The Art of Amalaric, Part 3 - Hunks and Their Manipulators

 Forced slavery is a recurring theme in Amalaric's work, but other stories have subtler entrapment scenarios. In these tales, some of the attractive young men which are a hallmark of Amalaric's images get extended roles in plots which showcase their physical beauty and unveil the destructive lust that it generates in other men. Unlike the heroic, but ruthless, Owein in 'Gladiator', these men are typically characterised as ordinary, nice guys with physical jobs and the sort of sex lives you would expect to go with their looks. But they tend to have personalities and weaknesses that make them vulnerable to manipulation and intimidation and this allows skilful predators to isolate and exploit them. 

 

301 Ryan At Work (from 'Bobby')

Ryan (above) is one of the most memorable. He works on a farm where his underwear-revealing jeans and predilection for stripping off his T-shirt catches the eye of the farmer's son, Bobby. This is one of number of scene-setting images in which Amalaric pays homage to Ryan's beauty, by showing him hard at work, unaware of our interest in him.

302 Bobby Fantasises

Ryan hardly notices Bobby, who has to content himself with watching him at work and fantasising about imprisoning him in the basement (above). The Ryan of Bobby's imaginings has a glorious muscular torso and 'open fly sag' which cries out for attention. However, it seem Ryan's disinterest in Bobby even persists in his fantasies and the visual disconnect between the two men in this picture underlines the fact that it's just an illusion, not reality. Bobby seems a sad, lonely, insignificant figure, with a diminutive stature that matches his diminutive name.

However there is much more to Bobby that that. He bides his time and eventually catches Ryan burgling the farmhouse (a foolish attempt get recompense for wages he thinks he is owed). Threatened with incriminating photos and the Police, Ryan agrees to take a summary punishment from Bobby instead. He imagines he can handle anything the insignificant Bobby can come up with, it will only be some minor humiliation, maybe a bit painful. Bobby makes him wait to find out.

303 Ryan Arrives To Take His Punishment

In this image Ryan reports for his punishment as agreed, putting on a brave front. He has unwittingly dressed himself in Amalaric's standard punishment attire - white Tee-shirt and blue jeans - displaying nipple and crotch details that seem unlikely to diminish Bobby's lust for him.

Ryan is surprised to find that Bobby has brought in some hard-looking friends to help him, one here brandishing a cane. But Bobby gives Ryan no chance to change his mind, he immediately takes control, unbuckling Ryan's belt and pulling out his shirt. Ryan is paralysed by the combination of Bobby's assertiveness, the agreement they made and the presence of the other men. He allows himself to be handcuffed.

They force him to run to a remote, abandoned shed, still handcuffed and at the end of a tether which is strung between his legs inside his jeans, chafing his crotch. Humiliating? Tick. Slightly painful? Tick. 

So far at any rate......

304 Ryan Is Forcibly Stripped

In this image we sense Ryan's bewilderment as the gang begin to properly strip him of his clothes in the dark, secluded hideaway. The ritualistic significance of gradual undressing pervades Amalaric's work and this half-mast position is another regular 'Station of Disrobement'. Bobby (left) coolly surveys his idol, helpless in his power at last, although Ryan is still ignoring him. But this is just the beginning, they have plenty of time to fix that. I won't spell out the rest of the story but Ryan suffers grievous physical pain and sexual humiliation before Bobby lets him go.

Despite his lust for Ryan, Bobby doesn't go beyond groping him and administering a dildo. He remains fully clothed throughout. This outcome is not unusual in Amalaric's stories. Sexual intercourse is not a given. It is sometimes hinted at, sometimes happens but usually it isn't described and if you're not attentive you may miss the allusion! Sexual illustrations and erections, are equally rare (although many doctored images circulate).

Afterwards Bobby doesn't bother Ryan again, the affair stays their secret, with Ryan's silence guaranteed by the incriminating photographs of his bungled burglary.

'Bobby' is not a tale of enslavement but of power wielded through a mixture of clever manipulation and assertiveness. Ryan is not Bobby's first victim in the story, nor will he be the last, but his tale is a notable read for the way he delivers himself into the predator's hold, partly out of arrogance, not suspecting the real danger until it's too late.

305 Prison Guard Rusty Gets The Shock Of His Life

That is not the end of the story. Eventually, years later, Bobby picks on the wrong guy and is caught. Ryan comes out to testify against him and Bobby is sent to prison where he suffers the usual, stereotypical abuse from inmates and Guards. But in a bravura reprise of his manipulative skills he gains revenge and brings down a more worthy target - the brutal, bullying Guard, 'Rusty' who loses his job as well as his underwear in a painful termination interview. In this spectacular image, the snaking wires show Rusty's energetic writhing in response to a vicious electro assault as Bobby's sadism, steadily escalating throughout the narrative, plumbs new extremes.

