To my readers......

I have just discovered a backlog of comments awaiting moderation that Blogger hadn't told me about.
I'm working through that now, sorry if anyone thought I was ignoring them.

btw, Please don't put e-mail addresses in your comments.
If you want to contact me use the link in my profile which you can now reach via the new 'contact page' below

Thanks for visiting Mitchell's blog

(Aug 30th 2018)

Tuesday, 25 September 2018

The Art of Bowen

Bowen - Connor and Drew captured in the desert

 If you're a regular reader of this blog this scenario may seem familiar. In essence it's much the same subject as the photo-manip by Chirenon called  A New Life For Our Air Force Boys which I featured here last year. The similarities between the two images suggest they were inspired by a common source but these boys look as though they were snatched from a swimming pool at a holiday resort rather than having been downed in their fighter jet while on active service.

The Air Force boys seemed to have been lucky enough (?) to have been picked up by an ordinary, opportunistic, merchant trader rather than a bloodthirsty renegade. Connor and Drew, however, have been taken captive by a much more villainous-looking and threatening captor, a militaristic one even. In this day and age this might be indicative of a very grim outlook indeed. The good news is that the connected chains that ensnare them look purpose-designed for mass, man-trafficking rather than random hostage taking. The strategically-placed highlights on their swimming trunks may explain their selection but also suggest the adventure is not altogether unexciting for them - so far.

Compare also Tacitus' nice take on this subject: Tarzan captured by Slave Traders


Bowen - Prisoners of War
This image also has a Middle East setting but the captors are white US soldiers which at least balances out the racial stereotyping. I can recall images of Serbian prisoners of war being tied together like this during the Bosnian War, but they weren't stripped naked of course and certainly weren't tied by their cocks! No wonder the trailing prisoner here looks alarmed!

It's erotic fun but Bowen is flirting with sensitive, historical incidents from a different war here. As it is the prisoners seem to be just as Caucasian as their captors so perhaps it's just a training exercise with fellow Americans standing in as prisoners of war. They must be starting to wonder if their colleagues might be planning to take advantage of their temporary bondage to make serious mischief.

Bowen - Tied Up Trio

Bondage is Bowen's bag and much of his work consists of tableaux like this where various captives are brought together for viewing. In this case, it appears that feet action of some sort is in the offing.

Images of captive Soccer players are surprisingly rare and Bowen's made quite a good job of making this Manchester United kit look authentic but sexy.

Supermen in bondage are a more common sight but they don't usually look as slinky and appealing as this or sport such attractive buns. I like the detail of the green 'Kryptonite' rope and gag which renders the hero incapable of using his strength. We can only speculate as to what effect the length of Kryptonite rope nestling between his buttocks will have on the muscles in that area.

There's no obvious narrative to this picture, a failed rescue of kidnap victims perhaps. The composition is just a loose framework for bondage variations, which does however create an interesting impression of abduction on an industrial scale.

Bowen - Kidnapped Jocks
Bowen's men are often quite young but he sometimes adopts the Yaoi style of portraying characters with enlarged eyes and small noses that look disturbingly youthful to Western eyes. Fortunately he's given them well-developed, grown-up bodies here that match their description of being 'jocks'. If you cover their faces you can see the adulthood within, an even more interesting image, I think.

The sporting exertions of these two have given them luscious, plump bottoms that are showcased by snug underwear that fits into every crevice. The kidnapper kneels close by, securing 'red pants' feet using professional, plastic ties. The determined look on his face tells us he has serious plans for them down the road and this gives the scene a nice edge.

Bowen - Window Washer Woes
 You can see the Yaoi influence quite clearly in this image - in the dreamlike 'falling' subject itself and in the spectacular perspectives, the flailing limbs and big boots. It looks like these two are still safely attached to their rig, but getting help may be a bit of a problem as the street below is completely deserted suggesting it's an ungodly time when no-one is around.

