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176</div> 177 <div id="breadcrumb"> 178<a href="http://www.willeisner.com/">Home</a> 179 180<span class="arw-breadcrumb">»</span> 181 182 183<a href="http://www.willeisner.com/biography/index.html">Biography</a> 184 185 186 187 188 189 190 191 192 193 194 195 196 197<span class="arw-breadcrumb">»</span> 198 Spirited Work 199 200 201</div> 202 203 204 205 <div id="content"> 206 <div id="content-inner"> 207 208 209 <div id="alpha"> 210 <div id="alpha-inner"> 211 212 213 <div id="page-271" class="page-asset asset"> 214 <div class="asset-header"> 215 <h1 id="page-title" class="asset-name">Spirited Work</h1> 216 </div> 217 <div class="asset-content"> 218 219 <div class="asset-body"> 220 <p><strong>Of the comics publishers of the 221 late '30s, Quality Comics was one of the most important. 222 The line was published by Everett M. Arnold (though he was 223 always referred to by his very apt nickname, "Busy").</strong></p> 224 <p>Whether it was this constant exposure 225 to comics or business acumen that led Arnold to form his 226 own comic company is infinitely debatable; for whatever 227 reason, Arnold decided his future lay in the nascent field 228 of comic books, and he tapped <strong>George Brenner</strong> 229 to edit his line, which would eventually include <em>Smash 230 Comics</em>, <em>Police Comics</em>, <em>National Comics</em>, 231 <em>Plastic Man</em> and <em>Uncle Sam</em>, among others.</p> 232 <p>"In the early fall of 1939, Arnold called 233 me and asked me to have lunch with him," Eisner said. "Although 234 we weren't doing any packaging for Quality, he knew of us 235 and we knew of him. It was over lunch that he proposed to 236 me the idea of the newspaper section."</p> 237 <p>Eisner said Arnold was a classic case 238 of the guy who didn't know art, but knew what he liked. 239 As we shall learn, Arnold was nothing if demanding — 240 he knew what he wanted (even if he himself could not supply 241 it), and he was not shy about haranguing Eisner to achieve 242 the level of quality and commercialism he deemed necessary.</p> 243 <p>Attempting to respond to the Register 244 & Tribune Syndicate's desire to circulate a feature that 245 would meld comic books and newspapers, Arnold had <strong>George 246 Brenner</strong>, his editor at Quality, try and develop 247 one. "The syndicate rejected it," Eisner said. "That's when 248 Arnold came to me. By then, I had developed a pretty good 249 reputation, and <strong>Henry Martin</strong>, an executive 250 vice president and top salesman at the syndicate, liked 251 my work. He specifically mentioned that he liked <strong><em><a href="../library/hawks-of-the-seas.html">Hawks 252 of the Seas</a></em></strong>. What he really liked was 253 my reputation of being able to deliver on time."</p> 254 <p>Arnold proposed that Eisner package a 255 weekly, 16-page comic book section for Quality Comics. There 256 was one catch: It would be a full-time project. Eisner would 257 have to quit Eisner & Iger. Arnold was not interested in 258 dealing with a production shop; he needed to deal with a 259 single creator. By this time, Eisner and Iger employed about 260 a dozen writers and artists, including <strong>Jack Kirby</strong>, 261 <strong>Bob Powell</strong>, <strong>Chuck Mazoujian</strong>, 262 <strong>George Tuska</strong>, <strong>Bill Bossert</strong>, 263 <strong>Toni Blum</strong>, and <strong>Dick Briefer</strong>; 264 overall, the shop was producing more than 200 pages of comic 265 book material each month. "Leaving Eisner and Iger wasn't 266 easy," Eisner said. "I was making good money, but I've never 267 been able to resist the opportunity to climb new creative 268 mountains.</p> 269 <p>Once his decision was made, Eisner went 270 about the task of separating from Eisner & Iger. "Iger and 271 I had a corporation, and we had an agreement that if either 272 partner wanted to leave at any time, he had to sell his 273 half to the remaining partner, which protected the remaining 274 partner from having to deal with someone he didn't want 275 to deal with.</p> 276 <p>Occasionally, Eisner would discuss his 277 career with his father, who harbored a lifelong affinity 278 for the arts, and his father would support whatever Eisner 279 wanted to do. Eisner's mother was included in these discussions 280 less frequently, because she had always held grave reservations 281 about the viability of Eisner's art career.</p> 282 <p>When Iger realized that he couldn't change 283 Eisner's mind, he offered him about $20,000 for his half 284 of the company. Eisner didn't really care about the money 285 at that point. He was anxious to start <strong><em>The Spirit</em></strong>, 286 he was anxious to get the company for himself, so he felt 287 it was a good deal.