You'll have to read 'Bobby' at Aquadude Bunker to find out the rest.

 

306 Todd Sanders – TS3 Asked to complete the equation

There are similarities between the story of Ryan and that of Todd Sanders (above), not least the physical appearance of the 'leading actor' which obviously presses buttons for this artist. Todd's torment originates in an educational institution for older students where he is sent (unwillingly) to get a maths qualification that has long eluded him.

Todd's rebellious attitude and striking appearance immediately make him stand out and attract the interest of the Course Lecturer whose secret fetish interests are triggered and become an increasing obsession focussed on Todd. Eventually The Lecturer finds a way to make it a reality and begins his campaign by putting Todd's (lack of) maths knowledge to the test in front of the whole class (above).

Todd is humiliated by this and makes an angry scene, but the Lecturer takes him aside and confronts him with CCTV evidence of his having had illicit sex with another student on the premises. He agrees to do anything to avoid expulsion and possible Police action. You will observe he has come to class conveniently dressed in the Amalaric, come and get me, punishment outfit.

307 TS6 Todd Forced To Strip

Back in front of the other students, Todd is told his bad behaviour will be punished with corporal punishment. He wasn't expecting this, but terrified of his misdemeanour being reported and intimidated by the status of the Lecturer and the eager, watching audience, he submits, just as Ryan did in similar circumstances, but Todd's downfall takes a different direction.

Todd is forced to progressively strip naked in front of the class while the Lecturer delivers an impromptu seminar on male anatomy and the theory and practice of corporal punishment using him as a demonstration model. You have to read the story to understand how this monstrous feat of totally humiliating a grown man is accomplished. The step by step pacing ensures Todd doesn't forget the awful alternative if he refuses and it gets harder and harder for him to escape. This is just one of a number of erotic images depicting this public humiliation, with the half-lowered underpants showing sexy glimpse of pubes (another erotic 'Station of Disrobement')

308 TS9 Todd Sanders Publicly Spanked

‘I think we will reserve Todd’s buttocks for the exclusive attention of the paddle.’ 

With those words Todd finally learns the full flavour of his humiliation and Amalaric has selected a delicious bottom for him to offer up for his public paddling debut, which includes the added embellishment and embarrassment of fellow students joining in as spankers..

Afterwards, their agreement is honoured and the CCTV recording is destroyed. Todd has got off more lightly than Ryan did and the lingering threat of failing his course deters him from speaking out. However the Lecturer's desire for him has not been satisfied and shortly afterwards Todd's laddish personality delivers him back into the Devil's eager hands, when he transgresses US drinking age laws.

309 TS16 Todd Sanders Lowers His Jeans

Todd's reports to the Lecturer's house for his second chastisement, relieved that at least it's going to be in private. Once again he is made to perform a strip, once again he displays his delicious buns. Amalaric captures beautifully this moment of dejected compliance, allowing us to peek over the Lecturer's shoulder and share his unbridled lust. A belt lashing follows but Todd, the archetypal author of his own misfortune, foolishly complains that he is being treated like a child. He is allowed to redress and persuaded to descend to the basement to complete his punishment in a more manly, fully clothed fashion.

310 TS22 Todd Sanders in the X-Frame

In the basement Todd is greeted by this chunky timber frame. It has the dark flavour of the guillotine and the gallows but he is too naïve and too intimidated to guess it's true import. He does start to object but with a mixture of guile and assertiveness, the Lecturer pushes him into it and manacles his wrists before Todd is able to summon the will to refuse.

At this point Todd is doomed and the cosy, private punishment scenario vanishes as two of his fellow students turn up to watch the show. Despite the promises given by the lecturer, he is ritualistically stripped and secured before being given the lash.

X-Restraint is much favoured by Amalaric. It comes in various guises and plays host to most of his abductees at some point in their ordeals. This highly refined 'X-Frame' must be the high altar of that fetish and is the subject of much image experimentation, most recently for example, in the little story of 'Buddy and the Bookies debt' and, with Todd demonstrating again, 'The Ultimate X-Frame' (don't you believe it!), both at Aquadude Bunker.