Bowen - comic_con_captives
Two film stars who play superhero roles are kidnapped from a comic convention by a 'deranged fan'. I suppose making them hop like this would be very humiliating for the victims' supposed, superhero persona's but the confused kidnapper has made life very hard for himself by hobbling them in this way.

It's the characterisation of the two captives that makes this picture interesting, adult, muscular and quite realistic (even in comic form). A fine catch in short. Like 'Connor and Drew' above, their faces are based on two real actors. I'm not going to give the names here, if you don't recognise them and want to know, follow the link to Bowen's Deviant Art page.

Bowen - Mass Effect Scene 1

 This image has similar, attractive styling and features characters from the 'Mass Effect' video game. Bowen's take on the hero, Shepherd (right) is rather softer than the raunchy, official Shepherd. Arguably more robotic too but he might not thank me for saying that. He takes a cuffs and ropes, comprehensive restraint approach to securing the bad boy whose outfit has an 'erotic window' that must be dangerously distracting for his opponents. Shepherd's colleague stands by with cock-shaped plug gag that surely can't be standard issue. The cute faces and little touches of suggestiveness make for a nice picture.

Bowen - Wrestling Match (detail)
This example of Bowen's style is quite different to the others I have presented. The composition is compact and the framing tight, creating a more immediate dramatic impact. It's a frame taken from a comic strip page and it's possibly the need to squeeze it in alongside 4 others on a single page that has caused Bowen to depart from his usual expansive style. 

The scenario depicted is the come-uppance of a bully (in the yellow suit). Not only has he been beaten by an upstart challenger but his suit has humiliatingly split across the backside during an unpleasant, leg-stretch hold. The victor grips his chin, a technique which is simultaneously painful and patronising without seeming aggressive. The bully probably employed it himself when intimidating others. This physical connection between the protagonists is most convincing and another unusual feature for Bowen's work which tends to distance characters from each other. The chin hold seems to be a prelude to delivering a scolding but the victor's eyes are actually focused on the ruptured suit and exposed ass. There's a discernible excitement in his eyes and bulk between his thighs that suggests he hasn't quite finished yet, even though the spectators think it's all over. 

The little exchange in the background between those onlookers is another delightful element of this picture. The bully's girlfriend reveals very nasty character traits while his cute, muscular crony realises with a shock that he's lost the shield of his buddy, as he is called out and offered his own chance to be humiliated. For me this picture is a little gem.


Bowen - Cloud and Zack Experimented On
This is the first image we've seen that shows what lies in wait for those who get kidnapped.
The laboratory/medical scenario is always flavoured with a sense of unknown substances and invasive procedures and the green drip being administered here to Zack seems to modestly epitomise that with an everyday medical procedure given a sinister edge. There's also a selection of dodgy instruments in the foreground.

His buddy, Cloud (from Final Fantasy) sits sealed in his cage (like any other lab rat). He watches and awaits his turn to be processed. The cage cleverly underlines the isolation of the two friends from each other. There are number of buddy kidnaps featured in this selection there is something about this scenario that seems to add an extra bit of desperation to the predicament depicted.


Bowen - Watery Trap (detail)
As in this example here. This is a segment of a 4 frame page and the captives are superhero types who have met their match. In a kinky touch, their captor seems to have dressed them in sexy swimming trunks to replace of their shredded, super-hero outfits. The artist shows a range of reactions to the threat of the rising water level in the tank - fear, panic, resignation and the teeniest suggestion of excitement. It is the tradition for hero captives to escape grisly fates like this at the 11th hour but Bowen leaves the ending open.
 
Bowen's cartoon style is a natural medium for exploring traditional 'hero in trouble' danger scenarios but 'Watery Trap' is a surprisingly 'edgy' find in his portfolio. In a way this exploration of the nightmare of drowning (being drowned) is a natural complement to the dream of falling we saw with the window washers earlier. Other images in his work also touch on 'danger' scenarios like this, there are even a couple of examples of gallows art but I didn't think they were right for this blog. Even the kidnap scenes are not without suggestions of threat, so Bowen's art, fluffy on the surface, turns out to be unexpectedly fetishistic.


