BDSM and Fetish Art by Deon

Felix Deon - Japanese Bondage

This picture is based on one of the most familiar of vintage, bondage photos (see Hal Paul in bondage). Deon has sprinkled the elixir of youth and added shoulder tattoos but otherwise has left it unchanged. When you know the original you get the eerie sense here that the captive has been tied up for the very purpose of inking his body. A Westerner being subjected to the arcane arts of the ancient East.

The other striking feature of the image is, of course, the styling, derived from the traditional pen and ink drawings of Japan. The parchment-like surface adds authenticity and he's even included Japanese script, a poem perhaps?

Felix Deon - Bullfighter

You'd hardly credit that Deon drew this image. The academic, pastel style seems quite unlike his more familiar images, but he has a drawn many pictures in this style. The subject too is more dramatic than you expect from him and although he hasn't quite caught the sense of strength and struggle, the concept is a marvellous expression of masculinity. Of course, wrestling naked with the bull is precisely what bullfighters don't do. They exhibit a similar level of bravery but instead of engaging directly, prefer to strut in elaborately decorated clothes, frustrating the beast and despatching it from a distance. 

Felix Deon - Japanese Bondage 2

This example from the Japanese Bondage series features a chunky man who looks like the Japanese youths of Okawa and his contemporaries. He is not totally naked, having been allowed to retain his head band and fundoshi (loincloth) both of which have a deep cultural significance in that country, related to manliness and growth. 

 He's surrounded by the creatures of the sea, including an octopus or squid between his knees which may be an allusion to the famous erotic picture of 'The Dream of The Fisherman's Wife' (see Octopuses at mitchmen blog). The parchment colour gives the impression of a sandy beach but the creatures are drawn in a way that gives the sense that he's actually lying on the seabed, like a character being tested in an ancient legend. The simple, loosely secured hogtie does allow him scope to escape, like a latter day Houdini.

Felix Deon - An Unfortunate Encounter

Escape seems less easy for this swimming party in the open sea, ambushed by two octopuses who seem have more on their minds that just dinner, stripping the unfortunate young men and sexually assaulting them. One is being dragged off for some other nefarious purpose in private. The seaweed seems to be aiding and abetting the abduction, reaching up from the depths. Or perhaps the immobile seaweed has bribed the octopus to bring the young man to it, who knows?

Deon has depicted the swimmers in 1930's bathing suits, loose fitting and modest (but easy meat for a multi-armed predator). He's employed a matching, contemporary style of painting like that once used for boy's adventure comics which lends a perverse sense of nostalgia to the scene (see also the Art of Sherer). There's a nod to Japanese art in the styling of the wave crests on the surface and the tiny signature scroll, top left.

Felix Deon - Saint Sebastian

If you looked at the Sherer link above you'll see the connection to this image which is European in origin but was enthusiastically (and morbidly) embraced by the famed poet and writer, Yukio Mishima and it later found it's way into the erotic works of other Japanese artists like Hasegawa.

Deon stays within the European tradition here deploying an arty, elaborate cartouche (frame) and saintly upward gaze, which silently rebukes the Lord for his part in this fine mess. The fleshy build of the martyr seems to reference females in Renaissance art but the styling of the cameo inside the frame is mid-20th Century. The simple, loose sheet serving as Sebastian's loin-cloth has somehow become snagged on the tree as though it's participating in the torment, like the seaweed in the swimming disaster image above.

 

Felix Deon - Japanese Bondage 3

This third variation on the Japanese Bondage theme tweaks the hog-tie in an unconventional arrangement whereby the captive's arms are pinned to his sides by a simple harness looped around his backside. The captive himself is given the thirties, Leyendecker treatment with bouffant hair and suspiciously pink lips. The traces of tattoo we can see are different to the dense, samurai-inspired shoulder ink in the previous examples, here it seems lightly decorative rather than block-like bulk and comparatively feminine 

Felix Deon - Happy Servants

The sense of pre-war WW2 decadence pervades the styling of this image too with the subject matter itself reaching back to the Edwardian Belle Epoque. For an artist normally associated with the cute and witty this take on service is surprisingly S&M. It's pleasing to see the stereotypical role of camp dominatrix given an all-male treatment. 

There's an unusual double edge to the term 'servant' here exploring beyond the modern world of consensual leather servitude with a Downton Abbey, Upstairs-Downstairs twist that sees the footman and the groom vying for the attention of their kinky, aristocratic paymaster. Unfortunately, thanks to the sensationalism of the current era it's a scenario that doesn't have the power to surprise like it once did.

Felix Deon - Tattooed Submissive

Strangely enough this undramatic variation on the theme of domination is more unexpected. Or to be precise, the sight of a young westerner totally engulfed in oriental tattoos is unexpected. They simultaneously seem to disguise and yet in a strange way accentuate his nudity and vulnerability. It's hard to imagine why he would do this to himself and in this image he's not so much being submissive (as the title implies) but being dominated by the neatly dressed, leather master.

Felix Deon - Spanked

Another pastel drawing, directly inspired by an image which is well-known to me but which I can't quite place. It's a slightly awkward spanking  position but I can't fault the authenticity of the spankee's pain-filled face which Deon has beautifully captured. 

Felix Deon - Bird In Hand

I don't even know where to begin with this one. As one comes to expect with Deon, it draws on popular art of the past with distinctly Art Deco trees and turn of the century iconography in the peacock seducing the young (inevitably) gardener of some stately home. The naïve depiction of the formal garden in the background goes even further back to the 1700's. I suppose it must have roots in the legends of Asia as well, since Westerners are usually more reticent about relationships with the animal kingdom.

