To my readers......


Thanks for visiting mitchmen, home of Mitchell's Gay Art

The Caps and Collars/ Flat Cap Gang story continues at Google Groups (see Group News for link)

Message updated 6th Mar 2021

Saturday, 23 October 2021

The Art of Roa 3 - Eric (Updated 27th Oct)

I've updated this article with the correct storyline and an extra picture plus links

Roa - Eric 15 (Eric Captured)

Defeated in battle, Eric is bought into camp at the head of the band of captive warriors. He is renowned as the best fighter in his tribe and Roa gives him another special, restraint arrangement that reflects his prized status - a sort of wooden yoke in the style of a medieval pillory. He is also forced to go naked in front of his men, whereas they seem to be wearing crude loin cloths*.

It occurs to me that the scene in which these defeated men were forced to strip out of their armour and uniforms, perhaps on the field of battle would be full of rich erotic possibilities but as far as I know Roa did not explore them. Who supplied the loin cloths, I wonder? Maybe the impoverished locals 'looted' the POW's as they were being marched by, forcing them to swap clothes, who knows?

Roa depicts Eric as a darkly, handsome man with a muscular body (of course). His is a similar story to Graham's (shown in Part 1 of this mitchmen series on Roa's art). But whilst Graham's arrival as a captive  had a certain ironic glory, Eric's is more down-beat, almost as though he were despised by his captors. This is reflected in a changed viewpoint, we seem to be looking down from an elevated vantage point, secretly watching his private humiliation.

The escort (dressed in rather stylish, black outfits) drive their captives along using coercion, pushing them and pulling their hair. Eric himself has a guard's foot planted on his backside, propelling him forward. Beyond the main group there's a pair of dejected men being dragged along inside a mobile, timber cage. Their segregation from the main body of men and privileged use of transport suggests that an extra special fate awaits them.

Roa uses the aerial viewpoint to good technical effect here enabling us to see these separate elements of a crowded scene. He's placed the figures so that the composition remains compact and coherent in this view (whereas some renderers maroon their figures in vast empty spaces when they switch to the elevated viewpoint).

Roa - Eric 14 (part of) Eric Defeated

This image supplied as an introduction by Roa explains (in slightly disjointed fashion) the background to Eric's capture, you will see that it features Graham with his distinctive ginger hair, in fact the stories of these two characters are interwoven with each other

Roa - Ready For Torture

Spread-eagled in an Amalaric-style, X-frame this naked captive* awaits the pleasure of his captor who appears to be a man of some significance, well dressed and with stately bearing. A minion (presumably the regular torturer) kneels obsequiously before him, offering up his whip, which is accepted with manic glee. It suggests he has a personal animosity or grudge towards the captive. Perhaps the captive is (or rather has been) the proverbial 'thorn in his side', typically in these tales he's the rightful heir who has been usurped, but I cannot illuminate further (** see footnote).

His lordship spurns the array of crude devices spread on the torturer's table behind him in favour of the classic whip. He does not deign to bare his torso as common torturers do. Presumably he's indifferent to the risk of soiling his expensive clothes with flying body fluids and not intending to labour long enough over this man to work up a sweat, instead relying on his expertise with the weapon to make his symbolic contribution short, but stingingly sweet.

Interestingly, the captive is hugely aroused by their confrontation (or what goes with it). He is a marvellous specimen of manhood and gives us another example of Roa's splendid muscular backs with cute little buns as an unexpected bonus. Who would want to sully such a man? (Don't all shout at once!)

**This picture comes from a group labelled 'Savage Warrior'. The dark hair of the captive and the black clothing of his captors seem like a precursor to the Eric series. There is an 'Eric' equivalent of this scene but it features the near-juvenile Alphons as his tormentor so I'm not willing to include it here.  This alternative fits in well and it's a great, nicely detailed picture with more clever use of the aerial viewpoint.

Roa - Eric-29 (Abused)

The scarcity of tell-tale wounds on Eric's body in this image seems to confirm that he has suffered an economic punishment from the whip (but not necessarily a mild one). These moderate signs of physical damage show a degree of restraint on Roa's part as well as Eric's captors, which I for one appreciate. After all, why mutilate such an object of beauty and desire?

As you see, however, Eric isn't about to be spared from further degradations and this time it's crude sexual abuse at the hands of a different man. His tormentor this time is Graham (from Part 1). His character in this sequence seems very different to the romantic, ill-fated lover of Alphons. He's shown here wearing chain-mail tights, which I suspect are probably sexier for the viewers to look at than for him to wear - and even more uncomfortable when they're rolled up to waist high!

Roa - Eric-32 (Suspended)

Eric is suspended in a painful back-breaking position and forced to service his captor. Tormented by his own weight, which also prevents him from freeing himself, this extreme technique impresses on the victim just how helpless and hopeless his predicament is.

This restraint position in full suspension is spectacular but more dangerous than most, particularly if prolonged, so please don't try it at home!

For on-lookers this stressed position produces some beautiful body shaping, notably of the buttocks, but also the back and shoulders. Both of these features are accented in Roa's image by beautiful, grainy highlights, suggestive of body hair and sweat. 

Simultaneously the downward bowing of the torso lays open the victim's frontal vulnerabilities, especially if he is nude and free to dangle. Roa rather cruelly draws attention to such danger by showing Eric's tackle balanced on the blade of Graham's sword (a rare and considerable feat for the swordsman, considering the area is out of his sight and his full attention is otherwise engaged). Hopefully he's only considering using the flat of the blade to tap or whack, leaving the threat of the cutting edge as just that, an intimidating threat. It's a particularly potent one I suppose if you are a 'rightful heir' and expecting to father the next in line.

Given the inherent dangers of this pose in real life rather than fantasy, it is fortunate for us that nearly all the erotic interest can be reproduced without lifting the subject off the ground. The earliest photo example I can think of is the classic bondage image produced by Bound and Gagged back in the 90's. Another mitchmen article on 'Rhino' posing at Extreme Boyz also explored the potential of this restraint, showing the suppleness demanded of anyone who tries it. More recently it's been used regularly on subjects at Russian Captured Boys and there's a memorable Ulf image using a hammock-like arrangement which in turn is based on a photograph which I'm sure I've got somewhere but can never find!

Roa - Eric-39 (Enslaved)

After further varied tortures, it turns out that Eric is not facing immediate death, nor mutilation but only enslavement (only!). This image shows him wearing a giant, metal collar with matching manacles, which are the stereotypical symbols of this terrible fate. The collar is obviously very heavy and extremely tight too, judging by the stress/stretch lines in his neck. It's a reminder that his  life is still very much in the hands of others.

Eric's sufferings do not seemed to have harmed his voluptuous physique, it's mature development belies his boyish face, but he bears those weighty nipple rings as though born to it. They are complemented by an ugly, skewer-like dick-plug suggesting that even if his tackle has been reprieved for now, he's not going to be allowed to use it to sire a new pretender to the throne or for anything else, except by arrangement. His virile response to the insertion must infuriate his tormentors!

