To my readers......

SITE UPDATE NOTICE

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, 27 February 2021

Fetish Art by Mitchell of 'mitchmen' - Naive Model

Mitchell - Confused Model in Torn Underwear (sketch)

 He was a handsome cove right enough. He'd posed in underwear many times before, but he'd never had the garments progressively ripped apart on his body - or so he claimed. Now he was wondering if those last tatters of modesty were about to be ripped away....and what else that generous fee required of him.

Other rip and strip pictures by Mitchell at 'mitchmen'

We ripped his clothes apart.....in the shower

Rogue Intruder

A Jogger Detained  

Horse-whipped

The Swimming Team detained at Immigration

Cry Baby on the Rugby Pitch 

Christmas Criminal - Resisting Arrest

For other pictures by Mitchell at mitchmen blog click on the 'mitchpix' label below, also visit the Gallery Hub

For Rip and Strip images by other artists at mitchmen click on the 'ripped/torn/shredded' label below

Wednesday, 24 February 2021

Crazy Cop Caps 7

 


 Go to Crazy Cop Caps No 8 (pending)

Sunday, 21 February 2021

The Art of Madeira DeSouza - 2

Read Part 1 of this mitchmen article

Madeira DeSouza - Man on a Cross

 At the end of Part 1 I mentioned Madeira's darker side under an image of two loving buddies with threatening nooses behind them. This picture is a more explicit hint, an expression of a nightmare about suffering crucifixion. The glaring white background here has the surprising effect of making it seem unreal but at the same time suggesting it's hyper-reality and a shock to the dreaming man himself.

 

Madeira DeSouza - Lifted onto the Cross

In this image the nightmare assumes more tangible proportions as a man is lifted onto a cross. This time a dreamlike state is suggested by slightly fuzzy, darker lighting and the relatively featureless men who are manipulating him. They have positioned him just above the projecting 'sedile', a support device regarded as a seat by classical scholars but sometimes described as a horn in contemporary writings. This one is pretty stubby as horns go and the victim is still to find out how these assailants intend to use it, but given that they're totally naked.... well....what do you think?

 

Madeira DeSouza - Cowboy On Cross

Cowboys are often the dispensers and recipients of arbitrary justice in this artist's work but this crucifixion is an incongruous method of punishment for them. I suppose it would be simpler and cheaper than building a gallows which we assume to be the preferred technique 'Out West'. The height of the cross is supposed to put the victim on display for the assembled watchers but this upward looking viewpoint shows how it also confers an elevated, almost heroic status on him, particularly strikingly when set against ominous, grey clouds apparently conjured up by higher forces.

This victim may or not be seated on a sedile but he has been given support for his feet and hasn't been nailed to the cross but tied instead, so we may suppose it's not intended to be lethal. His nudity and arousal might suggest an exotic sexual game, the cross an elaborate platform for his masochistic pleasures. If so, it's one in which he is reliant on the trustworthiness of his fellow players. If that is misplaced he may yet have to face the other risks of this poorly understood punishment -  asphyxiation and exposure to the elements, exacerbating any injuries he might have received in the 'game'. 

Is that dismay we can see on his face? Do those clouds signify a darker turn of events?

"Hey guys, let me down!"


Madeira DeSouza - Spread On A Cross

This unusual image hints at more direct violence and adapts the crucifixion concept to a bench restraint. This neutralises it's darker capabilities, essentially turning it into a spreader. The open, flexed legs clamped astride the bench seat also seem to be inspired by crucifixion practices. This image looks better in some ways if it is rotated. Notice the substantial restraints which recall medeival dungeons. I'm not overly keen on bruises and cuts or what they imply, but acknowledge that violence plays a significant role in Madeira's wide-ranging ideas.


MadeiraDesouza - Tormenting A Blue-Eyed Cowboy

That background of simmering violence in Madeira's work influences how one views images like this which actually show only relatively innocuous groping. This spreader restraint is similar to the X-frames beloved of Amalaric but with the side posts closer together, recalling the design of the revolutionary guillotine. Again it's an unexpected predicament for a cowboy, but perhaps this is a modern, urban cowboy. 

The downward looking view is quite effective in showing us what is happening and the captive's reaction to it. The simplicity of these images indicates an engagement with the characters and their feelings which are more important to the artist than the details of where they are located or how they came to be here. The reference to blue eyes in the title seems to imply a favoured person or a sort of hero brought low and you can imagine the same of the square-jawed hunk in the previous image. For now, it seems that nothing terrible is happening but loss of control is a fearsome thing.


