Guest Review: The Origin of Dr. Strange - Strange Tales 115

Doug: Thomas F. is back. Having been inspired by Redartz's recent Who's the Best query on Dr. Strange artists, Thomas is going to take us back to the very beginning, replete with all the weirdness of Steve Ditko's Sorcerer Supreme!

Strange Tales #115 (December 1963)
“The Origin of Dr. Strange”

Stan Lee-Steve Ditko

 

Thomas F.: While not a Bronze Age tale, with an upcoming Dr. Strange film scheduled for release on November 4 of this year, I thought it would be apt to review the origin of Dr. Strange presented in the now-classic Strange Tales #115. For those seeking an inexpensive copy to own, this story is reprinted as the second feature in Marvel Tales #137. (Nearly five years later, in July 1968, a further, updated origin story appeared in Dr. Strange #169, written by Roy Thomas and penciled by Dan Adkins). 

Dr. Strange was first introduced five issues earlier, in Strange Tales #110, and according to Stan Lee, the Marvel bullpen was immediately flooded with fan letters asking for background information on the mysterious Dr. Strange. And so, Stan the Man hastily sat down at his well-worn typewriter to give Marvelites the inside scoop on the Master of Mystic Arts.

I find Steve Ditko’s phantasmagorical artwork very appealing. It’s so distinctive, so identifiable, that it would be impossible to mistake him for any other artist. Ditko’s surreal expressionism makes him ideally suited to pencil Stan Lee’s tales of the metaphysical. Few artists can convey optical illusions on paper as convincingly as Ditko. Although for me personally, John Romita, Sr. and Jack Kirby will always be the definitive Silver Age artists, Ditko nonetheless remains a quaint favorite.

 

The relatively short Dr. Strange tales began as “backpage filler,” and steadily increased in popularity until he became the principal character of the Strange Tales comic. At first, Dr. Strange, despite his mastery of black magic, is to some extent still dependent on the powers and assistance of the venerable Ancient One. But over time he evolves, becoming more self-reliant. Generally, the stories involve Dr. Strange, who is ultimately just a talented mortal, using his mystical prowess to temporarily fend off interdimensional entities and thereby save the Earth from otherworldly perils unknown to most people. Yet for Dr. Strange, there are not many resounding triumphs. Most of his clashes with cosmic villains end in stalemates—with his relentless foes always scheming to return and defeat him on a future occasion. Just a few of Dr. Strange’s evil enemies who challenge him on a recurring basis include Baron Mardo, Dormammu, Nightmare, Eternity, and the Mindless Ones.
 
The tale opens in India, “land of mystic enchantment,” where we see a ragged traveler rushing into a fantastic chamber decorated with all kinds of esoteric artifacts. The man is Dr. Stephen Strange, and he is on a mission—to locate the legendary “Ancient One,” a wise being who is rumored to possess all manner of healing powers.

 

For those readers who are unaware, the Ancient One is a thousand-year-old sorcerer, the “Sorcerer Supreme,” who defends the Earth dimension from evil mystic forces. (I’ve noticed that future issues describe the Ancient One’s sanctuary as being in Tibet, not India).

The Ancient One confirms his identity to Dr. Strange, who then exhorts the elderly magician to help him. But the Ancient One rebuffs him, informing Dr. Strange that only those who are worthy of his care shall receive his aid. Distraught, Dr. Strange rushes forward toward the Ancient One, his hand raised, apparently with the intent to strike out. But with a wave of his hand, the Ancient One immobilizes Dr. Strange by causing him to levitate several feet above the ground, helpless. The Ancient One then uses his telepathic powers to penetrate deep into Dr. Strange’s mind, thereby learning the truth about him.

 

The Ancient One—and we, the readers—learn that Dr. Stephen Strange was an arrogant and materialistic neurosurgeon who cared little or nothing for others. Although brilliant and talented, all that interested him was wealth, and as a highly sought-after specialist, he charged his patients exorbitant fees. He refused all requests for charity work, and refused to treat those who were unable to pay for his expert yet costly services.