All in all, however, these encumbrances hardly seem conducive to a good day's work in the fields. Perhaps the real, sadistic intention is to ensure his punishment continues as he works or even to bring about a slow, lingering but vaguely legal demise by working him to death.


More slavery in Roa – Part 4 at mitchmen (link pending


Thursday, 21 October 2021

The Art of Roa - 2. The Captured Commando

Roa - Robert The Commando
Robert, the hero of Captured Commando is another idealised warrior, but of the modern era. There's a doll-like, Action Man/GI Joe element to this realisation of him but the crotch detailing suggests a more adult viewpoint. Robert might be a model, physically perfect soldier, but that will avail him of nought when he falls into the hands of the enemy.  

Roa - Run Faster Robert
Like Graham, the story of Robert, the captured commando opens with him being paraded naked through his captor's camp but it's very different show to Graham's glorious arrival. These soldiers drag him by his balls behind a speeding jeep. There's no crowd to watch, a row of washing hung out on a line shows camp life proceeding, unmindful and indifferent to his misfortune. 
The punishment, like Graham's is designed to humiliate him and demonstrate his captor's power over him, but unlike Graham's 'captured hero' treatment, Robert is deprived of his dignity and his very manhood is mocked in a degrading manner. He's exposed to serious injury if he fails to keep up and stay on his feet and the way his captors toy with him has an element of insanity about it which is more frightening to the victim than simple violence.

Roa - Robert is Groped
Robert's interrogation shows similar disturbing tendencies in his captors. Stripped to his camoflage underwear his cheery interrogator gropes inside, playing with the inflamed organ and implying the threat of sexual violence if Robert doesn't talk. The soldier's superior watches with interest, casually lounging in his chair with pistol raised threateningly. It's a chunky-looking weapon that reinforces the sexual ambiguities in the scene.
Roa's characters in this story present no age difficulties, they look exactly the age of real life soldiers, early adulthood, an age that adds believability to their unconventional treatment of him.

Roa - Robert Threatened With The Whip
As the interrogation proceeds, the exasperated young questioner turns to cruder methods of persuasion, but his cheery smile suggests he was hoping for just this opportunity to engage with his captive. He looks fit and strong with the physique and unpredictable emotions of a young jock. Helplessly spread and threatened from behind Robert can't believe the horror of what is happening, but his still-bulging pants suggest emotions fermenting which are more complex than simple fear.
Roa creates a distinct sense of  cultural difference between these antagonists that contributes to the sense of uncertainty, but it's racially neutral, both men having a mix of oriental and anglo-saxon characteristics.
Roa - Robert is Whipped
Robert howls in agony as the whip is applied to his back with gusto and a peverse pleasure is evident in his cruel captors. There's evidence of other punishments on Robert's body here too. At this point you suspect it doesn't matter if he talks or not. He's the pawn in a sadistic game.

There are strong similarities between this story and BrosFate's 'Captured Soldier' which was featured at mitchmen blog last year. That's true of the plot, the compositions and imagery and the technical style too, thanks to the use of the same rendering software which is evident in the distinctive, agonised face of the captive here which is also seen in BrosFate's work and is something of a rendering cliche. That is not to detract from either artist's work, they each bring something different to their interpretations of the storyline. Robert here is physically a very different man to Frank, who is Brosfate's soldier and that is enough to make a difference. The popularity of repetetively-themed erotica like Dreamboy Bondage illlustrates that putting different men through the same familiar scenarios has no shortage of interest for fetish fans. As comedians sometimes observe, knowing the punch-line of a joke can make it funnier. It's the way you tell 'em!
More Roa next time at mitchmen..... (link pending)

Sunday, 17 October 2021

Art of Roa - 1. The Conquered Hero


Roa - Graham (Conquered Hero)

At first sight this marvellous image might easily be mistaken for the work of Homoeros, a noted creator of crucufixion imagery whose work often features outside settings like this bathed in bright, Mediterranean light. But Roa spares this defeated warrior from agonising death on the cross, instead using the construct to parade him in their victory march. The prolonged suspension is painful and the forced nudity humbles him, but this spectacular exhibition they have arranged for him also pays tribute to his heroic qualities which have made him highly-prized as a captive.  


Roa - Graham (In captivity)

Soon enough though the lauded hero is despatched to a dank dungeon to await a grisly fate. His modesty has been temporarily restored with a flimsy loin cloth but the widely spaced restraints continue to draw attention to his muscular physique. They suppress his physical strength and place unnatural stresses on his body. He can be in little doubt that his captors are preparing him for further suffering.

Roa portrays 'Graham' as a well-developed adult with a ginger, buzz haircut which serves as a tribal badge in historical fantasy but also seems to convey a man with lingering youthfulness and a rebellious, unconventional character. 

The suggestively dangling loin cloth suggests there might be a nude version of this image and his wistful contemplation of that area may reflect a resignation to that area being a focus of his captor's attention. 

Roa - Graham (Nipple Torture)

So it proves. Once his real ordeal begins the modesty afforded by the loin cloth is soon forfeit and his limbs are subjected to even more severe restraint. It starts with mild but invasive manipulations that impress upon him how vulnerable his body now is to painful assault. However the heavy chains that hold him and the torturer's formal hood indicate that far worse is to come. 

Graham's slightly chubby face, stubble and body hair are representative of a particular form of rather earthy, natural manhood that you might associate with big rugby players and construction workers.

Roa - Graham (facing hot irons)

Graham's manly qualities are severely tested in a series of trials including being chained to a stone block and tortured with hot irons, one of the most extreme torments imaginable. His face in this image is a great study in mature masculinity and stoic endurance. Roa bestows on him a muscular back, which are one of the glories of his work but an inviting target for his subject's captors. 

Graham's pain in this predicament is not merely physical, he is forced to endure it in front of his lover, Alphons, who happens to be the Prince of his realm. Graham's unconventional (not to say tricky) relationship with Alphons forms the backbone of this story. Roa depicts with great sensitivity how the young Prince falls in love with his finest warrior, a man who is old enough to be his father. It's a classic realisation of adolescent hero worship and lust fantasy.

He goes on to seduce Graham him in some beautifully romantic scenes. Later, the two men are seen fighting alongside each other in battle, implying he is of an age, but unfortunately, for me, he just looks too young and the renders of him (and other characters seen in this example) don't achieve the same maleness and individuality of Graham and his tormentors.

More Roa next time (link pending)

Roa seemed to vanish a few years back, I can't find him anywhere on the net including pixiv and Patreon. Roanovel on Deviant Art is still there but empty apart from some interesting pieces by other artists, his Tumbr site is gone. If you know more please leave a comment.

