Anyway, I've got another thing to write later this week, but for right now, I wanted to mention a series that I recently finished reading and thought was quite good:
That would be Greyshirt: Indigo Sunset, a 2002 miniseries by Rick Veitch (and a few others), telling the origin of his and Alan Moore's Eisner-inspired character from the Tomorrow Stories anthology series. I picked up all the individual issues out of my store's discount bin a long time ago, and I finally got around to reading them. I don't know why I waited so long, but I'm sorry I did; it was an excellent series, using a large variety of storytelling techniques to weave a complex, years-long tale. Each issue sees a story that tells some of the Spirit-esque character's history, and another features a crime story that involves him in some way, similar to those Will Eisner Spirit stories that were more about playing with the medium and doing something innovative than his supposed main character. Veitch got a nice lineup of friends to help him out with these, including David Lloyd, Dave Gibbons (who only gets to write one story, rather than provide any art), Hilary Barta, John Severin, Russ Heath, Al Williamson, and, um, Frank Cho.
And to make matters more interesting, each issue contains a section that emulates the newspaper which shares the series' title, and it's a fully-fleshed-out paper, with articles, comic strips, ads, horoscopes, classifieds, personals, and gossip and advice columns. And while some of these flesh out the comics stories in the issues, others give clues about the backstory and set up plot points for future issues. Most interestingly, the cover of each (comics) issue doesn't refer to anything that happens in the comics sections, but instead a story that is told in one of the newspaper articles. It's a nice, intricate package, and it's incredibly fun to take it all in.
And those comics stories are excellent as well, using all sorts of Eisner-like formal play. One story sees a comics writer (who writes a gangster series based on the exploits of the young main character; lots of layers here) narrate the tale from outside of the panels; he even shows up in a later story to affect things. In another, a song provides a framing story for another flashback. One short story uses the metaphor-heavy narration that Veitch would put to use a few years later in his 9/11-themed graphic novel Can't Get No.
So, yeah, it's good stuff. If you like Veitch and managed to miss out on this, you owe it to yourself to hunt down either the original issues or the collected version. Don't miss out as long as I did.