Then, through the Ancient One’s vision, we learn that Dr. Strange’s life took an unexpectedly tragic turn in 1963, when the neurosurgeon was involved in a devastating automobile accident that, ironically enough, spared his life but damaged the nerves in his hands so thoroughly that he was unable to operate ever again.

 

Embittered by the abrupt end of his surgical career, yet too egotistical to accept a lesser post and work as either a consultant or assistant, Dr. Strange traveled the world seeking a cure. In doing so, it wasn’t long before he exhausted his vast wealth and became a disheveled transient.

One day, idly standing by, Dr. Strange overheard a casual conversation between two sailors that peaked his interest: there was apparently a so-called “Ancient One” with magical powers who could cure any ailment. Frantic and grasping at straws, Dr. Strange sold his final possessions for airfare to the Orient and managed to locate the Ancient One’s sanctuary.

Having discerned the truth, the Ancient One ends his mental probe into Dr. Strange’s past and declines to cure Dr. Strange, since the former neurosurgeon’s reasons remain selfish. And yet, in spite of all this, the Ancient One perceives that there still remains a trace of decency in the wayward Dr. Strange. The Ancient One offers to allow Dr. Strange to stay with him and study, thereby giving him a purpose. But Dr. Strange is disgruntled by the Ancient One’s refusal to heal him, and rejects the offer out of hand. He tries to leave, only to discover that the entrance/exit to the Ancient One’s chamber is now blocked by thick snow. Dr. Strange concedes that he has no choice but to remain until the presently impenetrable layer of snow thaws out. Next, the Ancient One introduces Dr. Strange to his apprentice-sorcerer Baron Mordo, and directs the spooky Mordo to take Dr. Strange to his quarters. (Interestingly, this origin story reveals that Baron Mordo’s first name is Karl).

 

Restless, Dr. Strange notes that Mordo spends all his time studying scrolls and spells, and scoffs at the seemingly pointless activity. Regretting his foolhardy decision to travel to the East, Dr. Strange decides to inquire of the Ancient One how long it will be before the snow melts. But when Dr. Strange enters the Ancient One’s private chamber, where the elderly wizard is meditating, he sees a swirling greenish vapor—“the vapors of Valtorr”—materialize out of thin air and attack the Ancient One. Agitated, the Ancient One reasons to himself that the vapors were brought about by “black magic,” and that only the same supernatural force will effectively counter it.

The Ancient One chants: “I summon the powers of the Vishanti! By the spell of the dread Dormammu, in the name of the all-seeing Agamotto—all thy powers I summon… Begone, forces of darkness!” No doubt Stan Lee got a kick out of writing this type of dialogue, and he did it so often that it became second nature to him. It strikes me that Stan Lee had to familiarize himself with “olde English” to pen some of that Shakespearean dialogue in the pages of Journey into Mystery and The Mighty Thor as well.

Dr. Strange is astonished by what he has just seen. He asks the Ancient One about the eerie phenomenon he has just witnessed. Reluctant to explain what has transpired to a Western skeptic, the Ancient One merely states that he must constantly be vigilant, since he is always beset by dark forces. Dr. Strange gazes at the Ancient One with a professional eye. He concedes to the Ancient One that he is no longer a surgeon, but as a medical man, he advises the hoary sorcerer that he is frail, weak, and needs to recuperate. The Ancient One retorts that he cannot let his guard down now—not until he has found a suitable successor who can carry on his work and keep the forces of evil at bay.

Striding off, Dr. Strange leaves the Ancient One to his own devices and, musing to himself, observes that the heavy snows have nearly dissipated. But suddenly Dr. Strange comes across Mordo, who is deeply focused on some intense mystic activity. Mordo does not notice Dr. Strange, and Dr. Strange lingers, curious. He sees that Mordo is in communication with the evil Dormammu, ruler of the Dark Dimension, and that he is conjuring the same green vapors that had earlier attacked the Ancient One. Astounded, Dr. Strange realizes that it is Mordo himself, the Ancient One’s pupil, who was responsible for the prior attack on the Ancient One. 

