Thursday, February 22, 2018

The Mystery of Kevin Banks

In the early 1970s Marvel attempted to capture a segment of the audience they had not focused on for many years. Comics geared towards young children were selling well for other companies, specifically Archie Publications, Western/Gold Key, Harvey and Charlton, and since sales on the superhero line were showing signs of weakness, signaled by the cancellation of X-Men, Silver Surfer, Doctor Strange and Nick Fury, Agent of SHIELD, publisher Martin Goodman began to diversify, hoping to attract new buyers. An inexpensive way of achieving this goal was to dip into his vast Timely-Atlas inventory, which included war, western, jungle, horror and romance material. 

Only one new title was created, Harvey, "inspired" by Archie's successful group of comics. Initially written by Stan Lee and illustrated by Stan Goldberg, who was a veteran colorist for Timely/Atlas/Marvel and had drawn various teen-romance titles, including the popular Millie the Model. Later issues were produced by Stu Schwartzberg and Henry Scarpelli. Running sporadically from 1970-1972, Harvey lasted only six issues and didn't cause the Silberkleit's (Archie's publishers, for those of you not "in the loop") to lose any sleep. 

Just because it looks like an Archie comic that doesn't mean it sells like an Archie comic! Stan Goldberg, who had recently drawn the Archie gang (and would spend most of his later years working for them) provided the cover art (and likely coloring); lettering by Morrie Kuramoto, Harvey # 1, October 1970. Image from the Grand Comic Book Database.

The bulk of Marvel's foray into children's comics lay in their past, where they had a wealth of features available. They consisted of a Casper the Friendly Ghost copy, Homer the Happy Ghost (brought back from the dead - excuse the pun - because Casper comic books continued to fly off the stands) by Stan Lee and Dan DeCarlo; Lee and Joe Maneely's "Dexter the Demon", which was re-titled, with the lead character slightly altered, as Peter the Little Pest and Li'l Kids/Li'l Pals which featured reprints of Howie Post's "Little Lizzie". Beginning with issue # 10, though, a brand-new series debuted.

                                                                                                                                   Li'l Kids # 10 (February 1973). Kevin Banks signature is seen  on Calvin's desk, with the initials "N. T." nearby. Image from the Grand Comic Book Database.

A new masthead adorned Li'l Kids # 10, likely designed by Danny Crespi, a long-time letterer/production man. The proper title was minimized with the name "CALVIN" boldly emblazoned on the cover, emphasizing the lead feature, a humorous strip featuring an African-American child. The cover is signed "K. Banks", along with the initials N. T., which I assume is the inker. Unfortunately, I'm stymied as to who those initials belong to. 

Banks (standing) posing with long-time letterer/production man Morrie Kuramoto in the Marvel Bullpen circa late 1972 or early 1973.  Photo from Foom # 2, Summer 1973. 

A photo of Kevin Banks appeared in Foom # 2, a fanzine produced by Marvel. "Behind the scenes at the Marvel Bullpen" focuses on the office production/editorial staff. Banks is referred to as "Li'l Pals" artist, with no further information. The photograph reveals Banks to be a young man.   

Cover to Li'l Kids # 11, April 1973, by Kevin Banks and "N.T." While "Calvin' was the lead feature, Timely/Atlas humor strips continued to be reprinted.  Image from the Grand Comics Database.   

 Little has surfaced over the years about Kevin Banks or his short tenure at Marvel. I've quizzed folks who were there at the time, including Roy Thomas and Tony Isabella, but they have no recollection of the man. I've scoured the internet and have come up with few answers, although some details have surfaced since I originally wrote this post in 2012. 

Three people knew Banks many years ago (see the comments section) noting that he lived in the Bronx and apparently worked as an artist in some capacity for the New York Daily NewsIt remains a mystery WHAT he drew, though. A comic strip? Single-panel editorial panel? Filler art? My friend and fellow comic book detective Michael J. Vassallo has been researching and collecting The Sunday News comics and thus far has not discovered any strips with Banks' by-line.  