Thursday, 14 October 2021

Naked Judgement by David Hueso

David Hueso - Ventrue

A naked, tightly-bound captive kneels before the desk of a seedy-looking executive who stares out of his window pondering his decision in the lights of the night time city. The brightly-lit buildings suggest the Financial World at it's ceaseless machinations, but this scene reeks of high-powered, brutal gangsterism (in the sinister Asian style, judging by the guard's elaborate sword). Not a conventional, employee, disciplinary hearing it would seem. Unless this is an elaborate interrogation technique one senses there can only be one, very unpleasant outcome.


 David Hueso is a Spanish artist who often produces Fantasy Historical Comic Book imagery and the word Ventrue refers to a Vampire clan, neither of which fit into the 'mitchmen' topic list, but this particular illustration, infused with deadly menace, certainly does. 

See more David Hueso at ArtStation

Monday, 11 October 2021

Royale Studio No 2c, Navy Romeo, The Cast

 One of the puzzles of the Royale, Navy Romeo series is the bewildering changes in the appearance and build of the actors from one scene to another. For example, is the handsome Ted (far right in picture 14 of Part 1) the same person as we see emerging from the car in picture 16 (Part 2)? Is Spike, seen also in picture 14 (centre) the same Spike we see taunting Ted in picture 28 and later departing the scene in picture 36? Are any of the men in Part 1 actually the same as those in Part 2? Or were these Parts produced separately and married together which the discontinuities in style and plot seem to suggest?

Even allowing for the imperfect quality of most of the surviving images, we rarely see clear, close-up pictures of the men's faces in this series, despite their military pedigrees they don't even have tattoos, which are normally a great aid to identification.

However, Royale also published a series labeled 'DTS' which they said featured the same 3 men (see catalogue note below). It consisted of 20 pictures, but most of them seem to have been lost

In the thumbnail you can see they are wearing similar uniforms to the men in NARO with one in boots and gaiters

Royale generally used the initials of the actor's/model's names in set ID's, except when it had a story code, like NARO. There's no obvious clue to such a title in the DTS catalogue blurb (although it might mean Drilling Three Sailors, I suppose). S here could represent Spike and T Tom or Ted but who is D? It serves to seed a more doubts about identities


Royale Studio - DTS02 Garden Trio

The catalogue description refers to a garden setting for some of the DTS pictures. This is presumed by me to be one of them, it's clearly the same three men as the DTS thumbnail, looking very hunky in clinging Royal Navy shirts. The garden setting points to a connection with NARO Part 2 and it's quite easy to identify them individually there.

Tom, (on the left), presents fewest ID problems, we see a lot of his face in Part 2 (pictures 17, 18, 32) and it's clearly the same man. He's also wearing the same distinctive white shoes.

Ted (in the middle) is plausibly, the same Ted we see being pulled out of the car (in 16) and being manhandled in 17 and 18. His face is not really seen clearly after that in Part 2 apart from the NARO thumbnail (numbered as picture 23) but that Ted isn't obviously the same man, despite his similar curly hair and the distinctive gaiters and boots.

Spike (on the right) is a pretty good match for Spike in 17, 31 and 36, complete with white shoes.

Having linked names to faces, if Ted is 'D', Tom is 'T' and Spike is 'S', then the left to right sequence of the men in the thumbnail photo at the top of the post exactly matches the title, DTS. Convinced? No, I'm not sure either!


Spike has a slightly different look in the water-throwing pictures in Part 2 (e.g 24, 25), where the slicked-down, dark hair at the back of his head doesn't seem to fit with the light curls we see tumbling from under his cap in the front views (just above). However his eyes in 24 do match those in 31. In this and other pictures of Spike in Part 2, (e.g. 21, 22), he does have curls at the front, but it's layered elsewhere and fairly well greased (perhaps with a contemporary product called Brycreem) which would explain the darkening. 

1950's Hair Care (featuring cricket star, Dennis Compton)

The water-throwing images also seem to feature a different-looking Ted. I suppose it's conceivable these images were re-shot with different models but I can't find any obvious clues for that, except perhaps the strangely altered roping in 28 where Spike's face also appears particularly different. However there is a detail in 28 that does link Spike from NARO 2 into the DTS group and it is brought out in the better quality version below

Royale Studio - DTS03 Three Bare-Top Sailors

This is a version of the thumbnail picture with the legs cropped out. Ted and Tom look a bit glum, like criminals in a line-up. Perhaps it's those wet trousers to blame, Ted's are particularly unflattering although they do all look nicely laundered in this image.

Spike is the only one who seems to be keen to make the most of breaking into the world of modeling. Notice that he has a characteristic way of resting his left hand on his thigh, hooking his thumb into the front flap of his sailor's trousers. It helps to accentuate his 'bulge' here of course, but Spike in NARO 2 strikes the same pose in 28 and in the 'gloating pictures' 31 and 32


Linking The Cast Members In Parts 1 and 2

Spike's hand-on-thigh pose also appears in NARO Part 1, in picture 14 and the DTS picture above gives us other circumstantial evidence for linking to Spike into both Parts 1 and 2 – it's the tiny tear on his right thigh (which I pointed out in my Part 2 commentary), it's visible in both NARO 1 (10 ) and NARO 2 (21) as well as this DTS picture. Having said that, Spike is not the only man who wears these split trousers, more of that in later articles.

Unfortunately none of the model's faces are seen clearly in Part 1, many of the pictures show only back views and the rest are mostly oblique angles or otherwise obscured. 

The best shots of Spike are 09 and 14 but these are not very helpful in identifying him as the man in the picture above (apart from the curly hair in 09). However the eye and cheek area seen in the rear, three quarter views in 03 and 04 could credibly be the same man we see in the gloating images of Part 2. The tiny glimpse of his face reflected in the mirror in 08 is also unexpectedly persuasive, when seen in the original image.

Incidentally, Spike is wearing dark shoes in the Part 1 pictures e.g. 08, 14 and in the DTS thumbnail above. But he wears white shoes in the Garden trio also above and throughout Part 2. This tiny discontinuity supports the theory that Parts 1 and 2 were created in separate shoots.

Tying Ted into Part 1 is also problematic thanks again to the lack of clear, full face shots. There are two glimpses of him where there is a fair amount of similarity, however - in picture 05 and in the mirror reflection in picture 02. Like Spike his dark hair is confusing here (again possibly the result of using a greasy hair product like Brylcreem!). There is other circumstantial evidence linking his appearances in Parts 1 and 2 - the gaiters, of course, but also Ted's chunky build in picture 04 is a good match for his figure in No 34 in Part 2. His very different appearance in 14, which first triggered my doubts on this identification issue, also pairs reasonably with well with the way he looks in No 31.

Tom's identfication is easy in Part 2 but in Part 1 it is the most difficult of all to verify. The nearest we get to a decent shot of his face is a series of indistinct profiles (e.g. 03) in which he looks much more lean and youthful than the frontal images in DTS and NARO2. However we can see his dark, curly hair and there is something of that lean look in the rear view of him seen in 19 from Part 2 (extreme left). 

