by Nathan Ellis
Part One: Spider-Man
As of 2016, there are two films being produced by the Marvel Studios branch of the massive weeping willow tree that is Disney. Having just come out, Captain America: Civil War is enjoying critical and commercial acclaim across the globe. And while still a wildcard, the Scott Derrickson (Sinister, Deliver Us from Evil) helmed Doctor Strange is hitting cinemas this fall. Besides the obvious relation of these films being housed within the same studio, one additional piece of connecting tissue links both projects in spirit and DNA. That link is named Steve Ditko, a second generation American of Slovak descent, and the co-creator of Spider-Man and Doctor Strange.
“Co-creator” used in the most conservative sense, as Ditko constructed both characters through concept and illustration almost exclusively during his time at Marvel in the 1960’s. Now, obviously the obligatory walking cameo himself Stan Lee was the initial catalyst and writer of both properties, but the lesser known Ditko was a majority of the lifeblood and in five decades both characters are still identically iconic in design.
Known for being reclusive, there are only about 5 known pictures of Steve to account for. Even choosing to opt out of a speaking role as himself in the now vintage LP “The Voices of Marvel”, a record included in the ‘Marvel’s Merry Marching Society’ membership kit for one US dollar back in 1964. Artist Sol Brodsky and Stan are forced to crack a joke in the absence of Ditko, “Out the window again? Ya know’ I’m beginning to think he is Spider-Man!”. And while that record couldn’t be more of a joy to listen to, the statement rings loud and long with a hollow truth. Steve Ditko was Spider-Man.
A staunch objectivist and follower of Ayn Rand, Ditko’s creations are a reflection of him. Without a principal sense of right and wrong as fundamental moral guidelines, it would be hard to imagine a teenager with the conviction to dish out vigilante justice. Frequent collaborator and cartooning master Jack Kirby was initially presented with a crude concept of the character (an orphan armed with a magic ring and web gun) but ultimately decided he was incompatible with the character. Lee stated he wanted something less heroic, an idea that Ditko would happily oblige.
Anonymity through use of a mask was an important symbol, this is militant punishment decided at the individual level by a high school student. Readers wrote into Marvel at the time, stating they were unsure based on the cover art of who the hero and villain of the story was. Individuality was the common ground that both Stan and Steve could mold Spider-Man from. Interpreted through the writer as an exploration of the disenfranchised, the full body suit and young age of the character allowed emotional projection from children everywhere. A cathartic symbol for outsiders and introverts. The artist however, was exploring the moral distinction of such an impressionable, capable youth. Two political spectrums that would eventually tear the creative team apart.
Liner notes would be pre-written for dialogue bubbles as Spider-Man swings over a group of protesters. “Get a job, you hippies” would be the intended sentiment, only to be replaced by Lee’s more kind and completely juxtaposed “I’m with you guys!”. Lee had the final say, straining the creative relationship so much that the two weren’t even on speaking terms by the mid-sixties. Co-plotting became full storyboarding as Ditko injected as much of his convictions as possible onto the page. Issue #33 of Amazing Spider-Man titled “The Final Chapter” features a visual tale of struggle and overcoming challenge through willpower. Told through perspective panels and body language, we’re painted a tapestry of graphic information, only allowing Stan to insert “crude word bubbles” (as Alan Moore puts it) over the stunning images. The genetics of the story telling lie so much within the art and the person behind the pencil that no amount of text could change the narrative.
A core part of his work, Ditko’s beliefs can be seen during subtle homages across thousands of theater screens, raking in millions of dollars in profit, while he sits contently invisible in an office in his home of New York City.
A comparison of Ditko's artwork and Tom Holland's Spider-Man in Captain America: Civil War
{To be concluded with Doctor Strange in the Fall.}
Armed with little qualifications to review film outside of repeated consumer dissatisfaction, Nathan will be the one happily polluting Cinema Adrift with long form think-pieces about his favorite cape-shit films. The lack of effort required to stand out above most pop culture journalists is a big inspiration to his writing style. Nathan has co-founded and worked as a contributor on film review and news site Deadbeat Critics, as well as the now defunct comics blog and podcast Haunt of Horrors press. Join him in his pursuit to highlight commercially appealing movies that everyone is already going to see.