoid the Sandman Companion like the plague!

[pokimoko]

in another world - Moon Knight fic

Written by pokimoko and beta read by @tiptapricot

Chapters: 1/1

Word Count: 11K

Fandom: Moon Knight (2022), Marvel Cinematic Universe

Rating: Teen and Up Audiences

Warnings: No Archive Warnings Apply

Relationships: Marc Spector & Wendy Spector, Steven Grant & Marc Spector, Elias Spector & Marc Spector

Characters: Marc Spector, Wendy Spector, Elias Spector, Steven Grant (Marvel)

Tags: Dissociation, Dissociative Identity Disorder, Child Abuse, Character Study, Angst, Pre-Season/Series 01, Childhood Trauma, Unreliable Narrator, Extended Metaphors, Emotional Hurt, unreality, Child Marc Spector, Child Steven Grant, Marc Spector Needs A Hug, Steven Grant Needs a Hug (Marvel), Marc Spector-centric, Parent-Child Relationship, Headspace, Distorted Reality, Inspired by Coraline

Summary: Marc discovers a door that leads him back to his real life, where his mother loves him and his father doesn't pretend. But the world he left behind won't let him go quite so easily.

[weirdly-specific-but-ok]

for whom good omens is being written

Hey maggots and the rest of the fandom, it's the Good Omens Mascot here. Today I read a post about this tweet:

The accompanying video genuinely made me cry. And I've been thinking about this for a long while, as far back as February, when I saw a lot of conflicting opinions on what people wanted from the third season. It really is true that no matter what you do, some people will be dissatisfied. But what matters is that Neil is writing this for Terry.

And I was reminded of some paragraphs from the Good Omens TV Companion, which I'd read in Amazon's sample excerpt of the book. I know this is a long post, but I really truly do think you all need to read these, I've done my best to select only the most important parts. Here you go:

'His Alzheimer's started progressing harder and faster than either of us had expected,' says Neil, referring to a period in which Terry recognized that despite everything he could no longer write. 'We had been friends for over thirty years, and during that time he had never asked me for anything. Then, out of the blue, I received an email from him with a special request. It read: “Listen, I know how busy you are. I know you don't have time to do this, but I want you to write the script for Good Omens. You are the only human being on this planet who has the passion, love and understanding for the old girl that I do. You have to do this for me so that I can see it." And I thought, “OK, if you put it like that then I'll do it."

'I had adapted my own work in the past, writing scripts for Death: The High Cost of Living and Sandman, but not a lot else was seen. I'd also written two episodes of Doctor Who, and so I felt like I knew what I was doing. Usually, having written something once I'd rather start something new, but having a very sick co-author saying I had to do this?' Neil spreads his hands as if the answer is clear to see. 'I had to step up to the plate.' A pause, then: 'All this took place in autumn 2014, around the time that the BBC radio adaptation of Good Omens was happening,' he continues, referring to the production scripted and co-directed by Dirk Maggs and starring Peter Serafinowicz and Mark Heap. ‘Terry had talked me into writing the TV adaptation, and I thought OK, I have a few years. Only I didn't have a few years,' he says. 'Terry was unconscious by December and dead by March.'

He pauses again. 'His passing took all of us by surprise,' Neil remembers. 'About a week later, I started writing, and it was very sad. The moments Terry felt closest to me were the moments I would get stuck during the writing process. In the old days, when we wrote the novel, I would send him what I'd done or phone him up. And he would say, "Aahh, the problem, Grasshopper, is in the way you phrase the question," and I would reply, "Just tell me what to do!" which somehow always started a conversation. 'In writing the script, there were times I'd really want to talk to Terry, and also places where I'd figure something out and do something really clever, and I would want to share it with him. So, instead, I would text Terry's former personal assistant, Rob Wilkins, now his representative on Earth. It was the nearest thing I had.'

