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The Dreamer
A roman à clef about Eisner's early years in the thriving comics industry prior to World War II featuring new annotations that reveal the comics pioneers like Bob Kane and Jack Kirby who appear under pseudonyms.
56 pages, Paperback
First published January 1, 1986
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About the author
Will Eisner
761 books534 followersWilliam Erwin Eisner was an American cartoonist, writer, and entrepreneur. He was one of the earliest cartoonists to work in the American comic book industry, and his series The Spirit (1940–1952) was noted for its experiments in content and form. In 1978, he popularized the term "graphic novel" with the publication of his book A Contract with God. He was an early contributor to formal comics studies with his book Comics and Sequential Art (1985). The Eisner Award was named in his honor and is given to recognize achievements each year in the comics medium; he was one of the three inaugural inductees to the Will Eisner Comic Book Hall of Fame.
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Displaying 1 - 30 of 64 reviews
April 8, 2024
The early days of comic industry - told by a master who was there. Will Eisner was so far ahead of his times; his work really needs to be appreciated by a much wider audience. I would have liked to have seen his interpretation of the works of Kafka and Beckett; I think he would have been perfect to work on Batman. But like many trailblazers he was underappreciated in the early days of GN. His work is amazing and thought provoking; an American icon.
July 20, 2017
In 54 pages, including about 7 pages Annotations by Denis Kitchen with the real names and events, Will Eisner relates a condensed version of his early years in the early years of the comic book industry. Anything Will Eisner is automatically a good buy for his fans, comic collectors, those with an interest in the history of pre-WWII America and the golden years in the creation of the comic book business and culture. The Dreamer is almost family friendly, absent a few panels of sex. I found the story line too condensed but the artwork is enough to make me forgive the book’s brevity. I wanted more, but what is on the page is why Eisner is such an honored illustrator.
The Dreamer is Will Eisener. The book is a slightly rosy version of the stages through which he lived on the way to being a founding pen in Comics. For example the industry had its mob connections, especially on the distribution side, but also in its association with pornographic pre-comic booklets. This aspect is more hinted at than honestly acknowledged.
I am not a major consumer of graphic novels, having been spoiled by starting with Alan Moore’s Watchmen
Not many can follow that Alan Moore. Eisener was not a follower. He was a founder and innovator. It is Moore who follows Eisner.
The Dreamer is Will Eisener. The book is a slightly rosy version of the stages through which he lived on the way to being a founding pen in Comics. For example the industry had its mob connections, especially on the distribution side, but also in its association with pornographic pre-comic booklets. This aspect is more hinted at than honestly acknowledged.
I am not a major consumer of graphic novels, having been spoiled by starting with Alan Moore’s Watchmen
Not many can follow that Alan Moore. Eisener was not a follower. He was a founder and innovator. It is Moore who follows Eisner.
December 9, 2020
Con nombres de personajes ficticios, en “El soñador”, Will Eisner narra su vida y el ambiente de la profesión entre 1937 y 1939. Los años del Eisner-Iger Studio, previos a la aparición de The Spirit como suplemento dominical de prensa.
El cómic tiene un cierto tono Frank Capra y es más informativo que dramático. A veces parece una ilustración de una entrevista con Eisner y, a ratos, pasa del biopic a la hagiografía.
Pero qué más da. Me encanta Capra, me encanta Eisner y está magníficamente dibujado. Y a veces, necesitamos historias de soñadores que consigues su objetivo, aunque intuyamos que las cosas no debieron ocurrir del todo así.
El cómic tiene un cierto tono Frank Capra y es más informativo que dramático. A veces parece una ilustración de una entrevista con Eisner y, a ratos, pasa del biopic a la hagiografía.
Pero qué más da. Me encanta Capra, me encanta Eisner y está magníficamente dibujado. Y a veces, necesitamos historias de soñadores que consigues su objetivo, aunque intuyamos que las cosas no debieron ocurrir del todo así.
November 27, 2007
Though I was introduced to Eisner's work with "Heart of the Storm", this book truly showed me what a great artist he was.
I picked up "The Dreamer" when I was relatively young, still reading superhero series and more mainstream books. This story showed me how amazing comics could be to tell human interest stories, tales of ordinary people that had lead extraordinary lives.
"The Dreamer" made me want to make my own comics and I'll always be thankful for that.
I picked up "The Dreamer" when I was relatively young, still reading superhero series and more mainstream books. This story showed me how amazing comics could be to tell human interest stories, tales of ordinary people that had lead extraordinary lives.
