As a reader evaluating the character of Abel from Neil Gaiman’s Sandman: Preludes and Nocturnes (1988), a feature that I primarily notice is his archetypical representation as a victimized figure who is particularly “susceptible to physical harm” (OED). The reflection of this characterization is initially apparent through the use of the gutters on page three. On this page, the gutters seemingly appear to encompass the panels with blood. Thereby, this visual icon of the gutter’s “bleed” by lead artist, Sam Keith perhaps metaphorically suggests that, as with the panels, Abel, who is fixated solely within them, is similarly continuously surrounded by the threat and effects of his brother’s propensity for murder (Gaiman np). This notion of Abel’s
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In particular, Sam Keith frequently draws Cain’s speech bubbles in a serrated, jagged form—almost reminiscent of a knife—whereas, Abel’s are contrastingly round and smooth. Therefore, these differences in speech bubble variety perhaps propose that, where Cain is confident or “sharp,” and can forcefully use words and actions as a sort of weapon to insult and harm, Abel, only ever revolves ‘around’ this abuse (OED) (Gaiman np). As with the lines of Abel’s speech bubbles, he is “without harshness and boldness,” and so, “wholly” open to “the kind (of brother) who kills (…) whenever he is mad” (OED) (Gaiman np). So, the acknowledgement of Abel’s timidity is important to an increasing understanding of his loss of power relative to Cain. Just as Cain can reduce Abel bodily into the role of the victim through acts of physical violence, so too does this brutality enable a kind of psychological attack. Despite his connotations as a being of “Biblical proportions,” Abel’s constant fear of Cain’s aggression comparatively renders him into a position of subservience. His tendency toward passivity denies Abel the same “phenomenal influence” that otherwise provides other supernatural characters, like Morpheus, the “transcendental” authority to control an entire “dream world” (OED) (Gaiman
In particular, Sam Keith frequently draws Cain’s speech bubbles in a serrated, jagged form—almost reminiscent of a knife—whereas, Abel’s are contrastingly round and smooth. Therefore, these differences in speech bubble variety perhaps propose that, where Cain is confident or “sharp,” and can forcefully use words and actions as a sort of weapon to insult and harm, Abel, only ever revolves ‘around’ this abuse (OED) (Gaiman np). As with the lines of Abel’s speech bubbles, he is “without harshness and boldness,” and so, “wholly” open to “the kind (of brother) who kills (…) whenever he is mad” (OED) (Gaiman np). So, the acknowledgement of Abel’s timidity is important to an increasing understanding of his loss of power relative to Cain. Just as Cain can reduce Abel bodily into the role of the victim through acts of physical violence, so too does this brutality enable a kind of psychological attack. Despite his connotations as a being of “Biblical proportions,” Abel’s constant fear of Cain’s aggression comparatively renders him into a position of subservience. His tendency toward passivity denies Abel the same “phenomenal influence” that otherwise provides other supernatural characters, like Morpheus, the “transcendental” authority to control an entire “dream world” (OED) (Gaiman