Art by Steve Masters 3

Steve Masters - 'Silky' The Pride of the Pits (1961)

The term 'silky smooth' is sometimes applied to the smooth running of a well-tuned, well-lubricated motor engine, but the title of this piece also seems to mainly refer to the garments the guys are wearing. A great deal of effort has gone into making the driver's top look flimsy and clinging. However, silk is a fabric more associated with horse riding than oily motor sport, and in fact, a tear can be seen in the mechanic's top, allowing his nipple to show. 

The mechanic's posture, bent over and astride a tyre, has an obvious erotic significance, as does the phallic object right under his nose. The driver in the foreground seems to be preparing to engage gear with him. Even the oil cans on the floor (with leaking nipples) are joining in. A range of spanners on the wall, like the 'kill' badges on the cockpit of an air ace, suggest the mechanic has size capabilities exceeding his outward appearance.

The punchy decoration of the men's outfits with bold, but seemingly random symbols is a typical Steve Masters' technique. He commonly uses shoulder flashes, their body enhancing effect, quite likely inspired by his experience with the fashion industry. The red discs are more obscure, but this one draws attention to the driver's backside, whilst simultaneously half-obscuring the 'sucked-in' look which might imply enlargement on the far side. Its shaping also seems to reference the leather inserts of horse riding pants.

 

Steve Masters - 'Polo' The Pride of the Stables (1961)

This picture is an obvious companion piece, picking up the horse riding theme and set in the equivalent of The Pits for that sport. The reference to the Sport of Kings in the title provides an erotic pun for UK viewers (see Polo) questioning who Polo is. 'Stable Boy' is an expression of status not age, but Masters' is flirting with dangerous territory. 

Fortunately, the erotic messaging here is more muted than in 'Silky', with the Stud simply enjoying the hero worship by a fan who kisses his bicep (with some trepidation, it must be said) and his mount, who kisses his fist. Hmm. He's hiding his riding crop from both of them. 

The near-explicit rendering of the Stud's endowment reflects his pleasure at the attention. It is disguised on many surviving versions of this image and may well be toned down on this one too, but the shadow of it on his thigh has escaped 'correction'. 

I don't have the coloured version of this image, but the Stud's knee pads look like they may be more red circles (suggesting another aspect to his sexual character). The fit of his shirt resembles the treatment of the driver's in 'Silky'. 

 

Steve Masters - First Tattoo (1961)

Masters' was also interested in the direct decoration of men's bodies with tattoos, although the iconography he used was less bold than his clothing designs, being more intricate and more plentiful. In the picture above, tattooing is depicted as a rite of passage, but interestingly, it's the two mentors that exhibit sexual excitement. The figure in the foreground is actually pointing his out to us. The eagle taking flight out of his pants provides a graphic illustration of the erotic impact of well-considered tattoos. 

The initiate seems hesitant, the passive recipient of a badge of ownership. Like college hazing, joining 'the club' entails submitting to the control of the existing members. There's a hint that eagle man may be marking the occasion, too, adding a new 'kill badge' to his extensive collection. It's not a romantic gesture, more like a blood-brother ceremony with an intensely erotic subtext.

 

Steve Masters - Tattooed Man (1962)

This image shows a man's body completely covered with tattoos. It reflects an obsession reminiscent of the work of some of the Japanese Masters like Hasegawa and Mishima. However, Masters doesn't depict dense blocks of ink like them, his tattoos are delicate and in black and white they seem to emulate the effect of lace and sheer-patterned fabrics. If you look at the tattooed man's thighs, it's as if he's wearing nylon stockings. This image is an intriguing combination of male and female expressions of allure.

The man is wearing a cape*, which creates the impression that he is a circus performer. In fact, the whole background is circus-y. To the left of him is a poster about a fire-eater. He's breathing his flames over the tattooed body. That's a rare clue to Master's interest in S&M that inspired his choice of artist's name. This detail offers further insight into the ritualistic significance of tattoos for him. For the avoidance of doubt, the snake's head on the opposite side doubles up (oh so subtly!) as a hand manipulating a cock preparing to anoint the tattooed torso.

