Neil Gaiman’s Disturbing Allegations: The Shocking Truth Unveiled!

Renowned author Neil Gaiman, who has been under scrutiny for his past actions, is once again making headlines due to a detailed exposé published by NY Vulture (you can find the article here). The article uncovers more disturbing details about Gaiman’s inappropriate behavior, which are far graver and deviant than initially reported. Some of the information provided is too graphic and unpleasant to repeat, but I will attempt to summarize some key points. The current count of known victims appears to be between 8-9 individuals. One particularly shocking aspect of the main report alleges that Gaiman engaged in his most perverse acts with his victims, even while his infant son was present in the same room. This revelation makes the entire situation all the more appalling.

In addition, the journalist shares insights regarding the 17th installment of the Sandman series and the Erasmus Fry/Richard Madoc narrative. Within this tale, a goddess named Calliope is portrayed as being held captive against her will in a sexual servitude context.

In The Sandman comic series by Neil Gaiman (1989-1996), a renowned tale unfolds about a writer named Richard Madoc. Following the success of his debut book, Madoc struggles to conceive a good idea for his next work. This creative block vanishes when he receives an extraordinary present from an elder author: a woman, confined in a room within his house for sixty years. She is Calliope, one of the Nine Muses. Overwhelmed by desire, Madoc assaults her repeatedly. However, the characterization of a strong female figure in his writing earns him praise from a striking young woman, causing him to claim, “I consider myself a feminist writer.” His downfall begins when the Sandman, a captivating and imaginative entity who governs the Dreaming (realm we visit during sleep), sets Calliope free. The Sandman, the Prince of Stories, possesses immense charm and creativity, controlling the realm where “stories are woven.” More powerful than the gods, he has the ability to bestow enchanting delights or inflict endless nightmares upon us, depending on his judgment of our worthiness. To punish Madoc for his crime, the Sandman inundates his mind with a torrent of ideas that he is unable to document or profit from.
Over the summer, claims of Gaiman’s sexual misconduct surfaced, leading some to draw parallels between Gaiman and Madoc. Similarities include both men identifying as feminists. Just like Madoc, Gaiman has amassed numerous prestigious awards in various fields, including science fiction, fantasy, contemporary novels, short stories, poetry, television, and film, making him a wealthy individual according to multiple sources. Furthermore, much like Madoc, Gaiman is perceived as an author who elevated and redefined the genres he wrote for – initially comics, then fantasy and children’s literature. However, throughout his career, readers tended to associate him more with the Sandman character, a boundless source of tales, rather than the rapist, who appeared in only one issue.

It’s well-known among those acquainted with Gaiman’s body of work that he authored a short story called “How to Talk to Girls at Parties” around the mid-2000s, which was later converted into graphic novel format by Dark Horse. This story contained implied sexual assault and raised questions about whether the character “Vic” might have been based on Gaiman himself. The complexities of human psychology make for compelling study, and this instance certainly adds to the intrigue. However, it’s worth noting that the 14th issue also suggested sexual violence and seemed to downplay the gravity of the situation. In this particular story, a colossal, gluttonous rapist/murderer was prevented from assaulting a girl at a serial killer convention held in a hotel, only for him to later dream about partying with child victims who forgave him for his heinous acts. Additionally, other criminals involved in the convention were released without being apprehended by the authorities.

In the 17th issue, by its conclusion, Madoc’s punishment for his crimes against Calliope was surprisingly minimal since he never faced arrest or imprisonment. Instead, he merely expressed regret as the goddess was freed from his grasp. Neil Gaiman’s portrayal of such leniency towards violent offenders in his stories is troubling, given recent revelations about him.

Frankly, it’s puzzling to me why some people give all the credit for revolutionizing comics and literature to writers like Gaiman, while overlooking trailblazers such as Mike Baron, Frank Miller, or John Ostrander. It seems unfair to suggest that only a writer with leftist views could have reshaped the landscape, when there were many others who had equally powerful stories to tell. In my opinion, Gaiman’s success was largely due to his political stance, and it was evident in the Sandman series, as well as other works. The characterization of Morpheus as “charismatic” is questionable; I found him more as a grim, humorless protagonist. Moreover, the handling of characters like Hector and Lyta Hall left much to be desired, yet this aspect rarely gets discussed by most historians.

