Steve Ditko is the Other Reason I’m Here

    In 1961 I was six. My uncle (mom’s older brother) owned a family grocery store. In addition to food, he sold newspapers, magazines, and comicbooks. That’s when I first discovered comics. Whenever we visited Uncle Frank, I would park myself on the newsstand and read comics for the entire time we were there. I would—quite literally—read any and all comics that were on the newsstand. Everything from Marvel & DC to Harvey Comics, to Archie, to Gold Key, to whatever was there. Then, in August of 1962, I discovered Amazing Fantasy #15, Spider-Man, and of course, Steve Ditko. For me, Steve, Stan, and Spidey were the most amazing things I had ever discovered.

For the years that followed, I became a huge fan of Steve, and his work—on Spider-Man, Dr. Strange, Hawk and Dove, The Creeper, The Question and dozens of other characters, including his independent characters, like Mr. A, Static, Killjoy, Shade the Changing Man, The Question, and more. More to the point, and in hindsight, I was actually aware of Steve long before I discovered Spidey, due to Steve’s extensive work on multiple monster and mystery comics for Marvel, Charlton, and elsewhere.

I was immediately attracted to Steve’s artwork which is marked by clean, angular line work, deep urban shadows, and an unmatched ability to convey psychological tension, vulnerability, and bizarre surrealism. Some key characteristics of his art are his inking and composition: His lines were precise with minimal use of white-out, employing feathering for both texture and solid renditions delivering dramatic contrasts. The exaggerated body language he employed for his characters giving them a rubbery, dynamic agility especially noticeable seen in the acrobatic, contorted poses of Spider-Man. He gave his characters individualized distinct, anxious faces, with no two characters looking alike. Unlike the idealized pristine, square-jawed all-American heroes of the time, his faces were far more expressive, nervous, or simply weary capturing angst and internal burdens of each character.

In titles like Doctor Strange, he delivered worlds of uncanny absurdist surrealism, pioneering mind-bending, psychedelically geometric, and organically extradimensional landscapes that felt indisputably otherworldly. This distinctive style was particularly well-suited for characters like Doctor Strange, where he created visually striking and imaginative landscapes that stayed with the reader. His antagonists very often looked like warped, eccentric urban characters rather than monolithic brutes, giving them a unique psychological edge in their appearances.

    In September of 2025 I was invited to attend DitkoCon in Steve’s hometown of Johnstown, PA, and it was a totally cool experience. I got to meet many of Steve’s nieces and nephews, tour the Ditko museum, and hob-knob with some very cool comicbook celebs. For that event I took the first two comicbook articles I ever wrote and combined them into a special magazine about Spidey. The two articles The Ditko Days (Amazing Heroes #5, 1981) and Here’s Johnny (FantaCo’s Chronicles #5, 1982). I combined those two articles with a piece I wrote about Steve Ditko and Robin Snyder’s Kickstarter #9 from back in 2014. I’ve been invited back to attend DitkoCon 27 next September.

In 2025 I backed an IndyGoGo crowdsourcing pitch, and acquired a trio of Ditko comic reprints. What I came away with were Steve Ditko’s Mr. A. The Lost Adventures, Steve Ditko’s Static #1, and Steve Ditko’s Fantastic Giants. Now, as I’m actively looking forward to attending DitkoCon ’27, I figured it was as good a time as any to review these seminal comics.

Back in 1990, Mort Todd commissioned Steve to create a new mini-series of his most personal and controversial hero, Mr. A. However, this new series would be the first time MR. A would appear in color (by his publisher, Mort Todd). Unfortunately, due to a number of reasons, the series was shelved. Mr. A: The Lost Adventures #1 includes three stories; The Best Deal, Exploder, and Mr. A and the Knifer. These stories are all classic Ditko, brought to life in full color with Mr. A. dispensing justice in his typical fashion. This first story deals with crocked businessmen and corrupt politicians in Mr. A.’s city and how Mr. A. deals with them With swift, harsh finality.