Royale Models - Peter George 5 - Fishing for Bulges

Peter George in tight-fitting Sailor Pants (Hussar Studio)

Peter George seems to be hanging up his fishing net here at the end of long day of work. 
It's a nice image giving a pleasing, mildly suggestive view of his cute, tight ass. 

It's a civilian scenario but he's wearing a military belt, it is discarded for other shots in the set.

The underlying, arm raised, pose here is inspired by the victory salute in classical statues, so draping it with a black net seems like a deliberate comment on the artistic restrictions caused by the social attitudes of the 50's. The rope coiled round his wrist is even more obviously symbolic of restraint. 

This group of photos appeared in 1961/62 under Royale's, then-emerging, Hussar brand. Peter's tight white trousers with the bottoms of the legs turned up copy what sailors used to do when washing decks but the practice also suggests a dash of stylish individuality which has not been completely overwhelmed by the uniform. 

The rope and the net augment the nautical theme but also supply a hint of bdsm.

 Matt Carrol, Fed Up Sailor by John Palatinus

Calf length trousers were also used for sailor imagery by other contemporaries, such as Palatinus and Barrington. This picture addresses the drudgery and humiliation of having to wash decks directly but the lump in his pants suggests he doesn't mind being bossed. They look more like riding breeches than naval ducks to me but I'm not complaining!

Peter George in tight-fitting Sailor Pants (Hussar Studio)

 This is the time of year for nicely wrapped packages, so this grainy image of Peter George is not entirely out of place. The bulge in his pants is teasingly believable here (if not quite as riveting as Matt Carrol's hosepipe just above).

Peter has discarded his belt here and is also disentangled from the rope and net, but his slightly seductive pose does not entirely dispel the simmering possibility of restraint and bdsm. We saw the fishing net previously, you may recall, in the fetishistic, wader images of Peter George Part 4. It's possible these pictures come from the same shoot. 

US sailors did wear straw boaters something like this at one time, but I'm not sure that Brits ever did, certainly not with shredded brims. Basil Clavering was an ex-sailor and a stickler for authenticity by some accounts, but the pictures in this series put me more in mind of a farm boy than a sailor. 

 

Peter George in tight-fitting Sailor Pants (Hussar Studio)

 This proud, defiant pose with net and rope completely discarded seems to pick up that idea of throwing off restraint. It also  gives Peter a chance to show off some impressive pec and arm musculature projecting a sense of inner power that counterbalances the sudden appearance of  'nakedness' produced by discarding the belt and all those accessories.

I dare say that the bulge lower down has also caught your eye. It' looks a more improbable manifestation here but still teases the eye with intriguing detail and I suppose it contributes a sexual dimension to the story of the inner man breaking free. It irresistibly reminds me of the homoerotic trickery of British contemporary photographer, Scott of London*.

I don't think the tight fit of the pants around Peter's thighs is faked, however, it's a very sexy look.

*Normally Basil Clavering and his colleague John Parkhurst are credited with producing the photographs of Royale Studio but I do wonder whether Scott (aka Tom Nicholl) was involved when I see 'bulge' pictures like this. He certainly photographed some of the models used by Royale for his own output and I recently stumbled across a reference which suggests a more direct connection which I will reveal in a future post.

Peter George snoozing in tight-fitting Sailor Pants (Hussar Studio)

No Peter George series of photographs is complete without some shots of his amazing backside. 

Even cloaked in trousers in an image of indifferent quality, his allure shines through.

These clandestine peeks always seem sexy.

His face seems to reflect his growing maturity from this viewpoint.

Peter George sleeping in tight-fitting Sailor Pants (Hussar Studio)

Freed from his constraints the freed man relaxes into dreams while he waits for the right man to come alone (Matt Carrol?). I don't think he'll have to wait too long.

Peter's backside is once again the focus here in an image that is unquestionably framed with an eye to sexual allure. There's absolutely no pretence of showcasing an athlete's dedication to health and weight-training in the gym - although I've no doubt that pursuit contributed to his shapeliness in this department. 

This daring image appeared in the British Magazine, Scan No 10 in 1961. 

Whether they got away with it I don't know.

~

More about Royale and Peter George in a Future Post (pending)

The Garden Slave

 Kurt licked his hand where the rose thorn had caught him. He wondered if he dared to go to the kitchen to get a plaster, but he would probably be whipped if he was found in there again with the housekeeper. 

His owner seemed to delight in setting little traps for him round the garden, the rambling rose that had just snagged him had the most vicious thorns he had ever seen. He was not allowed to wear clothes whilst working with the borders which left him exposed to all manner of insects, nettles, brambles and other thorny shrubs which had been allowed to invade the plot following the unexplained disappearance of his predecessor. The sole concession to his comfort and safety were his skimpy trunks which were made of a tough, shiny fabric. That sufficed to keep the plants away from his manhood, but the garment had the reverse effect on his master's hand which was forever reaching out to cup his pouch while he was giving him instructions.

Many other slaves, condemned to endless hard labour in the fields would envy him this position in a rich man's household. He even got time off for weight training to maintain his muscular physique, for goodness sake. It was a physique which would normally have landed him a debilitating, heavy lifting job in a factory or building site. But he had been acquired for decorative purposes, a garden adornment, like a living statue. He was a centre of attraction at the master's garden parties. He had his own special plinths in the garden where he would pose in the classical manner for the amusement of guests, sometimes for hours at a time and long into the night, even after the guests had retired inside out of the evening chill. Dramatic lighting would be switched on so they could still admire him from the windows. 

His gardening job was just something to keep him occupied doing something useful and out of the way between those public duties. It didn't matter that he knew nothing of plants and horticulture when he had started, his master was always at hand to instruct him, correct him and give him punishment when he earned it for his mistakes. His master was an imaginative punisher so he had become a fast learner. 

