ACE COMICS
AND THE ART OF STEVE DITKO
by Ron Frantz
Chapter One
A few weeks ago, Blake Bell asked if I would write an article about my
experience of working with Steve Ditko. About five years ago, I declined a
similar request from one of the major fan publications due to a personal
dislike for the publisher, and the editorial policies of the magazine.
This is certainly not the case with Blake. Every time I look at his Ditko web
site, I marvel at the amount of useful information which Blake has collected
from a variety of sources. I have been impressed with Blake's generosity.
He readily shares his information with other fans and collectors, something
you seldom see in this modern day of social enlightenment. I felt honored to
be asked to contribute.
Because so little is generally known about Ditko, it seemed appropriate
that I tell my story for the sake of posterity. Considering that twelve
years have passed, I found it necessary to check my memory against letters,
personal papers, and other related memoranda. This is the only way I could
be certain of reasonable accuracy. Because I am writing what is essentially
a historical commentary, I have kept personal opinion to a bare minimum.
During 1986 and 1987, when I was publishing the line of ACE Comics, I had the pleasure
of working with some of the finest creative talent the comics industry has ever produced.
Among them were such notables as Pat Boyette, Jerry De Fuccio, Joe Gill, Frank McLaughlin,
Pete Morisi, Alex Toth...and, of course, Steve Ditko.
From time to time, various comic book fans, collectors, and historians have expressed
interest in the comic books I published. Perhaps the question I have been asked most is how
I managed to get so many well known artists and writers to produce new story and art?
In most situations, it was a matter of circumstance and luck. It began in late 1985,
when I bought some original comic book art from Tony Dispoto. This included a previously
unpublished Spencer Spook story from 1955. While Dispoto and I were talking about different
things, I discovered that he represented Fred Iger, the Publisher of the old American Comics
Group. Dispoto said publishing rights to Spencer Spook were available, if I was interested.
Acting on pure impulse, I decided to jump in and buy the rights to Spencer Spook.
Because most of the golden age stories had been written and drawn by animators working
for Warner Bros. or Disney, I thought there might be enough public interest to justify
a new publication featuring the character.
Starting from scratch, I was fortunate to have known artist Pat Boyette for a number of
years. When I asked Boyette if he would be interested in drawing some new Spencer Spook
stories, he agreed with very little convincing on my part.
Jerry De Fuccio, the former associate Editor of Mad Magazine, consented to write a script
for the first issue. Unfortunately, De Fuccio was not especially enamored with the assignment.
After several weeks passed, it became apparent that De Fuccio would not be able to produce a
script. For this reason, it became necessary to find another writer.
When I asked Boyette if he knew of anyone, he suggested Joe Gill. I could not have asked
for a more qualified writer. Gill had written hundreds of comic book stories during his
prolific career which began with Marvel Comics in 1945. Working with Gill proved to be
a pleasure. All I had to do was tell Gill what I wanted. Then, in a matter of days, a
finished script would be sitting on my desk. Gill made it all look remarkably easy.
About this time, I experienced a change of vocation. For several years, I had managed a
chain of hobby stores in Oklahoma City. Suddenly, it came to an end. Since I was accustomed
to eating regularly, I had to find another way to earn a living. Then, I made a very poor
career decision. I turned down a job as Marketing Director for a shopping mall, to begin
publishing on a full time basis. I had a difficult time explaining that decision to my
second wife, who thought that I had lost my mind. The worst part about it is that she
was probably right.
Since I had started out with a golden age character revival, it made sense to try the
same thing again. While looking around for something else to publish, I remembered two
characters published by Columbia Comics in the 1940s: Skyman and The Face. Since neither
character had appeared in almost forty years, I figured I might be able to buy publishing
rights for a modest fee.
I asked De Fucco if he knew who owned the rights. In this particular instance, he did.
The rights belonged to Vincent Sullivan, who many remember as Publisher of Magazine
Enterprises (ME) in the 1950s. Earlier in his career, Sullivan had been Editor at
National DC when Superman appeared in the first issue of Action Comics.
