Cartoon gay bondage

But it’s more than that. And he interviewed many persons who either knew Stanton or others of the fetish milieu. If you knew my father it would make sense that he had a hand in Spider-Man.”

Her mother was angry that Stanton never claimed recognition or royalties because of his role in creating the character. Where lesbians are concerned, they can be found in abundance in mainstream, heterosexual pornography - but a few of them cater especially to lesbian and bi-sexual women.

Disclaimer and Closing Comments
There are quite a few artists in the Comiclopedia that have participated in the erotic genre.

This goes to show that what is considered titillating in one culture, may be viewed as criminal in another.

Erotic comics
For most artists, "erotic" means the depiction of what arouses their desire - which is usually a beautiful young woman or man, with little or no clothes on. Stanton also worked with pioneering underground fetish art publishers, Leonard Burtman, the notorious Times Square publisher.

The details of Stanton’s life and some representation of his work I’ve taken from Eric Stanton & the History of the Bizarre Underground by Richard Perez Seves (288 7x8-inch pages, b/w and some color; 2018 Schiffer Publishing hardcover, $29.99).

Author Seves, who says on the book jacket’s back flap that he is a collector “obsessed” with vintage American fetish art, musters impressive research in the book: he dug into FBI reports, court records, Navy documents, the New York State Census, previous books about Stanton (Eric Kroll’s The Art of Eric Stanton and other tomes), as well as such obvious sources as Belier Press publications and many obscure periodicals (Comics Buyer’s Guide!?).

The book’s only scholarly flaw is Seves’ failure to caption the illustrations; they are usually explained in the adjacent text, but you have to look hard for it. The book is virtually an extensively annotated bibliography of Stanton’s life work. And also to lend each other a hand when deadlines loomed.

Seves accepts without qualification that Stanton helped Ditko and that Ditko helped Stanton.

Ernest Jr. was the result of a fling his mother, Anna, had in the early years of her marriage. And he told her what he’d contributed.

Wrote Amber: “My father contributed to the costume, the idea of the web shooting out of Spider-Man's wrist, and the movement which he made with his hands to release the web. The whole thing was Steve Ditko.”

Finally, there’s Peter Parker’s Aunt May.

According to Stanton’s son Tom, “Aunt May was my dad’s Aunt May, his babysitter from childhood, when he was sick a lot.”

Peter Parker may not have been sick a lot as a child, but his self-esteem was low, and he was as withdrawn and hesitant as if he had missed most of his childhood, laying in bed with some illness or another.

 

STANTON’S DAUGHTER Amber wrote about her father’s contribution to Ditko’s creation of Spider-Man in an article, “A Tangled Web,” originally published in The Creativity of Steve Ditko (2012).

In the peculiar way that opposites sometimes attract, the Stanton/Ditko association almost seemed to make sense. Especially in the 1920s and 30s, there was a production of so-called 'Tijuana Bibles' or 'eight-pagers' - little comic books consisting of 8 pages, with a sex parody featuring film-stars or even comic characters.

The book has an index and is copiously footnoted in the back by page number, which notes add substantial information to the narrative as well as citing Seves’ extensive sources.

His text is accompanied throughout by lots and lots of illustrations, many in color, and Seves gives the histories of several of Stanton’s serials and tells their stories.

I still remember my father's beautiful, strong, broad hands as he showed me the movement that makes Spider-Man's web release from his wrist. That year, Stanton met Britt Stromsted, a Norwegian woman visiting the U.S. Unlike Grace, Britt was fascinated by Stanton’s artistry, and she even modeled in wrestling poses with Stanton, photos he’d use as references when drawing fighting femmes.

They married in Norway in 1971—and again in 1980 in Manhattan.

Seves creates an imaginary scene at Ditko’s drawing board when Stanton, interested in Ditko’s latest assignment from Marvel, gets up from his drawing board and walks to Ditko’s side and looks over his shoulder at the pages Ditko had spread out in front of him—pages that Jack Kirby had drawn, depicting Spider-Man, visuals that Stan Lee had rejected before turning the assignment over to Ditko.

“Whatcha got there?” Stanton might have begun.

Given the working relationship between the two artists in their studio—the kibitzing back and forth, the brainstorming about page layouts and plots— what Seves suggests is entirely plausible.

He “withdrew from dating and any contact with women,” Seves says. ‘Every experience that I had with Steve was terrific, as far as I was concerned.’”

The studio was bare bones. As Eneg (“Gene” spelled backwards), Bilbrew, like Stanton, would pursue a career in fetish art.

Ditko, asked years later how he and Stanton met, said, “I liked the way he drew women.” More about their relationship anon.

Over the years, Stanton would produce work for several merchants of fetish art: Edward Mishkin, who ran a store near Times Square (in those days, the neighborhood of sexploitation with dozens of stores selling girlie magazines, photographs, movies, and smut); Leonard Burtman, publisher and merchandiser; Max Stone, publisher of fighting female serials; and Stanley Malkin, also a Times Square entrepreneur, who would hire Stanton, putting him on salary, to do covers for his magazines—Stanton’s longest salaried situation as a fetish artist, 1963-68.

“One side was all windows. All through the ages, more or less talented artists have amused themselves by drawing well-known characters in compromising sexual scenes.