Schweizer discussed his love of Ditko's ability to convey action, using a sequence from "Amazing Spider-Man" #10 for example. "Ditko gives us a character [Spider-Man] who is not only capable of great physical prowess, but capable of mental prowess, as well," said Schweizer. "By having him so regularly use his environment to his advantage, we get a sense of the scrappy, the underdog, the swashbuckler. The jokes and wisecracks supplied by Stan Lee’s dialogue are only part of what gives this character his devil-may-care, robin-hood or Alladin-like quality; it is his using everything available to his advantage, giving the sense of 'street smarts' and fast thinking. His style of fighting is not just swinging around and slugging it out – it’s outsmarting his opponents while still operating entirely on the physical plane."

Next up was Towle, who chose to examine how Ditko "often used non-literal types of drawing to communicate," according to Towle. To emphasize his point, Towle chose a page from the middle period of Ditko's career that, he said, "Employs its non-literal drawing fairly subtly, but does so in a way that's very much in line with the Objectivist philosophy of art, of which Ditko was very much an adherent to." For the sake of his analysis, Towle focused upon the final page from Ditko's first "Mr. A" story that appeared in "Witzend" #3, in 1967. But along the way to dissecting the "Mr. A" story, Towle also noted, "Some of Ditko's non-literal drawing has become so engrained in the characters he's drawn that we really don't think about it much or find it odd." There the presenter offered the half Peter face, half Spider-Man Spider-Sense panel as an example

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