Art by Holzman

Holzman - Merchant Navy 1

This Hussar advert in Fizeek magazine in 1963 introduced a new artist to the gay scene, Holzman, with a 'playlet' about a nautical thief. The illustration shown is one of the opening images of the series showing the 'toughie' arriving with his kit bag. You can tell he's tough because he's got a torso-revealing, open jacket (leather?) and a cigarette drooping from his mouth. You sense he's a man with attitude although the cant of his head here is what smokers do to keep their cigarette smoke out of their own eyes. In that respect this is a neat little piece of observation by Holzman, documenting a practice that's gradually dying out. The tough is thoughtfully examining something that he's found, his seaman's papers perhaps although I suspect it's a bottle  (see below). 

I don't have all 16 images in this story or any information about their sequence and have therefore  simply numbered them in what seems to be the logical sequence

Holzman - Merchant Navy 2

The new boy climbs on board with a long, butt enhancing stride and a determined look on his face. 

The texturing of his jacket and jeans suggests they might be leather, which in the 60's was thought of as the uniform of wild bikers. However, the presence of turn-ups and the styling of the jacket with visible seams is more suggestive of denim, a more suitable material for working on a boat.

Holzman - Merchant Navy 3

Below decks, the toughie examines a bottle of alcohol which has a label promising serious gut rot. It's enough to make him drop his cigarette, which apart from being a breach of good manners, is liable to start a fire on a boat, a danger to life and limb. 

Despite these shortcomings in character we are learning about, he's portrayed as a sexy beast. The 'Latin look' was quite common iconography at the time and very exotic to UK eyes. The exaggerated fleshy lips and dark-rimmed eyes seem to be borrowed from female notions of sexual allure (unfortunately for the image of gay men). A distinctive vocabulary for the male equivalent had yet to be developed (and probably wouldn't have been accepted by society at large anyway).

The straw-clad carafe of wine in the cupboard behind him is a nostalgic image from a less sophisticated era in the UK. You might also recognise the 'Heinz 57 Varieties' label on the tin on the bar, amazingly it hasn't dated in 60 years and I suppose the same is true of his fashion wear.

Holzman - Merchant Navy 4

In this image it seems that the new crewman has removed various articles to his cabin and is about to hide them in his kit bag, furtively concealing his actions from a member of the crew working on the deck just outside. It must be a hot day because everyone seems to be undressing. The enticing glimpse of flesh through the porthole is the calf of a crewman walking towards the left of the picture. 

You could be forgiven for thinking here that the thievery entailed drinking the liquor and then topping up the bottle to hide the theft. However I can imagine this clever 'hidden eroticism' probably escaped the attentions of the censor and deservedly so, because it's very nicely drawn, a neglected classic. 

The villain has become more Anglo-Saxon-looking in this image, but I think it is the same character. judging mainly by the turn-ups (image 2) and the presence of the two tins. The Latin look does return later but only in one special example.

The smoky effect at the left, by the way, is not the result of his dropped cigarette but a scanning effect. It has fortuitously added a nice texture of dappled light to an otherwise 'flat' image.

Holzman - Merchant Navy 5

The villain's activities are disturbed by the arrival of a 3rd crewman (also apparently wearing a leather jacket). He too starts to undress, whistling as though routinely changing into his work clothes, which judging by the porthole vision in the previous picture might consist of very few clothes indeed. The thief is horrified, presumably imagining he's about to be exposed - as a thief, according to the story line, or, in the more subversive sub-text, as a man who has problems with naked male flesh. 

Holzman's picture here copies classic, film noir imagery, with the unsuspecting innocent making himself ever more vulnerable to a hidden threat of which he's unaware. The hidden eroticism in this image surrounds the ambiguous interpretation of the bottle, angled just right to suggest the villain is getting other ideas about dealing with this new arrival. The coat hook just above his head provides a more graphic hint of what he might have in mind with the backing plate suggesting a tight fit. 

Holzman - Merchant Navy 6

The crisis seems to be precipitated by the arrival of a third man. He appears to be the skipper of the vessel, previously glimpsed through the porthole in picture 3 and now revealed to be dressed only in a cap, skimpy slip and sea boots (the last a worrying link to the contents of the bottle!). At this point the undressing crewman has lowered his underpants. In fact they are nowhere to be seen, presumably lost in the folds of his jeans, unless they're ripped to pieces on the floor.  

