Conskipper’s interview series with the writers of Bloomsbury Academic’s first wave of Marvel of Age of Comics books continues with a journey into psychedelic dimensions and magical lands with Stuart Moore.
Moore’s examination of Marvel’s Sorcerer Supreme titled Doctor Strange: A Decade of Dark Magic delves into the early origins of the character as imagined by Stan Lee and Steve Ditko before diving into Strange’s counterculture relevance and metaphysical expansion at the hands of creators such as Steve Englehart, Frank Brunner, Roy Thomas, Gene Colan, Gardner F. Fox, P. Craig Russell, Marie Severin, and others.
We got a chance to speak to Moore all about his deep dive into Marvel psychedelia and sorcery in our exclusive interview with the writer (and yes, we are all rooting for Moore to get a shot at a Marvel Age of Comics entry focused on Howard the Duck).
Readers don’t immediately think of Doctor Strange as a character that defined pop culture and the changing times in the 1960s and 1970s. What is about the stories that do this?
Stuart Moore: The Marvel comics of the 1960s were mostly set in New York City, and firmly rooted in that culture. Doctor Strange took that one step further: His mysterious house—his Sanctum Sanctorum—was established from the beginning as being in the East Village. With fans like beat icon Ken Kesey, Strange’s trippy storylines and otherworldly graphics quickly became a part of the counterculture phenomenon. That all goes back to publisher/scripter Stan Lee and to Steve Ditko, the eccentric artist who brought the character to life.
Doctor Strange: A Decade of Dark Magic begins in 1963, with the first appearance of Doctor Strange. By the early ’70s, the younger crop of Marvel creators were steeped in the larger culture that the early strips had helped influence. Those later stories formed both a full circle—like many things in the book—and a leap forward.
The Stan Lee/Steve Ditko origins and early stories are very different than the later ones in the 1970s. How did the stories/characters change from the Lee/Ditko era?
Moore: Comic books changed considerably during those years, but even more important here, I think, is just the approach of the particular creative people working on the strip at different times. The Lee-Ditko stories start off as self-contained, very short stories and grow into a series of otherworldly epics, especially the two extended serials centering on the Dark Dimension. By most accounts, these stories were very much the product of Steve Ditko, who was serving as sole plotter of the series by then.
The later stories by Steve Englehart and Frank Brunner show a healthy collaboration between two gifted young creators, who clearly revered the earlier work but were determined to take the series to another level. The magic is more…I don’t know if “real” is exactly the word, but that’s how it feels. Dangerous, maybe. Unpredictable.
In terms of preparing for the project, what elements of the Doctor Strange stories stood out to you more than on previous reads and how did it help guide your analysis?
Moore: When I was a kid—and I’ve found this is true of a lot of people—I found Steve Ditko’s work simplistic and odd-looking. Rereading the series, I have a much healthier respect for his design skills, his innovation, and just the sheer energy and emotion behind a lot of the work. I discuss this in more detail in the book.
Why did Strange fit in so well with other misfits of the Bronze Age like the Hulk and Submariner?
Moore: Those three characters formed the original core of the Defenders team, which carried on for many years in its own title. Doctor Strange’s role in that book is very different from his solo adventures; he’s almost a den mother, his home forming a haven for lost souls. Yet he’s a remarkably consistent character throughout.
Many of the Doctor Strange storylines pushed the envelope in the 1970s. Is there one that you particularly recommend to modern readers that demonstrate this?
Moore: The first two Englehart-Brunner stories. The first one concludes the tale of Shuma-Gorath and elevates Strange to a new role as Sorcerer Supreme. The second presents a truly mind-blowing time-loop, which I’ve structured the book around.
Is there one particular artist that you immediately associate with Doctor Strange other than Ditko?
Moore: Probably Gene Colan and, again, Frank Brunner. Colan did some of the finest work of his long career in the late 1960s book, along with writer Roy Thomas. Beautiful character studies, wild other-realms, and some lovely experimental design.
Dan Adkins, Marie Severin, Bill Everett, and (briefly) Barry Windsor-Smith also contributed some very tasty art. I’m sure I’m forgetting someone equally brilliant.
If you were able to write another entry in the Marvel Age of Comics series, what title/story would you profile and why?
Moore: Someone asked this exact question at our panel, at this year’s San Diego Comic Con. When I said “Howard the Duck,” a loud “Ooooooh” rose up from the audience. Surprised me, actually.
Upcoming projects
Moore: I have a story in AHOY Comics’ Toxic Avenger Team-Up trade paperback, coming in January. A new graphic novel in the works with Mad Cave/Papercutz, and some more Marvel-related stuff that I can’t discuss yet. I like to keep busy.
Doctor Strange: A Decade of Dark Magic-An Exploration by Stuart Moore is currently available at finer bookstores and comic shops everywhere.