(...) As Neil himself recognizes, this is an adaptation built upon the confidence that comes from three decades of writing for page and screen. But for all the wisdom of experience, he found that above all one factor guided him throughout the process. 'Terry isn't here, which leaves me as the guardian of the soul of the story,' he explains. 'It's funny because sometimes I found myself defending Terry's bits harder or more passionately than I would defend my own bits. Take Agnes Nutter,' he says, referring to what has become a key scene in the adaptation in which the seventeenth-century author of the book of prophecies foretelling the coming of the Antichrist is burned at the stake. ‘It was a huge, complicated and incredibly expensive shoot, with bonfires built and primed to explode as well as huge crowds in costume. It had to feel just like an English village in the 1640s, and of course everyone asked if there was a cheap way of doing it. 'One suggestion was that we could tell the story using old-fashioned woodcuts and have the narrator take us through what happened, but I just thought, “No”. Because I had brought aspects of the story like Crowley and the baby swap along to the mix, and Terry created Agnes Nutter. So, if I had cut out Agnes then I wouldn't be doing right by the person who gave me this job. Terry would've rolled over in his grave.'

And, finally, this paragraph:

"Once again, Neil cites the absence of his co-writer as his drive to ensure that Good Omens translated to the screen and remained true to the original vision. 'Terry's last request to me was to make this something he would be proud of. And so that has been my job.'"

I think that's so heartwrenchingly beautiful, and so I wanted you all to read this, too, just in case you (like me) don't have the Good Omens TV Companion. It adds another layer of depth and emotion to this already complex and amazing story that we all know and love.

Share this post, if you can, please, so that more people can read these excerpts :")

Tagging @neil-gaiman, @fuckyeahgoodomens and @orpiknight, even if you've definitely read these before :)

[witchhaunts]

Tag drop ft. verses pt. 3

vi. ( bridgerton ) : the robins are singing their april song

vi. ( merlin ) : there was one good king among the burning palaces

vi. ( companion ) : you're my king &. i'm your lionheart

vi. ( bg3 ) : you will hear thunder &. remember me &. think : she wanted storms

vi. ( peaky blinders ) : i've made myself a bird of prey

vi. ( daevabad ) : i came from the hill ; i am the girl who does not die

vi. ( saf ) : the warmest hello to the coldest goodbye

vi. ( tua ) : run your hands along the wound &. seal it with your heat

vi. ( sandman ) : do the stars gaze back

[namedafterflowerstournament]

Botanic Tournament : Main Bracket !

Round 5 Poll D

Both Yasmin and Jessamy are names refering to jasmine

[so-i-grudgingly-joined-this-site]

@orionsangel86

Look what I found in my local Dorothy House charity shop 🖤 !

An excellent find!

[conradrasputin]

[somestorythoughts]

Okay I have to ask.

Does anyone else look at Morpheus in his helmet and wonder what he’s doing off a Doctor Who set??

I just see that helmet and think “alien.”

[so-i-grudgingly-joined-this-site]

About The Corinthian...

So, while I’m on about individual character analyses and The Sandman, I thought it was about time I addressed The Corinthian.

                Now, since he’s a nightmare, naturally the fandom is bound to ask exactly what type of nightmare he’s supposed to be.  I’ve seen a handful of great posts that examine him specifically through the lens of being a queer man, of how he represents the danger of intimacy and “eyes that devour” in a culture where being any variety of LGBTQ+ is stigmatized.  While I think that analysis holds true, I also feel like that’s not the only way in which The Corinthian is a culturally relevant nightmare.

                The Corinthian is a man.

                He is a white man.

                With an accent from the Southern USA and (in the show at least) clothes and mannerisms that suggest some level of wealth or class.

                He can very easily hide the fact that he is a monster.

He can escape any human attempt at arrest, punishment, or justice.

