The Spirit of the Sixties Art as an Agent of Change Citation

Spirit
Cover detail, The Spirit #6 (Feb. 1975), Warren Publishing. Art past Will Eisner and Ken Kelley
Publication information
Publisher	Eisner & Iger DC Comics
First appearance	Register and Tribune Syndicate, June ii, 1940
Created by	Will Eisner
In-story data
Alter ego	Denny Colt
Team affiliations	Key City's Police
Abilities	Outstanding athlete In a higher place average hand-to-hand combatant Some detective skills

The Spirit is a fictional masked crimefighter created past writer-artist Will Eisner. He first appeared June 2, 1940 in "The Spirit Department", the colloquial proper noun given to a 16-page Sunday supplement, distributed to 20 newspapers by the Register and Tribune Syndicate and reaching v million readers during the 1940s. From the 1960s to 1980s, a handful of new Eisner Spirit stories appeared in Harvey Comics and elsewhere, and Warren Publishing and Kitchen Sink Press variously reprinted the feature in blackness-and-white comics magazines and in color comic books. In the 1990s and 2000s, Kitchen Sink and DC Comics published new Spirit stories by other writers and artists.

The Spirit chronicles the adventures of a masked vigilante who fights crime with the blessing of the city'southward police commissioner Dolan, an quondam friend. Despite the Spirit's origin as detective Denny Colt, his real identity was virtually unmentioned again, and for all intents and purposes he was simply "the Spirit". The stories range through a broad variety of styles, from straightforward crime drama and noir to lighthearted adventure, from mystery and horror to one-act and dearest stories, oftentimes with hybrid elements that twisted genre and reader expectations.

The feature was the lead particular of a sixteen-page, tabloid-sized, newsprint comic book sold equally part of somewhen xx Lord's day newspapers with a combined apportionment of as many as five million copies. "The Spirit Department", as information technology was colloquially chosen, premiered June 2, 1940, and continued until October five, 1952. It generally included 2 other, iv-page strips (initially Mr. Mystic and Lady Luck), plus filler cloth. Eisner worked as editor, only too wrote and drew most entries—more often than not, after the first few months, with such uncredited collaborators as author Jules Feiffer and artists Jack Cole and Wally Woods, though with Eisner'due south atypical vision for the graphic symbol as a unifying factor.

Contents

• ane Publication history
• ii Fictional grapheme biography
• 3 Ebony White
• four Other characters
• 5 The Spirit and John Law
• 6 Assistants and collaborators
• seven Latter-twenty-four hour period Spirit comics
  • 7.1 1960s
  • 7.2 1970s
  • seven.3 1980s
  • 7.4 1990s and beyond
  • 7.5 DC Comics
• 8 In other media
  • eight.1 Daily strip
  • eight.two TV movie
  • 8.3 Moving picture
  • eight.iv Radio
• 9 Collected editions
• 10 Notes
• 11 References
• 12 External links
• thirteen Farther reading

Publication history

In belatedly 1939, Everett M. "Busy" Arnold, publisher of the Quality Comics comic-book line, began exploring an expansion into newspaper Sunday supplements, enlightened that many newspapers felt they had to compete with the of a sudden burgeoning new medium of American comic books. Arnold compiled a presentation piece with existing Quality Comics material. An editor of The Washington Star liked George Brenner'due south The Clock, just not Brenner'south fine art, and was favorably tending toward a Lou Fine strip. Arnold, concerned over the meticulous Fine's slowness and his ability to meet deadlines, claimed it was the piece of work of Eisner, Fine'southward boss at the Eisner & Iger studio, from which Arnold bought his outsourced comics work.

