Classic Comic Compendium: SANDMAN MYSTERY THEATRE

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I wanted to end this month’s look through some of the works of Matt Wagner on a high note, realizing of course that pretty much his entire body of work can be considered one. That his contribution to indie comics were foundational to the artform as we know it. His work explores and transcends the pulp roots of the superhero incorporating it in incredibly inventive ways in modern incarnations. And he was even a cornerstone in a different legacy that changed the industry in DC Comics’ Vertigo imprint.

Yeah, sometimes I think people forget that one. And it’s a shame. So, I’m going to focus on one of the best superhero crime comics ever published, that I feel doesn’t necessarily get the attention it deserves, Sandman Mystery Theatre.

Sandman Mystery Theatre

“Sleep well, oh wicked one.”

The series kicked off its first arc with “The Tarantula” by Wagner, Guy Davis, David Hornung, and John Costanza. It set up an interesting take on Wesley Dodds, forgoing the suave millionaire playboy from earlier continuities, making him more of a doughy bookish type. And began building up a complex supporting cast for New York in 1938, including Dian Belmont, the daughter of the District Attorney. Tossing them into a mystery of a kidnapper calling themselves the Tarantula, who nabbed one of Dian’s socialite friends. It weaves a rather disturbing tale across the criminal underbelly, law enforcement, and high society.

The art from Guy Davis and David Hornung was unique from the onset. Davis’ line art capturing the rich detail of the period and presenting a cast of characters that looked like people. Varied body types and character designs, scratchy lines, and textured shadows that set it apart from more standard superhero art. Especially in the early ’90s as predominant styles shifted more towards that of the Image founders. The muted colour scheme from Hornung, a large emphasis on spot colours, and the black and white dream sequences further helped the visual feel of a grittier noir tale.

On top of this, the story also had letters from John Costanza. Once again showing why to me he was always one of the best to work for DC. Deftly handling the various streams of narration and dialogue provided by Wagner’s script, including Dian’s journaling, Wesley’s letter, and a unique, scratchy, and harsh seeming word balloon and font for the Sandman himself.

“Human nature doesn’t begin twisted and strange. The dormant seeds of evil gestate in the soul through the years–sometimes generations–of moral decay.”

Sandman Mystery Theatre: The Tarantula by Wagner, Davis, Hornung, and Costanza set an instant high bar for the series. It took a member of the Justice Society and really brought out the pulp and noir inspired elements to him. The opening salvo delivered a disturbing, complex mystery that revealed the backdrop of late ’30s New York.

A second compendium just came out in August of this year, collecting the second half of the series. Steven T. Seagle had joined the series as a co-writer with #13. In addition to Davis handling the lion’s share of art duties over time, the series had a number of luminary other artists on board like John Watkiss, Vince Locke, Matthew Dow Smith, and Warren Pleece. Laying out an ever-rotating number of cases to solve, while deeply exploring the relationship between Wesley and Dian.