Next up is the Exploder who is determined to blow up various art pieces unless he gets what he wants. Thankfully, Mr. A. is around to put an end to his explosive ways. Finally the Knifer has a father complex, in that he wants to be more successful than his father and is going around knifing people. That winds up in a cliffhanger that is scheduled to conclude in issue #2 (not yet available)

With Fantastic Giants, Ditko explores his monster side. This comic reveals the origin how the behemoth, Konga, went from a tiny primate to a giant colossus. It also includes three other bonus stories from the Charlton era, featuring other giant creatures from the mind of Ditko. Konga is Ditko riffing on the legend of King Kong, by giving us the tale of a monstrous gorilla. We follow Konga from Africa to the arctic, to a land populated with dinosaurs and other Kaju even as he is being chased by humans. This comic has two short back-up stories. Imagination where a young lad wanders into the woods only to discover that he has become smaller and everything around him as grown larger. The second story has an explorer searching for a secret substance that he believes will increase his stature, only to learn the harsh truth.

Static is an iconic superhero where Stac Rae acquires superpowers from a special suit that turns him not Static where he has the power to do amazing things. Soon he gets caught up in an adventure when a pair of thugs make off with one of the professor’s inventions. When they push Stac into one of the professor’s devices his suit becomes supercharged, and Stac chases after the thugs. A second Static has him, the professor and the professor’s daughter, Fera. As he is forced to don the suit again to once more keep the Professor’s inventions from being stolen.

In addition to these two Static adventures, is the first appearance of Steve’s Killjoy character. Killjoy who was essentially designed as a humorous version of Mr. A. Killjoy is a silent, satirical superhero who blends slapstick comedy with Ayn Rand's Objectivist philosophy as he spends his time battling crybaby criminals. There are those who say that it could be said that the character was one of the inspirational characters for Deadpool.

These comics and others can be found on the Ditkoverse website.

Oh, and just for fun, I want to talk about this very cook Spidey Little Golden Book that I was a recently gifted with (No, it has nothing to do with Steve Ditko, but it is Spider-Man, and I’ve been trying to find a place to talk about it for some time now, and this seemed to be an ideal spot. As with other (more traditional Little Golden Books) it is a picture book targeted at young readers as a way to introduce them to The Amazing Spider-Man. It gives a brief background as to how Peter Parker acquired his powers, as well as a series of encounters as Spidey chases down several villains from his rogues’ gallery. It is ideal for young readers, and yes, even I got a kick out of it.

Four (no, wait, five) new books of mine

I’ve been a writer all my life. It was in 1978 that I went pro. I started working at a local radio station as a copywriter. Over the next few years, I worked at a couple of different stations in Conn. Then, in 1981 I got my first print article published (Ditko Days, Amazing Heroes #5). From there I went on to spend the next nearly 20 or so years writing for virtually every comic magazine being published. In addition to all that I was also penning marketing and PR material for most of the major (and several mid-level) comicbook companies (Marvel, DC, Valient, Dark Horse, Extreme, others).

In ’85 I took over the writing the writing of a comic strip (Video Victor) in Videogaming Illustrated, the magazine for which I was then the managing editor. In ‘86 I was able to convince Deni Lobert (Renegade Press) to publish a comic concept of mine (Agent Unknown). In 2011 I began writing short, illustrated stories for several of Jim Main’s Main Enterprises publications. Between 2011 and 2021 I wrote 17 stories. Recently I gathered those stories together and compiled them into a massive omnibus, which is now available on Amazon. The book is called Funnybook City Omnibus: Jump the Shark Issue. The cover was done by my friend Scott Barnett. 

Also available on Amazon is Writers Unite! Dimensions of Superheroes, a prose superhero anthology that I not only designed and assembled, but where I had three short stories and wrote the forward. The book has 14 writers (including me, but more importantly, Gary Cohn, Paul Kupperberg (both of whom worked for DC and other comic companies) and William Patrick Murray, who not only writes amazing prose novels, but created Squirrel Girl for Marvel) telling 20 stories about a myriad number of superheroes, not all of them the kind you read in those funnybooks, wrapped in colorful spandex, and looking all pretty for the masses. These heroes come from all walks of life, and all have strange and unusual powers. It’s well worth the read, if you know what I mean.