In "late '39, but before Christmas time," Eisner recalled in 1979, ^[1] "Arnold came to me and said that the Sunday newspapers were looking for a style of getting into this comic book nail". In a 2004 interview, Eisner elaborated on that meeting:

"Busy" invited me up for lunch one mean solar day and introduced me to [sales manager of the Des Moines Register and Tribune Syndicate] Henry Martin, who said, "The newspapers in this land, particularly the Sunday papers, are looking to compete with comics books, and they would like to become a comic-book insert into the newspapers"... Martin asked if I could do information technology... It meant that I'd take to exit Eisner & Iger [which] was making money; we were very profitable at that time and things were going very well. A difficult decision. Anyway, I agreed to do the Sunday comic volume and nosotros started discussing the deal [which] was that we'd exist partners in the "Comic Book Section", as they called it at that time. ^[two]

Eisner negotiated an agreement with the syndicate in which Arnold would copyright The Spirit, but, "Written downward in the contract I had with 'Busy' Arnold — and this contract exists today as the ground for my copyright buying — Arnold agreed that it was my holding. They agreed that if we had a split-up in any way, the belongings would revert to me on that day that happened. My attorney went to 'Busy' Arnold and his family unit, and they all signed a release like-minded that they would not pursue the question of buying." ^[2] This would include the eventual backup features, "Mr. Mystic" and "Lady Luck."

Selling his share of their firm to Iger, who would continue to package comics as the S. Chiliad. Iger Studio and as Phoenix Features through 1955, for $20,000, ^[iii] Eisner left to create The Spirit. "They gave me an developed audience", Eisner said in 1997, "and I wanted to write better things than superheroes. Comic books were a ghetto. I sold my part of the enterprise to my acquaintance and then began The Spirit. They wanted an heroic character, a costumed grapheme. They asked me if he'd have a costume. And I put a mask on him and said, 'Yes, he has a costume!'" ^[4]

The character and the types of stories Eisner would tell, Eisner said in 1978, derived from his desire

...to exercise short stories. I always regarded comics as a legitimate medium, my medium. Creating a detective character would... provide me with the most viable vehicle for the kind of stories I could all-time tell. The syndicate people weren't in full agreement with me... [I]due north my first word with 'Busy' Arnold, his thinking centered around a superhero kind of character—a costumed character; we didn't use the give-and-take 'superhero' in those days... and I argued vehemently against it because I [had] had my overfullness of creating costumed heroes at Eisner and Iger... [S]o actually one evening, effectually three in the morning, I was still working, trying to notice it—I only had most a week-and-a-half or ii weeks in which to produce the start issue, the whole deal was done in quite a rush—and I came up with an outlaw hero, suitable, I felt, for an adult audition. ^[v]

The character's name, he said in that interview, came from Arnold: "When 'Busy' Arnold called, he suggested a kind of ghost or some kind of metaphysical character. He said, 'How about a matter called the Ghost?' and I said, 'Naw, that's not any good,' and he said, 'Well, then, call information technology the Spirit; at that place's nothing like that around.' I said, 'Well, I don't know what you hateful.,' and he said, 'Well, y'all can figure that out—I only like the words "the Spirit."' He was calling from a bar somewhere, I think... [A]nd actually, the more I thought well-nigh it the more I realized I didn't care about the proper noun." ^[five]

The Spirit, an initially viii- and later seven-page urban-crimefighter series, ran with the initial backup features "Mr. Mystic" and "Lady Luck" in a 16-page Sunday supplement (colloquially called "The Spirit Section") that was somewhen distributed in 20 newspapers with a combined circulation of as many as 5 million copies. ^[6] It premiered June 2, 1940, and continued through 1952. ^[7]

A classic Eisner cover for The Spirit, Oct. 6, 1946. Notation the innovative utilise of title design, the mix of color and black-and-white, and the shadowing and texturing that combine for exotic noir event. Other Spirit stories could be whimsical, gritty, folklorish, sentimental, horrific, or mystical, yet always humanistic.

Eisner was drafted into the U.S. Ground forces in late 1941, "and then had about another half-year which the government gave me to clean up my affairs before going off" to fight in World State of war Two. ^[5] In his absence, the newspaper syndicate used ghost writers and artists to continue the strip, including Manly Wade Wellman, William Woolfolk, and Lou Fine.^{[ citation needed ]}