The most intriguing information came from B. Cameron White, a professional artist know as Shakor, which is worth quoting:

 "I was born and raised in Brooklyn, New York and attended the High School of Art and Design where I met Kevin Banks.As comic book art lovers we quickly became friends .We were high school students in the 10th grade when Kevin landed the job at Marvel drawing "Calvin". Kevin was artistically talented way beyond his years. I was inspired and challenged by his creative genius to reach his level. . I was so excited about his internship with Marvel because we often dreamed of becoming artists for Marvel and Kevin accomplished just that! I bombarded him with questions about the staff at Marvel and what artist did he meet? ,Did he meet Adam Austin? (Gene Colan), Jack Kirby? Steve Ditko????.As time progressed Kevin seemed to attend school less and less and eventually declared he was going professional and was gone. Have not heard from him since 1974."

By my admittedly poor math that would have made Banks fifteen years old when he was drawing Calvin! This also points to his being a comics fan. But the road again ends since Mr. White has not heard from Banks in 44 years.  

A Fat Albert-inspired scene appears on the third and final appearance of Calvin in Li'l Kids. 

Li'l Kids featuring Calvin lasted only three issues, ending with # 12, June 1973. Marvel's children's line faded away as horror-related material such as Tomb of Dracula, Werewolf by Night and Man-Thing dominated in sales, and while Martin Goodman may have feared that superheroes were in trouble, they too survived.  

Kevin Banks' name was nowhere to be seen at Marvel after his final Calvin story. Did Banks' only comic book work appear in three issues of Li'l Kids? Could he have drawn or written stories in obscurity at other companies, such as Gold Key, where creator credits were often non-existent? Was he employed at the Daily News or another paper? Or did he go into another field entirely? The questions remain unanswered thus far, but there is always a chance that Kevin Banks will surface to tell his own story.  

And who was N.T. ?  

If anyone has further information on Kevin Banks or knows his whereabouts please contact me at Maybe one day I can update this blog post with the heading "mystery solved". 

Postscript: All roads lead to other roads, some often surprising or exciting. B. Cameron White, AKA Shakor, knew Kevin Banks many years ago, but while White was a comic book fan, his muse took him on a different artistic path. He has an art gallery in New Orleans, but you can visit his website and take a peek at his distinctive work. One painting that impressed me greatly is  "Jazz Combo on Canvas":


Tuesday, January 2, 2018

Hidden Gems in Marvel Reprints

If you had the original comics you might have ignored Marvel's reprint titles, but occasionally new or unpublished inventory surfaced, nestled in the back pages and appearing without fanfare. For the fanatical collector who is compelled to have it all (something I'm quite familiar with, in case you haven't yet noticed), these are treasures to be sought out, akin to an unreleased track from a favorite band or musician appearing on a compilation CD. Displaced stories would sometimes find a home in Marvel Tales, Ka-Zar and Marvel Super-Heroes, (The Angel, Tales of the Watcher and the 1950s-era Human Torch being a few examplesand pin-ups were often used to fill up pages. Most were either procured from earlier comics or manufactured by using images from covers, splash pages, tee-shirts or pasted together from a variety of sources. Unused artwork was most likely discovered unexpectedly, mixed among FF or Spider-Man stats and used as needed. One such example is this Ditko Dr. Strange pin-up, published for the first time in Marvel Collectors' Item Classics # 10, August 1967.

Well over a year had passed since Steve Ditko quit Marvel, so this was certainly not a new illustration. The copy on the right, likely scripted by Roy Thomas, only noted that Dr. Strange (whose stories were reprinted in chronological order beginning with MCIC # 3) was absent in this issue and the pin-up was a substitute. The unanswered question is: where was the drawing originally scheduled to appear? Submitted for your approval are a few possible scenarios: It may have been intended for an issue of Strange Tales, around the time that pin-ups appeared throughout the entire line, circa January 1965 cover-dated issues. A Ditko Dr. Strange pin-up was featured in Strange Tales # 128, which had the hero gesturing while surrounded by an array of mystical dimensions; perhaps the quieter scene above was rejected by Stan Lee, who sought a more dramatic interpretation. It might also have been scheduled for the next issue but excised to make room for an in-house ad (one appeared in ST # 129). Finally, it could have been intended for inclusion in Amazing Spider-Man Annual # 2 (also published in 1965) which co-starred Dr. Strange. Whatever the case, it's truly a wonderful piece of artwork by Mr. Ditko on a signature character, and perhaps still a secret to many of his fans.

Marvel Collectors' Item Classics # 21, June 1969, included another treat, a pin-up of Medusa by a new kid on the block.


