Neil Gaiman’s Sandman is my favourite comics work of all time, so when I say Bernhard Pucher’s short, not-for-profit film Black Sand, adapting some story elements from the early Preludes and Nocturnes, where the Dream Lord’s bag of dream-sand is in the possession of a drug-user, taking the sand like a euphoric. There’s a lovely appearance by the beautiful Michelle Ryan as Dream’s big sister, Death (her cheeky wink and smile to the lead is quite in keeping with the comics character). It’s only a dozen minutes or so long, but lovely work:
Today would have been the birthday of one of my favourite writers, Edgar Allan Poe. I’ve been reading Poe since I was about twelve and still love his work. Here, to celebrate his birthday, enjoy another of my favourite writers, one I’ve had the pleasure of meeting several times, Neil Gaiman, reading The Raven:
“Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
Tis some visitor,” I muttered, “tapping at my chamber door —
Only this, and nothing more.”
Signal to Noise Hardcover (New Edition),
Neil Gaiman, Dave McKean,
This is a story about the end of the world, but it’s not a science fiction apocalypse. This is a tale of a dying man, a great director, who is diagnosed with a terminal illness just as he is planning his next film, a story about the End of Days as the Millennium approaches, but not the year 2000, this is 999 AD, and a group of simple villagers are gathering on a mountainside to await the end of the world and God’s judgement on them all.
It’s a film he now knows he will not live to make.
But as he comes to terms with the horror of his own situation, the knowledge that he is facing his own personal apocalypse, he begins to plan his film anyway, in his head, writing lines, blocking scenes, borrowing the faces of people he sees in the street for the cast in his head. To these simple, religious people they know for a fact – just as he now does – that the world is going to end, and they fear it and the wrath of their god for all their sins. Some embrace a late burst of piety, some give away all their possessions, partly because they believe they will soon have no earthly needs any longer, but partly hoping these acts will be seen as selfless and charitable come the Last Judgement, desperately hoping a sudden access of charity in the last days will help them slink into Paradise. Of course, the director knows there is no bargain he can strike with his own disease, no change he can make to his life or offer he can make to appease it.
We know the world didn’t end as 999 became 1000 AD any more than it did come 2000 AD, despite all the millennial doomsayers (who despite being wrong go right back to predicting a new end of the world and someone is always ready to believe it…). But individual worlds… Those, sadly, are always ending. There isn’t a day when some individual and some family somewhere, will not be touched by the spectre of personal extinction. The numb horror of his prognosis is handled with great sensitivity by McKean and Gaiman, and anyone who has experienced loved ones going through the same will recognise the emotional surges and tides that such news brings, and the slow gnawing of disease reducing the person (until at one point he looks into a mirror and seeing his weakened, prematurely older state feels for a moment he is looking not at himself but his old father). We’re in his head with him and his final story and it’s hard not to feel as he does.
“I’m, fifty. That isn’t so old. And I’m thinking about the pain in my chest. And I’m thinking about the end of the world. And I’m thinking… That’s all I see to do. In ten years time I’ll be… (dead) .. sixty.”
But this isn’t just about death, about the end of the self. Nor is it really taking the opposite road and “raging against the dying of the light”. Our director may not be happy about his impending end, but he slowly comes to make his peace with it, and his work helps, as he plots out this film no-one will ever see, a film which will only be projected in the private cinema of his own imagination. And that story of the end of the world isn’t really about the End of Days either, not really – it’s about life, and the fact that even in what seems the bleakest times there will always be some sort of life, that the world will keep turning, day will follow night; we go but life, that stays, stubbornly clinging to the surface of our world and defying the cold cosmos with its simple existence. And so he begins to think about his film and how, perhaps, he will not live to make it, but he can still write it, leave it behind him, a last burst of creation before his own end, a gift to his friends he has worked with so often before. Perhaps it may live on after he is gone.
“It’s been three months, now. Today I did something strange. I started to write. There can be no purpose in this. Still, I am writing.”