Eisner'south rumpled, masked hero (with his headquarters under the tombstone of his supposedly deceased true identity, Denny Colt) and his gritty, detailed view of large-city life (based on Eisner's Jewish upbringing in New York Urban center) both reflected and influenced the noir outlook of movies and fiction in the 1940s.^{[ citation needed ]} The strip is notable in that it spun stories of the little people overlooked in the city's maelstrom.^{[ citation needed ]} In some episodes, the nominal hero makes a brief, nigh incidental advent while the story focuses on a existent-life drama played out in streets, battered tenements, and smoke-filled dorsum rooms. Notwithstanding forth with violence and pathos, The Spirit lived on humor, both subtle and overt. He was machine-gunned, knocked empty-headed, bruised, oft amazed into near immobility and constantly confused past beautiful women.^{[ citation needed ]}

The characteristic ended with the October 5, 1952, edition. ^[vii] As The Comics Periodical editor-publisher Gary Groth wrote, "By the tardily '40s, Eisner's participation in the strip had dwindled to a largely supervisory role. ... Eisner hired Jerry Grandenetti and Jim Dixon to occasionally ink his pencils. Past 1950, [Jules] Feiffer was writing near of the strips, and Grandenetti, Dixon, and Al Wenzel were drawing them." ^[8] — Grandenetti penciling as a ghost-creative person, under Eisner'south byline, said in 2005 that before the feature'south demise, Eisner had "tried everything. Had me penciling 'The Spirit'. Later on it was Wally Wood", who drew the terminal installments. ^[9]

Fictional character biography

The Spirit, referred to in i newspaper article cited below as "the merely real middle-class crimefighter", was the hero persona of immature detective Denny Colt. Presumed killed in the start three pages of the premiere story, Colt later revealed to his friend, Fundamental City Police Commissioner Dolan, that he had in fact gone into suspended animation acquired past one of archvillain Dr. Cobra's experiments. When Colt awakened in Wildwood Cemetery, he established a base of operations at that place and, using his new-found anonymity, began a life of fighting crime wearing only a small domino mask, blue business suit, red necktie, fedora chapeau, and gloves for a costume. The Spirit dispensed justice, funding his adventures with the rewards for capturing villains.

The Spirit was based originally in New York Urban center which shortly changed to Primal City, but his adventures took him around the globe. He met upwards with eccentrics, kooks, and femme fatales, bringing his own course of justice to all of them. The story changed continually, merely sure themes remained constant: the honey between the Spirit and Dolan's feisty protofeminist daughter Ellen; the annual "Christmas Spirit" stories; and the Octopus (a psychopathic criminal mastermind who was never seen, except for his distinctive gloves).

Ebony White

Eisner is sometimes criticized for his delineation of Ebony White, the Spirit's African-American sidekick. The graphic symbol's proper noun is a racial pun, and his facial features, including large white optics and thick pink lips, are typical of racial blackface caricatures popular throughout the "Jim Crow" era. Eisner later on admitted to consciously stereotyping the character, but said he tried to do so with "responsibility", and argued that "at the fourth dimension humor consisted in our society of bad English and physical deviation in identity". ^[10] The grapheme, who was consistently treated with respect by the strip's fellow cast-members, developed beyond the stereotype as the series progressed, and Eisner also introduced such African-American characters as the no-nonsense Detective Grayness who defied popular stereotypes.

In a 1966 New York Herald Tribune characteristic by Eisner'southward former office manager-turned-journalist, Marilyn Mercer wrote, "Ebony never drew criticism from Negro groups (in fact, Eisner was commended by some for using him), perhaps because, although his speech blueprint was early Minstrel Show, he himself derived from some other literary tradition: he was a combination of Tom Sawyer and Penrod, with a impact of Horatio Alger hero, and colour didn't really come up into it". ^[11]

The DC Comics' Spirit comic-book series of the late 2000s portrays White every bit a street kid, driving a stolen taxi.^{[ commendation needed ]} He is portrayed as putting his street feel and his daring attitude to work at the Spirit's service.^{[ citation needed ]}