* The cape also serves as a device to separate him from the complex background. It, too, is faintly patterned, but will have been a different colour in the original picture. 

 

Steve Masters - Trapeze Artists

 Masters' had a special interest in Circuses and there are surviving images by him which show trapeze performers simply posing in their tights, without any additional erotic subtext.

 

Steve Masters - Circus Sneaker (my title)

This image seems to show an acrobat preparing to deal with a young man, caught sneaking around the 'Big Top'. The sack on the ground suggests he might have run away from home to join the circus, he might end up, end up and wishing he hadn't! 

Masters' characteristic 'random' lines create the 'double vision' impression that the youth is bare-topped, and that we can see his lean muscularity. Similarly. the detailing of his jeans around the backside is faint and ambiguous. The acrobat's top blurs the boundaries between clothing and tattoos, with looping lines creating just a sense of his hunky muscles. A 'dimple' on his backside seems to deliberately double up ominously as a flaccid cock. Notice too how the end of his belt is entangled with the youth's feet, suggesting his capture and being drawn into the acrobat's orbit.

 I published this image before in a post about little-known vintage spanking images. 

 I don't know if Masters had a personal connection to the Circus or was just picking up on the popular culture of the 50s, which produced numerous television programmes and films on the subject, (notably 'Trapeze' in 1956 which had a gay subtext). Tom of Finland also produced a Circus series around this time and featured acrobats in tights in some of his best known images.

 

Steve Masters - Circus Sneaker 2 (my title)

 This picture seems to revisit the same subject, except that the young man here seems to be exiting the tent rather than entering it. A thief leaving with his swag, perhaps. This one looks older and more muscular. The picture is obviously cropped, which means that the lines around his bicep and waist, plus the turn-ups of his jeans, are the only indication that he's actually wearing clothes. It's almost as if Masters is imagining the acrobat has X-ray vision. We can only imagine what erotic delights were chopped off by the editing process, but it's still left behind a suggestive image.

The acrobat seems to be waiting to spring his trap. He's drawn with a majestic grandeur, echoed in the eagle rising just behind him. It's a contrast with the bulky build of the previous image, but no less imposing.  

His belt is ready in his hand. The end of it curls as if he's just given it a preparatory snap. Stars on the board behind his backside seem to reflect his thoughts. His hand rests on his thigh as if he's itching to stroke himself - or just has done. Masters' has coloured a panel in his tights to simulate a posing pouch and added crease lines to suggest weight. It heightens the ambiguity between clothing and nakedness elsewhere - and possibly cloaks a more overtly erotic outline. 

 

Steve Masters -Cover Art for 'BIG'

 All Master's clothing designs look like Circus garb, but I've never seen an acrobat as daring as this. If only. It would give audiences the added suspense of him accidentally unstrapping mid-performance.

Masters was the design editor for BIG and all their covers featured 'cubicle' style* images like this 

(*see Part 2).

~

Part 4 of this series features a different style used by Steve Masters.

Read from Part 1 of this article  

Another post about Steve Masters at 'X'

Steam Baths 

Art by Steve Masters 2

Steve Masters - Al Fresco

 If the convict image that topped Part 1 of this article is one of Master's most memorable, this must be the most intriguing. This is the best quality copy I have of it, but it's not the most complete, a version I have assembled from two other sources (below) shows more of the composition at both the top and the bottom.

Steve Masters - Al Fresco (extended)

Looking at this expanded version, you get the feeling that there's probably even more to see in the artist's original. The fragment at the top seems chopped, but it does seem to be the uppermost floor, because it doesn't have a staircase leading further upwards.

But what does it mean? At one level, you might see it as simply a vehicle for figure studies. Most of Master's compositions have that 'posed' quality, with limited interactions between the characters. In this picture, the men interact with the architecture more than they do with each other. However, one window does show a couple who might have just had sex, is this an imagined house of boys, then? 