Amalaric's pictures sometimes have a slightly 'posed' look but in stories like this one they are not intended as a stand alone snapshot of the action, but as an accompaniment to a lengthy narrative, priming, teasing and giving visual clues to details which are difficult to describe in words alone (like the X-frame). They don't even necessarily match the narrative exactly but can give a slightly different perspective or dimension. Illustration 303 above, 'Ryan Arriving for Punishment' is an example of this. He's actually wearing a top-shirt over his T-shirt when he first arrives and there is no mention of the cane in the story but the image certainly embellishes the atmosphere!

311 Todd Sanders Cock Whipped

Todd suffers multiple humiliations and horrors in the basement (along similar lines to Ryan) before he is released. As a gratuitous extra he is the recipient of a cock whipping finale. The Inverted-Y restraint shown here is designed for that specific purpose, spreading the legs wide to allow easy access. The green colouring of the picture seems to express Todd's deep-seated nausea generated by this ordeal.

(This cbt is a separate, belated punishment for his original sexual delinquency, apparently the intense, public spanking was merely given for bad behaviour in class).

In these pictures Todd seems to be accepting his ordeal stoicly but he certainly doesn't suffer in silence. If you're wondering why he doesn't go straight to the Police afterwards you need to read the Todd Sanders story at Aquadude Bunker which ends with a cruel twist.

~

The manner in which Ryan and Todd are lured to their fates, having provided the rope to hang themselves makes for fascinating reading. Amalaric is a skilful persuader but these stories would seem incredible were it not for the plentiful evidence of real life that many people are simply too nice, too innocent or simply not quick enough or strong enough to resist determined operators and their blackmail - even when they sense the consequences will be dire.

But the story of Dave McGuiness in '24 hours' takes that to another level.........

312 Examination in Haskyn's Office

Dave McGuinness is a hunky, construction worker who tries to persuade a heartless Banker not to foreclose on his parent's mortgage. So he's a 'nice guy'. The image above might suggest that he's using his male allure to influence the discussion, but this is actually his first 'task' after agreeing (in writing) to an arrangement that postpones payment of the debt in exchange for him doing jobs for the banker at his house. This Tee-shirt lifting is prompted by the banker's flirtatious wife, but in the picture it's the banker who looks as if he's about to eat him - and who can blame him given those extraordinarily grope-able jeans and the teasing glimpse of underwear?

313 First Taste Of The Strap (24 Hours)

Dave agrees to start work the same afternoon but when he arrives he's accused of being late and learns that the Agreement of Indentured Servitude which he's signed entitles the banker to punish him for any misconduct. Mindful of the fragility of his parent's position, he submissively bends over the settee presenting the lustful banker with an enticing view of his worn, work jeans. His slightly out-of-kilter pose reflects his impetuous, 'get it over with' attitude which has already led him into murky waters and this incongruous display in an ordinary living room exemplifies the topsy-turvy storyline. Dave accepts a humiliating, full-length, strap spanking before going out into the garden to work. The thick denim material might mitigate his pain somewhat, but as the uniform of his masculine, working man's identity, it amplifies his degradation.

314 Jarhead Revisited

As the day wears on, getting hotter and hotter, Dave is forced by his 'employer' to progressively strip off items until he only has his underpants on, not even boots. During this time he receives escalating punishments for laziness and insubordination. He knows he shouldn't accept this treatment but is cowed by the Banker's status, his threats, legalistic gobbledegook and the freely used, heavy strap.

Finally Dave is so confused that he even allows the Banker to shackle his ankles, supposedly to curb his temper and with that his grooming to be a prisoner is complete. In the classic, naked workman image above he looks understandably lost, confused and humiliated, perhaps imagining how his workmates would mock him for effectively volunteering for enslavement and working in underwear and shackles.

N.B. The picture title is a reference to the film 'Jarhead' (2005). Dave is a former Marine and the banker taunts him about a scene in the film in which a new recruit is branded. You'll have to read the story at Gay Bondage Fiction (link below) to find out what happens to Dave.

315 Dave Rides The Orient Express

Once Dave succumbs to wearing shackles the pretence of a work contract is dropped, he realises he won't be allowed to go home as the Banker and his wife both seek to make the ex-Marine their personal sex slave.

His refusal brings down ever more brutal punishments on himself, including a memorable scene where he spends hours suspended in Shibari bondage whose devastating effects Amalaric describes in telling terms. Dave becomes an accessory for the Banker's passion for all things Asian, his suffering body is just another display item in a show of wealth and exquisite taste.

‘Please, man, don’t leave me like this’.

These are the workman's plaintive words as he's left with the rapidly escalating pain to reflect on his rapidly diminishing options.

