In this latest installment, Wesley Dodds faces a unique challenge after a battle with the Fog. The narrative takes a twist as Dodds experiences his own sleep gas. With standout storytelling by Robert Venditti and expressive art from Riley Rossmo, this installment offers a captivating exploration of the Sandman’s character. Join us as we delve into the highlights that make this issue a compelling addition to the series.
After a desperate battle with the Fog, Wesley Dodds finds himself under the influence of his own sleep gas for the first time ever. What ensues is a series of dreams, perhaps better described as nightmares, where Wesley feels the weight of his wrongs. From stealing a candy bar as an eight year old boy to mocking a woman as a twenty-one year old college student, Wesley empathizes with a lifetime of offenses and hurts he has committed. Things he can’t even remember, but feels the full gravity of nonetheless. There are also visions of the future that are even more troubling and uncertain. Will he be responsible for some kind of great catastrophe?
Credit: DC Comics
After two days in this fog, Wesley wakes at the side of Dian, a bit groggy but not too much worse for wear. He immediately gets to work, trying to piece the mystery together and prevent his gruesome gaseous creations from causing any more damage. There’s another altercation with the Fog that ends the issue, and Wesley has a new lead to follow. The idea of pacifism comes up once again in the fight with the Fog. Wesley has the Fog pinned up against a window with his forearm, and the Fog chokes out “Look at the pacifist now.” Wesley is immediately taken aback and releases the Fog to try and attempt a conversation. He can see the hypocrisy of claiming to be a pacifist while savagely beating a man, and even more so, how does a pacifist create such terrible weapons of mass destruction? This juxtaposition is also cleverly hinted at in the cover – a peace dove is reflected in the lens of Sandman’s mask while a skull is reflected in the Fog’s.
Credit: DC Comic
Robert Venditti’s writing is superb in this issue. The first seven pages of inner monologue while Wesley calmly and coolly describes his dark dreams is brilliantly executed; it’s almost reminiscent of Dr. Manhattan’s well-known monologue from Watchmen. “It is 1985. I am on Mars. I am fifty-six years old.” The story quickly moves on though and highlights Wesley’s aptitude at detective work as he works out the plot against him. Some of the more cartoony aspects of Riley Rossmo’s art are allowed to come through in the dream sequences, more than in previous issues, and it creates a beautiful pastiche. Moths, snakes and even a cat and dog intersperse the pages with Sandman’s green gas billowing throughout creating an eerie background. The way Rossmo shapes the gas into a smokey grim reaper, scythe and all, is easy to miss on a quick glance, but unmistakably cool when you notice it.
Credit: DC Comic
Ivan Plascencia’s colors do a fantastic job of providing contrast to the thick, green gas. Lots of deep reds and purples really make the splash pages pop. All of the small details in the backgrounds throughout the issue also help cement the time period of the comic. From the art deco lamps and chairs to the patterns on the rugs, drapes and walls, everything combines to immerse the reader in the time period.
Finally, I would be remiss if I didn’t mention some of the excellent panel layouts of the issue. Small panels are used to supplement and overlay full page splashes, giving detailed close-ups of parts of the scene unfolding in the bigger picture. The composition of some of these pages is almost like an art deco piece in and of itself.
Wesley Dodds: The Sandman #4 proves to be a gripping and introspective chapter in Wesley Dodds’ journey. The unique narrative device of Wesley succumbing to his own sleep gas opens the door to a haunting exploration of his past transgressions and potential future consequences. The seamless blend of Robert Venditti’s masterful writing and Riley Rossmo’s expressive art brings Wesley’s inner turmoil to life, particularly in the dream sequences where the cartoony elements add a surreal touch. The symbolic reflection on pacifism, embodied in a poignant moment with the Fog, adds depth to Wesley’s character, challenging his ideals in the face of his own violent actions.
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