Interview with Osvaldo A. Greco

This Interview is from 2004, they were another interview in 2005 than you can read here.

2004

Queospera : When did you start doing bondage artwork?

Osvaldo A. Greco : Well, since I have memory! I have piles of notebooks with drawings of damsels tied and gagged of when I was ten years old… at twelve I did my first comic strip of bondage, with girls in underclothes who tied themselves up without reason. Or a kidnapping or something that I saw on the TV influenced me… One movie was called “El reino de la bombacha” (The kingdom of the Baggy trousers!) in which the heroine is kidnapped and taken to a subterranean place where there are plenty of handsome girls in lingerie and they “recruit” the new members by kidnapping them And I still did not knew (John) Willie, nor (Irving) Klaw nor nothing… Pure spontaneous combustion!

AuntCarmen

 

 

 

 

 

 

 

 

 

 

 

 

Be more careful or you won't sit for a year! - From My Aunt Carmen (1990)

That answer is similar to my experience and others, we see something in the TV or in the cinema and something does click in the brain and from then on there is no cure. I could say that I got my first impressions from the Avengers British television series, Fantomas (mexican comic book series) and a movie magazine called Prevue that sold Klaw’s reprints.

It is strange, I know Prevue and Steranko, its publisher and a great artist of comic books. A shame that he has left it… but little did he know that he did left an impression like a fire mark in more than one, I assure you. I have spoken with many people who are fond of bondage and fetish and always I have asked them the same: how that passion started and all have similar answers… Can it be genetics? It must be!

Who are your influences?

Lots. Classic artists of comic books to illustrators and painters too… of bondage, Willie, (Eric) Stanton, Jim, (Gene Bilbrew) Eneg and (Guido) Crepax… I am the result of a very ample mixture.

FayeValentinesmallI also see in your style the influence of (Robert) Bishop as well. Of Crepax, he had a very peculiar style to count its histories, most of them seem to be dreams or nightmares Your style is much more linear in the narration.

It is impossible to copy the Crepax style, although I have often used it in the layout of the pages… to change the shape of the panels so that not all of them are squares. I have used it in another series that I did that was science fiction, that contains some bondage, as a complement… although I am very linear because my histories do not happen in the dream world, but in “a real” world…

And how did you started to work in Harmony?

Well, in 1993-4, after more than a year of research in which I got the addresses of most of the (bondage) publishing houses in the world, I started to send copies of my work with my curriculum by mail. It was hard work and it required a lot of patience, the answers took weeks, months, the mail was lost, etc. Harmony was the first to respond. My dream became a reality! I started publishing comics and cartoons.

One day, the new publisher, Chelsea Pfeiffer, wrote me a letter asking for more realistic drawings of damsels in distress. I prepared a few and. the rest is history. I am very sorry that they have left the magazine business; I loved participating in their magazines.

Faye Valentine from the Japanese

animation series Cowboy Bebop
 

You remember the magazines in which your art was published?

Easy! Bondage Life, Bondage Gallery, Fetishette, etc For the numbers and other data you must let me look for it in the house…

Perhaps our readers can help with that. I also lament the lack of magazines, but I must admit that the main reason I don’t buy much is because of the Internet.

What do you think of this situation that it can be argued has both helped and hurt the bondage companies?

I think that bondage material has become more restricted to the general public. With magazines you could check it out at the store and decide if it was worth it or not. There was a direct contact with the paper, the photos, and the printed material.BH33small

I do not know how it is in Argentina, but in Puerto Rico that type of material is not easily obtained. Some book and comics stores offer graphic novels and art books such as the recent Paul Alazar book or the reprints of Bizarre Comix. The problem is that they are sealed and if you want to open them to check them out they won’t allow it, so it is difficult. The other days I bought a book of Stanton who had a tied woman in the cover, but inside it was very different, to say the least.

The point I want to make is that, although certainly that the experience of comics in paper is unique, the Internet on the other hand has allowed an access to material that otherwise would be limited to very few people.

Now you enter a webpage and if it do not give you a credit card number and at least 10 dollars a month, you do not see absolutely anything Previews? Pure trash with the reminders of the price of the subscription everywhere. It really does not give you the desire to spend your money completely without information. There is in general, one philosophy of pay and then I give you what I want that is very annoying, but I am only a living dinosaur, ha,ha,ha!

 

                                                   Gag talk from the story Bondage Hospital.

Tell us of your relationship with Guido Crepax

Well, I did not meet him in person, but many years ago, don’t remember how, I got his address, wrote him and send him a drawing of his character Valentina. In the letter I expressed my admiration and he responded with a signed lithograph that hangs in my studio and I see every day with infinite affection., We had a warm relationship by mail and he gave me several advices which I treasure and try to apply. I am sorry that he was not able to see my work with Gwen, I believe that he would have liked it very much.

