Thursday, July 23, 2009
at
4:29 PM
|
 Steve Ditko
Stephen J. Ditko was born in Johnstown, Pennsylvania, the son of first-generation Americans of Austrian/Czechoslovakian descent: Stephen Ditko, an artistically talented master carpenter at a steel mill, and Anna, a homemaker. The second-eldest child in a working-class family, he was preceded by sister Anna Marie and followed in uncertain order by sister Betty and brother Patrick. Inspired by his father's love of newspaper comic strips, particularly Hal Foster's Prince Valiant, Ditko found his interest in comics accelerated by the introduction of superhero Batman in 1940, and by Will Eisner's The Spirit, which appeared in a tabloid-sized comic-book insert in Sunday newspapers.
Good with his hands, Ditko in junior high school was part of a group of students who crafted wooden models of German airplanes to aid civilian World War II aircraft-spotters. Upon graduating from Johnstown High School in 1945, he enlisted in the U.S. Army on October 26, 1945, and did military service in postwar Germany, where he drew comics for an Army newspaper.
Following his discharge, Ditko learned that his idol, Batman artist Jerry Robinson, was teaching at the Cartoonists and Illustrators School (later the School of Visual Arts) in New York City. Moving there in 1950, he enrolled in the art school under the G.I. Bill. Robinson found the young student "a very hard worker who really focused on his drawing" and someone who "could work well with other writers as well as write his own stories and create his own characters", and he helped Ditko acquire a scholarship for the following year.
Ditko began professionally illustrating comic books in early 1953, illustrating writer Bruce Hamilton's science-fiction story "Stretching Things" for Stanmor Publications, which in turn sold the story to Ajax/Farrell, which published it in Fantastic Fears #5 (Feb. 1954). Ditko's first published work was the six-page story "Paper Romance" in Daring Love #1 (Oct. 1953), published by the Key Publications imprint Gilmor Magazines.
Shortly afterward, Ditko found work at the studio of celebrated writer-artists Joe Simon and Jack Kirby, who had created Captain America and other characters and had instituted numerous industry innovations. Beginning as an inker on backgrounds, Ditko was soon working with and learning from Mort Meskin, an artist whose work he had long admired. His known assistant work includes aiding inker Meskin on the Jack Kirby pencil work of Harvey Comics' Captain 3-D #1 (Dec. 1953). For his own third published story, Ditko penciled and inked the six-page "A Hole in His Head" in Black Magic vol. 4, #3 (Dec. 1953), published by Simon & Kirby's Crestwood Publications imprint Prize Comics.
Ditko then began a long association with the Derby, Connecticut publisher Charlton Comics, a low-budget division of a company best known for song-lyric magazines. Beginning with the cover of Space Adventures #10 (Spring 1954) and the five-page story "Homecoming" in that issue, Ditko would continue to work intermittently for Charlton until the company's demise in 1986, producing science fiction, horror and mystery stories, as well as co-creating Captain Atom, with writer Joe Gill, in 1960.
Marvel Comics
Ditko also drew for Atlas Comics, the 1950s precursor of Marvel Comics, beginning with the four-page "There'll Be Some Changes Made" in Journey into Mystery #33 (April 1956); this debut tale would be reprinted in Marvel's Curse of the Weird #4 (March 1994). Ditko would go on to contribute a large number of stories, many considered classic, to Atlas/Marvel's Strange Tales and the newly launched Amazing Adventures, Strange Worlds, Tales of Suspense and Tales to Astonish, issues of which would typically open with a Kirby-drawn monster story, followed by one or two twist-ending thrillers or sci-fi tales drawn by Don Heck, Paul Reinman, or Joe Sinnott, all capped by an often-surreal, sometimes self-reflexive short by Ditko and writer-editor Stan Lee. These bagatelles proved so popular that Amazing Adventures was reformatted to feature such stories exclusively beginning with issue #7 (Dec. 1961), when the comic was rechristened Amazing Adult Fantasy — a name intended to reflect its more "sophisticated" nature, as likewise the new tagline "The magazine that respects your intelligence".
The Amazing Spider-Man Annual #1 (1964). Cover art by Ditko.