                I feel like The Corinthian does not just represent a queer community fear, but a collective fear held by minorities—or at least minorities in America—more generally.  Obviously those fears are probably similar in other countries too, but his accent places him specifically in association with a region of the US infamous for inequality.  He also invokes the American Dream in his speech at the Cereal Convention.  I find it fascinating that the character is actually so much older than the USA, yet is associated so heavily with the country.   If he is the “dark mirror of humanity,” perhaps that says something about how the author perceived America?  (Note: the books were written around the Reagan and Bush Sr. years… notably bad times for minorities there)

                Complicating this otherwise near-painfully straightforward symbolism is that Cori himself is queer.  What exact label one might apply to him isn’t exactly clear and a matter of minor fan debate, hence my choice of the broadest label.  The Sandman Companion, the official analysis book from 1999 (which I am loathe to quote since I find it unreliable), states that The Corinthian “doesn’t have sex, he eats eyeballs” and that he’s “homosexual, in the sense that he prefers to eat the eyeballs of boys.” (It’s on page 57 of my edition.)  In the context of the time, I interpret this as Hy Bender and Neil Gaiman feeling that, somehow, audiences in 1999 would’ve been too shocked by the supernatural creature being outright gay that they made the strange half-excuse of “he likes men but not in a sex way, but in a murder way, which is also a sex way.”  Meanwhile, the Netflix version of the show features him definitely having sex with men in addition to eating their eyes (and sometimes without eating their eyes), while also flirting with the female serial killer The Good Doctor and eating the eyes of the female social worker he kills.  So, he’s certainly not heterosexual, but his eye-eating is no longer exclusive to boys… but heck if anyone knows what exactly to label him, or if human labels could apply at all.

                So, then, The Corinthian is a layered fear.  He not only represents a member of the majority who can hide a monstrous nature and commit injustice with impunity, but also the danger, perhaps, of someone whom you thought you could trust turning out to be harmful.  Someone whom you thought was “like you,” a potential partner, ally, confidant, or community member turning out to be the exact opposite.  One could also argue that from a heterosexual majority viewpoint, Cori’s queerness also functions as a “hidden danger,” at least for those who are intolerant.

The Corinthian, then, exists at an intersection that makes him threatening to everyone in some way, on an ideological level and not just a physical one.  Obviously, the whole murder thing makes him threatening to everyone on a base level, but, ultimately, it is not the fact that he has mouths for eyes that makes him monstrous.

(Oh, and one last side note.  I never found the eye mouths scary.  I actually thought he looked goofy the first time I saw him.  The dude can just faceplant in a bowl of popcorn and munch away if he wants.  The scarier thing would be having three mouths—imagine all the flossing! imagine the extra dental/orthodontic work!—than meeting someone who had three.)

If you liked this, you may enjoy my other metas:

My extra-long analysis of the endings and the implication of Morpheus being suicidal

An addendum to the above focusing on Season of Mists

Another addendum focusing on Fear of Falling

Analysis of Death of the Endless as a flawed character

@serenityspiral @duckland @notallsandmen @ambercoloredfox @roguelov

[the-cloudy-dreamer]

Feels like this fits day 1 prompt from @mr-sadman dreamling week so we are hitting reblog on it 🖤

is your blorbo really your blorbo if you don’t draw them wearing a questionable or riske outfit?? anyways I’ve lost all decency and wanted to pushed myself out of my comfort zone so may I present you ✨ Dream wearing lace panties ✨

( lovingly gonna gift this to my server sibling and loving art raccoon partner @rooftopwreck !! thanks you for always giving me inspo and generally being such a cool person 🖤)

[mintsuwu]

Took a lil break from the asks in order to cook some ✨SMILING CRITTERS FAMILY TIME✨ with @rexmk0153universe-blog because why the hell not??? I might have to divide it in two parts though-

(1/2)

DogDay

DogDay's journey begins when a stork delivers him to the wrong family of wolves, leading him to be adopted by Big Bad's parents. However, his presence triggers jealousy in Big Bad, his adopted older brother, who resents the attention their parents give to the newcomer.

Despite the pack's focus on abilities related to weather phenomena, Dogday stands out due to his unique qualities and talents. As he grows older, he feels a deep longing for a sense of purpose and identity beyond his wolf upbringing. Seeking to find his true self, he leaves the pack and ventures to Jolly Valley, where he encounters the Smiling Critters and forms close bonds with them. Over time, Dogday becomes a leader among the Smiling Critters, embodying their values of friendship and unity.

Big Bad, driven by pride and a mix of emotions, followed Dogday to Jolly Valley, intending to both antagonize his little brother and secretly monitor his progress. Despite his outward bravado and mischievous nature causing ocassional trouble, Dogday remains welcoming towards his older brother, except when his antics go too far. Hus unwavering cheerfulness and open-heartedness serve as a beacon of hope for both the Smiling Critters and his troubled older brother.