Only four months earlier, a British lad, then simply named Barry Smith (now known as Barry Windsor-Smith) produced his first work in the states, in a crudely drawn issue of X-Men (# 53, February 1969). As a teenager Smith had already been published in his native England, crafting pin-up pages of Marvel's superheroes for UK publisher Odhams Press (Terrific and Fantastic), many of which can be seen by perusing my pal Kid's blog:

Smith's art improved rapidly, from a Kirby-Steranko hybrid to a more stylized, classical approach. By the time this Medusa illustration saw publication Smith was drawing fill-in issues of Daredevil, Avengers and by the following year was on his way to recognition as artist/co-plotter of Conan the Barbarian

Marvel's western titles began in the late 1940s and various iterations appeared on newsstands for three decades, with Two Gun Kid, Rawhide Kid and Kid Colt Outlaw being a few of the best sellers. While new material appeared in Western GunfightersOutlaw Kid, Gunhawks, Red Wolf and Rawhide Kid in the early 1970s, sales had slumped and reprints dominated from 1973 onward. Exceptions included a handful of illustrations, many crafted by up-and-coming talent who took a (pardon the pun) shot at drawing Marvel's western heroes.

"Gunhawk" pin-up, Kid Colt, Outlaw # 227, December 1978

"Gunhawk" was a short lived strip that appeared in the 64 page (for 25 cents back in 1970 kids!) Western Gunfighters. The anthology title featured new tales of the Ghost Rider, "Tales of Fort Rango," "The Renegades" and "Gunhawk," alongside Apache Kid and Wyatt Earp Atlas reprints. The pin-up above is signed "Al Hartley and Sal Buscema," which I believe is inaccurate. The pencils are actually by Werner Roth. I was led to this conclusion when observing the splash page of the first "Gunhawk" tale in WG # 1, August 1970 (below). The credits read: Jerry Siegel, writer (yes, the very same co-creator of Superman, who did a little work for Marvel in this period); Werner Roth, artist; Sal Buscema, inks. 

"Gunhawk" splash, Western Gunfighters # 1, August 1970
Roth's pencil credits were indeed correct for everything but the splash page, which was replaced by one drawn by an uncredited Herb Trimpe (lettering also differs from the interior story; Morrie Kuramoto who worked in production, did the honors there while Jean Izzo lettered the rest of the tale). Roth's splash may have been discarded for a more enticing image, and Trimpe, who worked on staff, delivered the goods by depicting Gunhawk in a tighter close-up, eliminating the background figures and positioning a hawk in the foreground, shifting the viewer's eye directly to the protagonist. A Marvel employee likely discovered the unused Roth splash in storage and incorrectly attributed the pencils to Al Hartley. 

Kid Colt Outlaw # 219, August 1977

Howard Bender provided the pencils for this attractive pin-up, his first color work for Marvel, inked by one of the best in the business, Frank Giacoia. Bender began his comic book career working in the production department at Marvel, and later freelanced for a variety of companies and features, including Superman, "Dial H for Hero", Archie, and a Sherlock Holmes comic strip with Jack C. Harris, to name just a few.      

Rawhide Kid # 141, September 1977. 

Gil Kane was a dynamic artist who enjoyed applying his craft to western-themed imagery. Along with John Severin, he produced the majority of new covers for Marvel's western reprints throughout the 1970s. I'm fairly certain this is a new drawing, not one derived from a cover. Kane's Rawhide Kid is a tough looking hombre, very much in the Jack Kirby mold. 

Two-Gun Kid # 136, April 1977

Paty Greer Cockrum worked in Marvel's Bullpen, alongside John Romita, Frank Giacoia, Danny Crespi, Mike Esposito and production head John Verpoorten, handling a myriad of production chores and the occasional pencil, ink or coloring assignment. She contributed a drawing of the Two-Gun Kid which appeared in the final issue. 

Kid Colt Outlaw # 218, June 1977 

Rawhide Kid # 145, May 1978

John Romita, Jr. drew these two pin-ups of Kid Colt and The Outlaw Kid early in his career.  Kid Colt is inked by veteran John Tartaglione; Romita Jr. or his father may have inked the Outlaw Kid. Romita Jr. learned his craft from observing his talented father and was inspired by other comic book titans such as Jack Kirby. His strong storytelling techniques have served him well over the years, as seen in Iron-Man, Daredevil (in collaboration with Frank Miller), X-Men, Black Panther, Eternals, Kick-Ass and Spider-Man.  