Another book I recently assembled is Wings of Man, a comic that combines a number of stories I wrote about flying. Those stories include one about Gustave Whitehead, a German immigrant who flew two years before the Wright brothers, and lived in my hometown of Fairfield CT. I was originally told Gustave’s story by my high school science teacher. At the time, I was in high school and said that Gustave’s story would make a good comicbook. Then it took me 35 years to make it happen. This story was followed by me penning more stories about flight (some of them peripherally involving references to Gustave).

Earlier this year I learned about Ditko Con, which takes place in Johnstown, PA. I’ve been a fan of Steve’s work since I first saw it in Amazing Fantasy #15. Will was already attending the con, and I asked him to introduce me to the showrunner, whereupon I got myself invited. To prepare for the event, I took the first two articles I wrote for publication and combined them into a Spidey-mag. Those articles (from way back in ’81 & ’82) were about Steve Ditko’s and John Romita, Sr.’s runs on Amazing Spider-Man. (John’s article appeared in The FantaCo Chronicles, and it included a checklist to the first 120 issues of the comic, as well as all of the related Spidey titles being published at the time. Then for good measure I tossed in a review I wrote about a Ditko Kickstarter that he did with Robin Snyder. I’m hoping to sell a few copies of this mag at the con.

All of those books were produced over the past couple of months. Oh, and not to leave anything out, I also wrote a 500-word flash fiction story for Weird Fiction Quarterly. The writing prompt for this issue was The King in Yellow an H.P. Lovecraft-adjacent story. So I now have five new books to sell at shows.

Welcome to my funnybook column.

 

Spidey is (apparently) still relevant (only we already knew that)

This is a re-post of an article we just read...

Amazing Spider-Man #1 hit shelves 50 years ago, on March 10, 1963. Since then, Spider-Man has spawned four—soon to be five—big-budget movies, nine TV shows, a stage play, a radio drama partially masterminded by Brian Mays of Queen, a few dozen video games, and, of course, thousands of comic books and toys. He's a major figure, and he deserves to be: Spider-Man redefined our idea of a hero by making superheroes a lot more relatable than they were before.

The Man Who Walked Away From Spider-Man

I was just turned on to this article about Steve Ditko which apparently appeared in today's NY Post

Ditko has long been thought of as the J.D. Salinger of the comics world. He has not given a formal interview since the 1960s — and even back then, he would often respond to a journalist’s questions via mail. Only a few public photographs are known to exist of him, the last taken in his dingy Hell’s Kitchen studio 53 years ago. He lives a rigorously private life, refusing to appear in public, to autograph work or to take a casual snapshot with a fan, should one somehow manage to track him down.

I became a Spider-Man fan because of Steve Ditko's art and Stan's writing. I've always wanted to talk to Steve, but understand that I probably never will.

More's the pitty.

Oyster Fest, 2010

So, once again, I spent this past weekend (the weekend after Labor Day) working at the Norwalk Seaport Association’s Oyster Festival. This is the 23rd time I’ve done so, and the third time that we’ve had the Marvel Comics Characters entertain us on Sunday afternoon. It is also the third time that I’ve met said heroes after their performance.

Everybody do Ditko Wrists!

Me, and my (Super Hero) pals!

The Marvel Heroes (the three you see here plus supervillain Green Goblin and one of his henchmen (played by the same actor who is in the Hulk suit), also showed up at the event, and put on a children’s show that dealt with physical fitness and how to deal with bullies.

Needless to say, the kids loved it!

 

In Praise of Steve Ditko

I’m so happy I could just plotz! No seriously. I was reading the latest issue of Comic Shop News and I learned that in February, DC Comics will be publishing a hard-bound edition of Steve Ditko’s The Creeper. Including a 25-page, never-before-published Creeper story.

You have no understanding of how very excited I am. When Steverino left Marvel and Spidey in 1968 and went over to DC, he created my other favorite character, The Creeper. Just recently, I was looking around for what I knew had to exist, a collected edition of Steve’s Creeper. Little did I know that I was prescient and saw the immediate future.