Madeira Desouza - Totally 01

Like the previous image, the captors here only seem to have sensual self-indulgences in mind. Their jock-like captive is imaginatively suspended with legs spread between a rock and a high post (as it were). It's demanding bondage and that is what the title refers to, nothing darker! There are other pictures in the series. While he squirms, his admirers dance and drink their fill of him and, although their attentions seem to be causing alarm, he's unmistakeably aroused by it all. It's probably not an adventure he'll be able to tell the kids about in his old age though.

 

MadeiraDesouza - He Is Kicked (Power Over Men - 1)

 There's a futuristic feel to the stylish restraint columns here which seem to enclose the captive like bookends (or text brackets!). That might be read as a metaphor for insignificance, but for now they actually seem to bestow a trophy status on him. The luxurious fabric forming the backdrop amplifies the sense of this being intended as a formal display (perhaps one for a significant audience to witness in comfort). He might be a notorious, troublesome rebel finally brought to heel for his last 15 minutes of fame. The kick between the legs is a direct assault on his manhood with the use of the feet universally indicative of contempt. It's also intended to demonstrate and exploit the muscular captive's total defencelessness. Which is exactly what the title invites us to imagine.

 

Madeira Desouza - On The Rack

 This image has a similar underlying subject, the punishment of a helpless captive. A sense of style has been brought to his restraint apparatus too. It's less grand than the one above but more modern and technological. The clinical setting here also bestows a degree of specialness on the captive but he's subjected to a most un-clinical torment at the hands of a 'bruiser' (One with a very impressive backside, I must say! It would make a sought-after target in it's own right in some quarters). 

The arched posture imposed on the captive here occurs in another image later on and this viewpoint from directly behind the tormentor brings out it's inherent vulnerability. The helpless figure is coupled with a particularly well-posed attacker, who looks braced to put his all into his blows. The forward slant of his body gives a sense of momentum and attack. It matches the slope of the rack and the captive's body, so there's a suggestion of coming together and shared intimacy that you wouldn't expect.

 

Madeira Desouza - Katarsis 04

This image goes further, embracing futurism and alien capture in an unusually detailed (for Madeira) and atmospheric render. The spread arms and piercing(?) probes are not a million miles away from crucifixion but this predicament has more in common with the helpless captive in the last few pictures. However, this time there's hardly any sense of public display being part of his ordeal. 

Instead the enormity of his lonely plight is skilfully conveyed by the brooding atmosphere, the distant aerial viewpoint (conjuring up the sense of him being held in a deep pit or a vast chamber) and the complete absence of any other human or alien life, friendly or otherwise.  There's little sense of the clinical in this dark piece although the equipment is highly sophisticated. It is suggestive of great power behind the experimentation even if we cannot fathom it's nature or motivation.

We are not invited to study the captive's feelings close-up, but the scene nevertheless conveys total despair.


MadeiraDesouza - halloween 06

As is often the case in Madeira's art, the idea here is more compelling than the execution of the image. It's another nightmare scene in which a lithe, young, naked captive finds himself tied to the trunk of a tree in a dark wood. He's tied in an elevated position (that display thing again) and his arms and legs are pulled back right behind the tree, forcing him into that arched body shape that is both provocative and utterly vulnerable. On Halloween interference is not long in coming, lured by the malevolent, pumpkin lantern. We can just see 'it' scrambling up the tree to get to him. 

The darkness of the image and the angling of the view denies us a clear sight of the visitor (predator?) It remains a creature of dark nightmares, ill-defined but undoubtedly horrible. The style of this piece, the victimology as it were, reminds me of Greasetank although as far as I know he never ventured into the realms of the supernatural.


MadeiraDesouza - Snakes in Bed

While we are in the realms of fantasy, Madeira does not entirely neglect the tentacles genre but keeps his feet on the ground by turning to the more plausible variant which employs snakes. Another nightmare of course, but you sense his heart may not be in this image. The coiling predators don't seem very eager to immobilise their victim and the sense of deadly embrace which one would expect to be the substance of a tentacle dream is replaced by darting attacks on erotic areas including an unusually determined, straight-line penetration. This victim is not helplessly restrained for a leisurely feast but reduced to agitatedly fending off his unsubtle attackers. 

