In this edition of The Full Run, we look over DC Comics‘ The Spirit #10, written and drawn by Darwyn Cooke, inked by J. Bone and coloured by Dave Stewart.
If you’ve watched the news or a late night show at any point in the last 25 years (and if we’re being honest, beyond that), you’ll notice that reporting current events takes a backseat to the dopamine hit that comes from politicized ragebait. Ratings matter more than sufficiently informing the public, with “infotainment” dominating news programming. “The Most Trusted Name in News” refers less to the most objective, factual, and honest news organization and more to the one that most closely aligns with their audience’s worldview, while all others are cast aside. More extreme takes and opinions find their way on the airwaves in an effort to attract more eyeballs for advertising dollars rather than serving the public’s interest.
Naturally, Darwyn Cooke takes this real world premise and gives it a heightened, far-fetched (at the time – more on that) Central City twist. With the context of 2000s media in mind, it was understood that despite their on-air bluster, these media personalities did have a degree of respect for each other. Look no further than Jon Stewart’s frequent appearances on Fox News, or Bill O’Reilly’s appearances on Stewart’s own The Daily Show. Fast forward to today, and the animosity between the talking heads as portrayed here is eerily prophetic, as the polarization of today’s media landscape has left little room for crossover discourse, let alone right or left-wing personalities stepping outside of their self-serving echo chambers.
Cooke’s macabre humor shines throughout this issue, as pastiches of well known news personalities meet their end in laugh-inducing ways. There is a natural amount of catharsis to see a clear stand-in for Bill O’Reilly or Andersen Cooper suffer a grisly fate without having something happen to them in real life. This approach satisfies the lizard-brain of readers across the political spectrum as Cooke blames the media machine in its totality for the problems of modern discourse. But despite the satire of the media, Cooke doesn’t forget that this is a Spirit story, and therefore doesn’t skimp on the detective work, femme fatales, and fisticuffs.
In a throwback to the series’ first issue, The Spirit is paired up with journalist Ginger Coffee. As one of Cooke’s original characters, there is a natural comfort in giving her a voice that gives her instant chemistry with The Spirit. Fancying herself a crimefighter via the Fourth Estate, her self-assuredness causes her to frequently butt heads with the titular vigilante. As a result, there is a simmering tension between the two that yo-yos between playful animosity and unspoken infatuation. It’s a shame that this will the her last appearance in Cooke’s run, as she’s been an electric, welcome addition to the Spirit’s expansive cast of characters.
The Spirit #10 is, in the humble opinion of this critic, the best issue of Darwyn Cooke’s run. Like no one else before or since, Cooke effortlessly integrates Will Eisner’s creation into the modern cultural landscape. Where the issue is somewhat lacking in technical experimentation (a Spirit staple), it more than makes up for in storytelling craftsmanship and using the medium to say something meaningful about society.
