The Spirit Archives Volume Twenty-Six!

The twenty-sixty and final volume of DC's Will Eisner's The Spirit Archives features work done by Eisner for the character from the 1950's through his final work on his most famous character in the early 2000's. That quite a range of time, but this volume delivers. This one will read quite quickly because the bulk of the page count is made up of artwork and covers produced by Eisner for Kitchen Sink. The importance of Denis Kitchen and his Kitchen Sink independent underground brand cannot be overstated. Let's take it decade by decade as does the book. 

1950s 

We get two pieces from the 50's, the thumbnails by Jules Feiffer for the story labeled "Outer Space" which tells what happened to the farmer and the alien who kidnapped him in the final published Spirit tale. And we get the typed script for a story about a cigar-smoking villain and his henchmen who try to kidnap Professor Skol and Captain Delf, two of the survivors who traveled to the Moon with The Spirit. 

1960's

This section starts out with a five-page story produced for The New York Herald Tribune Sunday Magazine. In this story The Spirit lives and works in the actual New York City and not its fictional counterpart "Central City". This story sounds very much like a typical Spirit story but deals with the real mayoral race between candidates John Lindsey, Abe Beame, and William F. Buckley. My favorite moment comes when The Spirit tries to recruit Ebony only to find him fifteen years older and working as an executive and having no desire to follow on after his former pal. We even get appearances by Ellen Dolan and an eighty-seven-year-old Eustace Dolan. 

Then we focus on the Harvey Comics reprints from the mid 60's. The superhero boom was beginning, and Harvey was looking for heroes and snatched up The Spirit and cajoled Eisner to do some new stories. In the first issue we get a new version of his origin story and in the second we get an origin story for the archfiend The Octopus. Both issues also feature short two-page efforts called "Spirit Lab" in which a scientist pitches keen gimmicks to enhance The Spirit's crime-fighting skills, but ends up contacting a parody of the UNCLE organization. 

1970's

The 70's begin with The Spirit and Commissioner Dolan making a cameo appearance on a 1972 cover of the underground comic SNARF. This is the first of many appearances The Spirit will make for Kitchen Sink Comics. 

Then in 1973 we get what are called the "Underground Spirits" from Kitchen Sink. In the first of these collections which gather vintage tales we get four new Eisner pages, each a spoof of sorts about changing times and attitudes toward crime. Ebony does an interview with black journalist and attempts to kill the notion that he was demeaned by his role in the stories. In the second issue, Eisner uses his four new pages to give us a stunning P'Gell yarn in which she plays The Spirit as well as her two lovers against one another in a bid for a jewel. 

Then again in 1973 we get "The Invader", a full-color story from Tabloid Press which resulted from a class Eisner taught at the Sheridan College in Canada. This the story of a man from outer space who is the vanguard of an invading force but who finds life difficult on the Earth when he's mugged and then manhandled by various gangs before being saved by The Spirit. 

In 1974 we are treated to The Spirit Coloring Book from Eisner's own Poorhouse Press. This book takes classic Spirit splash pages and offers them up to the reader to color for themselves. I could never do that to a book and have never even thought of doing that to my copy. 

We then are treated to quite a bit of vintage Spirit artwork, including the The Spirit Portfolio plates as well as many pages of pencil drafts for that project. 

One thing not included in this volume are the covers from the Warren run of the series. It's an unfortunate oversight and I cannot fathom aside from page count why they didn't include what are some of Eisner's strongest images of the classic hero. 

But we are treated to ALL of the Kitchen Sink covers beginning with issue seventeen of the series which continued the Warren numbering. This includes a few pages by Eisner and Kitchen. 

1980's

We also get ALL of the covers for The Spirit comics produced by Kitchen Sink both for the magazine and the later comic. 

We also get the pages Eisner created for the "Spirit Jam" issue of the magazine's run in which other creators were invited to create a story. We also get four pages created by both Eisner and Dave Sim for a mash-up of Cerebus the Aardvark and The Spirit. 

