To my readers......

Normal posting resumed for now.
Thanks for visiting mitchmen!
(Oct 12th 2017)

Thursday, 19 October 2017

The Other 'Zero' - classic bondage photo manips (Part 1)

1

The name 'Zero' is commonly attributed to a large collection of black and white, bondage photograph manipulations which first appeared in the early 2000's (I believe).

2

These pictures have become classics, partly due to the wide variety of bondage torments they depict but also because of the quality and clarity of the images. At the time they first appeared they were startlingly groundbreaking and they still hold their own against modern colour photographs because they are focused entirely on the bondage predicament - and some inventive punishment options not easily demonstrated with a live model!

3


These pictures could almost be illustrations from a handbook of bondage technique, so clearly is the ropework shown. The black and white palette and absence of background detail contributes to this 'academic' effect. The images seem timeless with no clothing or background detail to give away context. The only possible clue to their era is the models' head hair, but it's usually neither excessively long nor severely short. In short they all look 'normal', 'guy next door', 'average joe' - call it what you will. These men's looks could be found in any era, so they still seem modern to us now. The very neutrality of the captives' appearance adds a subtle sense that these unfortunates are not dungeon enthusiasts, but might just have been plucked from their everyday lives in offices and shops to demonstrate for us. In this case, performing a backbreaking suspension where the heavy ball is doing more than just stretch his appendage.

4

It seems that nothing is known about the creator of these remarkable images. Since many of them have the sex organs pixilated, like this one, we may surmise that he was Japanese. You might draw a similar conclusion from the abundance of complex, Shibari-style ropework which was a relative rarity on the internet, pre-Van Darkholme. The awkward posture forced on the captive in this example illustrates the potential that Shibari has for passively inflicting punishment, the position becoming increasingly painful with the passage of time. The toe-twiddling foot and other detail seems to corroborate that the discomfort is starting to bite. You'll see interesting feet in some of the other images too, it was evidently an area of interest to the creator.


5
Agonised and remarkably expressive feet are prominent in this leg-spreading image too. I suspect the original source is one of the quirky series of limb-stretching torments inflicted on Paul Perris by Can-Am (Zeus) in 1999 (example below) although I can't find this particular one. You can see how much effort has gone into tidying up and embellishing the new image and how the rope detail has been enhanced and added to.

Paul Perris in bondage for Zeus/Can-Am
 A captive who lacks Paul Perris's degree of flexibility is totally dependent on his captor's ropes giving support to his body if he is to avoid increasingly dire consequences or forcibly acquiring a new party trick.

6
Most of the images in this series do not show the captor or other participants. Where they are shown they are active, contributing to the victim's discomfort, not merely gloating or groping him.

The process of tying-up the captive is an aspect of bondage I always find particularly erotic, so you can imagine I like this one very much. The cleverly simplified image removes the visual confusion that normally surrounds this process. This more complex 3-man composition reinforces the impression of an artist with an eye for good picture. The supplementary activity of the captor to the right underlines that this is the crucial moment of surrender and prompts us to imagine what lies in store for the now-defenceless captive. Once you've seen the other pictures you know it won't just be a matter of relaxing and flexing in his ropes, like a 'Captured Guy'. In practice tying up an unwilling victim is extremely difficult, it's not that easy with a willing one for that matter - all that tedious rope threading! We'll just gloss over that.

To be continued in Part 2

Sunday, 15 October 2017

A-Z of Fetish Artists - Zero

This is my last post in what you might call the 'first edition' of my A-Z of Fetish Artists (of which more anon). The artist is a recent discovery for me although the images featured here go back some years. His work pushes at the boundaries of my personal taste in terms of subject matter, age group and style. Nevertheless I think his work is certainly worth a mention here.



This simple but striking image sums up both my attraction to and reservations about Zero's work quite nicely. The implied branding fetish is dark and dangerous but the captive certainly isn't (or perhaps I'm getting old!). The artist seems to be Norwegian but his economical, comic book style is heavily influenced by the modern Japanese genre which I usually tag as 'spiky' art and am not a big fan of. If you place your finger over the caricatured, facial details you'll see the makings of a much more interesting male image.




