Was steve ditko gay
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Anonymous asked:
It is true that Flash Thompson was not originally a bully and that later journalist retconned him to be one to make Peter more relatable?
This is an interesting thing to explore and I don’t ponder it’s quite as clear slice as that, because it’s not like a retcon where the switch got flipped and suddenly This Is How Canon Is. It’s more of a messy canon landslide, filled with originator infighting. (In a move that I’m sure will surprise no one, just like people in fandom disagree with each other’s headcanons, different writers on longrunning multi-creator series disagree with each other’s headcanons. It’s just that they get to then create those headcanons canon.) But to take it back to the very beginning with Stan Lee and Steve Ditko’s run – no, I don’t believe Flash Thompson was originally intended to be a bully in elevated school, at least not in the same way he later became characterized during that period and not in the way that the word “bully” brings to mind in modern context. I consider it’s more accurate to utter that the original depiction of Flash in the Lee/Di
How I pissed off Steve Ditko
With our forthcoming opus STRANGE & STRANGE: THE WORLD OF STEVE DITKO hitting in just a scant weeks, I mind I would split a brief Steve Ditko story. About ten years ago we had the great fortune of publishing a recent series by Mr. Ditko, STEVE DITKO'S STRANGE AVENGING TALES. This was incredibly exciting to me, having been a lifelong Ditko fan. Unfortunately, I did not get to interact much with Mr. Ditko. Observe, I do all of our promotion, and to state that Mr. Ditko is not large on promotion is like saying the Pope is not big on queer marriage. And, he preferred snail mail to phone. As such, I did not have many opportunities to interact with one of the greatest comic book artists of all-time. Except one.
At the second, the venerable fan publication COMICS BUYERS GUIDE was very excited about Mr. Ditko's new series, and CBG Editor Maggie Thompson was kind enough to offer us the cover of an issue to promote the book, but asked if Mr. Ditko would provide an original cover for CBG. As I recall, Gary Groth ran the idea by Ditko and, somewhat surprisingly,
Spider-Man hits his big 60th birthday this year, and he’s still swinging along as strongly as ever. Dozens and dozens of great artists have drawn his adventures since , but when I picture Spidey in my top, it’s always a Romita Spidey.
The father-son duo of John Romita Sr andJohn Romita Jr are inextricably linked in my brain when I think of Peter Parker. For 56 of Spidey&#;s 60 years, they&#;ve been involved in drawing him. To me, they are Spider-Man.
Co-creator Steve Ditko’s wiry, nerdy Spider-Man set the standard for the character, don’t acquire me wrong. I like Ditko and he position the template all others have followed. Ross Andru, Gil Kane and Impression Bagley were all indebted to the Romita and Ditko template. Todd McFarlane’s antic, spidery look for the character launched an entire comics movement in the s, while Ron Frenz combined the top of Ditko and the Romitas for a punchy ‘80s incarnation of Spidey.
But still, I’m all about the Romitas. Romita Sr was the first artist to take on Spider-Man after Ditko left, starting with Amazing Spider-Man #39 way ba
Ditko&#;s Code: &#;A World of His Own&#;
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Helen Chazan | April 6,
Steve Ditko was an artist of the Comics Code Leadership. His career began a whisper before the foundation of the code - Ditko’s first published story appeared in the drop of , roughly a year prior to the code’s arrival. In a restrictive system that virtually nullified a generation of cartoonists and their foremost known outlets, Ditko thrived. Ditko was also among the first American cartoonists to strike away from the code-sanctioned mainstream into the underground fan insist, with the appearance of Mr. A. in Wallace Wood’s trailblazing self-published witzend in [1] However, Ditko continued to play ball with work-for-hire well into the s and sporadically through the late 90s - his final function for Marvel, a page Iron Man comic reaching the direct market in , less than a year after the Strange Avenging Tales anthology at Fantagraphics fell through, marked an finish point for Ditko's years of terse interaction with alternative "creator rights" presses such Eclipse Comics, Renegade Press, and Dark H