Dr. Strange confronts Mordo, accuses him of betrayal, and threatens to reveal Mordo’s dastardly schemes to the Ancient One. Mordo sneers at him, and with an incantation, conjures an iron clamp that covers Dr. Strange’s mouth, effectively silencing him. A restraint is also placed around Dr. Strange’s wrists, inhibiting his movement and preventing him from taking any aggressive action against Mordo. Both the iron clamp and restraints are invisible to all save Dr. Strange. 

Dr. Strange tries to convince himself that it must all be hypnotism, but when he tries to warn the Ancient One of Mordo’s duplicity, powerful bolts of mystic force prevent him from doing so. He realizes sorcery is a real art and that that the Mordo’s magic powers are genuine, and most of all that he cannot stand by and let Mordo slay his wise mentor, or else the consequences to the world would be disastrous. 

Then and there, Dr. Strange decides that he will take it upon himself to learn sorcery, so that he can defeat the treacherous Mordo. Dr. Strange muses to himself: “If I, too, can learn the secrets of black magic, then I can battle Mordo with his own weapons!”

Dr. Strange seeks an audience with the Ancient One, and accepts the offer of apprenticeship that the Ancient One had made several days ago. He asks to become the Ancient One’s disciple, to study and learn the ways of black magic.

 

Pleased, the Ancient One grants Dr. Strange’s selfless request, and releases Dr. Strange from Mordo’s incantations. Dr. Strange is surprised that the Ancient One was aware of Mordo’s perfidy, and the Ancient One explains that as Mordo’s master, there is nothing Mordo can conceal from him. But instead of casting Mordo out, the Ancient One prefers to keep him nearby, where his rogue pupil’s evil can be kept in check. The Ancient One warns Dr. Strange that one day, as his successor, it will be his duty to defeat Mordo once and for all.

After many years of arduous study, Dr. Strange becomes an expert in the practice of sorcery and black magic, learns countless spells, and eventually takes on the mantle of “Sorcerer Supreme,” carrying on the Ancient One’s work.

 

 

Although it’s not revealed in this origin story, I might add that Dr. Strange’s costume is also a source of extra mystic power—namely, his Cloak of Levitation and the Eye of Agamotto. And later, Dr. Strange returns to New York City and establishes a sanctuary of his own—a mansion in Greenwich Village known as the Sanctum Sanctorum. He also employs a confidant and valet named Wong to assist him (not unlike Bruce Wayne’s butler, Alfred Pennyworth).

By the way, if you’ve got the cash, pick up the Dr. Strange Marvel Masterworks Edition, Volume 1. You won’t be disappointed. It contains the Dr. Strange material—in color—from Strange Tales #110 & #111, #114 - #141, and The Amazing Spider-Man Annual #2 (in which Spidey and Doc Strange combine forces to defeat the evil wizard Xandu). It’s also chock-full of extras, including: original Ditko art from Strange Tales #125, page 8; and the covers of Strange Tales #182-188 which were illustrated by artists other than Steve Ditko. Strange Tales #182—cover by Gil Kane; Strange Tales #183—cover by Jack Kirby; Strange Tales #184, #185, #186, & #187—covers by Ed Hannigan; Strange Tales #188—cover by Gene Colan.

Who's the Best... Doctor Strange Artist?

Redartz: With the Doctor Strange film coming up before the year is out, it seems appropriate to pay some love to the remarkable array of great artists the good Doctor has been blessed with...

Steve Ditko

Gene Colan

Dan Adkins

Frank Brunner

Marshall Rogers

Michael Golden

Paul Smith

Buried Treasures: Smash's "Fantastic Foes"

Doug: Karen has had so much fun showing some of the treasures hidden deep within her collection of comics and memorabilia, I thought I'd get in on the act. I'll be back next Monday with our regularly scheduled comic book review. But perhaps for you, and I know for me, this should be a fun respite.

