12. The Rand that attracted Ditko was the Fountainhead Rand, the myth of the heroic artist who rejects compromise.
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Replying to @HeerJeet
13. By 1966, as Marvel is making more and more money from licencing, Ditko feels he's taken advantage of. Quits Marvel.
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Replying to @HeerJeet
14. When he quit Marvel, Ditko sent a letter to Kirby saying he should do the same. Kirby was tempted but had wife, 4 kids. Ditko single.
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Replying to @HeerJeet
15. Later, Lee asked Ditko to return to Spider-Man. Ditko: "Not until [owner] Goodman pays me the royalties he owes me."
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Replying to @HeerJeet
16. Post-1966 Ditko's work divides into two: personal small press stories (often Randian tracts) & commercial hack-work.
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Replying to @HeerJeet
17. I'm not a fan of Ditko's didactic Randian stories -- they manage to be even more singlemindedly simplistic than Rand herself.
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Replying to @HeerJeet
18. Ditko doesn't give interviews and is as hermetic as Pynchon and Salinger. But he's written some revealing essays.
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Replying to @HeerJeet
19. Reading between the line, post-1966 Ditko decided he would never do personal, committed work for commercial publishers again.
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Replying to @HeerJeet
20. Instead, Ditko's interest, passion and focus really is on his oddball Randian tracts.
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Replying to @HeerJeet
21. Coupled with focus on Randian tracts, Ditko now takes Randian attitude to how he was treated by Marvel: I signed contract, it was a deal
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22. Congress has changed copyright laws to allow companies like Marvel to extend hold on characters like Spider-Man.
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Replying to @HeerJeet
23. But new copyright laws also allow original freelancers to sue for share of intellectual properties they helped create.
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Replying to @HeerJeet
24. Kirby's family sued under law, and ended up settling with Marvel. Settlement undisclosed but one account says around $30-50 million.
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