Creation of Spider-Man
After Marvel Comics editor-in-chief Stan Lee obtained permission from publisher Martin Goodman to create a new "ordinary teen" superhero named "Spider-Man", Lee originally approached his leading artist, Jack Kirby. Kirby told Lee about his own 1950s character conception, variously called the Silver Spider and Spiderman, in which an orphaned boy finds a magic ring that gives him superpowers. Comics historian Greg Theakston says Lee and Kirby "immediately sat down for a story conference" and Lee afterward directed Kirby to flesh out the character and draw some pages. "A day or two later", Kirby showed Lee the first six pages, and, as Lee recalled, "I hated the way he was doing it. Not that he did it badly — it just wasn't the character I wanted; it was too heroic".
Lee turned to Ditko, who developed a visual motif Lee found satisfactory, although Lee would later replace Ditko's original cover with one penciled by Kirby. Ditko said,
"The Spider-Man pages Stan showed me were nothing like the (eventually) published character. In fact, the only drawings of Spider-Man were on the splash [i.e., page 1] and at the end [where] Kirby had the guy leaping at you with a web gun... Anyway, the first five pages took place in the home, and the kid finds a ring and turns into Spider-Man.” Ditko also recalled that,
“ One of the first things I did was to work up a costume. A vital, visual part of the character. I had to know how he looked ... before I did any breakdowns. For example: A clinging power so he wouldn't have hard shoes or boots, a hidden wrist-shooter versus a web gun and holster, etc. ... I wasn't sure Stan would like the idea of covering the character's face but I did it because it hid an obviously boyish face. It would also add mystery to the character....” Much earlier, in a rare contemporaneous account, Ditko described his and Lee's contributions in a mail interview with Gary Martin published in Comic Fan #2 (Summer 1965): "Stan Lee thought the name up. I did costume, web gimmick on wrist & spider signal". From 1958 to either 1966 or 1968 (accounts differ), Ditko shared a Manhattan studio at 43rd Street and Eighth Avenue with noted fetish artist Eric Stanton, an art-school classmate. When either artist was under deadline pressure, it was not uncommon for them to pitch in and help the other with his assignment, and the introduction to one book of Stanton's work says, "Eric Stanton drew his pictures in India ink, and they were then hand-coloured by Ditko". In a 1988 interview with Theakston, Stanton recalled that although his contribution to Spider-Man was "almost nil", he and Ditko had "worked on storyboards together and I added a few ideas. But the whole thing was created by Steve on his own... I think I added the business about the webs coming out of his hands".
Doctor Strange and other characters
Dormammu attacks Eternity in a Ditko "Dr. Strange" panel from Strange Tales #146 (July 1966).
After drawing the final issue of The Incredible Hulk (#6, March 1963), Ditko co-created with Lee the supernatural hero Doctor Strange, in Strange Tales #110 (July 1963). Ditko and Lee shortly thereafter relaunched a Hulk series as a short feature in the anthology Tales to Astonish, beginning with issue #60 (Oct. 1964). Ditko, inked by George Roussos, penciled the feature through #67 (May 1965). Ditko designed the Hulk's primary antagonist, the Leader, in #62 (Dec. 1964).
Ditko also penciled the Iron Man feature in Tales of Suspense #47–49 (Nov. 1963 – Jan. 1964), with various inkers. The first of these debuted the initial version of Iron Man's modern red-and-golden armor, though whether Ditko or cover-penciler and principal character designer Jack Kirby designed the costume is uncertain.
Though often overshadowed by his Amazing Spider-Man work, Ditko's "Doctor Strange" stories have been equally acclaimed, showcasing surrealistic mystical landscapes and increasingly head-trippy visuals that helped make the feature a favorite of college students, according to contemporaneous accounts. Eventually, as co-plotter and later sole plotter, in the "Marvel Method", Ditko would take Strange into ever-more-abstract realms, which yet remained well-grounded thanks to Lee's reliably humanistic, adventure/soap opera dialog. Ditko's tenure on "Dr. Strange" culminated in the introduction, in Strange Tales #146 (July 1966), of Ditko's grand and enduring conception of Eternity, the personification of the universe, depicted as a majestic silhouette whose outlines are filled with the cosmos.