"Back in the day", as they say, I attended elementary school at South 78th St. School in Milwaukee. I was there for my 2nd-4th grade years. But it was during my final year there that the gems below landed in my hot little hands, courtesy of the folks who published Smash magazine. As I recall, each month there would be a 3-page spread spotlighting some denizens of the Marvel Universe. To rabid young Doug, this was gold. And, in several cases it was my introduction to the seminal years of Marvel Comics.

To the best that my wife and I can recollect from our childhoods, Smash and it's competition mag Dynamite (we'll check that out in a later installment) were available as part of a monthly book order from Scholastic and maybe another company whose name neither of us can remember. For ridiculously low prices, such as $1 or even less for a paperback book (Sharks: Attacks on Man scared the heck out of me in the summer of Jaws...), students could place orders and have a veritable care package dispensed within a couple of weeks. It was like Christmas, but throughout the school year.

So once I found out that Smash contained these comic book features I was hooked -- or, as hooked as I could be when Mom approved the orders. At some point, maybe during a family move or some such thing, I cut the comics-related pages from the magazine and discarded the rest. Consequently, I have very little to offer in regard to the other contents of a given issue, or even which issues contained the material depicted below. In fact, searching the Internet for information on Smash yields little. However, you can make the jump to Al Bigley's blog, where he has published posts similar to today's. Later, much later, as I was creating data pages for my comic collection (indexed, updated prices, separated by dividers, stored in a 2" binder) I decided to 3-hole punch the pages I'd saved from Smash and Dynamite and insert them within the corresponding sections of my notebook.

An annual rite of summer in our home is the garage sale. Just days after finishing the spring semester I was down in the comic room cleaning out the closet. Those of you who've been with us for some time know that I've sold off all of my comics and quite a few other items. When I opened the box that contained my collection binder I was of course swept with a wave of sentimentality. But I was also very pleasantly surprised to again see the pages we've been discussing. So although the binder went in the trash and its pages in the recycling bin, these gems were preserved for your perusal and amusement. Today I'm featuring the origin of Doc Ock and a Dr. Doom/Thing tussle. I'll leave it to you to provide the source information. Be prepared to be overwhelmed with some serious Silver and Bronze Age artistic majesty from the likes of Ditko, Romita, Andru, Kirby, Sinnott, and Buscema. What a visual tour de force!

Guest Review - Origins of Marvel Comics

Doug: Thomas F. is back again this week with some thoughts on a book that immediately takes me back to Christmases when I was an elementary school-aged boy. For four years in a row, Christmas morning was especially brightened by the appearance of one of Marvel's huge "Origins" books. The first to appear under my tree was actually Son of Origins of Marvel Comics, followed by the initial installment (today's subject) for my birthday in June. Then the next three years Bring On the Bad Guys, The Superhero Women, and Marvel's Greatest Superhero Battles arrived in succession. Along with Treasury Editions, these books are among the best memories outside of actual comics. Thanks, Thomas.

Origins of Marvel Comics (1974 Edition)
Stan Lee, author

Thomas F.: As may be surmised from its title, Origins of Marvel Comics reprints the classic origins of Marvel Comics’ most legendary characters. It should be noted that at the time, trade paperbacks were new on the scene.
Origins of Marvel Comics includes entertaining and informative commentary inserted prior to each origin tale, full of the quirky language, peppered with superlatives, that is so typical of Stan Lee. The introductions evoke Lee’s penchant for showmanship, a trait which made him instantly identifiable as the embodiment of all that is Marvel. Some revealing comic industry background is touched on by Lee as well, plus little tidbits of the day-to-day activities of a newly-resurgent company.

