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Strange and Stranger - The World of Steve Ditko
by Blake Bell
published by Fantagraphics $39.95, £26

Hot on the heels of the excellent Mark Evanier Kirby tribute comes this equally well-timed tome looking at that other era - defining genius of the American comic book, Steve Ditko. It’s fitting that both books should arrive around the same time, as it makes for an intruiging comparison, as well as a timely reappraisal of just why these two artists were so important to the comic strip medium. Once again, I have to admit that where I was reasonably aware of the contribution of Jack Kirby, without having really read a great deal of his work, I’m even less knowledgable when it comes to Ditko. Which is I guess the main reason our CBO Chief, “Terrifying” Terry Hooper, gave me the book to review. Well, that and the fact I spent an hour drooling all over the cover at his house !

Ditko is perhaps best known for being co-creator with Stan Lee of the Hulk, Dr Strange, and most notably The Amazing Spider-Man  at Marvel in the web-swinging Sixties, leaving the latter series at the height of it’s success to forge a career at best defined by his own obstinate independence, and adherence to the individualist principles of Objectivism developed by the writer Ayn Rand. In doing so, he can be seen as being very much a pioneer of the development of independent comics, albeit a creator whose work alienated both his own audience and the mainstream comic industry, as it became more and more a vehicle to espouse his own Randian beliefs, and attack the status quo of the industry and it’s working practices.

 Blake Bell has produced a truly excellent biography of Ditko, covering every facet of his work from his early efforts at developing his idiosyncratic style on Charlton’s low-budget titles in the 50’s, through the 60’s pop-culture icons of Spider-Man and the hallucinogenic Dr Strange at Marvel, as well as his time at Warren with the brilliant Archie Goodwin, through to the extreme Mr A , first featured in Wally Wood’s independent title Witzend.The book is infused with informative and relevant background details and sources, as well as some excellent anecdotes from various editors and artistic collaborators throughout his career, that help shed light on Ditko’s steadfast, independent personality. Bell is paticularly impressive when discussing the qualities inherent in Ditko’s highly personal and uniquely stylised artwork, illuminating the skill of his storytelling abilities,his thoughtful and considered panel progressions and layouts, and the always brilliantly unsettling atmosphere of his imagery and characters( is there any other artist out there who has been responsible for drawing such genuinely disturbing and disturbed- looking people as Ditko?).There are some wonderful examples of Ditko’s artwork lavishly scattered throughout, including a final chapter of quite odd Funnies pages that seem almost out of place in relation to the books other illustrations, and a fantastic selection of 1950’s covers, which really do illustrate just how specially strange Ditko’s work was.(Just look at that gripping Strange Suspense Stories no.19 cover, all sweat and tension and clenched hands,and teeth, and tell me you’re not alarmed)

 What becomes evident throughout the book’s narrative is Ditko’s passion and determination to ensure that both himself and his work be treated with value and respect, on his terms. This becomes his primary motivating force, and is integral to his leaving Marvel (and Spider-Man in paticular), following disagreements with Stan Lee on the direction the story and character were taking,  The chapters regarding Ditko’s experience with the emerging comic fandom, and independent self-publishing worlds further illuminate his resolute position that what mattered was the work being published strictly to Ditko’s wishes.  As a result, he was often left feeling let-down or abused when his goodwill or generosity on a project, or donation of artwork was not reciprocated by publishers and fans alike. Yet there is also the contradiction inherent in Ditko’s seemingly indifferent attitude to his work-for-hire pencilling jobs at Marvel in the Eighties, at a time when he was in serious financial difficulties(not to mention his contempt for certain inkers). Bell doesn’t shy away from examining the conflicting positions Ditko often took: on the one hand railing against the Mainstream Companies policies and practices in his self-published strips, but willing to do work for them when it suited him.

What emerges from this highly engaging and rewarding book is a portrait of a true enigma, a real maverick who eshewed mainstream success for a more self-determined personal struggle on his own terms, trying to stay true to his own credo. It may well be argued that in doing so, Ditko created his own downfall within the comic fraternity, alienating both his colleagues and his audience, and engineering his own obscurity.
Bell’s book contains more than enough evidence however, to suggest that what we have here is a real pioneer in the development of a more independent spirit and personal vision within comics. One that I believe this book may well help a great many people rediscover, and reappraise.