When he was a free man, Kurt had been a cop and had delighted in working out and casually displaying his muscular bulk in a specially tailored, tight-fitting uniform. He was not afraid to use it either. Criminals quailed when he stopped them for interrogation - and not without cause. He'd been instrumental in rolling up Rocky Stefano's mob after befriending his chief hit-man at the gym. But that career had come to an abrupt end when he had booked an influential politician for drink-driving. A hastily convened disciplinary hearing at the Police Station had seen the damaging ticket cancelled and him despatched to a 'retraining centre'. 

This destination had turned out to be a slave auction at the other end of the country. He'd not even been able to say goodbye to his family. He was in peak condition at that time, competition fit, and the auctioneers had prepared him for sale so artfully that the bidders had almost literally fought over who should aquire him. The farmers and factory owners had soon dropped out leaving a small group of rich 'fanciers'. They had chased the price to a level that had astonished the whole room, including Kurt himself.

Kurt was no dummy, he was flattered by the money men were prepared to pay to own him, but fully realised that the winner would want his moneysworth in return. More than just inferior gardening skills and the capacity to amuse at parties. That morning his had master showed him his latest display plinth, acquired for a very special birthday celebration. It had been installed in the central hall of his grand house, inside the curve of the majestic staircase. It was shaped like a large rock and fetters and chains had been set into it. On the night of the party Kurt would be chained there so that all the guests could admire him.

Kurt had no choice about this of course and on the evening of the party, while the frantic last minute preparations were in progress, he reported to the hall in his normal 'party' thong, ascended the plinth and was put into the chains by two of the servants. It left him stretched over a projection of the rock with arms stetched out in a diagonal line which canted his body to one side and created a splendid view of his anatomy, if only he could have seen it. The master came to inspecf him and ordered him to shift his feet which improved the pose further, but was more uncomfortable for Kurt. Satisfied, the master signalled his flunkies to apply a dressing of oil to Kurt's body.

Soon guests began to arrive cooing with admiration at Kurt's dramatic tableau and understandably eager to touch to make sure it was all real. But as the festivities gathered pace Kurt was soon forgotten and left to the increasing torture of his artificial pose. Meanwhile, all the talk of the guests turned to wondering who the mystery Guest of Honour would be, a man of considerable importance it was said. 

At 11pm a grand limousine pulled up outside the house and Kurt's master hurried to greet his guest and led him into the hallway. A cold wind accompanied him into the house, it gusted across Kurt's strainng torso. The new arrival could not fail to see him displayed on his rock. He wandered over taking off his dark glasses to get a better view. 

"Well, well, well" said Rocky Stefano, newly released from jail on appeal, "if it isn't my old cop friend, Kurt". He was carrying a short cane and tapped it thoughtfully against his leg. "I've been looking forward to this reunion, Kurt. Stay right where you are. I'll be back later, then we can go somewhere private to talk about the old times".

He saluted and walked off laughing to enjoy the party.

Kurt tugged fearfully at his chains. The rock he was spread on wasn't real but it was solid enough to retain the fetters and they certainly were. 

The Art of Amalaric 9d - Afghan Detour

 

912

For my fourth and final 'bonbon' I return to a work that featured briefly in Part 8. It differs from the stories of deliberate abductions of innocents because this man becomes a captive as a direct result of being a soldier. He's a Corporal, name unknown, a Prisoner of War, strictly speaking, but his capture is a less-than-glorious result of over-enthusiastic aggression against the inhabitants of a quiet village in poppy-growing country. You get a sense of his 'bad ass' character in the image above.

He loses contact with his comrades in the side streets and ends up surrounded by understandably hostile and armed locals giving him no option but to surrender. By the time his disappearance is noticed he is tied up and on his way to a distant place where his comrades wouldn't even think to look for him, there to be handed over to the dreaded local militia. Their first act is to make him strip down to his briefs. This has the multiple benefits of (a) humiliating him, (b) depriving him of his status as a soldier, (c) impressing on him how helpless he is and (d) turning his underpants into a prison uniform and low tech 'tag', making escape as difficult as if he were chained to a wall.

In Amalaric's picture he has a chance to reflect on his actions and his parlous position. You can almost see him thinking 'Oh shit!' and bracing himself for what comes next. The garb of his guard underlines the gulf between them, none of his body can be seen and the practical face-covering of desert dwellers gives him a sinister and menacing air. There's not even the comforting sense that he is just another soldier doing his duty.

913

In due course the Corporal is indeed chained to the wall (of course!) and there he forfeits the last shreds of his modesty. He's put on display for locals to come and inspect. For some it will be their first sight of an American in the flesh, so naturally they prod and poke him, they tease and ridicule him, they show their anger and contempt too too and he has to take it all, impotent to defend himself. Trashing their homes doesn't seem so clever now and they haven't even started to interrogate him yet. His face shows his mounting fear as he wonders what it will feel like to be whipped, for that is what he has been promised.

The Corporal has little information to give to his captors, but they torture him anyway and grow to respect his resilience and courage. That's little comfort to him in his agonies but maybe it helps to save his life. Maybe the satisfaction they derive from testing his unbreakable spirit is just too good to end. The unexpected discovery of such a manly specimen from amongst the evil enemy warrants better. It makes him a trophy captive and so gives them kudos amongst friends and colleagues.

As you might expect they soon want to see and test the strong American for themselves and as his reputation grows payment can be demanded for his 'performances'. Given the intense bodily involvement that defines these encounters, it's to be expected that some men will want to conclude with sexual intimacy. It matters not whether it's his natural inclination, in fact divulging the existence of 'the girlfriend back home' only adds desirability.