For more visit Bowen12a @ Deviant Art

Sunday, 23 September 2018

Bareass Blogs No 27


Bareass Buffoonery & Bulky Buttocks on the Beach

"Does my bum look big in this?"
 
Go to No 28 (Link Pending)
View Bareass series from No 1

Also entered in my 'Ministry of Silly Hats' series as No 12
(click on 'Hats' in label list below)

Saturday, 22 September 2018

Bareass Blogs No 26

 Bareass Biker Bully's Blowjob

I love the hand cupping his buttock

Go to No 27 (Link Pending)

Friday, 21 September 2018

BareAss Blogs No 25


 Bareass Back-Packer

with a delicious fluffy bottom!
 
Go to No 26 (Link Pending)

Wednesday, 19 September 2018

Mitchell's Art for September - The Deserter

Mitchell - 'The Deserter'
The deserter thought he was safe, hiding at his girlfriends flat,
but the Army tracked him down there eventually.
They raided the place at the crack of dawn
and caught the two of them in the throes of passionate sex.

He was clapped in irons and escorted away,
allowed only a hastily-packed, overnight bag
and still wearing his girlfriend's slinky satin underwear
which he'd put on as part of their sex-play.

He felt dazed, still half-asleep, as they descended in the lift 
Residual, frustrated lust still swirled within his loins
Ahead of him a bleak, prison cell awaited
and the myriad humiliations of the Regiment's Punishment Corps

~

An image in keeping with the retrospective, military theme I've been dallying with recently, this is a previously unpublished oldie from 1997. I was planning to put it into an Army version of my 'Press Gang' Story but that's still some way off. There's a more immediate humiliation facing this deserter when the lift doors open and he's escorted through the public foyer to the Army vehicle which waits in the street outside. I suppose he should think himself lucky that the army did not arrest him at his place of work, in front of all his colleagues.

Mitchell

For other pictures by Mitchell click on the 'mitchpix' label below or visit my new Gallery Page.  

Sunday, 16 September 2018

Little Known Incidents of WWII (No 6)

Cover art - Virtue in War
 This marvellous picture is the cover art for the war comic, 'Virtue in War' from the Combat Picture Library series.  When I discovered this picture recently, I nearly choked on my cornflakes. The image of the hunky Sergeant gazing at a sleeping private immediately suggested a gay theme to me, along the lines of the captioned version below.

Desert Rat's Unrequited Love (mitchmen-mod by Mitchell)
I might add that this interpretation was not just invented by me, but inspired to a significant degree by the characterisation of the sleeping man's face. With flamboyant hair and striking eyelashes he's an almost-stereotypical gay man of that era. Despite the absence of definitive shaping, crotch-wise, his sprawled open-legged pose is pretty inviting and super, chunky legs they are too! The artist didn't really have to show him like that, nor did he have depict the Sergeant looking at him so furtively and sadly!

A Soldier's True Feelings (mitchmen-mod by Mitchell)
  In those days, anyone revealing queer tendencies in the forces would have been imprisoned for a long time and then kicked out, dishonourably discharged. There must have been thousands of gay men serving their country in the company of other men and pretending to be straight, like I have portrayed the poor chap above.

This illustration is from the same story, but I changed the thought bubble in the second frame. In the original he is actually coming to terms with his fear of going into battle again, having just experienced the traumatic evacuation of the British Army from Dunkirk. He is shown simply thinking 'I'm scared'  (which isn't a total contradiction of my reinterpretation). While it isn't surprising in this period that he goes home alone, notice that there's no goodnight kiss scene between these two frames.

 
The characterisation of this soldier, 'Joe', is of a sensitive, reflective individual. That is brought out in this rather nice study where he journeys with his unit to the next battlefield. Shorn of their helmets, the artist reminds us of the youth (18+) and ordinariness of the diverse conscripts.