The villain's reaction seems a bit over the top. In the story plotline he seems to think that his exposure as a thief is imminent and so goes into self-defence mode, smashing the bottle to use as a weapon 

(or it could be that he's suddenly revolted by the thought of sampling it's contents!) 

Alternatively, in the delicious ambiguity that pervades this story, the young skipper's sexy appearance here offers an explanation of the actions of the villain back in picture 3. His panicky reaction now is triggered by the rapidly accumulating male nudity and the sudden prospect that he might be about to witness something unspeakable going on between these two men, whom, we should remember, didn't know he was there until he announced himself by smashing the bottle.

There used to be a accepted legal principle of 'homosexual panic', i.e. a fear of being in imminent danger of being raped by a homosexual. This was advanced as a legitimate excuse for assaulting gay men and even killing them. In some cases the reaction hid the fear of having his own, secret, homosexual leanings exposed. This concept perversely confers a power on gay men over straights that is erotically appealing, if entirely fanciful.

 Holzman's rendering of the hunky skipper is masterly but some severe cropping seems has gone on, spoiling the depiction of his crewmate. The villain's aggressive act has been converted into a disembodied eerie 'manifestation'. This may have been intentional, to amplify the sense of panic and the shock to the sailors. It might even allude to an explosion of a different kind. However, it was also common practice in this period to publish incomplete images in order to encourage viewers to buy the full artwork.

Holzman - Merchant Navy 7

Somewhat surprisingly, the villain chooses to confront the defenceless, nearly naked seaman with the bottle rather than the Captain. It's him (or his nudity) that he finds most threatening, or it could be that this crewman has challenged him or is attempting to calm him*. Interestingly, his jeans have now dropped round his ankles and the villain is suddenly sporting a recognisable manifestation of excitement in his jeans rather than the generalised bulge seen occasionally in the preceding pictures. 

*Perhaps Holzman simply thought it made a better picture. Whatever the case it's a great image using a challenging viewpoint. The quality of these pictures in both technical and dramatic terms is certainly on a par with the emerging stars of this era - Tom of Finland and Etienne.

Holzman - Merchant Navy 8

The captain intervenes with a mighty upper cut. By this time, his half-undressed crewmate is down on the floor, on his knees (and with bare ass raised in a classic, passive pose). The broken bottle is nowhere to be seen, suggesting that he managed to disarm the villain before he could do any damage with it.

Holzman has included the coat hook (from picture 4) in this image, positioning it a short distance from the villain's half-open mouth. It sort of matches the sweep of the Captain's fist and suggests there's an erotic consequence in store for him, but is slightly off-piste in the circumstances.

I don't have a satisfactory copy of this picture but it's too important to leave out. 

The cartoonised version below gives a neater sense of how the original might have looked.

Holzman - Merchant Navy 8 (AI variant)

This more balanced variant gives a better sense of the drama of the moment. It also brings out the nudity of the fallen sailor, almost seeming to suggest that the other men are fighting over him (hence, I suppose, the presence of the phallic coat hook, which, in a bizarre AI tweak, is suddenly dripping!). 

However, we can also see more clearly that the fallen sailor's arm is entwined with the villain's foot, confirming his active role in overpowering him. 

Holzman - Merchant Navy 9

The thief is down but not yet out as the crewmates pile onto him. The captain's hands are clasped tightly together round the villain's neck and he is struggling manfully to detach them. The second crew member, having disentangled himself completely from his jeans and underpants, has grabbed the villain's free arm and is pulling it into his uncovered crotch, where it can't cause any mischief but feels nice. 

Ominously for the villain, his flies have come undone and his Y-fronts are pushing up through the gap and being nuzzled by the skipper's shin (entirely accidentally, I dare say). His choice of underwear makes the bulge in picture 6 improbable, although the picture below shows they are not a very tight fit, so maybe it was an escaper.

Holzman - Merchant Navy 10

The sailors turn the villain upside down, perhaps hoping to see what will fall out of his pockets, which is the traditional way of exposing a thief in kids' comics. It has the effect here of pulling his jeans off anyway, which will enable them to conduct a more thorough search (or something like that). Losing his pants also makes it a tad more difficult for him to run off, but I suspect that being undressed by these men is only going to intensify that instinct.