Noose-art is rare on the web for obvious reasons but we're obviously dealing with threat here not actuality. The comic-style characterisation seems to have wandered into the realms of 'Tin-Tin' and Tacitus adventures and that connection disarms the dark subject matter to some extent. At the same time the use of cartoon technique adds considerable impact to the grimacing, facial expression of the subject and you can't really tell how serious this piece is.


This picture by contrast tells a much more complex story of trial by water with bets on the side (drawn to our attention by colouring the money). The drawing of the watchers is actually more interesting than the captive here. You couldn't describe this scene as innocent but the formally-dressed man on the left looks like he's just left his office desk to get a coffee and just happens to have stumbled on an intriguing ritual. The other two men, who are clearly in charge of proceedings, are of a rougher breed and show a more knowing and callous interest, cruelly booting a second captive (his buddy?) who has already undergone the frightening experience. The cheerful, watching crowd in the background complete a scene that is both bizarre and disturbing.



This looks like a conventional 'kidnap' scene with the captive in his underwear tormented with a wet face covering. The participants here are more youthful-looking than I would wish for but there's a sense of experimentation in this image rather than malign intent reflected in the shared but un-erotic semi-nudity of the participants.



I'm not so sure about this scene though. There's a clear power relationship in play here, amply illustrated by the standing-kneeling and clothed-unclothed contrasts, as well as the more obvious bondage element. We can only speculate about the meaning of what we see but this certainly isn't a conventional dungeon scene. Not with a 'master' whose dress and posture are very normal and casual albeit with just the tiniest bit of eroticism suggested (and hidden) in the trouser detail. This casual veneer disguises an unusual and rather sinister form or water torture/breath control and if you look more closely you can see it has been preceded by a more brutal episode. I always encourage my readers to spend time studying erotic images more closely but sometimes you may not like what you find! A suitably challenging end to my A-Z.

This artist signs himself as Zero on his pictures but his blog is called Zero after Dark
and is very dark indeed with a tag line I'm loath to repeat on the Google platform. There's a related blog called Zerotation which is less demanding.

Note: There is another artist who is usually given the name 'Zero' and attributed as the creator of a well-known, vintage collection of black and white, bondage, photo-manips, obviously that Zero is a different artist.


 For more articles in this series click on the A-Z label below or search for specific artists using the index page or the search boxes (in the navigation banner and top right)

Wednesday, 11 October 2017

Tom of Finland - Unearthed Earthy Work

 Regular readers will know of my admiration for Tom of Finland's work which was instrumental in setting me on the path to self acceptance and 'liberation'. If you're a fellow fan you may have already seen the 2015 postings of a rediscovered series by the great man, showing three motorcyclists cavorting in mud. 


This is the opening image of the set which the publisher has placed in 1959. It certainly looks like an early work from the faces, but the technique (e,g. the leather jackets) seems amazingly advanced and detailed. Perhaps that's because most reproductions of his work from that time are very fuzzy. 

As a private commission the series is also much more explicit than other works we know from that era. The motorcyclist's bulge shown here is a mere hint of what follows and it comes as quite a jolt to realise that Tom's graphic images of the 70's were a long time in the making. 

This series also features a mud wrestling and bottom smearing scene that would have horrified 50's censors if they had had the imagination to understand the innuendo. Presumably this ingredient was stipulated by the person who commissioned the artwork, since Tom is not noted for this sort of eroticism. Interestingly, the playful image below, also from 1959, hints at a similar sensuality and I wonder if there's some sort of cross-fertilisation of ideas going on here.

see the whole motorcycle set at Tom of Finland Originals

Other Tom of Finland Articles at this blog

or click on the label below

Sunday, 8 October 2017

Community Protection Services ~ "Catching Rogues For You"

Unable to find regular work and led astray by bad company, Michael slipped into a life of crime almost without noticing it. But when he went solo and raided a Priest's house hoping to steal the church silverware it all went wrong. Through inexperience, he set off an alarm and before he knew it two burly security guards arrived and arrested him. 