It’s a beautiful, haunting tale, originally serialised in the late 1980s for the old Face magazine (remember that?) during that sudden burst of media enthusiasm for more mature comics work around that time. It’s a remarkable piece considering it is such an early work by McKean and Gaiman. Not just in storytelling, but also in the artwork and layout – McKean has always been keen to explore and push what he can do with his art, and even in this early work that is clear. There are some pages which take drawn art, photographs and more collaged into unusual layouts – it looks like the sort of thing you’d see when Desk Top Publishing made it much simpler to manipulate elements on your page, but this is pre-DTP, using printers, cameras and scanners to painstakingly build up those layers. It’s far ahead of its time in terms of art and design, and even now with this fine new edition it still stands up as an unusual and beautiful looking piece of work by two now very (and justly) famous Brit creators right at the start of their careers. A beautiful, emotional tale, well told, and one you will only appreciate more as the years pass.
this review was originally penned for the Forbidden Planet Blog
The Sandman: Overture #1
Neil Gaiman, J.H. Williams III
(above: variant cover art for Sandman Overture #1 by Dave McKean, below: below cover art by JH Williams III)
We blogged months ago about the raft of new titles coming from DC’s acclaimed Vertigo imprint this autumn. We’ve already seen the first issues of Hinterkind and Coffin Hill, which I very much enjoyed (reviewed here and here, respectively). But with no disrespect to those fine creators I (and I suspect many of you) have been waiting most impatiently for this week’s Vertigo release, nicely timed for the Halloween week, when dark things are allowed to leave the imaginary realms to walk the waking world, a series which is synonymous with the Vertigo imprint – The Sandman.
To say Neil Gaiman’s return to arguably his greatest comics creation comes loaded with anticipation is an understatement. And as Neil himself pointed out during his talks at the Edinburgh International Book Festival in August, he was keenly aware of that. As he put it, when he first wrote Sandman few folks knew who he was and they were in a position to try what they wanted and push the sort of storytelling they wanted to try in the comics medium. This time though, it comes long after the original comic run, then the collected editions which introduced Sandman to a new and wider audience, and which are still introducing them, because there is always a reader who will be coming to it as a new discovery, because books are wonderful that way, they wait patiently for us to pick them up and they don’t care if you were one of the first to pick that book up or if you came to this author many years later, the book will welcome you in with open pages. But yes, Neil said he felt that all that much larger audience were, in a sense, there, looking over his shoulder, all with their own expectations. It’s the flipside of success and quite a burden on a writer. Thankfully Neil is one of our finest spinners of tales, and clearly he still loves the Dreaming…
As many of you will know Overture will take in events that preceded the first Sandman story arc, where a Crowley-like magician summoned and captured Dream (although he was trying for Dream’s older sister, Death). We know from that tale that Dream was returning from some great trial in a vastly distant galaxy, tired beyond endurance (one reason he was captured so easily by simple summonings), but we never knew what those earlier events were. Here we open with a distant world peopled by different lifeforms, including sentient, carnivorous plants (Dave Stewart is, as always, to be commended for his colouring work, especially on this opening page); as one plant sleeps it dreams, and as it dreams it behold a strange plant, dark faced, black-leaved – Dream in one of his aspects. He feels something is wrong with the Dreaming on this world, although everything on the surface looks fine, but his sense of wrongness increases until suddenly it ends in shrieking and fire…
We cut to Britain, during the First World War, a pale man with a sinister smile and dark glasses pays a visit to a handsome young clerk in a store, telling him he has information on his brother, missing for some time after one of the battles on the Western Front and offering to meet him later. Regarding the man’s dark glasses the clerk asks “Sir? Your eyes? Were you hurt in a gas attack?” “Something like that,” replies the man, “You will find out all about my eyes tonight…” It can only be the nightmare, the Corinthian, and in a touch fans will love the panels from this scene are viewed through frames shaped like teeth, a hint to the Corinthian’s rather grisly habit and his endless hunger, as well as a nice visual nod to his nature by Williams.
Neil also manages to slip in appearances from several other favourite characters in this first issue – Destiny and Death (looking wonderfully like a Gothic Mary Poppins) discuss those distant event we glimpsed at the start and what ramifications they may have for Dream, and we briefly see Merv Pumpkinhead talking with Lucien in the Library of Dreams (where Merv is delighting in telling how he put ‘Siggy’ – the inference is Sigmund Freud – ‘right’ about his cigar). These are worked into the events rippling out as a consequence of what we glimpsed on that distant world rather than simply pushed in to make the fans happy, although I am sure there would have been an intent to show some of the old characters for that reason too.