Whichever feature he drew, Ditko's idiosyncratic, cleanly detailed, instantly recognizable art style, emphasizing mood and anxiety, found great favor with readers. The character of Spider-Man and his troubled personal life meshed well with Ditko's own interests, which Lee eventually acknowledged by giving the artist plotting credits on the latter part of their 38-issue run. But after four years on the title, Ditko left Marvel; he and Lee had not been on speaking terms for some time, though the details remain uncertain. Lee recalled that, "Little by little, he became more unfriendly. Instead of bringing his artwork in, he sent it by messenger".[citation needed] Ditko later claimed it was Lee who broke off contact and disputed the long-held belief the disagreement was over the true identity of the Green Goblin: "Stan never knew what he was getting in my Spider-Man stories and covers until after [production manager] Sol Brodsky took the material from me ... so there couldn't have been any disagreement or agreement, no exchanges ... no problems between us concerning the Green Goblin or anything else from before issue #25 to my final issues". Comics historian Greg Theakston, who visited Ditko on occasion, theorized Ditko saw The Amazing Spider-Man as semi-autobiographical: "Spider-Man was the culmination of everything Ditko was up until that moment. Ditko had personal ties to the character. When people started to 'manipulate him' into bringing in more romance into the strip and changing the direction, Ditko felt slighted, crushed ... they were telling him how to do it. He wouldn't be told".
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 Ditko quit, and here's John Romita [Sr.] drawing Amazing Spider-Man and Larry [Lieber] drawing the Spider-Man Annual and Marie Severin drawing 'Dr. Strange', and I joked, 'This is the Steve Ditko Room; it takes three of you to do what Steve Ditko used to do'".
Charlton and DC Comics
The Creeper in Showcase #73 (April 1968). Cover art by Ditko.
Back at Charlton — where the page rate was low but creators were allowed greater freedom — Ditko worked on such characters as Blue Beetle (1967–1968), The Question (1967–1968), Captain Atom (1965–1967), returning to the character he'd co-created in 1960. In addition, in 1966–1967, he drew 16 stories by writer Archie Goodwin for Warren Publishing's horror comic magazines, most of which were done using ink-wash.
In 1967, Ditko gave his conservative ideas ultimate expression in the form of Mr. A, published in Wally Wood's independent title witzend #3. Ditko's hard line against criminals was controversial and alienated many fans, but he continued to produce Mr. A stories and one-pagers until the end of the 1970s. Ditko returned to Mr. A once more in 2000.
Ditko moved to DC Comics in 1968, where he created the Creeper in Showcase #73 (April 1968) with scripter Don Segall, under editor Murray Boltinoff. Ditko also created the quirky team The Hawk and the Dove, in Showcase #75 (June, 1968), with writer Steve Skeates.
Ditko'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 — the reasons for his departure uncertain. But while at DC, Ditko recommended Charlton staffer Dick Giordano to the company, who would go on to become a top DC penciller, inker, editor, and ultimately the managing editor, in 1981.
From this time up through the mid-1970s, Ditko worked exclusively for Charlton and various small press/independent publishers. For Charlton in 1974 he did Liberty Belle backup stories in E-Man and also conceived Killjoy. With The Question and Killjoy, Ditko freely expressed his personal ideology,[citation needed] based on Ayn Rand's Objectivism and the writings of Greek philosopher Aristotle.[citation needed] Ditko also produced much work for Charlton's science-fiction and horror titles, as well as for former Marvel publisher Martin Goodman's start-up line Atlas/Seaboard Comics, where he co-created the superhero the Destructor with writer Archie Goodwin, and penciled all four issues of the namesake series (Feb.–Aug. 1975), the first two of which were inked by fellow comics legend Wally Wood. Ditko also worked on the second and third issues of Tiger-Man and the third issue of Morlock 2001, with Bernie Wrightson inking.
Latter-day Ditko
Ditko returned to DC Comics in 1975, creating a short-lived title, Shade, the Changing Man (1977–1978). Shade was later revived, without Ditko's involvement, in the DC's mature-audience imprint Vertigo Comics. With Paul Levitz (writer) and Wally Wood (inker), he co-created Stalker (1975–1976) which ran for four issues. He also revived the Creeper and did such various other jobs as a short Demon backup series in 1979, work on Legion of Superheroes in 1980–1981, and stories in DC's horror and science-fiction anthologies. He also drew the Prince Gavyn version of Starman in Adventure Comics #467–478 (1980). He then decamped to do work for a variety of publishers, briefly contributing to DC again in 1986, with four pinups of his characters for Who's Who in the DC Universe and a pinup for Superman #400 and its companion portfolio.