Kid Colt Outlaw # 222, February 1978

Arvell Jones pencils; Keith Pollard inks. Jones and Pollard have worked together at times, primarily at Marvel and DC/Milestone. Jones is noted for a run on All-Star Squadron with writer Roy Thomas; Pollard has worked on numerous features, including Fantastic Four, Spider-ManThor, Green Lantern and a Silver Surfer Graphic Novel with Stan Lee. 

A little history on the character pictured above for those of you not in the know. The Ghost Rider originated at Magazine Enterprises in 1949, created by Ray Krank and Dick Ayers. The company folded in the 1950s and when the trademark lapsed Marvel decided to revive the character in late 1966, scripted by Roy Thomas and Gary Friedrich and drawn by co-creator Ayers. Ghost Rider had a short, seven-issue run, but returned as a feature in Western Gunfighters in 1970, which lasted for eight issues. Marvel still felt the name had value, so two years later, at the height of their success with horror-oriented material, a new Ghost Rider was created, this time in a contemporary setting, with a skull face instead of a mask and a motorcycle replacing a horse. This upstart sold well, so when Marvel decided to reprint the western heroes adventures that character was re-named Night Rider. Sometime later yet another name change occurred and Night Rider became Phantom Rider, but we don't need to go into that! (if you're able to make sense of all this, please explain it to me!) 

Kid Colt Outlaw # 223, April 1978 

Another pin-up by comic book legend Gil Kane. Kane drew a number of Ringo Kid covers during its run, but this image appears to be new material.

Kid Colt Outlaw # 226, October 1978    

Alan Weiss contributed this stunning illustration of Marvel's long running western star. Weiss was one of the many comic book fans who found a home in the industry. A versatile artist, his work appeared in many genres, including romance, horror, western and superheroes. In addition to Marvel/Epic he has also freelanced for DC, Gold Key, Defiant and Warren. 

Marvel Super-Heroes # 95, March 1981

Lurking in the pages of Marvel Super-Heroes, which featured reprints of The Incredible Hulk, is this impressive Frank Miller/Klaus Janson artwork, which I was unaware of until recently. The artistic pair who revitalized Daredevil in the late 1970s (along with writer Roger McKenzie) drew a new splash page, which was required because the story, originally published in The Incredible Hulk # 145 (November 1971), had to be re-formatted and extended over into two issues. This was due to Marvel having raised their price from 15 to 25 cents in 1971, which added up to 15 story pages to every title. This only lasted for a month or two before they reverted to a 20 cent price (and 22 pages). Obviously, when these stories were reprinted years later the editors had to find solutions for presenting the material within the present (much smaller) page count. 

Sub-Mariner King-Size Special # 1, January 1971

Finally, we close with the unique styling of Bill Everett. The artist created Namor, the Sub-Mariner in 1939 and had a hand in the character on and off for thirty-four years (Everett was drawing Namor when he died in 1973). The other pin-ups featured in the special were images taken from different stories, but this was new art, perhaps originally intended for inclusion in Sub-Mariner's monthly comic. Copy likely by Roy Thomas. 

If I discover further reprint treasures I'll be sure to share them within the pages of this blog.

Batmite has showcased an excellent array of pin-ups and special features over on the Marvel Masterworks site. Check it out:


Thursday, November 2, 2017

Covering Ditko

The artistry of Steve Ditko has been captivating comic book aficionados for over six decades. One aspect of Ditko's oeuvre worthy of further study is his facility for crafting compelling cover art (akin to a movie poster, a comic book cover was of paramount importance in capturing a prospective customer's attention). From the outset Ditko had the ability to depict -  in a single frame - a moment which simultaneously drew in the viewer and encapsulated the interior narrative, quite often with extraordinary results. I've endeavored to assemble an array of outstanding covers culled from throughout his career that I believe personify Steve Ditko's mastery of visual expression. You've heard the saying "A picture is worth a thousand words", I assert these pictures speak volumes and will hopefully sway a few newcomers to the fold.      

                         Strange Suspense Stories # 18, May 1954 

Ditko's earliest covers adorned Charlton Press, where he immediately stood out as a young talent to be reckoned with. While his more grisly illustrations are often recognized by fans, I prefer those that emphasize mood and tension. The above scene is a classic example of simplicity in design, where one observes an extreme close-up of a woman's face aglow with terror while a shadowy figure leers at her from behind. The trees, falling leaves and moon complete the picture, further complimented by the unknown colorist's subdued tones.   