 

Madeira Desouza - Prelude to Executions

I suppose the nature of Madeira's snakes dream might be a premonition of a fate like this, in which two captives of the military are stripped naked and subjected to a brutal assault. One is forced to fondle his attacker although it's depicted in a subtle and slightly ambiguous way that's almost furtive. Looking repulsed and confused he averts his eyes and tries to comfort his buddy (a way of seeking comfort from him of course). 

The true horror story (and this is a horrific piece) is revealed by the title. The artist has rendered the image in black and white tones as though it were a press photograph of the atrocity, taken secretly from a vantage point above the courtyard. This scene is all too real as a reflection of recent history and the eternal reality of war. The undisguised, premeditated cruelty makes a disturbing combination with the youthful beauty of the attackers and seems to take another leaf from Greasetank's book.

 

Madeira DeSouza - Savage Eyes - 6

Another understated image featuring an unusual restraint device I don't recall having seen before. It has a devastating simplicity, forcing the captive into a bent posture that creates erotic vulnerabilities at both ends of his body. Possibilities that don't seem to be lost on his captor. 

More compelling for me though is the submissive nature of the pose imposed on him, forcing him to look upwards at his 'master'. Naturally, his credentials as a 'Savage' are not enhanced by this indignity and in this picture his anger at the humiliation is quite apparent although his exaggerated dick is putting an interesting slant on his anger that could scarcely pass unnoticed.

Once acquainted Madeira's dark mindset you soon realise that the threat of penetration may not be the worst of this man's problems, not with the captor prodding him with a naked sword in a most intimate and threatening manner (well-disguised for the faint-hearted and innocent). Nor is that the only threat to his integrity that the weapon represents.  Personally I'm happy to take my leave at this point!

 

Madeira DeSouza - The Artist with a Cowboy Lynch Mob

The threat to life is even more explicit here and interestingly the artist puts himself centre-stage as victim of a traditional, cowboy, lynch mob. That seems to correspond with his interest in the feelings and fear of victims which seems to stand out in other pictures. You can see in the quality of the detailing that the aggressors here are of secondary importance (indeed in some of the pictures above they are reduced to near-featureless manikins). 

There's clearly an element of self exploration in Madeira's artwork and it includes sexuality, made plain here by the fondling hand of one of his tormentors. I'm not sure that this represents an interest in death  itself, nor the thrill of flirting with it (which some seem to enjoy) but rather the exploration of fear and it's curious connection with sexual excitement. (Perhaps not so curious if you think about the comfort men derive from sexual excitement and it's biological purpose which becomes urgent when survival is threatened). 

I'm no psychologist but my pet theory is that if fear figures prominently in your formative years, particularly adolescence, it's quite likely that, being a man, you would seek comfort in sexual stimulation as an escape. After that, I suspect it wouldn't take long for depictions of fear to become a source of stimulation in themselves and you wouldn't be human if you didn't then imagine the victim in the image to be a conceptual representative of your own tormentors. Which is why 'blue eyed' boys (see above) may seem inexplicably attractive in such predicaments. I suspect my final image below also embodies this pattern of thought.


My final image is probably too graphic to display here, so I'm just providing a link to Madeira DeSouza - Strung Him Up Good. As a piece of art this is a highly dramatic depiction of the moment when the nightmare of being hanged becomes real. The coup de grace. It's contrasted with a commonplace, neglected fence just behind, complete with peeling paint, a backdrop suggesting that this is a private affair in a seedy area. The Cowboy's struggle is graphically captured and disturbingly believable but thankfully it's presented as just a fantasy, where the hero still has time to escape.
 
Please don't be tempted to try this or anything like it yourselves
 
 
If you search for his art look out for spelling variations like Madiera, Sousa

For other extreme art at mitchmen click on the noose and crucifixion labels below

Thursday, 18 February 2021

Mythical (They died with their boots off)

PwrOf3D - Sneak Attack

 I usually by-pass fantasy subjects and this one is headed in a quite gruesome direction, but the figure on the right having his toes nibbled caught my eye. It's a marvellous 'surrender' pose which on this blog would usually appear in a leather suspension sequence. In this situation the threat level is even more severe and his nudity accentuates the danger and his difficulty in defending himself. Long (heroic) hair is the norm for situations of this sort (sadly) but these men are nicely cropped and if you cast your eyes around you see the reason why, vestiges of modern army combat gear scattered on the floor. So how did these three soldiers get here and how did the beast (a hydra, by the way) persuade them all to undress for dinner? Does it have some strange mental powers?