316 The Banker's Playroom

The story climaxes in the Banker's basement playroom where this simple variation on the X-restraint prepares Dave for his sexual submission, which the Banker is making a last effort to talk him into. On the way there have been escape attempts and a special guest appearance by the dreaded 'Bobby' who unleashes his own uniquely electric ability to inflict intense pain and humiliation. He forces the ex-Marine to submit to a dildo but at a terrible cost and there's still no real gratification for the Banker.

'24 Hours' is tale of entrapment and heroic resistance. Although his captors subject Dave to repeated humiliations and truly terrible abuse, they struggle to extinguish his spirit. He is exhaustively groped and sexually tortured but avoids true sexual intimacy with any of his captors. It is a typically-Amalaric story of suspense with a bizarre but believable entrapment scenario, the victim's gradual separation from the outside world (symbolised by the loss of his workman's clothing) and the mounting horror of his incarceration. The title tells you this story has a 'proper' ending and it is one that is both unexpected and clever.

(from '24 Hours' at Gay Bondage Fiction)

~

Ryan, Todd and Dave all suffer undeserved imprisonment and punishments (which I've largely glossed over here). But they all contribute to their own downfall with mistakes and misjudgements. They can all see that they're being exploited and that it's escalating out of control, but somehow can't quite believe it and fail to take the chance to escape, delaying too long for fear of the alternative consequences until suddenly they are trapped and the predator can drop his pretence. But their behaviour is actually very human and endearing and of course, the last thing we want is for them to cut and run. No, they endure their extraordinary fates with manly fortitude and live to tell the tale – except that for one reason or another, they can't tell.

And so it goes on......

Next time:- Step by Step Guide To Undressing A Man For Captivity

 Read this series from Part 1

The Art of Amalaric, Part 1 - A Slave to Passion

 

1. Exploring Marrakech (det)

If you're a fan of fetish art you probably know of Amalaric, whose creations graced the old 'Chained Muscle' site for many years and occasionally leaked onto the wider internet. If you were asked to describe a typical Amalaric image, I suspect you might visualise something like the one above.

It seems to show a Westerner who has unwittingly (perhaps irresponsibly) broken a local taboo in the Middle East with disastrous consequences. It's a simple image but marvellously rich and authentic-looking with lots of scope for imagining exactly what's afoot.

Marrakech and Morocco are normally regarded as benign locations for Westerners, but every city on the globe has it's share of traditionalists and xenophobes and recent interventions in the region probably haven't changed their views. Thus we see this man as a captive in a world that is strange and unfamiliar, one in which we perceive that outsiders are not universally liked or welcome. A place where cultural norms seem to be very different from ours and minor transgressions less likely to be glossed over than they usually are in the West. A place where power matters and is wielded harshly.

Amalaric has built this fantasy on such perceptions. Stripped naked, the young captive is no longer protected by the comforting veneer of a Western identity and seems brutally exposed to a frightening unknown. For now, he's spread to toast in the midday sun with a seemingly indifferent, dozing attendant. The X-restraint seen here is a regular feature of Amalaric's work, useful for display and punishment purposes alike, it will crop up again in various guises as we travel through his worlds.

2. Exploring Marrakech (full image)

The previous image is actually a detail (or more precisely, a sub-element) of a much larger work. In the full image we see that the spread-eagled prisoner is on display in a public street and is an object of curiosity for browsing locals (and strays). He is not alone in his predicament and the casual air of his seated 'minders' now seems to have acquired a distinctly proprietorial character. The accompanying narrative (in 'The Souk at Marrakech' at Telemachus) reveals that these captives include a Marine, a back-packer and a business man. They have been snatched from different parts of the Kingdom and brought here to be sold in the illegal, clandestine, slave market, which unknown to the authorities, has survived from ancient times.

The picture tells the story of the market in three sections. On the far right two prisoners are waiting. A young man in shackles (the back-packer?) contemplates his gaping fly which seems to imply that he's about to join the other captives in total nudity. Stripping the captive has a ritualistic character in Amalaric's universe and the peeled back, underwear-revealing fly is one of his favourite 'Stations of Disrobement'. Next to him, stands a more mature man with exquisite musculature and a GI haircut. He looks out at us suspiciously, as though uncertain of what is about to happen and wondering why we are there, watching them.

In the middle two captives are being offered for sale and intimate inspection. The X-restraint creates a make-shift shop window and permits invasive appraisal of more rebellious offerings.

