Art by StromoXXX

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Art by Briefcase 2

 Read Part 1 of this series

  If you had trouble finding the Briefcase silhouette images from Part 1 at pixiv, look on the last page of his illustration folders.

 

Briefcase - Lifeguard

 

This image is Briefcase's more usual style, a blend of cartoon exaggeration and genuine sensuality, with a good deal of added effects - dialogue, sound effects and reaction signals. The underlying image here is quite sexy, gaining from the Lifeguard connection. There's a pleasing innocence in the humour of pulling down a man's shorts, especially one who might be regarded as an authority figure in this location.

 

The picture leaves me curious about the speech bubbles. I dare say there's a 'wtf' equivalent in there, but it might also give us clues about motivations.

 

The caption here is mine. Briefcase calls it - Human-powered Happening (Another new kind of metamorphosis). I fear something got lost in the translation. I certainly did!

 

Briefcase - Camera Surveillance

Stripped of the comic elaboration, this image is a slow burner. The darker tones reflect its less jolly, voyeuristic nature. The subject is quite a hunk, but he cuts a lonely figure. Or is that wishful thinking? The jockstrap, carelessly encircling his ankle, suggests he might just have suffered a disappointing defeat.  

 

 

Briefcase - Lack of Nerves

You might attribute the same background of sporting defeat to this image too. A rugby player seeking solace in his bedding, rather noisily, by the look of it. Chunky men like this are Briefcase's forte. 

 

Another baffling caption, you can sometimes work these out by inverting the meaning. The artist explains that the sportsman's rubbing is making weird noises, so I guess the title might mean that he doesn't mind who hears him. Playing with that Japanese thing about modesty and shame.

 

I took the liberty of editing this image to remove a detail, top left seeking to show the lurid undercover detail, not entirely successfully. You can find the full image at the link given at the foot of this post. 

 

 

Briefcase - Marine Day (National Holiday)

 

This example of cheery chunkiness seems to exemplify the opposite idea to shame - being out, happy and proud in your own body. A great ad for chubbies (and gingers). And, by the way, a great example of how sexy Speedo-style, swimming trunks can be, regardless of who is wearing them. 

 

The naughty dribble is an unusual modern example of hidden eroticism. Somewhat redundant, in view of the fully detailed projection! There's another example in the cleverly disguised, discharge arrangements in the previous image. See label at the foot of the post for more examples.

 

 

Briefcase - Just (Barely) OK

The erotic qualities of moderate chunkiness and tight-fitting clothes lie at the core of this image, too. It stands up as sexy without any explanation, but looks like a well-built footballer struggling to remove his tight, clinging pants. Possibly rubber ones, which might explain the sound effects as squeaking. The colour co-ordination adds a 'team' ingredient to an image that might otherwise seem humdrum. The gratuitous bulge between his thighs is a nice bonus.

Briefcase's captions here are exceptionally puzzling, though perhaps not if you can read the speech bubbles. His sub-caption reads, "I think he wanted to do some kind of sailor suit for a married woman". As Manuel would say, "Que?"

Briefcase - Last Train

A few years ago, I did a post called 'I'm On The Train!', about captives being transported en-masse. Since then, the wearing of shorts on hot trains has sparked an entirely different interest in rail travellers. A veritable industry of voyeuristic snapshots of fit, male commuters. This picture, though shortless, is in the same vein. It's part of a triptych, of which this is number 2, the final showdown being inadmissible in this blog!

  

Briefcase - The Mystery of the Forc

 

This is the inverse situation, where a traveller (in shorts, this time) has developed an inconvenient arousal, probably from staring at that young man opposite, sprawling open-legged in Lycra shorts which leave little to the imagination. This is number three of another triptych showing the embarrassing outcome. The gritted teeth, clenched fists and pressing together of knees has failed to prevent a surge of wetness and uncontrollable shudders - great observation!    

 

I understand the mystery bit in the title, but 'Forc'? No.

A misspelling of force, maybe.  

 

Briefcase - Firing All The Bullets

In this 6-image story, an older man (with a still-youthful physique) grapples with the same unquenchable urge before stripping off and letting nature do what it wants to do. As the title suggests, he's not lost his endurance with advancing age, an achievement that has its downside when you're in a hurry. All too soon, he is summoned back to his chores (above). It's another nicely observed and wry piece of humour with a refreshingly different protagonist. 

 

Briefcase - Living Shame Wedding Suit

The shamefulness of wearing revealing clothing in public seems to have more bite in Japan than the western world, where it doesn't really have the power to shock any more. Still, turning up for a wedding dressed like this might raise a few eyebrows amongst some of the congregation - and itchy hands amongst the rest. This smug celebrant clearly doesn't care.