No I can barely contain myself, and I’m not entirely sure that I can wait that long.

On the Local Front

A month back, while at MoCCA, my good friend, collaborator, and client, Mark Mazz produced a limited edition “Script Book” for his Mark Twain story, Expressions of Bull-Frog Wisdom on the Lady Mississippi. The story was originally supposed to appear in the CAG-produced Graphic Album, Iconic, but due to creative differences (Mark wanted to be creative and the editor wanted something different), it was pulled. The good news is that the story will be re-released in a book entitled Literacy that is slated to come out from Atlas Unleashed.

My good buddy Chris Torres (who is drawing my own Springload & Renegade — also due out from Atlas Unleashed) illustrated it. Chris is a major talent, and seriously should be busier (and more well-known) than he already is. We sold the script book for a buck a pop, and it received some very nice comments.

The other very cool publication I recently acquired is the new issue of DitkoMania (#73) which is produced by Rob Imes. The issue is B&W and a buck-fifty. You can acquie your own copy by going to Rob's website and purchasing one yourself. This issue cover-features Dr. Strange, and is well worth the price.

You can also write directly to Rob at 13510 Cambridge #307, Southgate, MI 48195.

This is a must fro any serious Ditko fan.

Ditko Rules!

Steve Ditko is one of the main reasons that I still read comics. He co-created Spider-Man and set the tone for the first four years. In addition to his work on Spidey, he also created Dr. Strange, The Creeper, Hawk and Dove, The Question, Mr. A. and many other superheroes (and villains). I have always been a big fan of Steve’s; in fact, my first published article was an examination of his work.

Well, recently, my good friend and close colleague, Mark Mazz gifted me with the very cool graphic album, Steve Ditko’s The Thing!, and I couldn’t be happier. This extraordinary book serves up 27 short horror stories as penned by Steve. This stuff is simply classic Steve. Sure, sure some of it can possibly read as trite in the cold hard light of today’s sensibilities, but that assessment is simply unfair, especially when you consider that if this stuff seems hackneyed and tired, it is because Steve did it first and did it better!

That’s right folks, if any of this stuff looks familiar to you, it is because someone else saw it first, and replicated something like it later on either in another comic or on some TV show you probably saw. Speaking as someone who has gone on record as not being a big fan of horror (even though I regularly partake in the genre, and am a regular contributor to a couple of Horror publications), This stuff is outstanding. In just a few pages, Ditko is able to create mood, suspense, a fully-realized story, and some shocking turns — not to mention numerous characters about whom we can care, in order to make the stories work.

His stark, B&W artwork shines, for this is Ditko at his unparalleled best. If all you know of Steve is his superhero work, I recommend that you seek this book out and pick up a copy (unfortunately it may be difficult, as I believe that it is currently out of print). Still, that shouldn’t stop you from looking for it (or, failing to find it, you should look for some of the other Ditko collections that are available.

Steve is one of the true masters of this industry, and (thankfully) he is still with us. Sure he gave us Spidey, but that contribution is merely the tip of Steve’s creative influence.

For whom the Bell Tolls

Hey, did you folk hear about the suit against DC comics by the heirs of Jerry Siegel and Joe Shuster? If not, check this out. A buddy of mine turned me on to it yesterday. Meanwhile a local author named Marc Tyler Nobleman with whom I’ve been chatting recently, has authored a children’s book on these two comicbook creators. He has bloged about this a couple of times (at least once over here).

Personally, I’m looking forward to reading his book, (Boys of Steel: The Creators of Superman), is due out later this year.

Further, you can only wonder how this will shake out for guys like Steve Ditko, the heirs of Jack Kirby, and other comicbook creators who developed now-hot properties under “work for hire” contracts. This looks interesting, to say the least.

The Search for Steve Ditko

Today, I’m turning over this forum to my good buddy Walt. He posted on CuppaCafe (the blogspace we share) a BBC broadcast — that currently resides on YouTube — of a British journalist’s search for the legendary and reclusive co-creator of Spider-Man, Steve Ditko.

