I have written and supervised the illustration of many Petticoat Punishment stories and am in the process of doing more. I have also translated several vintage French and German books. Some of these are for sale on Kindle. Others you may only buy here. In fact, while Stanton usually denied having influenced Ditko’s conception of Spider-Man—“Steve doesn’t like me to talk about him,” he told Theakston, “my contribution to Spider-Man was almost nil”— he sometimes admitted that the web-shooter idea was his. 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.

While Stanton began his career as a bondage fantasy artist for Irving Klaw, the majority of his later work depicted gender role reversal and proto-feminist female dominance scenarios. Commissioned by Klaw starting in the late 1940s, his bondage fantasy chapter serials earned him underground fame. Stanton also worked with pioneering underground fetish art publishers, Leonard Burtman, the notorious Times Square publisher.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?” a b c Hyperallergic Daily magazine article, "A Long-Lost Artist of the 1950s Sexual Underground" by Jim Linderman, 5 January 2015 at hyperallergic.com Jan 6, 2015 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. 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.”

During his last months with Rogers, Stanton was also producing work for Irving Klaw. Klaw, self-named the "Pin-up King," was a merchant of sexploitation, fetish, Hollywood glamour pin-up photographs, and underground films. His business, which eventually became Movie Star News, began in 1938 when he and his sister Paula opened a basement level struggling used bookstore on 14th St. in Manhattan.

The studio was bare bones. “It was a room about ten feet by twenty,” said Stanton. “One side was all windows. Steve’s desk and mine faced each other next to the window.”

He began his fetish comic work in the late '40s and early '50s, producing strips for Irving Klaw's Movie Star News, after working for the Will Eisner Comic Book Studio. Eric Stanton -- whom he'd met while attending Burne Hogarth's School of Visual Arts -- may have first introduced him to Irving Klaw. He largely set the standard that other fetish comics illustrators followed. As with many of the Movie Star News artists, the strips from the period he is best known for are few and far between, scattered among the hidden collections of his fans, as few of the originals have survived. He also drew for Fantasia, Exotique and Nutrix, and did forced-feminization art for the latter, although his bondage work is best remembered. The Sorority plans a party for the ‘Delta Delta' girls, and the boys are mortified to find that they must serve. The boys were quite concerned. "But won't the Delta Delta girls spread the word around the campus about our being your . . . your maids?" 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). She remembered watching with the family the Macy’s Thanksgiving Day parade on tv when she was nine years old. 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.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. Malkin also furnished and paid all the expenses for a small apartment for Stanton. Island of Captive Girls, Prison for Women, [1] :205 The Whip Artist, [1] :88 High Heels in the Heavens, Madam Adista, Dangerous Years [1] :90 Satin Satellite, [1] :103 Exotique magazine [1] :120–122 Together he and Ditko would have ‘skull sessions’ and choreograph many of the great action sequences throughout the books.” 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.

We had a great working relationship,” Stanton recalled in a 1988 interview. “We were the only guys who could have gotten along with each other.” Maybe it shoots from his wrist,” Stanton might have said, demonstrating a maneuver with his hand and fingers.

Seves quotes Ditko about the full-face mask: “I did it because it hid [Peter Parker’s] obviously boyish face. 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.” 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. ... 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. It was just like my dad to come up with something like that. If you knew my father it would make sense that he had a hand in Spider-Man.” Born in Los Angeles in 1923, Bilbrew's first career was as a vocal group singer, performing with The Mellow Tones and the Basin Street Boys. [1] :13–26 [4]