As promised in the final page of last issue, Wesley is taking on Colonel Breckinridge and the rest of his soldiers stationed at Fort Hamilton in Brooklyn. It’s clear after the attack on Mr. Vanderlyle that the Colonel is behind the theft of Wesley’s journal and has been plotting against him since he first caught wind of Wesley’s scientific creations.
DC Comics
The Story
Things are quickly wrapped up with the police over the break-in and death of The Fog – it’s a big help knowing the DA’s daughter. In the evening, Wesley makes his way to Fort Hamilton. Though stealth takes him close to his goal, the alarm sounds and Wesley barely makes it out of the military base with an unconscious colonel. Through a technological trick that most today probably wouldn’t realize was possible back in 1940, Wesley gets a confession out of the colonel that will be sure to land him behind bars. The interrogation focuses a lot on the philosophy of war and the idea of war crimes being a matter of perspective. As Breckenridge says, “War crimes are for the defeated.” It’s an interesting juxtaposition, a man that just broke into a military base and kidnapped a colonel is trying to chastise another for crimes committed. In the end, the vigilantism of The Sandman is also a crime, but from Wesley’s perspective, it’s justified. For the colonel, his actions in murdering Kluge and framing him for the break in at Wesley’s mansion are also justified for the “greater good”. Once the US enters the war, he wants to make sure that these deadly chemical weapons are used by Americans and not against them. In the end, it’s not so black and white as right and wrong, and the reader has to decide for themselves what actions are justified as a means to an end.
It’s a little surprising that the colonel hasn’t put it together that Wesley and the Sandman are one in the same person. He doesn’t seem to have much respect for Wesley, which must lead to his blind spot. After all, how likely is it a scientist who came up with idea of “humane warfare” would go to such lengths and perform such incredible feats to the point of besting Breckenridge. Perhaps just simple hubris explains the colonel’s lack of awareness.
DC Comics
The Art
Riley Rossmo’s art continues to be the perfect match for the art deco detective noir aesthetic that has been established in the previous issues. The extended stealth and action sequences in the fort are well choreographed and the soldiers’ facial expressions throughout are fantastic. You can see the terror in their eyes as they succumb to the Sandman’s sleep gas. And even though Wesley is wearing his gas mask, Rossmo makes sure to show us a few closeups of just his eyes, visible through the translucent lenses, conveying his emotions perfectly. The variety in the panels is also refreshing. A lit cigarette floating in the air after being dropped by a soldier, a close-up of Wesley’s shoe walking over a newspaper comic strip reminiscent of Batman, there’s much more to these sequences than just soldiers getting gassed. There’s even a nice sight gag where a soldier closes his eyes, ready to be gassed but when Wesley’s gun misfires he tentatively opens one eye in surprise and then sprints for the alarm, not believing his luck. It’s not clear whether letterer Tom Napolitano is responsible for all of the sound effects throughout the issue, but they are exquisitely done, adding to the artwork but not distracting us from the action. When Breckenridge fires his revolver into the darkness, the panels become the word “BAM!” three times taking up half a page. Colorist Ivan Plascencia does great work with the ethereal green sleep gas that is used extensively throughout the issue. Plenty of red backgrounds present a nice contrast.
Final Thoughts
Wesley Dodds: The Sandman #5 skillfully weaves together action, philosophy, and the blurred lines between right and wrong. The confrontation between Wesley and Colonel Breckenridge not only provides intense stealth and action sequences but also delves into the moral complexities of war. The philosophical discussion on war crimes being a matter of perspective further deepens the story, leaving readers to ponder the justification of actions in the pursuit of specific ends. Riley Rossmo’s art continues to excel in capturing the noir aesthetic, with well-choreographed sequences and expressive facial details. The variety in panels, including subtle visual nuances and sight gags, enhances the storytelling experience. The meticulous sound effects by letterer Tom Napolitano contribute seamlessly to the overall visual impact without overshadowing the action. Ivan Plascencia’s use of color, particularly the ethereal green sleep gas, adds a visually striking element to the narrative.
The issue concludes with a cliffhanger and it appears someone in Wesley’s inner circle is not who they appear to be. Overall, the combination of compelling storytelling and impressive artistic elements makes this issue well worth the read.
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