It turns out that these three soldiers wanted to escape the desert heat by going into an old tomb (yes, I know, never a good idea). They took advantage of the privacy to shed their heavy armour and some clothes. Well I say some, but as you see it's every last stitch. I thought there was something about soldiers always keeping their boots on, so maybe there are strange powers influencing them after all - or maybe they were just planning to grab some man-centred R&R with their buddies. Whatever the case, a gatecrasher is spoiling their party.

See the sequel and similar images at PWRof3D at Deviant Art 

Be warned that it's not exclusively male victims, nor human even. 

The Art of Madeira resumes next time

Monday, 15 February 2021

The Art of Madeira DeSouza - 1

Madeira DeSouza - Combat Culture

This opening image is a fair representative of Madiera's art. The subject matter shows a helpless, powerfully-built captive facing an extreme threat laced with powerful erotic flavouring. The technique is based on relatively basic rendering with characters that occupy the middle ground between caricature and total realism set against basic backgrounds with minimal accessories that suggest just enough to stoke the imagination. 

There's an artist's eye at work in the choice of an upward-looking viewpoint (out of all the options available to a renderer) and realistic details like the twiddling toes, anguished expression and nicely modelled cock reflect an emotional and erotic involvement with the subject that draws us in too. Fetish fans are amply catered for with a restraint arrangement that makes the captive feel uncomfortable, exposed and vulnerable. The forced straddle of the post is subtly erotic.

The title leaves us wondering if this dramatic basement encounter is a brutal, wartime interrogation or perhaps an extreme test for joining a military elite. The shadow of the gun on the left suggests more complex motivations may be involved.

Madeira DeSouza - Four in One (as always, click to enlarge)

This portrayal of a handsome captive seduced and submitting is one of my favourite images by this artist. It's story-telling progression is another facet of his art although this is the only example I know of where it's condensed into one image. It's an imaginative use of the ability to produce image variants.

The subject in the first frame looks like a model posing on a bar stool for an arty photographer. He seems to be something of a jock - muscled, good looking but apparently capable of introspection and sensitivity. Although his hands are placed behind his back there's no evidence that he's restrained. 

Then a bulky muscular man moves in on him, grabbing his balls. The model's face registers alarm and he recoils, but suddenly his feet are trapped in the foot rest of the stool and it's clear now that his arms are tied behind him. 

The third frame is perhaps the best of all, he is reluctantly drawn into an embrace and faces his seducer with a priceless and rather boyish "must I?" expression on his face. This encapsulates the moment of capitulation better than any other image I can think of. The predator's bulk seems be overwhelming him here and the model's fear is evident, it scarcely needs the elaboration of an involuntary, watery spurt. At the same time you sense he's not really trying to escape! 

In the final frame his body is reduced to a sweaty, shiny hunkiness as he succumbs to his own animal instincts. His muscularity blooms in the final frames, ironically it gives him no protection, but it does makes his submission rather compelling.


Madeira DeSouza - Accosting a Blond (my title)

There's an element of intimidation in this encounter too. It's a conceptualised version of the eternal male fantasy in which showing someone you like then by touching them intimately magically produces reciprocal feelings. Women complain about men doing this all the time, but in the gay world it rarely causes offence and often works if you've got the courage to try it and an agreeable personality. Thus although the blond above is surprised by the sudden grope, he's excited by the unexpected interest too.

In this idealised homo-erotic fantasy, it's almost as if these two men have just bumped into each other on the street. The object of desire has been magically stripped of his natural reserve and his clothes and transported to an out-of-world 'zone' where his sexual feelings may be freely shared with the stranger who approached him. Their shadows suggest there's an element of romance at the back of all this spontaneous lustfulness.


 

Madeira DeSouza - Dance 1

Fighting and violent encounters are a recurring feature of this artists work and the victim is commonly outnumbered by his attackers creating an instant 'hero in trouble' pathos which is amplified here by his anguished expression. The dramatic, attacker's lunge and the victim's recoil, with a falling domino effect as he collapses into the second assailant makes for a satisfying composition. DeSouza has accomplished a degree of interaction and believable 'proximity' between the superimposed figures that isn't easy here. Notice that he's opted for the victim to squeeze his knees together as a realistic, defensive response to the attacker's jab rather than leaving him open legged and thus astride the attacker's knee which would convert it to a more erotic grip. 

