doc ✓ The Creativity of Ditko ´ Hardcover

Steve Ditko õ The Creativity of Ditko reader

doc ✓ The Creativity of Ditko ´ Hardcover Æ Steve Ditko's most creative comics are lovingly reproduced in a beautiful large format hardback book The Creativity of Steve Ditko a companion to Craig Yoe's previous The Art of Ditko Featuring a Foreword by Paul Levitz with revealing essays by Mike Gold Jack Harris Mikal Banta Ck Harris Mikal Banta and Amber Stanton The Creativity of Steve Ditko showcases a plethora of unpublished art sketches and many never previously printed photos of Ditko From IDW the publisher that brought you The Art of Steve Ditko 9781600105425 Krazy Ignat This large book is a celebration of ‘The Creativity Of Steve Ditko’ the famous comic book artist who co created Spider Man and created Doctor Strange when he was at Marvel Comics in the early 1960s That material is not featured in this book except for a page or two of the webbed one Most of the work here as far as I can tell is drawn from Ditko’s work at Charlton Comics The contents page gives the story titles but you have to go to the bottom left hand corner of the first page of the story to find where and when it was first published To save uncounted hordes leafing through the book at stores across the land I have given those details belowFirst up is ‘From All Our Darkrooms’ published in Out Of This World # 5 1957 It’s a clever SF story about invaders from another dimension with a cunning method of getting to our world No writers are credited for most of the stories herein which is a shame I guess the book is not about their creativity It is probable that many of the scripts were by Joe Gill who did much of the writing for Charlton ComicsNext ‘Director Of The Board’ is from Strange Suspense Stories # 3 1957 Determination ruthlessness and something else got Mister Laing to the top of the industry but he should be careful with whom he shares the secret of his success It’s hard to get much effect from stories this short but some manageIn ‘The Mirage’ from Out Of This World # 7 1958 a con escapes from a prison on the edge of a desert He’s determined to cross it though no one ever has A lot of these are fairly trite tales of the type done by O’Henry but even so it does take a lot of imagination to turn them out month after month Credit where it’s due There are only three pages to ‘Menace Of The Invisibles’ from This Magazine Is Haunted # 13 1957 about invisible invaders from another dimension Ditko does an excellent picture of a spooky looking house The story is introduced by some chap in a green cape and a big green hat He also narrates ‘One Way Trip’ from Mysteries Of Unexplored Worlds # 10 1958 Here a man is diagnosed with a condition that is usually fatal Dare he dream of a future? ‘We Sell Time’ is from Mysteries Of Unexplored Worlds # 21 1960 A mysterious clock salesperson can transport you into the past or the future but there’s a price to pay Again a reasonably strong narrative is sueezed into a mere five pages and Ditko‘s art is very aptThe next eleven pages ‘Prologue’ and ‘The Ultimate Evil’ are from The Many Ghosts of Doctor Graves # 12 1969 Graves in his spirit form fights an evil spectre menacing Earth The good doctor closely resembles another sorcerer with a medical title invented by Ditko in his prime Even Stan Lee gives him the credit for that one I guess he is entitled to copy himselfAfter a brief interruption for ‘The Treasure Of The Swamp’ from Ghostly Tales # 80 1970 which isn’t great a chap very similar to Doctor Graves narrates ‘An Ancient Wrong‘ from Out Of This World # 11 1959 Yet this bloke precedes Dr Graves by a decade The answer to the puzzle is that Ditko and many other comic artists use certain facial types One could not do portraiture to early comic deadlines so they used recognisable motifs like beards moustaches spectacles and hair to distinguish one character from another Some are bound to repeatFor a change of pace the middle of the book has some titillating pictures the adjective is carefully chosen that Ditko did with his studio colleague Eric Stanton for Diaboliue Magazine # 3 in the early 1960s One girl is covered in a spider web sort of costume Wellnot exactly coveredTraditional comicbook fare resumes with ‘Hide And Eeeeek’ from Ghostly Tales # 85 1971 Mister Spyte throws a party and the guests start to disappear Ho hum It’s better than ‘Dig This Crazy Pad Dad’ from Ghostly Tales # 88 1971 which has a painfully ‘hip’ script and some proof that Ditko can’t draw youths with untidy facial hair One bloke looks like a werewolf There is a lot ‘The Mystery Of The Wax Museum’ from The Many Ghosts Of Doctor Graves #29 1971 ‘Return Visit’ from Ghostly Haunts #23 1972 ‘To Tlakluk’ from Ghost Manor # 4 1972 seems to be somewhat experimental artistically It looks awful ‘Kiss Of The Serpent’ from Ghostly Haunts # 45 1975 comes next then a couple of stories where the writer gets a credit at last ‘Satan’s Night Out’ from Ghostly Tales # 120 1976 with script by Joe Gill and ‘The Deepest Cut Of All’ from Ghostly Haunts # 46 1975 by Pellowski whoever he is It’s a different take on Jack the Ripper I should point out that Ditko doesn’t get a credit on any of these stories neither but we know it’s him because of the book title Moreover he has one of the most distinctive styles in the industryThe list goes on but there may be a fan out there who has been scouring the comic shops for one of these lost classics ‘Werewoods’ from Ghost Manor # 31 1976 in which a wood comes to life ‘Doorway Into Tomorrow’ from Strange Suspense Stories #39 1958 Oddly spare artwork on this but again apt for the story ‘The Faceless Ones’ from This Magazine Is Haunted #12 1957 More invaders from another dimension They’re everywhere And so it endsAll this is interspersed with some moderately entertaining essays splash pages from other stories some original art and rare photos of Ditko In one essay ‘Friend Ditko’ Mykal Banta informs us that Ditko seemed very happy at Charlton Comics in the 1970s Hmmm he may have been happy but he wasn’t doing his best work and if the stuff herein was put in chronological order that would be even glaringly obvious His 1950s work for Charlton was better It’s amazing how good it is really Charlton was a good way to break into the industry for many but the appallingly low pay rates inevitably meant that work had to be rushed An artist had to make enough to live on after allIt’s a big fine hardcover book with excellent production values Is the material worth this lavish attention? You decide Ditko fans I found the 1950s stuff interesting but by the 1970s I think he was coasting I’m glad he was happy but it’s not his best workEamonn MurphyThis review first appeared at