BONUS: "Big Bad" is actually a nickname! His actual name is "WindWolf"... Dogday usually calls him "Big Bro", but the rest of the critters "misheard" it and began calling him "Big Bad", much to his dismay.

CatNap

Catnap shares a unique connection with a deity known as SandMan, who reigns over the Dream Realm, a distinct reality separate from the main universe. The origin of Catnap traces back to a moment when Dogday, as a young member of his pack, made a wish upon a shooting star for a friend, and this wish brought Catnap into existence.

SandMan took particular interest in Catnap due to his remarkable qualities, leading to a special father-son dynamic between them, despite Catnap starting off as just another creation of SandMan like many others.

Catnap, however, felt a strong pull to leave the Dream Realm in search of Dogday, the source of his creation. Eventually, the feline succeeded in finding Dogday and chose to remain by his side, along with the other Smiling Critters. Despite Catnap's origin in the Dream Realm and his connection to SandMan, his loyalty lies with Dogday and their companions, forging a lasting bond beyond the confines of the Dream Realm.

Kickin'Chicken

Kickin'Chicken comes from a predominantly female family, consisting of his mother, sisters, and himself as the middle sibling. His father, known as "Rockin'Rooster," is a famous singer, an example that Kickin' aspires to follow. However, Rockin'Rooster's focus on his career leaves little time for family, causing conflicting emotions for Kickin'. Despite his admiration for his father's success, Kickin' yearns for more attention and connection within the family... Yet he hides it under his "cool and tough guy" persona.

However, among his family members Kickin' has a strong bond with his older sister, Pecky. She is level-headed compared to Kickin', but shares his adventurous spirit and openness to new experiences and people.

BONUS: Kickin's family is quite fond of Bubba Bubbaphant, given how he was Kickin's first friend and all of them consider him another member of the family.

CraftyCorn

Craftycorn, born in a magical kingdom governed by four elemental monarchs (Clubs, Diamonds, Hearts and Spades) was raised as the daughter of the Queen of Spades, destined to become a warrior. However, Crafty harbored a distaste for violence, finding joy in art and nature instead.

Despite her mother's attempts to grant her freedom to choose her path within the elemental realms, the other rulers disapproved, doubting Crafty's suitability for the throne. When Craftycorn was to receive her royal Merry Charm, symbolizing her assigned role, she unexpectedly manifested her own charm—the flower. Fearing disappointment from her mother and influenced by the other monarchs, Craftycorn fled her home, unaware of the devastation her departure caused her mother.

Their relationship is complicated, marked by love and care, yet tinged with Crafty's mixed feelings towards her mother.

LoolaLamb

Loola is a special sheep born into a flock known as the "Sleep Sheep" or "Slumbering Guardians." These sheep have the unique role of wandering through villages, signaling to people that it's time to sleep and seek safety from the dangers of the night. Once their task is complete, SandMan, a mystical entity who the sheep "worship" due to its previous helps toward the flock, can traverse their realm to ensure everyone enjoys peaceful dreams and restful sleep.

She's the daughter of the flock's leader, tasked with protecting the sheep, particularly during the day when they're less vigilant due to needing rest after their nightly duties. However, Loola lost her mother at a young age and was raised by her father, who prepared her to take on a similar role in the future.

Despite her upbringing, Loola yearns for adventure and exploration beyond the confines of her flock's duties. After much persuasion, her father allows her to leave, although they maintain communication through letters.

The lamb often travels alone, but occasionally spends time with the Smiling Critters in Jolly Valley for extended periods of time.

[orionsangel86]

Figured I'd continue this as an ask so we don't keep debating on that poor person's post! Anyways, regarding Neil's edgelord tendencies:

What also throws me off about The Sandman Companion's rape interpretation of both Morpheus' marriage to Calliope and his relationship with Nada (it states that the women's story must be WORSE not better, than the version men tell, and pretty much the only way it could get worse is rape...) is that Neil... isn't shy about SAYING "rape" in the text. He doesn't hide what Madoc does to Calliope, nor what the book version of Desire did to Unity (which thankfully got changed to consensual in the show). So why this roundabout stuff with Morpheus? If the character being evil and abusive is supposed to be a core character trait, why relegate it to an obscure, if still canon, guide text?