Other images in the story develop Joe's sensitive nature further. He is depicted in the thick of battle exclaiming "This is crazy!" That's not typical behaviour for War Comic heroes who are usually preoccupied with defeating the opposition and surviving. However the artist is at pains to make clear in these scenes that Joe's feelings do not stop him from being an effective soldier and doing his duty to kill.
That's lest you get the 'wrong idea' about him.

The artwork for the narrative pages of this comic are not of the same standard as examples I have shown in other posts in this series, but it's worth following the story of Joe a little further.

He strikes up an unlikely friendship with the Sergeant of his unit and they are seen drinking together in a bar and discussing the NCO's family. There isn't a scene that matches the cover picture but that also seems to reflect a relationship of some significance between them. Their friendship comes to an untimely end when the Sergeant is killed in action, right in front of Joe (below).


In these comics, the Sergeant is nearly always the principal hero figure, a sort of older brother/father character who's highly experienced. He knows all the tricks of the enemy and is a fount of knowledge to naive senior officers, even coming to their rescue sometimes (as we saw in No 4 in this series). This one breaks that mould by foolishly standing up to mock the retreating enemy and he pays a heavy price.

You can see from the uniforms here that we are back in the Western Desert, with shorts and rolled sleeves the order of the day. These are very short shorts, however, regulation length was just above the knee. The cut adopted by this artist is more stylish, more boyish if you like, but eerily erotic in danger-filled battle scenes.

Whilst the War Comic Sergeant is usually a great leader of his men, he's also down-to-earth and approachable. He's manly and often craggily handsome and his men often fall in love with him, metaphorically at least, or as the comic usually expresses it, 'they would follow him anywhere'.
We don't know if Joe is in love with his Sergeant but his reaction to the death is profound.


I've included this page for it's storytelling rather than it's artistic merits. 
That said, Joe's angrily shaking, muscular forearm in the top picture is not without interest.

His reaction to the Sergeant's demise is pretty extreme, especially considering the man's own foolishness was largely to blame and that he is described as falling to a 'stray bullet' and not a nasty, opportunist sniper. The reference to his pregnant wife gives a justification of sorts but the next frame makes clear that it's Joe's personal attachment to his Sergeant that's really driving his emotion.


This part of the plot line peters out on this very intriguing note. Were they or weren't they?
Probably not, but I can't help but wonder about the soldier in the background who seems to be watching the distraught Joe with great interest. His helmet is tilted at a strange coquettish angle that reminds me of the women in Moulin Rouge imagery. Very odd and just a little suggestive.

As Joe's story goes on, he finds himself having to trek across the desert to safety, supporting a weakened colleague, a Corporal this time, but Joe clearly likes his stripes! It's a man to man sequence which is virtually identical to the story I played with in the last post. There's some nice shorts and male bonding imagery but I'll save that for another time.
 ~
The slightly pretentious title of the story 'Virtue in War' has some significance in relation to Joe's moral character but it might equally relate to his possible sexual leanings in an era of criminalisation. This and the off-piste characterisations of Joe and the Sergeant are part of an approach to story-telling in the Combat Picture Library series that was more consciously elevated than the earthy, patriotic drive of the War Picture Library featured in previous posts. CPL stories are laced with great chunks of history set out in a rather academic way rather than being closely integrated into plot lines. This can result in stories which are less substantial and have a tendency to ramble across protracted time spans.

 
As a postscript, I have discovered CPL also previously used the same cover art for a story called 'Sicily at all Costs. I don't have that book to check if it's the same story with a different title, but you can't blame them, it is a great picture!

For other posts in this series click on the 'War Comics' label below

Thursday, 13 September 2018

Room 666 - The Night Visitor



Eddie is working far away from home.
His car breaks down in small town, miles from anywhere.