You may think you've seen this picture before and you'd be right if you're a regular visitor to this blog, because exactly the same picture appears in my article on the Art of Cas. The same that is, except that it is signed there by Cas. Cas and Holzman are the same person.

Another Cas-Holzman picture can be seen at the mitchmen Royale Studio blog in the 'Timeline' post section 63.1. It's in an ad, emblazoned with the Cas logo, but a contact address has been positioned on top of the original Holzman signature. The background to this name changing is a mystery. Perhaps something to do with publisher's exclusivity.

Holzman - Merchant Navy 11

Finally the villain seems to have collapsed, or at any rate he has stopped resisting. The crewmen lift him bodily almost as if intending to pitch him overboard. Their bulging trunks symbolically almost touch in a sort of low five (or three) you might call it . Apparently the stripper has managed to put his underpants back on. The enhancement and clarification of this image has brought the villain's underpants into stark relief, stretched tight round his buttocks and deep between them. 

The clues to what is actually about to happen to him can be seen behind them.  

This picture and 13 below have both been retrieved from small thumbnails in Hussar ads, hence the inferior, fuzzy quality. They suffice to allow us to understand what is going on, however. 

If any reader can supply better versions, please get in touch!

Holzman - Merchant Navy 12

The sailors hold the would-be thief down over a barrel, which can be seen standing against the wall in the previous picture. The captain takes the lead in punishing him, flogging him with a knotted rope. His crewmate sits on the villain's head to hold him down (with his balls resting on his shoulders where they can monitor the villain's movements as he reacts to the thrashing). His pose here, with the characteristic turning of the head is reminiscent of Spartacus.

The skipper's fleshy physique does not disappoint in this picture but his face has now transformed rather unpleasantly into an appearance similar to that of the villain when he arrives at the boat. This seems to be a look chosen by Cas to represent nastiness and it's been gradually developing in the Captain in the preceding pictures, like something out of Dorian Gray. 

Cas seems to be playing with a very dubious stereotype of foreignness here and unnecessarily so since it would perfectly OK for the cute, hunky, young man in picture 6 to maintain order on his own boat without turning into a demon. I suppose there's a certain satisfaction in the villain being 'out-nastied', having underestimated his intended victims. The crewmate steps up for his own crack of the whip next.

Holzman - Merchant Navy 13

The villain must have struggled energetically during the Captain's assault because the two sailors have now tied him down over the barrel with his arms and legs spread wide. The sailor who was earlier threatened with the broken bottle stands astride him with the miscreant's head between his legs. He pulls it up by the hair so it's snugly wedged in his crotch, almost face upwards here so it gets the fullest experience. He proceeds to flog him himself with the knotted rope, no doubt enjoying the villain's struggling movements between his thighs which seem to be dislodging his already skimpy trunks.

The skipper watches them, flexing his muscles triumphantly. He even seems to be rubbing his packet with his left hand, but that may be wishful thinking on my part!

Holzman - Merchant Navy 14

In this final image, again recovered from an advert thumbnail, the punishment seems to finished. The scene has shifted to a bedroom with a washbasin in the corner and the chastised villain meekly seeks the comfort of a cushion to sit on, on the bed. He's now without any underpants at all and there's a faint suggestion of criss-cross weals on his buttocks. It's possible that a bare-ass final spanking was the subject of one of the two missing images.

His two adversaries stand, lording it over him, with undisguised enlargements on their pants. One of them is resting his arm on a long pole which faintly suggests the punishment may even have reached into internal regions in some shape or form. The Captain, restored to normal handsomeness, breaks out the liquor that seems to have been the root cause of the problem. The villain hasn't got much to celebrate but it doesn't look like he's free to go just yet . You sense the affair is not yet over.

~

These images were obtained from the internet and some from TimInVermont

and enhanced by mitchmen where my logo has been added.  

 

more about artists featured by Royale and Hussar

A Long Time Dying

Click to Enlarge

 With apologies to Atticus who did the manips

Click on the labels below for related subjects

Vintage Bondage - James Seely

James Seely by Kris - 1

In this 1965 picture by Kris of Chicago, James Seely looks every inch like the military man who's just come into the studio to pose for some skin pix and earn himself some extra cash. His muscularity and USMC tattoo mark him out as a man who can look after himself. The jock he's wearing is reassuringly masculine and there's a certain casual confidence in this open-legged pose. As a winner of the Mr Florida title, Seely was well used to displaying his physique. But there's a look in his eye here that's a little wary and he's clinging to the stool as if not quite secure.