</p> 288 <p>No divorce is without trauma. Their separation 289 agreement stipulated that Eisner could not raid talent, 290 and that any personnel changes that resulted would be due 291 to voluntary moves on the part of staff members. From the 292 shop, Mazoujian, Powell, Fine and <strong>Klaus Nordling</strong> 293 volunteered to follow Eisner into his new frontier. Eisner 294 would singlehandedly produce the seven-page <em><strong>Spirit</strong></em> 295 stories, and the other staffers handling the chores on the 296 <em><strong>Lady Luck</strong></em> and <em><strong>Mr. 297 Mystic</strong></em> stories, each of which ran four pages 298 in the weekly section. In January, 1941, the Spirit stories 299 grew to eight pages a week, bringing Eisner's contribution 300 to half of each section.</p> 301 <p>Eisner also needed the additional talent 302 to help produce the other two jointly-owned Quality comic 303 books that Eisner would have to edit.</p> 304 <p>Once Eisner made the break with Iger, 305 he formed a three-way partnership with Arnold and Martin. 306 Prescient, Eisner insisted on owning the copyright to his 307 new creation, a situation almost without parallel in comics 308 at that time and almost without parallel on any popular 309 basis for several decades to come.</p> 310 <p>Eisner said: "Since I knew I would be 311 in comics for life, I felt I had every right to own what 312 I created. It was my future, my product and my property, 313 and by God, I was going to fight to own it.</p> 314 <p>"I agreed to let Arnold copyright it 315 in his name rather than mine, but with the stipulation my 316 ownership was acknowledged in the contract, and that at 317 any time the partnership terminated, all rights to <em><strong>The 318 Spirit</strong></em> would revert to me."</p> 319 <p class="bodytextcentred">* * *</p> 320 <table width="200" border="0" cellpadding="0" cellspacing="0" class="pic-table-left"> 321 <tr> 322 <td><img src="images/spirit_news_advert_200.jpg" alt="The Spirit, press advert" width="200" height="284" vspace
322="5" border="1" /></td> 323 </tr> 324 <tr> 325 <td class="pic-credit">Press advertisement announcing the new Spirit Section.</td> 326 </tr> 327 </table> 328 <p>After four years of relentlessly producing 329 comic book material, by 1940 <strong>Will Eisner</strong> 330 was combat-ready to begin <em>The Spirit</em>. The pace 331 was going to be grueling; besides singlehandedly producing 332 a page of art a day, weekends included, Eisner also had 333 to conceive Spirit stories and supervise <strong>Lady Luck</strong> 334 and <strong>Mr. Mystic</strong>, the four-page tales that 335 filled out each Sunday section. Add to this his partnership 336 agreement with <strong>Busy Arnold</strong> and <strong>Henry 337 Martin</strong> to oversee production of three Quality comic 338 books, and the 22-year-old artist could see life was not 339 going to be simple. </p> 340 <p>But Eisner was convinced that the potential 341 of comics was not yet tapped. And he had managed to create 342 a situation in which he was intimately involved in both 343 newsstand comics and newspaper strips.</p> 344 <p>In making the move from the Eisner and 345 Iger studio to the Sunday section, Eisner became the beneficiary 346 of increased esteem from his new colleagues, the newspaper 347 cartoonists, to whom breaking into strips from comic books 348 was considered a move uptown.</p> 349 <p>Then as now, there were two comics "fraternities" 350 — books and strips, with only a slight overlap. Through 351 <strong><em>The Spirit</em></strong>, Eisner had standing 352 in both groups.</p> 353 <p class="bodytextcentred">* * *</p> 354 <p>Eisner had frequently sequestered himself 355 to work, preferring solitude to create. So it was on the 356 evening when Eisner sat down to invent the characters for 357 the Sunday section. "What I originally wanted to do 358 was a straight detective character that would give me room 359 to do stories," he said. "I was interested in 360 the short story form, and I thought here at last was an 361 opportunity to work on short stories in comics. I could 362 do the stories I wanted, because I was going to have a more 363 adult audience." Although Eisner had little idea then 364 of the range of expression or the number of voices that 365 lay inside him, he knew his new feature must give him flexibility. 366 "As I conceived him, <strong>The Spirit</strong> was 367 an adventurer who would enable me to put him in almost any 368 situation," he said.</p> 369 <p>From there, Eisner added the other ingredients; 370 on a piece of scrap paper, he doodled the police commissioner 371 and his daughter. He knew she would be the hero's love interest. 