                                The Thing # 15, July-August 1954

Ditko's gigantic, drooling worm creature devastates an urban metropolis. The buildings, skylight, billboards and water tower reference a recognizable Manhattan landscape (one familiar to both the artist and his audience). In the years ahead Ditko would continue to incorporate his surroundings into many of the stories he illustrated, all with great skill and personality.

This Magazine Is Haunted Volume 2, number 12, July 1957

Horrific elements such as the one seen on The Thing # 15 were commonplace in comics, but that all changed when the Comics Code was instituted in late 1954. Ditko adapted to the restraints by placing an emphasis on atmospheric scenes that evoked a sense of menace. Here host Dr. Haunt approaches a foreboding house on a windswept night. 

                  Tales of the Mysterious Traveler # 4, August 1957
The image of the Mysterious Traveler standing under a street lamp as wisps of paper fly in the air (and are used to spotlight the interior stories) are indicative of master cartoonist Will Eisner, particularly his masked crime-fighter, The Spirit, who appeared in newspapers in the 1940s and 50s. A superior storyteller and craftsman, Eisner was one of many artists whose work was absorbed by Ditko. Subtle touches abound on this cover, such as the host's face appearing behind him on a billboard with the words "in this issue" barely noticeable.       

                                      Unusual Tales # 9, November 1957
Pedestrians reacting to a most unusual snowstorm is a superb example of Ditko playing with emotions, expressions and body language. Little touches, such as showing the families breath in the cold air, are particularly noteworthy.       

                            Out of This World # 6, November 1957   
Unusual cover concepts are another demonstration of Ditko's prowess in choreographing a scene for maximum effect. Incorporating four elements (the floating figure, a circular motif, amorphous dripping fog and "stepping stones") foreshadows the world he later developed in Doctor Strange.

                   Strange Suspense Stories # 35, December 1957

It's hard to conceive that Charlton editor Pat Masulli had anything more to do with this cover other than approve it, especially since there are no corresponding stories inside the issue. Ditko's quirky imagination is manifested by an eerily effective drawing - a man trapped inside a light bulb surrounded by moths, whose size and perspective add depth to the scene. Comic books have influenced a host of filmmakers in ways both obvious and subtle; perhaps director Jonathan Demme, with his disturbing moth imagery in The Silence of the Lambs (1993), is one such example.   

                      Out Of This World # 7, February 1958

"Strange, Different, Unusual" are the key words on this cover and Ditko follows through by drawing a figure composed of glass, plastic, metal, wood - even part of a newspaper! (Ditko would incorporate newspaper headlines and articles in his Avenging World series a decade later). The spider-web design on the left side is a harbinger of things to come; four years later Spider-Man came into existence under his tutelage.   

                Mysteries Of Unexplored Worlds # 11, January 1959

Ditko seemed fascinated with water-based concepts and incorporated them into many of his cover scenes in this period. This is one of his most fanciful efforts, enlivened by an arresting color scheme.  

                             Amazing Adult Fantasy # 13, June 1962    
By the late 1950s Ditko was becoming increasingly busy working for Editor Stan Lee at the nascent Marvel Comics (while his Charlton output lessened, Ditko always managed to freelance for the company). Jack Kirby was Lee's go-to artist for the majority of covers, but Ditko had a proven track-record in crafting fantasy-oriented visuals, taking up the slack whenever Kirby became overwhelmed. Lee recognized the virtue in Ditko's unconventional approach to storytelling and relished collaborating on their mini-thrillers (Ditko has stated that - from the beginning - he worked from a plot synopsis furnished by Lee). When presented with an opportunity to more fully exploit Ditko's creativity, Lee seized it. Amazing Adventures, a borderline seller, was overhauled with its seventh issue (December 1961); Lee restructured the title, adding two words that promised a more serious approach, Adult Fantasy, and for added effect, devised a dramatic sub-title "The magazine that respects your intelligence". It was here, for the first time, that Lee and Ditko worked exclusively on an entire comic. Ditko was also given the all-important cover assignments, one of the standouts being AAF # 13, where a menacing figure, seen from behind, rises out of the sea and onto a dock; in the background a mist-shrouded city becomes a "character" awaiting the unknown. 

