In this edition of The Full Run, we look over DC Comics’ The Spirit #1, written and drawn by Darwyn Cooke, inked by J. Bone and colored by Dave Stewart.
In 2006, readers were treated to the first proper The Spirit series since Will Eisner’s original “Spirit Section” newspaper inserts. While there had been an 8-issue anthology series featuring different creators under Kitchen Sink Press (including the Watchmen team of Alan Moore and Dave Gibbons), no one had truly attempted to follow Eisner’s footsteps until Darwyn Cooke stepped up to the plate.
And if ever there was a worthy successor to Eisner, it’s Cooke. While Eisner pioneered many of the techniques that are now commonplace in the medium, those same techniques were perfected by Cooke. Moreover, Eisner viewed The Spirit as a vehicle for creative experimentation, as the titular hero is barely present in some of the more notable stories such as Ten Minutes, Christmas Spirit, or Story of Gerhard Schnobble. Contrarily, Cooke is genuinely interested in The Spirit himself and his supporting cast. The result, as evidenced by The Spirit #1, is a comic that honors Eisner’s craftsmanship and penchant for worldbuilding while also breathing life into the previously underdeveloped characters.
Darwyn Cooke’s The Spirit #1 occupies a time that is both modern and retro at the same time. There are hard-boiled detectives in fedoras and 24 hour cable news, the latter of which is sharply satirized in this opening issue. The structure of the issue is fairly straightforward – a beautiful woman is kidnapped and it is up to the Spirit to rescue her. Yet Cooke uses this simple framework to sharply satirize modern news media in a manner that is even more relevant today than in 2006. Facebook was still considered a relatively harmless website, Twitter was in its infancy, and social media influencers didn’t exist. Yet The Spirit #1 reads as a sharp critique of modern social media culture.
The story’s “damsel in distress” – a term this writer is using very loosely as she doesn’t fit the mold of a femme fatale – is cable news crime reporter Ginger Coffee, whose name alone makes her fit right into this world that’s already inhabited by the likes of Silk Satin, Sand Serif, Plaster of Paris, and Silken Floss.
Moreover, Cooke is quick to give her a distinct personality and strength of character that quickly subverts reader expectations. She is instantly likeable, while also being the subject of Cooke’s satire. Her constant banter and bickering with The Spirit is a source of joy throughout the issue. As the duo make their way throughout the tunnels of Central City to escape from a grotesque mob boss, Ginger is live-broadcasting a play-by-play audio of their journey, which in turn makes their getaway that much challenging. In lesser hands this would be an off putting element, but here it is nothing less than an entertaining dynamic.
Cooke also takes aim at the most infamous element of Eisner’s legacy, that being the racist depiction of minority characters such as the Spirit’s sidekick, Ebony White. Whether it is or isn’t considered a product of its era, Eisner’s visual portrayal of Ebony is gross and dehumanizing. Thankfully, Cooke’s revamp of Ebony makes it so his version of The Spirit can be comfortably read in public. First, he’s drawn like a regular human and given normal speech patterns – already a vast improvement over the original. Not content to give the sidekick a visual overhaul, Cooke up-front addresses the character’s questionable name in the following exchange between Ginger, The Spirit, and Ebony:
Ginger: Now who is this snack-sized nubian savior?
Ebony: Name’s Ebony
Ginger: Ebony? You’re playin’ me right? I mean, when you get home, do you stand on this guy’s lawn with a lantern or what?
The Spirit: No, it’s Tuesday. I stand on his lawn tonight.
And just like that, Cooke outright addresses the racism of Ebony’s past depictions, outright mocks it, and then moves on with the story. Further, this exchange within the space of two panels establishes his status as an equal of The Spirit. Further
It’s admittedly odd to be bringing up the quality of the artwork at this juncture, but in fairness the artwork itself plays a major role in those items discussed in the above paragraphs. In addition, Cooke’s artwork is made even better by the contributions of J. Bone and Dave Stewart. Bone’s inks further accentuate the noir atmosphere, adding to the readers’ immersion into this world. The heavy shadows and silhouettes contribute to the atmosphere without suffocating the story’s lighter elements. Meanwhile, Dave Stewart’s colors… *chefs kiss*. His time on The Spirit coincided with an incredible run as an Eisner winning colorist, and he fully earns another here.
The Spirit #1 is bottle issue that can be easily picked up by anyone and, unlike typical #1’s, tells a complete story. Most comics today (and when this was originally published) rely on a cliffhanger to keep readers interested in picking up the next issue. The Spirit instead relies on the quality of the storytelling and artistry as the hook for readers to keep coming back. This is not a slight against the other hardworking individuals in the industry, but rather a testament to Cooke’s talent.