It was a sultry summer night but even so Michael was surprised at the lightweight, skimpy uniforms they wore. He'd happily confront a regular cop but found these two men strangely intimidating and offered them little resistance. 

Outside in the back of their van they offered him the choice of a lift to the Police Station or an on-the-spot fine. Of course he would have preferred the fine but didn't have enough money with him.
That's OK, they said, we'll take payment-in-kind.
Another community litter patrol, he thought, Cool!
Mitchell - Community Protection Services


But when they shackled his wrists to a ring fixed to the side-wall of their vehicle and stripped him of his clothes he wasn't so sure, Naked Litter Patrol sounded too scary.

Just then another alarm call came in and they drove off with Michael in the back of the van, naked like that. Michael saw there were other rings further along the wall and wondered if other men would be joining him to receive punishment.

As it turned out, he had plenty of time to ponder what the punishment might be,
but the guards didn't catch any other felons that night.
When their shift ended they drove to a quiet spot and returned to exact Michael's 'fine'.
That's when he found out it that didn't involve litter
 although he did have to bend for it.

~


The original picture on which this image is based was originally intended to be the final part of my 'Homeguard' Series which I expanded and transformed into the story  'A Christmas Criminal'
(published here over Christmas and New Year 2015-16). The picture didn't really fit as I explained in my post-script to that story and you can see the original sketch there, but I thought it was worth finishing as a picture and this is the result. The Homeguard service has now transformed itself into 'Community Protection Services' whose initials are very appropriate for this scene.

for other 'mitchpix' click on the label below

Rokudenashi's 'Crisis'

This part-article (particle?) formerly (and mistakenly) formed part of my A-Z entry for Zelolee and I'm reposting it and parking it here until such time as I am able to do justice to the real artist.
I'm indebted to 'lamlamblam' for pointing out my original error.

Rokudenashi - Crisis page 9
In this image from Rokudenashi's 'Crisis', however, the rendering technique works very well on the hero's skin-tight suit, suggesting a clingy suppleness that must be a treat to wear! Unfortunately it also seems to be irresistible to the genetically-bred 'monsters' that he has come to hunt down. The drawing here is highly-stylised with minimal background detail and the hero's face totally obscured by a sleek, futuristic, helmet. In contrast the monster is rather crudely and confusingly imagined, as a sort of humanoid dinosaur with added tentacles which appear to grow out of his backside (see next frame!).
(Remember to read these pictures from right to left)

Rokudenashi - Crisis page15
Needless to say the creature duly has it's way with the hapless soldier, gradually removing his entire uniform – but not his helmet which appears to be an integral part of his body with the eye holes cleverly changing shape to convey his reactions. The rough assault is portrayed by the artist in a series of angular frames with close-up detail which is not always easy to read but conveys a sense of the desperate, slightly comical struggle. Inevitably I suppose, the coupling soon takes the form of the standard, tentacle 'sit in my lap' pose, similar to that in the first picture in this article (in case you hadn't noticed). 
 
Rokudenashi - Crisis page24
Eventually our hero is rescued by a comrade who comes to his aid and dispatches the randy monster, who presumably dies happy. The story has a delicious end-twist when the recuperating hero is told that the monster's impregnation must be removed from his body or he will turn into one himself. 
The extracting machine, designed to probe all the relevant orifices turns out to have monster-like dimensions too and the story closes with treatment in full flow. We get to see the hero's fully naked body in this scene and I'd have been tempted to remove his helmet too to give this scene a more human dimension, but I suppose that's not the way of heroes.

colourised version of 'Crisis' (beware yukky pop-ups)
also see more at Rokudenashi's pixiv page

Thursday, 14 September 2017

Mitchell's on holiday

click to expand image
Mike Radon looking fabulous in cocksox underwear
 and wondering where his clothes got to.