But just when the identity issue seems (more or less) resolved up pops this...........


Royales Studio - DTS04 Sailors Sitting On A Bench

This is the only other DTS-like image I have found and you can spot Ted (left) and Spike (centre) right away, However the man on the right is scarcely recognisable as Tom apart from his hair. Spike's dark shoes link this photo to the NARO 1 shoot, where Tom did appear to have a relatively gaunt appearance, but he doesn't look like this at all in the DTS thumbnail at the top which is also linked to NARO 1. 

It's possible this is just a trick of the lighting, I guess. You can see he's strongly lit from one side. There could also have been a different shoot with another man in Tom's place but that doesn't seem likely, Perhaps he's simply a 4th man who happened to temporarily join in the DTS shoot, a technician or visitor perhaps who wanted to try his hand at being a wet sailor! This might even be a previously unknown shot of Basil Clavering or of Scott the photographer, who knows?


Royale Studios - Catalogue Thumbnail for set TOH

Like other Studios, Royale produced solo sets of most of their models and we have a thumbnail (but nothing else) from the one that Tom posed for, labeled 'TOH'. The photographer has cannily chosen an upward looking viewpoint to make the most of the carefully-prepared crotch area. This open legged stance, very masculine and suggestive of confrontation and simmering belligerence, is typical of Royale's output

The catalogue blurb tells us that the model's full name is Tom Harding and he appears in several other Royale sets as we shall soon see. Tom's wearing his Navy kit again here but these solo shoots were often pure beefcake sessions in swimming trunks or posing straps and these sometimes turn up on vintage beefcake sites, sometimes under different model names. However, I've not found any examples of Tom in this form yet.


Royale Studios - Catalogue Thumbnail for set SPM

This thumbnail is supposedly for Spike's solo set, full name Spike Millican. Despite the corroborating evidence of the catalogue entry below, it's very hard to see this man as the boyish Spike from the closing scenes of NARO 2 although he does have the same tousled hair at the front and the same distinctive cleft chin. 

His gaunt look here is rather like “Tom's” shocking appearance in the bench trio but I'm pretty sure it's not that man. It's the same side lighting effect though and unusually for Royale, his whole crotch area is hidden in shadow bar a suggestive 'ridge'. From his face and stance it looks almost as though he's just had a bucket of water tossed over him. Or perhaps it's his modeling - or romantic - aspirations which have just been doused.

I've not found a reference for Spike in any other Royale set and there is a simple explanation for this last puzzle, but I will reserve that for the next post!

 I've not found a solo shoot for Ted in the Royale Catalogues despite his attractive muscular build, nor any other mention of him in other Royale sets. I'm still wondering if he has another identity as 'Dave' or 'Dennis'!

The Royale Series continues next time with 'Navy Gash' (link pending)


On-going Upgrade of Royale Studio Posts at mitchmen

The original mitchmen Royale series (2010) is currently being extensively revised and extended.
This completely new article is the 3rd post in the 'Navy Romeo' Set, together they replace the original Royale post No 2.
To see which articles have been revised to date, please check the 'Come and Get It!' post. I occasionally revisit these articles with further, minor upgrades which are logged there by dates.

Read the new series of Royale Studio articles at mitchmen from the start:-
Royale 1 - Sailors Flogged in the Rigging

You can access all the old and the new and revised articles
simply by clicking on the 'GIU/Royale' label at the foot of this post


'mitchmen' Royale Studio Open Archive
As an adjunct to the on-going article upgrade I am gradually creating an archive housing my entire collection of Royale images. I have added this latest image to the existing Royale 01 'Sailor in the Rigging' folder at the mitchmen Royale Studio Open Archive and if you follow the link below you will find there's also a new zip file there which includes them all for easy downloading. 

mitchmen archive for:-Royale Studio, Navy Romeo & DTS

  Please tell me via my profile link if you have any difficulty downloading 

If you have any other Royale images from this or previously published groups and would like to add them to the mitchmen Open Archive please contact me via my profile page link. 


Saturday, 9 October 2021

Another Royale Discovery


My recent internet explorations of auction sites unearthed this image (right) from the 'Sailor, Tight Shorts, Rigging' set, which was the subject of mitchmen Royale Studio 01c. These pages are from Grecian Guild Studio Quarterly No 22 (1967.

 Once again it's a slanted image, intended only to attract buyers, but that doesn't matter in this case because I already have a decent copy of this image, it's No 11. However the pictures provided with this listing enabled me to find the name of the model via the contents page. It's Alan Adair. His name is new to me, I can't connect him to other Royale sets and I've not found him on the internet yet, but he may turn up with his name just printed on the page, like the cute Don Avard in the facing page above (bad trunks Don!). 

I've incorporated his identity into the mitchmen, Royale Studio, Open Archive material

Friday, 8 October 2021

Come And Get It! (LINKS CORRECTED & UPDATED 11th Oct)


Royale Studio - Solo Sailor in the Rigging 1

 I have embarked on a long-envisaged revision and upgrade of my twin series of articles on the vintage images of Royale Studio and the related 'Guys in Uniform' Studio. More images (including the one above) and commentary will be added to the articles and I also plan to add completely new posts covering image sets that were left out first time round. As an adjunct to this process I am making my entire Royale collection available to mitchmen readers through a clickable link to a photo album attached to the mitchmen blog.


Oct 7th - SIX updated articles are now available to read

Royal Studio 1a - Sailors In The Rigging - Jul 2010 (revised version July 2021)

Royal Studio 1b - More Sailors In The Rigging - Jul 2010 (revised version July 2021)

 Royale Studio 1c - Sailor. Tight Shorts, Rigging - July 2021(updated Oct 2021)

Royale 1d - Sailors Fighting in the Rigging - Oct 2021

Royale Studio 2a - Navy Romeo (Part 1)  - July 2010 (revised version Aug 22nd & 30th 2021)

Royale Studio 2b - Navy Romeo (Part 2) - July 2010 (revised version Sept 22, 2021, updated 28th Sept)

Royale Studio 2c - Navy Romeo cast and 'DTS' - Oct 11th 2021


Royale Studio 01 - Sailors in the Rigging, v3 (Updated Oct 7th 2021) 

Royale Studio 02 - Navy Romeo v1, (Oct 11th 2021)

I would encourage you to access the archive and let me know if you have any comments or difficulty with the download option. If you have images of your own to add or link in I would be glad to hear from you too. You can contact me via comments most easily but only an e-mail via my profile page will enable me to message you back. 


You can also read 'Guys in Uniform' posts (none of which have been revised or archived yet)

I've deliberately included this nice torso image with the 'Guys In Uniform' logo in the corner. Many of their images circulate with the tag 'MIU' (men in uniform) presumably because someone didn't know 'Guys' was the real ID and thought 'Men' sounded better. Sadly both options are virtually useless for internet search purposes, too commonplace as expressions, so maybe it's just as well that GIU is often confused with Royale Studio, even though they were 20 years apart.

