Showing posts with label Iron Man. Show all posts
Showing posts with label Iron Man. Show all posts

Friday, May 22, 2026

Ditko's Iron Man!


Iron Man is credited to Stan Lee and Don Heck. Heck along with Jack Kirby and later Gene Colan all had hefty runs on the character. But a crucial but brief tenure on the series was held down by Steve Ditko. Ditko debuted on the Tales of Suspense series under a Kirby cover when Shellhead confronted the weird menace of Mr. Doll. 


To combat Doll's strange voodoo-like curse, Iron Man adopted a new sleeker armor. Designed by Ditko, this red and gold armor became the standard look of the character for many decades with various small changes over time.


In the next issue Ditko drew a story in which Iron Man battles a deluded Angel. This battle is strangely even as clearly Marvel thought they might have a future star in the high-flying X-Man. 
 

Marvel was getting excellent at cross-promotion of its comics, using every series as a chance to suggest another character to a potential reader. Paul Reinman inked both issues of Tales of Suspense that featured Ditko's art. And just like that, Ditko was gone, but not forgotten. 

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Friday, May 1, 2026

Ditko At Marvel - The Early Years!


The month of May will be busy as I am squeezing in most all of Steve Ditko's early Marvel Comics work. That includes his earliest work for the company as well as his later work on fabulous mystery tales with Stan Lee from the pages of Amazing Adult Fantasy and elsewhere. And without a doubt it will include his epic work on both The Amazing Spider-Man and Doctor Strange. Ditko also worked briefly on The Incredible Hulk and The Invincible Iron Man. It is during this era in which Ditko's fame grows with the new fandom which sprang up around the House of Ideas. Even today when most folks who think of Steve Ditko at all, think of his work on Spidey and Doc Strange, if they think of him at all. 

Here are the volumes I'll be reading to get this swift overview of Ditko's Marvel output. 








And while I'm reading all of that, I'll be watching the 1960's version of the animated Spider-Man series which ran for three seasons, and which brought to the small screen some of Ditko's most delicious villainous designs. 


And as has become custom here at the Dojo, I will also be taking a week-long hiatus during May, but more on that later. 

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Saturday, April 26, 2025

Invincible Iron Man Day!



George Tuska was born on this date in 1916. Tuska was an important artist at Marvel and many companies before that during the Golden Age of Comics. Tuska was one of the reliable workhorses that were required to keep comics on the racks. He was the mainstay artist on Iron Man in those years when I paid attention to the title. 


George Tuska is a pro's pro, one of those rock-solid talents who inform the field in a way which makes waves well beyond their time. As it turns out Tuska's time was pretty large, as he had a career which sprawled from the Golden Age well into the late Bronze Age and well beyond on the comic strip derived from the Justice League and Superman comics. And always his stuff was there, just like it had been before. I first encountered Tuska on Iron Man, and he remains to my eye the best artist the title ever had. I know there many Bob Layton lovers among us, and I pay proper heed to how Layton was able to redefine the look and bring a shiny gloss, but no single artist in my opinion ever drew armor which looked heavier or more like metal. It wasn't shiny, but it had an angularity and heft which didn't communicate fabric, but something else. Tuska drew great thugs, baddies who carried "heaters" and hung out with "dames". If I had to choose one artist to draw my adaptation of The Maltese Falcon, I'd get Tuska.




In my own imagination, when I think of Iron Man the first image was something from the long rich tapestry created by George Tuska.


Above is my first Iron Man comic and my introduction to both Tuska and writer Archie Goodwin. 






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Friday, May 10, 2019

Decades 1980's - Altered States!


By the 1980's  Marvel was far far away from the upstart company which had unseated long-standing superpower DC from the top of the comics publishing business. The low-points of the late 70's had passed and the economy was beginning to improve generally. Change, if not necessarily improvement was in the air and Marvel changed, or seemed to. The advent of the direct sales market for comics allowed publishers to effectively and efficiently target the fanboy in a way they'd never been able to do before, to make books just for that dedicated reader who couldn't get enough comics. Also the generation of comic book readers was on the cusp of taking full control of the industry as the original veterans continued to give way to the vagaries of time and tide. And so with the tunes and melodies of comics well established and an attentive audience in two, variation on themes became the order of the day. New spins on the classics and changes to the seemingly unalterable status quo. We got a new Iron Man when "Rhodey" Rhodes put on the armor, the Fantastic Four welcomed the She-Hulk to replace the Thing and she remained for a very long time, the mighty Thor was hurt and so wore new armor to protect and project, the incredible Hulk returned to his original color, a mopey gray which seemed more in keeping with a new dour mood, Steve Rogers walked away from the role of Captain America yet again, but this time he meant it more, and your friendly neighborhood Spider-Man got a nifty new black costume in the Secret Wars, a costume which turned out to be alive and nearly killed him before becoming one of Marvel's more popular heroes. (Is Venom the first time a costume got its own movie?) Oh and Spidey got married too.  Decades - Marvel in the '90s captures this period of change with glimpses of these alterations and more.


Here are the covers of the comics in this volume.










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Tuesday, April 30, 2019

The Last Avengers - A Reflection!