I'll be back posting in mid-October

Sunday, 10 September 2017

A-Z of Fetish Artists - Zelolee

Zelolee - Shoot at this Guy
   
Zelolee's style is at the opposite end of the spectrum to Zaria, his captives are muscular, masculine and mature. As you can see from this image, his stories are concerned with fantasy worlds where men are men, but as captives, naturally, they are shown no more mercy than Zaria's erotically tormented younger men (who seem to have turned here out to witness this ancient hero's self-abasing humiliation in what looks like a very modern jail cell). There's a certain 'plasticity' about his rendering of the muscle detail here which is distinctive if not entirely convincing.

Rokudenashi - Crisis page 9
In this example from Rokudenashi's comic book 'Crisis', however, the same rendering technique works very well on the hero's skin-tight suit, suggesting a clingy suppleness that must be a treat to wear!

Zelolee - Brothers
Zelolee draws upon pseudo-medical imagery for this scene with a needle poised threateningly above the captive's vital organs. His technique here is very basic with minimal body detailing but the same sense of style and design is very apparent.

The Perverted Sage - page 14
This versatile artist shows another side in 'The Perverted Sage'. It's another tentacle saga but one is struck by the extreme stylisation which depicts these entities as arching, pointed, almost one-dimensional shapes, rather like blades of grass. That association imparts to them a quality of flexibility and delicacy which makes the possibility of arousing their victim a credible one. Their capability to grip and penetrate is also portrayed but the artist's technique suggests it's through an almost magical gentleness, leaving the viewer to imagine the what follows.

Zelolee matches this lightness of touch with a restrained palette of pastel colours which suggests normality rather than drama. It seems to drain the energy from the captive warrior. Notice too that the Sage and the Warrior are almost indistinguishable with similar angular, masculine features and stylised hair. It suggests an equivalence in their heroic status which is illusory, the Sage is an alien with self-transforming capability, but their similarity lends an erotic twist to their struggle.

The Perverted Sage - page 19
In the final frames the captive is imprisoned by the tentacle entity which is seen to have a simplicity of structure that does allow us to draw on our normal constructs for beastly beings. It focuses us on what it is doing, holding the captive and milking him of his semen which has acquired the status of a gastronomic delicacy for the alien being.

Zelolee - The Battlefield Urinal page 5
'The Battlefield Urinal' is set in a more real world with no magic or fantastical beings and Zelolee accordingly adopts more earthy tones. I suspect 'Urinal' is a mistranslation as this story does not concern golden showers. It recounts the tale of a captured soldier who develops (or reveals) under torture an erotic response to pain. It leads to much abuse until a sympathetic officer intervenes and sends him back to his own side. Unfortunately his secret is soon discovered there by his commanding officer who cannot resist adopting him as a sexual slave. 
 
Zelolee - The Battlefield Urinal page 15
Zelolee characterises the hapless soldier visually as something of a muscular brute in comparison with his normal looking colleagues. In fact he shows heroic qualities under torture by his enemies before his weakness is revealed. His misleading appearance adds pathos to his serial subjugation in which even his own side abuse him. It's the sort of tale that Tagame specialises in, but Zelolee's simpler approach to illustration allows the psychological sub-text to show alongside the more visual mechanics of his tortures.

Zelolee - When The Ice Meets The Fire

I've left this picture to last because I like the depiction of the muscular captive. His face is less forbidding than some of Zelolee's heroes seen above and the gleaming bruised body with a tantalising smattering of body hair is terrific. I confess that for me the monster between his legs is more arresting than the one looming over him.

I haven't found a site yet for Zelolee* but search engines will bring up examples for you.
(*Thanks to reader lamlamblam for supplying Zelolee's pixiv page
and correcting my attribution of 'Crisis' - see comments below)
 For more articles in this series click on the A-Z label below or search for specific artists using the index page or search boxes (in the navigation banner and top right)