The irregular-looking militiaman on the extreme left introduces a more sinister air, potentially being a follower of an extreme, brutal ideology. He uses a collar restraint to lead one disbelieving prisoner away (the pick of the bunch and I dare say he hasn't even paid for him!) and seems to be sizing up another one to take with him. These unfortunate conscripts may be facing a very unpleasant future as political pawns. It certainly won't be tourist class accommodation that awaits them.

This image is a good example of Amalaric's loose, photo montage style. The composition is conceptually coherent but formed in distinct, interleaved sections which, as we have seen, can be pictures in their own right. They are not necessarily fully integrated in terms of eyelines, perspective etc but together they create an impression of a dynamic, busy street scene. In this case there's almost a sense of the passage of time, as your eye sweeps across the tableau.

3. Warlord

This picture is from a different series but illustrates one possible fate facing these men. This luckless slave is stripped bare in every sense and at the disposal of a wealthy, civilised man. In this day and age, the 'Warlord' might well have been educated in the West and be familiar with Western norms, but has remained steeped in the traditions and attitudes of his own culture. The title suggests he may not be a gentle or kindly man, but this 'family portrait', reminiscent of 18^th century livestock pictures (like George Stubb's horse paintings) suggests he's proud of this possession, like a collector showing off his latest find. This may give the captive some hope of good treatment - or maybe not.

This attractive picture is amenable to simple interpretation as an Arab's parlour with a spectacular view. Alternatively it can be seen as a more subtle, impressionistic image showing the social and cultural isolation of the captive. “A Stranger in a Strange Land”. His total nudity jars with the opulent surroundings. It reinforces the sense of his not belonging here and facing a fate which his soft, homely features suggest he could not begin to imagine.

(from 'Warlord' at Aquadude Bunker)

 

4. The MOSLA Slave Emporium

Amalaric often depicts enslavement scenarios and the Middle East (or rather, our perceptions of it) provide a picturesque context for them with the in-built power to disturb and thereby excite us. However, most of his storylines are actually based in modern-day America, a place where the absolute power of wealth, uncaring institutions and random brutality are not entirely unknown either, nor for that matter the notion of enslavement.

The previous picture portrayed a stereotypical, Middle East potentate. This one (taken from the story 'Modern Slavery') shows the modern, Western equivalent - the unimaginably wealthy, ruthless businessman. He's shown exploring a clandestine, US, Slave Warehouse looking for a suitable purchase.

Amalaric's image conjures up (in his own words) an “interior that smelled of the indefinable spice of male bondage; sweaty fear, longing, explosive muscular and emotional energy....”.

We know nothing of this inmate's former life, but in the dilapidated, poorly lit interior we can see his animal attractions - and glimpse his personality. Ordered to lower his jeans, he turns away, unable to look this prospective master in the eye. That reaction that settles the matter. Masculine beauty is not enough, this purchaser wants spirit! So the door closes, returning the captive to darkness to await his next viewing.

Notice how the colour toning of all the pictures we have seen so far is pleasingly uniform and co-ordinated despite the disparate sources from which the elements are drawn. The colouring itself contributes to the atmosphere and setting – a sunny day, a warm luxurious apartment, a cold dark cell.

(From 'Modern Slavery' at Telemachus) 

 

5. Welcome to MOSLA

There are many roads to enslavement in Amalaric's fantasy universe, but the activities of the clandestine organisation called 'MOSLA', described in 'Modern Slavery' are disturbingly sophisticated. They abduct young Americans at will and sell them into slavery after a period of intensive adaptation under firm discipline.

The grim, shabby state of the Warehouse Cell in the previous picture is really an artifice to appeal to a certain kind of buyer. This image shows MOSLA as it wishes to be perceived, a highly professional, slick operation operated to the highest standards out of luxurious premises. The fruits of MOSLA's careful preparations for sale are evident in the quality of the two men here. They confidently present themselves, tempting two prospective buyers. The notion of being able to buy 'off the shelf' a man such as this, beautiful and obedient, is a powerful homoerotic fantasy.

MOSLA clients (we learn) are rich and discerning but they come from all walks of life and don't necessarily flaunt their wealth. Even so the contrast in this picture between the slick, immaculately dressed salesman and the two, rather scruffy, unprepossessing buyers seems to indicate a business that is brutally commercial in essence.

The slaves-to-be don't know what they are being bought for. Some customers may be looking for sheer, decorative handsomeness, but others will require qualities of strength and endurance, a suitability for hard work and strenuous, physical tasks. Labour is the more appealing option for many captive men, but MOSLA places no restrictions on their use after purchase. 