  

The artist titled this as Living Shame Wedding Dress, which I adjusted to skirt round the fem ambiguities in English.

 

 

Briefcase - On Stage

 

There's an explicit fem crossover in this item, highlighted by the wearing of pink nipple covers (I don't know the technical term). Despite being showered with money for his performance, the Bunny Boy looks extremely embarrassed. We can only wonder how he was persuaded to do it. An example perhaps of one shameful act being used to force him into another. At least his outfit doesn't expose his bottom half to gropers in the audience, like the female equivalents do.

 

 

Briefcase - Experimental

This artist doesn't do bondage or medical scenarios, but this intriguing, fetus-like image is a decent substitute. I've done my own water tank images* in the past, but always feel obliged to make some provision for breathing. Perhaps that tube behind him does that, but it looks as if it's connected to an entirely different orifice! AI eh?

 

*see also Swimmers Preserved 

Briefcase - Undressing

 

This is part of an eight image series in which a man undresses with a sour expression on his face that suggests he isn't doing it willingly. It's left to the observer to imagine why he has to do it. An examination? A search? Or something more sinister? The conventional white underpants might be clue as to why he's so unhappy about it.   

 

Briefcase - Soaked in a Shower

 Raincoats ain't what they used to be! We've all experienced that feeling of returning home with clammy wet clothing after being caught out in a shower. It's the wet, clingy jeans that annoy me. A feeling which in other circumstances I might quite enjoy! 

Briefcase catches the moment of reaching home, when things can be undone and the laborious task of stripping begun. The bedraggled hair, translucent T-shirt and damp briefs (dripping with rainwater?) create a great sight for onlookers, but they are unlikely to get much time to enjoy them! 

Of course there's more to reveal and the viewpoint the artist has used plays to our voyeurism. I love the spotlight on the subject's briefs!

 

Briefcase - End of Tour

 This looks like a similar situation at first sight with its hasty shedding of clothes and wet skin. There are other explanations, though. Briefcase's subtitle - 'Ah, it's over and done with' - doesn't quite explain away the more salacious ones.

Duos are quite unusual in this artist's pictures, and so are narrative scenes like this. There are some nice shorts on show here. Why do laces suggest easy access when the reverse is usually the case? I like, too, the idea of the soldiers keeping on their helmets while they do whatever they are doing.

*The tattered shorts on the left are reminiscent of those cartoons in 60s UK tabloids, which were based round a group of standard stereotypes. The castaway (usually stranded on a 1-metre diameter island with a solitary palm tree) and the bearded prisoner, dangling by his wrists, feet off the ground, in his tiny cell were nearly always clad in tattered shorts like these!

 ~ 

 Read Part 1 of this series 

This artist's website is Briefcase on pixiv

If you are unfamiliar with pixiv, the thumbnails on the 'all-works' page link to posts containing one or more images. With this artist, some of these posts contain a variety of images which don't all match the thumbnail. If you want to quickly track down a particular image posted in my article, download it to obtain the pixiv id, then at pixiv display a random image and replace its id with the one you are looking for.

Steve Masters' Fisherman

Steve Masters - Fishing For Sport

 Steve Master's take on Fishing is very different to Stephen's accident prone, 'Dangerous Sport'. 

The Angler here is amazingly well-equipped, with waders, a realistically detailed rod and an array of hooks dangling from his backside as well as a couple in his hat. A sophisticated harness enables him to rest his rod comfortably in his groin. He appears to be straining backwards purposefully, as though he's just caught a big one.  

The happy figures in the foreground seem as if they might to be his earlier catches. There's another swimmer passing by who looks as if he wouldn't mind joining them. A hook dangles dangerously just in front of his trunks and one wonders if a line, out of sight, connects it to the tip of the fisherman's rod. 

It's also possible to interpret this as a satisfied customer departing, and taking the dangling hook with him as a souvenir.  

The clothes worn by all the men are tight and revealing. The leotard of the reclining figure in the foreground quickly catches the eye. It was Steve Master's style to allow physique details to show through fabric, almost as though they were transparent, but he's muted them here in a concession to realism. He's depicted a daring double lump in the groin area, a clever example of 'hidden eroticism' (see label at foot of post). 

The swimmer, looking back over his shoulder, is the only character who is acknowledging the others. He is clad in trunks which are brief for the era*, showing lower buttock flesh. The waist line (also low) has a V-shaped dip at the back, repeated in the hoop pattern. The design points and flows towards the man's rear erotic zone, of course, so it's significant that he is presenting his backside to the others - and us.  

