highly regarded and well compensated for their work—much more so than the comic book artists—but for Eisner this was only part of the attraction. He was already well compensated for his efforts at Eisner & Iger; he lived well, and he felt secure enough to move his parents, brother, and sister to an apartment on Manhattan’s Morningside Drive. At twenty-two he was already able, in essence, to support a family of five. Money wasn’t an issue.
What working for newspapers offered Eisner was an opportunity he would never have as long as he continued to work in the Eisner & Iger vein of producing comics. With newspapers, he could write and illustrate stories for adults as well as young readers. He might not have known, while he explained the deal to Iger, exactly what kind of character he would be creating for the newspaper supplement, but he was certain that despite Arnold and Martin’s desires, it wouldn’t be a guy from another planet, somebody wearing a costume like a strongman in the circus, someone who could fly, or someone who’d battle weird mutants from outer space. Whatever he decided to do, it would be entertaining but story driven and would stay as far from gimmicks as possible.
When they had formed their company, Bill Eisner and Jerry Iger had a formal buyout provision written into their partnership agreement. According to the contract, if one partner wished to opt out of the company, he was required to offer his partner the chance to buy him out at an agreed-upon price. Eisner and Iger talked it over and decided that Iger would keep the company at a $20,000 purchase price—a decent return on Eisner’s original investment by anyone’s standards. In addition, Eisner relinquished ownership of all the characters he had created at Eisner & Iger, including Sheena and the cast of Hawks of the Seas . When he left Eisner & Iger, he would truly be starting from scratch.
At first glance, it might appear that Eisner, who prided himself on his business acumen, might have been taken on the deal—and Iger would present it that way when he talked about the breakup in the future. The buyout price that Eisner received was undoubtedly lower than the company’s market value, and Iger now controlled all the characters that Eisner had created during his time with the company. Eisner, however, walked away with three invaluable assets when Jerry Iger agreed to let him take Lou Fine, Bob Powell, and Chuck Mazoujian with him. In effect, Eisner had raided the shop for its best artists.
It hadn’t been easy. Iger had an eye for talent, and at a time when comic book companies, shops and publishers alike, were making sport out of raiding each other’s bullpens, Iger was sensitive about losing his staff to Eisner or anyone else. When word spread about his leaving, Eisner was approached by most of the artists working for him, all wishing to be part of the new enterprise. Knowing that he’d be permitted to take only a few men with him, Eisner held hushed, confidential meetings with the ones he hoped to employ.
“There were a few tight-lipped moments then, because talent was very precious,” Eisner said. “Bodies were being traded back and forth. Some people wanted to go with me, but I had to say, ‘You can’t come with me because Iger will be mad.’”
Eisner moved quickly in setting up his new shop. He found a two-room, fifth-floor apartment at 5 Tudor City on Manhattan’s East Side and installed his bullpen in its large living room. He used the bedroom for his office. Quarters were tight, especially when Eisner began hiring other artists to complement the staff he’d brought over from Eisner & Iger, but nowhere near as cramped as the conditions when he and Jerry Iger had opened their first shop in what was little more than a large closet.
Eisner’s ideas for the Sunday comic book were starting to take shape. The format had already been determined in his earlier conversation with Busy Arnold and Henry Martin. The book
What working for newspapers offered Eisner was an opportunity he would never have as long as he continued to work in the Eisner & Iger vein of producing comics. With newspapers, he could write and illustrate stories for adults as well as young readers. He might not have known, while he explained the deal to Iger, exactly what kind of character he would be creating for the newspaper supplement, but he was certain that despite Arnold and Martin’s desires, it wouldn’t be a guy from another planet, somebody wearing a costume like a strongman in the circus, someone who could fly, or someone who’d battle weird mutants from outer space. Whatever he decided to do, it would be entertaining but story driven and would stay as far from gimmicks as possible.
When they had formed their company, Bill Eisner and Jerry Iger had a formal buyout provision written into their partnership agreement. According to the contract, if one partner wished to opt out of the company, he was required to offer his partner the chance to buy him out at an agreed-upon price. Eisner and Iger talked it over and decided that Iger would keep the company at a $20,000 purchase price—a decent return on Eisner’s original investment by anyone’s standards. In addition, Eisner relinquished ownership of all the characters he had created at Eisner & Iger, including Sheena and the cast of Hawks of the Seas . When he left Eisner & Iger, he would truly be starting from scratch.
At first glance, it might appear that Eisner, who prided himself on his business acumen, might have been taken on the deal—and Iger would present it that way when he talked about the breakup in the future. The buyout price that Eisner received was undoubtedly lower than the company’s market value, and Iger now controlled all the characters that Eisner had created during his time with the company. Eisner, however, walked away with three invaluable assets when Jerry Iger agreed to let him take Lou Fine, Bob Powell, and Chuck Mazoujian with him. In effect, Eisner had raided the shop for its best artists.
It hadn’t been easy. Iger had an eye for talent, and at a time when comic book companies, shops and publishers alike, were making sport out of raiding each other’s bullpens, Iger was sensitive about losing his staff to Eisner or anyone else. When word spread about his leaving, Eisner was approached by most of the artists working for him, all wishing to be part of the new enterprise. Knowing that he’d be permitted to take only a few men with him, Eisner held hushed, confidential meetings with the ones he hoped to employ.
“There were a few tight-lipped moments then, because talent was very precious,” Eisner said. “Bodies were being traded back and forth. Some people wanted to go with me, but I had to say, ‘You can’t come with me because Iger will be mad.’”
Eisner moved quickly in setting up his new shop. He found a two-room, fifth-floor apartment at 5 Tudor City on Manhattan’s East Side and installed his bullpen in its large living room. He used the bedroom for his office. Quarters were tight, especially when Eisner began hiring other artists to complement the staff he’d brought over from Eisner & Iger, but nowhere near as cramped as the conditions when he and Jerry Iger had opened their first shop in what was little more than a large closet.
Eisner’s ideas for the Sunday comic book were starting to take shape. The format had already been determined in his earlier conversation with Busy Arnold and Henry Martin. The book
Similar Books