Ditko returned to Marvel in 1979, taking over Jack Kirby's Machine Man, drawing The Micronauts, co-creating Captain Universe ("The hero who could be YOU"!), and continuing to freelance for the company into the late 1990s. In 1982, he also began freelancing for the early independent comics label Pacific Comics, beginning with Captain Victory and the Galactic Rangers #6 (Sept. 1982), in which he introduced the superhero Missing Man, with Mark Evanier scripting to Ditko's plot and art. Subsequent Missing Man stories appeared in Pacific Presents #1–3 (Oct. 1982–March 1984), with Ditko scripting the former and collaborating with Robin Snyder on the script for the latter two. Ditko also created the Mocker for Pacific, in Silver Star #2 (April 1983).
For Eclipse Comics, he contributed a story featuring his character Static (no relation to the later Milestone Comics character) in Eclipse Monthly #1–3 (Aug.–Oct. 1983), introducing supervillain the Exploder in #2. With writer Jack C. Harris, Ditko drew the backup feature "The Faceless Ones" in First Comics' Warp #2–4 (April–June 1983). Working with that same writer and others, Ditko drew a handful of The Fly, Fly-Girl and Jaguar stories for The Fly #2–8 (July 1983–Aug. 1984), for Archie Comics' short-lived 1980s superhero line; in a rare latter-day instance of Ditko inking another artist, he inked penciler Dick Ayers on the Jaguar story in The Fly #9 (Oct. 1984)
In 1993, he did the Dark Horse Comics one-shot The Safest Place in the World. For the Defiant Comics series Dark Dominion, he drew issue #0, which was released as a set of trading cards. In 1995, he pencilled a four-issue series for Marvel based on the Phantom 2040 animated TV-series. This included a poster that was inked by John Romita Sr. Steve Ditko's Strange Avenging Tales was announced at a quarterly series from Fantagraphics Books, although it only ran one issue (February 1997) due to publicly unspecified disagreements between Ditko and the publisher.
Ditko retired from mainstream comics in 1998. His later work for Marvel and DC included established superheroes as the Sub-Mariner (in Marvel Comics Presents) and newer, licensed characters such as the Mighty Morphin Power Rangers. The last mainstream character he created was Marvel's Longarm in Shadows & Light #1 (Feb. 1998), in a self-inked, 12-page Iron Man story "A Man's Reach....", scripted by Len Wein. His final mainstream work was a five-page New Gods story for DC, "Infinitely Gentle Infinitely Suffering", inked by Mick Gray and believed to be intended for the 2000–2002 Orion series but not published until the 2008 trade paperback Tales of the New Gods.
Since then, Ditko's solo work has been published intermittently by independent publisher and longtime friend Robin Snyder, his editor at Charlton, Archie Comics, and Renegade Press in the 1980s. The Snyder-published books have included Static, The Missing Man, The Mocker and, in 2002, Avenging World, a collection of stories and essays spanning 30 years. In 2008, Ditko and Snyder released The Avenging Mind, a 32-page essay publication featuring several pages of new artwork; and Ditko, etc...., a 32-page comic book composed of brief vignettes and editorial cartoons, introducing such new characters as the Hero. In January 2009 Ditko Continued was released, featuring, amongst other material, the first part of a new Mr. A story.
Personal life
Ditko resides in New York City as of 2008. He has refused to give interviews or make public appearances since the 1960s, explaining in 1969 that, "When I do a job, it’s not my personality that I’m offering the readers but my artwork. It’s not what I'm like that counts; it’s what I did and how well it was done.... I produce a product, a comic art story. Steve Ditko is the brand name". He has, however, contributed numerous essays to Snyder's fanzine The Comics.
Ditko is an ardent supporter and advocate of Ayn Rand's philosophy, Objectivism.
Awards and honors
- 1962 Alley Award for Best Short Story - "Origin of Spider-Man"" by Stan Lee & Steve Ditko, Amazing Fantasy #15 (Marvel Comics). Lee & Ditko's Spider-Man character, series and first annual additionally won several Alley Awards from 1963 to 1965.
- In 1987, Ditko was presented a Comic-Con International Inkpot Award in absentia, accepted on his behalf by Renegade Press publisher Deni Loubert, who had published Ditko's World the previous year. Ditko refused the award, and returned it to Loubert after having phoned her to say,
"Awards bleed the artist and make us compete against each other. They are the most horrible things in the world. How dare you accept this on my behalf". At his behest, Loubert returned the award to the convention organizers. - Ditko was inducted into the Jack Kirby Hall of Fame in 1990, and into the Will Eisner Award Hall of Fame in 1994.
