Croaky‘s tale is Spirit at its most didactic: crime does not pay. It’s also the strip stretching to center other characters, in this case Croaky and his best gal, Poison Mag. The Perfect Crime title is a tad misleading; Croaky’s crime is robbing some guy of a hundred thousand dollars and killing the poor sap. More appropriate would be Perfect Getaway, but that one spoils a bit.

Because the crime is not perfect–the dying man tells Croaky the Spirit will avenge his death, cursing Croaky thanks to the dying words curse. Mag’s well-aware of the dying words curse, too, so it must be true.

The Spirit, however, will never be aware of the curse. It’s not even clear he ever knows he’s chasing Croaky Andrews for the murder. He’s chasing the bad guy, which leads to a solid autoplane action sequence (Ebony pilots, Spirit waterskis), but it’s nothing personal. Except for how bad Spirit feels about Croaky escaping.

So now let’s spoil a bit about Croaky’s Getaway, which involves a five-year plan: Croaky has purchased a Caribbean island and outfitted it with automatic machine guns, an elaborate security system with booby traps—the whole bit–and built a submarine capable of escaping a flying car.

It’s incredibly impressive, so it’s strange Croaky’s kind of a dope. It’s also weird he was waiting until this particular crime to cut out. Perhaps there’s something in the absent first act, which Eisner and studio wisely avoid.

Instead, we’re straight into the action, then the chase and escape. There are great visuals of Croaky and Mag getting out of Central City, but their adventures in a green hell are much more striking. While still keeping the Spirit involved (mostly immaterially), Crime‘s all about Croaky and Mag suffering for their sins — the strip’s relentless and vicious in its punishment. Crime doesn’t pay, after all, even if the Spirit’s losing sleep over things not his fault.

It’s a moody, tough strip. The Spirit’s bouts of self-depreciation over his failings–to an unusually silent Commissioner Dolan–succeed in softening some of the despair, but at a significant cost. Perfect Crime introduces this previously unknown practice of the Central City citizenry—siccing the Spirit on their killers. A “vengeful” Spirit just seems out of character, but so does the whiny one they went with.

Crime‘s a really good strip. Heavy-handedness included. Additionally, the strip’s a very graphically violent and visually disturbing tragedy. It’s practically a horror comic. And the characters earn their keep and the portent of the narrative–Croaky for his accomplished planning, and Mag for her personal tragedies.

Of course, no answer to the greatest question–what does Croaky need with a hundred grand in cash when living in self-sustaining luxury exile?

They are a superstitious, cowardly lot, I suppose… but, only the Spirit knows.

If you want to explore the peculiarities of Spirit’s characterization and visualization of Ebony White, Introducing Scarlett Brown is probably the most fodder the strip’s seen to date.

Ebony, of course, is the Spirit’s only confidant, best friend, assistant investigator, and occasional savior. Ebony’s single-handedly saved Spirit’s bacon at least two times, probably three. Eisner and studio just happen to draw him Sambo-style and write his dialogue like it’s Amos ‘n’ Andy. Save his second (or third) strip, Ebony has been the only Black character in The Spirit. And that other time it was about the lodge hall (in a visual Amos ’n’ Andy style).

As the book says, yikes on bikes.

This strip introduces Ebony’s love interest, Scarlett, a Black girl who’s dressed like she’s a tween. Spirit met Ebony when Ebony was a cabbie. Now, the strip took place in New York City at that time, and, at that time in 1940, the driving age was eighteen in New York City–sixteen or seventeen with a learner’s permit. Even assuming Ebony’s fourteen…

Not great stuff. Also not great is Scarlett and Ebony’s rival for her affections, the imposingly named Throckmorton, who is also in Sampo style. But then, inexplicably and welcome, Mr. Brown is, you know, just a guy. Like, he’s not the best rendered character in his one medium shot before he’s narrating a flashback, but he’s just a Black dad guy. It’s fine.

Also, his dialogue is fine, no minstrel dialect. And racism doesn’t appear to exist in The Spirit. The strip has been racist—Black people, Mexican people—but none of the characters have ever exhibited any prejudice towards those characters. The creatives are mocking them for the readership.

And that part is actually the worst. Maybe. Because other than the racist caricature and dialect, Ebony’s a great character. As long as he’s twelve because he wins Scarlett in a “game o’ marbles.” Spirit’s surprised about the marble thing—after observing his lovestruck friend with sincere happiness–which also has some vibes. Though without the visuals, the strip would be a lot closer to it being tweenage folly.

Post acquisition, Ebony goes to see Scarlett and finds Throckmorton already there. Mr. Brown wants to meet both boys (the marbles go unmentioned). Except it turns out Scarlett really wants Ebony to talk to her dad about work stuff: spies have been snooping at his munitions factory. And Ebony’s been over-hyping himself—he’s told Scarlett and Throckmorton he’s the great detective and Spirit’s his assistant.

So while Throckmorton takes Scarlett for an ice cream, Ebony gets the lowdown on the case. It’s simple enough work, especially for the Spirit, but Spirit decides to make Ebony do all the work himself because of the lying.

Until things get violent, Ebony’s doing a great job on his solo mission (not his first; he’s saved the day in multiple strips). He investigates the crime scene, finds additional clues, pursues those leads; he’s got a moral purpose (though his courage is from Scarlett’s renewed affection at his acceptance of the case). It’s a great strip for Ebony.