 

6. Ambushed

The sketches in 'Modern Slavery' describe the abductions of numerous men in some detail, culled from quiet lives and all walks of life with a combination of cunning deception and blunt coercion. Even Policemen are not immune. Kidnaps are usually meticulously planned with lengthy observation to ensure prospects are suitable and have 'auction block appeal'. Every care is taken to minimise the risk of abductions being witnessed or triggering serious investigations. But some captures need to be more spontaneous, like Rick the cop who became suspicious of a 'deserted' warehouse and nearly stumbled into a MOSLA Assessment Centre. Fortunately MOSLA's contacts within the higher echelons of the Police allowed his sudden disappearance to go almost unnoticed.

7. First Night At MOSLA

The nosy Cop soon found himself alone in a cell, bereft of uniform and his underwear and (if he did but know it) any reasonable hope of escape. Amalaric usually orchestrates a leisurely strip of new captives. That background makes the fast-tracking of Rick, from his assertive, uniformed self in the previous image to abject, naked incarceration all the more dramatic - and erotic.

Amalaric also contrasts the bleakness of his dark cell and his total nudity with the bizarre normality of a colourful and generous helping of healthy food, provided for him as the start of a deliberate pattern of care. MOSLA acquisitions are always well looked after while in detention in order to attract the highest prices when they are sold.

The apple, artistically posed on the bed, seems to hint at carnal temptations to come for this reborn 'Adam', a plot clue that borrows from the conventions of the golden age of painting. However the broken piece of cheese which he is suspiciously eyeing seems to reference the tradition of lonely prisoners with only hungry mice for company in a location that is far from Paradise.

8 Rogue Traders

One of the most interesting episodes of the 'Modern Slavery' collection concerns a group of independent, 'rogue traders' who abduct the entire Raytown (Missouri) Softball Team whilst they are enjoying a stag trip to New York.

This coup of kidnapping about 10 men in one go would not be risked by MOSLA operatives but is accomplished by these thugs with a disturbingly simple strategy. The boys are spotted at a restaurant and induced into a van on the pretext of getting a free sightseeing trip. US readers might regard the team's rural background as a factor in their agreeing to this, but I couldn't possibly comment. Once in the van they are driven to a warehouse in a derelict area of Brooklyn where more of the gang are waiting. To their horror (and our delight) the Raytown boys are ordered out at gun-point and forced to strip naked, there and then in the street.

In the image above Amalaric shows six of the boys reluctantly complying, but still looking around hoping for a rescuer. The loose composition seems an apt reflection of their confusion and different personalities trying to come to terms with what is happening. They are shown as a varied group, clearly fit, but otherwise relatively ordinary-looking guys thrust into an extraordinarily frightening situation they don't understand. On the left the team captain and one of the gang pause to gaze out at us as though aware of our presence and contemptuous of our inaction (although for completely different reasons). 

 

9 Rogue Traders Punishment

In this central element extracted from the abduction scene above, an escape attempt has just been thwarted and the would-be escaper is forced to lick the balls of a fellow team member as his punishment and a warning to the others. In the background a half-dressed team member displays a tantalising backside that his partner will never see again, but someone else will willingly pay for. 

(It's a rare outing for shorts in Amalaric's imagery that I couldn't pass up!)

I included a similar 'deconstruction' in the discussion of 'Marrakesh' above. This practice gives a clue to how Amalaric builds his more complex images by interleaving self-contained, individual elements. The refocussing here produces a picture in which the two figure groups and the two tantalising backsides make a connection and suggest a storyline we hadn't noticed before.

The bewildered men of Raytown are never told of the reason for their abduction. Once naked, they are marched inside the warehouse and locked in separate cells. The last sight they have of each other is through cell windows as they are taken away one-by-one to be passed on to MOSLA.

This episode of 'Modern Slavery' is a nice, compact example of Amalaric's storytelling. The inexorable and pitiless detachment of these friends, first from their small-town domesticity and then from each other makes a darkly fascinating tale, lightly spiced with coercion, humiliations and punishments for the involuntary cast along the way.

 

10. Loading and Shipping

This image shows at the impressive scale of enslavement carried out by MOSLA with dozens of separately kidnapped men being channelled to assembly points for bulk onward shipment to the organisation's Assessment Centres. A diverse mix of complete strangers, they have to be properly restrained and herded together into trucks to be sent on their way, discreetly hidden in secret compartments.

