![]() Steve's stay at DC was short - he would work on all six issues of the Creeper's own title Beware the Creeper (June 1968 - April 1969), though leaving midway through the final one - and again, the reasons for his departure are uncertain. Unusually for the time, plotter and penciller Steve used these fondly remembered superhero features to explore complicated ethical issues. 1968) before it was turned over to artist Gil Kane. He created the Creeper (in Showcase #73, March-April 1968, with scripter Don Segall) and with writer Steve Skeates, co-created the The Hawk and the Dove in Showcase #75, working on the first two issues of their ongoing series (Sept.-Nov. ![]() In 1968, Charlton editor Dick Giordano moved to DC Comics and Steve, like several other artists and writers in Giordano's stable, moved with him. A stories and one-pagers until the end of the 1970s. Steve returned to Mr. Steve's hard line against criminals was controversial and alienated many fans, but he continued to produce Mr. A, published in Wally Wood's independent title witzend #3. In 1967, Steve gave his philosophical ideas ultimate expression in the form of Mr. In addition, he drew 16 stories for Warren Publishing's horror-comic magazines, most of which were done using ink-wash. With the The Question and Killjoy, Steve freely expressed his personal philosophy, inspired by Ayn Rand's objectivism and the writings of Greek philosopher Aristotle. Steve also produced much work for Charlton's science-fiction and horror titles. Strange', and I joked, 'This is the Steve Ditko Room it takes three of you to do what Steve Ditko used to do."Īt Charlton - where the page rate was low but which allowed its creators great freedom: Steve in the 1960s worked worked on such characters as Captain Atom (1960-61 65-67), Blue Beetle (1967-68) and The Question (1967-68), and in the 1973/74 writer Joe Gill's Liberty Belle (a backup feature in the comic E-Man), and Ditko's own Killjoy (also in E-Man). Writer and future Marvel editor Roy Thomas said in a 1998 interview that, "I'll never forget the day I walked into one Marvel office not long after Steve quit, and here's John Romita drawing Amazing Spider-Man and Larry Lieber drawing the Spider-Man Annual and Marie Severin drawing 'Dr. The last straw is often alleged to have been a disagreement as to the secret identity of the Green Goblin, but Steve himself has stated in print that this was not the case. But after four years on the title, Steve left Marvel he and Stan had not been on speaking terms for some time, though the details remain uncertain. The character of Spider-Man and his troubled personal life meshed well with Steve's own style and interests, which Lee eventually acknowledged by giving the artist plotting credits on the latter part of their 38-issue run. Whichever feature he drew, Steve's idiosyncratic, cleanly detailed, instantly recognizable art style, emphasizing mood and anxiety, found great favor with readers. It was a groundbreaking creation at a time long before such cosmic conceits were commonplace. Strange" culminated in the introduction, in Strange Tales #146 (July 1966), of Steve's grand and enduring conception of Eternity, the personification of the universe, depicted as a majestic silhouette whose outlines are filled with the cosmos. Strange into ever-more-abstract realms, which yet remained well-grounded thanks to Stan's reliably humanistic, adventure/soap opera dialog. Eventually, as co-plotter and later sole plotter, in the " Marvel Method," Steve would take Dr. Often overshadowed by his Amazing Spider-Man work, Steve's "Doctor Strange" stories were equally remarkable, showcasing surrealistic mystical landscapes and increasingly head-trippy visuals that helped make the feature a favorite of college students, according to contemporaneous accounts. Ditko designed the Hulk's primary antagonist, the Leader, in #62 (Dec. 1964) of that split book, and continuing through #67 (May 1965). Steve also drew many stories of the Hulk, first in the final issue of The Incredible Hulk #6 (March 1963), and then in Tales to Astonish, launching the character's feature in issue #60 (Oct. 1962), and shortly thereafter Doctor Strange, in Strange Tales #110 (July 1963). Steve and writer-editor Stan Lee created Spider-Man in Amazing Fantasy #15 (Aug. Later in the decade, he would also begin drawing for Atlas Comics, the 1950s precursor of Marvel Comics. Much of his early work, beginning in the early 1950s, was for Charlton Comics (for whom he continued to work intermittently until the company's demise in 1986), producing science fiction, horror and mystery stories, as well as the first Captain Atom stories in 1960-61. Steve studied at the Cartoonists and Illustrators School in New York City under Jerry Robinson and began professionally illustrating comic books in 1953.
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