Cowboys and their brutal, all-male lives feature regularly in Madeira's work. Clothing is crucial to their identity of course but is often a tricky area for renderers (even accomplished ones), Madeira's approach is sometimes tokenistic but those shown here are pretty convincing. We are not told the reason for this attack. The title of the piece is ironic of course but it does give a clue to the outcome if you want to seek out the other pictures in the series.



Madeira DeSouza - Street Corner Captive

Madeira often features fearsome looking toughs in his images and this one has made a captive of an most attractively muscled man, singling out his balls for attention. It's not clear if his motivation is benign or malign. 

His captive is no wimp, he might have just come out of a gym training session, and his toned, shaved body suggests he has great awareness of himself as a man. Despite that he's being totally dominated, forced into naked display and bondage - including a ball-tie that arouses him and attracts attention. His captor seems to be pointing that out, casually twisting his head to one side in rebuke. The humiliation is underlined by the semi-public setting - just open enough to feel exposing and allow others to watch, but just private enough to avoid unwanted interruption. It's clear his ordeal is only just beginning and lengthening shadows signal approaching darkness.

 

Madeira DeSouza - Seven Against One (Best of Beck 6)

Falling into the hands of a whole gang of muscular, randy toughs might be your idea of heaven and the rendering of this image is reminiscent of those images of public baths where the rules allow males to freely frolic without scaring their fellow citizens. This might be a novice being introduced to the muscle-sex club by a man who's pretty enough and big enough to fill the romantic dreams of many. 

In Madeira's hands, however, this is always more likely to be the setting for a nightmare and that is the case here. Beck (a cop with a weakness for sexual blackmail) has been abducted and brought to this spacious basement for some settling of multiple scores, which will demand more from him than mere sexual gratification. Thus the hands behind back pose does not indicate a 'come and get me' openness but hands-tied captivity, a state made hopeless by the numbers of his captors.

This is the most refined of the images we have seen so far* with nice rendering of the participants and setting and clever shadowing creating depth and focusing attention on the central encounter. Exaggerated musculature in cops is not an unknown phenomenon but it doesn't quite accord with our normal perceptions of gangsters. Nevertheless the foreground figures in particular are a feast for the eyes of muscle fans.

*I included another Madeira image, similar in quality and subject  to this one, but featuring convict intimidation  in the mitchmen collection of jail art entitled "You're Going Down!"

 

Madeira DeSouza - Sex Slaves on Display

There's intimidation on an industrial scale in this picture where multiple captives seem to be trembling in the presence of their captors. Their downcast eyes understandably reflect bewilderment of what has happened to them - being taken prisoner, tied-up, their clothing removed and then being abducted to this bare room in company with other unfortunates. They've probably been roughly handled in the process too, which may be why they are leaning against the wall (although that posture is also ideal for inhibiting sudden movements and promoting passivity if you think about it). One of their number though (second right) looks as if he might more resentful and is biding his time.

These are a diverse group of fit men, but it doesn't look as if they are destined for an Amalaric-style slave auction (at least, not yet), since their captors have stripped off too. That suggests an intimate engagement with their captives is imminent and either they don't want their clothes to get in the way or else they don't want them spoiled by any mess that might happen. DeSouza's title gives a hint that it may not be wrestling on the agenda. It seems like a ray of light has picked out the first volunteer who gazes at us blankly as though not understanding and appealing to us for sympathy. The captor  giving him a reassuring (or possessive) hug looks nice (but probably isn't)


Madeira DeSouza - Public Shower Milking

It's unlikely that those novice slaves would imagine that bizarre torments like this might be in store for them. A public milking (whilst restrained) might feel degrading for some, but it's not the end of the world. However, the sprinkling shower (somewhat inexplicably) raises the ante on this humiliation. 

In popular culture, wetting another man with water is a provocation, sometimes a demonstration of contempt and akin to a physical blow. Here it's a demonstration of power over a captive that's humiliating for him, like an uninvited stranger invading the private space of his shower. It's temperature, hot or cold, may be a further discomforting factor for him but bear in mind it's one the milker here has to share. The wetting of his skin produces a shininess that is visually sensual and draws in the spectators, turning him and his sexual humiliation into a fairground, freak show.

If you look closely there are clues that Madeira may originally have had a more extreme scene in mind, since the victim's feet don't seem to be touching the ground.