Other characters

• The Octopus is the archenemy of the Spirit. He is a criminal mastermind and master of disguise who never shows his existent face, though he is identified by his distinctive gloves. In the second consequence of the 1960s Harvey Comics Spirit comic volume, his name is given equally Zitzbath Zark. (Vide sitz bath.)
• P'Gell is a femme fatale who perennially tries to seduce the Spirit to a life of law-breaking at her side. She seduces and marries wealthy men who invariably dice in mysterious ways, and uses their money to fund her crime empire in Istanbul and aggrandize her influence and command over the underworld. After moving to Cardinal Metropolis to observe the Spirit, she continues her modus operandi of selected marriages with the creme of society, even gaining an ally in the course of Saree, the young daughter of i of her deceased husbands. In the 2000s DC Comics version, P'Gell was once a young socialite in love with a doctor, working in Third World countries, and turned to a life of crime when he was killed. P'Gell was ranked 52nd in Comics Buyer'due south Guide's 100 Sexiest Women in Comics list. ^[12]
• Sand Saref is a babyhood friend of Denny Colt, and knows he is the Spirit. Working in espionage, she usually ends upwards on the contrary side of the law from him. She appears several times, ever involved in some criminal scheme. (Vide sans serif.) Sand Seref was ranked 73rd in Comics Heir-apparent'south Guide'south 100 Sexiest Women in Comics listing. ^[thirteen]
• Silken Floss is a nuclear physicist and a surgeon, who acts as the cohort to the Octopus.
• Dr. Cobra is a mad scientist whose chemicals and machinations inadvertently assistance Denny Filly become the Spirit.
• Mister Carrion is a morbid con homo with a pet vulture, Julia. (Vide carrion.)
• Darling O' Shea is the richest and about spoiled child in the world.
• Hazel P. Macbeth is a witch with a Shakespearean motif and apparent magical powers.
• Lorelei Rox, an apparent siren, appeared in a September 1948 strip and later in 2000s DC Comics Spirit stories.
• Silk Satin is a tall, statuesque brunette with a white streak in her hair, originally an adventuress who later reformed and worked every bit an international troubleshooter for the insurance visitor Croyd'south of Glasgow. In the 2000s DC Comics revival, she is a smaller, more than slender, blond CIA agent. Silk Satin was ranked 72nd in Comics Buyer's Guide's 100 Sexiest Women in Comics list. ^[14]

The Spirit and John Law

Several Spirit stories, such as the first advent of Sand Saref, were retooled from a failed publishing venture featuring an eyepatched, pipage-smoking detective named John Law. Police force and his shoeshine-boy sidekick, Nubbin, starred in several adventures planned for a new comics series. These completed adventures were eventually adjusted into Spirit stories, with John Law's eyepatch existence changed to the Spirit's mask, and Nubbin redrawn as Willum Waif or other Spirit back up characters.

The original John Law stories were restored and published in Will Eisner's John Police force: Dead Homo Walking (IDW Publishing, 2004), a collection of stories that too features new adventures by author-artist Gary Chaloner, starring John Police force, Nubbin, and other Eisner creations, including Lady Luck and Mr. Mystic.

Assistants and collaborators

Like most artists working in newspaper comic strips, Eisner later on a time employed a studio of assistants who, on any given week's story, might draw or simply ink backgrounds, ink parts of Eisner's principal characters (such as clothing or shoes), or equally eventually occurred, ghost-depict the strip entirely. Eisner also eventually used ghostwriters, more often than not in collaboration with him.

Jules Feiffer, who began as an art assistant circa 1946 and later became the primary writer through the strip'due south end in 1952, recalled, "When I first worked for Will at that place was John Spranger, who was his penciler and a wonderful draftsman; improve than Will. At that place was Sam Rosen, the lettering human. Jerry Grandenetti came a little afterwards me and did backgrounds, and Jerry had some architectural background. His drawing was stiff simply loosened up afterward a while, but he drew backgrounds and inked them beautifully. And Abe Kanegson, who was my best friend in the office, was a jack-of-all-trades but mostly did lettering and backgrounds after Jerry left. Abe was a mentor to me." ^[15]

Eisner's studio besides included: ^{[7] [16]}

• Art assistants: Bob Powell (1940), Dave Berg (backgrounds, 1940–41), Tex Blaisdell (1940–41), Fred Kida (1941), Alexander Kostuk a.k.a. Alex Koster (1941–43), Jack Cole (1942–43), Jack Keller (backgrounds, 1943), Jules Feiffer (1946–47), Manny Stallman (1947–49), Andre LeBlanc (1950), Al Wenzel (1952)

