Obviously I wasn't there, so I don't know for sure, but thats not what I remember reading/hearing. From what I remember Ditko had a problem with Osbourne being a bad guy with mental illness or a split personality or something because he figured he had to either be all evil or all good.
Then again, in Ditko's last issue you see a character referred to as Norman Osbourne he looks nothing like the character who goes on to do some insidious stuff. So maybe he just disapproved of Stan's changes to the story as you say.

"Does anyone know if Ditko had any kind of reaction to Denny O’Neil’s reinvention of the Question as a buddhist investigator, or to the urban-shaman version in the Veitch miniseries? I’d be curious how he felt about such radical repurposing of the character."

From everything I have read about Ditko, he couldn't care less about either. As far as he is concerned the work he has done is done and whatever happens to it, or any characters he has created afterward, he doesn't care.

On the other hand, I really do not like Ayn Rand and Objectivism. I find Ditko's Objectivist-inspired works to be almost unreadable. Mr A is terribly overrated, at least as far as the wrting goes, with the character railing against a bunch of straw men.

Dikto's artwork is magnificent. But once he starts writing, well, I run for cover.

Hawk and Dove
The Creeper
Spider-Man (Hey, the Ditko version of the character is awesome)
Blue Beetle
The Question
Mr. A
Captain Universe

Can I just say that if I were ever to have a superhero costume, I would hope it would be designed by Steve Ditko. His costumes are eclectically awesome (my close second choice would be Carmine Infantino)

Please note that I am fond of every version of Vic Sage, be it Ditko, O'Neil, Veitch, or JLU. Maybe it's just because it's such a great visual design.

At the other end of his career - the pre-Code horror at Charlton in 1953-54 is jaw-dropping stuff. Much pre-Code horror looks like it was drawn by eight year olds but Ditko's work from that era is terrifying. In a good way.

However, Ditko really stands out as a storyteller, particular for the early to mid-60's. Compare Lee & Ditko's stories in Spider-man or Dr. Strange to any other stories being written in DC or Marvel at the same time. Lee & Ditko's are the most interesting on a consistent basis.

For just one example, look at Amazing Fantasy #15, Spider-man's origin story, which isn't even a full issue. There are so many things that happen in that story, yet it never feels rushed. Every panel feels fully thought out, right down to the dot eyeballs in Spider-man's mask when he realizes the identity of Uncle Ben's murderer.

While I think the art improved with Romita, I think the stories tended to become less interesting than they had been when Lee worked with Ditko.

Ditko CREATED Speedball, and handled the first bunch of appearances.

I am SURE he is NOT pleased with how that all went down.

Anyway, I'm SURE that NO ONE needs for ME to explain how much I LOVE Ditko's Doctor Strange work.

He certainly set the bar for all the greats who have touched that character since.

~P~
P-TOR

And about ROM, it was cool to see Ditko paired with Craig Russell as the inker. I would give my left arm to have seen what those two could have done on Doctor Strange!

My top 5 Ditko topics nominations (in no particular order):

Blue Beetle
Question
Stalker
Creeper
Amazing Fantasy

Later, of course, I found Englehart-Brunner Strange and the Gerber Defenders and those were brilliant too... but it was the memory of Ditko and the trippy world he invented that got me to pick them up.

Did Ditko also do Speedball, or am I misremembering...and if so, how much did he contribute? I always liked Speedball, even if he was out of sync with industry trends by about thirty years. (Come to think of it, that might be _why_ I liked Speedball. Lord knows "Grim, Gritty Speedball" is just ludicroud.)

Nuff said, True Believer.

One thing I haven't read that I'd like to? His Doctor Strange work.