1. The community that attends fantasy events is often viewed as a “vulnerable group,” as one of Gaiman’s former associates, a fellow fantasy author, explains to me. They become deeply connected to these fictional works, making them an integral part of their identity. This attachment drives them to connect with the creators on a profound level. However, as she points out, there’s a need for boundaries, and one should always respect consent.
2. It was widely known among convention attendees in the late ’90s and early 2000s that Gaiman had extramarital affairs with his first wife, Mary McGrath, a private Scientologist he married in his youth. Yet, when I spoke to Gaiman’s old friends, colleagues, and peers, most of them expressed surprise at the idea that these relationships could have been anything but consensual. As one influential editor in the field noted, “The recurring sentiment, mostly from women, is ‘He was always kind to me. He was always a gentleman.'” Author Kelly Link, who met Gaiman at a reading in 1997, describes him as endearing yet clumsy. “He was awkward in a way that was both frustrating and harmless,” she says. An individual who had a romantic relationship with Gaiman during the 2000s remembers an incident where fans wrote questions on cards for a Q&A session. Once, a fan asked if she could be his “sex slave”: “He read it aloud and replied, ‘No.’ He was always very reserved.”
In contrast to some perceptions, there were individuals who discovered another facet of the author. A lady, referred to as Brenda (a pseudonym), encountered Gaiman in the ’90s at a signing for The Sandman where she was working. At these events, Gaiman had an uncanny ability to connect with each person. He would engage them in conversation, laugh, and reassure them that their speech difficulties were acceptable. Following the Sandman signing, at a dinner for those who worked the event, Gaiman sat next to Brenda. “Everyone wanted to be near him,” she recounts, “but he was intensely focused on me,” she says. A few years later, Brenda journeyed to Chicago to attend the World Horror Convention, where Gaiman received the top prize for American Gods, a book that established him as a best-selling author. The night following the awards ceremony, she and Gaiman shared a bed. As soon as they started getting intimate, the sensation that had drawn her to him – the enchanting allure of his attention towards her individuality – disappeared. “He appeared to be following a script,” she reveals. “He wanted me to address him as ‘master’ right away.” He insisted that I pledge my soul to him. “It was as if he had entered into a ritual that held no relevance for me.

In the 17th issue of Sandman, a portion of the script will undeniably stand out as one of the most disturbing parts, given its apparent impact on the author, who appeared to view being a “master” over women as acceptable. It’s concerning that some pop culture enthusiasts are so eager to relate to creators that they fail to critically assess characters. It wouldn’t be surprising if there were victims of inappropriate behavior from this individual during the 90s. It’s perplexing how anyone could find appeal in a story where a villain claims to be a “feminist writer.” If feminism is truly important, wouldn’t the portrayal of characters like Madoc be harmful to the feminist cause? It’s baffling that those who supported Gaiman’s work in the past didn’t recognize this inconsistency earlier.

Here’s an instance where I will underscore a case presented about Gaiman’s alleged behavior towards his victims, and it’s extremely disturbing.

Here is an example of the accusations made against Gaiman concerning his treatment of his victims, and it’s truly distressing to read.

After spending around a week with the family, their son started referring to Pavlovich as “slave” and demanded that she calls him “master.” Gaiman found this amusing and occasionally reminded his child, gently, that Pavlovich was not a slave and should not be treated as such. One instance stands out in Pavlovich’s memory: while they were all on the couch watching Odd Squad, Gaiman put his arm around them both, reached into Pavlovich’s shirt, and fondled her breasts, seemingly unconcerned about the boy being present. Another time, during the day, he asked for oral sex in the middle of the kitchen while the boy was awake somewhere in the house. “He would never shut a door,” she recalls.

One of the most distressing sections of the report, it seems, is undoubtedly this one. Reports claim that Gaiman exposed his son to unsavory conduct and, worse still, encouraged him to adopt similar offensive language. This conduct, if true, would clearly constitute a form of child abuse. Given Palmer’s role in this situation, it’s only natural to expect that she has taken steps to secure a restraining order against Gaiman to prevent any further contact with the child. The thought that the boy might grow up to emulate such behavior is genuinely terrifying. Reading about this incident left me with an overwhelming sense of unease.

According to the UK Mail, it’s not surprising that Palmer is now experiencing public distress about how much she might have been aware of his activities when she wasn’t present.

….she’s experiencing increasing criticism as her old supporters voice their disapproval of the fresh allegations against Gaiman, sparking queries about how much she could potentially have been aware.
One fan claimed that Palmer had been handed over to Gaiman, much like a plaything – all the while, a former family nanny named Scarlett Pavlovich alleged that he sexually assaulted her in a bathtub at his residence in Waiheke, New Zealand.

Based on the feedback she received on social media platforms, it appears her professional life might come to an end. Notably, J.K. Rowling, another well-known figure, has shared her thoughts on the backlash against Gaiman’s transgressions as reported by The Scotsman.