Posted by
Peter Parker
Labels:
Bios,
Ditko
 John Romita Senior
John Romita graduated from the School of Industrial Art in 1947. He broke into comics on the seminal series Famous Funnies. "Steven Douglas up there was a benefactor to all young artists", Romita recalled.
"The first story he gave me was a love story. It was terrible. All the women looked like emaciated men and he bought it, never criticized, and told me to keep working. He paid me two hundred dollars for it and never published it — and rightfully so." Romita was working at the New York City company Forbes Lithograph in 1949, earning $30 a week, when a friend from high school whom he ran into on a subway train offered him $20 a page to pencil a 10-page story for him as uncredited ghost artist. "I thought, this is ridiculous! In two pages I can make more money than I usually make all week! So I ghosted it and then kept on ghosting for him." Romita recalled. The friend worked for Marvel's 1940s forerunner, Timely Comics, which helped give Romita an opportunity to meet editor-in-chief and art director Stan Lee.
Romita's first known credited comic-book art is as penciler and inker on the six-page story "The Bradshaw Boys" in Western Outlaws #1 (Feb. 1954) for Marvel's 1950's predecessor, Atlas Comics. He went on to draw a wide variety of horror, war, romance and other comics for Atlas. His most notable work for the company was the short-lived, 1950s revival of Timely's hit character Captain America, in Young Men #24-28 (Dec. 1953 - July 1954) and Captain America #76-78 (May-Sept. 1954).
He also was the primary artist for one of the first series with a Black star, "Waku, Prince of the Bantu" — created by writer Don Rico and artist Ogden Whitney in the omnibus title Jungle Tales #1 (Sept. 1954), and starring an African chieftain in Africa, with no regularly featured Caucasian characters. Romita succeeded Whitney with issue #2 (November 1954).
The Amazing Spider-Man #50. Cover art by Romita and Mike Esposito.
At Marvel, Romita returned to superhero penciling after a decade working exclusively as a romance-comic artist for DC. He felt at the time that he no longer wanted to pencil, in favor of being solely an inker:
"I had inked an Avengers job for Stan, and I told him I just wanted to ink. I felt like I was burned out as a penciler after eight years of romance work. I didn't want to pencil any more; in fact, I couldn't work at home any more — I couldn't discipline myself to do it. He said, 'Okay,' but the first chance he had he shows me this Daredevil story somebody had started and he didn't like it, and he wanted somebody else to do it. [He] showed me Dick Ayers' splash page for a Daredevil [and] asked me, 'What would you do with this page?' I showed him on a tracing paper what I would do, and then he asked me to do a drawing of Daredevil the way I would do it. I did a big drawing of Daredevil ... just a big, tracing-paper drawing of Daredevil swinging. And Stan loved it." Romita began a brief stint on Daredevil beginning with issue #12, initially penciling over Jack Kirby's dynamic layouts as a means of learning Marvel's storytelling house style. It proved to be a stepping-stone for his famed, years-long pencilling run on The Amazing Spider-Man. "What Stan Lee wanted was for me to do a two-part Daredevil story [#16-17, May-June 1966] with Spider-Man as a guest star, to see how I handled the character". Coming to The Amazing Spider-Man as successor of Spider-Man co-creator Steve Ditko, Romita initially attempted to mimic Ditko's style, but brought his own clean, soap operatic style of illustration to the book, and made the character his own.
Romita was the artist for the Spider-man newspaper strip, from its launch in January 1977 through late 1980.
When editor-in-chief and art director Stan Lee assumed the position of publisher, he promoted Romita to the latter position. In that capacity, Romita played a major role in defining the look of Marvel Comics and in designing new characters. Among the characters he helped design are the Punisher, Wolverine, and Brother Voodoo.
Following his retirement from day-to-day comics work, Romita returned to draw his signature character Spider-Man on latter-day occasions. He was one of six pencilers on Peter Parker, the Spectacular Spider-Man #121 (Dec. 1986), and he penciled a nine-page story "I remember Gwen" in The Amazing Spider-Man #365 (Aug. 1992, the 30th-anniversary issue) and an eight-page backup story starring the conflicted hero and supporting character the Prowler in Peter Parker, the Spectacular Spider-Man Annual #13 (1993).