This slightly jumbled composition conjures the chaotic atmosphere, lorded over by the impressive-looking gangmaster in the foreground. He seems to have been superimposed on a patchwork of images of the men passing through his charge as though this story is about him, not them. It might be the centre-spread of the MOSLA house magazine - “Joe Bloggs processes a record number of transits in our Mid-West Assembly Centre”

Joe's weary assistant resting on the right shows it's hard work dealing with all these bewildered, angry and resentful men. Some captives retain vestiges of their identity but are treated casually, dumped into the truck, more like routine meat shipments than prized acquisitions. In the background a Policeman (corrupt or fake) helps to keep order, but turns a blind eye to some dubious handling of the goods. His presence bestows an illusion of legality on the process which may offer hope to the unfortunates, only to be dashed when they realise he must be on the payroll.

11. Initial Examination

A busy examination room at the Assessment Centre as multiple arrivals are stripped of their last vestiges of clothing to be checked for medical and physical condition. Their sexual orientation, fertility and other interesting characteristics will also be ascertained for the sales details. Sadly, failing MOSLA's strict quality tests at this stage is not likely to result in the granting of freedom......

Amalaric shows the men loosely restrained in shackles, bewildered still, but generally complying reluctantly with their instructions. For those unwilling to do so there are tools of coercion at hand but the thugs know that herd obedience is usually infectious and persuasive for those with qualms. Thus some men are willing remove their briefs voluntarily, registering their first steps along the road to subjugation.

In the right foreground a less cooperative man who nevertheless allows an assessor to undress him, while affecting to display proud indifference. This little drama appears to be a separate image, superimposed on the scene and not quite aligned with the other activity. This arrangement resembles the patchwork technique commonly used in fan magazines, where separate but related images are cut and pasted together to create a visually interesting, multi-faceted 'spread' highlighting the contents of the article. In this slave-processing image it gives a sense of multiple submissions, occurring separately but part of the same story under the direction of the Clinician in the centre.

This same technique is used more subtly in the preceding 'Shipping' image

12. Obtaining a Sperm Sample

The MOSLA story describes the abductions of a number of different men, but (in the Telemachus edition) it falls to straight, former cop, Rick Travis to provide the erotic climax. Having refused to provide a sample in the usual manner, he is secured and subjected to a series of unpleasant but variously effective stimulation techniques until at last he is obliged to deliver. This image of that moment is a rare, overt expression of intimacy and sexual drama in Amalaric's oeuvre.

In a world full of S&M porn this image may seem unremarkable, but it's focus and simplicity is unusual. This is Rick the Cop, emphatically bound and forcibly milked without any distracting, ritualistic clutter. The upward view shows his glorious body and sexuality standing open and unprotected in the act of abject surrender.

The disembodied, almost touching hand was a device often used in 1950's beefcake art to suggest a connection to the lusting viewer, but here it represents the exact opposite, an anonymous milker performing his job of extraction and completely uninterested in the donor, let alone gratification. In the story this is the moment that Rick is taught that his body is no longer his to control. It belongs to someone else and there is nothing of it which can be withheld. This 'simple' image is a powerful expression of a strong man's involuntary capitulation.

~

More in The Art of Amalaric - Part 2

 

Links:

The Souk at Marrakech

Warlord

Modern Slavery

More Art of ObiCumKenobi

I love the stubbly captive in this picture and although I'm not greatly enamoured of fantasy men with long hair I thoroughly approve of the way he's groping his victim. Great image.

This image seems to be set in a similar, dangerous fantasy world, possibly the same two men. It features an interesting variant of 'the wedge' torment which I featured in a number of posts a little while ago. Once again there's an eerie intimacy between the two men which adds to the tension.

(click on the 'riding the wedge label below to see more)

 This fanciful imagining of a technological milking scenario doesn't quite qualify as a 'factory', in fact the donor's 'produce' seems to be recycled directly into their companions so this is about a different sort of humiliation. However, it's good to see mature men in the driving seat, as it were and there's even an intergenerational flavour too. 

The open-legged restraint on the left is an impressive idea, simply expressed but most effective.

 

Given the fantasy allusions in the previous images, it's not too surprising to see aliens getting in on the act. I'm attracted to this image by the open-legged restraint again whose possibilities are amplified by the nasty-looking claw poised just below. The implement coming in on the right looks a bit like a vacuum cleaner but that does not really detract from it's menace potential!

 

Simplicity is the keynote of this image, which I have extracted  from a page of several sketches.

There's possibly an element of wedging too, but I can't decide what the gag extension represents. It seems to cry out for a dangling chain attachment to anchor the captive in position.