 

914

Unfortunately keeping him alive means another mouth to feed and he also has to be kept in peak condition for the 'entertainments' and allowed to recover from the extremes of over-enthusiastic tormentors. In the end someone has the bright idea of using him to pull the plough out in the fields. This enables him to earn his keep and get some fresh air while maintaining his strength and fitness. Using him as a substitute for a dumb beast reminds him of his still lowly status, popular though he might have become with some men. It's a sort of enslavement within an enslavement.

Needless to say he doesn't get his own clothing back, nor is he even allowed to wear the threadbare, filthy cast-offs of others. He's always tied up when he's not imprisoned, since he's still an enemy soldier and cannot be trusted. More importantly, if he runs off and falls into the hands of the locals then he'll probably end up worth nothing at all. For ploughing he's tied to a yoke improvised from a branch. It's similar to that used to restrain Kelvanus, thebarbarian Prince (in the previous post) and in a sense that is what he has become in his own right, a Prince of Pain, you might say. Whatever would his rural parents think of this?

~

This is an exceptionally compact story but lacks none of Amalaric's loved ingredients. The imagery is attractive and richly composed, successfully invoking the 'stranger in a strange land' theme that was explored in Part 1 of this series. For a soldier, being cut off from his unit which is like a second family (sometimes more) and then plunged into a culture so utterly different from his own is a double shock. But more immediately than that, it is totally bewildering and you sense that in the images. In the narrative, Amalaric ensures that the Corporal's captors go out of their way to maximise his confusion and uncertainty, brutally imposing their mastery on him and their contempt for his impudence in invading their homeland.

Read 'Afghan Detour' at Telemachus12

~

The military setting of this story leads us into Part 10 'Military Manoeuvrers' (pending)

Read the whole of this series from Part 1

Field Slave

Pote - Field Slave

 It's hard to imagine this out-of-condition man of advanced years as desirable, agricultural resource, he's the complete antithesis of the hunky, young, muscle studs put up for sale in Amalaric's enslavement scenarios, although it has to be admitted that he has weight and probably strength to match in his favour and you get a good sense from the artist that he's using it here. Not so much a prancing stallion, as a steady dray horse.

Pote's depiction of the ploughman and his primitive cultivation tool is equally unromantic but rather convincing. However you get the impression he's holding the plough back rather than helping to push or guiding it. The faintest glimmer of a smile suggests that it's not a straight farrow that is uppermost in his mind. With whips in evidence and slaves working in bare feet on stony soil you sense this is not a very enlightened workplace.

Is this the fate of a wayward 'Daddy'?

~

I have featured Pote here before in 2012 in the mitchmen A-Z of Fetish Artists series under his former name of Patrao. He has refined his somewhat spidery style and muted colourings since them into an impressive story-telling, almost documentary, technique that serves the fetish subject matter well. You can find more at his bdsm male drawings blog, but be warned, much of his work and the accompanying narratives are much more edgy than this example. 

~

For other examples of Field Slaves click on the 'farm worker' label below

Field Slaves 3

 This part follows on from the end of Part 1
These images have significant female presence which I have attempted to minimise

~

Having been thoroughly washed down for lusting after passing girls
the boys are taken to the privacy of the barn

The boys have been girding themselves for a whipping.

This is something new.

 

 Forcible undressing is always a turn-on

and we get a buddy undress bonus too!

 

Bondage and the X-spread frame make an appearance.
Another parallel with Amalaric's work.

 

Andy's milk is extracted. Now it's John's Turn!

Andy's ass and a female hand both prove equally uninspiring

 

The Rooster Booster is recalled

I hope they are not expected to fill that container!

~

Afterwards.......

Looks like it's overtime for Andy!

My apologies to all concerned for the crudeness of my alterations, but I hope it brings out the homoerotic flavours of the piece. The schoolgirl costumes in the original are particularly unappealing to me, but I like the storyline. I could wish CMNM would remake this as a proper all-male movie but I fear they would introduce more physical coercion and a 'dick on a stick', which would lose the subtler male manipulation that makes the original so interesting.

 

To see the original images in context follow these links to CFNM 'Field Trip' at Scally Guy
Episode 2, The slaves strip for work
Episode 3  The slaves work in the Fields 
Episode 6   The slaves are washed 
Episode 8  The slaves are milked  

The other episodes there also have interesting imagery

Working in the fields by Mitchell

I'm a bit poorly right now, it's not the dreaded 'CV', but I haven't the energy or concentration to complete the last post on 'Field Slaves' just at the moment, so here's a mitchmen drawing directly inspired by Amalaric's 'Spanish Field Slave' reproduced in Part 8 of his review here (image 806).

Mitchell - Working in the Fields (S049)

 I reclothed him in a more humble loin cloth and notice there's a handy whipping post which the overseer bearing down on him looks minded to put to use. Compare also 'In From The Fields, also included in Amalaric Part 8 (image 807)

This image was previously published as part of 'The Flat Cap Gang', at the Google Group

It depicts a villain with a penchant for hi-tech crime learning the basics in the West Indies after naively negotiating a 'safe house' arrangement with a Jamaican Gang (known as 'The Crew')

 

~

For more pictures by Mitchell at the mitchmen blog click on the 'mitchpix' label below

The full range of published mitchmen images by Mitchell can be accessed via the Gallery Hub Tab

Field Slaves

 This image recreates the vision of modern men being forced to work in the fields as slaves,
permitted to wear only their underpants in the heat of the summer sun........

....Plus Wellington Boots as a concession to the stony ground.

They have also been given the privilege of using brand new spades today,
but the parched soil is rock hard and the field is very big.
It's unbelieveably hard, boring work, but distraction is at hand 

 

They have to endure the stares and giggles of schoolgirls taking a short-cut home.
It's doubly cruel for male slaves who are denied any form of sexual contact.

 

As my old mother used to say,
"It's hearing the music that makes you want to dance!"

You can divert here to an image showing the guys getting back to work
(but beware if you're touchy about women intruding)

A short time later......