As president of the local chapter of the Steve Ditko fan club, I was thrilled to watch.



Enjoy!

The Next Spider-Man Film!
“Spider-Man, Spider-Man, does whatever a spider can”

Yep, now that everyone else on the planet has moved off talking about Spider-Man 3, and is talking about animated ogres and anthropomorphic donkeys, or pirates (or both); I’m ready to talk about it. Actually — more to the point — I’m ready to talk about Spider-Man 4, and what I think that film should be about.

First of all, we have to understand that Hollywood doesn’t make films so much as it makes deals. That is to say that a film studio and/or production company and an actor’s agent will ink a three-picture deal, which — assuming a particular picture hits big, that actor’s character will return in the sequel. Which is good for the actor, but not necessarily for the writer or the audience (think about it, why should either the writer or the audience be forced to write for or endure a specific character just because his contract says he has to be there? This is sort of like the joke that says it takes two AFL-CIO guys to screw in a lightbulb, because it says so in the contract.)

Going forward, I suggest that future serialized films — specifically comicbook films — be produced in the same fashion that Bond films are made. Think about it, they have been making Bond films at the rate of about one every couple of years for some 45 years for a total of 23 films (counting the David Niven/Casino Royale and the Sean Connery/Never Say Never Again). Every one of which is, no disrespect to Bond, his creators, or producers, essentially the same.

All the films go like this, there is some international threat, a charismatic, over-the-top villain (who usually never returns — Blofeld and Jaws as the most notable exceptions), a bevy of bodacious babes (none of whom ever return), and Bond himself (who has been played by at least seven actors). Other secondary characters who rate on-going walk-on status (and don’t always show up in every film) include M, Q, CIA Agent Felix, and of course Moneypenny.

Seriously, what else do you need for a Bond flick? Bond, a bad guy, beautiful women, and a viable threat so that Bond can blow the crap of stuff. Oh yeah, and no film has anything to do with the next film, so why then, do comicbook films have to spill on to one another? Sure, sure, the comics themselves run one to another, but why do the films have to follow suit, especially as they are playing to an entirely different audience?

Currently, Marvel is publishing a Spidey book that is targeted towards kids, entitled Marvel Adventures: Spider-Man. In this series, all of the stories are self-contained. The only things that are continuous within the series is that the guy in the Spidey suit is Peter Parker, he works as a freelance photographer for The Daily Bugle, and he fights costumed bad guys. Again, what else do you need?

Hell, I’m both a fan who’s been reading Spider-Man’s exploits for over 45 years as well as a professional writer who (sometimes) works in the comicbook industry, and I’ll tell you two things about the character; first, its Spidey’s cast of supporting characters as much as Spidey himself that drives the narrative forward. Second, if the secondary characters are getting in the way of the story, you have to toss them in the river, and stick with Spidey.

Think I’m wrong? There is no character more vital to the nature of who Spider-Man is than Uncle Ben — and he’s been dead since Spider-Man’s first appearance, the next most important character in Spidey-Lore is Ben’s widow, May, and even she’s not in every issue (in fact she was “killed” once, and it looks like she’s about to die again (from a sniper’s bullet that was meant for her nephew).

This is why I say that the next Spider-man film will either wind up being Superman Quest for Peace, or Batman Begins. To make it become the former, all the next director has to do is to make it bigger, badder and more bodacious than the first three combined. Utilize more villains against our hero (can anyone say Sinister Six?); introduce Ben Reilly (along with The Scarlet Spider) as Peter’s clone; and jam-pack everything and a ham sandwich into a no-holds-barred, extra-long blockbuster, extravaganza that cracks the $400 million/three hour mark.

However, if you want to ensure the health of the franchise, as well as the real possibility of other comicbook based movies ever being made in the decade that follows, you’ll do this, instead. Go in the completely opposite direction.