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 The room floods with light
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With apologies to the actors, it's dun 4 fun
Based on original photos from Wrestler4Hire.com
They also do a good line in sexy stills, free membership allows some sampling

Monday, 10 September 2018

The Art of Homoeros - 8 Fem Dom

Homoeros often features women as aggressive seducers and dominators in his pictures. It's an interesting aspect of his work and if you're able to tolerate their presence, the tormenting of (mostly) straight men is quite entertaining and sometimes most sinister.

Homoeros - 170d5_evandro_slave_auction_07
  In this example Evandro, who we saw as a confused Squash player in Part 1, is persuaded to enter a slave auction in furtherance of his modelling career. Homoeros dreams up an impressive and appropriate outfit for him to wear, complete with matching shackles. It's shiny and glamorous but dripping with implications of enslavement and there's a hint of forced chastity in the metallic briefs. 

Apologies to those who detest the female form but I think the scenario works well here with the 'purchaser' turning out to be a vicious, Disney-esq dominatrix and delivering an experience Evandro scarcely can have expected.Although he's clearly finding it testing, it seems he must be taking it willingly, since he is not actually restrained by his shackles. The generous pouch in his pants implies he might even be enjoying it, deep down. His facial expression is well depicted, you can tell that his ability to endure pain is being tested. This is a rather beautiful evocation of a very basic bondage/domination fantasy.

Homoeros - adam___eve_02
An age-old story being re-enacted down on the farm, with female stereotyping which I suppose is politically incorrect these days. To be fair, the farm boy is equally stereotyped (as a dumb male) by his puzzled reaction (as if!). He's objectified as well by his stunningly low cut jeans, which would be far more effective than a bunch of apples for most of my readers. This is not the first biblical allusion we've come across in Homoeros work. I'm not sure what conclusion to draw from that but it makes me uneasy.

Homoeros - 146a3_newsroom_03_
A more modern temptation. A TV announcer is persuaded to strip down to his rather swanky underwear. His expression seems to indicate a degree of doubt about the wisdom of it all, maybe he's just twigged that the chequerboard pattern on his briefs simultaneously shows the shape of his assets and draws attention to them.

The artist seems to be casting the woman as a manipulator here, but it's not very hard to get most men to do this, any good cause will usually do the trick or just a playful challenge even. At one time such a very public display would have been shameful and humiliating for the man, but these days it's just a test of bravado. That doesn't mean it's not manipulation going on, however, and in this case we can enjoy his evident unease about it all.

Homoeros - 350a_chase_and_sammy_17
'Chase and Sammy' revisits the manipulated model scenario. Chase is taken to a dilapidated factory for a modelling assignment and is snapped communing nakedly with some butch, engineering equipment. He's then talked into some captivity poses, no doubt with some flattery about his heroic muscles. Men eh? But you can see she's not wrong about his look, the photos will be great. Despite his bondage, Chase's masculine presence in this image gives him a visually dominant role, making him seem all the more desirable and fleetingly subverting the normal order of photographers in charge and controlling their models.

Unfortunately Chase's stunning manhood has kindled baser desires in Sammy's breast and once the photo-shoot is completed she proceeds to help herself to what he's got. He is horrified by this attention, but we don't know if his reticence is because he's gay, shy or simply choosy. Whichever is the case, he seems to be able to do enough to satisfy his attacker, no doubt hoping that that will suffice and be the end of it. Restrained and helpless in a deserted building, he tries not to think about what happened in 'Misery'.

Homoeros - Bedroom_11
This one is a bit of an oddity. The male in this story has a distinctly gay aura about him at the outset. He poses in matching, skin-tight singlet and shorts in bright rainbow colours and there's even a hint of accentuating make up on his face. He's boyish and coy about stripping off, but has just got down to his shorts when the woman appears wearing nothing but a skimpy thong. This sight terrifies him.

At this point you are wondering, is he gay or just shy and inexperienced? As the scene proceeds the woman takes charge with a brazen combination of feminine allure and assertiveness and his masculine/heterosexual credentials start to become apparent. She cajoles him into flexing his biceps and even gets him to submit to the lash of a riding crop. His upturned ass turns out to be unexpectedly hairy.