At the other end of the scale, you might see this as an allegory of the gay lifestyle. Bedsit boys, living mostly solitary lives and constantly looking out at more showy men who have the courage to strut the fire-escape in public view. Close by, but out of reach, and ultimately just as trapped as they are, in the gay ghetto. That subtext would have had some resonance in the early sixties, when many gay men really were trapped and the gulf between the closet and the secret, 'out' world was far more substantial than it is today.

Steve Masters - Cubicles (my title)

 If you are inclined to dismiss this interpretation, this picture might make you think again. Nine men in panels depicting toilet cubicles, and one of them is having sex if you look closely. None seem to be actually using the toilet. 

This image depicts the wide variety of men that haunted restrooms. The original was clearly coloured, as many of Master's images were. and that would have enhanced the sense of variety - in dress at least. 

It's intriguing though that the individual portraits are cropped so severely. In places, it creates the illusion that the men are having sex with each other, with an impressive daisy chain in the middle. The overlaps in the outer panels create the same effect in a different way.

Squeezing the images together does create a sense of fleeting visits and of the individuals merely registering as an impression. But there's a negative flip to that, which echoes the suggestion of isolation and loneliness in 'Al Fresco'. 

The artist Rex also played with the cubicle device later on. His images contain gay men actually interacting and having sex in their own partitions (which are closer to hotel rooms or bath house cubicles than public toilets). As individuals, they have much stronger identities. Both men are reflecting their times, of course.

 

Steve Masters - Rock Climbers (1962)

A young man is helped across a crevasse to join his companion, who strikes a godlike pose. It's a scene reminiscent of renaissance art. There's a calmness about this picture and a complete absence of innuendo, although their nudity (contrasted with residual clothing and kit) does suggest a sexual context. The shedding of all clothes means there's none of the showy display that characterises so much of Masters' work.   

 

The elements of creativity and design which dominate the previous images can be seen differently here, with a relatively simple composition embellished with what appear to be fragments of commercial marble images, such as might be seen on kitchen worktops or tiles. It creates an effect of a jagged, alien reality as the background and obstacle to the climbing. 

 

 

Steve Masters - Bacchanal

 

This image has a similar, striking design featuring realistic marbling, but it couldn't be more different to Rock Climbers. The design effects almost overwhelm the whole composition. 

 

When your eyes focus, it's dominated by an image of Bacchus with a dragon headed snake between his legs, discharging his lust from its mouth into a pool. The snake seems to be actually entering his body at the rear. An incongruous cupid rides behind him, seemingly trying to restrain the creature (or simply distract unwelcome prudes). 

 

Oblivious of them, a group of naked sailors loll drunkenly on the edge of the pool, full of a milky white substance, which probably isn't asses milk. (Shades of Stephen's 'Troopship'!). The sailors are subtly connected by hands and overlaps into a chain of shared, sexual sensuality. 

 

At the very back, another humanoid creature sits cross-legged, presiding over the activities. He's shaded in a different tone to the sailors, I suspect it's a different colour in the original image, to distinguish him from them. A disembodied head like a gargoyle hovers in front of his groin, obscuring it from view. It looks like a device added later to sanitise the image. 

 

I suppose this image simply expresses the view that gay debauchery is (reassuringly) sanctioned by the Gods, nay it's directed by them. Despite the difficult presentation of the subject, its sheer complexity is impressive. The figure of Bacchus and his snake is a homoerotic gem.

 

Steve Masters - Watching Men (my title)

This earlier piece shows the same interest in placing men into places with striking design features. The less exotic chequerboard patterns show a link to contemporary commercial art, although I can't quote chapter and verse on that. There's no attempt to construct a story line, but there's a very clever message... 