That’s right, strip it down and go for basics. A simple story involving one or (maybe) two villains (a major and minor villain — if you will). The way to get this next film really cooking is to jump right into the mix. Have the film take a leaf from the TV shows CSI and Law & Order, start it with the action already happening, then go back and explain only what needs to be explained. Give us a new villain, one not in the previous three films (I’m voting for either Vulture — who had been penciled in for #3 and then replaced with Venom at the last minute — or The Lizard — who, as Dr. Curt Connors, has already been in the last two films anyway — or both; they really would actually make for a good tag-team combo).

Then just tell the story. Sure, throw in some angst, a smattering of melodrama, and a cameo by Stan, but just tell the effin story. Give us a 105 minute film where Connors morphs into the Lizard, The Vulture stages a series of daring daylight robberies and our webbed hero has to go after both of them. Toss in a scene of Aunt May telling Pete to eat well and wear a scarf; have JJJ yell at someone over at The Bugle, we get to see MJ is in another play, but for the love of Stan, Steve, and JRSR, have Spidey kick the crap out of the bad guys and save the day. That film will make money.

How do I know? Well, it has been the plot of nearly every Spidey comic published over the past 45 years, and there are currently five on-going titles a handful-and-a-half limited series, and everyone wants to toss the occasional Spidey reference into their book.

So seriously guys,

Ditko Rules!

My very first published article was about the amazing work that Steve Ditko did on the early issues of The Amazing Spider-Man. That article originally appeared in Amazing Heroes #5, now it is posted here, on-line on the Steve Ditko Website.

I truly discovered comics and — by extension — Spider-Man, because of Steve. I have always loved his work on Spidey, and have always wished that someone could convince him to return, at least once more, to draw the character that he helped create. So you can well imagine how pleased I am to be reading his classic work on the early issues of Spider-Man as reprinted in the NY Post.

For me, this is something of coming home. His art was quite possible the most amazing thing I had ever seen in the comicbook form, prior to, or since. His characters all looked different than each other, and he drew the most expressive thugs I had ever seen.

Today, my house is full of comicbooks as well as Spider-Man related stuff. It is because of Steve, Stan, and then John Romita, Sr. I don’t think that the Post comics will ever get up to the comics drawn by JR, but, that’s OK, for now, we are all enjoying the work of Steve on Spidey.

Talk to you again soon.

It is a Spider-Man Day in the Neighborhood!

And yes, it is once again brought to us by Mr. Steve Ditko, courtesy of the NY Post whic is continuning to include 16-page reprints of The Amazing Spider-Man in their Sunday papers.

So, even as Spidey switches sides in the current on-going Civil War over in the current Marvel Universe (going from siding with Iron Man’s “Government” team to Captain America’s “Underground” team. While the switch didn’t come as any real surprise, it does mark the turning point in the Civil War.

I used this event to craft a webisode for SpiderFan which our nefarious leader, Jon Couper is choosing not to use (he hinted that he might use a version of this strip as re-scripted by him). Still, I enjoyed this version so much, that I’ve chosen to post it here. The art was clipped from the original web-strip (and then re-jiggered through Photoshop by me). The “South Park” images are from Chris Buchner.



Chris is also a member of CAG. and is something of a Scarlet Spider fan. (That’s him off to the right.) He’s actually an OK guy (for a Spider-Geek), but Hell, it takes one to know one, and I know ‘em all!

Well, tomorrow is Christmas Eve, and I still have to put up the tree, so I’m going to wrap this episode up. Catch you all in a couple of days!

It’s Sunday again (Naturally)

Yeah, here it is Sunday again, and I get to read the latest installment of The Amazing Spider-Man via the most generous contributions of The New York Post . Yeah, yeah, I actually have to purchase the paper (for a whopping .75¢ each, no less!) but yeah, I get to read the latest Spidey-Installment in their collectible reprint.

Interestingly enough, while this issue is continued from last week, it is also continued into next week, making it the very first three-parter. I’m not entirely sure how this happened, as the original comic is the same length as the other comics in the series. Near as I can figure, it is because there is a back-up tale with Spidey, and the Human Torch (as rendered by Stan, Jack, and Steve), so I’m figuring that The Post simply chose to split the story up in such a way as to spotlight the back-up story all on its own.