I don’t want to spoil the whole issue for you, so won’t continue to the later pages here; suffice to say the Corinthian’s activities in the Waking World draw Dream’s attention (a rather natty Edwardian-era Dream visiting his London Office, satin cloak and top hat), but as he does so those ripples set in motion right at the start of the issue and which Death and Destiny had discussed are starting to reach this aspect of Dream and he feels that things are about to be set in motion…
Alright, I am biased, Sandman is my favourite comic series and one I still delight in returning to every now and then, so I may be a little biased in my desire for this to be good. Although as someone who read it right from the start you might also argue I may be more critical of new material. I can honestly say I tried to approach this without either of those old-hand fan filters on; I came to it, at least as best I could, as someone who simply likes a good tale well-told, and I was not disappointed. In a few pages Neil not only re-introduced characters he set up the first inklings of an event which will have huge ramifications for Dream, and does so with a structure that, like the original series, is a beautifully constructed narrative.
And, as you might expect, JH Williams III’s artwork is simply beautiful, and more than that, as with his work in his quite excellent Batwoman run or with Moore in Promethea, he exhibits a wonderfully inventive flair for interesting layouts and page designs (including a terrific double-page spread which folds open to reveal a stunning four page scene). Never just to be showy, but perfectly integrated into the service of the story and atmosphere, pushing the ways in which our beloved medium can carry a story and draw in the reader’s imagination, a perfect fit for Neil and Dream alike. I’ve said it before and will say it again here; I think Williams is one of the finest artists working in the medium today. A beautiful, elegant piece of work and a first issue which is, if you will forgive the weak pun, something of an overture to the story of Overture.
this review was originally penned for the Forbidden Planet blog
During my very busy period at the Stripped comics strand of the Edinburgh International Book Festival, in addition to chairing a couple of the author events this year I was also delighted to pose the questions for a couple of their series of short video interviews with authors, including this one I did with Lauren Beukes and Inaki Miranda shortly before chairing their event (which was great fun) – don’t worry, you don’t see me in either as I am safely behind the camera (which I prefer) and indeed as they edited it to mostly the author’s responses you barely hear me, but was nice to be asked to do a couple and fun to do. I talked to Lauren and Inaki about their collaboration (this was the first time they met in person) as well as their next projects:
And I also got to ask Neil Gaiman some questions, which was great – hard to believe it’s been around twenty years since I first did an author event with Neil in my old bookstore. Our slot got bumped by another interview team but Neil noticed this and very kindly arranged to fit us in after the next item on his very busy schedule, and so we got to stand in late summer sunshine in Charlotte Square and I got to ask Neil about his returning to the Sandman, working with JH Williams III and how it felt, having grown up like most of us our age watching Doctor Who, to walk onto the TARDIS set knowing they were filming a story you wrote, and how much more receptive the people now at the BBC are towards his work:
(Neil Gaiman and Audrey Niffenegger just before their event at the Edinburgh International Book Festival yesterday afternoon, all pics from my Flickr)
On Wednesday I had the pleasure of seeing two excellent authors of both prose and comics works in conversation at the Edinburgh International Book Festival as Neil Gaiman chatted to Audrey Niffenegger. It was, as Neil commented, a kind of continuing chat between the pair which has been going on and off for several years on different continents at different book events and here they were chatting to one another again “while we just had to watch and listen”. Of course we were quite happy to watch and listen…
The hour-long talk to a packed audience (the event sold out within a few hours of the EIBF box office going live this summer) covered a number of writing topics, from folklore and myth to children’s books, novels, comics and screenwriting, starting off with a look at myth and fairy tale – Audrey asked Neil what he thought the difference was between them and after thinking about it he offered the thought that perhaps myths decay into fairy tales and folklore over the centuries, often starting out as sacred mysteries people were initiated into, which over time degraded into mythology, which slowly degraded into fairy tales, but that the same stories and archetypes remained and repeated (and given his quite excellent use of folklore over the years I’d guess Neil is the perfect writer to ask on that score).
Of course comics came up and it was nice to note Neil yet again commenting on the debt he owes to his friend Alan Moore for his help and advice on writing for the comics medium, and in a (somewhat long and rambling) question from an audience member later he was asked if he found being able to use parts of the DC Universe in the Sandman (especially early tales) a help in setting up that world. He explained that while he could have essentially created a pretty similar set up with only original characters he was still quite happy at getting to play with some of DC’s established characters in his own way, with a special fondness for Cain and Abel.