"The Dreamer" made me want to make my own comics and I'll always be thankful for that.
February 5, 2016
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The Dreamer is a roman à clef of Eisner's time in the comic book industry of the 1930s. A fascinating, first-hand account of what it was like to work for the early assembly-line comic book publishers, this graphic novel also contains some fun, thinly disguised appearances by industry legends such as Jack Kirby (co-creator of The Fantastic Four, The X-Men, and Captain America among others) and Bob Kane (the co-creator of Batman).
The Dreamer is a roman à clef of Eisner's time in the comic book industry of the 1930s. A fascinating, first-hand account of what it was like to work for the early assembly-line comic book publishers, this graphic novel also contains some fun, thinly disguised appearances by industry legends such as Jack Kirby (co-creator of The Fantastic Four, The X-Men, and Captain America among others) and Bob Kane (the co-creator of Batman).
January 22, 2015
An autobiographical account of himself as well as other artists during the initial period of struggle. I liked this work. Although, I do wish it was a bit longer and a bit more detailed....
May 31, 2022
My favorite of his books. Very nice quick read.
May 2, 2012
Oh Eisner, this may be my second favorte autobio GN by you (first being "Into the Storm"). This book was wonderful, I read it so quickly. I learned all kinds of things about the 1930s comic industry I'd never even heard about, and I'd considered myself an expert. Plus a firsthand look at what it's like to work with Jack Kirby! I wonder if Eisner was really as fabulously, classically handsome as a young man as he draws himself in this book (it doesn't seem possible).
To think there was once a time when comics were the key to making money. What I wouldn't give to live in that time!
To think there was once a time when comics were the key to making money. What I wouldn't give to live in that time!
December 7, 2015
Great to get a glimpse of the early comics industry from the perspective of someone who was actually there. I'm glad for the notes at the end which clarify both the things Eisner didn't know at the time and the things he deliberately changed. But he keeps hammering home the theme of dreams and dreamers, often twisting the facts just to drum it into the reader's brain one more time. I wish Eisner had been comfortable enough to let some of those go and let the story unfold more naturally.
December 30, 2017
This is Will Eisner's autobiographical graphic novel about becoming one of the most important founding members of the art of the comic book and being the reason the highest honor in the comics world is called the Eisner Award.
He relates his trek from dewy-eyed young dreamer to writer and artist behind Sheena Queen of the Jungle, Captain Marvel, and eventually, his signature work, The Spirit.
Comic book story-telling doesn't get better than this tale from the brush of the master.
He relates his trek from dewy-eyed young dreamer to writer and artist behind Sheena Queen of the Jungle, Captain Marvel, and eventually, his signature work, The Spirit.
Comic book story-telling doesn't get better than this tale from the brush of the master.
Read
September 7, 2009Eisner still has his drawing chops, to be sure. The story is a veiled history of the comic book, though there are annotations at the back to explain who is who. It's a very short book, so there's a lot that happens all at once, perhaps too much. In any case, it's a nice little story about the medium.
November 22, 2011
This very short graphic novel introduces a fictionalize account of Will Eisner's entry into the comic book business in the middle of the Depression. One aspect most people overlook about Eisner that he was a businessman first and foremost. When an opportunity disappears he decides to start his own business. Most artists are not good at business and are content to settle for less.
July 6, 2012
An autobio comic by the man who created the first successful graphic novel, detailing "a dreamer" trying to make artistic dream→reality in the face of capitalism obstacles (exploitation for profits, large risks, people as pawns)…but also a glimpse into the origins of the comic book industry. Good drawings, good text.
January 31, 2016
This is about Will Eisner’s early years in the comic book world and his accounts with other people in the industry. This is a great graphic novel if you want to see what went on in the comic book industry in the early years, or how Eisner got his start. It’s a very enlightening read that shows all the good and all the bad that occurred during this time.
May 2, 2016
Although nothing Eisner does is bad, this short reflection on the early comics industry isn't nearly as compelling as Eisner's other works. Perhaps it's simply that this one is so very short that it doesn't really have time to develop greater narrative complexity, but aside from the stunning art and usual humor, I found this quaint but not very profound.
March 13, 2011
Nice and short. This books feels almost autobiographical, lthough to be fair I can't be much of a judge on that. Talks about the aspirations of simple people who think big also feels like it hits caustically on the naivity of a dreamer. Worth a read.
August 10, 2009
lots of thinly disguised history on the origins of the comic/graphic novel industry from the venerated creator of the Spirit and the pioneering graphic novel.