Also included in the volume are reprints that were, in 1974, still fairly recent tales. This was done in order to show the contrast between “then” (the early 1960s) and “now” (the early 1970s), and how Marvel’s comics had evolved in the span of just a decade. Naturally, the origin tales—presumably, for which the reader purchased the book in the first place—are of primary interest.

As far as I’m concerned, these vintage origin tales, though somewhat quaint and dated, are just as appealing today as they were a half-century ago, and this magical quality was infused into them by Stan Lee.
Here is a list of the reprinted contents of Origins of Marvel Comics, 1974 edition:

 

Fantastic Four #1 (Origin story, Fantastic Four vs. the Mole Man)

Fantastic Four #55 (Featuring the Jack Kirby creation, the Silver Surfer)

Amazing Fantasy #15 (Origin story)

Amazing Spider-Man #72 (Spider-Man vs. the Shocker)

Incredible Hulk #1 (Origin story)

Incredible Hulk #118 (Incredible Hulk vs. Sub-Mariner)

Journey Into Mystery #83 (Thor origin story)

The Mighty Thor #143 (Thor vs. the Evil Enchanters)

Strange Tales #110 (First appearance of Dr. Strange)

Strange Tales #115 (Origin story)

Strange Tales #155 (Dr. Strange vs. Umar)

It goes without saying that much of Marvel’s success is to be attributed to Lee’s many collaborators, the artists who co-created the pantheon of Marvel’s superheroes in the early 1960s—especially Jack Kirby, Steve Ditko, and John Romita, Sr. Together, Stan Lee and Jack Kirby revolutionized the flagging comic book industry when the Fantastic Four made their iconic first appearance back in November 1961.

This new breed of superheroes were not godlike, omnipotent beings. They were depicted as flawed—full of human foibles, insecurities, and eccentricities. They were often unsuccessful in their personal lives, like Peter Parker/Spider-Man, grotesque freaks like Ben Grimm/The Thing, or even outright embittered outcasts like Dr. Stephen Strange.

To me, it is absolutely clear that it was Lee’s personal brand of dynamism that defined the flavor of Marvel Comics and became the standard to which his successors tried to measure up, and there is no doubt that they took pains to imitate his literary style. True, they may not have had much choice in the matter, since it was company policy to maintain a certain degree of consistency in Marvel’s considerable output.

In 1972, Stan Lee became publisher and handed off the reins to Roy Thomas, who became editor-in-chief. An interesting fact: it was Roy Thomas who instructed that the familiar words “Stan Lee Presents” be added onto the first page of each issue.

Not surprisingly, Origins of Marvel Comics was followed by multiple sequels, the first being Sons of Origins, due to the commercial success of the first installment. Sons of Origins picks up where Origins of Marvel Comics leaves off, showcasing Marvel’s next wave of heroes: the X-Men, Iron Man, Nick Fury, Daredevil, and the Silver Surfer.

For comics book fans new and old alike, Origins of Marvel Comics does not disappoint. It has sentimental value to many and the cultural impact of its dazzling content cannot be understated.

Would You Rather...? Spider-Man's Webs

Doug: I have three questions today about your preferences toward the fashions of everyone's favorite Wall-Crawler. Over the years several artists have exerted their influences on Spider-Man and his sartorial splendor. Of note today are Steve Ditko, John Romita, and Todd McFarlane.

Doug: So here's what I'd like to know -- in regard to the web design on Spider-Man's costume, the underarm webbing, and the style of the webs emanating from his web shooters, what's the look you favor? And of course you don't have to stick to one artist as any sort of a package deal -- you can mix-and-match 'em if you prefer.

BAB Classic - Continuity, Part One: Decry it or devotion to it?

This post was originally published on February 5, 2010

Doug: We're re-running this post, as it ties in with a conversation we had about a week ago. There are two other parts in this series if you feel like spelunking.

Doug: I've been reading a few of our esteemed Bronze Age colleagues' blogs, and have noticed repeated aversions to that comic universe foundation known as Continuity. Karen and I would like to toss forth our evaluations and opinions and we certainly welcome comments at the conclusion of this post, which might further this as a discussion.

