Buffy's world goes awry when former-classmate-turned-vampire Harmony Kendall lands her own reality TV show, Harmony Bites, bolstering bloodsucking fiends in the mainstream. Humans line up to have their blood consumed, and Slayers, through a series of missteps, misfortunes, and anti-Slayer propaganda driven by the mysterious Twilight, are forced into hiding. In Germany, Faith and Giles discover a town where Slayers retreat from a world that has turned against them, only to find themselves in the arms of something far worse. A rogue-Slayer faction displaces an entire Italian village, living up to their tarnished reputation as power-hungry thieves. And finally, with the help of a would-be demon lover, Dawn addresses her unfaltering insecurities.

One might think that the climax of the 10-volume Sandman series would come in the last book, or even the second to last. But indeed the heart and soul of Neil Gaiman's magnum opus lies here in Brief Lives. It could be because one of the most central mysteries—that of the Sandman's missing brother—is revealed here (in fact, the plot of this volume is the search for this member of the Endless). It could be because everything that comes after this volume, however surprising or unexpected, is inevitable. But it's more because this is a story about mortality and loss, the difficulty of change, the purpose of remembering, the purpose of forgetting, and the importance of humanity. If you have wanted to find out what all the good buzz on this great comic book series is about and haven't read any Gaiman before, don't be turned off by this volume's pivotal position in the larger story of the Sandman series. This book might actually operate better as a stand-alone story, in that its depth and compassion are more condensed, pure, and brief. —Jim Pascoe

The third book of the Sandman collection is a series of four short comic book stories. What's remarkable here (considering the publisher and the time that this was originally published) is that the main character of the book—the Sandman, King of Dreams—serves only as a minor character in each of these otherwise unrelated stories. (Actually, he's not even in the last story.) This signaled a couple of important things in the development of what is considered one of the great comics of the second half of the century. First, it marked a distinct move away from the horror genre and into a more fantasy-rich, classical mythology-laden environment. And secondly, it solidly cemented Neil Gaiman as a storyteller. One of the stories here, "A Midsummer Night's Dream," took home the World Fantasy Award for best short story—the first time a comic was given that honor. But for my money, another story in Dream Countryhas it beat hands down. "A Dream of a Thousand Cats" has such hope, beauty, and good old-fashioned chills that rereading it becomes a welcome pleasure. —Jim Pascoe