The mitchmen GIU series starts at

Guys In Uniform 1 - Cane Stripes (none revised yet)

All these articles (old and new) can be retrieved for individual selection by clicking the 'GIU/Royale' label below

Royale Studio 01d - Sailors Fighting in the Rigging


Hussar Studio - Sailors Wrestling in the Rigging

I recently stumbled across this image of two sailors in very tight shorts grappling in the ship's rigging. It's attributed to Hussar Studio which was a subsidiary of Royale Studio*. It's a typical Royale image, with suggestive juxtapositiong of legs and crotches, invisible groping, skimpy tight shorts and a great bottom shot. I haven't seen their grappling and rigging themes combined before, this set is completely new to me. 


 I found this new image on an auction site which is why it's not a proper, frontal copy, just a snap intended to promote the sale. Annoyingly, it's quite good quality otherwise! 

It's from a 1960's vintage magazine, Body Beautiful 22


If you have a copy and are willing to send in a better image I'd be very glad to hear from you (e-mail me via my 'Contact Me' page). I suspect from the magazine contents list (which was also provided by the seller) that there may be more Royale images inside. 

I don't know who the cute cover model is, I think he's a Troy Saxon man, not Royale.

Hussar - Brian Melloy measures Rick Wayne (in 'Tape Measure')

It's almost impossible to identify who the models are in the top image, but I fancy the man standing on the ground might be Rick Wayne (above, right), who was a top notch body-builder and often posed solo for Royale, sometimes nude. He appears, dressed exactly the same, in the Hussar 'storyette' called 'Tape Measure' (sample illustration above). 

This series is about two musclehunks squabbling in mildly erotic fashion over who is the bigger man. His partner in that series is Brian Melloy who you can see has pretty big shoulders - just like the man standing in the rigging. It's possible that the newly-unearthed, top image is the same models, maybe related to the same series, although 'Tape Measure' doesn't feature a rigging prop in any of the pictures I have seen. 

'Tape Measure' will be posted at mitchmen blog later in this series.


*I don't know if there was any particular rationale behind the Hussar-Royale differentiation, the 'storyettes' seem similar in content and the models are much the same. As you can see above, Hussar was formerly Dolphin Studio and presumably acquired by Royale. I don't know if  the photographer was acquired too or just the brand and business (mailing lists were gold dust in that era). 

I included a Hussar set in the original Royale postings at mitchmen in 2013:- Royale 18 'The PT Class' which is officially known as 'Jim Nasium', I believe, see reference above. 


 The mitchmen 'Royale Studio' Series continues with Royale Studio 02 - 'Navy Romeo'


Upgrade of Royale Studio Posts at mitchmen

This completely new article is the 4th post in the 'Rigging' Series and has been added to the original mitchmen Royale series (2010) which is currently being extensively revised and extended.
To see which articles have been revised to date, please check the 'Come and Get It!' post

Read the new series of Royale Studio articles at mitchmen from the start:-
Royale 1 - Sailors Flogged in the Rigging

You can also access all the old and the new and revised articles
simply by clicking on the 'GIU/Royale' label at the foot of this post


'mitchmen' Royale Studio Open Archive
As an adjunct to the article upgrade I am gradually creating an archive housing my entire collection of Royale images. I have added this latest image to the existing Royale 01 'Sailor in the Rigging' folder at the mitchmen Royale Studio Open Archive and if you follow the link below you will find there's also a new zip file there which includes them all for easy downloading. 

mitchmen archive for:-  Royale Studio 01 - Sailors in the Rigging v3

  Please tell me via my profile link if you have any difficulty downloading 

If you have any other Royale images from this or previously published groups and would like to add them to the mitchmen Open Archive please contact me via my profile page link. 

Wednesday, 6 October 2021

Be Careful What You Wish For - 7

Billy liked to talk, he was always talking.
As a kid people thought his constant chatter was charming.
But when he kept talking in class at school he was punished.
At work he was always in trouble with his loose tongue.
He'd be cheeky to the foreman and then lose another job.

Then Billy met the man of his dreams.
TMOHD thought Billy was dead cute, but not his endless prattling.
Billy couldn't bear to lose him, so he decided he needed help.........
Any sort of help.

Based on images originally put together by Bazz for his 'Dog 54' piece

recaptioned by mitchmen for this post

View Bazz's original 'Dog 54'


For other ill-advised wishes at mitchmen blog click on the 'Wishes' label at the foot of this post


Sunday, 3 October 2021

Slave At Work by Woodunart

WOODunart - Pulling At His Chains

 Woodunart's image of a chained captive has a marvellous sense of a big man's strength and exertion. The angular brush-strokes seem to invoke a sense of fierce, dogged determination. His face and body both gleam with the profuseness of his sweating. The marks on the underside of his thigh suggest this burst of energy might have been prompted by the cruel chastisement of his overseer. 

The exotic beard and bandages give the picture an almost biblical dimension to Western eyes and I suppose you could say the same for the optimistic, almost manic, facial expression. He's like a latter day Sampson straining at his restraints, determined and confident that one day he will regain his freedom - or if not that, revenge at least for this undeserved humiliation. 

You might see him as a warrior bought low by his captors or he might be a charismatic, modern day sportsman, once noted for his inspiring play and ethnic flamboyance on the field, but now expelled from the game over 'irregularities' that exposed him to the revenge of envious rivals. Now the star player is reduced to simple, manual labour, shifting rocks and rubble in a bleak and ugly, grey quarry. His physical strength is still truly valued and exploited by those who now own his soul, but there are no spectators here to cheer him on in his efforts. Only the urging of the whip, whenever he flags.

 The dynamic, tactical skills that once galvanised a crowded, noisy stadium and inspired a whole team of magnificent men count for nothing here. He can only use them to plan for the day of his liberation.


See more images by this artist and links in the mitchmen A-Z of Fetish Artists review of Woodunart's work. He's now on Twitter, DeviantArt (small selection) and Instagram as well as the Tumblr site referenced in the original mitchmen article.

For other 'Enslavement Fantasies' at mitchmen, click on the label at the foot of this post

Thursday, 30 September 2021

Captive Cop by Wudangx

 This is an impressive image of a chunky man in captivity with the cap on the floor suggesting a cop or military connection. The underwear no longer covers his modesty but makes a splendid accent between his ass cheeks. It creates the impression of invasive outside interference. That's reflected too in the prisoners repelled, bewildered facial expression and off-balance pose.

 This is an accomplished artist with crisp, neat style. It's an intensely erotic and dramatic pose with excellent, atmospheric lighting. The clothing is highly realistic with a convincing depiction of sheer, silk socks.

Wudangx's style resembles that of Saolin 1234 (previously reviewed at mitchmen blog).