He both penciled and inked the 10-page backup story "The Kiss — a flashback in which Peter Parker (Spider-Man) and his girlfriend Gwen Stacy share their first kiss — in Webspinners: Tales of Spider-Man #1 (Jan. 1999). He also drew an alternate-universe version of the Spider-Man characters in the one-shot Spidey: A Universe X Special (2001), and penciled the final four pages of the 38-page story in the milestone The Amazing Spider-Man #500 (Dec. 2003). Romita also drew one of four covers to the April 27 - May 3, 2002 issue of TV Guide.[6]
Additionally, Romita contributed to multi-artist jams in commemorative issues. He did a panel in Captain America vol. 3, #50 (Feb. 2002), starring the first Marvel superhero he'd drawn; a portion of Iron Man vol. 3, #40 (May 2001), although the hero was not one of the artist's signature characters; a panel for Daredevil vol. 2, #50 (Oct. 2003); and a few pages featuring Karen Page in Daredevil vol. 2, #100 (Oct. 2007), done in the style of the romance comics he had drawn decades earlier. Romita both penciled and inked the cover of Daredevil vol. 2, #94 (Feb. 2007) in that same romance-comics style. The following year he drew a variant cover of his signature series, for The Amazing Spider-Man #568 (Oct. 2008)
In the mid-2000s, Romita sat on the board of directors of the charity, A Commitment to Our Roots.
Posted by
Peter Parker
Labels:
Bios,
Romita,
Senior
Wednesday, July 22, 2009
at
8:06 PM
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Hi there web-heads!
I am making it my goal to read every Marvel Spider-Man comic ever in existence. I grew up watching the Spider-Man tv show in 1984 and am very interested in learning everything there is to know about Peter Parker and his superhero existence as Spider-Man.
I started with Amazing Fantasy #15 which introduced Spider-Man for the very first time and am now finishing Amazing Spider-Man #200 (Jan 1980). I started about two months ago and have been reading at least 8 comics a day in chronological order.
I have read the following list so far:
Stan Lee, Steve Ditko - Production Team
Amazing Fantasy #15 (Aug 1962)
Kurt Busiek, Paul Lee, Richard Starkings - Production Team
Amazing Fantasy #16 (Dec 1995)
Amazing Fantasy #17 (Jan 1996)
Amazing Fantasy #18 (Mar 1996) Looking for This One
Stan Lee, Steve Ditko, Johnny Dee - Production Team
Amazing Spider-Man #001 (Mar 1963) Spider-Man meets Fantastic 4 and Introducing the Chameleon
Stan Lee, Steve Ditko, John Duffy - Production Team
Amazing Spider-Man #002 (May 1963) Introducing the Vulture and Terrible Tinkerer
Amazing Spider-Man #003 (Jul 1963) Introducing Doctor Octopus
Amazing Spider-Man #004 (Sep 1963) Introducing the Sandman
Stan Lee, Steve Ditko, Sam Rosen - Production Team
Amazing Spider-Man #005 (Oct 1963) Introducing Doctor Doom
Stan Lee, Steve Ditko, Art Simek - Production Team
Amazing Spider-Man #006 (Nov 1963) Introducing the Lizard
Amazing Spider-Man #007 (Dec 1963) The Vulture Returns
Amazing Spider-Man #008 (Jan 1964) Introducing The Terrible Living Brain
Amazing Spider-Man #009 (Feb 1964) Introducing Electro
Amazing Spider-Man #010 (Mar 1964) Introducing the Evil Enforcers
Amazing Spider-Man #011 (Apr 1964) The Return of Doctor Octopus
Amazing Spider-Man #012 (May 1964) Spider-Man Unmasked by Doc-Oc
Amazing Spider-Man #013 (Jun 1964) The Menace of Mysterio
Amazing Spider-Man #014 (Jul 1964) Introducing the Green Goblin & Guest Starring Incredible Hulk and Evil Enforcers
Amazing Spider-Man #015 (Aug 1964) Introducing Kraven the Hunter and Guest Starring the Chameleon
