#450 - Captive Casanova One and Two Eric Stanton

Captive Casanova, Parts One and Two
by Eric Stanton
from Stantoons 8 and 9
self-published, c. 1984
New York, New York

two optimized ebooks

A lesser-know work, Captive Casanova brims with feminine pulchritude and power. The statuesque protagonist and her shapely sidekick enforce body worship on the man of the house, then extend their dominion to the seashore. Mr. Stanton infuses these women with strength, confidence and irresistible femininity.

The pictures were made at the peak of his abilities. Figures and faces radiate womanly allure. The Maestro provides generous servings of his trademark facesitting and body worship tableaux, and, because of the beauties on top, makes it all appear oh-so-desirable.

Captive Casanova begins after the wedding of Gillian and Lindsay. When they return home, Lindsay finds that his servants have been replaced by lovely Fulvia, Gillian's maid.

Lindsay learns that his towering bride determines all aspects of the household. When he tries to run away, Fulvia stops him. She wrestles him to the floor, straddles him and uses him for her pleasure until he passes out. Gillian spends the remainder of Part One forcing her husband's face between her womanly thighs and cheeks.

Not satisfied that Lindsay has become completely submissive to her, Gillian sends him to Roxie's Training Academy, where men are taught total obedience to their wives. Instructors there wear law enforcement uniforms of black leather. Lots of punishment and degradation. When returned to his shapely amazon, he's wearing tight leather, from helmet to pant cuffs. Gillian immediately puts him to work between her thighs, in the living room and bathroom.

Not satisfied with his sucking ability, she decides that the three of them should go to the beach. Lindsay enjoys spousal facesitting enroute.

Gillian and Fulvia attract the attention of lifeguards and force them to provide oral treats. A good time was had by some.

The original booklet was made by using an electrostatic copier and colored paper. In these publications, Mr. Stanton's superb pencil art appeared as dark, low contrast dot patterns. Experience with Stanton booklets that were produced this way informs us that high resolution scans and low resolution scans both require the same arduous modifications to make them into enjoyable images.

To reduce graininess and texture on female figures, all contour shading was replaced by smooth gradients that show shape. Mr. Stanton's lines have mostly been retained to present the sweet curves he gave his female characters. Meticulous image editing and optimization techniques develop an erotic presentation built on the Maestro's audacious vision, clarified by digital technology.

In the original, every page has narrative and dialog at the top. To fill screens with Mr. Stanton's art, the excellent prose paragraphs were placed on pages that precede the pictures they describe. Each picture appears on a separate page. The drawings and prose of parts one and two fill 90 optimized pages.

A second optimized ebook shows all the pictures of parts one and two without text. Sexy figure features and female to male contact are shown, enlarged, on pages that follow the complete image. In the no-text ebook, pictures appear on more than 140 pages.

Captive Casanova tells of arrogant amazons who subjugate men they meet. Mr. Stanton's art vividly pictures female superiority as intimate gestures of male submission and service. A splendid comic about self-indulgence that humiliates, its graphic metaphors illustrate an outrageous paradigm for female/male relationships.

The optimized ebook displays Mr. Stanton's superb pictures better than paper and discloses detail the original obscures.

Two optimized ebooks, delivered by download from your 30th Street Graphics account.