The 10 best storylines to adapt in The Sandman Season 2

The 10 best storylines to adapt in The Sandman Season 2

With the arrival of the additional episode of The Sandman on Netflix, the possibility of seeing a second season of the live action TV series coming to the platform that adapts Neil Gaiman's cult comics is becoming more and more concrete. Or, at least, bonus episodes dedicated to the classic stories that the author has included in The Sandman, such as the ones we got to see with the episode The Dream of a Thousand Cats / Calliope. We imagined, therefore, what could be the 10 best storylines to adapt for The Sandman Season 2: here is our list.

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The 10 best storylines to adapt in The Sandman Season 2

A Midsummer Night's Dream Thermidor Facade August Three September and January The Hunt Ramadan The Song of Orpheus The Game of Life The Storm| TEST] adding zone: tag crm_srl-th_culturapop_d_mh2_1 slot id: th_culturapop_d_mh2 "); }

In the audience, there are important personalities from the world of fairies, including Queen Titania, consort Auberon and hobgoblin Robin Goodfellow, or Puck, or the same characters as protagonists of Shakespeare's play. The story A Midsummer Night's Dream, contained in Sandman n. 19 and in the Le Terre del Sogno collection, it has fairytale connotations, in which dreamlike and real merge through the game of comedy: the border that divides the play from the real actions of the protagonists becomes more and more nuanced, making this narrative suggestive, so much so that Gaiman's short story won the 1991 World Fantasy Award as a short story. The curiosity about it is that it was the only comic to ever win this award: this is certainly one of the 10 plots to be adapted for The Sandman on Netflix.


Facade by Neil Gaiman, Urania, now called Rainie, lives an existence very different from what superhero life in DC could have been. In fact, Rainie lives voluntarily segregated in her apartment, which she rarely leaves and always wearing a mask, extremely disgusted by her appearance and by the reaction she might arouse in others. Among her powers there is also immortality, but she Rainie now desires death more than anything else. Hearing her cry, Death of the Eternals intends to help her despite the immortality that distinguishes Urania, and reveals a way to be able to leave such a painful existence forever.


Among the 10 plots to be adapted for The Sandman there is certainly also Thermidor, which again takes up the figure of Johanna Constantine in the past of Morpheus. Part of the Favole e Riflessi collection and originally a short story present in Sandman n. 29, Thermidor mixes elements of real history with fictional narrative, in pure Neil Gaiman style, who knows how to draw once again on what history has to offer to weave plots in which it is difficult to distinguish what is true from what belongs instead. to the field of imagination. Termidoro is in fact set in the years of the French Revolution.

In 1794, Morpheus presented himself again before Lady Johanna Constantine, an old acquaintance of her (whom in The Sandman we met through the face of Jenna Coleman), asking her to complete a task that only a mortal particularly skilled could conclude. With the promise of giving her what is in her power in return, Sogno obtains the collaboration of Johanna, who less than a month later works as her agent. Disguised as a peasant, Johanna Constantine steals and tries to transport a sack with mysterious contents but she is stopped and arrested by the revolutionaries. The latter do not know that the stolen object will turn against them: it is in fact the head of Orpheus, son of Morpheus and Calliope, whose name we hear for the first time in the episode Il Sogno di Mille Gatti / Calliope.


The original title of this story is Augustus, which is not only the month in which it is set, but also the name of its protagonist. Here, in fact, Neil Gaiman rewrites the story of Emperor Caesar Augustus in ancient Rome who, old but at the height of his power, devises a plan to be able to reflect on his military strategies without the gods knowing about it. Designed by Brian Talbot, August is part of the Fables and Reflections collection and sets our Dream of the Eternals into a narrative in which even Julius Caesar plays a central, albeit sad, role.

In the August story Cesare Augusto summons Licio in his presence, a man who was forced by his dwarfism to become a theatrical actor. However, his talents and his acting tricks come to the aid of Augusto, who asks Licio to change the appearance of both so that they can appear as two beggars and go unnoticed among the people. Cesare Augusto and Licio, thus disguised, then go to the market and stay there for a whole day, so that the emperor has the opportunity to devise his own plans without the gods noticing, as had once been suggested to him by the Morpheus himself.

Three September and a January

One of the 10 plots to adapt for The Sandman is probably the most curious of all, as it is inspired by a real figure existed in the United States but of which little is known. Illustrated by Shawn McManus, Three September and a January is a comic story published in the number 31 of Sandman that has certainly broken the mold and adapted a piece of American history to lead us once again into the events of Dream of the Eternals, this time also flanked here. from his sisters Desperation and Delirium.