A short time later, I wrote to Sullivan, making an offer. It wasn't long before I
received the following reply :
"Being a firm believer in the entrepreneurial spirit (which you
certainly are displaying) I shall be pleased to accept your offer for the magazine publication
rights to SKYMAN and THE FACE.
Upon receipt of your check, you may consider this letter as authorization to use SKYMAN
and THE FACE in the magazines you contemplate producing. Should you wish a more formal type
of release, I would be happy to oblige.
I wish you much success with this new endeavor. Do not hesitate to contact me if I can
of any further assistance.
I look forward to hearing from you again."
From the very first moment, the artist I wanted to draw Skyman or The Face was Steve
Ditko. Since I didn't know Ditko, it seemed logical to first talk with someone who knew him.
I gave a call to Dean Mullaney, who I had met a few years earlier at a convention in Oklahoma
City. Ditko had recently worked for Mullaney's line of Eclipse Comics.
When I told Mullaney what I wanted to do, he seemed strangely antagonistic to the idea.
Mullaney had a lot to say about Ditko, none of which was complimentary. Because Ditko was no
longer working with Mullaney, most of his comments sounded to me like sour grapes. I got the
impression that Mullaney thought that since he was no longer working with Ditko, no would else
should either.
I told Mullaney that I was sorry to hear about his problems, but I still wanted to talk
to Ditko. After a bit of stalling, Mullaney said it was not possible to give me Ditko's phone
number. Obviously, there was more to the situation than what met the eye. A few months
later, I learned that Ditko and Mullaney had a falling out over an aborted publishing
project. Under the circumstances, I thought it best to remain quiet and proceed without
help from Mullaney.
The next logical step was to call information in New York City. I asked the operator if
there was a listing in Manhattan for Steve Ditko? Much to my surprise, Ditko had a listing
in the phone book. Once I had the number, I called Ditko right away. After the line rang
about six times, Ditko answered the phone. When I asked if I was speaking to Steve Ditko,
he replied in a somewhat terse manner: "Who are you and what do you want?" After I
introduced myself and explained the reason for my call, Ditko warmed up a little. After
we had talked for a few minutes, Ditko ended the conversation by saying: "I don't discuss
business over the phone. Send me your offer in writing." Without saying another word, he
hung up.
My first thought was that this was not going well. I figured I had nothing to lose, so
I sent Ditko the following letter:
"Dear Mr. Ditko:
It was indeed a pleasure visiting with you by phone last Friday. As I told you, I have
been an admirer of your artwork for over twenty years.
Please find enclosed particulars regarding my first publishing venture, THE ADVENTURES
OF SPENCER SPOOK. It is my intention to produce a variety of magazines, using only the best
combination of character, story, and art. As I mentioned on the phone, I am currently
involved in negotiations with Mr. Vincent Sullivan, to purchase publishing rights for two
of his golden age creations; The Skyman and The FACE. I am confident that the deal will
materialize soon. As soon as the deal becomes final, I would like to discuss your
illustrating one series or the other.
I think you will find me reasonable and cooperative in working matters. My only concern
is that of quality and, in this regard, can certainly allow you the latitude of doing your
own work in your own way. As a publisher, my primary objective is to derive a reasonable
profit. I have no altruistic intentions, whatsoever. If an idea or magazine won't sell, I'll
try something else. From a business vantagepoint, I feel that I have to be objective in
order to be successful. In this respect, I hope you and I will be able to work together
to produce a successful product.
In terms of a timetable, I am looking at late summer, probably August or September as a
time for launching a second title as a companion feature to Spencer Spook. The second title
will feature Skyman, Face, or both.
I have enclosed my personal business card and an SASE for your convenience. Please let
me hear from you regarding these matters at your earliest convenience."
To be honest, I really didn't expect much. However, a short time later, I received the
following reply from Ditko.....
CONTINUED...
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