Elementary

When fans of BBC’s Sherlock complained about CBS’ plans to air its own updated version of the Great Detective’s adventures, most of the heated commentary conveniently overlooked just how many times Sir Arthur Conan Doyle’s creation has been altered/rebooted/re-imagined over the decades.

He’s fought Nazis, defeated Jack The Ripper – at least when it didn’t turn out that Holmes himself was the infamous serial killer – traveled to the far, far future and was even treated for heroin addiction by Sigmund Freud.

In comparison, portraying Holmes as a recovering addict solving crimes with a female Watson on the mean streets of 21st century New York is hardly a stretch at all … and certainly just as valid as Steven Moffat’s Doctor Who-esque take on the canon.

Soon after the institution of the Comics Code Authority, Charlton published its own spin on the Holmes legend by moving the master sleuth to America (hmmm … sounds familiar) and replacing Dr. Watson with a series of anonymous law enforcement officials who were essentially the good Doctor in everything but name.

(My favorite? A Nigel Bruce lookalike named Frothingham.)

The series only lasted two issues and was exceedingly tame given the draconian standards of the freshly minted Comics Code. Still, it’s always fun to see how Holmes is interpreted during specific points of our cultural history.

And, to be honest, I prefer this incarnation to the two-fisted detective DC briefly unveiled in the 1970s…

“The Mystery Of The Doomed Daredevil” first appeared in Sherlock Holmes #2 (Charlton, March 1956). The writer and artist are not credited.

Grave Tales

After Steve Ditko left Marvel in the mid-1960s, the gifted creator essentially washed his hands of his two most famous characters  – Spider-Man and Doctor Strange – and pursued characters and concepts that mirrored his interests at such publishers as Charlton and DC.

Ditko’s apparent resolve to not look back at what many considered his glory days was so strong that given an opportunity to design splash pages featuring the Marvel Universe circa 1985 (in the all-time classic ROM #65), he pointedly avoided any mention of a certain Webhead or Master of the Mystic Arts.

Still, to appropriate the title of a rather mediocre James Bond film, never say never again. While Ditko never lent his talents to Spider-Man again, he did illustrate a Doctor Strange story … more or less.

A few years after leaving Marvel, Ditko produced a story for the Charlton horror anthology – The Many Ghosts Of Dr. Graves – that served as a secret “Dr. Strange” adventure.

The story’s protagonist, Dr. Graves himself, bore a strong resemblance to Stephen Strange but rarely participated in the tales within his comic. He generally acted as a narrator, much like EC’s Crypt Keeper or DC’s Cain and Abel.

In the “Ultimate Enemy,” which appeared in the 12th issue of the anthology comic, Graves took the center stage and utilized his mystic powers against a “mystical being … bent on conquering Earth.”

The resulting battle – which took place on the astral plane, natch – would have fit in quite nicely with the surreal Dr. Strange adventures by Ditko that made Strange Tales a timeless cult classic of the original Marvel Age.

In celebration of Steve Ditko’s 85th birthday – not that he would want anyone to take notice – here’s a “lost” Dr. Strange classic from The Many Ghosts Of Dr. Graves #12 (Charlton, February 1969).

“The Ultimate Enemy” was scripted by Steve Skeates. The pencils and inks are by Ditko.

Family Plot

An Internet friend who read “Family Mixup” once told me the tale was “like an O. Henry story, if O. Henry was a sociopath.”

I really can’t think of any better way to introduce today’s entry in the Time Bullet’s weeklong celebration of Steve Ditko and Charlton’s The Thing, other than to add that we’ve definitely saved the best for last!

From The Thing #15 (Charlton, July-August 1954), here’s “Family Mixup” as drawn by Steve Ditko.

A Friend Indeed

Although the 1950s are remembered as a comparatively tranquil era, the Cold War and resulting suspicion of anyone and anything that seemed vaguely “Red” were indications of the fears and paranoia that Americans hid in their hearts as they settled into the suburbs and strived for normalcy.

Such anxieties often manifested themselves in the much vilified horror comics of the era. Were people really afraid titles like The Thing were causing juvenile delinquency, or was there a vague sense that those “trashy little magazines” were actually evoking deeper fears that struck just a little too close to home?