James Seely by Kris - 2

In this picture he shows his military background with a confident, casual pose and rebellious gesture. We don't really know if know if the finger was a spontaneous reaction to provocative banter or if it was deliberately posed by Kris. However, given at arms length here, it seems like a half-hearted, sly response to being ordered around, whilst still obediently holding the pose. Seely's submissive and questioning expression makes it look more like an invitation than a rebuke.

James Seely by Kris - 3

In this picture we can see that the garment protecting James's modesty is only the remnants of a jockstrap, curiously adapted to a posing pouch (a puzzling phenomenon of the 1960's that I explored in mitchmen's Vintage Season, Part 11). This leaning back pose puts his whole torso on display and James looks abashed, as if this is not quite what a man should do. He puffs out his chest in a show of military manliness but holds the stool for support, protecting his rear, but perhaps not realising just how grabbable and appealing his lean physique and slender waist looks.

James Seely by Kris - 4

If the model felt discomforted by the self display of the previous pose, it's even worse here with his crotch thrust forward, offering himself up to the gaze of strangers. It seems to show in that irritated, 'what's going on?' expression. He's bound to feel vulnerable, because he cannot protect himself in this position and getting out of it requires awkward, undignified manoeuvres. That helplessness makes for a very sexy picture and (unknown to him) Kris has ensured that his jock-pouch stands out, virgin-white against the background. The bulge it reveals is necessarily modest by modern standards, because of the legal constraints of the day, but it won't necessarily have felt like that to him.

The magic Kris weaves using this elegant, art nouveau style stool is a tribute to his artistic skill.

James Seely by Kris - 5

   Next, Kris introduces dangling chains and persuades Seely to strike a classic body-building pose with them wrapped round his wrists. He looks like a captive slave being presented for sale or made ready for punishment. The subterfuge of combining classical art and modern fitness imagery was probably intended to confuse the model just as much as it was the censors and Seely's wonderfully expressive face suggests it's had exactly that effect - with an dash of apprehension thrown in. 

Kris got Seely to change into a 'proper' posing pouch for this part of shoot. It better suits the allusion to slavery, but the flimsy material is more directly revealing than coarse, jock fabric and it probably felt that way to James as he slipped his tackle into it. There's even a slight impression that it might even have been pre-wetted, Royale style, to enhance it's clinginess. That might have contributed to the model's pained expression. Kris has drawn attention to it with some clever lighting. 

James looks big, strong and powerful in this perspective, worthy of being restrained with chains. 

It's a dramatic physical contrast to his poses with the stool, but he looks no less vulnerable.

James Seely by Kris - 6

This picture may look familiar, I used it 18 months ago in The Abandoned Slave, a captioned post spoofing the pretended restraint in bondage imagery of the mid 20th century. Kris seems to be doing the same himself with the dangling chain end looking for an anchorage and humorously phallic. Seely contributes a delightful, puzzled expression. The trailing chains rising up between his open legs are not devoid of erotic significance either.

Kris has subtly accentuated the shape of Seely's pouch here by allowing a drooping shadow to fall across it, but it's far from prominent (compare it with the jock cupping in image 4). Rather it helps create a sense of near nudity in Seely's willowy physique. 

James Seely by Kris - 7

That sense of flexibility flows through this image too with James seeming to be trapped in the chains and twisting to look back at us pleadingly. The first sight of his backside is a treat, no wonder he looks so worried! That's not the only significant development here because in this image he actually is completely naked. The pouch has gone the way of the jock leaving only a tell tale line across his glute.

James Seely by Kris - 8

Seely playfully wraps the chains around himself, protecting his modesty in the frontal view.

His physique looks mellow and attractive here and is enhanced by the spiralling chains.

His face is a picture of uncertainty, this is how you would imagine a captive to look

 on the auction block as the bidding fury mounts.

James Seely by Kris - 9

The model's playfulness emerges more clearly here. 

Seely's back is the most impressive result of his bodybuilding but it's the buttock cleft

 that draws your eye, thanks to Kris's adroit arrangement of the chains. 