Madeira DeSouza - Torturing The Prisoner

This image shows a man undergoing a more determined milking while seemingly strapped down on a block of some sort in a clinically white setting. Even his restraining straps are white and just the faintest trace of shadow tells us it really is a setting, not just a blank background! It seems to indicate that his captors are sophisticated and his semen is sought for a specific purpose and not being extracted simply as a gesture of dominance or lust. 

His muscular build and facial hair may give a clue as to why. They testify to a well-matured masculinity. Presumably he had extensive body hair originally, but it's been shaved off for clinical reasons. Now he is no longer a strong, independent man, but just a laboratory specimen, unable to prevent their experimentations on him nor their explorations of his body and it's workings. 

The glaring white setting seems to epitomise his isolation from the real world. So does the clever use of an aerial viewpoint which creates a topsy turvy scene, nicely illustrating his disorientation and loss of control. This scene doesn't match normal notions of torture but shows a torment of a very subtle kind.


Madeira deSouza - The Captive 10 (Drained)

This picture has a white background too and it's possibly related to the previous one, the captive has a similar appearance and is in a similar plight, but there's no sense of clinical purpose here, just lustfulness, which is probably easier for him to understand but leads to much the same 'Why me?' dead end. This suspension is a much cruder method of disorientation and more physically demanding for the captive, but it's a spectacular demonstration of control, augmented with the possibility of pain if excessively prolonged, so don't try this at home!

 

Madeira DeSouza - Abstract reclining device (for milking)

The milking of these two buddies employs a more technical and artistic restraint in the form of an elegant, shaped recliner which they sit astride. Comfortable perhaps apart from the plug on which they are impaled, which helps to steady and stimulate them during an energetic extraction procedure. There's always something special about buddies sharing exotic experiences! Notice the interesting contrast between their faces here, one shocked, the other seeming to be well into the zone of sensual pleasure.

The technical sophistication here suggests a highly professional operation with a significant sense of purpose, similar to the clinical scene above, but here dark shadows suggests a more secretive, more dubious intent. You may recognise a similarity with the image I used for the mitchmen post,  Milking Factory 10.

 

Madeira DeSouza - Barn Hang

Perhaps there's a limit to sharing experiences. These two are clearly not just buddies but beautiful lovers and perhaps that is why they are imprisoned in this frightening place. This image hints at the darker side to this artist's work which I will explore in Part 2 at mitchmen blog. 

(Madeira Desouza website)

Friday, 12 February 2021

A Story of our Time

This mitchmen story begins with a pilot who has just returned from a reconnaisance flight
He has seen something very strange and tells his incredulous colleagues about it...

 
The explanation is stranger still..........






The pictures need no comment from me! 
 
All these images are taken from Commando War Stories No753, 'Castle Sinister'. It was first published in 1973, nearly 50 years ago. I've edited out as far as possible the original, overt references to nationality because it seems irrelevant to the central message. These events could have taken place in any country in peacetime or war. For example see Britain's Anthrax Island 
 
~

By way of lighter relief, this is the next frame of the story....
 
 

 He may or may not be a bad ass, but Sgt Bailey has certainly got a mean-looking ass!
For once in these comics we get a decent look at it, since it's not in dark shadow
(in curious and pleasing contrast to his back, which is).
Notice how his bayonet is parked, nestling between his cheeks, most suggestively! 
This means he can still get at it when lying face down in mud, it's not ideal for sitting down though.
 
There's some nice domination innuendo in the rest of the story which I will explore in a future post.

 

The 'Castle Sinister' of the title is the location of the virus development lab, 
it's eventually destroyed by Sgt Bailey and his lads of course.
For the time being anyway, but viruses have a nasty knack of coming back
(even when humans are not giving them a helping hand).

This is No 21 of the mitchmen war comics series.
For other 'mitchmen' War Comics featuring curious and sexy incidents, click on the label below

Tuesday, 9 February 2021

Be Careful What You Wish For - 4

1


2




3


Tim Adonis aka Cain aka John Galt aka Cage (so many jobs and still looking!)

 Image 1 by Playgirl.com
Image 2 by Paragon Men
Image 3 by Captured Guys

For other mitchmen, ill-considered 'wishes' click on the label below

Saturday, 6 February 2021

The Art of Luxuris - 3

Luxuris - DJ Noah
 
Luxuris' more serious portraiture art has a different, sharper style. He has a knack for capturing the attractive features of a man and translating them into a stylish image that flatters the subject. Here suggesting a powerful, dominant presence that reflects the heroic role a DJ enjoys on the dance floor.