Look: it’s the new life-sized Neil Gaiman action figure – fully poseable!!! –
On the books front one of the topics that pricked up my ears was Neil talking about a sequel to the brilliant American Gods novel, with the possibility of a third book much further down the line. Naturally the subject of screenwriting came up and especially being asked to pen an episode of Doctor Who. I knew Neil was thrilled to write for the show – like many of us in the UK he grew up with the original show, so having the chance to be a part of the cracking revived version today had to be pretty exciting. He told us all how it began with Steven Moffat dropping him a line to say thanks for the kind things he had said many times on his popular blog about the new Doctor Who and that next time he was in London he’d buy him a drink. As it happened he was in town the next week, he and Moffat meet up for dinner and drinks; at this point Neil had heard Russell T was due to leave the show and Moffat would be taking over, but it was still, as he put it, ‘a state secret’ (a real state secret, not like MOD secrets to be left on a laptop on the train), so they found themselves talking ‘hypothetically’ about the possibility of pitching ideas for the show, before Moffat came out and said you obviously know and I know you know I’m taking over when RTD leaves, so do you want to write for Who?
Well obviously he did and we loved the result. The story was originally going to be called Bigger On the Inside, as Neil had originally thought of an idea which involved a Nasty invading the normally safe environs of the TARDIS and pursuing the Doctor through the ship, but then he thought as the Doctor knows the TARDIS so well that wouldn’t be much of a fight, so then the idea of an entity possessing the TARDIS came to him, which suggested he had to move the TARDIS’ persona somewhere else, and the idea of putting the TARDIS mind into a human body came along. He tells Moffat who delightedly cries “TARDIS woman!” A little later, with the episode put back to the next season due to budget constraints (which worked to their advantage, he added – they got their Blue Peter competition running for kids to design the junkyard TARDIS console and he also now had Rory to add into the mix which he enjoyed), Moffat tells him he prefers another title – The Doctor’s Wife. Nice, but, Neil points out to him, that would be a good title for at least half a dozen other possible Who stories that they would do themselves out of. Ah, but Moffat points out to the other ideas, good thought they might be none would ever be really the Doctor’s ‘wife’ in the way the TARDIS is, she’s everything to him and always will be; companions come and go but the Doctor and the TARDIS are together forever, “a boy and his box exploring the universe” as Neil put it. He also went on to say that working with the Who team was one of the most pleasing experiences in collaboration he’d ever had and it was clear he was still on a roll from the enjoyment of being involved with the show and how well it all turned out, how much love and imagination the Who team add in alongside that of the writer to make that show what we love.
As ever there was a signing session afterwards and with Neil that of course means a very, very long line, inside the signing tent, snaking outside and out into the square – I even spotted a number of comics folks who had lugged along the not inconsiderable bulk of their Sandman and Death Absolute Editions to be signed. Brilliant event – thanks again to the lovely folks of the Edinburgh Book Fest for letting me attend and to Neil for kindly letting me stooge around the press tent to snap a couple of pics of him and Audrey before the show began.
Neil Gaiman says a few words about the humble button (ahead of the release of the animated version of his book Coraline, which featurs the superbly creepy Other Mother, with her button eyes…):
Time to dig out another old review from my archive, this time by one of my favourite authors, Neil Gaiman and his novel American Gods. I remember doing the event in Edinburgh (packed, standing room only) with Neil when this book came out and I’ve still got a nice signed edition he scribbled in for me afterwards. I can’t remember if this appeared on the Alien Online or not, I think it might actually date to my own first review site The Library of Dreams, back around 2001 or thereabouts. I seem to remember Neil had been wanting to write it for a while but had still been busy with a lot of his comics work and so this large prose novel had to wait, but it was worth the wait.
by Neil Gaiman,
published by Headline
American Gods begins simply enough with a man called Shadow, counting the days until his release on parole from prison. A few short days before he is due to be released he is taken to the warden’s office to be told he is being released early on compassionate grounds. His wife has been killed in a car crash, just days before he was due home. Worse is to come when Shadow attends the funeral and finds his wife had been sleeping with his best friend and had actually caused the crash by giving him fellatio while driving. As Shadow’s new start in the world crumbles around him he is followed by a one-eyed stranger called Mr Wednesday. Wednesday offers Shadow a job, which he refuses at first, but wearily agrees to after the funeral is over. He is not told what the specifics of the job are, but he does find himself in a bar, drinking Wednesday’s mead to seal the deal and fighting a drunken leprechaun called Mad Sweeney by way of an audition.
Thereafter Shadow travels across much of the land of America. Some of it and its inhabitants are recognisable, other parts and people are more like the dream imagery of America described in film, painting and literature. Shadow senses a great storm coming and Wednesday confirms that this coming storm is what their business concerns. After performing a successful con job at a bank to raise funds for their venture they begin seeking out some very odd people, who Wednesday arranges to meet at the House on the Rock, a bizarre attraction of run-down fairground oddities and architectural curiosities.