I suppose you might describe this as an early manifestation of the tentacle effect,

with the victim unable to decide what to do about it.

James Seely by Kris - 10

Freed from the chains, Seely presses his hands together to bring out the bulk of his back.

As with image 5, he seems to shrink into a surprising, more compact shaping.

Personally I prefer the slender look.

This pose also creates the frivolous impression that he's anxiously covering his modesty

 and looking round for the missing pouch.

Kris probably photographed full frontal images during this shoot, but the time had not yet arrived when he could advertise them or publish them openly in the beefcake press and I've not found any yet. However, nude studies of this model do exist and my next post will include some along with other examples of his delightful facial expressions.

To be Continued in Part 2

images courtesy of Tim InVermont and enhanced by mitchmen.

Targeted 2

A few hours ago he was he was hard at work, digging on a construction site,

he was looking forward to a dirty weekend with his girlfriend.

But suddenly he was grabbed and manhandled into the back of a van.

Two burly thugs stripped him of his shirt, boots and jeans.

and now he faces a very different weekend.

~

 Credit: Max Duran models underwear for Jessy Ares

at UKNakedMen.

Click on labels below for similat posts 

Chastity Art by Blake Alexander

Blake Alexander - Caged Mako 1

Like Aizenhower, Blake Alexander draws on the characters of 'The Legend of  Korra' for these images. He's dressed them in modern clothes and set the encounter in a sort of classical pavilion or villa bizarrely located in what seems like a typical, suburban, back garden. 

It's a fairly complex scene and the first impression is of a technical style that is crisp, clean and colourful. Visually it's very appealing to the eye and it's populated with attractive men dressed in modern, sexy clothes (nice shorts!) that make you want to see more. 

This picture belongs to a series called 'Caged Mako', Mako being the character who is being dominated and groped in the foreground trio. The thumb just showing between Mako's thighs and his mounded shorts just above it are a very clever detail and, to my mind, much more sexy than a crudely grabbing hand. 

Beyond him is Bolin who features prominently in my recent extracts of Aizenhower's images. He is being readied for you know what by the Commander, who is being assisted by a curious blob-like manifestation which is helpfully supporting Bolin in mid-air, holding his arms and legs in a convenient, spread-eagle position. He seems as happy about it as any leather guy would be in a sling.

Blake Alexander - Caged Mako 2

In this image the clothes of the captives have been magicked away leaving them in jock-straps. Although none of the characters have moved the scene has become much more charged erotically, with the groping hand now in intimate contact with Mako's crotch features and Bolin's rose bud fully visible, open, vulnerable and tempting. Both men appear to be covered in a sheen of perspiration following this unexpected development.

 

Blake Alexander - Caged Mako 3

All the remaining clothes now disappear and the excitement of all (except Mako) is revealed.

We can now see that the object that the kneeling man has been holding in his right hand is a chastity cage and it has now been lodged around Mako's cock. The 'safety string' holding it in place is a surprising detail, it ought to be able to stay on unsupported! The fitter strokes it lovingly but Mako doesn't seem to notice, he suddenly has his hands full behind (neat!). 

Meanwhile, Bolin's immediate admirer is poised to engage gear.

In a fourth image, the fountains duly gush.

I suppose the simultaneous depiction of what happens to Mako and Bolin is intended to draw out the 'buddy effect' of friends being exploited together and unable to help each other. However, there's a slightly frustrating detachment between the two cameos, the two men don't even look at each other and the freeze technique rules out more physical communication. Not that they seem to need much help, Bolin is clearly having the time of his life and there doesn't seem anything to prevent Mako escaping if he wanted to, despite the angst on his face. He is not visibly restrained but I suppose there might be some magical, invisible bindings on his wrists. Forgive my ignorance, fans!

Blake Alexander - Caged Mako 6

The prisoners are released after serving their purpose and later pictures in the series show Mako cruising, but frustrated by the restriction of his cage which is still in place. He doesn't get his clothes back either. In this rather beautiful image we see the device more clearly. It has a curious, organic shape resembling the head of a hawk. The gold colour suggests metallic solidity but in this universe I imagine it might have magical qualities that enable it to come to life. It's no longer attached to a retraining waist string either. The mind boggles.

