We earnestly ask you to take each issue of EXOTIQUE home with you, read it carefully and let us know what you think of it. […] Stanton's fortunes revived slightly when he shared a studio with Steve Ditko, an old friend who later created Spider Man and Doctor Strange for Marvel Comics with Stan Lee. "He was a better inker than me so I let him ink. He thought my stuff was funny. We'd laugh a lot. We'd give each other ideas and characters. My Aunt Mae is the Aunt Mae in Spider Man," Stanton remembered. From 1958 to 1968, [16] Stanton shared a Manhattan studio at 43rd Street and Eighth Avenue with Ditko. For many years, the two collaborated on fetish comics. [17] [18] Ditko biographer Blake Bell, without citing sources, said, "At one time in history, Ditko denied ever touching Stanton's work, even though Stanton himself said they would each dabble in each other's art; mainly spot-inking", [17] and the introduction to one book of Stanton's work says, "Eric Stanton drew his pictures in India ink, and they were then hand-coloured by Ditko". [19] In a 1988 interview with Greg Theakston, Stanton recalled that although his contribution to Spider-Man was "almost nil", he and Ditko had "worked on storyboards together and I added a few ideas.... I think I added the business about the webs coming out of his hands". [20] According to the fetish art historian and Stanton biographer Richard Pérez Seves, Stanton may have purposely underplayed his role and contribution to Spider-Man to maintain his friendship with Ditko. [21] Even more startling, evidence exists that Stanton also made uncredited contributions to Dr. Strange. [22] Later career [ edit ] Cover illustration by Eric Stanton for "Running Wild" by Myron Kosloff (a pseudonym of Paul Little) And Ditko was completely accepting of Stanton: ‘He thought my stuff was funny. We’d laugh a lot,’ Stanton said, as he fondly remembered years later. ‘Every experience that I had with Steve was terrific, as far as I was concerned.’” You should know better than to bring a weak and puny man into my presence without fitting female clothes on his inferior body! Take those torn clothes away from him and place feminine attire on him to denote his lowly present stature."

Pointing to the Kirby sketch, Ditko might have disparaged the web gun Kirby’s character was brandishing: “That idea is old.”Riemschneider, Burkhard (1997). Eric Stanton: For the Man Who Knows His Place. Benedikt Taschen Verlag. p.4 (unnumbered). ISBN 978-3-8228-8169-9. Maybe it shoots from his wrist,” Stanton might have said, demonstrating a maneuver with his hand and fingers. When she asked him what was so unbelievable, he confessed that he’d helped another artist, naming Steve Ditko, create the character. And he told her what he’d contributed. Although Stanton's official debut was after the war, it is very likely that Stanton already drew the daily panel 'Tin Hats' from July 1942 until November 1944 for the Bell Syndicate, as was discovered by Dutch scholar Ger Apeldoorn in December 2013. In helplessness and rage, Bill turned on Tom and Grace. "I don’t care what I did to you two. You can’t make me dress up and look like a girl this way. I can’t stand it. It’s too awful."

a b c Perrone, Pierre (June 5, 1999). "Obituary: Eric Stanton". The Independent . Retrieved May 7, 2018. Would it be fair to say from bizarre culture? Or, specifically, from Stanton since he had been creating hooded characters for almost as long as he had been a fetish artist?” In 1963, Stanton did a few very clever drawings for the Selbee magazine, Female Mimics. These are from Female Mimics 1, Female Mimics 2 and Female Mimics 3. This speech makes me smile each time I read it. Can you imagine anyone actually taking like this? How about her statement that feminine attire denotes low stature? Doesn’t that seem inconsistent with ‘his inferior body’? Wouldn’t looking like a woman cause him to gain stature in the eyes of the ‘Tame-azons’? They gave him a doll and sent him out in the yard to play. After a few hours of that, including Bill finding to his horror that his diaper was to be functional, they decided to change his costume.In ‘Men Tamed to Submission by Tame-azons’, Nutrix 1960, Portia and Potentia are hired to subdue and vanquish Dan Marlo, a well-known star of television, who specializes in he-man roles. They spirit the drunken actor away from a party with the help of chloroform. While he is unconscious, the girls lace him up in a corset than gag and bind him. EXOTIQUE is thoughtfully prepared and edited for those whose outlook on life is sound and hopeful: for those who find enjoyment in the bizarre and the unusual both in action and in attire. Why must we all be conformists… follow the crowd? Are we not able to think for ourselves, act as we feel and dress as we desire? This is an unbeatable combination and it IS within our reach. After her father’s death, she found Ditko’s phone number and called him. She wanted to know if he had any memories he could share. He couldn’t remember anything, she reported, and he denied that her father had anything to do with creating Spider-Man. Charles Guyette: Godfather of American Fetish Art [*Expanded Photo Edition*] by Richard Pérez Seves. New York: FetHistory, 2018. ISBN 978-1973773771 For De Berardinis, art goes beyond what is reflected on the paper or in print. Her creations, especially the stuff of a sexual nature, takes on a life of its own, which is fitting because it is where life begins. This affirmation of humanity and how it has connected with others over her long career is what she’s most proud of.

While Stanton wanted to honor Ditko’s work by not claiming any part of it for himself, he had another reason for avoiding the subject: he wanted to protect his family by keeping a low profile: He would often incorporate a demonic self-portrait - complete with moustache or goatee - of his alter ego Sir D'Astardly into the artwork. The pair collaborated on the Sweeter Gwen saga to great effect.Ditko’s material showed a total unawareness of sex while Stanton’s material conveyed a kooky preoccupation with it. Yet both shared the same ambition of make it as artists; and both, one might say, were earnest and obsessed.” Amber said her father always spoke highly of Ditko’s art, particularly his inking ability. “When they collaborated,” she said, “my father did the pencil work, and Steve would ink over it.” Biography [ edit ] Early life and career [ edit ] An episode from "Bizarre Museum", originally published in 1951–1952 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. Or so it seems to me, but I’m scarcely a Ditko expert. Together he and Ditko would have ‘skull sessions’ and choreograph many of the great action sequences throughout the books.”