• Inkers: Alex Kotzky (1941–43), John Belfi (1942–43), Don Komisarow (1943), Robin King (yr?), Joe Kubert (1943–44), Jerry Grandenetti, (1948–51), Jim Dixon (1950–51), Don Perlin (1951)

• Letterers: Martin De Muth (years?), Abe Kanegson (years?), Sam Schwartz (1951), Ben Oda (1951)

• Colorists: Jules Feiffer (years?), Chris Christiansen (1951)

• Ghost artists (pencilers): Lou Fine and Jack Cole (variously, during Eisner's World War 2 service, 1942–45), Jerry Grandenetti (1951), Wally Forest (1952)

• Ghostwriters/writing assistants: Toni Blum (1942), Jack Cole (years?), Manly Wade Wellman and William Woolfolk (variously, during Eisner'southward World War II service, 1942–45), Klaus Nordling (1946, 1951), Marilyn Mercer (1946), Abe Kanegson (1950), Jules Feiffer (1951–52)

Latter-mean solar day Spirit comics

1960s

Harvey Comics' The Spirit #i (Oct. 1966). Cover art by Volition Eisner.

A five-page Spirit story, set in New York Metropolis, appeared as role of a Jan nine, 1966 article about the Spirit in the New York Herald Tribune. ^[11]

Harvey Comics reprinted several Spirit stories in 2 giant-size, 25-cent comic books published October 1966 and March 1967, each with new Eisner covers.

The commencement of these two 60-page issues opened with a new seven-page retelling of the Spirit'south origin past writer-penciler-inker Eisner (with inking assist past Chuck Kramer). Also new was the text characteristic "An Interview With the Spirit", credited to Marilyn Mercer; and writer-artist Eisner's two-page featurette "Spirit Lab: Invincible Devices". Seven 1948-1949 Spirit stories were reprinted.

The second issue opened with a new seven-page story past writer-artist Eisner, "Octopus: The Life Story of the King of Criminal offense," giving the heretofore unrevealed origin of the Spirit's archnemesis The Octopus, as well equally his given name (Zitzbath Zark). Also new was the two-folio text feature "The Spirit Answers Your Mail", and writer-artist Eisner'due south two-page featurette "The Spirit Lab: The Man From MSD". Reprinted were 7 1948-l Spirit stories.

1970s

Warren Publishing and later Denis Kitchen'southward Kitchen Sink Printing published all-encompassing reprints, first as big blackness-and-white magazines (the Warren part of the run eventually having a colour section), then as merchandise paperbacks. The magazines oftentimes featured new Eisner covers.

Ii new stories were written during this menstruation "The Capistrano Jewels", a four-page story published in the second issue of the Kitchen Sink reprints in 1972; and "The Invader", a 5-page story (reprinted in The Will Eisner Colour Treasury). Consequence 30 of the Kitchen Sink series features "The Spirit Jam", with a script from Eisner and a few penciled pages, plus contributions from 50 artists.

In 1976, an oddity called "The Spirit Casebook of Truthful Haunted Houses and Ghosts" was published.^{[ commendation needed ]} The Spirit plays the EC host, introducing "true" stories of haunted houses. The Spirit makes a cameo in Vampirella #l.^{[ commendation needed ]}

1980s

Kitchen Sink Press did a complete reprinting of the post-WWII Eisner work in a colour comics series. The publisher started another series intended to reprint the stories from the first; information technology lasted only 10 issues.

1990s and beyond

Kitchen Sink too published a serial of original Spirit stories in 1996-1997, including contributions from Alan Moore, Dave Gibbons, Paul Chadwick, Neil Gaiman, Joe R. Lansdale and Paul Pope.

In the mid-2000s, DC Comics began reprinting The Spirit chronologically in the company's hardcover Archive series, in an approximately 8x10-inch format, smaller than the Kitchen Sink and Warren publications.