This V-dip back shape can also be seen in pictures by Tom of Finland. It mirrors the line of a posing pouch support string, but I have never seen a real pair of trunks like it.  

The most subtle item of clothing, and for me the sexiest, are the fisherman's shorts. Tight fitting and brief, they are easily missed, thanks to the panoply of leather straps and gear draped sexily over them. 

One such strap is supporting the waders. It's a curious design, with double attachment loops rather like the braces that used to be worn to support trousers in the days when a loose fit was the norm. Even more interestingly, the second strap, securing the far wader, somehow descends on the inside of the fisherman's leg, from somewhere in the region of his groin.  

The waders themselves are lightly shaded to identify them as clothing, but the leg shape inside them is visible, as if Masters was simultaneously visualising them as sheer stockings. He's left two leg positions visible, as if he couldn't decide whether the knee was bracing or flexing. 

 *This image was published in Fizeek Art Quarterly (Fall 1964) 

~

Steve Masters is badly unrepresented at this blog, an omission I must correct! However, there is also an article at mitchmen with a
 spanking picture by Steve Masters  

 

Art by David Angelo - 2

 More David Angelo in Part 1 

 

David Angelo - The Swimmers

Underwater swimming was another theme beloved of 60s artists who wanted to add a touch of class to their erotic imagery. There was great potential for playing with graceful body shapes, and it was a legitimate excuse for depicting nude men together, reliving youthful adventures. The intersection of knee and groin here is a great example of 'hidden eroticism' (see labels at foot of post) but you will observe that an attempt to sneak in something naughtier was foiled by a keen, censor's eye.

 

David Angelo - The Swimmers

 Angelo contented himself with modestly interlocking limbs here, using streams of air bubbles to obscure naughty bits. The result is not entirely what the censor would have wished. With the inverted swimmer, the bubbles unexpectedly convey a sense of sexual excitement. Down below, his hand seems to have swept across his companion's groin leaving a stream behind that is full of teasing ambiguities. Angelo's treatment of the swimmer's hair in both these images is a well observed, lifelike detail, but not entirely without erotic significance either.

 

~ 

 

Like the cowboy fad, the interest in underwater action had its roots in TV and film. War films had introduced many to the role of the 'frogmen' who sabotaged the enemies warships during WW2. Lionel 'Buster' Crabbe was something of a celebrity for his wartime exploits and mysterious disappearance. His handsome namesake, an Olympic swimmer turned actor, muddied the waters for gay men by starring as Tarzan and Flash Gordon. TV added a different dimension with craggy Lloyd Bridges having underwater adventures in 'Sea Hunt' while Hans and Lotte Haas were a leading part of an exploration genre which introduced viewers to the underwater wonders of the sea.

 

David Angelo -Divers

 The underwater adventure and exploration themes often converged in dramas that depicted interactions with the inhabitants of the sea. Octopus and squid were the usual dangers, but this is a very curious mix which seems to depict a dolphin or fish as a threat and yet there seems to be intensely erotic interaction going on between the three of them. Is the diver protecting his friend from the phallic enormity pressing down on him, or is he jealous of the frottage that seems to be going on? 

 

Both humans seem to be finding it exciting. Their incongruous posing pouches, an unnecessary choice in this scenario, are bulging and seem to signal that the artist saw it as having a gay, erotic dimension. One that is helped immensely by the pleasing composition he has developed.

 

David Angelo -Diver Rescued

In this astonishing picture, Angelo goes further than erotic innuendo. The rescuer's fingers are clearly touching his buddy's pouch, and his own, straining with desire, is nestling underneath an upraised leg. No gay man could mistake the meaning of this arrangement of limbs. Nor could they fail to connect with the rescue scenario, with the ultimate gay-fantasy outcome in prospect. 

 

Angelo - Door Knob 

 

Angelo's other contribution to gay culture of the 60s was a series of delightful cartoons. He wasn't alone in exploring the possibilities of accidental disrobing, but this character has an innocent, boyish charm that is memorable.   

 

Angelo - Pitch Fork

Rather less innocence is in evidence here, with the yokel's pitchfork having performed a more efficient job than the doorknob in the previous example. For the avoidance of doubt, he hitches his thumb into his waistband, pulling it down and touching himself. The victim meanwhile makes a show of covering up but doesn't take evasive action. Just checking which of those prongs is coming his way, I suppose. You know who else has 3 prongs.