                          Amazing Spider-Man # 2, May 1963

In Robin Snyder's publication, The Comics (Vol 13, No 1, January 2002) Steve Ditko, wrote about this cover in A Mini-History: The Amazing Spider-Man # 2: 

"The Amazing Spider-man #2 (May 1963) featured my first penciled and inked Spider-man cover. It showed an air battle between S-m and the villain, The Vulture. The cover also had an insert involving the second villain, The Terrible Tinkerer (and contains my addition of spider webbing to the title and my idea for the Marvel hero head box in the top left corner)." 
Ditko's stellar run as co-plotter/plotter/artist on Amazing Spider-Man has been discussed countless times - and deservedly so - but his contributions as cover artist are also of great importance. I will post just a few of my favorites here, beginning with his first full cover art (Jack Kirby penciled the published covers to Amazing Fantasy # 15 and Amazing Spider-Man # 1, with Ditko inking). Spider-Man being menaced by a villain who possess the ability of flight, with the towering Manhattan skyscrapers serving as backdrop creates palpable suspense. Stan Goldberg's choice of an all-gray color scheme emphasizes the two opponents skillfully, and the inset drawing is efficiently utilized to preview the second story.
                       Amazing Spider-Man # 15, August 1964

This cover drew me in all those years ago when I first saw it and it's STILL a favorite. Ditko creates palpable tension by showing the reader a vulnerable hero who appears to have no chance of escape. How does Spidey get out of this predicament? Back then it would cost you 12 cents for the answer, and I suspect quite a few perusing the newsstands for entertainment made that purchase. 

                         Amazing Spider-Man # 22, March 1965

On many of these covers you'll notice that dramatic situations supersede conventional fist-fights. Ditko was quite capable of drawing a rousing brawl, but he often concentrated on reaction instead of action. Here the "leading man" is missing; instead his looming shadow and calling card (the Spider-Signal) announce Spider-Man's symbolic presence to both the startled villains and his prospective audience. While early on Lee discussed and worked out cover designs with Ditko, according to the artist there came a point where he produced covers on his own, with no input from Lee.      

                         Amazing Spider-Man # 24, May 1965

Spider-Man is haunted by ghostly images of old foes Sandman and the Vulture; a man whose desk appears to be on the ceiling and an off-kilter perspective that compels the viewer to question exactly WHAT is going on in this bizarre psychodrama.

                     Amazing Spider-Man # 28, September 1965

 Experimentation is another aspect of Ditko's cover-art, as evidenced here. The all-black background has Spider-Man blending into the darkness with only the red highlights of his costume standing out as The Molten Man's shining figure advances. This was not your typical superhero cover. 

                      Amazing Spider-Man # 33, February 1966

Superlatives escape me when trying to describe this cover. Like a perfect game in Baseball the components are visible but you are in awe over the end result. An understated masterpiece by Ditko. 

                      Beware The Creeper # 2, July-August 1968

The Creeper's pose, along with the villain lurking above, interact with familiar Ditko tropes: rooftops, rain and a city background.  

                          Eon # 3, 1969. Mr. A copyright Steve Ditko

While this Mr. A illustration was used as the back cover for Rob Gustaveson's fanzine, Eon, I thought it was a good example of Ditko's visual perspicacity and therefore included it. The attractive Mr. A logo design, encompassed by an almost abstract building motif and Ditko's signature leads into his "good/evil" card, the fool skirting the edge and Mr. A's omniscient figure.    

                           Haunted # 1, September 1971

Ditko showcases the interior stories in a decidedly offbeat manner: composing each scene inside two huge eyes and a mouth. 

                          Ghostly Tales # 89, October 1971

Ditko's visual symmetry is fascinating. On this cover he uses optical and circular images to create an illusion of depth that entices the viewer.  

                  The Many Ghosts of Doctor Graves # 28, October 1971 

Host Dr. Graves presents the feature story on a parchment, holding it up for the viewers to observe. Ditko incorporated the entire cover, including the logo in the design. The candle, bricks and figure seemingly extending beyond the page, creating a three-dimensional quality.

                             Haunted # 2, November 1971 

A man floats in space, surrounded by a montage of faces and figures enclosed in a circle (as we have seen, the use of circles and circular images is a constant in Ditko's art). Charlton Press was an ideal place for Ditko to tinker with an array of techniques, and covers were no exception. Nick Cuti, who was an assistant editor at Charlton in the 1970s, had this to say on Facebook when I asked about the cover process:  

"at Charlton as far as I can remember all the covers were assigned after the story had been illustrated. We had stacks of finished stories on metal shelves. I was assigned to put together an issue and then an artist was assigned to do a cover for the issue."   