Some novelty items like the cover of Will Eisner's 3-D Classics are included. Other bits of artwork that Eisner produced using The Spirit to promote things like conventions and other good causes pop up as well. 

1990's

We are treated to the rest of the Kitchen Sink covers as well as sundry spot art for various events such as the eightieth anniversary of Batman. 

2000's 

We get Will Eisner's final work on The Spirit with a few great illustrations and a story in which The Spirit joins forces with Michael Chabon's The Escapist. This is the final Spirit story produced by Eisner. 

This is an exceedingly fun volume, a proper peek at some of the more obscure Spirit artwork over the decades. There are pieces not included, save for the Warren oversight nothing too significant. And that's a wrap on my year-long look at these archive editions...almost. 

Next time we take a gander at the unofficial twenty-seventh volume of the series which was produced by Dark Horse Comics and gathers together the Will Eisner sanctioned stories by various talents from Kitchen Sink in the late 90's. 

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The Escapist Day

Michael Chabon was born on today's date in 1963. He won the Pulitzer Prize for his novel The Amazing Adventures of Kavalier & Clay at the beginning of this century. It was the story of two young men who rose from poverty to create an iconic comic book character named The Escapist. To extend the story Chabon then sanctioned an actual comic book series featuring the hero. 

It took forever to finally read this great book. Here's how it happened. 

When I bought my copy I cannot say, but it was years and years ago. They no longer sell this particular edition, and the bookmark which nested inside it came from a bookstore which went out of business longer ago than I can rightly remember. I kept waiting for the perfect time to read this respected novel, the right time. But that time never seem to come. I started a few times but rarely got past the first hundred pages or so. After each failed attempt, I'd have to let the book settle in my memory a bit, so that it was fresh enough for another bout.

Then last year I got hold of it and started again and made great progress, following the story of two young men finding out about the dangers of the world they lived in, both in the dark recesses of Europe under Hitler's shadow and a New York City bristling with ambitious men and women eager to define themselves and scrape up lives of dignity. I was nearly two-thirds of the way through it, reading it on my breaks at work and even a bit at home when I found enough quiet.

Then I lost track of it again.

For nearly a full year it was lost in the cataclysm which passes for my library in a secondary bedroom. Out of sight and out of mind, and as always, the distractions of other entertainments got in the way.

But when I stumbled across it a few days ago and knew I must finish this tale, which so many hold in such high regard. I picked it up and it was as if that year had not existed, I was immediately back in the world of Joe Kavalier, a complicated but wildly talented magician and artist who created heroes  who represented the worst and best of us, and Sammy Clay, Joe's American cousin who lacked the talent but had the drive and focus to make the most of Joe's. Together they became partners and friends in a business which could destroy both with ease and aplomb. Together they created "The Escapist", a hero who was a resounding metaphor throughout this saga.

We see Joe try to save his family from Hitler's evil, and we follow Sammy as he discovers that his own personal desires are too dangerous for even the freedom-espousing folk of America to accept. Both men, profound outsiders, bonded to one another, struggle to find lives worth the living. They both fail sometimes, and they both succeed sometimes too.

I didn't expect to find myself teary-eyed when I finished the last lines of the story, but there I was. I not only sympathized with Joe and Sammy, but empathized with them, and knew that anyone with heart would likewise do so. This is a great novel, I can finally say that on my own word and not rely on critics.

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Daredevils Battles The God Of Storms!

First mentioned, to my knowledge at least, in the pages of The Great Comic Book Heroes by Jules Feiffer is the legendary tale of how a Golden Age comic book was created in a single weekend, one in which the survival of the artists themselves was in some meager doubt. The comic book in question is the second issue of Daredevil Comics from Lev Gleason Publishing which hit the stands in the summer of 1941.

This tale has been told in several venues and even immortalized in fictional form in Michael Chabon's The Amazing Adventures of Kavalier and Clay. It kindles the imagination for a number of reasons, one it speaks to the helter skelter nature of comic book creation in its infant days, how raw energy often substituted for craftsmanship and care. How comics are an art, but they are also a product for sale which are fashioned within the demanding rigors of a deliberate and often unforgiving schedule.