Doug: I suppose at the root of the problem is that word "universe". Once a creative team and/or editorial staff begins to craft real-life events for the protagonist and his/her supporting cast, things inevitably are set up to become sticky later on. This fictional realm where the title's cast, or as in the case of Marvel and DC (et al.), titles and casts, dwell now has moments frozen in time. This predicament is the main point of separation between the comic strip and the comic book.

Karen: Marvel had the relative luxury of being new to the scene, whereas DC was carrying around baggage from the last 20+ years. Marvel could do whatever they wanted - because as many of those early writers and artists have noted, they never thought these characters would be around so long! Marvel essentially created the comics continuity fever that most of us grew up with, by creating a fully integrated universe. We saw that the characters interacted with each other. Past events would be referenced repeatedly (remember all the footnotes the comics used to have?). Marvel built a sense of reality and history that had rarely been seen outside of such universe-building works like Lord of the Rings. 

Doug: It's funny to me, re DC. Of course at some point in this conversation Crisis on Infinite Earths will be brought up, but I'll be quite frank -- I never thought (as a kid) that continuity was anywhere close to a big deal at DC. Marvel, sure -- continued stories, characters and villains crossing over all the time, big events (and I mean pre-1980's big events, like one of the FF's break-ups or an Avengers line-up change -- not the marketing junk)... DCs mostly contained one-and-done stories, and it never seemed like they were referenced later on. Even when villains popped up after a few years' hiatus I couldn't see that the new story built off of anything from before.
Doug: So concerning Marvel, it's hard to imagine that what was once the best thing about The Amazing Spider-Man has become the worst. As soon as Stan Lee and Steve Ditko chose to have Peter Parker graduate from high school (ASM #28), Peter entered our world and was marked by time. Now characters in the Marvel Universe could age. Charles Schultz's Peanuts gang didn't; over at DC Dick Grayson had been ~15 for over 20 years. Spidey was now unequivocally 18, and off to college. So Pete and the rest of the characters began to age, to experience life, and then to die.

Karen: I think Stan Lee had it right when he said the goal for Marvel was the illusion of change. Changes in relationships, powers, costumes - all of these contribute to the feeling of excitement and newness but don't really affect the main character in any significant way. Going with our Spider-Man example, even the death of Gwen was not an event that altered the Spider-Man universe in such a way that the basic core of the character was altered or violated. It did however bring an element of reality heretofore unseen in comics, and allowed the readers, many of whom were probably young men themselves, to relate to and grieve with Peter. But the basic concept of Spider-Man was unchanged. 

Doug: Well since you brought it up, perhaps no events are as hallowed in the Bronze Age as the deaths of Gwen Stacy and the Green Goblin in June/July 1973. Both were surprises when they happened, and both carried enough weight that one felt that a chapter had closed in the life of Peter Parker. But then, only 14 months later there was a new Green Goblin, and as 1975 dawned there were hints that there would be a new Gwen Stacy.

Doug: Why? Sales would be the obvious answer. Fixing what many fans felt was a gross injustice? Maybe - but even that quasi-noble gesture oozed potential dollars. And I guess if we use this as a microcosm of the continuity question, we have to dwell for a moment on any publisher's ultimate goal: to turn a profit. In a perfect world, publishers would remain benevolent, always producing magazines within whose pages characters always behaved as we expect them to and change could be unexpected but would remain logical. 