                         Ghost Manor Volume 2, # 4, April 1972 

Ditko combines several diverse elements to satisfying effect on this cover. A startled man and host Mr. Bones appear in a living room setting, superimposed against a ghostly apparition and a raging sea. 

                 The Many Ghosts of Doctor Graves # 31, April 1972

A succession of images devised as index cards. Another unorthodox presentation by Ditko. 

                          Ghostly Tales # 103, April 1973

The trademark Ditko fingers open a door, revealing a frightening and deadly secret! A few years earlier this cover would almost certainly have been rejected by the Comics Code, but in 1971 the rules were relaxed, leading to more horror-oriented fare.   

                       Ghost Manor Volume 3, # 15, October 1973 

Barbed wire undulates across the cover, giving the viewer a feeling of entrapment and creating a sense of tension.

                           Daredevil # 162, January 1980

The covers Ditko drew when he returned to freelance for Marvel in the late 1970s were usually not as strong as his earlier efforts, likely due to tighter editorial control and/or others providing a composition for the artist to follow. Although a little awkward, Ditko's positioning of the criminal's knives help guide the viewer's eye to Daredevil and his predicament.   

                                   The Fly # 8, August 1984

Ditko had a run on Archie's The Fly in the 1980s but his covers were watered-down when management refused to let him ink them. Ditko's last issue was an exception, and the artist comes through with a scene of the Fly caught in a deadly situation. 

 Steve Ditko's Static Chapters 1-5, July 1989. Static copyright Steve Ditko.

In 1988 Ditko began producing his independent work with co-publisher Robin Snyder, a relationship which continues into the present. One of their earliest efforts was a reprinting of Ditko's Static, an intriguing hero with a visual flair. His story came to a conclusion in the second volume. Ditko's scene of Static surrounded by a montage of criminals is heightened by his sharp inking and use of blacks. 

                             3-D Substance # 1, 1990

Early in his career Ditko assisted Joe Simon and Jack Kirby on their Captain 3-D comic, and, as a few examples I've shown here prove, Ditko picked up some pointers on creating images that leaped off the comics' page. 

                     The Mocker, April 1990. Copyright Steve Ditko.

A sea of individualized faces accompanied by an array of expressions is another Ditko trademark that distinguishes this cover. The Mocker was a "graphic novel" and one of Ditko's best self-published concepts. 

                         Curse of the Weird # 1, December 1993
                        Monster Menace # 3, December 1993

Ditko drew a few covers for Editor Mort Todd's reprint line of Atlas horror/monster stories from the 1950s and early 60s. Ditko not only penciled and inked the covers, but provided the color guides as well. 

     OH No! Not Again Ditko! March 2009. Copyright Steve Ditko. 

Ditko's satirical side comes to the fore on this unusual cover, with the main concept of an ink bottle spilling its contents over the page and employed as a framing device. 

          Act 7, Making 12 of Ditko's 32's. Copyright Steve Ditko. 

 Act 8, Making Lucky 13 Ditko's 32's. July 2011. Copyright Steve Ditko. 

                      # 25, March 2016. Copyright Steve Ditko. 

In his later work Ditko has taken on a stripped down, minimalist approach to his art (another nonconformist, sculptor Donald Judd, might have exuberantly approved!) although his sense of design, composition and playfulness remains in evidence, as do his signature tropes, including the eyeball, cover montages, water towers, bizarrely attired characters and creative costume designs.  

For over six decades Steve Ditko has not only produced countless stories and invented an army of characters, but a great many of his covers are noteworthy as examples of an artist thinking about how best to craft a singular image. The choices made by Ditko are indicative of an artist who doesn't take the easy way out. It is another accomplishment that puts him in the pantheon of a true original in the world of comic art. 

Speaking of Ditko, The Amazing Spider-Talk Podcast asked my to speak about one of my favorite comic book creators. Here is the link:

In acknowledgement of two men who provided inspiration in the study of Ditko's cover-art: Michael Wileman, whose 1982 publication, A 50s Ditko's Cover Gallery, introduced me to many previously unseen Charlton covers, with fascinating commentary on each one, and Robin Snyder's The Cover Series (September 2010), showcasing a plethora of Ditko covers, some unpublished or taken from original stats.