Things have changed nowadays with comics having been reduced to a minor art and no longer a true mass medium, but throughout most of the history of the comic book, we fans want our comics to be good of course, but first and foremost we wanted them to simply be. We were eager to buy and publishers were sure to have it available so that the opportunity would not slip by.

I most recently ran across this legendary yarn in the biography Jerry Robinson - Ambassador of Comics, in which the story is told from the perspective of one of the men who was there on that prodigious weekend of March seventeenth.  The story goes that a gaggle of young energetic artists and writers assembled at a sparsely furnished New York City apartment rented for that very reason. Charles Biro has learned that because of a need to use up their allotment of paper they needed a new comic ready for the presses and they needed it by the following Monday. To that end the talent was assembled and given largely carte blanche to create stories to fill the needed sixty-four pages.

Charles Biro would handle the lead feature Daredevil which accounted for the first thirteen pages. After that it was every man for himself as a ferocious binge of creation ignited. Bernard Klein created "The Whirlwind" about boxing, and other talents such as George Roussos and Dick Wood contributed "Nightro". Jerry Robinson himself created "London", a masked hero who was involved with the Blitz. Dick Briefer wrote and drew "Real American". Others did what they could, creating characters, some which would only appear in this single comic, in the mad rush to hit the deadline.

New York City under snow in March, 1941

The story then takes a dangerous turn when, while the artists are furiously creating in the apartment a heavy winter storm strikes the city, closing down everything save the subways, and forcing stores to close. Getting something to eat was problematic, and Bernie Klein was sent off into the white wastes to find sustenance. He returned hours later with only some eggs and a can of beans. The artists desperately pried loose ceramic bathroom tiles and created a fire to cook the eggs and heat the beans, which staved off fits until the streets quickened with life once again.

Needless to say, the book was completed and assembled and sent to the printer on time. This story shows not only the ruthless nature of publishing but also the wild bristling energy which informed the earliest days of comics, an art form still in its infancy and eager to please the audience which fondled it with such devotion.

The story is made more poignant in that Bernie Klein, a talent with much promise was one of those multitude of young men who lost their lives defeating the Axis powers on the battlefields of Europe. His death made all the more tragic, because as the legendary weekend showed he was like so many of his peers a man filled with spirit and life.

Daredevil must break out the boomerang and confront an evil from ancient history when a deadly mummy is revived. Charles Biro presides. 

Terry Turner is a powerful boxer, but he might have met his match in Jean Jacques, a savage lumberjack. Dick Wood and Bernie Klein do the honors.

Nightro isa rather nifty version of Dr. Mid-Nite when Hugh Goddard is blinded in a radiation accident. He can see in the dark thanks to special lenses and mops up the criminals who attacked him. Dick Wood writes and George Roussos draws this one. 

Dash Dillon at Hale (not Yale I notice) is a sports natural and is recruited by a young woman to join the team and save the season for her school and her dad, the coach. Ed Ashe is both writer and artist. 

Pioneer is a naive young man who lives in a remote valley and is lured to civilization by some thugs who see riches. He turns the tables. Bob Woods wrote this one for Jay Gahr. 

The Bronze Terror is "Real American #1". He's a denizen of the Indian territory and uses his strengths to save the chief from villains who want to prey on the people. Dick Briefer is man for this one. 

London is the hero and London is the place where a brave young man fights against the Nazis for the sake of us all. This one is all Jerry Robinson. 

Pat Patriot is born when a brave young woman stands up for her overworked companions and discovers a smuggling ring. Bob Wood likely wrote and Reed Crandall might well have drawn it. 

The Claw is in fine malicious form as he steals a train and all the men aboard it. He tries to blackmail the government, but one brave man has an idea which might defeat the towering menace. This one is by Bob Wood. 

To read this epic iconic comic in its glorious totality check this out. They don't make like that anymore.

I enjoyed this wild yarn in the pages of The Original Daredevil  Archives. Tomorrow. we back things up a bit, as the Dojo takes a look at the debut issue of this comic book series. 