And that's a wrap folks. The long winding and often convoluted saga of the Marvel cinematic universe reached a breaking point with the distribution of Avengers Endgame. The movie is a long one, that's for sure. I at first was going to wait a week or so to see it, but it was clear that details of the story were going to shake loose sooner than later, so I found a front row center seat at a early morning screening and enjoyed it mightily. There are great laughs and there are tears, lots and lots of tears. sagas we've been following for some years now have found some degree of resolution and yes there is  death, both for the benefit of the world and otherwise. Below is a spoiler rich discussion of some thoughts about this ultimate movie and what it says about the nature of heroism and about humanity.

UNAPOLOGETIC SPOILERS BEYOND THIS POINT SO TREAD WITH EXCEEDING CARE...


Someone told a friend of mine that they'd not need to have seen earlier movies to enjoy this one. That's not even remotely true. The earlier Avengers films are needed, along with Iron Man, Captain Ameica: The First Avenger, and Thor. Others certainly help, but without knowing the themes of both the Shellhead, Cap, and Thor story lines, apprehending the meaning of this one will be elusive I suspect. And there was also the Black Widow who found her way into many if not most of these tales. What are those themes?


For Iron Man or better yet Tony Stark it's about learning the limits of life and finding humility which comes with love. The Stark we meet in Iron Man is a cock-sure genius who is dead certain he knows everything about everything and if he doesn't he can in mere moments. His universe is one he controls utterly and there are no problems he cannot solve. He is given a second chance at life by Yinsen, a man who sacrifices his life for the greater good and for his family as well. Stark and Cap debated in the first Avengers movie about the nature of heroes and need to fall on the barbed wire for others, to sacrifice your life for others. Despite his origin, Stark is certain he can find a way to solve all equations and to come extent he does, though it creates startling shifts in his understanding of the world. In Endgame he goes there, he gives his life intentionally for the benefit of others, others he cares about more than himself and it's suggested that's because he's now a father. Parenthood can change you they say and it seems to have changed Tony Stark. He wanted to build a shield around the world, to keep it safe in anticipation of any danger, but it always seemed his efforts were thwarted by the whims of life and death. In Endgame he finally understands what Yinsen showed him so long before, there is no protection which is absolute, no shield strong enough, there is only what individuals do when they are required and for the first time, Tony Stark lays his body on the wire.


For Captain America it's been a different journey. He's always been the hero's hero, the template for bravery and goodness. But in order to become the hero he had to give up his life and his love. He did it, he made the choice but in this movie he gets the chance to choose again. I won't pretend to understand all the vagaries of the plot here, with its time-traveling details, but somehow Steve Rogers is able to make the universe safe and still find time to live life slowly. While some aspect of him slept in the ice, some other aspect found marriage and happiness and sadness and grief and all the rest of that bittersweet package we call the daily life. He was not just the hero anymore, he was the man named Steve Rogers. He's not the perfect warrior, he became the imperfect human and had the humility to become just a guy from Brooklyn, which in the final analysis was all he ever was. The heart of these movies has always been their success in tapping the emotions of the audience and the saga of Captain America or more properly Steve Rogers does that in spades. Who knows what the future has in store for those who remain, but that's life ain't it.


For Thor, it was always about meeting the obligations which were his as the son of the mighty lord of Asgard, Odin. We meet him as a callow youth who bellows and brags and fights with vigor and bristling stupidity. His strength is his weakness, his pride is his downfall and we see him in the first story learn that leaders are not born, they are made. He becomes in that first story worthy to accept the mantle and in later stories he does just that. In this one, the burden has become too much and he's lost his way again as many of us do. He's a god but he's not perfect and he hides from his pain behind the balm of drink and distraction and ignores what must come next. By being pulled back into the larger story he slowly and reluctantly again learns that gods are just people too. In the end he gives up his leadership, he chooses to do it and that's the difference. He is pointed in the way of the future and into the depths of time and space.


And finally for the Black Widow the saga ends. She has been in many the most fascinating character in all of these movies, first appearing in the second Iron Man flick and becoming a linchpin of the Avengers team. Her guilt over the grim past  always weighs heavily it seemed, even as she quipped with a particular gallows humor. Her special history and unique connection to Hawkeye, in many the most normal and "human" of the characters proved her worth, though she doubted it always. Her romance with Bruce Banner seemed to be a special match, two "monsters" trying to hide themselves behind human faces. She said once that her "ledger was full of red", and the movies are a relentless march toward her salvation which comes with her self-sacrifice, meant to save the world itself. She is dead in that distant dimension and somewhat forgotten at the film's conclusion. But that's the way she was considered within the narrative flow of the movies, always crucial but often underestimated and sadly all too often overlooked. The depth of character in the Natasha "Nat" Romanova has been one of the true revelations in the movie universe.


Other heroes came and fought and will fight again. Thor will certainly find a place of some kind with or without Chris Hemsworth with the Guardians of the Galaxy. But for Steve Rogers, Tony Stark, and Natasha  Romonova the road seems well and truly to have ended, or at least it has for the nonce. Chris Evans, Robert Downey Jr. and Scarlett Johanson are gone, but with any delightful fictional character there is a more than a tiny bit of immortality.

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