Stan Lee, Steve Ditko, Sam Rosen - Production Team
Amazing Spider-Man #016 (Sep 1964) Spidey Battles Daredevil and Introducing the Ring Master and his Circus of Crime
Amazing Spider-Man #017 (Oct 1964) The Return of the Green Goblin and Guest Starring the Human Torch
Amazing Spider-Man #018 (Nov 1964) The Return of the Sandman, Spider-Man Labeled a Coward
Amazing Spider-Man #019 (Dec 1964) Spidey Strikes Back, Guest Starring the Sandman, Evil Enforcers, and Human Torch
Amazing Spider-Man #020 (Jan 1965) Introducing the Scorpion
Amazing Spider-Man #021 (Feb 1965) Where Flies the Beetle, Guest Starring the Human Torch
Stan Lee, Steve Ditko, Artie Simek - Production Team
Amazing Spider-Man #022 (Mar 1965) The Clown and His Masters of Menace (Formerly Circus of Crime)
Amazing Spider-Man #023 (Apr 1965) The Goblin and the Gangsters
Stan Lee, Steve Ditko, Sam Rosen - Production Team
Amazing Spider-Man #024 (May 1965) Spider-Man Goes Mad - Return of Mysterio
Amazing Spider-Man #025 (Jun 1965) Captured by J. Jonah Jameson (Introducing Spider Slayer #1 - Spencer Smythe)
Amazing Spider-Man #026 (Jul 1965) Introduction of the Crime Master, Return of Green Goblin
Stan Lee, Steve Ditko, Artie Simek - Production Team
Amazing Spider-Man #027 (Aug 1965) Bring Back My Goblin to Me
Stan Lee, Steve Ditko, Sam Rosen - Production Team
Amazing Spider-Man #028 (Sep 1965) Introducing the Molten Man
Amazing Spider-Man #029 (Oct 1965) Scorpion Returns
Stan Lee, Steve Ditko, Artie Simek - Production Team
Amazing Spider-Man #030 (Nov 1965) Claws of the Cat (Cat Burglar)
Stan Lee, Steve Ditko, Sam Rosen - Production Team
Amazing Spider-Man #031 (Dec 1965) If This Be My Destiny (Doc-Oc Part One)
Stan Lee, Steve Ditko, Artie Simek - Production Team
Amazing Spider-Man #032 (Jan 1966) Man on a Rampage (Doc-Oc Part Two)
Amazing Spider-Man #033 (Feb 1966) The Final Chapter (Doc-Oc Part Three)
Stan Lee, Steve Ditko, Sam Rosen - Production Team
Amazing Spider-Man #034 (Mar 1966) The Thrill of the Hunt (Return of Kraven, the Hunter)
Stan Lee, Steve Ditko, Artie Simek - Production Team
Amazing Spider-Man #035 (Apr 1966) The Molten Man Regrets
Amazing Spider-Man #036 (May 1966) When Falls the Meteor (Introducing the Uncanny Looter)
Amazing Spider-Man #037 (Jun 1966) Once Upon a Time, There Was a Robot
Amazing Spider-Man #038 (Jul 1966) Just a Guy Named Joe
Amazing Spider-Man #039 (Aug 1966) How Green Was My Goblin (Green Goblin's Identity Revealed)
Stan Lee, Steve Ditko, Sam Rosen - Production Team
Amazing Spider-Man #040 (Sep 1966) The End of the Green Goblin (Temporary, not Death of Norman Osborn)
Stan Lee, Steve Ditko, Artie Simek - Production Team
Amazing Spider-Man #041 (Oct 1966) The Horns of the Rhino (Return of the Rhino)
Stan Lee, Steve Ditko, Sam Rosen - Production Team
Amazing Spider-Man #042 (Nov 1966) The Birth of a Super-Hero (John Jameson is new Super-Hero)
Stan Lee, Steve Ditko, Artie Simek - Production Team
Amazing Spider-Man #043 (Dec 1966) Rhino on the Rampage
Stan Lee, Steve Ditko, Sam Rosen - Production Team
Amazing Spider-Man #044 (Jan 1967) Where Crawls the Lizard (Lizard Epic Part 1)
Amazing Spider-Man #045 (Feb 1967) Spidey Smashes Out (Lizard Epic Part 2)
Amazing Spider-Man #046 (Mar 1967) The Sinister Shocker
Posted by
Peter Parker
Labels:
Beginnings,
Guide to Spider-Man
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MARVEL and SPIDER-MAN: TM & 2007 Marvel Characters, Inc. Motion Picture © 2007 Columbia Pictures Industries, Inc. All Rights Reserved. 2007 Sony Pictures Digital Inc. All rights reserved.
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