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The Monkees Christmas Party!

My attitude this holiday season has been one of a confirmed Scrooge as I announced more or less at the beginning of his month. But I must admit that I have been thawing just a wee bit, especially in the last few days since my girls have been in to visit and celebrate the holiday with me. We were out doing some last-minute shopping and I chanced upon The Monkees Christmas Party, a CD featuring new music (mostly) by the band I adored as a boy. This is pure pop bubblegum -- breezy and light-hearted whimsy. Just the kind of music the Monkees produced in the heyday of their TV show.

With a cover by Mike Allred the package is handsome indeed. While most of the music is frothy enough one song entitled "House of Broken Gingerbread" was written by award-winning author Michael Chabon. It's a hoot. This ain't grand music, it ain't even always good, but it is diverting and for this Scrooge, it found a way into my hard flinty heart.

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Golden Age - The Legendary Weekend!

First mentioned, to my knowledge at least, in the pages of The Great Comic Book Heroes by Jules Feiffer is the legendary tale of how a Golden Age comic book was created in a single weekend, one in which the survival of the artists themselves was in some meager doubt. The comic book in question is the second issue of Daredevil Comics from Lev Gleason Publishing which hit the stands in the summer of 1941.

This tale has been told in several venues and even immortalized in fictional form in Michael Chabon's The Amazing Adventures of Kavalier and Clay. It kindles the imagination for a number of reasons, one it speaks to the helter skelter nature of comic book creation in its infant days, how raw energy often substituted for craftsmanship and care. How comics are an art, but they are also a product for sale which are fashioned within the demanding rigors of a deliberate and often unforgiving schedule.

Things have changed nowadays with comics having been reduced to a minor art and no longer a true mass medium, but throughout most of the history of the comic book, we fans want our comics to be good of course, but first and foremost we wanted them to simply be. We were eager to buy and publishers were sure to have it available so that the opportunity would not slip by.

I most recently ran across this legendary yarn in the biography Jerry Robinson - Ambassador of Comics, in which the story is told from the perspective of one of the men who was there on that prodigious weekend of March seventeenth.  The story goes that a gaggle of young energetic artists and writers assembled at a sparsely furnished New York City apartment rented for that very reason. Charles Biro has learned that because of a need to use up their allotment of paper they needed a new comic ready for the presses and they needed it by the following Monday. To that end the talent was assembled and given largely carte blanche to create stories to fill the needed sixty-four pages.

Charles Biro would handle the lead feature Daredevil which accounted for the first thirteen pages. After that it was every man for himself as a ferocious binge of creation ignited. Bernard Klein created "The Whirlwind" about boxing, and other talents such as George Roussos and Dick Wood contributed "Nightro". Jerry Robinson himself created "London", a masked hero who was involved with the Blitz. Dick Briefer wrote and drew "Real American". Others did what they could, creating characters, some which would only appear in this single comics, in the mad rush to hit the deadline.

New York City under snow in March, 1941

The story then takes a dangerous turn when, while the artists are furiously creating in the apartment a heavy winter storm strikes the city, closing down everything save the subways, and forcing stores to close. Getting something to eat was problematic, and Bernie Klein was sent off into the white wastes to find sustenance. He returned hours later with only some eggs and a can of beans. The artists, desperately pried loose ceramic bathroom tiles and created a fire to cook the eggs and heat the beans, which staved off fits until the streets quickened with life once again.

Needless to say, the book was completed and assembled and sent to the printer on time. This story shows not only the ruthless nature of publishing but also the wild bristling energy which informed the earliest days of comics, an art form still in its infancy and eager to please the audience which fondled it with such devotion.

The story is made more poignant in that Bernie Klein, a talent with much promise was one of those multitude of young men who lost their lives defeating the Axis powers on the battlefields of Europe. His death made all the more tragic, because as the legendary weekend showed he was like so many of his peers a man filled with spirit and life.

To read this epic iconic comic in its glorious totality check this out. They don't make like that anymore.

Rip Off