Gay bondage animation

“It was a room about ten feet by twenty,” said Stanton. It would also add mystery to the character and allow the reader/viewer the opportunity to visualize, to ‘draw,’ his own preferred expression Peter Parker’s face and, perhaps, become the personality behind the mask.”

But if no superhero had a full-face mask, Seves asks, where did Ditko get the idea?

“Would it be fair to say from bizarre culture?

As a giant balloon of Spider-Man appeared on the screen, her father exclaimed: "Would you believe that— I never would have thought," she quotes her father saying with amusement.

When she asked him what was so unbelievable, he confessed that he’d helped another artist, naming Steve Ditko, create the character. No account is needed.

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She, by this time, was also single.

The book is virtually an extensively annotated bibliography of Stanton’s life work. 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Peter Parker may not have been sick a lot as a child, but his self-esteem was low, and he was as withdrawn and hesitant as if he had missed most of his childhood, laying in bed with some illness or another.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).

Huge thanks to Cottontail for her voice talent!

Full Version

Pay $3 or more, and you get access to the Full Version! Steve contributed to the erotic stories my father worked on and my father contributed to Spider-Man and probably other stories. Stanton always generously deployed high heels, gartered stockings, and long legs to satisfy the general fetish reader.

Seves does a little credible psychoanalysis along the way:

Almost at once Stanton recognized that art provided a unique satisfaction he did not experience in real life: not only access to a special fantasy world, but a sense of personal power: ‘I had control ...

And Seves points out evidence of Ditko’s hand in various of Stanton’s enterprises.

More in this vein anon.

After a short spell living in the cramped quarters of a room at the YMCA, Stanton went to live at his mother’s home. The drawings were okay, Stanton thought, but he believed he could draw female combat better so he wrote Klaw, saying he’d like to do something for him.

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.

But he's never down for the count for long. Nah.

Spider-Man’s face mask is unusual among superheroes. In the peculiar way that opposites sometimes attract, the Stanton/Ditko association almost seemed to make sense. Here was Ditko, the unyielding comic artist who was disinclined to draw women; here was Stanton, the mutable fetish artist who was uninterested in depicting men.

“Ditko’s material showed a total unawareness of sex while Stanton’s material conveyed a kooky preoccupation with it.

“When they collaborated,” she said, “my father did the pencil work, and Steve would ink over it.”

After her father’s death, she found Ditko’s phone number and called him. “We were the only guys who could have gotten along with each other.”

Says Seves: “One could only imagine how gratifying Ditko’s presence must have been to Stanton after his time with Grace; from being around someone who was repulsed by art to being around someone whose very waking moment was consumed by it.

But Seves supports their beliefs, and his book includes several examples of pages from the Stanton oeuvre that display drawings clearly in Ditko’s style.

Some instances that Seves cites are not quite so convincing: if Ditko did them, he did them by dutifully imitating his studio-mate’s mannerisms to the extent that his own disappear.

She wanted to know if he had any memories he could share. The ad touted a cartoon “serial” published by Klaw, and Stanton sent off for it.