My hope is that these particular edgelord interpretations are the work of the other co-author, Hy Bender. Alternately, I wonder if Neil was trying to retcon his own work at the time. I have no idea how the grimdark "Morpheus killing himself was good, actually" ending was received at the time, but I could easily see a situation where, like now, the fans look at the ending and go "yikes". Perhaps Neil was doing his best to cover and go "um well ACTUALLY you should be glad he finally offed himself, see how horrible he was!" even when it went against his original intent for those previous issues.

Like now, he might be able to look back and realize the nasty implications. But I could easily see younger-Neil as an author who just released their long-planned ending to a text scrambling for cover when it doesn't get the expected reception.

That's a TOTAL GUESS though. Like I said, I have zero idea how people felt about the ending in the 90s.

Ooof every new thing you tell me about that book makes me shudder and recoil.

Honestly I have no idea what Neil's intentions were with signing off on those interpretations, and I still struggle with understanding his intentions for the ending of the Sandman, other than the obvious being a "what NOT to do if you are feeling depressed and incapable of improving your life", which sometimes gets a bit lost amongst all the misery and angst with zero pay off throughout the Kindly Ones. Do we know what the initial reception was to the ending of the Sandman when it was first released though? Because hasn't it always been critically acclaimed highly praised and considered one of the all time best graphic novels ever published? It's Neil's Magnum Opus.

I think we have both now mentioned more than a few times that the 90s were a totally different era with a totally different mentality to today. A lot of the stuff in the Sandman comics are eyebrow raising because the different mentalities of the era are so obvious to me. The general portrayal of women in particular is pretty um... outdated and on my first read of the Calliope issue I visibly recoiled at that panel where she is raped by Madoc - because I legit had never seen something like that depicted so graphically before in that artform. But you are right to point out that if Neil wanted Morpheus to be viewed as an abuser and a rapist, then he would have just put it in the comics. Desire is a rapist, and yet people still love Desire.

The show is a much better indication of where Neil's intentions currently lie. The removal of any graphic scenes of sexual violence towards women was absolutely the right decision. Dream is a far more likeable character in the show (and I still like comic!Dream even with his somewhat cold demeanor!) I could scream all day about the absolutely brilliant changes in the Calliope episode which come across so romantic and soft that fans are legit shipping them together (which I don't think anyone can possibly do with their comic counterparts). I think the change in the Dolls House to Desire and Unity's whole situation also has huge implications for Desire's character which fascinates me. In the comic it is literally a one time thing where Desire rapes her while she sleeps and probably never considers her again outside of keeping an eye on their child as part of their scheme. The show however indicates that Desire took the time to get to know Unity, to woo her, and to enter into an apparently long term relationship with her in the Dreaming.

I 100% believe they are going to change the story in Tales in the Sand and I think that they left it out of season 1 because it's going to be a huge indication on how the show will deviate from the comics further. I hope they do away with all that stupid virginity stuff (because I'm sorry but shoving a rock up your vag to break your hymen is NOT losing your virginity and that particular part always baffles me. Dream doesn't care about virginity? Well good for him but like, she's still a virgin anyway? Otherwise you are legit stating that this poor girl lost her virginity to a slightly sharp dick shaped rock? Come on people I thought this was obvious? There are better ways to indicate to your audience that your main character doesn't have a virginity kink. Sorry for ranting about that but it really pissed me off when I first read it because it was SO STUPID).

Basically, whatever the Sandman Companion stated is gonna be forgotten about completely when the show releases its new episodes and we see show!Dream be even more the romantic hero. I think we can be confident that any modern interpretations will do away with these 90s edgelord interpretations and thats the best thing we can ultimately hope for. I won't let it tarnish my opinion of comic!Dream though, because there is more than enough evidence in the comics that contradicts some bullshit interpretation that makes no sense.