He ends up tied to the bed and Homoeros (above) manages to capture the sense of him being petrified and uncertain, but aroused and excited at the same time. There's a powerful feminine presence in this image and the man restrained, spreadeagled on a very comfortable (and stylish) bed and looking very unsure of himself seems like a very feminine fantasy to me too. That impression carries through to the ending of the storyline where he is released and the couple enjoy affectionate sex. 

Conversion therapy? Maybe, but I'll pass on that one. 

Homoeros - 370c_ronnie_gets_spanked_01
Remember Ronnie? We first saw him flaunting his jockstrap in the College locker room (Part 1) and it looks like he's still got naughty boy tendencies (from a female point of view anyway). He's fallen into the clutches of a particularly intimidating dominatrix here, with man-ish hair but fairly conventional female taste in punishment for men. We previously saw a giant paddle just like this in Part 4, in the hands of a spunky builder. It would be nice to imagine him stomping in on this scene to reclaim his equipment and acquaint Ronnie with it's proper use. This training is all really good preparation for Ronnie, as he's destined to end up in a dungeon with a sadistic (male) lover , see (Part 5).

Homoeros - Captain_s_Daughter_04
In the days of sail it was supposedly considered unlucky to have women on board, maybe this proves the point. This is a good treatment of the subject with convincing poses and whip action. The clothing contrast adds an erotic frisson. It also subdues her femininity to a degree and Homeros depicts her as a man's equal in having the ability to administer a serious lashing. The privileged status of such a woman would make her someone to be feared amongst the rough crewmen.

There's an all male equivalent of this scene in Part 5, called Ship's Lookout. In that series, the cute whip-man seems to agonise about punishing the seaman who neglected his duties. The Captain's Daughter however taunts her victim as though flaunting her power. It seems to implying a more personal motive, but it's a slightly dubious characterisation.

Homoeros - captive01

Historical and fantasy settings give Homoeros full rein to explore female dominance over men. This Amazon-like portrayal of the woman grants a power of position to her in much the same way as the Captain's Daughter and here it's coupled with (what I assume is) an irresistible sexuality. The captive man in this image is a very nice creation with a naturalistic body that's slightly hairy (yum!) and a darkly handsome face that isn't the artist's usual style.

The simple bondage appeals to me, the arms are pulled tightly back, his strength neutralised by a simple length of rope.  He's clearly facing a threat to his life or something else equally dear to him, looking pretty forlorn even though the woman is affectionately stroking his face. This image isn't part of a coherent set but associated images seem to imply a scenario about reluctant lovers. I think we're getting a pattern here.

Homoeros - 448m_max_ii_exhibitor_03
 We saw Max the slave suffering the ultimate price for intimacy with his master's daughter in Part 6 but here he is looking sweeter than ever, in the hands of an older, rather mean-looking woman. She looks like a figure from antiquity but the reclining framework on which the naked Max is attractively spread would not look out of place in a modern gymnasium, so I guess we're not in Ancient Rome any more.

These anachronisms won't be of much interest to Max. You can only describe the look on his face as apprehensive as short but substantial whip is waved under his nose. Despite that the lower part of his body seems to be signalling other feelings at play.

Homoeros - 448m_max_ii_exhibitor_03

The woman subjects Max to a ferocious frontal assault which bloodies him but doesn't seem to dampen his ardour very much. This image gives us a vivid impression of the attack and of Max's totally defenceless state, made all the more acute by the way his limbs are pulled back by the shiny, restraining bars. You don't see frontal punishment very often in man-on-man situations, possibly because it seems so much more vicious and dangerous to manhood than lashing the back. This attacker has no such qualms. In the end she uses Max's tool for her pleasure, but there's a spell on a (modern) Butt Pumping Machine in between, maybe that's needed to get him going again.