The final Spirit art by the tardily Eisner appeared in the sixth issue of The Amazing Adventures of the Escapist, from Dark Horse Comics.^{[ citation needed ]}

DC Comics

The DC Comics 1-shot Batman/The Spirit (January 2007), by writer Jeph Loeb and artists Darwyn Cooke and J. Bone fully introduced the Spirit into the DC Universe, although he had previously garnered a cursory cameo in Batgirl: Year One. The commencement upshot of the ongoing series The Spirit, written and pencilled by Cooke and inked past J. Os, debuted the following month. Information technology ran through issue #32 (Aug. 2009), with most running a unmarried 22-page story. The series updated some concepts, with Ellen'south Internet skills helping to solve a case, and Ebony White stripped of his racial stereotype characteristics. The squad of Marking Evanier and Sergio Aragones became the serial' regular writers showtime with outcome #14 (March 2008), with Mike Ploog and afterwards Paul Smith providing the artwork.

In other media

Daily strip

From October 1941 to March 1944, there was also a daily, black-and-white paper strip of The Spirit. These were later reprinted in several collections. DC'south The Spirit Athenaeum Vol. 25 collected all of these strips.

Reprints of the Spirit's adventures ran in Quality Comics and Fiction House publications shortly later on their newspaper debuts.

Goggle box movie

The graphic symbol was the subject of a 1987 television motion picture starring Sam J. Jones as The Spirit, Nana Company equally Ellen Dolan, and Garry Walberg equally Commissioner Dolan.

Film

The film adaptation The Spirit, written and directed by Frank Miller, was released in theaters by Lionsgate on Dec 25, 2008. The picture show stars Gabriel Macht as the Spirit and Samuel L. Jackson as the Octopus. ^[17]

Radio

Denis Kitchen, the Eisner manor's amanuensis, said in a July 8, 2006 online interview that a radio series had been in evolution: "Information technology was pitched to the estate by a couple of producers, one of whom is very experienced with NPR, so we have been dorsum and forth on how that would work. Once more, information technology would be premature to tell you lot it is going to happen, just it is in serious discussion." ^[18]

Collected editions

The comic strips and comics accept been collected into a number of volumes):

• Will Eisner Color Treasury (1981, Kitchen Sink) (ISBN 0-87816-006-X)
• Spirit Colour Album (1981, Kitchen Sink) (ISBN 0-87816-002-7)
• Spirit Colour Album, v2 (1983, Kitchen Sink) (ISBN 0-87816-010-viii)
• Spirit Color Anthology, v3 (1983, Kitchen Sink) (ISBN 0-87816-011-half dozen)
• Art of Will Eisner (1989 2nd ed, Kitchen Sink) (ISBN 0-87816-076-0)
• Outer Space Spirit (1989 Kitchen Sink) (ISBN 0-87816-012-four)
• Christmas Spirit (1995 Kitchen Sink) (ISBN 0-87816-309-iii)
• Spirit Casebook (199x Kitchen Sink) (ISBN 0-87816-094-9)
• All Almost P'Gell: Spirit Casebook II (1998 Kitchen Sink) (ISBN 0-87816-492-8)
• The Spirit Archives: (DC Comics)
  • Volume 1 (2000) (ISBN 1-56389-673-7) through Volume 26 (2009)
• The Best of The Spirit (2005 DC Comics) (ISBN 1-4012-0755-iii)
• The Spirit Volume 1, Collects Batman/The Spirit and The Spirit #1-6 (DC Comics)
• The Spirit Book ii, Collects The Spirit #7-thirteen (DC Comics)
• The Spirit Book 3, Collects The Spirit #xiv-20 (DC Comics)
• The Spirit Book 4, Collects The Spirit #21-25 (DC Comics)
• The Spirit Book 5, Collects The Spirit #26-32 (DC Comics)
• The Spirit: Angel Smerti, Collects The Spirit #i-7 (DC Comics)

