Continuing our celebration of “Will Eisner Week” and the 80th anniversary of The Spirit, with additional creators’ takes on the beloved and influential character.
The very talented (and underrated) Brazilian artist Will Conrad is a self-professed Will Eisner nerd. When he heard that Eisner would be attending a Brazilian comic book convention, he labored over this oversized Spirit piece to show Will, who was nothing but flattered and supportive.
Will held on to the piece for many years, but he knew how much I loved
it, and after some atypical patience on my part, he ultimately let it go.
(Thanks Will!)
“Sometimes
Eisner used an empty street as part of the story. When he drew fog, the page
was damp.
And the
rain, always the rain, dripping off everything including the Spirit logo. He
lingered over environments until you could almost smell the cheap hotel rooms,
taste the tension, or feel on your flesh the chilly pall of a rain swept
street.”
— Jim Steranko, History of The Comics, Volume 2
Raining on his parade — Eisner’s Spirit page from 1996 and Darwyn Cooke’s cover from 2009.
The original Spirit series is collected in its entirety in an impressive 26-volume archive series from DC, and select stories in the original large art format (Artist’s Editions) are available in two gorgeous volumes from IDW.
The Spirt, Register and Tribune Syndicate, September 12, 1948
2020 marks the 80th Anniversary of the Will Eisner’s Spirit, a comic series that ultimately became a game changer in the medium. This week is also celebrated annually as “Will Eisner Week,” dedicated top one of comics’ most influential legacies. So let’s dive in…
This cool page is from “Cache McStash”, and is from Eisner’s peak period on the Spirit. In fact, it is published just one week after his own personal favorite story, “The Story of Gerhard Shnobble,” perhaps the most perfect film noir ever created for the comics.
And don’t let the misleading credits on the otherwise great Grand Comics Database fool you. This story is all Eisner — script, pencils, inks, and letters — as confirmed by Denis Kitchen.
I was fortunate enough to be asked write the intro for the Spirit story “Sound” featured in the hot-off-the-presses Spirit 80th celebration from Clover Press. No spoilers, but, I love the way Eisner integrated sound effects into his storytelling, and, on this page the simple ticking of the clock enhances tension and movement.
Like everything else he did, he found a way to make his two
dimensional comics cinematic in scope.
“I grew up
on the movies, that’s what I lived with. The movies always influenced me… Doing
the Spirit strip was like making movies. It gave me a chance to be an actor,
producer, author and cameraman all at once.”
Clover Press has just published an 80th Anniversary celebration of Will Eisner’s Spirit, available directly from the publisher or in comic book stores and other traditional outlets.
Color me alive — three different color takes of the Spirit’s origin from 1966: The original, possibly colored by Jules Feiffer; The 1975 Warren magazine reprint, possibly colored by Richard Corben; and the brand new Clover Press version, definitely colored by Jeremy Cox.
We continue to celebrate the 80th anniversary of the original Captain Marvel, now known as Shazam.
In 1972, with a nostalgia craze in full swing in the US, DC shocked the fan world by announcing that they had acquired the rights to the original Fawcett Comics characters. So… after 20 years, the Captain was back. Unfortunately for DC, a little company called Marvel had added its own Captain Marvel character and title to its line-up, and so at first the DC comic’s title was called Shazam. Ultimately, the character himself became named after his own magic word to avoid additional legal battles.
Title aside, Shazam presented a challenge for DC. The audience that had grown up on 50s and 60s comic book stories had in fact… grown up. And in a universe of Kirby, Steranko, Adams, et al, the golden age Captain Marvel was simply too quaint. Shazam #1 sold like proverbial hotcakes, because of the nostalgia craze and curiosity factor — and the burgeoning collectors’ market — but it was clear that the struggle to keep the character true to his roots AND somehow contemporize him created enormous editorial and commercial challenges. (One that’s challenged DC for nearly 50 years.)
In this terrific page by Schaffenberger, we see the classic Captain Marvel art style, only updated very slightly from the stories that Kurt had drawn 20 years previously. Although Schaffenberger was a more accomplished artist at this point, his clean and uncluttered style is still his trademark.
Fun fact: As you can see from the inscription, this page was originally acquired from Kurt by my friend and former colleague Len Brown (Mars Attacks, T.H.U.N.D.E.R. Agents). Len ultimately sold it, and it made its way through the collectors market until I spotted it about 10 year ago and purchased it. I offered it to Len in case he had any regrets, but he doesn’t collect art anymore, so he declined.
Leaving it in my hands, with some interesting provenance as a bonus.
DC made a major marketing effort for Captain Marvel — announcing the title at the 1972 NYCC in July, and working closely with fanzines for support, including Jim Steranko’s Comixscence (Ultimately Mediascene).
Schaffenberger provided the cover for the first issue of the Isis spinoff, showcasing both his spot-on anatomy and his willingness to borrow inspiration from a previous DC comic — the first appearance of Green Lantern (by Gil Kane) about 15 years prior.
Shazam and Isis — remembered fondly by many — in their television incarnations.
Conan celebrates its
50th anniversary in comics this year, and we celebrate the anniversary with
three Conan-themed posts this week.
Barry Winsdor-Smith was not the first choice to draw Conan. Legend has it that Roy Thomas knew that John Buscema was the idea artist for the job. But Publisher Martin Goodman nixed the idea, citing budget and schedule, and told Stan/Roy to find someone less expensive.
The solution? The young British-born Smith, who had been a
fill-in artist on a handful of super-hero titles with an unmistakable Kirby
influenced style, and who was both cheap — and available.
And so Barry drew Conan for 21 of the first 24 issues — and the comic book world promptly grew up.
Smith, one of the many “young guns” of similar age, and breaking in at around the same time, (Chaykin, Kaluta, Simonson, Wrightson among the many others) ultimately developed an inimitable style. Yes the Kirby influence was there, especially early on. But so is Steranko. And Alphonse Mucha, the best-known stylist of the Art Nouveau period (late 19th – early 20th century), provides much of the inspiration for the intricate designs and beautiful women that populate those early Conan stories.
Smith’s run on Conan is unlike any other in professional comics at that time. And Baby Boomers, who had grown up on the simple stories of DC, and had segued into the cosmic soap operas of Stan and Jack, were primed for these comics. The Boomers were growing older, and now, the comics were growing up with them.
Smith’s style developed rapidly over his three year run on Conan, culminating in the extraordinary “Red Nails” that first appeared in 1973/1974 in Savage Tales. And of course, the work was always best when Smith was inking himself, but both Sal Buscema and Dan Adkins did excellent work, and interestingly, both are credited on this issue. Sal is credited on this specific page, but without all 20 original pages together, it’s difficult to tell.
Either way, it’s a stunning page, and only a small harbinger of things to come.
Conan launches in comic books and the more “mature” Marvel magazines.
And early try-out story by Smith and Thomas features “Starr the Slayer,” published just a few months prior to Conan in Chamber of Darkness #4. Smith also developed a Kull Black and White proposal for a paperback graphic novel. (Similar to Gil Kane’s Blackmark) that ultimately was published (unfinished) much later in Savage Sword of Conan #3. Both prototypes look nearly identical to Smith’s Conan.
Smith’s early Marvel work on Avengers is pretty much straight from the Jack Kirby handbook — except for the wild Vision splash page (Avengers #66) which adds some Steranko and Alphonse Mucha into the mix; a sign of things to come.