It's the Farm Manager approaching. 

She's very strict, in fact she's a bit of a b........

And back at the barn.......

 

 

 

 

 

You will have guessed that these images come from CFNM. Usually they would be full of women and this is as far as I can get with my story using predominantly male images. I'll post the rest separately with full credits.

There's an introductory sequence to this post in Field Slaves 2

The story completes in Field Slaves 3

The Art Of Amalaric, Part 8a - A Slave's Life

801 Enjoying His Work

From the general drift of Amalaric's stories, you might expect that those who have the misfortune to become enslaved are inevitably destined to end up in the hands of men with an insatiable passion for inflicting punishment. But even in fiction, such passions are likely to run their course fairly quickly. Thus, although Bobby lusts after Ryan for many weeks before he finally snares him and humiliates him (in 'Bobby,' reviewed in Part 3), he lets him go again as soon as he has had his fun and doesn't bother him again after that.

In contrast to this, Ric in 'Hunting Jarheads' (Part 5) decides he likes Rob Corlis enough to want to 'keep' him. But it's not so he can constantly punish him, but to enjoy having him all to himself and to control him. Paradoxically, this means he must allow him sufficient freedom that his masculine qualities can show. So he keeps the young Marine occupied with manual tasks (which are designed so he can earn himself punishments from time to time). In the meantime, of course, he must be housed, fed and watered and other essential needs catered for - and he must also constantly be prevented from escaping. All this provides plenty of opportunities for Ric to assert his control over him in a creative manner, but it's apparent, my friends, that Personal Slaves are heavy maintenance.

Image from 'Eighty Sixth of 1001 Nights' at Aquadude Bunker

(image used here for illustrative purposes only. The '86th night' is about the interrogation of a drug runner, by 'Jay', another memorable Amalaric character, summed up by the tag 'Jay loves his work')

 

802 My Boy Jeff

Amalaric comes up with an imaginative solution to the maintenance and control problem in 'The Cube'. The narrator of this tale (seated in the image above) makes a remarkable discovery while out hiking in a remote forest. This chance find enables him to select any man he desires and turn him into an idealised, punishment 'buddy' without him even knowing.

The narrator picks out the man he wants, an off-duty soldier relaxing on a local beach, and re-names him 'Jeff'. His choice (seen above) is a chunky beast and manly in every sense, ideal for his designated role. We see him in this picture looking around, slightly lost, as though he's suddenly found himself magically transported to this office, somewhat in the fashion of Oz (in 'Dungeons of The Emerald City', reviewed in Part 6), but his presence here is not simply a matter of transportation.

As soon as he arrives the narrator orders him strip in accordance with the usual protocols (see Part 4). His undressing is recorded in a series of pictures which include Image 421 and his underwear credentials are revealed to be impeccable, as you can see.

In this picture, the narrator bears an uncanny resemblance to Ric from 'Hunting Jarheads', but he's not the same character. However he is cast in a similar mould, a stern and ruthless master, but one with a conscience and, some might say, a heart of gold.

 

803 Jeff Enters The Chamber

Jeff obeys the strip command without hesitation. Despite being freshly snatched off the beach, he somehow knows what he's facing and is resigned to it. He does not resist when directed into the comprehensively equipped 'chamber' that has been created especially for him. In this image he makes his way suspiciously past equipment of obscure (and not so obscure) purpose towards it's ominous, shimmering glow.

Inside the chamber Jeff is restrained and subjected to a protracted S&M orgy of punishments and milking. Naturally he complains bitterly but despite being a novice he responds erotically and seems to have a limitless ability to endure everything which is done to him, which includes torments not yet devised in the real world. In the end it's only the narrator's own fatigue and a growing concern for his captive's well-being that persuade him to end the trial. Jeff is freed and disappears leaving the narrator with a warm afterglow.

Jeff's session has been a perfect S&M initiation. He has not yet been totally conquered but can be recalled at any time for another examination and, importantly, he needs no looking after in the meantime. Having found the perfect partner for his tastes, the narrator's only regret is that the thrill of giving him his very first taste of heavy punishment can never be repeated........

But Amalaric's invention solves this problem too, read about it in 'The Cube' at Aquadude Bunker

 

Amalaric's enslavement stories are really a form of Science Fiction. Most belong to that genre where our world is imagined to have a slightly altered history and the social and political consequences of that change are visualised. 'Brave New World' and '1984' are classic examples of the genre. He also explores the more fanciful, fantasy genre in 'The Dungeons of The Emerald City' (reviewed in Part 6). But in 'The Cube' he has produced a traditional Sci-Fi story with science-based innovations at the core of the plot. HG Wells' 'Time Machine' is the classic example of this type, but that's not what has happened to Jeff....!

804 A Midnight Snack

If punishment is one side of the fantasy enslavement coin, providing sexual pleasure is usually the other. Amalaric is generally evasive about such matters apart from a fondness for milking scenes - and even that is usually presented as a device for humiliating the victim, making him collaborate in his own punishment and setting the seal on it, rather than providing sexual gratification for the captor.

Typically for the image above Amalaric offers up only the title with the qualification that it's ordered by the 'unsated' client, but the sexual context seems fairly clear. This picture neatly sums up the unpredictable requirements of sexual service for a worker who clearly does not choose his clients for himself, though it would be naive to make assumptions about the matching (or otherwise) of sexual tastes here.

We don't know if the one man's slumped demeanour and the other's somewhat forced smile is a reflection of what has already happened or whether it shows their individual anticipations of what is about to happen. Is 'the snack' is the captive himself? Or is it simply food the 'unsated' client craves? Or even another man? Has this captive given his all, only to find it's not quite enough?