 

Angelo - Valentine

A fanciful design for a Valentines card. The artist depicts Valentine/Cupid as a winged messenger, carelessly reclining across the top of his missive, like a Royale Studio model. His cargo seems to have 'accidentally' barged into the back of a nice young man, but he doesn't seem to mind at all. 

In some respects this is an image of separation, but the twin, trailing ribbons of a bow flutter between their legs, forging a light-hearted but distinctly erotic connection between them. Cupid draws it between his legs, seductively. His target lets the ribbon go, patting his pouch in anticipation and seemingly miming his size.

Their garments are frivolously decorated with flowers or bubbles (who knows?). However, the familiar ribbing of the jockstrap alerts us to their less romantic qualities, which seem destined to react together shortly. 

 

Angelo - Statue

Angelo's artiness got the better of him in this image, I fear, with a weird distortion of the horizontal and upright planes for the two figures to stand on. A slightly odd choice of pose for the chap in the foreground, too. Behold the conquering hero, I suppose, but the eye line isn't right and it looks rather like a weaponless archer at first sight. 

 

The interest lies in the way he has drawn his pouch, minimised and bulging. A captive beast. It's the same kink as the modern chastity cage. A far cry from modern depictions of this area, which usually demand much more fabric in any covering, in order to show an identifiable ramrod beneath it. 

More Angelo in Part 1 

For similar posts, click on the labels below 

Art by Holzman - Merchant Navy (revised)

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 on board the boat 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 and squint 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 now. 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 have 15 of the advertised 16 images in this story but no information about their sequence and have therefore  simply numbered them in what seems to be the logical sequence based on continuity.

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 his character which 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 (regretably, 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 glimpse of flesh has sparked an impromtu massage with the bottle or even that the thievery entailed drinking some of the liquor and then topping up the bottle with piss to hide the theft. This clever 'hidden eroticism' deserved to have escaped the attentions of the censors, because it's very nicely drawn picture, 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 (see image 2) and the presence of the two tins from picture 3. 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 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 could be his reward. 

Holzman - Merchant Navy 6

This growing tension seems to be triggered into a full-blown crisis, by the arrival of a third man. He appears to be the skipper of the vessel, previously glimpsed through the porthole in picture 4 and now revealed to be dressed only in a cap, skimpy slip and sea boots (the last a worrying link to the label on 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 having drunk it's contents!) 

Alternatively, in the delicious ambiguity that pervades this story, the young skipper's sexy appearance here offers an erotic explanation of the actions of the villain back in picture 4. 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. He might even be drawn into it, producing an explosion of a different kind.

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 on gay men, a power 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 at the sides. It has spoiled the depiction of his crewmate (left), while the villain's aggression 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. 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 cropping 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 but also suggests there's an erotic forfeit in store for him, one that is slightly off-piste at this point.

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 but 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 downward pointing 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 also has the effect here of pulling his jeans off completely, 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

 

This picture and 12 to 15 below have all been retrieved from tiny 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!

 

The crew have manhandled the villain so he's draped astride a convenient drum. 

 There's a provocative view of his underpants as they prepare to punish him.

The Captain is holding a knotted rope in his hand.  

A loop of rope hanging on that peg behind them offers further restraint options. 

 

It's unclear what the crewman on the right is doing. He appears to be holding a cane in which case this image might also be sequenced to follow on from the next one. However, there's no cane in the other pictures, I think it is just a flaw. He might be hand-spanking him however. 

Holzman - Merchant Navy 12

The captain begins, flogging him with a knotted rope. His crewmate (underwear restored to preserve decency) sits on the villain's head to hold him down (with his balls resting on his shoulders where they can enjoy the villain's movements as he reacts to the thrashing). His pose here, with the characteristic turning of the head is very reminiscent of the contemporary artist, 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. 

 

 

Holzman - Merchant Navy 13

The villain must have struggled energetically during the assault because the Captain has lost his cap and the two sailors have had to tie him down over the barrel with his arms and legs spread wide. The crewman who was earlier threatened with the broken bottle, still has 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 takes his turn flogging him with the knotted rope, no doubt enjoying the villain's struggling movements between his thighs. These exertions seem to be dislodging his already skimpy trunks (much in the style of Tom of Finland).

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

  

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 . The rope and barrel have been restored to their places against the wall*. 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. 

*This detail doesn't seem quite right, it would seem more natural for this image to sit before image 11, where the same loop of rope can be seen on the wall. Unfortunately that creates a different continuity problem - with the Captain's hat, which is on his head in images 10 and 11. 

Holzman - Merchant Navy 15

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 in 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,

enhanced by mitchmen where my logo has been added.  

More about artists featured by Royale and Hussar

 

(First published 8th May 2024)