Homoeros - Recent Work (2025) - 2

Read Part 1 of this '2025 Recent Work' article

 

 

1

 

This story, simply called 'Farm Boys', opens in a sunny field filled with gay flowers. Two Farm Boys are examining a scarecrow. Well, one of them is, I've called him Seth. The other, Tim, is keeping his distance. The scarecrow has an outer wrapping of well-worn sacking, it looks as if it's been around for a long, long time and it's very spooky. Horror movie fans will recognise the meme with relish. The pumpkins lying around on the floor confirm the worst, this has got to be Halloween. 

 

The presence of summer flowers in Autumn might be considered another spooky element. It's probably artistic licence, designed to give that initial impression of beauty, peace and well-being.

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Despite his amazing muscles, Tim is unnerved by the scarecrow and wants to get away. Seth laughs and puts a reassuring, affectionate arm round his shoulder. The two friends walk off, unaware that behind them, the scarecrow seems to have reacted to them in a disturbing way.

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The Farm Boys hold hands as they depart, clearly they are more than just friends. 

The scarecrow seems to be watching them. 

We see now that it isn't secured to the support.

 

4

That evening, a mysterious mist descends on the farm. 

As Seth walks home, he is unaware of strange creatures emerging from it behind him.

In the distance, the scarecrow's cross is now vacant.

 

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Seth is attacked by the creatures, overwhelmed and stripped naked*.

As they carry him off, a storm breaks. Brilliant lightning sears the sky, 

Torrential rain pelts Seth's naked body.

*more images at DeviantArt (link below)

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With the storm raging, the creatures carry Seth across the sodden field

Ahead, two scarecrow crosses are planted amongst the pumpkins.

One of them is already occupied, a naked man hangs from the cross piece. 

He's tied by his wrists and ankles.

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Seth is dragged the last few yards to the crosses, where the 3rd creature awaits.

He looks up at the last minute and sees the unconscious, hooded figure already hanging there.

 

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Seth is hung on the cross next to Tim.

The rain continues to pelts down on them, cascading down their naked bodies.

Lightning flashes illuminate their glossy, neutralised muscles.

 

You can fill in the gaps in this tale by starting to read at Deviant Art 

 

This tale is a splendid, gothic variation on Homoeros' favourite theme of crucifixion. 

A bloodless one, which pleases me. The horror iconography is a bit random, but the scarecrow role reversal is very effective, and the outcome is still disturbingly sexy. It does seem, as if Seth and Tim are being punished for being gay, the same might also be said of the story of hitchhiker Leo in Part 1. But equally, it may simply be that these malevolent creatures hate lovers and happy people.

See the foot of this post for other scarecrows 

and ominous farm settings at mitchmen.

 

 

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The artist's interest in depicting homophobic situations is even more explicit in this series, which is simply titled 'Medieval'. A nobleman's son has been caught in 'flagrante delicto' with a wandering Player (i.e. an entertainer). No guessing who's going to be blamed for this fall from grace! A dripping dick is the smoking gun. 

 

The Player is abused then dragged before a priest - to confess and reform, I guess. This is a great image with good composition and convincing figure interactions. The Renaissance style colouring and warm lighting in the style of Caravaggio is a very clever embellishment.

 

 

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The Priest proves to better at exploitation than rectification, but I suppose someone has to have a pop at the handsome offender before he is despatched to his fate. He also hangs around afterwards to legitimise the sadistic proceedings that follow. The Player is spread X-fashion across a timber frame and the whips are brought out.

 

 

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The executioner lays the whip on with ferocious energy. I can't say I enjoy the sight of blood, especially after having read about the consequences of harsh floggings in Clavering's 'Under The Lash', but this is an intensely dramatic image, made more so by the crazy angling. 

 

The executioner's arched torso expresses a determination to inflict the maximum pain. The stiffness of the victim's physique reflects his efforts to manage and contain it. The naked man's anatomy is more compact and realistic than in older work by this artist.

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Once the tormentors have completed the designated flogging and discharged their own interest, the victim is taken down. He's set on the floor, with a timber block under his shoulders, and they proceed to nail his arms to it. I've selected this single image to represent that process (depicted at length by Homoeros), because it illustrates the victim's horror and helplessness as he grasps what they intend to do to him. The torturers continue to show their keenness to do the job well, sitting astride him, not shying away from intimate contact with the condemned man. 

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When the grisly attachment process is complete, the block is lifted into brackets high up on a wall frame especially built to hold it. This elaborate arrangement suggests crucifixion is a regular occurrence in this particular dungeon, but it seems the perpetrators never tire of watching their victim's suffering and descent into oblivion. Unlike Leo the rambler in Part 1 of this post, there's no-one to rescue the young Player.

Fill in the picture gaps at Deviant Art starting from Medieval 01

 

~

 

There are a number of other examples of spooky scarecrows 

and ominous farm settings at mitchmen:-

 

Chenz-X-Chen, from Art by Chenz-X-Chen 

EdDraws (sinister happenings in a corn field)

Amalaric (scarecrow punishment in Cruel Justice)

Jotto (scarecrow conversion)

RomanAI (sinister corn fields)

Palanca (corn fields and corns)

 

click on the labels at the foot of the post for other related articles

 

~

 

14

 

Here, it looks like the Player from 'Medieval' has got himself into more trouble.

The naked man, drunk and disorderly, is arrested and handcuffed in a modern city centre.

I suppose reincarnation might well perpetuate the terrible traumas of a previous existence.

This detention may not be without bodily consequences either, invasive maybe, but not fatal.  

The moment when a man submits to capture never fails to stir me.

 

 

 

 

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This appears to be a very different situation where two men have emerged from an underground tunnel to discover the opening is sealed by bars. You can feel their frustration and disappointment. This may be an escape attempt that has come to naught. Maybe they didn't even suspect they had been imprisoned, but were just exploring. Now the terrible truth unfolds. 

There's an echo of Gilgamesh in the idea of a labyrinthine prison.

 

 

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This man certainly knows he is a captive, because he's in a bare stone cellar with his hands tied.

He must have tried to escape, but thwarted now, he kneels submissively to await his fate.

The simplicity of the image gives a sense of his helplessness and abandonment.

 

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This captive is tied to an easel-like frame, as if by a man who sees himself as an artist.

A man who sees his captive as worthy of display, a canvass for his artistic talents.

However, it's a frame of tremendous size and strength, built to withstand great forces.

Neither of these ingredients bode well for the young captive.

His muscularity pleases the eye, but will be sorely tested in the coming days, sorely.

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The final image in this selection is another simple but powerful idea.

A naked man has been brought to his knees by another, skimpily dressed in gladiatorial accessories.

He's not restrained, nor trapped in a cell, but bought low in a vast open, deserted arena.

With his back turned, defenceless, to his antagonist, his bowed head signals total submission.  

 

The telltale clues to this sorry state can be seen in the area below his left armpit:-

Flecks of blood and a glimpsed loop of a whip.

His strong jaw and masculine stubble underline the depths of his subjugation.

Dejection, humiliated. A great little image.

 

~

 

 Read Part 1 of this '2025 Recent Work' article

 

&

 

More Homoeros at mitchmen blog

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

 

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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.

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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.

 

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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