I don't know what the title refers to in this quite recent work from Homoeros, unless it's his name for the restraining frame. This ingenious device, by virtue of it's inclined support pad, offers the target's body at an optimum angle for a standing attacker and simultaneously deprives the captive of any point of leverage to avoid the blows or attempt an escape.

Homoeros - 257d_crux_03

If these portrayals seem to cast women in a negative light, this one seems more sympathetic at first sight. A pregnant woman looks up at a man on the cross. It's not clear whether his 'crime' relates to her pregnancy, but she seems quite content with her state and I think we can conclude that he is the father. Surprisingly though, her sober look seems to disguise the faintest of smiles, as though she's not unhappy about where he has ended up. Job done, not needed any more?


Homoeros - 331_backstage_06

In 'Backstage' a naked man is confronted by 3 identical-looking women in what looks like a circus changing room. They come on to him, seducing him as a group, but in the middle of their sex-play he is attacked with a giant pin (above) which is followed up by another, driven through his other pec. 

Homoeros captures the dramatic moment of penetration and the victim's shock at the unexpected assault. He's realising that he is surrounded by enemies and completely at their mercy. This image is infused with a sense of pathos. The diagonal positioning of the victim and his anguished upturned face echoes Renaissance paintings of martyrdom and that connection influences the way we see this victim.


There's no explanation offered for this incident. A pram-like object in the background at one point and a suggestion of lesbian tendencies between the girls may be clues to sexual misconduct on his part.  Anyway, he ends up submitting to them, double-pin-cushioned and looking very sorry for himself. Many of these femdom images have a gay equivalent in Homoeros output. There's not a direct one for this as far as I know. The gang attack on swimmer Tommy whose aftermath I showed in Part 7 is close, but the sly, calculating cruelty of 'Backstage' sets it apart.

Homoeros - tonight___i_ll_release_you_tonight___my_beautiful
This final image seems to epitomise an even more casual and calculating cruelty. Thank goodness it's just a fantasy! This male lover is enslaved by his own sexual desire or her position or simply by physical force and she takes advantage of it to attack him through his very manhood. I suppose it's teaching him a vivid lesson about chastity. The humiliation of being restrained in this way compounds the immediate pain and he has yet to discover the torment of standing all day in what looks like a bit of a sun-trap. This nailing punishment is not unknown in man on man S&M scenarios (e.g. RJ Blake, Dante) but I've never seen it portrayed in this way - as an act that not only demonstrates her power over him, is not just a punishment, but a strange, perverse act of love.
~
I find it hard to assess these images. The female predators have no pull for me, erotic or otherwise, so I suspect I'm not able to fully 'get the message' in that respect but I can see that their presence creates a different narrative to the all male equivalent. They seem to be cast in a negative, manipulative and cruel light, but I'm not sure that differentiates them from men to be fair!  I can't judge, but I do find the images Homoeros has produced interesting when viewed through the experience of the men.

Your comments are welcome!

Read this series from Part 1

Homoeros Gallery at Deviant Art is presently suspended, possibly because he has recently been using it to signpost his paid-for Patreon page. Meanwhile he also has a page at Renderotica  and there's a fansite at Daddy's Here with an extensive selection of his work.

Friday, 7 September 2018

The Look of Conspiracy


Ethan Grant and Nick Moretti here are like sexual vultures circling the unsuspecting Ross Hurston, who's busily gorging himself on Ethan's meaty cock, unaware of the threat to his rear. Grant and Moretti silently exchange looks as their conspiracy to deflower him comes to fruition, celebrating the triumph of their plan with the faintest of smiles.

This picture was probably responsible for me starting 'The Look' series.
 I think Hurston and Grant both look particularly good in it.
This is 'Look' No 13, for others click on the label below

This scene is from the 2008 HotHouse video 'Masterpiece'. Their story is more mundane, a revolving gang bang in which it's Grant who seems to get the most rear attention. There are some good stills in the set. See more at Hothouse's Masterpiece including a video trailer