~

There's a smattering of vanilla Blake Alexander Art on Instagram

BAlexander on X (Twitter) is better

or just use a search engine.

Also  Blake Alexander at Patreon (if you join) probably has the full series.

Milking Factory 16 by Gorounaoki

Gorounaoki - Black vs Villain (h-d)

Gorounaoki's milking factory features a hygienically sealed enclosed chamber. It is kept chilled to keep the product fresh, the temperature is low enough to cause the milk producers' breath to condense. I dare say it also stimulates their lungs and encourages them to stay active, rather than allowing themselves to be passively milked, which must be a temptation after a few hours in the saddle. 

This artist subscribes to the theory that men's nipples can be milked too, perhaps by introducing some mutated hormones into their feed. True or not, it is a sexy embellishment that shows up well here at the 'green' station at the end of the line. Attachment of the nipple tubes is helped by the tight fitting suits the men are wearing, their nipples are squeezed out through holes to form tingling, sensitive peaks, highly receptive to suction caps. The body fitting rubber also promotes a heightened sense of sexuality in them, an encouragement to produce plentiful, good quality volumes.

The milkers are all wearing dark goggles which conceal from them the mechanistic nature of the extraction, allowing them to fantasise about human stimulation. I suspect this futuristic set up may even include some sort of virtual reality delivered through the goggles and tuned to their individual tastes in J/O material.

The other original feature of this set up is the suspension arrangement. Five straps are attached, one to each of their elbows and ankles with one to the body harness at the back of the neck. This keeps their limbs from interfering with the process while still allowing considerable freedom of movement, not least during orgasm. As a result they remain aware of the proximity of their fellow milkers, promoting an unspoken camaraderie and sense of shared purpose. Their 'uniforms' also contribute to this and lend dignity to the conscripts.  

   

Gorounaoki - Black vs Villain (h-c)

The glass wall enables the chamber to double up as an entertainment exhibit for visitors when the men are 'off-line'. Some guests strip off as they enjoy the vicarious illusion of being drenched by the studs, perhaps imagining that they are responsible for it, but the reality is that, even when disconnected from the collection tubes, the men find it hard to stop producing, much like their bovine equivalents who are become programmed to be milked at a certain time every day. This display chamber produces a significant income stream for the factory and (surprisingly) a steady stream of applicants keen to experience being part of the production line. In fact it's no longer necessary to 'conscript' new beasts when replacements are needed.

See unobstructed variant of this picture

Gorounaoki (or Gorou Naoki) usually provides a comprehensive range of variants of his images featuring the characters in various states of undress but disappointingly he hasn't given us a naked equivalent of the top, 'connected' image as far as I have been able to discover. In his original scenario, the captives are actually four heroes who have been captured by 'Villain', hence their colour coded 'super-hero suits'. They are relentlessly milked to expose their susceptibility to sexual pleasure while their Commander, 'Black', is forced to watch from outside. 

View this whole series at hentaiera

 More of this artist at Gorounaki Gallery and My Reading Manga

pay site: GorouNaoki on Patreon

~

Read the mitchmen Milking Factory series from the start

Go to Milking Factory 17 (article pending)

click on the 'milking' label below for more milking situations

More Art by Aizenhower

Read Part 1

Aizenhower - Kristoff Revealed

 I suppose I shouldn't confess to liking 'Frozen' but I was intrigued by the 'male romantic lead' in it, Kristoff. He suffered the laughable fate reserved by movie-makers for male characters - being amiable, strong and dumb but loyal to his mate. It's a negative stereotype that goes strangely unremarked by feminists in the sexism debate. 

Kristoff a la Disney

Disney's official packaging of Kristoff in heavy winter gear is unlikely to stir the senses but Aizenhower extracts and magnifies his sexual presence that simmers, neglected throughout the film. Juxtaposed against his co-stars in the film (top image, above), this first glimpse of him naked is almost as shocking to the viewer as it obviously is to the imaginary heroines. 

The reaction of the coachman at the back is harder to read!

Aizenhower - Kristoff Unveils His Feet

This image stays closer to his film persona - a man inclined to cute boyishness and out of his depth in the sumptuous extravagance of the Palace. This babyish baring of his feet is not in the film. Is it a ploy to alleviate his boredom by attracting the attention of a passing 'footman'? 

Note the hairy legs, this character is a real man.