Karen: Peter's growth as a character continued as he got a job and got married. Personally I liked the idea that Peter was still growing, although perhaps at a rate of 1 year for every 5 real-time years. I didn't mind him being married -although I do think it was a mistake for Mary Jane to be a super-model. That took Peter out of the everyman role he should rightfully occupy in the Marvel Universe. It would have made much more sense for Mary Jane to be a struggling actress/model. But despite this, by the time the 2000s rolled around, Spidey had a rich history.Karen: However, that rich history can also be like an anvil around one's neck. New writers may feel constricted by what stories they can tell. And by having any of the characters progress in age, the inevitability of adulthood, old age, and death starts to come into play. You almost have to commit to it fully, ie. have characters age, perhaps much more slowly than in real life, but eventually wind up hanging up their fighting togs and/or passing the mantle to someone else. But is that really what fans want? Can we imagine anyone else besides Peter Parker as Spider-Man? DC has made Dick Grayson the new Batman, but is there any doubt that Bruce Wayne will return to that role? 

Doug: No, no doubt at all. By and large, Batman, Superman, and Wonder Woman are untouchable. But one could argue that where it appeared that the entire second-tier of DC characters were allowed to move on with others taking up the mantle of Green Lantern, Flash, Green Arrow, etc., even those changes have been reversed or at least diminished historically by the returns of Barry Allen, Hal Jordan, and Oliver Queen. 

Karen: I realize I am primarily a Marvel fan, so I am sure hard-core DC fans would disagree with me, but I saw little personality at all in characters like Hal Jordan or Barry Allen. Many of these DC characters seemed almost interchangeable. I'm honestly surprised there was so much clamor for their return! And so now DC has multiple people running around with the same name. Those seem like characters where the passing of the torch really could (and I think did, particularly with Wally becoming the Flash) revitalize a title. I'm still surprised that Barry was brought back, although I do think that Geoff Johns has managed to give Hal Jordan a personality now. 

Karen: But getting back to the limits of continuity - apparently the Marvel writers felt that Spidey's situation, which had been crafted over decades by numerous creators, had become unwieldy. And so we got the biggest cop-out in comics: Brand New Day. It was bad enough that they used this deus ex machina to remove the marriage; but then they went several steps further and also used it to alter his entire history. Somehow, vast chunks of Spider-Man history were magically removed, so that Marvel could send Peter back to the Coffee Bean and relive his life. 

Karen: Brand New Day was a complete disregard of not only continuity, but of Marvel's status as the 'reality-based' comics company. Marvel has always taken pride in the fact that they brought a sense of realism to comics. One might have expected them to end the marriage in a realistic fashion - say by divorce or even death. Instead, they just decided one day to revert the series to about 1975 and not make any effort to actually have it make sense. 

Doug: I'm very happy to report that my mind was not polluted by any of the Spider-events of the past 12-15 years or so. I got out way back during the second clone saga, which was just a complete train wreck. It was so bad, as was much of what Marvel was producing in the 90's, that one has to wonder exactly what was going on in those editorial meetings. It wasn't creativity -- no, no -- my guess is the VP in charge of marketing was running each and every editorial meeting. All style (and that's debatable) and no substance. Or at least no substance that made sense.

Karen: This is probably the biggest violation of continuity that I am aware of. DC on the other hand, seems to be fond of continually 'ret-conning' their characters' stories, so much so that I don't even know who the original founders of the Justice League are supposed to be now. It seems as if much of John Byrne's revamp of Superman has gone out the window, which I can't say I mind. But for a casual DC reader like myself, the events of all the "Crises" have only made things more confusing than ever. Back before the original Crisis on Infinite Earths, I had a pretty good grasp on the multiverse and who was on what Earth. Now? No idea.

Doug: Sounds like a nice segue way to Part Two -- catch ya then, friends! 

Would You Rather...? Doc Ock's Physique

Doug: So I'm looking at the cover of Amazing Spider-Man #157 and I'm thinking, "Man, Otto is ripped!" And then I think that Jazzy Johnny Romita's version really isn't as Steve Ditko had imagined the kooky doctor. And the next thought was, "Shoot, JR didn't always draw him so buff."

Doug: We'll start off with Doc Ock today, but if you have other characters in mind who have over time taken on a quite different physical appearance when under the pencil of a given artist we can sure open this up. Today's conversation could really expand.