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In one of the rare jokes to feature in the original series, in Strange Tales the Doctor is invited to take part in a televised debate with a group of scientists, but refuses to participate.

Midway through the broadcast, the studio is suddenly plunged into darkness, and the four hardline rationalists, who were determined to mock the supposed existence of black magic and to ridicule Doctor Strange, disappear without trace.

Upon returning to our world, the overwhelmed scientists prepare to reveal the truth to the public; but Strange, with a single gesture, makes them lose all memory of the events.

Thus they return to the studio to mock the irrational and the charlatan Doctor, under the somewhat ironic gaze of the Master of Black Magic who, alone, knows —yet draws from his knowledge neither glory nor a sense of superiority.

And there we have the Doctor: a man who treats reality as one treats an oversized, yet still unconscious infant.

A man who, at odds the most obtuse brand of reason, shelters this reality from the absolutely irrational with the indirect weapons of a noble and learned unreason: in this case, magic learnt from beyond the West.

First appearing in the pages of Strange Tales Tales in , the Doctor is the distant heir to the world of Fu Manchu, the adventures of Flash Gordon on planet Mongo, and Mandrake the Magician hidden away in his ultra-technological mansion of Xanadu.

A new hero figure for whom the Orient is not the Other of reality, but the West a mere province of that reality. As his title already suggests, he is an eminent representative of Western science; but he is also a caricature of it.

Just be sure he pays his bill! But the Doctor is punished for his hubris: he drinks too much and loses control of his vehicle. In the resulting accident, he partly loses the use of his hands and can no longer operate.

Handicapped, Stephen Strange cannot accept becoming good for nothing. Or else…Nothing! Disoriented, he drifts through the rainy streets of the modern world, wandering onto the docks of a port city where he hears talk of The Ancient One, a sorceror who can cure anything.

Stephen Strange takes off for the East, leaving for the Himalayas. Of course, we are dealing in stereotypes here, in the fixed and recycled images of popular literature.

And yet, little by little, Doctor Strange will bring these faded images to life, transform them, and invent a new hero figure for whom the Orient is not the Other of reality, but the West a mere province of that reality.

In the first stage, Strange asks the Ancient One for instrumental teachings: he wishes to regain the use of his hands through the powerful spirit of the old sage.

But he quickly learns his lesson. Strange comes out of this experience a changed man. He has not lost his arrogance; but he has turned his desire away from what Western society has to offer, in order to discover, as his power grows, a world that is vaster than reality.

In the Orient he has learnt magic and penetrated into unknown universes. From this point of view, he is not so different to Tony Stark, the arms dealer who, in Vietnam with Professor Yinsen, sees the error of his irresponsible ways, and goes on to transform himself into Iron Man.

Stan Lee loves to tell us how men become heroes by changing the object of their desire, while remaining the same person.

Strange does not learn to become modest, but he discovers that the world that his science, his intelligence, and his money opened up to him was but a tiny part of all that exists.

He learns that the West is not the world—and all because he loses the use of his hands. And yet the series very quickly ceases to be orientalist.

Once the lesson has been assimilated, the Master of the Mystic Arts returns to America, and discovers that it is only one dimension among others of all possible dreams, nightmares, strangenesses.

Back in his homeland Strange becomes a chimerical silhouette of a sorceror, recognisable by his moustache, his salt-and-pepper beard, his blue and later red, horned cape.

The Orient was only the first detour to be taken in order to accede to all that is not of the Christian faith, Enlightenment reason, positivist order and progress, and the civilisation defended by colonisation.

But in whose name? Rereading the issues on which Lee and Ditko closely collaborated in the sixties, the reader cannot help asking: Who is the Doctor fighting for?

What is his cause, his homeland? Who are his companions? Later, of course, he will found the Defenders, along with the Hulk, Namor, and Silver Surfer—three more archaic, mystic, and solitary creatures, lost in the modern world.

However, throughout the period mentioned above, the Doctor is still a Marvel hapax , who is not included in the original Avengers, and who only comes across Thor and Loki once.

This version of the Doctor is not straightforwardly depicted as a dispenser of justice, a defender of America, of the human race, or of the earth.

Nevertheless, Strange never explains the reasons for his combat. Is he a paradoxical guardian of the West, making use of the weapons of the Orient?

He lives in New York, but remains far from the skyscrapers, between the walls of a Greenwich Village manor in the antique district.