 

In the background, we see a couple of attractive, scantily-clad men engaged in healthy exercise. Another two are getting undressed for a bath (together? really?).  In the foreground, a fifth man in a jockstrap sits on a platform watching them, almost furtively. He seems a lonely, excluded figure, rather like the souls looking out of windows in 'Al Fresco' - and perhaps like the figure crossing the divide in 'Rock Climbers'.

 

 

Steve Masters - Boot Clean

Words are the striking feature of this image, with enough gay innuendos and puns to satisfy the most playful mind (soles rimmed?) These signs refer us back to the key character, who we see presenting himself - alone - and in a cubicle(!)  Not exactly trapped, though - or is he? 

 

The multiple offers of service around him are supplemented and clarified by the fact he's holding his cock in his hand. Masters has cloaked him in conventionality by draping a fashionable cardigan over his shoulders, an appealing connection for some.

 

The hint of a fairground connection can be seen in other work by this artist, in Part 3. 

 

Steve Masters -Handy Man

Words serve a very different purpose here. At first, we only see a fit, muscular man with a revealing shirt and a suitcase. We can visualise him arriving in a new place, looking for work and somewhere to live. So far, so very homoerotic. 

 

Then through the blizzard of words we see he has no right arm and no, it's not just one of Masters' design flourishes. He's a veteran, returning as a casualty of war. Immediately, those sexy innuendos and offers around him take on a bitter irony. His face acknowledges the reality of being able-bodied and yet not. He, too, is alone and isolated.

 

This is 1961, the year that American involvement and casualties in Vietnam began to escalate. With the Korean War a recent memory, Masters seems to anticipate and protest the inevitable consequences and the toll it would take on so many young men.

 

~ 

 

Part 3 of this series looks at Masters' less intense work.

 

Read Part 1 of this article  

Art by David Angelo 1

 

 The vintage gay art of the sixties that was printed in beefcake magazines of the time often seems quite amateurish, however this example by David Angelo has a pleasing blend of technical accuracy and sensuality. 

 

Inevitably, the model is clad in a posing pouch, a garment that often attracts derision in our own time, but the artist's treatment gives us a sense of size inside and entrapment, a straining to escape that shows us how the men of the time really saw it. Something truly erotic. 

More on vintage pouches 

 Angelo's drawing is based on a photograph of course, the model's physique and face looks rather like the great Rick Wayne.

 

David Angelo - Gunslinger

 

Cowboys were big in popular culture in the sixties, replete with handsome heroes. Angelo has given this one another idealised treatment, with prominent pecs and nipples straining at his tight shirt. The gun belt fulfils a similar restraining role below the waist. This last detail was not pure invention....

 

Robert Fuller as Jess Harper in 'Laramie'

  

Robert Fuller sneaking up behind John Smith in 'Laramie' 

 

David Angelo - Wrestlers

For this image of two wrestlers, Angelo has cleverly used the same stark lighting to cover up a bold erotic statement. 

 

One of the fighters is caught in a position where he's off-balance and vulnerable. His flimsy pouch inevitably draws the eye, but it's also attracted his opponent's hand. It's groping underneath, in the shadow of his groin. This hold has nothing to do with wrestling! 

In addition, the fighter in the foreground is totally naked, and the dark shadow that hides his far leg accentuates the impression that he's presenting his backside to us. 

It's not simply the sexuality that is so daring, it's the homosexuality. In 1960, just putting men together in a picture was suspect.

 

The lattice pattern in the corner is not part of Angelo's picture, it's part of an adjacent image in a magazine spread. 

 

 

David Angelo - Pop Star's Finale

In 1963 when this picture was published, pop music was starting to shed its veneer of respectability with Beatlemania converting music concerts into manic, adoration events. With its focus on young love, however, it was (and still is) relentlessly heterosexual. Not many pop stars dressed in transparent shirts and matador pants like this (not yet). 

 

Nevertheless, many gay artists tried to incorporate pop into their images. Tom of Finland's 'Ringo' openly sought to subvert the idea of straight entertainers and I suspect Angelo is doing that here too, by showing us his rear view, tensed above opened legs, raised up on tip toes. The singer seems to be ignoring his female fans, who are noisily lusting after his front profile. He's casting aside, too, the female shape of his guitar*. "Come and get me", he seems to be saying. To us, not them.

