Steve Ditko’s Spider-Man is the only one that really matters

Steve Ditko’s death brought to focus the saying that his Spider-Man is the only true one and everyone after him is a bloke wearing a costume. That’s borne out by the fact that since the early 80’s every single writer who has taken over control of the character always mentions Ditko as an influence but the Peter Parker of today (a wealthy industrialist) is nothing like Ditko’s nebbish, freakish, sad little loser of a boy learning to interact with people and become a decent man who does the right thing.

Peter Parker isn’t a hero when Ditko and Stan Lee (I’ll leave how much involvement Lee had in Spider-Man to others but the title read more and more like Ditko as it progressed isn’t something that should be up for debate) start telling his story but he develops as the title moves on. Even so he’s always struggling with his heroism and the fact he’s a nobody; a loser.

Which brings me to Amazing Spider-Man #33.

Its here that Ditko’s Spider-Man becomes the hero he’s been building up to being, and yes, it’s that few pages of art (forget about the script, it only gets in the way) that over the decades has become so iconic that it can tell Spider-Man’s story in a few pages.Peter Parker is still disliked, even hated but he’s getting better by the end of Ditko’s run.

When Ditko left, Spider-Man carried on and although talents like John Romita and the great GIl Kane turned in some amazing work, they weren’t Ditko producing this odd wee title about a hero who doesn’t think he’s a hero, and in real life is hated by everyone but his aunt.

Other creators have tried; none succeeded. That’s Ditko’s legacy for Spider-Man.

 

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