After a strange run of experimental subjects, Tom seems to regain his creative focus in Kake No 10 (Raunchy Truckers). Kake is now working as a truck driver (no motorbike note!). He returns to his old ways by picking up an attractive, young hitch-hiker and assertively seducing him in confines of his cab.
His excitement when he is is invited in to meet two more, equally hunky and sexily-clad mechanics can only be imagined! For me, this modest, uncontroversial four-some (with oil can) is more successful than the free-for-all in Kake 7.
After these two mild, 'carefree sex' stories there's a double-barrelled treat for fetish fans as Kake re-dons his leather jacket (but not his motorcycle) for some sight-seeing, taking in the changing of the guard at what looks like a Central European location. As you would expect, Kake takes up the time-honoured tourist game of trying to make the sentry react or smile, but he forges into new territory with extreme close-up photography and goosing.
The aroused sentry gets into trouble with his superior officer and is looking for pay-back when Kake reappears near the barracks. The resulting brawl ends with Kake being spanked, then fucked and even fisted.
Denmark had opened the door by liberalisation of censorship but there were still legal uncertainties in the rest of the world where the big money was. Fortunately global judicial co-operation mechanisms were still unsophisticated but inevitably the porn publishing field was strewn with unreliable entrepreneurs and seedy chancers and dealing with them was to lead Tom, not for the first time in his life, into losses of work and money at their hands.
The rough revenge taken by the troopers is seen by their officer
and, in a re-run of Kake's first encounter with the police,
he is taken into custody as a trouble-maker, stripped,
then subjected to a dizzying succession of fetish punishments and 'tests'
- starting with the long anticipated 'sounding' (above).
This is an earthquake for Kake fans, quite unlike anything that went before and in it's way quite shocking. I suspect it is a genuine first in gay publishing possibly pre-dating the milestone 1974 S&M video 'Born to Raise Hell'. The sudden revelation of Tom's deep knowledge of such things must have disturbed some and enraptured others.
It's not clear how great his interest was in dungeon scenes, his biographers give little away in this area, but you can tell from tit bits in other early drawings (which I will come back too) that he was interested in erotic sadism. However, he did not return to the dungeon subject in the Kake series, nor did he bother to develop more polished versions of the imagery, commercial considerations may have played a part in this.
There are few dungeon-like scenes in his later work but his lasting interest was shown in 1989, two years before his death, when he produced a dramatic picture showing a uniformed guard whipping the bare back of a chained prisoner in a dark, stone cell*.
It's drawn in a fluid style with crayons and quite unlike his earlier work.
This is the nearest Tom gets to a 'riding the wedge' scenario (see labels at foot of this post for others). I'm not a big fan of simultaneous multiple tortures (like these examples byTagame), but Tom's approach is at least progressive and he does not jump straight to the end result. In 'Raunchy Truckers' he shows the progressive disrobing and invasion of the confused hitcher, not instant nudity and penetration. The journey is as important as the destination. Here too he shows the stripping, restraining and application of each new torment to Kake's body gradually
- at least he tries to, but 20 pages is not nearly enough.
The drawing here is not his best but nevertheless this work is still something of a tour-de-force. Producing it was swashbuckling adventurism worthy of Kake himself and you have to wonder how much of Tom's character is reflected in his hero.
The cop is groped and forced to pleasure his attacker (above) before being cuffed to his own bed. As he gives up his ass to the intruder in a rough reworking of the Kake-1 scenario, Tom pans back ironically to reveal his discarded police trousers and boots and a row of body-building trophies on the side-unit, symbols of his authority and physical strength, which avail him of naught at this moment.
There's no pretence of consensus in this story, unless you cite the policeman's sexual response to the attack on him. The two men could be engaged in a rough role play, but there's no explanatory, rueful smiles to be seen. Superficially it reads like a man acting on a grudge or a sexual predator with a more aggressive disposition than Kake himself.