Despite the visuals and dialect. The dialogue’s probably great if cleaned up. It’s infuriating.

Spirit maintains a presence, which works out (and also lends to the niceness). There are some excellent panels, if not full pages. Some fine action beats. Some of them even manage to be racist in how they visualize Ebony fighting in a darkened room. If it weren’t being racist, it’d be a fine strip.

Swell.

But then it’s even worse when you remember Spirit’s a weekly newspaper strip. And it’s so messed up to make a role model character into a racist insult directed at the audience the character should be representing.

So long as when the strip retconned from New York City to Central City, Ebony de-aged to twelve or so. Because if he didn’t, it’s an even bigger layer of f**ked up.

The title gives everything away in this strip: the Central City underworld teams up (principally three gangsters) and successfully captures the Spirit. Not a particularly difficult feat, it turns out. They give Spirit some bad intel, and he walks right into a trap. Art-wise, it’s a beautiful sequence, lots of inky blacks and a fantastic establishing shot of the ominous waterfront. Glorious stuff.

Narratively? Well, given it happens on the second page of the story, another shoe drop seems inevitable. Especially once the gangsters reveal they’re waiting until every criminal in Central City who wants to stop by and see the captured Spirit before they kill him off. They don’t even think to unmask him.

Now, Spirit will eventually take advantage of the delay, but the story focuses on his friends deciding what to do about his capture. The gangsters don’t have a complicated communication system — they just have crooks telling other crooks they’ve grabbed Spirit and to head over for one last look. So the cops hear about it, too, with Commissioner Dolan unable to intercede because the Spirit’s apparently still considered a violent criminal.

I could’ve sworn he was at least not wanted for murder anymore (and has made more friends on the police force than just Dolan). But, no, the cops are thrilled they’ll be rid of the Spirit, and things can go back to them not getting shown up by Spirit solving the cases they ignore. Dolan’s staff sure seems to make his job even more miserable.

Dolan then heads home to find Ellen in tears, Ebony just having informed her about Spirit’s capture and impending execution. She pleads with her father to help; he explains the official position of the Central City Police Department is they’re going to let wanted criminals murder internationally beloved (and wartime government contractor) Spirit.

Ebony hadn’t just been visiting for Ellen’s emotional support; he assumed he and Dolan were going to save the day together. With Dolan out of the picture, Ebony takes it upon himself to get the job done.

Meanwhile, Spirit’s doing social engineering to save himself. Central City’s criminal types aren’t too bright.

It’s an okay enough strip, though, without any narrative weight. Ebony’s rescue attempt is good—and possibly the most inventive story element (Ebony wouldn’t have fallen for a fake tip)—but it’s resolved in a couple of pages, even though it could’ve been the whole thing. Because, instead, Eisner lightens the mood some more. Unfortunately, it’s not straight comedy, which would’ve helped.

The art’s great–good fight scenes (even when Spirit inexplicably disappears from a panel)–and fine (brief) talking heads. The story’s just a little uneven.

The Dolans—both Commissioner and Ellen—are back this strip after a few weeks off. The Commissioner’s sick of Ellen just going to teas or dances; it’s high time she settles down with a husband or gets herself a job. Ellen’s already ahead of Dolan (a theme this strip)—she’s got a new job as a boxer’s manager. She’s found a poet palooka named Winthrop Boombershlag (because Eisner was in a fun mood). The Commissioner doesn’t approve but is interrupted by the Spirit’s call.

Spirit’s calling to report information about a plot to kill Winthrop Boombershlag in the ring. The reader already knows about it because the opening scene features the bad guys (including the evil scientist, who appears to be a racial caricature of some kind, but they lost their nerve to put the finishing touches on). Then the reader knows about the danger in the second scene with Ellen and the Commissioner, and goes into the Spirit’s briefing scene knowing more than anyone. Except Ebony, who’s overheard the bad guys (presumably some time after the opening scene).

Commissioner Dolan’s not interested—and Ebony doesn’t have information about the other boxer, though the reader knows the mad scientist has deadened all Dipsy Dooble’s nerves to make him a more lethal opponent–so it’s a good thing Spirit pisses off Winthrop. Without the delightful page of Winthrop’s feats of strength and their eventual payoff, Commissioner Dolan may never have listened to Spirit’s plan, which would have narrative repercussions.

The resolution’s a lot of fun, with Eisner and studio keeping things moving once we’re in the ring, but Ellen and Spirit don’t get to catch up at all. It’s an interesting narrative actuality of the comic strip—sometimes you’ve got characters to use without much reason to use them, so they fit another function. Here, it’s Ellen’s boxing manager career, which gets no resolution. Her character development had veered towards romance with Spirit, but she’s all business—especially since her star (and only) client Winthrop Boombershlag is very protective.

The result’s a good strip, but not one with anything particularly standout. They’ve never really done a character like Winthrop as comic relief, and it’s interesting to see Eisner lean heavier on comedy beats. The finale’s got some excellent visuals, the fights have some excellent visuals. It’s all very well-executed comics.

Commissioner Dolan and the Spirit doing bickering bits, however, need a little more work. They get into it over Ebony’s reliability as a witness, and it gets personal for both of them rather quickly. It resolves on a comedy beat, and they do get to bond a little at the very end, but the strip’s seemingly satisfied with contriving whatever type of friendship they need (or don’t need) for the plot.