Illustration from 'The 47^th of 1001 Nights' at Aquadude Bunker

Abductors in Amalaric's stories often promise themselves the reward of enjoying sexual pleasures with their captives 'later on' (e.g. Ric in 'Jarheads'), but they nearly always seem to get distracted by the punishment opportunities on offer. Thus the captured Crusader featured in Part 2 (Image 205) seems to have been nominated for a harem-style, bed chamber role, but part and parcel of his job description is to face the Sheikh's, dreaded 'terrors of the night'. These are not explained but we imagine they probably won't take a fleshy form.

In 'Party Animals' a discreet, brothel-like operation is described with the services provided under coercion by a group of randomly abducted men (see narrative for image 427 in Part 4, also image 417). This house of ill-repute is furnished in typically lavish style but the seemingly obvious sexual purpose of the 'Lobster Tank' is clouded by dark hints about the expendability of the captives and what they face from those who rent or purchase them.

Men don't fit comfortably into purely sexual, brothel and harem scenarios because idleness and passive beauty are not usually considered to be particularly attractive, manly attributes. Etienne's vintage story 'Sailor Beware', featured here recently, is a classic sexual enslavement fantasy (with S&M trimmings), but when not pleasing their (unsought) new master, those two abducted sailors are not left to amuse and groom themselves in the harem, nor called upon to beautify and flatter their master. Instead are sent out to do hard, manual work in the fields under the lash of the whip.

This accords with Ric's rather enlightened view (in Jarheads) that his captive man is best kept occupied and is extremely attractive to look at when he's exerting himself. He puts Rob to work on his unfinished DIY projects (we all have them!) but they soon evolve into pointless, military style fatigues. Their only purpose is to exercise and tame the buck, reshaping him physically and psychologically, while simultaneously providing a pleasingly-erotic sight and an excuse for periodic discipline that drives home to him his subordinate status and indulges Ric's lust to punish.

805 What Money Can't Buy

The inspiring beauty of a man engaged in physical work was a major theme in the Art of the 1930's and the idea survives in the modern ads showing gardeners and window cleaners stripped to the waist and sometimes mesmerising women by pouring soft drinks over their bodies. Amalaric embraces that theme with the nameless gardener seen above, unwittingly seducing a frustrated, ageing, neighbour.

Image: 'What Money Can't Buy' from 'No Limitation On Use' series at Gay Bondage Fiction

It's no coincidence that the 'intake' for Amalaric's stories are often chosen from the labouring professions and forcing men into manual work is the whole basis of Amalaric's invention of Modern Institutional Enslavement, which forms the backdrop to Part 7 of this series. For some reason, the arbitrary and indiscriminate nature of mass enslavement makes it strangely erotic but it's posed as a solution to pressing economic issues of unemployment, welfare and to some extent a criminal justice measure. This is not so very different from was how it was in ancient times. Enslavement then was a handy way of intimidating conquered peoples and depriving them of their leaders and warriors, but the underlying purpose was to provide cheap labour for those whose wealth stemmed from the ownership of productive land.

Thus Amalaric's 'Hairy Buck' illustrated in Part 5 (Image 502) might be dripping with sexual allure, but he was purchased to do proper farm work. Understandably there are scantily veiled suggestions of 'night-time harvesting' but the more profitable notion of using the enslaved man as 'breeding stock' seems to interest the farmer more (see also the narrative for Image 407, Part 4a). It's not clear exactly what being 'breeding stock' involves and Amalaric doesn't enlarge upon it, leaving it (somewhat surprisingly) as a vaguely threatening, occasional unpleasantness that fit men can expect to come their way.

Of course Ric's employment of Rob in 'Jarheads' is purely artificial and when Dave McGuinness is stripped and put to work in the Bankers garden in '24 hours' (ostensibly to stave off his parent's debts) that's also just a device really, a preliminary to his planned, sexual subjugation. However, true working slaves surface in all their glory in the Chocolate Factory scenes of 'Dungeons of the Emerald City' (reviewed in Part 6)

806 Spanish Field Slave

This image is a favourite of mine. It reflects the ancient tradition of slaves working the land, but in doing so gets closer to showing us the real ordeal of slavery: the toiling day after day driven by the remorseless demands of the ever-changing seasons and the continuously repeating, annual cycles of cultivation. It's a life sentence which contrasts starkly with the relatively fleeting unpleasantness of corporal punishment and sexual service.

This attractive, muscular man (I love his neck and ears!) has been manacled and forced to work in the fields, hoeing weeds by the look of it, another never-ending task. The nudity and wrist shackles don't make his job any easier and they suggest his rebellious spirit is yet to be tamed. Of course, he might well have been well-paid accountant not so long ago or a humble garage mechanic perhaps. But he's been taken from that life and now his wealth and the possessions he owned have all been disposed of. His independence is no more, but as he pauses in his toil he still has his beauty and a semblance of dignity.

The 'Modern Slavery' scenario is hedged around with safeguards for the slaves which echo modern labour laws, but that same law also forces them to remain with their allocated 'Master' and serve him to the end. As in the military, they will be subject to punishment if they don't. Unlike the military, severe corporal punishment is not off-limits.

807 In From The Fields

'In From The Fields' (at Telemachus), illustrated above, describes a day in an agricultural slave's life with details you might never have thought of - the early rising every single day, having to walk to the distant area under cultivation, 14 hour days of manual labour having to work entirely naked (or nearly so) and unassisted by mechanical devices. Not least being subject to the random 'encouragements' of the overseers.

In this misty morning image, the men seem to be on a break, at least there's only one of them working, but the overseer on his horse seems unconcerned, instead thoughtfully eyeing the man in the foreground.