December 19, 2011
Eisner's always fluid and dynamic storytelling skills shine through in The Dreamer a brief, yet poignant primer on the birth of the comic book.
September 6, 2012
I love the works of Will Eisner.
June 1, 2016
Superb
August 12, 2015
A semi-autobiography about Eisner's own adventure into the comic strip filed with one determination: to achieve his dream.
February 24, 2017
this is an incredibly inspiring and motivational story of the original creator of graphic novels.
May 7, 2017
The grandfather of comics. This is a true master at work. The levels this story functions are phenomenal. I highly recommend this novel.
June 13, 2017
to draw a dream !!!!
May 8, 2024
In July of 2002, I received the following email:
“That’s fine,” I replied. “You have my permission.”
I received a copy of Il Sognatore several months later. It was kind of weird having a book in which pretty much the only thing I could read was my own name—under “Ringraziamente”.
A group cruise to Italy in 2020, delayed until 2023, meant more time than expected to prep some rudimentary Italian. Now that the trip is done and I’d like to maintain what I know—and perhaps even improve—it seemed a good time to pull this off the egoboo shelf. (I’ve also been watching a lot of Roberto Rossellini and Federico Fellini lately.)
The illustrations appear to be faithfully reproduced; the lettering is replaced with a less handwritten style. If I’m reading the credits correctly in the English version, Eisner himself lettered the original. The word balloons are maintained, the text inside them replaced. If you’ve ever watched a foreign movie with subtitles, often the translation is significantly smaller or larger than the original and that does happen here. Combined with the use of bolded text to replace Eisner’s larger intimation of yelling, there is occasionally lot of white space around the text inside the balloons.
I’m looking right now at “…What have you got in mind?” translated to “…Cos’ha in mente?” for example. Smaller text and fewer letters means a large balloon with a comparatively minuscule text inside it. On the next page, Reynard Fox’s thought balloon changes from hand-lettered arced text to the same horizontal text as all of the spoken words. This does change the perception of the characters’ lines.
The book is slightly smaller than the original. It’s probably shrunk by about ½ horizontally and about ¾ of an inch vertically, but this is something I only noticed now that I’m comparing the two right next to each other. (Since this was partly to improve my Italian, I did not consult the English version while reading it.)
As far as I can tell with my rudimentary Italian the translations are all very well done. For an Italian interested in “uno spaccato unico del mondo del cartooning americano alla fine degli anni Trenta” (a unique perspective on the world of American cartooning at the end of the thirties—interesting how different languages have different capitalization customs) it should be a great read.
What this edition has that the original doesn’t is an overview of how the various fictional characters in Eisner’s semi-autobiographical work line up with the real people Eisner worked with in the era. Each entry contains, on the left, a panel featuring that character (or, in the case of Tijuana Bibles, that thing) and, on the right, a photo of the real person. Underneath, there is a very useful attribution of the photo and a paragraph describing the significance of the character.
Some of this was fascinating, such as that Tijuana Bibles often gave an incorrect publishing location, since they were illegal. Or that Detective Comics was the first comic book dedicated to a single genre (“…la prima testata a fumetti dedicata a un unico genere”).
The descriptions were also very even-handed while still providing personal tidbits. For example,
That is, “everyone from the era agrees in calling Victor Fox someone to be avoided. And yet, this accountant-cum-publisher launched no small number of characters, in particular, Blue Beetle, the second comic book hero after Superman.”
There’s also a new introduction by Eisner for this Italian edition. While it doesn’t specifically address the connections his story has with real life, he does mention that the book is called “The Dreamer” because Jerry Iger really did call him that when talking about the management of the company and Eisner’s own future plans.
Mr. Stratton, we’ll be publishing the first Italian edition of THE DREAMER which will feature additional articles and info about the history of American comics and creators. Do we have your permission to quote info and excerpts from your article “the annotated THE DREAMER”?
It would make our work more complete.
“That’s fine,” I replied. “You have my permission.”
I received a copy of Il Sognatore several months later. It was kind of weird having a book in which pretty much the only thing I could read was my own name—under “Ringraziamente”.
A group cruise to Italy in 2020, delayed until 2023, meant more time than expected to prep some rudimentary Italian. Now that the trip is done and I’d like to maintain what I know—and perhaps even improve—it seemed a good time to pull this off the egoboo shelf. (I’ve also been watching a lot of Roberto Rossellini and Federico Fellini lately.)