Their Twitter sites suggest an association, but separate identities.Wudangx on Twitter

Tuesday, 28 September 2021

Royale 2b update - Water Punishment

Bad Lads Army

 I have updated Part 2b of 'Navy Romeo' with extra links, including one to the video clip of 'Bad Lads Army', which depicts a parade ground punishment eerily similar to that meted out to Ted in Royale Studio's storyette.

Monday, 27 September 2021

Bareass Blogs No 57

 Bareass Bestriding in tones of Black

So cute! 

Snub nose and modestly downcast eyes,

 wearing shades of Black which barely drape his body

 but accentuate impressive shoulders. 

Great colour toning too......

Go to Bareass No 58 (pending)


For other mitchmen bareass blogs, click on the label at the foot of the post 
or start reading at Bareass No 1 and follow the links

Wednesday, 22 September 2021

Royale Studio 2b - Navy Romeo (Part 2)

Royale Studio - Navy Romeo 22

This is one of the best images from Part 2 of Royale Studio's 'Navy Romeo'. In this section of the story there's a complete change of setting, from the contrived, studio set of a Navy Barracks in Part 1 to this leafy woodland. It must have felt odd and sexy for the models, having to wear the trademark, Royale, wetted trousers (notice the creases from wringing them out) to work in this more exposed environment. A number of other Royale Studio storyettes also had open air settings and it's said that this was the garden of Basil Clavering, the man who was the driving force behind the Studio. 

As well as the contrasting setting, there's a dramatic change of atmosphere. The jokey Peeping Tom's have turned on the object of their ridicule. They now have tied him hand and foot and are punching him. So what's going on? 


This open air shoot Royale used for Part 2, results in a different set of quality issues for us. Helped by bright, natural light, many of the original photos must have been as good as this one. Several other surviving images are equally fine, but the inability to control the direction of light outside has resulted in some localised over-exposure and washing out of the erotically-crucial, all-white, uniform areas. The effect is possibly magnified in some cases by deterioration of the source photograph before it was digitised. In addition, smaller thumbnail images inevitably suffer from blurring and indistinctness as well, but most of them in Part 2 are bigger than those in Part 1 and I have given them bigger displays here. The quality of  image 22 here seems to indicate that full size photos as well as catalogue thumbnails were sometimes printed with sequence numbers on them.

Royale Studio - Navy Romeo 16(?)

I believe this image to be the starting point of Part 2. It shows Ted (the vain Romeo) being helped out of a car by Spike. At this point Ted already has a rope around his chest and his hands are behind his back, possibly being restrained by Tom who can be glimpsed, close behind him inside the car. There's a half-decent impression of Ted's bulging crotch and a general sense of muscles and uniforms. 

You'll see as we go along that this part of the story is more action oriented and less about artful, erotic posing than Part 1. Having said that, the coal hod* Spike is holding has a certain, phallic quality about it and is suggestively angled upwards between Ted's open legs and just below his mouth, leaving the scene open to the mitchmen-esque interpretation of 'hidden eroticism'! Is Spike's hand pulling his head down?

(*The coal hod, was a commonplace domestic device in the 1950's, used for fetching coal from store and tipping it onto an open fire or into a burner. It's used for a very different purpose here and it pops up again in a later Royale story.)


So what has happened to bring about Ted's captivity? Royale's plot summary from their catalogue is not very helpful. It tells us only that "Later in the car, they stop in a lane, pull out Ted and rough house him.....". This confirms the unnumbered image above as the starting point of Part 2 and also the impression of a conflict, but doesn't explain why it has happened. 

I suggested at the end of Part 1 (without any real evidence) that perhaps Ted had spotted the two voyeurs and confronted them about their spying and mockery of his extreme vanity. Sailor Al's conjecture of an 'itching powder' practical joke and my own theory that Ted's secret homosexuality had been discovered (dynamite in the forces then!) might also explain a fight. Whatever the cause, it's clear Spike and Tom have decided Ted needs to 'dealt with' for his offence** and have therefore abducted him to this remote location. 

(There's an odd mark on Spike's buttock which looks a bit like a tear, is this evidence of a struggle? Well no, because it can also be seen in picture 03 in Part 1 and it has actually disappeared by No 24, below) 

**At the end of this post I recount a real life incident from a Cadet Force camp, when a junior member was subjected to a mock trial for being 'too posh'. This sort of arbitrary bullying of anyone 'different', disguised as laddish, practical joking, was commonplace in the Regular Forces (and elsewhere) in Royale's era and would not need any explanation to their audience.  The term 'rough housing' used by Royale had connotations of manly, boisterous toughness rather than plain assault, which is how we would see it today, rightly or wrongly.


I have 19 images altogether from Part 2 of 'Romeo'. The last image in Part 1 that I was able to (tentatively) give a number  was No14(?) and according to Royale there were 36 in the set altogether, which implies that there are only 3 missing from the 15 to 36 group, possibly including my conjectured, confrontation scene. 

There is a relative scarcity of sequence numbers on the images in Part 2. In many cases, like the one just above, it has been deliberately obliterated, leaving us to rely on continuity and intuition. I have given this picture No 16(?) based on the fit with subsequent numbering. That leaves a gap for a missing No 15 at the end of set 1. 

Question marks against sequence numbers signify that they've been assigned that number by me and not explicitly identified by a Royale catalogue source.

Royale Studio - Navy Romeo 17(?)

Ted is bundled off into the wood and this is quite a good image of a confused captive being bossed, off-balanced, by his captors. Ted's physique looks good here and once again his head is interestingly positioned, poised above Spike's crotch as though there is a magnetic attraction there. 

Despite the over-exposure and smaller picture size, you can still glimpse interesting  groin 'under-shadows' on all three men (their shapes revealed of course by the clingy, wetted fabric). It creates a sense of simmering sexuality.

You'll notice Tom and Spike have put on civilian-style, dark-coloured belts for Part 2 (they become clearer in the next image). Ted is still wearing his white military belt and gaiters from Part 1. All three men are wearing Royal Navy dress caps for this sequence, which are probably genuine and possibly their own. That detail links this little group of pictures together

Notice the dark mark on Spike's upper thigh, it will gradually become clearer.


Royale Studio - Navy Romeo 18(?)

Ted's captors free him from the lasso round his chest. It seems from this picture that his hands were were probably not tied in 16 and 17 despite appearances. Royale provide us with another trio of crotch bulges which seem to dance suggestively in close proximity to each other. They resemble the famous, enhanced 'Scott Studios' shapes discussed in the second 'Rigging' article (Royale 1b) and most notably displayed there by Brian Cross in his classic, tight shorts picture. 

Spike's chest here provides another nice shape which must have looked good in the proper photo and am I imagining a hint of nipple there? Yes, I know it's childish, but simple pleasures amuse - as they must have done back then!

Royale Studio - Navy Romeo 19(?)

