The Art of Eric Stanton: For the Man Who Knows His Place

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Marvel has also published comic books featuring alternate versions of Spider-Man, including Spider-Man 2099, which features the adventures of Miguel O'Hara, the Spider-Man of the future; Ultimate Spider-Man, which features the adventures of a teenage Peter Parker in the alternate universe; and then Ultimate Comics: Spider-Man, which depicts a teenager named Miles Morales who takes up the mantle of Spider-Man after Ultimate Peter Parker's apparent death.

During the "Secret Invasion" by shape-shifting extra-terrestrials, the Skrulls, Norman Osborn shoots and kills the Skrull queen Veranke. He leverages this widely publicized success, positioning himself as the new director of the S.H.I.E.L.D.-like paramilitary force H.A.M.M.E.R. to advance his agenda, while using his public image to start his own Dark Avengers. Norman himself leads the Dark Avengers as the Iron Patriot, a suit of armor fashioned by himself after Iron Man's armor with Captain America's colors.

About Me

One of the first things I did was to work up a costume. A vital, visual part of the character. I had to know how he looked ... before I did any breakdowns. For example: A clinging power so he wouldn't have hard shoes or boots, a hidden wrist-shooter versus a web gun and holster, etc. ... I wasn't sure Stan would like the idea of covering the character's face but I did it because it hid an obviously boyish face. It would also add mystery to the character... Now that Stanton and A. Offutt (and John Cleve and Turk Winter) are dead, it's difficult to determine the provenance of their collaboration. Was Offutt a patron of Stanton's, funneling some money from his own erotic endeavors to another's? To some extent, I think this is possible, but I also suspect Stanton and Offutt came to understand one another as professionals, both of whom enjoyed erotic work, personally, but produced so much of it in the '70s as a means of raising their families. They were prolific and disciplined, and truthfully - they did not have very many peers. No, John Cleve is credited with "DIALOGUE" on The Punished Publisher, and my supposition is that it happened because Stanton just felt this novelist could write better dialogue, nimbly exploiting the social justice issues of the day as a most novel and modern justification for longstanding pleasures. In other words, it was work. Andrew Offutt was no comics amateur. He was a marginal pro, but a pro nonetheless. Fear and humiliation showed on his strained face as Potentia began slamming him around. His pride was hurt and he was unwilling to admit that a woman could overpower him. Something in Stanton’s psychological makeup dictated channeling and creating art as a means of attaining a proper balance and some measure of control in his life. The actual art he made—the artifact itself—was always less important than the process. [...] It was the process of making art that Stanton lived for; it was that process of exploration and discovery. When the primary series The Amazing Spider-Man reached issue #545 (Dec. 2007), Marvel dropped its spin-off ongoing series and instead began publishing The Amazing Spider-Man three times monthly, beginning with #546–548 (all January 2008).

Together he and Ditko would have ‘skull sessions’ and choreograph many of the great action sequences throughout the books.” A solo ongoing series followed, beginning with The Amazing Spider-Man #1 (cover-dated March 1963). The title eventually became Marvel's top-selling series with the character swiftly becoming a cultural icon; a 1965 Esquire poll of college campuses found that college students ranked Spider-Man and fellow Marvel hero the Hulk alongside Bob Dylan and Che Guevara as their favorite revolutionary icons. The following year, Marvel launched Avenging Spider-Man as the first spin-off ongoing series in addition to the still-twice monthly The Amazing Spider-Man since the previous ones were canceled at the end of 2007. In The Amazing Spider-Man; issue #1 (March 1963), despite his superpowers, Peter struggles to help his widowed Aunt May pay the rent, is taunted by Flash, and as Spider-Man, he continues fighting crime and saving the city, but his heroic deeds engender the editorial wrath of newspaper publisher of the Daily Bugle, J. Jonah Jameson, who holds a grudge against Spider-Man, continues making false statements about Spider-Man despite his heroism.In her introduction to the '98 book, Dian Hanson writes about working at a sex magazine in the mid-'70s, and coming across Stanton's work for the first time. Initially, she took great pleasure in work she'd assumed was feminist in nature, but while the pleasure remained, she soon understood that this was not Stanton's objective - "sexual politics were the only kind that held his interest." And by 'sexual politics,' I take it to mean interpersonal dynamics. Look closely at the image above. Look at the son, screaming in agony. "FIGHT HER!" he cries, not his only dismayed exclamation in the story. If his father had dominated a woman before, it was merely to establish the status quo - a recognizable one, still in place today. The deviation, then -- the woman's dominance -- is the usurping of this criterion, and how traumatic it is! This kid sees his dad as not even a man, but a dog. The basis of his masculine pride, the way he lived his life - it's all an illusion. His parent can't be a role model anymore. He is alone and untethered in a chaotic world that cares for nobody - the crowd cheers Juanita as hard as they did her assailant. Spider-Man fights his enemies including superpowered and non-superpowered supervillains - his arch-enemy and nemesis called the Green Goblin, and then Doctor Octopus, Sandman, Chameleon, Lizard, Vulture, Kraven the Hunter, Electro, and Mysterio, defeating them one by one - but Peter finds juggling his personal life and costumed adventures difficult. 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:

The clone had lived incognito as "Ben Reilly", but now assumes the superhero guise the Scarlet Spider and allies with Parker. To the surprise of both, new tests indicate "Reilly" is the original and "Parker" the clone.a b c Perrone, Pierre (June 5, 1999). "Obituary: Eric Stanton". The Independent . Retrieved May 7, 2018. Their friendship,” she added, “was centered around creating art. Each of them contributed to the other's art as part of the friendship between two artists. While each was the driving force behind his own work, there was significant overlap. Steve contributed to the erotic stories my father worked on and my father contributed to Spider-Man and probably other stories. Neither one of them ever expected any recognition or money from the other.”