|Boys in the tub - Harry Chess & Mickey Muscle|
|Ajay - Getting Off|
The fleshing out of the comic-style character seems surprisingly effective in conjuring up a more believable erotic ideal. But notice the sophisticated, angular shading technique on his six pack and the accomplished detailing of the biceps. More than a mere caricature.
|Ajay - Marine Discipline|
There's still humour present of course but in this case it's the intimidation of the captive, the imminent, unexpected stretching of his limits that amuses, rather that the incongruity or absurdity of the situation which has mysteriously evaporated.
I'm not a fan of the "Yes Sir! No Sir!" style of submissiveness, but the Marine Corps labelling provides a legitimate context for it here. It's strange how potent dressing two men in identical clothing can be. Be it jockstrap, team kit or uniform, just telling them what they have to wear and giving it to them, assigns to them a subordinate status. It also links them together and curtails their individuality in a mitchmen-esque 'putting them in their place' sort of way.
|Ajay - Nipple irons coming up!|
In this image Ajay explores the concept of limits and danger more explicitly. An array of S&M implements and paraphernalia seem to indicate that this hunky brute is receptive to a wide range of fetish exploitations but he shrinks from more the prospect serious pain and permanent scarring. The danger of submitting to inescapable bondage in an S&M situation is part of it's intrinsic excitement and the trust needed to enter into it can be intense bonding experience for the men involved.
But do you ever really know someone that well, can you truly trust someone who wants to engage with you in this way? The discovery by a captive, that his trust may have been misplaced, that his captor's intentions are misjudged or even malign, that is a moment that sets in motion excitement of a different sort, an emotion that forms the foundation of every horror pic.
|Ajay - In the Lair|
|Ajay - Cauldron|
Read this series of articles from Part 1
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