While riding the world’s largest carousel there, Shadow experiences an alternate reality – a dream perhaps, or a glimpse of shadow worlds – where he sees many of theses people they have collected in their real light. They are gods. Old gods. Gods who were brought across the great oceans by the many waves of immigrants from the Old World. Wednesday was brought to the Americas centuries before, in the beliefs of the Vikings who ventured to this strange, new land. His wolves and two ravens appear. He is Odin, the one-eyed gallows god. And he is seeking to gather together all the old gods in America because a storm is coming.
Although many of the Old World gods made the journey to the New World with the people of their old lands, they are fading away. America is not the most fertile ground for such beliefs, it appears. As the successive immigrants have settled down and assimilated themselves into American culture, belief in the old ways and old gods has diminished, until most are simply tales to be told to children. Without belief a god dwindles, weakens and fades. Some seek to exploit this weakness of the older gods.
A new generation of gods has sprung up. American gods. Gods of the media, the television, the Internet, pop music, Wall Street. These are the gods of the New World, and they do not wish to share it with the gods of the old. Driven partly by jealousy and partly by fear – the old gods, after all, are a reminder to them that even a god’s life is finite – the new gods will wage war with the old. They try to co-opt Shadow to join their ranks, as the gods of the media bring his television to life. Lucy speaks to him from an old re-run, trying to persuade him to come over to their camp. She finishes with a wink and an offer to show him Lucy’s tits, surely one of the more unusual lines in contemporary fantasy. Shadow refuses and is attacked by strange men-in-black – the realisation of America’s security services, they even have unmarked cars and helicopters – but is rescued by his dead wife, Laura, who he may have accidentally resurrected.
Wednesday sends Shadow for safety to stay with old friends, Mr Bis and Mr Jacquel, who run a small mortuary and funeral service, with their cat who takes a fancy to Shadow. Times are hard when no one believes in you, and so Anubis makes a living now as an undertaker. After leaving them, Shadow is sent to the relative safety of a small, idyllic heartland town of Lakeside. A seemingly perfect little town, immune from all the ravages of the real world affecting the towns around it, Lakeside is like Bedford Falls, the small-town American ideal. Of course, there is a dark reason as to why Lakeside is the way it is, as Shadow finds out, a sinister reason linked to the almost annual disappearance of an adolescent from the town. Even in the idyll of rural America, nothing is just as it appears. And still the war is coming. Wednesday is manoeuvring friends and foe alike, and not necessarily all for their own benefits. Shadow will face death, the underworld, dreams of the great native Indian Thunderbirds and battles with duplicitous gods, occasionally helped by his dead wife, leading to a conclusion which is unexpected and startling.
American Gods has been a cherished project of Neil’s, that he has been working on for some time. It has been postponed more than once, but the final 500 page plus novel is more than worth the wait. Alright, you all know I am biased towards Neil’s work. Guilty as charged. But I think anyone who reads this wonderful work of fantasy will being to see just why I rave about his writing so much. American Gods is an extremely clever piece of fantasy, mixing some wonderfully original storytelling with world mythology and folklore. This is not an uncommon theme in Neil’s writing, and of course, we have seen him use Odin and Loki before in the Sandman. But the juxtaposition of these brilliantly realised mythic archetypes from the Old World with the belief systems of modern America is the charm, which breathes life into this clay. Neil’s observance of America, its beliefs and how it sees itself are both affectionate and cutting. The idea that we create new gods without realising it, such as gods of the media or Wall Street, is intriguing – we all worship something after all, a deity, liberty, money, love, possessions. It echoes Grant Morisson’s early Invisibles episode where it is revealed that John Lennon now has all the attributes of a god.
The new gods represent this idea, that our beliefs may change, but gods will always be with us, because we create them ourselves, whether we are worshipping the dollar or a pop star. They’re not called idols for nothing after all. And when a god is no longer worshipped or remembered they fade slowly away, reduced to performing con jobs like Wednesday to get by as best they can, like a once-famous actor now scratching a living from commercials. Even gods can die, and this frightens the new gods even more than sharing America with the old gods. The old gods represent their own mortality. Worse, in our hi-tech, fast-moving, short-attention span world, belief in the new gods is far more fleeting. While Odin may have commanded worship for centuries, many new gods are discarded quickly, such as the sickly Rail Baron god. Not enough belief to go around for everyone, every god for themselves.