ArabianNights1995small

It would be great to see that lithograph one day. It is interesting that Crepax was appreciated by the general public of Italy, if we believe the obituaries that appeared in many newspapers in his country at the time of his death, something that does not happen in general with other artists of this genre. It is Italy more liberal in this aspect?

Guido was a complete artist, with a wonderful style with a wonderful and unique art. Italy is very special in that aspect, but I believe that in Europe in general there is a cultural climate that facilitates the acceptance of this type of material.

 

 


Arabian Nights (1995)

What about your relationship with Eric Stanton ?

With Eric happened something similar to Crepax.. I remember that in a Spanish bondage magazine (by the way, I was the one that promoted the import of this kind of material in Argentina, totally unknown and unexplored until 1990) I saw Eric’s address and his catalog. I became his client, bought his Stantoons and other materials from him. One day I wrote and told him that I also drew bondage comics and, well, he wrote back and we had one long relation by mail until its death, same as with Guido Eric was always very amiable and generous, always arranged to support and to advise me. I miss him so much !

WBG001smallhat it is your fascination with the characters of John Willie’s Sweet Gwendoline?

I was always fascinated by Sweet Gwendoline, from the first time that I read her stories, I think that was because it was the first comic I saw of that theme. It showed me that I was not an isolated crazy person, that others did the same stuff that I did and how. To see Willie is like seeing Rembrandt, he is a great one, seriously.

Sweet Gwendoline (SG) was a book that I saw announced in many places and Willie’s watercolor art is impressive. I believe that another aspect of SG is that it is not so much sexual, it is an adventure series that has many ropes! This it is a subject which I see in your stories, is the adventure first and the bondage is secondary?

That is certain, although in Missing Princess it lacks something that it has in other stories of Willie: humor. It is the most serious and sadist of his stories, also it is the one where there are more nude scenes, but the watercolor technique is breathtaking. Whenever I see those panels I bow to him, because I know the effort needed to accomplish it. And I can tell you that his watercolors are the best thing, without doubt, he was the best of that era. As far as my stories go, you are right, always is the adventure first.

 

                         Golf like you never seen before. From Bondage Golf Grand Prix (2001)

So why do you think that other artists also have created their versions of these characters?

I believe that Gwendoline is an archetype, like Eve, but the Eve of bondage! Willie, did only three stories and left the door open for more. Sweet Gwendoline is such a vivid and attractive character to work. It is not tied to a time or place.

TheyMadeMeaSlavesmallI also believe that each artist who dedicates itself to this wants in some time of their lives to render a tribute to the master that is Willie. The SG model has been imitated by many and is perfect in that the artists can create a variety of histories.

But also it is the most difficult, because of it being an archetype, all know it and if you mess too much with the characters the public is going to make notice. But I believe that, modestly, I am the first that tries to bring more variety to the strip, by putting the characters in longer adventures, and varying the themes and locales of the stories.

You have adopted these characters like yours. Others have used the ideas of Willie as a springboard, whereas maybe you think that, instead of creating characters that imitate Willie, why not follow with the saga, like when a writer or artist lefts a long running comic book like Batman or Spiderman and another one occupies its place. What stories have you created with these characters?

It is not easy trying to dance with high heels and your hands tied up. From They made me a slave (1991)

 

Uffff! I have twenty histories of Gwen, and thanks to shining creative minds like Pablo Marmol and Rebecca Borgo, there is material for several more. As I said to you, the characters can adapt to many stories, and I enjoy putting to me them in exciting, exotic situations and places, that stimulate the imagination and the libido… Stories of bondage that are in a dungeon or a basement bore me. I suppose that there are influences of novels and films of James Bond, with plenty of extraordinary places. I like to take my readers on a journey to a fantastic world, where the women use rubber to dress and enjoy to be tied and gagged, or in places like Tokyo, Buenos Aires, Moscu or California.

I agree with you that is difficult to make 50 pages in where everything happens in a basement, it probably is not entertaining to draw nor to write it.

But I found interesting that you did a story in which all the action happens in the girls house while they were cleaning it, which would seem very boring, but you compensated that by moving the characters from the kitchen to the bathroom and so on. This resulted in an advancement of the plot that kept the reader interested.

What other stories you have planned?

Next story is going to deal with a golf match. I have another one with a very special zoo, the girls are also going to Egypt, with the Countess and a half-finished pyramid , guess who is are going to finish it! Several stories dealing with alien encounters looking for specimens, a group of submarine pirates, who are going to steal a Russian submarine, one in the Middle East with a kidnapped princess.