 

Ultimately these images fail to capture the magical attraction of pop stars, because away from the mic', he's just another bloke. I think I have seen art images of a star being seduced on stage, but I can't cite it at present. Sex in front of a horde of screaming women is a bit niche for me!

 

*The singer's own shape has interesting undulations at waist level, with an odd fit into his pants at the left. It's almost as if Angelo couldn't quite decide how slim, how masculine to make him look.

 

 

Angelo - Slave Auction 

Ever since Victorian times, the Slave Auction has been a 'go to' for artists seeking to portray gender power play and sexploitation in a semirespectable way. It fitted readily into the adoption of classical settings by gay artists seeking to avoid censure in the 50s and 60s. 

 

Angelo's Romanesque take has a very unusual night setting, giving him an opportunity to play with light effects*. The physiques of the two spectacularly muscular men who are manacled and up for sale, are greatly flattered by it - to the benefit of their value too, I suppose.  

 

A key ingredient in this scenario is the depiction of the slaves' emotions. One is proudly displaying himself, seemingly indifferent to the fate which might await him. His companion is, if anything, more muscular, but seems to be cast as a younger servant. He reaches forward, holding up the cloth which screens their groins (for the time being). 

 

The bidders we can see in the audience seem to have their own favourites, suggesting these two will not remain united after the sale.

 

*Angelo seems to have achieved this night effect using chalk or crayon on black paper. It gives something of an etched effect. Some of the detailing is spectacular - the creases of the toga for example. Unfortunately, his characterisation of the second slave, using voluminous hair and rounded cherub cheeks is very much of it's time and doesn't work for us, even if we believed in such improbable muscularity to go with it. With a man's head and face, the whole image would work much better.

 

~

 

More Angelo in Part 2 

 

 
 

 

 

FOOTNOTE 

My Saucy Boys in the Regiment

Saucy Boys 1

Saucy Boys 2

Saucy Boys 3

Saucy Boys 4

 Image courtesy of muscleandboots

Diplomatic Language

AI image generated by 'muscle and boots'

caption by mitchmen

After The Parade

 

It had become a weekly ritual. After the Parade, the Colonel would summon a selection of his Officers for a debriefing on how he thought it had gone. One or two of them would be commended for the way his men had turned out and then dismissed. The remainder would have the faults in their Divisions laid out in excoriating detail. The worst would suffer a spanking in front of their colleagues. 

In pursuit of this method of instilling excellence, the Colonel had introduced a new Parade Dress Uniform for the Officers only. It looked wonderful, but the tight pants that replaced the normal riding breeches were made of the thinnest material imaginable. It was true that tough seats were not required for riding in a parade, but it ensured that any punishment afterwards would be much more painful. So thin was the material that the officers riding astride their horses could feel their butts tingling under the stares of the men riding behind them. When mistakes started to happen, they would buzz in anticipation of the inevitable retribution.

 The inspiring original by muscleandboots @tumblr

For more captions click on the mitchmods label below

Morning Ride

1

 

The Prince's stable-boy has earned privileged access to the seat of power. The prince loves his stallion.

2

 

He knows he must maintain the dignity of his position.

Fortunately, the boy responds well to a stern hand.

 

 Original image by muscleandboots

Men in Tights - 2

Continued from Part 1

When Phoenix Flex comes to, feeling slightly fuzzy,  he discovers to his horror that The Silent Shadow has started to remove his hero suit while he was unconscious. 

His arms are trapped in the rolled down fabric so he can't stop him.

The Shadow believes he is impersonating his old adversary, 'The Flash' 

(The Hero who was the suit's original owner).  

Of course, being a Silent Shadow he can't say so to Flex. 

Lacking that info, Flex thinks he must want to steal the suit from him. 

