Neil Gaiman’s “The Sandman” is a comics masterpiece. It was one of the titles that defined the tone and purpose of DC’s Vertigo imprint for mature readers. It explored fascinating ideas and introduced to complex characters in ways that mainstream comics back in the late 80s to mid 90s simply didn’t. Ever since the series ran it’s course, Hollywood has been trying for decades to find a way to adapt it. Different scripts for movies and mini-series have come and gone. But now it has found a home on the Netflix streaming service. And now is also the time to see if this was worth it.

But first, something that should be addressed. When it comes to any kind of adaptations, people talk about it almost as if being adapted is some sort of validation. Regardless if the story originated from comics or books or if it’s just a transfer from a different entertainment medium (you remember the nightmare fuel that is “Cats”?), there are people who think a story isn’t truly recognized as being great until Hollywood adapts it. A similar feeling can be said about how people view live-actions movies and shows as opposed to animated versions. But I want to set the record straight – regardless of how this show turned out or how you feel about it, the original comic has been and will always be amazing. This story – or any story from any other medium for that matter – doesn’t need Hollywood’s interest in order to be recognized as such. But since this entire post is supposed to be about said adaptation, let’s focus on that.

Something you should know is that the pacing of the show and how it approaches telling it’s first season isn’t quite the same as the average show. It tells it very much like how a comic book series would tell it. Let me try and explain it better. Take a look at “Stranger Things” – season 1 introduced a mystery and threat that was resolved by the end of the season. We followed a certain set of characters throughout the entire season. And the finale left us with a cliffhanger for things that might come in the next season. And the same can be said for all the other season installments. This isn’t the same mode that “The Sandman” uses. For the first 5 episodes, there is a certain set of characters we follow. But by then end of those 5 episodes, most of them are gone from the show. After a standalone story in episode 6, the remaining 4 focus on a new set of characters. The main one of this set being briefly introduced in episode 5 but not really a part of that episode’s story. While the finale does sort of leave us with a more traditional season finale tease in one aspect, the vast majority of the season does have a different pace than what people might be expecting.

This can be explained by the fact that season 1 actually adapts the first 2 volumes of the 10 volume series. That at first seems like a lot to pack in 10 episodes where none of them go above an hour. But then you realize that if they had just stuck to volume 1, the show would be facing criticism of dragging out and padding story-lines that didn’t need it. So in reality, this approach not only stays true to the pacing and method of the original comics, but also keeps the show more focused. Many people have said that the second half of the season is better than the first half. While that is technically true, that doesn’t mean the first half is bad by any means. It’s just that the opening story-line is one so many Sandman comics fans are familiar with. And it follows the same general main character plot that can be found in numerous other stories. It’s really just an issue of the first half being so familiar and the second half focusing on material people probably would never think they would see adapted.

So now we get into the actual meat of the show. How faithful is it? Does it do the original material justice? All those questions fans of the original version will have. And if you ask me…the show is pretty damn good. The tone is very similar to the original comics, one that deals with oftentimes dark themes but approached in a mature fashion. The performances from all the characters are well done. Dream of The Endless is portrayed in a way that is remarkably similar to the comics. He may not show much visible expression, but when it does show, you can tell that it is important. And you can also pick up on the way he moves and talks and see how his mood changes based on that. And the rest of the characters are portrayed as having a fair amount of complexity to them. Even several of the antagonists of the show have a couple more layers to them than you might give them credit for.

Now, as with all other adaptations, there are bound to be some changes. But the vast majority of said changes are really nit-picky in the grand scheme of things. And keep in mind, changes regarding how certain characters appear in the show aren’t really an issue. Lucifer, Death and other similar supernatural entities like them aren’t characters that stick to certain physical attributes and characteristics. Any criticism regarding those changes just aren’t a big deal. Most of the changes in the show are done in order to keep it separate from all other DC projects going on in Hollywood. There are still various easter eggs and vague references that comic fans will pick up on. But the reason why certain actors weren’t cast or why certain character backstories are altered is to make sure newcomers can more easily watch the show. And perhaps they will be encouraged to check out the original comics and start down a rabbit hole for themselves in DC lore.

Having said that, I did pick up on two major changes that are worth addressing. One is the character of Johanna Constantine. Back when this character was cast, it was believed it was a gender-swapped version of the character John Constantine. Is this true? Well…no and yes. No because Johanna Constantine is a separate character. She is John’s ancestor and has her own encounter with Dream in the late 18th Century. And that story is shown in the first season. But I also say yes because the actress who plays Johanna Constantine in the late 18th Century also plays a different Johanna in the modern day who is a descendant. She joins Dream during a mission in episode 3 that in the comics was fulfilled by John Constantine. The most likely reason for this is, again, to keep this project separate from other projects that have included the character John Constantine. And considering the changes Warner Brothers studio is going through, is probably for the best. But the decision to have one actress play two different characters that have the both first and last name is a curious choice. The actress does a fine job, but I do wonder why they didn’t decide to come up with a different first name for the modern Constantine and have a different actress portray them. But since the actress does a good job, it isn’t a question that bugs me.

The other major change worth addressing if the nightmare Gault. She is responsible for a conflict that was originally fulfilled by two different nightmares and their motivations were rooted in desire for power. But her motivation in the show actually touches on a major theme of both the comics and the show – change. I won’t go into too much detail since the show just released at the time of this being written. But it does connect to how so much how has happened between the first and final episode. And the desire from several characters to see things change for the better. This is something that Dream ultimately recognizes and even admits that he can’t be the same as he once was. It is rather a nice way for the season to bookend his character development.

This character and story didn’t need to be adapted to prove it is a wonderful story. But the fact that it is as good as it is shows how much respect the story has from so many people. Fans of the comics should find a lot to enjoy with the show. And if you haven’t read the comics, I’m willing to bet this will still get them engaged. The original comics talked a bit about the power stories have on people. And this different yet very faithful version shows just how never-ending this particular story is.