If you're missing the views of succulent bottoms that dominated Part 1 of this series, this would have been the perfect antidote, were it not for the fact that the left side has been over-enthusiastically cropped by an earlier benefactor, removing half of what looks to have been the best bum of the three, Tom's (the truncated shape of the thumbnail 'box', bottom left, is incontestable, incriminating evidence!). As it is, Ted's peach-like ass undoubtedly seems to have grabbed Spike's full attention, he seems a lot bulkier in this image. The choice of sloping ground has helped accentuate the men's bottoms.

At first sight Ted is being escorted off into the undergrowth here and seems to be almost collaborating with his captors and leading the way (as though they are seeking a place for some kinky homosexuality). In fact I think that, having been freed, he is actually making an attempt to escape. The abandoned coal hod at Spike's feet supports this interpretation which then leads naturally into the next image. The technical necessity of depicting this moment using a static pose (with no rapid-fire snapping being available in the 60's) is largely responsible for the ambiguity.

Royale Studio - Navy Romeo 20(?)

Ted is brought down and recaptured. His tormentors decide to tie him up properly so he can't run off again. Tom attends to his feet and deliberately produces a provocative, humiliating display of the Romeo's impressive bottom (notice the emphatic stretch creases on his right buttock and centre seam). The pose also results in Ted's feet ending up in Tom's lap, which is an erotic coming together in it's own right and his projecting boot caps create another suggestive phallic shape which Tom seems to be grappling with. 

Tom's own bubble butt is seen in a nice profile set off by his flaring bell-bottoms in a way reminiscent of Tom of Finland's sailors. 

Meanwhile Spike begins to tie one of Ted's wrists, and he's almost sitting on his upturned face as he does so, thereby completing a seemingly inevitable 'docking' which began in back in picture 16.

Royale Studio - Navy Romeo 21

They roll Ted over and tie his hands behind his back. His backside is over-exposed in this otherwise crisp picture but his two tormentors are very nicely captured by the camera lens, thanks to some fortuitous tree shade. We see them holding him down and tying the knots. This double act is quite an usual take on what is one of the most erotic moments of bondage, when the victim's freedom ebbs away from him leaving him totally at the mercy of his captors. This moment is more believable and intense if there are two assailants.

The intimate collaboration between Tom and Spike, kneeling with their heads together, makes a nice image in anyone's language and there are some appealing details: Tom's crotch and neck (left) and Spike's shoulders and tight shirt. 

The 'mark' on Spike's left thigh, is finally revealed as a small tear. Is this then tangible evidence of a struggle earlier on? Unfortunately no again, because it's also visible in the Peeping Tom pictures 09 and 10 in Part 1. It must simply be wear and tear in the thin fabric Royale used for these tight-fitting replica uniforms.

21 is the first picture with a number box in Part 2 and this allows us to infer the number 20 for the previous picture. It is clearly the same scene - the plants just below the number 21 are almost identical those to the left of Tom's leg in 20. The preceding 'hatted' image sequence must therefore be Nos 16-19.


Royale Studio - Navy Romeo 22

Ted is pulled to his feet and Spike's punches the defenceless man in the ribs, vividly demonstrating his anger. His clenched ass draws our attention to the tension in his body as he delivers the punch, tension that is mirrored in Ted's scrunched-up torso. These elements are all connected visually by the line of Spike's muscular arm and although this is a static pose, it seems to create a convincing sense of effort and impact. 

There is a particularly suggestive juxtaposition here of Ted and Tom's crotch bulges which seem to be touching, or about to. In the context of Spike's violence and the bondage restraint, this gives the scene a truly S&M edge.

Royale Studio - Navy Romeo 23(?)

Having violently subdued Ted, the two voyeurs tie him to a tree, Cowboy & Indian style. It's almost as though they intend to burn him at the stake (but that doesn't really work with a tree!). Although the 50's and 60's were the heyday of Cowboy comics and movies this scene would still have seemed almost comic in character to it's audience at the time. It revives the sense of all this being just a playful, prank, despite the darker tone injected in No 22.

In the original, full size photograph Ted's cock area must have been graphically displayed at this point. Once again Tom seems to be rubbing himself against his thigh and Spike's eyeline suggests he is studying them. There seems to be an apple hanging on the tree behind Tom, a coincidental erotic hint?

This scaled-down image was used to advertise NARO 2 in Royale's catalogue, unfortunately I don't have a better version

Royale Studio - Navy Romeo 24(?)

The role of the coal hod is revealed as Spike uses it to throw water over Ted's bell bottoms, almost as though he's dousing those imaginary flames. That's small compensation for a soggy Ted! You might wonder where this water came from since any they brought with them in the hod (picture 16) must have been spilled in picture 19. 

If you were wondering why they didn't use a simply bucket, the subtle, phallic qualities of the hod come to the fore here:- it's shape, especially the tip, it's angling, which originates from just above Spike's scrotum bulge and, not least, it's use to deliver a stream of water onto the helpless captive's leg, which I hope I need not translate erotically.

Spike comes out looking good in this image apart from bedraggled-looking trousers, but we can only sigh for the tantalisingly washed out detail of Ted's torso (how slim he looks here!). The restraint of his head is a nice touch underlining his defencelessness.

Royale Studio - Navy Romeo 25(?)

Ted grimaces in this companion image as another slug of water engulfs his chest.
Presumably he was paid for this job (but not much, I imagine) and it must have been a fun assignment on the whole, but being buffeted by water in this way can't have been terribly pleasant. It's erotic for onlookers however and of course, men were men, back then!

Nice details again of Spike's crotch and Tom's ass.

It's quite possible that 24 and 25 were originally sequenced the other way round, but this seems a more effective progression, dramatically.

Royale Studio - Navy Romeo 28
This is a great, understated picture of captivity and domination - and tight trousers. Having drenched and battered Ted with water, his captors pause to gloat over the result. Spike seems to be still taunting him and he seems to be hold something(?) in his hand. Ted angrily struggles against his bonds, his dipped head reflecting his effort and frustration. We can see the water stains all over his trousers which look smooth and impossibly tight round his bottom - as do Tom's (left). Some groping at this point seems a natural next step, but none is shown.
The picture has some sunny over-exposure but it's caught the hair of all three men giving them a halo effect, which obviously isn't appropriate in at least 2 cases, but it imparts a slightly magical atmosphere to scene the as though this is very significant, but not quite real.

This picture is a bit of an oddity in continuity terms. Ted's hands are not tied here, but there are multiple loops of rope round his arms which he is straining against (and showing nice arm muscle). There's nothing round his torso. This restraint arrangement doesn't seem to match the preceding images. It's also taken from a different angle to every other picture in this sequence. There are a couple of missing pictures between (my) 25 and 28, which might explain this discontinuity, but there's no continuity either with the group of images that follow, as you will see. Perhaps this image was separately posed and intended as a 'cover', marketing image. It's also possible that the men simply took a break or that the restraints were re-jigged or loosened for practical reasons

Royale Studio - Navy Romeo 29 (?)