In other news, I was appearing yesterday at A Timeless Journey , in downtown Stamford, CT to sign copies of Psychosis! #1 I think that I did OK, I sold all four copies of the mag that the store had stocked (and added one more for Paul’s rack so he could still have a copy), and a set of three of Agent Unknown, the Renegade Press comic I created and wrote back in the late ’80s. Not a bad day, eh?

Here’s what I love about Sundays

Every Sunday, The NY Post includes another “Collectible Reprint” of an early issue of The Amazing Spider-Man. Each week, the paper issues half an issue reprint of thee classic issues. The story is by Stan “The Man” Lee and drawn by Steve Ditko (interestingly enough both Stan and Jack “King” Kirby have nicknames that have stuck with them until this day, but poor ol’ Steve never did, I wonder why). Ah well, no matter, each and every Sunday I get to read one of these old stories and recall with delight why I began my life-long love-affair with comics back in 1962 or there-abouts.

On Sundays, I run out to grab two copies of The Post (one is for me and one is for my 12-year-old nephew Tony-o, who is also a fan of both comics and Spidey), and then I sit and read the comic. Like I said, I already have the stories (in a couple or three different formats), but it still doesn't stop me form acquiring them in this way-cool new format. That’s it for now, except to say check out this link, it is a wicked-cool co-mingling of Our guy Spidey and the other Marvel heroes and villains, and Charlie Brown (to whom Peter Parker has often been compared) and the rest of the Peanuts gang.

Enjoy!

Spidey is Still Running Strong!

That’s right Boys and Girls, the Spider still rules the roost. (Has anyone checked out the new trailer running on Itunes? It is totally wicked-cool-awesome!) Yep. This film is going to top the other two as the comicbook-to-film to beat.

Yeah, yeah, I know that we were a bit disappointed with X-3, and Supes Returns, but I’m sayin it here and now that simply won’t be the case with Spidey 3. And, no, I’m not just saying that because I’m certifiable a card-carrying Spider-Geek, but because (director) Sam Raimi absolutely knows what he is doing, (and has proven it over and over again with films like Darkman, and the first two Spidey films).

Plus, of course, we are being treated to classic Lee-Ditko Spidey stories in the NY Post each and every week. In this week's edition, we have the second half of the introduction of The Lizard. I’m telling you that I grew up on this stuff, and I’m still not over it. Plus, I get chills every time I go back and read the material.

Yes, yes, I know that I have the original issues (bag and boarded) in my collection, plus I probably have a couple of three reprints of the material, but I seriously never get tired of reading them. Plus in this new format, I’m betting that Spidey is getting read by more folks than read his episodes the first time around. Yeah, I hope that this stuff continues for some time to come, as I just can’t get enough of it.

In other comic news, on Friday, I handed off the first new Agent Unknown script in nearly two decades to Mark Mazz for him to consider for inclusion in CAG #5. It features a pair of newly-introduced agents (not seen in the original, Renegade Press series, but who had been conceived at the time). To be sure, the script was probably written about 10 years back, but never typed up. Plus, I had originally written it as a 10-page story, only Mark wants only 8-page stories. Hence I had to trim two pages out of it, and still have it deliver the kind of punch I wanted. I believe that I succeeded.

Next up, (and even thought I’m half-way through a brand-spanking-new AU script) I’m working on a new story that I’m hoping will be included in Psychosis! #2. (Oh yeah, here is as good a place as any to announce that while I had originally intended the two young girls from my first Psychosis! story, Never Judge a Book..., to be a stand-alone story, I’ve discovered that they will return, in, not just one more tale, but a series of stories. Seems these gals have taken on a life of their own. As of this moment, Matt Ryan (who drew the first story) and Melvin Ylagan (who panted the cover) are interested in continuing along with me as we explore who these young gals really are.

Oh, but the new Psychosis! story isn’t about them. I have to get this one done first, but don’t worry, the girls are coming along soon, and I’ll let you know when they are on their way!

Is that cool or what?