Amalaric's predilection for 'adopting' fashion models for his images frequently results in forward-facing, formal poses like this and it seems like one of the slaves has come to greet us, like the lonely inmate of a rescue centre, wordlessly appealing to us “Pick me, pick me and take me home with you”. This one's stylishly groomed hair suggests that he might be a recent arrival in the fields, not yet fully inducted into the austere life of relentless, physical toil where self-grooming has neither place nor purpose. It's so different from the showmanship and easy plaudits of the catwalk! Here the only appreciation he can expect is an occasional grunt of approval - and respite from the whip if he keeps his head down.

Naturally, the overseer is accustomed to the confusion and restlessness of new boys, who still imagine that someone will realise it's a mistake and come to rescue them. Perhaps he's considering a round of punishment to refocus him on his work, or perhaps he's considering the other possibilities offered by an exceptionally attractive novice, fresh and as yet unspoiled by the grinding work regime. Probably both. 

As the title suggests, a long evening lies ahead.

More at 'In From The Fields' (at Telemachus)

808 Tanner Arrested

Amalaric adds more flesh to the bones of this scenario in the '1001 Nights' series and in particular he shows us the broader sweep of a new slave's life in the story of 'John Tanner' whose servitude spans several years and 13 episodes (so far) of the '1001 Nights', re-appearing from time to time like a TV soap opera. 

I posted a pre-series feature on the model chosen to play the part of John Tanner in 'Tanner's Credentials for Service'.

'Tanner' isn't everyone's cup of tea but I think his appearance fits him well for the role of rowdy, local stud who (in the 86th Night) mistakenly thinks the police Commissioner's daughter is coming on to him and ends up taking out her regular boyfriend in a drunken scrap. Being remanded for 'remedial therapy' in the community sounds like one of those easy options until he learns it equates to forced servitude for an indefinite period. The review arrangements for that period are unclear but, given the Police Commissioner's involvement, it's likely Tanner's punishment will be lengthy.

From 86^th of 1001 Nights at Aquadude Bunker

809 Put To Work

Tanner is sent to work on a local farm and quickly earns his first (relatively mild) strapping from his new boss by grumbling about the 'accommodation' - a straw-filled, lockable stall in a barn. The same surprise was sprung on the unsuspecting Marine, Rob, in 'Hunting Jarheads', although for him it was the first inking of his impending enslavement. Tanner, like Rob is set to work on the simplest of labours, shifting rubble. Unlike Rob he is allowed, nay required, to wear jeans, but no top, except on the coldest of Winter days. It's a sign of the respectability and responsibility of his new mentor. 

 

810 Hard At Work

Amalaric illustrates Tanner's new work life with a number of nicely constructed, beefcake images which appear to be drawn from the same source he used to develop Ryan's work routine in 'Bobby' (Part 3). At this point Boss Hickson must be feeling pleased with his new charge. In this system he is responsible for reforming Tanner. He gets paid for it too and from the outset proves to be sensitive to his slave's welfare, aware of his 'duty of care' in current parlance. It's quite a long way removed from from the 'chain em and chastise them' school of thought, although neither of these measures are totally neglected in Tanner's re-education syllabus. 

 

811 Relatively Light Work

Tanner accepts his fate and gradually gets used to the routine of non-stop, hard labour. He's strong enough to enjoy the exercise and pleased how it tones his physique. Me too! However, he never gets used to the crude quarters where he has to sleep naked every night, locked in with no amusements or distractions. There's no contact allowed either with those he used to know and associate with back home.

812 Bath Time

Once Tanner has learned what is expected of him, Boss Hickson is sparing with the whip. He also allows him the dignity and pleasure of a daily tub wash and hose down, taking a personal interest in supervising and viewing the routine. It seems to indicate an sort of parental affection and responsibility for his charge that echoes Ric's attachment to Rob in Hunting Jarheads (and compare this image with Rob's bath time in, Part 5). The hint of an affinity between master and slave adds a human dimension to Tanner's enslavement.

Images 809 to 812 are all from 136^th of 1001 Nights at Aquadude Bunker

 

813 Ready For Milking

Tanner's burgeoning physique attracts plenty of admiration down on the farm, but the rules of his enslavement are respected and he is not called upon to perform sexual duties for Hickson or anyone else (although that does not exclude 'examinations for welfare purposes' naturally). There also is a strict prohibition on Tanner playing with himself, denial of sexual pleasure is part of his 'therapy' (a lesson he learns the painful way during his 'induction' period). However, this does not mean everlasting abstinence and frustration, he is allowed relief once a month, but he's not allowed to do it for himself (Rob in 'Jarheads' is more fortunate). Instead the discharge is formally conducted by the boss himself. It's not clear whether he see this as a supervisory responsibility which it would be inappropriate to delegate or whether it's a sign that his interest in Tanner is deeper than he lets on.

The picture shows John tied down astride a beguilingly-cushioned stand ready to experience the humiliation of being dispassionately 'milked'. Like most men put in a position like this, his flesh is reluctant at first, but visualising the alternative of electro-milking in one of Amalaric's famous X-Frames eventually does the trick, leaving him grateful no doubt that he doesn't have to do it again for another month.

From 138^th of 1001 Nights at Aquadude Bunker

814 Trying The Testicle Toggle

As time passes, Tanner's hard work, good behaviour and developing physique continues to please and Hickson, at the suggestion of his nephew (worryingly named Bobby) gives him a 'present'. It's a special testicle toggle which clips around his ball sack. With this device he can put Tanner on a lead and take him for walks round the farm to show him off.

This gesture adds a new suggestion of personal ownership to their relationship, but being exhibited naked and treated like a pet in front of the other employees (who he works with) is degrading for Tanner. Their catcalls imprint on his mind in this demonstration of his favoured but still inferior status.

from 141^st of 1001 Nights' at Aquadude Bunker

815 Taken For A Walk

The demoralising impact of this development is compounded when nephew Bobby also gets permission to take him for walks, leaving him in no doubt that he's at the bottom of the pile. Worse than that, Bobby takes him off the farm property and Tanner discovers that being away from the sheltered environment and routine he's got used to causes him anxiety.