In this image Ted has been turned round and his hands have been tied to the tree above his head. His backside reasserts it's claim to the starring role. Tom's hand on his shoulder both restrains him and suggests support, sympathy even. Tom's role in these photos seems softer and more sensual than Spike's, who mercilessly continues to deluge the former Romeo with his inexhaustible supply of water. 

(Along with the roses and fruit trees seen earlier, the availability of a water supply supports the theory that this was actually Clavering's garden).

Royale Studio - Navy Romeo 30

The open air, sunny lighting probably helped the photographer to capture this spectacular image as a chunky-shouldered Ted is doused with water once again. I wonder how many times Ted had to endure this? In those days, it wasn't possible to see the final image until the film had been developed and printed, so it seems likely that many 'takes' were done to ensure there was at least one satisfactory photo. You can see his trousers here are absolutely sodden and Tom's face also suggests this wasn't the first enactment. Possibly for that reason, there's virtually no sense of erotic contrivance here although Tom's groin area seems to have some eyebrow-raising features!

This is the first view we have got of Spike's ass since Part 1 and it seems to be the most petit of the three, leaving him more boyish looking than he seemed earlier.

Luckily for us this picture's reference number has survived obliteration attempts and is visible on a bright display, so we know for certain that this is No 30.

Royale Studio - Navy Romeo 31 (?)

Once again, Tom and Spike gloat over Ted's plight. This is arguably the best image of Ted in the whole set (along with No14), showing him as strongly built with a well proportioned, chunky figure. A fortuitous alignment with background shadow has also endowed him with a big, strong and straight neck worthy of Superman. Appropriately enough, he shows no sign of breaking.

Tom has a slighter build but is putting on good manly front too (!) but, by contrast, Spike seems to be diminishing before our eyes. I can't think it's deliberate, but there's a strange sense that Ted's trials are making him stronger while his tormentors wither away.

There is a case for designating this as No 29 based on the rounded top edges of the obliterated thumbnail and this would make a less abrupt transition into this sequence. However but 31 and 32 are so similar that it seems impossible for them to have been posed separately and there isn't room for both between 28 and 30! Placed next to each other, their subtle differences lead the eye nicely into the denouement.

Royale Studio - Navy Romeo 32 (?)

In this near identical image, the focus of attention shifts back to Ted's alluring backside which seems to have become tensed and drawn in. The onlooker's smiles seem more forced, menacing even (is that just through holding the pose?). Both of them are leaning closer and Tom's cock shadow is noticeably more prominent. It foreshadows their next move.

Royale Studio - Navy Romeo 33 (?)
Tom moves in to undo Ted's belt, always an exciting, erotic moment, but one that modern photographers rarely bother with. His cock bulge hovers close to Ted's thigh, not for the first time in the story. This is looking bad for 'ladies man', straight-acting Ted.

Ted's chunkiness has returned but Spike looks distinctly gaunt and weedy in this image, pushed out to the margins by the attraction that Tom seems to have for Ted. The way in which the characters' appearances seem to alter from one picture to another in this series is quite bewildering and I'll come back to that in a post-script.
 At his point it's clear that Ted's feet are no longer tied together

Royale Studio - Navy Romeo 34 (?)

Spike moves in to help Tom peel down Ted's trousers in a theatrical 'reveal' of the fact that he isn't wearing any underwear (see Part 1).  Ripping the bell bottoms off probably isn't an option, because you can see how wet they are, almost transparent around Ted's thighs! Tom looks at his ass thoughtfully showing a prominent bulge (and nice pecs). Spike's groin pushes forward as though magnetically attracted to the sight.

There are two good quality versions of this picture in the archive

Royale Studio - Navy Romeo 35 (?) 
Bare assed and helpless, Ted's humiliation is almost complete. Almost.
He hangs his head but this doesn't seem to diminish the other men's interest. They stand back respectfully, almost in awe it seems. It's suggestive of that "what have we done?" moment that pranksters with a conscience experience when the jape passes the point of no return. Usually of course it's quickly followed by a "Oh well, what the heck" moment.

Sadly, this is a rather poor copy of an erotic highlight of this piece

Royale Studio - Navy Romeo 36 (?)

We are not told what, if any, indignities Tom and Spike inflict on Ted in his naked vulnerability. They slope off, leaving him to the tender mercies of whoever might chance upon him in this neck of the woods. If it's a gay cruising ground he might be in for far more than the boys have given him.  He makes a delicious sight for those inclined to the fuller figure. Spike however looks weedier than ever.

Notice that they are all wearing formal naval hats again for this finale. 
Take a bow chaps! 


Navy Romeo is one of the most complete Royale storyettes that have survived in reasonable quality. It's a  got a good, slightly mystifying story with plenty of erotic moments derived from stripping, abduction and bondage plus the esoteric art of showing men manoeuvring their (apparently) aroused organs in close proximity, screened only by the flimsiest veil of clothing. A modern equivalent would be the gathering of track athletes clad in leotards without any underwear. It's very sexy if you get a good view!

 Below I have reproduced Royale's catalogue description of this set. It's interesting but sketchy. It's quite difficult filling in the details of the narrative just from the pictures but presumably that was what you were meant to do. I'm not aware that any supplementary information was provided.

In Part 3 of this post (pending) I look more closely at the players in this drama.
Links to the mitchmen Royale Archive will be provided there.
The majority of the images in this post have come from Sailor Al's Blog. He presented them in a different sequence to me, but I am happy to give him credit for unearthing them. As far as I know he didn't ever add to his collection there.


Institutional Bullying in the 1960's
In the 60's, many UK schools had a Cadet Force. This was a sort of sampler of military service dressed up as education. It involved lessons in marching, drilling, shooting, map craft and similar matters in school time. Out of school there were occasional weekends at a real military camp where the skills learned could be practised in a more realistic environment. This is a true story from one of those camps.

 On the first night in camp the cadets were summoned from their beds to witness the 'trial' of one of their number, who was deemed to be 'too posh'. The trial was conducted by the senior boys within their ranks who had been awarded NCO status (Corporal, Sergeant etc). The poor victim was bullied into a confession, stripped of his clothes and subjected to humiliations of the type meted out to Ted here. No-one lifted a finger to help him. 

In recent years it has become apparent that this sort of arbitrary bullying was commonplace in the real services and accepted as normal, in fact it was not regarded as bullying at all, but as some sort of legitimate, masculine, tom foolery and 'rough and tumble'. 

This is a relevant, ambiguous example, possibly an initiation into 'crossing the line' for the first time. It seems like a civilian ship rather than military but no one has spared the victim's blushes.
Bad Lads Army

More recently (2004) a parade ground punishment almost identical to Ted's was vividly depicted in the TV series 'Bad Lads Army' (link pending) which purported to recreate 1950's training practices. In this context Ted's treatment does not seem at all fanciful and at the time the motivations behind it probably didn't need explaining.