epub õ The Creativity of Ditko õ Steve Ditko

Steve Ditko's most creative comics are lovingly reproduced in a beautiful large format hardback book The Creativity of Steve Ditko a companion to Craig Yoe's previous The Art of Ditko Featuring a Foreword by Paul Levitz with revealing essays by Mike Gold Ja Another dandy collection of Ditko's Charlton work from the 1950s to the 1970s along with selected original art images a few even from Marvel and DC a handful of essay reminiscences about Ditko including one by Eric Stanton's daughter accompanying a brief photo essay on the collaborations between the two as well as a couple of pages of StantonDitko collaboration whihc is interestign to see; I would have liked to see of it and an introduction by Paul Levitz The supplemental materials add some punch to the book especially the photo essay though Ditko's art is almost always a joy to look at however silly the story it illustrates might be None of the stories here is really a stand out in terms of plot or action but many are marvels of visual design Ditko does some very creative things with narrative voice in several of the horror stories narrated by the comic's host often weaving the narrator between and among the panels in one instance even having the narrator peeling back panel edges as if voyeuristically looking in on the unfolding action from outside This device adds a frisson of the ominous and creepy even to stories that don't really merit such responses As usual with Yoe productions there does not seem to be any internal logic to the design or seuencing stories are not arranged chronologically nor do they seem to be grouped thematically or according to any other selection principle Perhaps they are ordered in a way that allows the story to begin on the correct page relative to its original comic book appearance I don't know But that's a uibble really; this is a lovely book Its over sized format allows the art extra room to breathe and the scans are generally crisp and clear or as crisp and clear as scans of such material can be expected to be given Charlton's shoddy reproduction standards I guess I should mention that I admire Yoe's commitment to presenting the stories in good looking versions that are nevertheless faithful to how they appeared originally Much as I can enjoy some of the restored and recoloured reprints we see and of these days all too often restoration and recolouring especially there are a few reprint collections I won't name here that I simply refuse to buy because the new colour looks godawful can do harm than good to the native charm of such material Ditko's true creative genius is not as evident here as it is in his best work for Marvel or DC or in his independent work we do get a lovely scan of a Mister A page though but there is nevertheless much to admire here A must have for any Ditko fan who doesn't already have the original comics and maybe even for those folk

epub The Creativity of Ditko

The Creativity of Ditko Z In Tiger Tea 9781600106453 Barney Google 9781600106705 Popeye The Great Comic Book Tales of Bud Sagendorf 9781600107474 Felix the Cat's Greatest Comic Book Tails 9781613770856 Carl Barks Big Book of Barney Bear 9781600109294 Archies Mad House 978160010790 There are few comic book artists as accomplished and beloved as Steve Ditko yet not everything he did was worthy of saving for posterity inside a hardcover volume No one told that to Craig Yoe I like Mr Yoe He's produced a great many of comic art collections several of which have honored space on my shelves but at some point you just have to stop Not every story Mr Ditko drew in the 60's and '70's needs to preserved There's hardly a story here that needs to be kept for history and as for the essays that exist between them the only insight we get is that Eric Stanton's daughter wished that the world knew that her dad helped out with Spider Man There's nothing here that compares with the work he did with AtlasMarvel or DC for characters he did or did not create Read for free if you can otherwise skip this one