In Three Septembers and One January Morpheus in fact stipulates a pact with the two Eternals: in the nineteenth century a man named Joshua Norton is on the point of taking his own life, desperate for the loss of all his money because of a bad deal. Behind the suggestion of Dream, although Despair and Delirium would like Norton's fate to be very different, the man then decides to do something unexpected: he proclaims himself emperor of the United States. The peculiarity of this plot is that Joshua Abraham Norton really existed and really proclaimed himself Norton I and for this he became an integral part of the history of San Francisco.

The Hunt

We enter the field of Slavic folklore with the tale La Caccia, an exciting narrative that represents yet another proof of the fact that the lands of dreams have no borders and can fill fantastic and evocative tales. La Caccia, part of the Fables and Reflections cycle, was drawn by Duncan Eagleson and written by Neil Gaiman drawing on some elements of Eastern European folklore, such as the figure of Baba Yaga. In this short comic book the protagonists are a Polish grandfather and a young granddaughter: the grandfather tells a story from the past about a daring young man in search of a princess. The young man is approached by Lucien, librarian of the Dream Kingdom, as he is in possession of a book that Lucien has lost and which he wants back with him. The condition is one: the book in exchange for the princess, but the story takes an unexpected turn.


Ramadan is certainly one of the most important Sandman issues. original and innovative, especially for the visual solutions adopted by P. Craig Russell. In this story, which we place among the 10 plots to be adapted for The Sandman, the narration, the dialogues and the captions merge and become an integral part of the images, following the contours made by a multitude of extraordinary colors and arabesques. A small masterpiece written by Neil Gaiman for Sandman n. 50, in which the protagonists are Dream of the Eternals and the caliph of ancient Baghdad Harun al-Rashid.

Al-Rashid is an enlightened caliph, who rules a city of great splendor, science and technology, flanked by wise men who advise it. In Ramadan, the caliph asks Morpheus to observe the beauties of Baghdad, in order to be able to ask the Eternal a favor: to bring the city into the Kingdom of the Dream to make it immortal.

Il Canto di Orfeo

Another tale of haunting beauty, contained in Sandman Special n. 1, in which Neil Gaiman revisits the classic legend of Orpheus and Eurydice. Here, in fact, through the drawings of Bryan Talbot, we witness the past of the son born from the love between Morpheus and Calliope, Orpheus, on the point of marrying his beloved Eurydice. A tragedy on the wedding day leads to the death of Eurydice and Orpheus, destroyed by grief, asks his father to intercede so that he can find himself again at the side of his beloved. Dream (here called Oneiros) refuses, but someone else could help Orpheus: Aunt Teleute, aka Death. An opportunity to discover the character of Orpheus, his past as the son of the king of dreams and the events that finally led him to be dismembered, as we saw in Thermidor.

The Game of Life

This is a real story arc that covers the entire collection of the same name, released in 1993. Regarding The Game of Life we ​​hope that if Netflix will produce a second season of The Sandman, can be transposed into a possible third or fourth season that can contain its extraordinary history. The Game of Life was illustrated by Shawn McManus, Colleen Doran and Bryan Talbot and takes up a character we have already known to continue the story: Barbie, among the figures present in Doll's House.

After her divorce from Ken due to the constant betrayals she was the victim of, Barbie moves into an apartment in an apartment building where she becomes friends with some girls: Wanda, a transsexual woman, and Hazel and Foxglove, a homosexual couple who are somehow part of Rose Walker's past. A mysterious young woman named Thessaly and a seemingly meek man named George also live in the condominium. Barbie, after the events that we have read in Doll's House, is no longer able to dream, but her friends from the dream world including Martino Dieciossa are threatened by a mortal danger, an entity called the Cuckoo, and they are extremely in need. of his help. The lives of Barbie and the other inhabitants of the palace will intertwine to save both the real world and that of dreams, in which the Cuckoo intends to obtain boundless power.

The Tempesta

The Tempest is the story contained in the narrative arc The Vigil which certainly represents an eventual, worthy conclusion for The Sandman. For those who have never read the comics, we do not intend to talk about the event that leads to the events of this story, however we believe that it may be a plot to be adapted for the live action series, capable of deeply moving. In it, which takes up the title of William Shakeaspeare's play, we witness another encounter between Morpheus and the Bard: their friendship, which began in the story Men of Good Luck, reaches a crucial point and the two find themselves contemplating together the respective events of the past.

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