Today’s Pre-Code Steve Ditko classic reminds readers to not trust anyone … even yourself. The enemy, after all, may be hiding in the most unexpected place of all.

“Inheritance!” originally appeared in The Thing #14 (Charlton, June 1954). The art, once again, is by Steve Ditko.

Scared Straight

Is there anything more evil than a college fraternity prank gone awry? Don’t be too quick to answer that question …

First read “Die Laughing,” today’s installment of our seven-day celebration of Steve Ditko’s masterful Pre-Code horror art for Charlton Comics’ The Thing.

The story originally appeared in The Thing #13 (Charlton, April 1954).

Worm Food

T.S. Eliot once wrote, “This is the way the world ends: Not with a bang but a whimper.”

Well, to paraphrase one of my favorite lines from Blazing Saddles, “Blow it out your @$$.” We all know the world ends after it’s devoured by a giant worm.

Want proof? Our latest example of Steve Ditko’s remarkable run on Charlton’s The Thing provides that and much, much more.

From The Thing #15 (Charlton, July-August 1954), here’s “The Worm Turns.” The art, once again, is by Steve Ditko.

Big Bang Baby

Our celebration of Steve Ditko’s run on Charlton’s The Thing continues with a story that unites two favorite themes of ‘50s horror comics: atomic radiation and revenge!

From The Thing #14 (Charlton, June 1954), here’s “Doom In The Air.” The art is by Steve Ditko.

Slayer-ella

Another cloudy October day, another Steve Ditko Pre-Code horror classic from Charlton’s The Thing!

Our second story of the week is a very dark re-telling of “Cinderella.” Golden Age horror magazines generally enjoyed spoofing fairy tales, but this particular entry in a rather small comic-book sub-genre takes particular delight in transforming a much-loved story into a truly grim yarn.

From The Thing #12 (Charlton, February 1954), here’s “Cinderella” as drawn by Steve Ditko.

Better Dead Than Read

The next several days will highlight classic Pre-Code horror tales illustrated by Steve Ditko for Charlton’s The Thing, one of the better horror titles on the market at that period of comics’ history.

These tales show a young Ditko truly coming into his own and point the way toward his atmospheric, moody take on super-heroes that helped propel the likes of Spider-Man and Dr. Strange beyond DC Comics’ more staid, Silver Age approach to costumed adventurers.

Let’s start off with “Library Of Horror” from The Thing #13 (Charlton, April 1954). The story was drawn and inked by Ditko.

If you’d like to own these stories in a more permanent fashion, I’d suggest picking up Fantagraphics’ excellent Strange Suspense: The Steve Ditko Archives #1. It’s apparently out of print, but can be found on Amazon and other outlets.

Hard Sell

As early ‘50s TV space operas go, Rocky Jones, Space Ranger was a fairly ambitious program for its era. The program was recorded on film rather than broadcast live, which resulted in higher production standards than such competitors as Captain Video and Tom Corbett Space Cadet.

The show was also accompanied by a strong merchandising campaign, which included a short-lived comic-book series produced by our good friends at Charlton.

Despite such advantages, however, the Rocky Jones program was hindered by off-screen issues and only lasted two seasons. (Scotty Beckett who portrayed Rocky’s sidekick “Winky ,” was arrested for carrying a concealed weapon after being linked to an armed robbery.)

Nowadays, Rocky Jones is primarily remembered for serving as the punchline for a few memorable episodes of Mystery Science Theater 3000. Still, both the show and its spin-off comic are well-done for the time.

The following story, “The Forbidden Frequency,” is especially interesting as it deals with an attempt to force people to purchase unneeded objects through subliminal messages. Not only is the topic sophisticated for a mid-50s comic book, but it is also ironic given the massive merchandising push the TV program received when it debuted.

(At least I hope it’s ironic. After the ‘90s, I’m not sure what that word means anymore …)

Of course, being a space-opera tale the menace quickly veers from malicious advertising to an alien invasion helmed by a buxom alien princess. What would a genre be without its conventions, right?

“The Forbidden Frequency” originally appeared in Space Adventures #16 (Charlton, May 1955). The art is by Ted Galindo and Ray Osrin.