One story will be set in Japan with a sect of kidnappers, a revenge of the Countess in a caramel factory as well as a story dealing with the erotic fantasies of our friends. Another story will be deal with a movie that is really a trap from the Countess, while another presents some very special winter sports. I almost forgot, in one story I will be sending the girls to Mars, as a special tribute to the old science fictions movies that I enjoyed so much. That will last for a while, right?

 

Any reason why all the characters in your stories are women?

First of all I LOVE women and I try to keep the it in the spirit of Klaw and Willie only featuring girls in the stories. For me it adds a very stimulating touch to him of fantasy. And as Eric (Stanton) used to say, men are ugly, I prefer to draw beautiful things!FileforaGwenstory2000small

I like the concept of only girls, although I confess that in your Sweet Gwendoline stories I miss the character of D’arcy, he is the Willie Coyote of bondage!

Well, I did not put D’arcy because I would have to draw it like Willie did and I felt it would be disrespectful and less of a tribute … although I add comedy in other ways, perhaps some day I will grant your wish and do a small story with D’arcy doing his stuff.

How do you obtain the balance between the adventure that you want to tell versus the girls that you want to draw tied up?

It is the practices of comic strip. If you are going to do a story, specially if they are long like the ones I do, you must narrate and entertain. It is necessary to eliminate the superfluous thing, although you like it. If the girl is tied up it is because it is because it is necessary for the story.. But if the girl is tied up only for decoration, then that illustration is ballast, and that would cause that people stop reading my stories by page 10, which is not good for me! Luckily I think that I do the balance between bondage and action right most of the time

 

                                                                  A unique flotation device !

And this is tied up with what you mCMIsland031entioned before of stories in dungeons and basements. If your characters cannot move and can hardly speak it is more difficult to narrate a story. You have been wise to create other characters that can interact with U-89 and Gwen and so bring more action into the stories.

And also it lets me contribute to the Gwendoline universe. My creations are K-15, the redheaded fellow agent of U-89 (I have a weakness for redheads, at least artistically!), Rossanna, the Italian maid as well as Ursula, the German cook. I have created lots of bad girls, very exotic and interesting, because they give life to the stories with their badness and their plans, you will know them soon enough!

We noticed that in your stories the girls are not naked often, if at all. Most of the time they are dressed in exotic costumes or in scuba suits. Does it entertain you more the creation of costumes and disguises?

For me is an artistic principle. If I put a naked woman there must be a reason, you must remember that what I try to do is more in the line of erotica than porn. And, well, I have a profound latex and scuba fetish and I enjoy designing the suits and other equipment. It is sometimes a headache but I enjoy it, I can’t deny it ! In fact, behind every 100 page story there are a 1000 more of research and sketches, from the suits to the fastenings and gags to the locations, cars or weapons.

 

A look at the designs for bondage chess pieces. From Countess M Island

I think that a woman in a rubber suit or a sexy dress can be more arousing than a naked one. It leaves something to the imagination of the reader who becomes more involved with the story, bringing their ideas as well. In this aspect you remind me of Robert Bishop, who dedicated long hours to the creation of suits and equipment like helicopters and weapons. The best example from your stories was the chess game in Countess M Island. Very good designs!

Thanks, the chess game was an inspiration blow, and sometimes those sparkles help. I take enough time planning what my girls are going to wear in each adventure, although the one that takes all the prizes is the Countess… her wardrobe is impressive, and you can see that she sometimes changes costumes several times in the same story. When a fashion designer friend of mine visits me and watches the hundreds and hundreds of designs that I have drawn she laughs and says that I could make a collection of sexy clothes for women!

Any of the bondage artists currently working that you follow?

I don’t have too much time to check the new stuff, but I reread the classic stuff all the time, they are called classics for something, right?moria_casansmall

Can it be that because we live in less restricted times and the artists are free to do more sexually explicit artwork that does not attract you as much and makes you create your own material in the line of the classic bondage artist such as Willie, Jim, Eneg, etc.?

Yes that may be one of the reasons, some do art the easy way and with doubtful taste, but who I am to judge. But consider this, if the classic artists did erotica without naked women or explicit sex and they continue to be read to this day, there must be something in it, right?

As far as photos, what themes do you like?
Bondage and fetish of course… also the sea, the nature and the space, the world in general
When you draw, do you use photos as references? Some actress or model who calls your attention ?

I use a little of everything, my memory, photos (I got an enormous collection) and lots of actresses and models. My main muse is Moria Casan, a great dancer and television personality in my native Argentina.

Thanks for taking the time to do this and for sharing your talents with the world !

                                            Here is the main source of inspiration for Greco, 
                                                                          Argentinean dancer, 
                                       actress and host of her own variety show, Moria Casan.

This Interview is from 2004, they were another interview in 2005 than you can read here.