In Sandman Mystery Theatre, that scenario is performed by Wesley Dodds (the Sandman) and Dian Belmont. It’s a fitting venue for secret-identity tension, since it is a mystery series and all, but what’s especially great is that it’s two-sided. Wesley is grappling with whether to tell her, but Dian is piecing together clues on her own. Both characters demonstrate independent agency.
Of course, that’s an ongoing subplot that gains momentum in #20. The main plot, naturally, involves a murderer the Sandman must defeat. But the relationship between the two main characters is the series’ true selling point in the issues I’ve read. A masked mystery man isn’t enough—we need to know the man behind the mask. And a love interest isn’t enough either—we need to get to know her as her own person, too.
So apparently, if you take 1930s pulp mystery and inject a strong dosage of characterization, you get something incredibly compelling. What a shocker.
Writers: Matt Wagner and Steven T. Seagle
Artist: Guy Davis
Cover: Gavin Wilson and Richard Bruning
Publisher: DC Comics (Vertigo)
How to Read It: back issues; Comixology; included in Sandman Mystery Theatre (Book 4): The Scorpion (TPB)
Appropriate For: ADULTS ONLY