His nakedness and obviously captive state attract the stares and ridicule of neighbours and strangers passing by. Naturally some of the girls are attracted to his fine physique and he is shamelessly exploited by the repulsive and self-serving Bobby, who basks in the interest which he can't attract himself. Already nervous, Tanner experiences depths of humiliation we can hardly imagine as his suppressed sexuality is subjected to explicit teasing. It all serves to stir up his dormant delinquency. Back at the farm, he gets hold of a bottle of whiskey, drinks the lot and causes mayhem.

From the '143^rd of 1001 Nights' at Aquadude Bunker

 

816 Tanner's Punishment

Hickson is outraged and personally affronted by this lapse, believing that Tanner has deliberately deceived him with his apparent reform and made a fool of him in front of the ranch hands. He orders that he be strung up X-fashion from the rafters of the barn with an array of punishment implements laid out before him, which any of the farm employees are free to use on him during the next 24 hours

It's not documented whether Bobby partakes in this torment but he turns out for the sequel, the 'proper' punishment which is to be 70 strokes with a bull-whip out in the yard (above). In a clear sign that he has washed his hands of his protégé Hickson leaves the punishment to his Foreman who relishes the task of taking down the former favourite in front of the other hands (and a delicious bottom!). Tanner only lasts to 41 strokes before passing out, a sudden dose of reality for readers.

From 156^th of 1001 Nights at Aquadude Bunker

After that fall from grace, nothing is quite same, It takes Tanner takes a long time to physically heal (another consequence of harsh corporal punishment which is often passed over by authors). He never does quite recover his former character, which maybe isn't entirely a bad thing. But as far as Hickson is concerned, the honeymoon is well and truly over. He starts hiring Tanner out to the neighbours who often prove to be less tolerant. He had come to see the Hickson farmstead as 'home' but from now on it will only be a temporary haven in between punishing hires. Meanwhile his open-ended sentence still stretches out ahead of him.

Tanner's epic downfall has an almost Shakespearean grandeur and pathos about it, with rather bleak morals about the perils of not sticking to the straight and narrow, of taking little kindnesses for granted and about leopards not changing their spots. Tanner is typically male. Wild by nature, he nevertheless yearns for home comforts but is completely oblivious of his keepers' interest in him, little suspecting how bad the alternatives can be. The story is lightly erotic, almost romantic and much less focussed on pain and punishment than many of Amalaric's tales, making the pivotal bull-whipping scene all the more powerful even though the description of it is brief. Amalaric does not linger on Boss Hickson's feelings at the betrayal of his trust nor the true nature of his attraction to Tanner, but his angry, wholesale rejection of his favourite after a solitary error speaks for itself - and is strikingly similar to Ric's prompt despatch of Rob after his failed escape attempt in 'Jarheads'.

817 Forced Labour

‘Break time!’ blared over the loudspeaker at precisely the first minute of every other hour. The weary slave, though young and in peak physical condition, sank gratefully to the ground as waves of pure exhaustion rolled over him. Nearly naked and smeared with mud, he buried his face in bandaged, blistered hands. Quarry work was grueling and more than once he wondered if breaking rock would break him…but he also knew that ten minutes later he would hoist himself back up and return to the sledge and wheel barrow. The promise of the whip ensured his obedience.

Image and narrative from Potpourri No 26 (at Gay Bondage Fiction)

These stories give us a fascinating glimpse of what life as a 'legal' slave might really be like:- a life-long drudge, no bed of roses but not an endless round of harshness either, certainly not of sexual exploitation. It's all the more convincing for that. Amalaric regularly returns to this fantasy to embellish it with extra detail of how men are chosen to be slaves, how and where they are sold, what they can be used for, what limits if any apply to their use and treatment. His slaves are expected to work for their keep and as you might expect, they regularly experience modest physical punishments partly to nip rebellious thoughts in the bud . Sexual abstinence is part of their contract but sexual service usually isn't - but that doesn't mean it doesn't happen (off camera)! The cumulative effect is an almost believable, near-reality which is worthy of comparison with 'respectable' literature.

But there's another side to this story with a sting in the tail …..

818 Field Work

This working slave, a plough-puller, has been recruited in a very different way. As you might guess from clues in the image, he isn't a civilian legally cast into the web of Institutional Slavery, but a soldier seized by insurgents after being separated from the rest his patrol in the Middle East. This humiliation, being harnessed to pull a plough in the crudest way imaginable comes only after he has endured a lengthy 'interrogation' process laced with generous helpings of dubiously-motivated torture. The description of this particular descent into hell is compelling (link below).

You'd think it must be a relief to him to be out in the fresh air with not a wall in sight, but he actually looks distinctly nervous about being in such an open, exposed place after months spent in dark cells (a similar reaction to Tanner's when he was taken off the farm). As we are all learning right now, a draining of the spirit is a common consequence of extended detention and isolation. 

His anxious mood is probably fuelled by the chance remark that he is just 'earning his keep' by doing this task, suggesting his recent extreme sufferings are only on 'pause' and far from over yet. You'd forgive him for looking for a way to escape, though he'd probably not get far in this flat terrain. 

This picture makes an interesting comparison with the other ploughing image, no 807 above (In From The Fields). It suggests that those who we imagine to be less civilised than ourselves may not necessarily be so!

From Afghan Detour at Telemachus

Finally, there is one other story by Amalaric which also gives us an interesting glimpse of a slave at work in a rather different context - 'Lord Chatterley's Forester' which I review in Part 8b

Read this series from Part 1