The illustrations appear to be faithfully reproduced; the lettering is replaced with a less handwritten style. If I’m reading the credits correctly in the English version, Eisner himself lettered the original. The word balloons are maintained, the text inside them replaced. If you’ve ever watched a foreign movie with subtitles, often the translation is significantly smaller or larger than the original and that does happen here. Combined with the use of bolded text to replace Eisner’s larger intimation of yelling, there is occasionally lot of white space around the text inside the balloons.
I’m looking right now at “…What have you got in mind?” translated to “…Cos’ha in mente?” for example. Smaller text and fewer letters means a large balloon with a comparatively minuscule text inside it. On the next page, Reynard Fox’s thought balloon changes from hand-lettered arced text to the same horizontal text as all of the spoken words. This does change the perception of the characters’ lines.
The book is slightly smaller than the original. It’s probably shrunk by about ½ horizontally and about ¾ of an inch vertically, but this is something I only noticed now that I’m comparing the two right next to each other. (Since this was partly to improve my Italian, I did not consult the English version while reading it.)
As far as I can tell with my rudimentary Italian the translations are all very well done. For an Italian interested in “uno spaccato unico del mondo del cartooning americano alla fine degli anni Trenta” (a unique perspective on the world of American cartooning at the end of the thirties—interesting how different languages have different capitalization customs) it should be a great read.
What this edition has that the original doesn’t is an overview of how the various fictional characters in Eisner’s semi-autobiographical work line up with the real people Eisner worked with in the era. Each entry contains, on the left, a panel featuring that character (or, in the case of Tijuana Bibles, that thing) and, on the right, a photo of the real person. Underneath, there is a very useful attribution of the photo and a paragraph describing the significance of the character.
Some of this was fascinating, such as that Tijuana Bibles often gave an incorrect publishing location, since they were illegal. Or that Detective Comics was the first comic book dedicated to a single genre (“…la prima testata a fumetti dedicata a un unico genere”).
The descriptions were also very even-handed while still providing personal tidbits. For example,
Tutti i protagonisti dell’epoca concordano nel ritenere Victor Fox una persona da cui stare alla larga. Eppure, questo ragioniere divenuto editore ha lanciato… non pochi personaggi… in particolare Blue Beetle… secondo eroe dei comic book, dopo Superman.
That is, “everyone from the era agrees in calling Victor Fox someone to be avoided. And yet, this accountant-cum-publisher launched no small number of characters, in particular, Blue Beetle, the second comic book hero after Superman.”
There’s also a new introduction by Eisner for this Italian edition. While it doesn’t specifically address the connections his story has with real life, he does mention that the book is called “The Dreamer” because Jerry Iger really did call him that when talking about the management of the company and Eisner’s own future plans.
Intitolai il volume Il Sognatore perché era così che mi chiamava il mio socio Iger quando discutevamo della gestione dell’ufficio e del mio futuro.
September 15, 2019
This is a thinly disguised chapter from Will Eisner's life, done up in "graphic novel" style. It's a quick read: only about 46 pages. It's a black and white production, uncolored.
As the story opens, "Billy" (clearly a stand-in for Will Eisner), an aspiring artist, is looking for work and still living with his parents. It's the dawn of comic book publishing: the mid-1930's, not long before Superman's first appearance in Action Comics. (While the basic outline of this event is portrayed, Eisner avoids using real names, even substituting something generic like "Big Hero" for Superman.)
Frustrated with the meager, short term work he's able to find as an artist, Billy teams up with a sales partner to create a "shop" that contracts with publishers for comic book work. Eventually, they are able to hire some additional artists and create a production-line business.
The shop eventually agrees to produce art for a super-hero book with similarities to Superman (probably Captain Marvel), and gets embroiled in a lawsuit in which Billy is required to testify. His client loses the suit, in part based upon Billy's honest testimony at trial.
Ultimately, Billy is offered a chance to create his own Sunday newspaper insert comic book for a syndicate. Despite obvious risks, he accepts and retires from his own production shop. The story ends abruptly at this point, with a suggestion that Billy's contract with the syndicate will lead to fame and success. (And it did, which you already know if you're familiar with Eisner and his work.)
The newspaper insert, of course, was Eisner's own comic book, The Spirit. While this reference was obvious, I didn't catch what were obviously several veiled references to other big names in comics. That said, it was hard to miss references to Jack Kirby (who intrepidly kicks a mobster out of the comic production shop) and Harry Donenfeld (the ruthless publisher who presided over DC's (then National's) acquisition of its"Golden Age" superheroes).
