I've discussed about this with Thomas Mets, and we reached an agreement, over some sort of Aristotelian mean.

I don't even know, what the Kane example has to do, with my quote.

I think I never warmed up to Black Cat for the same reasons Cei-U mentioned. I don't hate the character, but when you have a great character like Catwoman to read about, what's the point? I think if Black Cat was giving a personality other than "vixen" she would have worked better as a concept. She really is a shameless Catwoman rip-off and Wolfman certainly wasn't trying to hide it.

Yeah but... have you read Static or any other book that Ditko wrote himself?  

I always think that Ditko had more personal involvement in the book and he was the only one using his art to come to terms with how to live your life...

But having a scripter who was good at writing really elevated these stories from "interesting oddity" to stone classics.

Also, I think that most of the characterization of the supporting cast came from Stan.  One of the strengths of this run (and one which no later Spider-man writer seemed to understand) is that all of the supporting cast (A) have a specific relationship to Peter Parker, (B) have a specific relationship to Spider-man, and quite often (C) have relationships with each other that aren't dependent on Peter.  

Basically this was an unprecedented level/depth of characterization for a mainstream superhero type book -  And I see it as (A) all Stan, and (B) a kind of passive aggressive power play on Stan's part of get some kind of control of the book because he was the writer and the editor, dammit!  

I guess I'm not arguing that if there has to be a primary creator and a secondary creator, Ditko was the primary.  But I think that it's more important to note that Spider-man wouldn't have worked without both of 'em.  

And it's worth noting that Romita was heavily involved in the plotting of his Spider-man stories.   There's a Comics Journal Interview where he talks about his process.... but it seems to be off the internet now.  But as I remember, about 50% of the plotting came from Romita.  He was the sole plotter for ASM # 108 and # 109, for example.   

I'm certainly not trying to belittle Stan's work on Spider-Man. The dialogue and character work he contributed were very important to it's success. But to ascribe him total credit and ignore what Ditko brought to the strip is an injustice. The same goes to Kirby and his collaborations with Stan. The FF and Thor wouldn't be close to the levels of greatness they achieved. Ditko and Kirby both came up with many of the basic concepts and characters for their strips. Stan on his own without Jack or Steve, in my opinion, never equaled the quality found when he was paired with those two.

Nice interview, I liked this paragraph, in particular:

It goes to show that, even on those occasions, when Lee's input for the plot had been scarce, Romita's story was far from complete.

Your scenario assumes that Ditko was always the plotter, and there's not enough evidence for that. The only evidence we have is that at some point Ditko wanted to be credited as the plotter, and Lee gave him that credit in the later issues of Spidey to placate him, though I don't imagine Ditko got a share of the writing-dough. Lee was an editor before he was a writer, and while it would have been in his interest to let an artist do the work of plotting to save Lee time, he was a good enough editor to exercise story control at the outset. So I tend to think that Lee probably provided some plotting-input in the early years.

Trouble is, because Ditko was plotting to please his editor's tastes, it's almost impossible to sort out what might have been a "Lee idea" from a "Ditko idea." About the only thing that seems certain are that Lee probably urged Ditko to do crossovers, because that would have been beneficial to the company as a whole. Some crossovers were really fun, like the one involving Spidey, the Torch, the Beetle and Torch's girlfriend Doris. Some were pretty blatantly commercial, like the ones layered into SPIDEY ANNUAL #1. I'd speculate that Ditko didn't enjoy these outings too much, given that when he had control of his material in Charlton's BLUE BEETLE and QUESTION features, he did one "crossover" of the characters in which the heroes meet, but not in costume.    

Nah, I retract that.  The first ten issues are my favorites, and pretty brilliantly progressive structure-and-characterization-wise in a way the book would never be again.  

But I forgot how long Stan was actually on the book, and his LAST ten issues were... not that great.  

I also forgot how quickly he was off X-men, and I'll agree that most of his X-men stuff was solid, occasionally touching great.  (The Sentinels, the Juggernaut, the Blob and his carny army)