 

 

In these uncomplicated images the artist adds great intensity with his facial expressions.

The 'clean line' approach also suits the artist's excursions into spanking.

His ability to conjure an attractive, fully grown man is enviable.

While this little gem seems to define the humiliation of being spanked.

Cropping out the spanker leaves options for the viewer to imagine who he is.

 

This artist has also explored medical scenarios as we saw in the preceding, Milking Factory post. 

Tickling is a fetish I have rarely explored here but I like the restraint arrangement and the characterisation of the 'patient' is refreshingly original with a truly modern, metro-male ambiguity of personality. His mix of embarrassment and confusion is very nicely done. The Doc is well-depicted too. The dog-tags and olive jock seem to imply a military setting, but he'll have to get a haircut if they decide he's up to it!

 

 

There's much more serious medical activity at work here, highlighted by a cleverly contrived atmospheric treatment (slightly a la Disney) with the open door letting in a shaft of light to spotlight the unfortunate strait-jacketed captive and reveal to him an array of new invasive equipment which he will have to cope with. Not too many clues to the background scenario but the strait-jacket seems to imply a dangerous deviance that needs to be fixed.

 There are similar ingredients here but a more conventional medical setting.

The bare top character passing by at the rear might be a fellow patient 

or perhaps it's informal Friday for the staff!

 

visit  ObiCumKenobi at Twitter

 

See also Milking Factories 7

Milking Factories 7 - Studies by ObiCumKenobi

ObiCumKenobi - Milking Parlour (mod by Mitchell)

 A Technician monitors the output performance of an older man complaining of fatigue.
A new milk donor arrives to fill the gap in the production line caused by a droop-out.
He's already been primed in the assessment centre with Valium and porn.
Blindfolds are applied to men who need to imagine they are being personally milked.
By the time they realise the truth it's too late.

View Original sketch by ObiCumKenobi

 

ObiCumKenobi - CP Creamery (mod by Mitchell)

 Operatives have discovered that a richer product (creamy with a slightly bitter tang) can be obtained if the normal electro-stimulation is supplemented by random CP. A special milking stall has been developed to facilitate ease of extraction without unseemly evasion manoueveurs by the herd. For most men a sample of the paddle (or the operatives preferred device) coupled with the threat of more to come is sufficient to obtain most of the desired taste but some operatives believe that a firm slap during ejaculation also increases yield.

View Original sketch by ObiCumKenobi

ObiCumKenobi - Electro-Stim Test 2 (mod by Mitchell)

New members of the herd are carefully assessed before they are allowed onto the production line.

They must be introduced to the electro-stimulation technique and the optimum fit and style of stim-plug found for their cavity. They are primed with the 'supplements' which are used to ensure continuous production. Only then can their yield and cum quality be confirmed as meeting the high standards of the factory. Most men find this procedure quite exciting although they usually resent the restraint. A lengthy stint on the production line usually corrects any misconceptions.

View Original sketch by ObiCumKenobi

 There's another version of this image at the foot of this post

ObiCumKenobi - Tommy's Torment

Sometimes donors need to be taken out of production and 're-trained'.

A period of isolation and one-to-one mentoring are usually successful

 in restoring the donor's enthusiasm for the production line

ObiCumKenobi - Electro-Stim Test 1 (mod by Mitchell)

 

Alternative version of Electro-Stim test

 

View Original sketch by ObiCumKenobi

 

I came across the original versions of these images as simple sketches but thought they made a great fit for the Milking Factory series and decided to colourise them (with a few minor modifications) to publish here. Except for 'Tommy's Torment' which is unchanged.

 

More Art by ObiCumKenobi

 ObiCumKenobi at Twitter

Go to Milking Factories 8

For other milking Factories click on the 'milking' label below

Bulges and Tentacles

 

This blue-eyed boy, looking alone and lost in the jungle, 

may have been intended as a picture of Chris Redfield.

 

Not exactly a dead ringer, but he works just as well as a different STARS agent.

One with muscular arms to die for - oh and also he has bulging trousers.

 

The agent breaks a sweat and grimaces  as a tentacle rips off his T-shirt,

he cuddles his own torso as though there's been a stinging attack on it.

 

Meanwhile the invading tendril sneakily (snakily?) pulls down his trousers

revealing that underneath he's wearing a nice line in slinky, very skimpy briefs.

 

The frond cradles his balls, teasing out the trapped cock-head

which looks about to catapault outwards - nice!

Art by ArielXY

ArielXY at Deviant Art