Aizenhower - Kristoff Bares All

This doesn't actually happen in the film either, 

certainly not with Anna, his romantic counterpart.

It's no surprise to find bulk under his clothing,

though perhaps not as muscular and alluring as this.

Aizenhower - Kristoff's Best Friend

Kristoff's other dumb-male quirk is that his best friend is his reindeer, Sven.

I'm not sure whether this image is an attempt to suggest something more racy

or just a play on the ability of Nordic people to kinkily embrace their climate.

Either way it's a very sexy image.

Aizenhower - Kristoff and a Stabbington Brother

'Frozen' gives Kristoff little in the way of male interest to reciprocate his imagined gay leanings, 

so Aizenhower has transplanted him into the world of 'Tangled' for this fan image.

Here he's paired off with one of The Stabbington Brothers. 

According to Disney fandom, the Stabbingtons are "are twins with muscular bodies, fair skin, red hair, light blue eyes, big eyebrows, big noses, and big jaws". So far so good but they are also described as brutish thieves, the clue is in the name, I guess. That makes this encounter in a weirdly romantic setting very interesting indeed. 

Feet figure again in this picture here. 

I'm puzzled as to why they are dipped in the sparkling stream, but I can see that it is kinda sexy

Perhaps it's something that happens in 'Tangled', but I haven't seen it. (Honest!)

Aizenhower - The Legend of Korra

In Part 1 of this post I featured a number of Aizenhower's images from his 'The Legend of Korra' series and this is another, with the hapless hero, Bolin, playing top for a change. It's quite a complex image which gives the initial impression of him applying a wrestling 'Nelson' hold to persuade a reluctant partner. Closer inspection reveals a very different sort of restraint, a slightly puzzling one. 

Nevertheless, it's a powerful image of two men coming together in high excitement. 

Aizenhower - The Legend of Korra

The tables are turned on Bolin here, it seems, but I don't think he minds. 

A remarkably energetic and affecting image, considering it doesn't really show very much!

Aizenhower - The Legend of Korra

In Aizehower's world all heroes have to succumb to the villains at some point.

Here the Commander takes his medicine in a very steamy scene.

Aizenhower - Open wide!

Invasive medical inspections are another favoured topic for this artist (see Part 1). 

This one, unusually, is taking place on the floor with the medic astride his subject. It creates a marvellous impression of a reluctant patient being firmly treated by a very determined medic. 

The patient's erotic response seems to be the root of the problem and it's clearly an embarrassment.  

The medic can hardly fail to be aware of it, he appears to be enjoying every minute.

These two also featured in a spanking image in Part 1, 

they are protagonists who become friends in an animated film 'Yu Yu Hakusho'.

Aizenhower - Cowboy Bebop

This images features two characters, Jet Black and Spike Spiegel, who are the captain and crew of the spaceship Bebop (from Cowboy Bebop which was a controversial Japanese, TV, animated series about space bounty hunters). 

Aizenhower shows them in what seems to be a seduction, sensitively handled by Jet, the older man. Although there's a striking inter-generational gap, Spike is actually 27 years old in the context of the story - and straight! As a bounty hunter he ought to be well able to stand up for himself,  but the boredom of being cooped up on those long space flights can do things to the toughest of men.

Aizenhower - Rugby Coach

I featured another rugby cartoon by Aizenhower in Part 1. This character is less stylised and captures the sexy credentials of the Rugby sporting stereotype very well. We are presented with physical bulk (great pecs!), square-jawed manliness and a devil-may-care persona for which mooning holds no fears. How these men love to tease us! But who knows what desires lurk inside the brain of this brawny beast?

Aizenhower - Space Dandy

Aizenhower's 'Space Dandy' is a trifle too eccentric for my personal taste, but he does possess one characteristic that I would never ignore - a great ass! What's that saying about the fire and the mantlepiece? In this image it seems like a space alien has also spotted the same attraction via some sort of spying device.

Aizenhower - Space Dandy

      This picture shows the Dandy to have a pretty good physique too, but it's still put in the shade by his backside. It's amazing how the addition of two faint highlights can enhance it's shape and the allure and suggest tight, stretchy fabric at the same time. An interesting demonstration of the power of the humble cartoon (and the gay mind!)

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Link information for this artist is in Part 1

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