Although the story isn't terribly exciting unless one has an enthusiasm for comic book history, Eisner's art is superb. From the opening splash page to the end, Eisner brilliantly depicts New York City life during the late 1930's with a cinematic sensibility comparable to the best of film noir.
As the story opens, "Billy" (clearly a stand-in for Will Eisner), an aspiring artist, is looking for work and still living with his parents. It's the dawn of comic book publishing: the mid-1930's, not long before Superman's first appearance in Action Comics. (While the basic outline of this event is portrayed, Eisner avoids using real names, even substituting something generic like "Big Hero" for Superman.)
Frustrated with the meager, short term work he's able to find as an artist, Billy teams up with a sales partner to create a "shop" that contracts with publishers for comic book work. Eventually, they are able to hire some additional artists and create a production-line business.
The shop eventually agrees to produce art for a super-hero book with similarities to Superman (probably Captain Marvel), and gets embroiled in a lawsuit in which Billy is required to testify. His client loses the suit, in part based upon Billy's honest testimony at trial.
Ultimately, Billy is offered a chance to create his own Sunday newspaper insert comic book for a syndicate. Despite obvious risks, he accepts and retires from his own production shop. The story ends abruptly at this point, with a suggestion that Billy's contract with the syndicate will lead to fame and success. (And it did, which you already know if you're familiar with Eisner and his work.)
The newspaper insert, of course, was Eisner's own comic book, The Spirit. While this reference was obvious, I didn't catch what were obviously several veiled references to other big names in comics. That said, it was hard to miss references to Jack Kirby (who intrepidly kicks a mobster out of the comic production shop) and Harry Donenfeld (the ruthless publisher who presided over DC's (then National's) acquisition of its"Golden Age" superheroes).
Although the story isn't terribly exciting unless one has an enthusiasm for comic book history, Eisner's art is superb. From the opening splash page to the end, Eisner brilliantly depicts New York City life during the late 1930's with a cinematic sensibility comparable to the best of film noir.
July 15, 2024
It's impossible to look into comic book history and to not learn at least a little bit about Will Eisner. He was there at the earliest days of the American comic book industry and was one of the prophets who saw that beyond just repackaging the Sunday Funnies, there would soon be a demand for original material. Eisner teamed up with Jery Iger to form the Eisner and Iger Studio (Shop) where they produced original comic book features to sell to the various publishing houses during those halcyon days. The Dreamer follows Eisner's early career through to the creation of his most famous character-- the Spirit (and the Spirit Section) coming full circle bringing new comic book action to Sunday papers.
The Dreamer is Eisner's rose-colored look at the early years of the comic book industry. Names have been changed, the characters baseed on publishers and artists are often amalgamations, and some of the incidences may paint Eisner in a more flattering light than a true history might show, but The Dreamer is a masterful snapshot of history written and illustrated by someone who was part of it. This edition includes a reference guide matching the characters to their real life inspirations.
The Dreamer is Eisner's rose-colored look at the early years of the comic book industry. Names have been changed, the characters baseed on publishers and artists are often amalgamations, and some of the incidences may paint Eisner in a more flattering light than a true history might show, but The Dreamer is a masterful snapshot of history written and illustrated by someone who was part of it. This edition includes a reference guide matching the characters to their real life inspirations.
March 8, 2021
This was great, if not a little light as a narrative. I don’t give a shit, though, because Eisner’s art (those vertical lines!!!) is the real draw here. I wish my version had the annotations talking about who everyone actually was — not that it would have made much of a difference, as I don’t really know my comics history. I’m sure the funny page needs got more out of this than I did, but as it is, I’ll read anything Eisner and enjoy it.
September 13, 2020
An affectionate account of the early days of comics, with anecdotes about the young Eisner's career and the people he worked with. Eisner changes all the names, but then tells you who they all are anyway. A young Jack Kirby makes a cameo, and it's a delight to see this brief glimpse of the man behind the legend.
March 25, 2021
A really cool illustrated history of the beginnings of comic books from The Guy Who Was There, so There that they named the award for comic books after him.
A very nice little read, especially with the notes at the end explaining who all the pseudonames were, and where maybe Will was a little more kind and generous to his subjects than they deserved.
A very nice little read, especially with the notes at the end explaining who all the pseudonames were, and where maybe Will was a little more kind and generous to his subjects than they deserved.
Displaying 1 - 30 of 64 reviews