American Gods is one of Neil’s finest works to date. If you have not read any of his work before, this is an excellent starting point, as it needs no knowledge of his other material to understand. If you are familiar with Neil’s canon then you will be rewarded by little literary nuggets. The room in the House on the Rock, full of old coin-operated shows which is reminiscent of the arcade in Mr Punch. The girl with the multi-coloured hair and the dog, who may or may not be Delirium. As ever his work is littered with multiple references to other writers. Of course his beloved James Branch Cabell, but I’m sure I spotted references to, or influences of many others, such as Sheri S Tepper and Lord Dunsanay, to say nothing of the Frank Capra homage to Bedford Falls in the shape of Lakeside, which in turn becomes a homage to David Lynch’s skewed take on the hidden side of American small town life in Blue Velvet. If you are looking for dense, multiple layering of narrative and metaphor, then Neil’s your man. This is a work of first class literature, bursting with gorgeous ideas and characters, both original and those from our collective mythologies. Like any truly good piece of writing, it will change the way you view the ‘real’ world.
Neil Gaiman’s blog celebrated its ninth anniversary yesterday, I notice – that’s quite a long time in blogging terms and in terms of author’s sites is even more impressive. Many authors and artists and bands these days have their own sites and blogs (some designed and maintained by my good mate Ariel, in fact) but Neil’s been doing it longer than most (actually I am trying to think which published author has been blogging publicly the longest now – anyone know?). To celebrate the anniversary he and his web elves are going to make one of his books free to read online for a month – and they are asking fans to pick it out. Neil being Neil he has thought about it and offers up some advice for picking one from the four on offer (the brilliant American Gods, the very funny Anansi Boys, the recent Fragile Things and the far-too-good to be just for kids Coraline):
“What I want you to do is think — not about which of the books below is your favourite, but if you were giving one away to a friend who had never read anything of mine, what would it be? Where would you want them to start?”
One of the things I like about writers blogging – and Neil’s web journal in particular – is the way it allows them to interact with readers and I like the fact this interaction is being celebrated by asking those readers to pick a book of his that might get others to look at his work. Its an interesting move because it will generate a lot of online discussion and linkage for his site and interest in his books, it might introduce new readers to his material in a painlessly free manner and, as Cory Doctorow, Charlie Stross and others have proven, putting up free digital version of your work (they have done it under the Creative Commons license), far from harming traditional sales seems to work to boost reader awareness and interest in your work and so help sales.
I’m not sure which of the four on offer I’d choose myself – I think American Gods is a splendid story with some great use of myth, a book which could work for readers who don’t normally go for science fiction and fantasy novels in the same way his Sandman series worked for people who normally didn’t buy comics (and my signed copy of American Gods is one of the prizes gems of my collection). But it is very long and that might make it hard to read on a screen. Anansi Boys is very funny and a bit shorter while Coraline is deliciously creepy in places and there is the movie version coming up and – oh smeg, I can’t decide! But it is still a good idea.
And on a personal note I’m still indebted to Neil as one of the writers who spoke up for me on their blogs back when I was going through the whole Waterstone’s firing thing a few years back; he said something like if he had his own bookstore he’d like me working in it, which is one of the nicest compliments a bookseller can get and that I was ‘opinionated but in the good way’ which seems like a reasonable description. Anyway, happy ninth anniversary to Neil and his web elves.
Scotland on Sunday – the Sabbath’s version of the Scotsman – has a very nice write up on Neil Gaiman following his visit to Glasgow and Edinburgh last week on the UK leg of his Anansi Boys tour (the book is, as ever, wonderful – it’s also Neil’s first humour novel since Good Omens with Terry Pratchett – if you haven’t read it yet then start dropping hints to family and friends in the run up to Christmas). It also mentions something I covered in the FPI blog a while back, that the new National Theatre of Scotland is adapting the children’s picture book Wolves in the Wall by Neil and Dave McKean for one of their first touring productions.
Also on Neil’s blog which I haven’t had time to check as much recently was a link to Sony Pictures and the official website for Mirrormask, the movie from Hensons that Neil and the wonderful Dave Mckean are working on. Not much to see yet though. There’s also a link to the Hellboy official movie site. It’s been a couple of weeks since I mentioned Hellboy you know.
The X Prize for the first successful couple of private flights into space came a little closer. For the first time in history a private group designed, built and flew their own spaceship. I’m not expecting holidays on the moon for the masses in the very near future, but it’s still pretty impressive. Hopefully they will be able to beat the problems which showed up on Monday’s flight.