Whatever the genesis of the Levitz-Ditko collaboration in IMAGINE #4, Ditko's "Doctor Strange" reputation surely contributed to the story's evolution. However, whereas the Marvel concept is principally an adventure-series with metaphysical content, "The Summoning" is right in a tradition I'll term "the metaphysical riddle." While the visuals of "Summoning" are as replete as the "Doctor Strange" feature with weird magical designs, Levitz's dialogue and captions reflect a transparent familiarity with the enigmatic language found in sections of the Old and New Testament.
The tale begins by focusing on a solitary male character in some abstract dimension. He stands within a room "that exists, or doesn't." The captions establish that he has a name, though within the scope of the story, that name is never divulged. I will style him as "the First," since one of Levitz's first lines states that "It is enough that he was the first, and will ever be the last," which seems to be the author's reworking of Revelation 22:13, in which Jesus says, "I am the Alpha and the Omega, the First and the Last, the Beginning and the End." The First then leaves his room, having apparently received a summons, even though the captions are ambivalent about whether or not he can be summoned.
In contrast to the First's abstract cosmos, the remainder of the story takes place on an alien but "real" world. On that unnamed planet, three wizards descend to a lonely glade. None of these characters-- who also appear on Ditko's cover to IMAGINE #4-- are named, so I can only distinguish them by appearance: as "Old Male Wizard," "Young Male Wizard," and "Female Wizard."
The three have come to the planet-- their homeworld, now no more than a "desolate sphere"-- in order to summon the First. However, though they agree to pool their powers in summoning the First, each wizard has a different wish that he or she wishes the First to fulfill. Their dialogue establishes that they are all concerned with doing something to correct the status of their homeworld, which has fallen into chaos thanks to the magic used by the now-vanished populace to make "this world into our image" (presumably an act of hubris, given the phrase's resemblance to God's creation of man). Old Male Wizard wants the dead planet to be turned into a monument to the folly of its inhabitants. Young Male Wizard wants the First to rekindle life upon the world. Female Wizard does not want a race identical to her own to thrive once more, since her race destroyed itself, but she does want to make it possible for the "children of the stars," i.e., alien visitors, to colonize the world. Having stated their purposes and their disagreements, the wizards depart the glade to replenish their energies, leaving behind a solitary tree, somewhat scorched by their magical incantation.
The First shows up in their absence, and begins examining the world through his mystic senses. The Young Male Wizard shows up, and the First tells him that he plans to "see what gifts this world can bear." Beyond that, the First will not explain himself, or even reveal whether or not he was truly summoned by any of the fractious wizards. Young Male Wizard attacks the First with his magic, trying to compel the otherworldy being into obedience. The First easily repels the wizard's attack with a weapon that looks like a shepherd's crook, and then he disintegrates the wizard, whose "demolished cells" continue to drift about the glade like fairy-dust.
The Female Wizard appears, and again, the First will not disclose whether or not he will fulfill her desires, giving her more double-talk like, "All things are possible, and that is all that matters," The lady sorcerer immolates herself, and in so doing creates a beacon of light, though it's unclear as to whether she did so purposefully.
The Old Male Wizard then arrives, and confidently observes that since the First has not fulfilled the requests of the other two, the First must have manifested in order to fulfill the old man's desire for a planetary monument. The wizard considers the failure of the other two as proof that "I was indeed te mightiest of the triad." The wizard barely acknowledges the First's circumlocutive speech, but almost immediately changes himself into a huge escarpment of rock, in effect becoming the "monument" he desired.
The First then comments on the "presumption" of the three dead wizards, and reveals-- to the reader alone-- that he responded to another summons: that of the almost leafless tree in the glade. By indirectly causing the deaths of the three wizards, the First has annihilated the last of the world's human natives, and so the world is returned to the non-sentient flora and fauna. The First speculates that the three wizards' transformations may accomplish the goals they set for the world, but also says that he doubts that these possibilities will come to pass.
In conclusion, this is a fairly extreme look at the human sin of presumption, going much farther than any Judeo-Christian tradition. In effect, it's as if the First doesn't just "mark the sparrow's fall," but actively prefers the humble creature of nature-- a tree, rather than a bird-- over the vaulting ambitions of human beings.
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