Will Eisner — father of the graphic novel, creator of The Spirit, the towering figure after whom the comics industry named its highest honor — never saw this particular adaptation of his own work. Published in 2008, three years after his death, it is paper engineer Bruce Foster’s translation of Eisner’s noir into three dimensions: panoramic cityscapes, pull-tabs, frame-by-frame expanding mini-booklets, scene-change cutaways. The story is Eisner’s 1952 valedictory for The Spirit — Sand Saref, a Nazi virus on the black market, blackmail and betrayal in Central City. Foster, a Caldecott-nominated paper engineer with a gift for mechanical wit, honors it without camp.
This copy is pristine. All seven pop-up spreads fully intact and operating as designed. A genuine object-book — the kind whose fragility makes surviving working copies scarcer every year.
Will Eisner — father of the graphic novel, creator of The Spirit, the towering figure after whom the comics industry named its highest honor — never saw this particular adaptation of his own work. Published in 2008, three years after his death, it is paper engineer Bruce Foster’s translation of Eisner’s noir into three dimensions: panoramic cityscapes, pull-tabs, frame-by-frame expanding mini-booklets, scene-change cutaways. The story is Eisner’s 1952 valedictory for The Spirit — Sand Saref, a Nazi virus on the black market, blackmail and betrayal in Central City. Foster, a Caldecott-nominated paper engineer with a gift for mechanical wit, honors it without camp.
This copy is pristine. All seven pop-up spreads fully intact and operating as designed. A genuine object-book — the kind whose fragility makes surviving working copies scarcer every year.
Image 1 of 10
Image 2 of 10
Image 3 of 10
Image 4 of 10
Image 5 of 10
Image 6 of 10
Image 7 of 10
Image 8 of 10
Image 9 of 10
Image 10 of 10