Is he a solitary mystic who protects materialist civilisation, with which he has broken and for which he can feel only disgust? In truth, and contrary to the other creations of Marvel who remain meticulously anchored in contemporary urban reality, Doctor Strange is a desdichado who mixes very little with his peers.

He seems diligently to avoid the commercial streets of the financial district. One might search his adventures in vain for the steel-and-glass fetishes of modernity, the skyline of New York, advertising and mass media with the exception, that is, of the adventure cited above, in His enemies are not the mafiosi and thugs who haunt the dark backstreets of the city protected by the Avengers.

Nor is his arena that of the cherished adolescents of the consumer society, the protagonists of Spiderman and X-Men.

Here there is little technology, not the least trace of a family life, and no sign of American everyday existence.

In short, in the original baroque, psychedelic adventures of the Doctor, it is difficult to find any counterpoint to the hallucinated worlds into which a delirious Orient has initiated him.

Where, then, in Doctor Strange , do we find the reason that would oppose the mystical, the ineffable, the pure power and unquantifiable energies of the spirit?

Where do we find the West? Nowhere else, we believe, than in the spirit of his creator, Steve Ditko, and in the hand of this master draftsman. The reason of Dr Strange is the line; it is the contours of the firmly outlined figures and the meticulous cutting-up of the layouts; it is the permanent activity of this cutting-up, image by image, of the world.

It is not so much the West as the comic itself. This will be our second hypothesis: not only is the Doctor a point of contact between the phantasms of the Occident and the Orient, he is a pure exercise in drawing.

A challenge to the very possibility of representation. For as long as Ditko drew it, the world of Doctor Strange was the theatre of a flamboyant conflict between form and the formless.

Now, in comics one always finds a double articulation, which is not the traditional one of language: firstly, outlined forms within the image, which appear and reappear from panel to panel; and then the forms that cut out the image itself, framing and distinguishing one portion of space-time from another.

The outline gives us characters and scenes, the line of the drawing. The cut-out gives us the frame of the drawing. The panels are always organised into regular grids.

The inking, and the colouring in flat tones, also respond to an outlining of figures by a firm line. The world is in good order.

For what the Doctor ceaselessly confronts, or rather attempts to master, is the power of the formless. Through the increasingly crazy adventures of the Doctor, this power takes on the aspect of hallucinated landscapes, which to sixties readers constituted irrefutable proof that the Marvel authors were writing and drawing under the influence of prohibited substances.

But Ditko was a man of extreme moral and intellectual rectitude, who had doubtless never touched the drugs popular with the counterculture.

This Christian sharing became a symbol of communion for thousands of stoned hippies. Similarly, Steve Ditko inadvertently created a faithful image of psychedelic experience, even though he was a sober admirer of Ayn Rand, a voluntarist who admired only the force of thought, and who despised the sloppiness of the long-haired hippies.

In Strange the very borders of things, within each image, are continually on the point of giving way, even while they remain in place.

Why was Doctor Strange liable to be read as the result of psychotropic visions? The line can be seen as the representative, in the image, of the structures of human perception.

Of course, there are the recurrent devices of the comic artist. For instance, he frequently employs a confusion between the infinitely small and the infinitely large: spirals that recall the strands of DNA or crystalline structures submerged in vast galactic panoramas.

But these effects of scale are not the most original of his devices. He experiments with the faculty which, from Kant to Gestalt Theory, distinguishes form and ground and establishes that, in order to identify an entity, one must cut it up in space and time, thus rendering it separable from its environment.

On the contrary, in his scenes Ditko seeks out the possibilities of the almost perceptual, those which allow one to confuse in front and behind, under and over, end and beginning.

Every effort is made to render the perception of forms possible, yet uncertain. Thus a fog or mist whose silhouette is never clear very often indicates the irruption of a force foreign to reality.

Sometimes the fog is confused with a quasi-liquid form. In the zones of turbulence between sublimation, condensation, and deposition, when the nature of matter in transformation is uncertain, the reader cannot tell exactly in what state solid, liquid, or gaseous are the violet, red, or yellow forms that spread around Strange, or towards what state they are moving.

Is this still matter, or mere geometry? We cannot tell. This is what interests Ditko: to represent, with a line, the border that separates indistinction and the minimal determination of an identity.

Because, for Ditko and Lee, minimal determination is also maximal force. We might state this as follows: the more, the better it is outlined, clear and distinct, the less powerful it is.

Inversely, the more powerful it is, the less it is clearly outlined. Now, Dormammu is very powerful. Because his face is at the limits of distinction: it ceaselessly goes up in smoke.