Luxuris - Francisco Manent

Fran Manent depicted as powerful too, but mysteriously alluring like a male siren. The sharper muscle definition has slightly hardening and 'distancing' effect. This is a man with a strikingly sensual and sexual aura in real life but it's sacrificed here to produce neatness and heroic solidity. Nice green highlights suggest hidden 'powers' of a more supernatural kind. These images show similarities to the fan art of Silverjow.

 

Luxuris - David Zongoli

This image is more simply sketched and the absence of fine definition (in the thighs, for example) creates a more striking sense of bulk, but it's bulk with a softness that is sensual even though the shading and highlighting is so subtle you hardly notice it. This pose is quite different to the heroic man above, it has an inherent modesty that plays against the implied strength of the subject to create a thoroughly charming, 'gentle giant' image.


Luxuris - Sexy Boy

This image is inspired by the well known image of Lawrence Dellaglio, the England rugby player, changing his shorts on the pitch during a match. Dellaglio is a chunky beast and Luxuris slims his waist for Sexy Boy, producing an image with a different sort of more youthful appeal, take your pick! He sensibly keeps the glimpsed underwear almost identical to the original spectacle.

 

Luxuris - Tsumugu Kinagase

There are echoes of Sexy Boy in this image of a fictional character but the original, unconscious display of Dellaglio has progressively evolved into more self awareness coupled with a simmering threat that would daunt most admirers! Dark trunks obscure the details of a backside but that gives it a bulk in exactly the same way as David Zongoli's thighs above. It conveys a sense of modesty too but in this case it's not so much charming as tantalising and challenging.  There's a naked sequel at the links below.


Luxuris - Warrior Dai Grepher

We're back with games characters here and that gives Luxuris scope to devise imaginative costuming that is intended to do the exact opposite of of Kinagase's black trunks by drawing attention to every curve and every nook and cranny of Dai's posterior. The lace-up back and sides add an (probably illusory) sense of accessibility but it doesn't look as if you'll encounter much resistance anyway. This is the least undressed of a sequence of variants with an M.O. (messy outcome).


Luxuris - Tribute to Iceman Blue

Another image that depicts a muscular giant as a cute young man by drawing on the 'baby on a rug' routine (but with more adult body emissions). The ragged clothing suggests a boisterous coupling has led to this contented state. The simple rendering of body hair is rather nice.
 

Luxuris - Sailor Saluting


This picture is fairly heavy on iconography, somewhat confusingly. At first sight, the sailor's cap and portholes set a nautical scene for this blue-eyed boy which seems to link him back to the heyday of sexy sailor images in the post-WW2 era. The same might be said of the tattoos, I see there are traditional anchors and roses amongst them, but rather more than most old-time sailors had. Moreover the shoulder tattoo in the Japanese style has gangland associations and the scarf round his neck prompts thoughts of piracy rather than regular naval organisations. In fact there seems to be an element of mockery in the salute and frivolity too in the tiny cap with it's Pop-Eye anchor badge, which certainly connects to the dense musculature of course. I can't decide if I like this or not!
  

Luxuris - Tattoo Boy

I don't harbour(!) the same doubts about this simple image of a swimmer. The trunks do it for me every time and there's not a trace of edge in the 'come on'. The tribal tattoo on his shoulder might have intimidated in olden times but it's an everyday sight now. Visually it has the effect of pulling the shoulder forward here and creates a slightly 'hunched' posture which is more defensive than aggressive. Likewise the tilt of his head, requesting rather than demanding our attention, is completely unchallenging. Seems like a nice boy. Too nice for a fetish blog perhaps. 

There's some interesting detailing in the background which has led to censored variants on some sites.
 

Luxuris - Wrestler in a Leotard

There's a censored version of this image too but I thought my readers could cope with the full blown version. It's a rather nice imagining of the leotard effect which used to be confined to the wrestling arena but now graces athletics tracks everywhere, usually less prominently than this! Luxuris doesn't leave much to the imagination here, painted-on you might say, the subtler hints of muscular contents in real leotards look even better to me.
 

Luxuris - Diego Groping

This muscular hook-up is immensely sexy and romantic too. In it's essence it's a regular sight in gay night-time venues but with the embellishment of undress and enhanced muscularity it makes a terrific image, full of erotic electricity and the participants seem to enjoy us watching. The romantic side of Luxuris is as enjoyable as his raunchy fantasies.

 
 
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