372 As the concept crystallized, he imagined that the hero would 373 operate outside the law, creating tension between him and 374 the commissioner. "In the wee hours of that night, 375 I had roughed out the seven pages and I began writing dialogue."</p> 376 <p>Eisner said that as he sat there, he realized 377 the wonder of his position: in a real sense, no one had 378 ever been in his particular position before. And everyone 379 who tried such an experiment would be following in footprints 380 pressed by Will Eisner. "I was writing the rule book, 381 fashioning the rules out of experience. As the concept for 382 <em>The Spirit</em> evolved, I knew it must come from my 383 own idea of what it should be, not from anyone else's. I 384 was dead serious and I knew what I was about."</p> 385 <p>Things were going smoothly and perhaps 386 that should have been his first warning. The phone rang; 387 it was <strong>Busy Arnold</strong>, wanting to know what 388 Eisner was concocting. When Eisner described the concept, 389 Arnold was underwhelmed. "He said he and Martin felt 390 that newspapers were expecting a costumed character, because 391 of the tremendous popularity of <em>Batman</em> and <em>Superman</em>. 392 After all, he said, the Sunday section was a response to 393 the popularity of these characters.</p> 394 <table width="142" border="0" cellpadding="0" cellspacing="0" class="pic-table"> 395 <tr> 396 <td><img src="images/spirithead.gif" alt="The Spirit, circa 1940" width="142" height="150" border="0" /></td> 397 </tr> 398 </table><p>"I reluctantly agreed that he had 399 a point, so I compromised on the costume," he added. 400 "That's when I gave <strong>The Spirit</strong> the 401 mask. But that's as far as I was willing to go. Any kind 402 of costume would have limited the kinds of stories I could 403 do: it would be an inhibiting factor. Later I put the gloves 404 on him. Those were the two concessions I made. As far as 405 Arnold and Martin were concerned, they were trademarks that 406 were necessary to make a marketable character. They were 407 pragmatists, not creative men. Martin felt that if editors 408 liked it, it was good. Don't make waves. I think Arnold 409 and Martin were disappointed because they expected to get 410 a costumed character, and they got <em>The Spirit</em>.</p> 411 <p class="bodytextcentred">* * *</p> 412 <p>Will Eisner's work on the Spirit was interrupted 413 in 1942 when he was drafted into the Army for service in 414 World War II. The Army took advantage of his skills as a 415 cartoonist, and during the war he was engaged in producing 416 posters, illustrations and strips for the education and 417 entertainment of the troops.</p> 418 <p class="nextnav"><a href="2-eisner-and-iger.html"><strong>< 419 PREVIOUS</strong></a><strong> | <a href="index.html">INDEX</a> 420 | <a href="4-the-post-war-years.html">NEXT ></a></strong></p> 421 <p class="editions">This article in its unaltered form was 422 originally published in <em>The Spirit: The Origin Years</em> 423 #1-4 (Kitchen Sink Press, 1992). Text © Tom Heintjes. All 424 rights reserved. Reprinted with permission.</p> 425 </div> 426 427 428 </div> 429 <div class="asset-footer"></div> 430 </div> 431 432 433 434 435 436 437 </div> 438 </div> 439 440 441 442 <div id="beta"> 443 <div id="beta-inner"> 444 445 446 447 448 449 <h3 class="widget-header">Biography</h3> 450 451<h3 class="pagemenu"><a href="1-the-early-years.html">The Early Years</a></h3> 452<h3 class="pagemenu"><a href="2-eisner-and-iger.html">Eisner and Iger</a></h3> 453<h3 class="pagemenu"><a href="3-spirited-work.html">Spirited Work</a></h3> 454<h3 class="pagemenu"><a href="4-the-post-war-years.html">The Post War Years</a></h3> 455<h3 class="pagemenu"><a href="5-the-army-years.html">The Army Years and PS Magazine</a></h3> 456<h3 class="pagemenu"><a href="6-rise-of-the-graphic-novel.html">Rise of the Graphic Novel</a></h3> 457<h3 class="pagemenu"><a href="7-latter-days.html">Latter Days</a></h3> 458<h3 class="pagemenu"><a href="8-further-reading.html">Further Reading</a></h3> 459 460 461 462 463 464 465 466 467 </div> 468</div> 469 470 471 472 473<div id="gamma"> 474 <div id="gamma-inner"> 475 <div class="widget-prwonderful"> 476 <div class="widget-content"> 477<center> 478<OBJECT classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://fpdownload.macromedia.com/get/flashplayer/current/swflash.cab" id="Player_7fd5b653-407f-47db-b85d-3e5cf70b422b" WIDTH="160px" HEIGHT="600px"> <PARAM NAME="movie" VALUE="http://ws.amazon.com/widgets/q?ServiceVersion=20070822&MarketPlace=US&ID=V20070822%2FUS%2Fwilleisner-2
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