Notes

1. ^ Panels #ane (Summer 1979), "Art & Commerce: An Oral Reminiscence past Volition Eisner", pp. 5-21, quoted in Quattro, Ken (2003). "Rare Eisner: Making of a Genius". Comicartville Library. Archived from the original on December twenty, 2009. http://www.comicartville.com/rareeisner.htm.
2. ^ ^{a b} Will Eisner interview, Alter Ego #48, May 2005, p. 10
3. ^ Kitchen, Denis. "Annotations to The Dreamer, in Eisner, Will, The Dreamer (W.W. Norton & Company, New York, 2008), p. 52. ISBN 978-0-393-32808-0
4. ^ Will Eisner interview, Jack Kirby Collector #xvi (June 1997)
5. ^ ^{a b c} "Will Eisner Interview", The Comics Periodical #46 (May 1979), p. 37. Interview conducted Oct. xiii and 17, 1978
6. ^ Eisner, The Dreamer, "Almost the Writer", p. 55
7. ^ ^{a b c} Spirit, The (Register and Tribune Syndicate, 1940 Series) at the Grand Comics Database
8. ^ Archive of Groth, Gary, "Volition Eisner: Chairman of the Lath",The Comics Periodical #267, May 2005. Original site.
9. ^ Arndt, Richard J. Jerry Grandenetti interview (2005), "The Warren Magazines: Interviews" (requires scrolling down). Feb 3, 2010 update with ix interviews. WebCitation annal.
10. ^ Arnold, Andrew D. "Never Too Belatedly" (Will Eisner Interview), Fourth dimension, September 19, 2003. WebCitation archive.
11. ^ ^{a b} Mercer, Marilyn, "The Only Real Centre-Class Crimefighter", New York (Sun supplement, New York Herald Tribune), Jan. 9, 1966; reprinted in Alter Ego #48 (May 2005)
12. ^ Frankenhoff, Brent (2011). Comics Buyer'southward Guide Presents: 100 Sexiest Women in Comics. Krause Publications. p. 37. ISBN 1-4402-2988-0.
13. ^ Frankenhoff p. 48
14. ^ Frankenhoff p. 47
15. ^ Transcript of March 24, 2010, Feiffer interview at the Museum of Comic and Cartoon Art, published equally "Backing into Jules Feiffer: An Sectional Q&A", p.ii, FilmFestivalTraveler.com, eighteen April 2010. WebCitation archive
16. ^ Credits based on Leiffer, Paul, and Hames Ware, eds., The Comic Strip Project (WebCitation archive), plus Yronwode, True cat, and Wes Tumulka. ed., The Spirit Checklist at WildwoodCemetary.com (WebCitation archive)
17. ^ The Spirit (movie official website)
18. ^ Archive of Will Eisner: A Spirited Life Interview Series: "Denis Kitchen Interview", ASpiritedLife.com (official site, A Spirited Life author Bob Andelman), July 08, 2006. Original page

References

• Will Eisner official site
• Grand Comics Database
• Transcript, Eisner'south keynote address at the 2002 University of Florida Conference on Comics and Graphic Novels' Will Eisner Symposium
• Jack Kirby Collector #xvi (June 1997): Volition Eisner interview
• Archive of Heintjes, Tom. "Will Eisner's The Spirit", AdventureStrips.com. Reprinted from The Spirit: The Origin Years #1-4 (Kitchen Sink Press, May–November 1992). Original page Original page.
• The New York Times Syndicate obituary, past Sarah Boxer
• The Comics Journal #267: Excerpt, "Will Eisner: Having Something to Say" (interview)

External links

• The Spirit at the Open up Directory Project
• The Spirit at the Comic Volume DB
• The Spirit at the Internet Movie Database
• Tumulka, Wed., ed. Wildwood Cemetery: The Spirit Database. WebCitation archive.</ref>

Further reading

• Andelman, Bob. Will Eisner: A Spirited Life. ISBN i-59582-011-half-dozen.
• Feiffer, Jules. The Great Comic-Book Heroes. ISBN 1-56097-501-6.
• Jones, Gerard. Men Of Tomorrow. ISBN 0-434-01402-8.
• Steranko, Jim (1972). The Steranko History of Comics two. Supergraphics.

The Spirit
Creator	Will Eisner
Characters	Ellen Dolan· Ebony White· Dr. Cobra· P'Gell· Sand Saref· Silken Floss· Lorelei Rox· The Octopus· Mr. Carrion
Related articles	Batman/The Spirit· Darwyn Cooke· The Spirit (moving picture)· Start Moving ridge (comics)

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Source: http://dictionary.sensagent.com/Spirit_(comics)/en-en/

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