In response to recent allegations of sexual assault against Neil Gaiman, JK Rowling has expressed her surprise that his fans have been relatively silent, noting that they were quick to speak out during the height of the #MeToo movement when Harvey Weinstein was under scrutiny.
An author from Edinburgh stated that the “literary community” were unwilling to voice their support for women alleging mistreatment by Mr. Gaiman, yet they’ve been outspoken about their views on film producer Mr. Weinstein, long before his convictions.
Ms Rowling stated: “The group of literary figures who spoke out extensively about Harvey Weinstein prior to his conviction has been noticeably quiet in response to numerous allegations against Neil Gaiman from women who claim they’ve never met him. Interestingly, as with Weinstein, these women share strikingly similar stories.

Unfortunately, it’s evident that some individuals persist in idolizing Gaiman, maintaining control over his cherished works, and expressing regret only that he was eventually exposed. This aspect is disheartening about the situation, along with the inconsistency displayed by those who criticized Weinstein yet refuse to condemn Gaiman as well.

As reported by Popverse, it was disclosed at WonderCon by renowned writer Marv Wolfman (known for his work on Teen Titans) that Neil Gaiman, who had previously fallen from grace, once sought permission to incorporate Destiny – a character initially developed by Wolfman in the 70s – within the pages of his highly acclaimed Sandman series spanning 1989-96.

Neil Gaiman kindly reached out to me (not necessarily required) and asked if he could utilize ‘Destiny’ as a character in his upcoming book, titled ‘Sandman’. He acknowledged that I had developed the character, and since DC owned it, he wasn’t obligated to ask my permission. However, he chose to be courteous and considerate. If I had declined, he mentioned he would find an alternative character. But he was particularly drawn to the visual aspects of Destiny, and I was delighted to see someone else breathing life into my characters.
In 1972, Wolfman introduced Destiny as the lead character in the horror anthology series titled Weird Mystery Tales. This series, which Wolfman himself edited, included characters from DC’s collection like Cain and Abel that had previously been used. Neil Gaiman, when creating Sandman, decided to include Destiny among the Endless, making him Dream’s brother, a move very much in line with the creative spirit of Weird Mystery Tales. This approach allowed for underutilized characters to be revitalized and integrated into new tales. This is clearly demonstrated by Gaiman’s inclusion of Cain and Abel in Sandman, highlighting the influence of Wolfman’s Weird Mystery Tales.

Reflecting on the situation, if I were Neil Gaiman’s longtime collaborator, Wolfman, I’d be grappling with my feelings about these recent allegations against him. If such behavior was indeed true, I’d find it hard to maintain any association or support for someone who’s acted in this manner. I’d make it clear that my stance is unequivocal: “No.”

As for the coverage of this scandal, I can’t help but notice that publications like Popverse and Comics Beat seem to have only touched on the subject briefly, if at all. And while reading this article, it didn’t explicitly mention when Cain and Abel first appeared in House of Mystery.

One might ponder if Neil Gaiman ever consulted Roy Thomas about the portrayal of Silver Scarab and Fury in his Sandman series, or if he checked with Bob Haney concerning how he used Urania Blackwell, Metamorpho’s female counterpart, in issue 20. However, there seems to be little evidence that such conversations took place. Reflecting on this, I find Gaiman’s handling of these characters questionable in retrospect, and they are part of a larger group of characters that could benefit from a more sensitive reinterpretation, as well as rectifying the harm inflicted upon them during their earlier appearances.

As a movie critic, I’ve been following the latest developments regarding Neil Gaiman and his recent blog post on his website, where he refutes the allegations against him. While I appreciate the passion with which he writes, it seems more prudent for him to reserve such theatrics for the courtroom if and when the case comes to trial.

It’s unclear at this point whether the New Zealand police are still investigating the matter, but another potential victim has reportedly filed a report. Here’s hoping that justice will be served, and Gaiman will have his day in court. This would not only provide closure for those affected but also offer an opportunity for truth to emerge in this ongoing saga.

The Times of India published an editorial about the resurfacing case, and at the end says:

Neil Gaiman’s tale underscores a significant awakening within the creative sector. Although his stories continue to captivate millions, the accusations levied against him have profoundly shifted public opinion. For admirers, reconciling their appreciation for his artistry with the weighty nature of these allegations is a challenging emotional endeavor. Just as Lucy in The Wolves in the Walls must decide whether to face uncomfortable realities or remain silent, so too does the literary community. Gaiman’s stature now stands as a stark testament that even the most celebrated figures are not immune from accountability.

Correct. But, is his work really that beloved?

As a movie enthusiast, I’ve noticed hints throughout that not everyone shares the same fondness for his work. Some find it marred by graphic violence and other contentious themes. The romantic aspect was scarcely present, and what little was there felt hollow and without purpose. When an author incorporates as many references to sexual misconduct as Gaiman did in his writings, it raises concerns. In the future, I hope that people will reassess this artist’s work, especially questioning if the frequent dark tone in much of it is a sign of a balanced mental outlook.

2025-01-17 17:31

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