This is the tension that governs all the illustrations in Strange : to represent confusion clearly, but without annulling it. Without a line there is no longer anything, the panel is empty.

But as soon as there is a line, something is distinguished, and loses in power. We have to represent light? Well then, we will have to use a few lines organised in a ray pattern, so as to figure it, to outline it.

Even the absolute has need of some form. Of course, Ditko, who draws every day, does not always quite manage to be original.

How many times do we find, floating in a sort of acidulous red, yellow, or violet ether, those aberrant reticulations, those anamorphic grids that Ditko uses and abuses?

His vocabulary is sometimes limited. But then a few panels later we will find something original: halves or thirds of objects traversed by passageways that lead nowhere, truncated staircases.

In the corners of the great surrealist landscapes he draws, the delimitation of things seems incomplete. On one side, we seem to guess at the beginning of an object.

But we cannot manage to make it out either because it is missing a dimension, or because it is set into a paradoxical Escher-like perspective.

This is a weird universe of aborted entities. Everything begins as almost what it is—but it never ends up being completely something.

We can then understand that the power of the worlds visited by Strange is also the Greek dynamis. If matter is pure power and pure indetermination in Aristotle, the worlds of Strange are worlds of almost pure power, which test out the capacity of representation to be engulfed by indetermination.

Ditko peoples the environment with entities that have begun to appear as actualities, but which remain partly potential. We might think of half-sculpted clay forms which emerge from the earth but remain still attached to it, and thus retain the capacity to become almost anything whatsoever.

In the course of his early adventures, Strange wanders from dimension to dimension as we, the readers, follow him from panel to panel.

With him we watch, from birth to extinction, forms at the limits of the formless. But there is no totality of these forms, no overall design.

The idea remains unfinished. But here the question becomes instead: Who? In search of Eternity, in Strange ends up penetrating into the ultimate world, the world of all worlds.

And here Ditko touches on the endgame of his internal conflict as a draftsman. At this point a great monstrosity appears: the entire world, cracking and distorting, comes back together and takes on a form.

A world within a world! This object has the contours of a man, or almost. It is the silhouette of a giant, adorned with flourishes and sinuosities like the flagella of insects.

Inside it the entire universe is held, figured by an inky interstellar blackness within which a thousand galaxies shine. Man is in the universe, which endows him with form; and the universe is in man, who endows it with form in return.

Strange has done battle with the absolutely formless, using every power at his disposal; but he has always done so within the conventional framework of the cut-out.

Poker Face. Holding a Grudge. I made an appearance on the Movies Made Me podcast where I discuss movies that have made me the person I am today.

I talk about my love for dystopian films and explain how some of my influences have influenced my cartooning career.

With November over, I have 8 sci-fi presidential portraits up on my patreon. Yeti Roosevelt is live right now. Happy Halloween everybody!

Enjoy this David S. Pumpkins illustration to start off Halloween right! If you like illustrations like this, consider backing me on Patreon.

Hey comic fans! Today was Free Comic Book Day! Hopefully you guys got a haul larger than mine. This helped me flex my creativity muscles and taught me new techniques too!

Left-Handed Drawing This exercise involved drawing with your non-dominant hand. I decided to stick in my comfort zone and draw something scary.

I was actually fairly impressed at how clear it looks. It also reminded me that drawing is not in the wrist, but the arm.

WonderCon in Anaheim, CA has consistently been my favorite convention of the year! Come find me in Artist Alley D! I will also be exhibiting with my wife who runs Nerdy Novelty Design and will be selling nerdy potholders and oven mitts!

It will take your mind off Monday. Just got back from Comic Con Palm Springs. My wife and I had such a great time. The crowd was terrific and I made a lot of great new contacts.

I saw some panels by other webcomic creators and learned a lot about kickstarters and podcasting. I even did a quick interview with Cheryl of the Movies Made Me podcast.

This was also the first con I sold my new book at, and the response was great! Overall, an amazing con experience! Hey everyone! Hey Absurdity fans!

I have finally completed and published the first collection of Tales of Absurdity , titled The Dawn of Absurdity. It collects the first comic strips, spanning the last 2 and half years.

We can exchange puns, draw some presidents and hang out! Just look for the T-Rex eating pizza! Wow, the year is over! I also got to network with fellow artists and creators.

I also got married this year! I have a lot planned for and hope to share it with all of you! Thanks again, -Alex. Hey Absurdites!

President even the ugly ones. I went to Comikaze last year and had a blast and randomly bumped into a bunch of coworkers.

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