Already he feels it's 'Hero Power Enablement' feature slipping away from him.

As if to emphasise Flex's vulnerability without his suit,

 the Shadow jerks his head back and squashes his right nipple.

 His 'Power-Grip' gloves apply extra-human pressure. 

Flex gasps in agony, but is still unable to defend himself.

Sneering (silently) at his opponent's weakness, The Shadow up-ends him

He transfers his crushing grip back to that other more interesting area.

Flex can't stop himself from letting out an agonised yell as his sore balls 

are subjected to another squeeze.

The Shadow pauses his devastating assault,

To investigate the fascinating shape he has found in Flex's tights.

It's unlike anything he's ever seen before, 

All Heroes have smooth crotches, not this strange little peg*. 

He nudges it tenderly with his hands feeling a strange sensation swirl within him, 

That makes him realise - it must be some evil trick!

*Of course, The Shadow has a human sub-ego with a dick himself, but when he assumes his Hero Villain persona, all inconvenient human traits - physical and psychological are suppressed and hidden.

 

Regaining his self control, he recoils in horror and stamps on the offending object, 

Meanwhile Flex has succeeded in freeing his hands, but it's too late,

His crotch is wide open and his balls (and more) are well and truly busted.

Flex howls, nursing a throbbing (and terribly painful) swelling,

He's unnerved by the silent, unprovoked attack 

and it's vicious success has severely dented his Heroic aspirations.

It's a bitter pill, but escape seems his only option,

He rolls over and begins to crawl away.

But The Shadow is not about to let his new enemy escape that easily

Especially not after experiencing that strange moment of thrall from him.

Be he genuine Hero or clumsy imposter, this character must be neutralised 

For the good of all of Super-Villaindom!

He just succeeds in stopping him from escaping by grabbing his tights.

As Flex continues to wriggle away, his tights peel off in The Shadow's grip.

The Shadow experiences that strange feeling again as he sees what is revealed.

It makes him confused about why he is trying to prevent Flex from escaping.

Dimly The Shadow realises he's being enchanted by those mesmerising globes.

Summoning his reserves of  villainy he looks away and makes a grab for Flex's neck.

A tight choke hold soon subdues his opponent's struggles.

But The Shadow can't stop himself checking out his peg again.

He is convinced that some secret power must lie within it.

Angrily, he hauls the unresisting Flex to his feet,

 how can this pathetic excuse for a Hero mesmerise him so much?

And yet with so little?

Standing behind, the peg is invisible and unable to exert it's distracting influence.

To neutralise it, he delivers a second vicious upper cut between Flex's legs.

It's more effective than he dared hope, Flex screams and doubles up.

But as he bends The Shadow is exposed to the full glare of his hairy ass.

He reels back, his body swimming with more, confused feelings.

Flex sinks to his knees, cradling his crotch and pleading to be spared

To his astonishment, The Shadow finds himself thinking, why not?

Are there not other things he might do with this strangely alluring creature? 

But then realises it's another of his tricks.

To shut Flex up, he pulls back his head and drops down onto it,

locking his neck under his armpit and levering him into a back-breaking arch.

Pit odours assail Flex's senses through the sweaty dampness of The Shadow's suit.

He feels The Shadow's glove tracing lightly across his torso, heading downwards.

It seems to trigger a nerve signal down through the pain in his spine to his ass.

The Shadow, is distracted for some time by the novelty of a helpless Hero's naked body

shuddering with fear and pain at close quarters under his hands.

But he is shocked when he notices that the strange little peg has changed.

It has morphed into something much bigger, firmer and more menacing.

Instinctively he goes for it with his glove, aiming to crush it before it can erupt.

The hot air of Flex's howl suffuses his armpit disturbingly.

Angrily he yanks Flex back by the hair, 

sending him sprawling on the floor.

Once again The Shadow attacks the source of his confusion.

Grinding it under his foot as one might an insect.

To his horror, Flex grabs at his boot as if he likes it there.

The Shadow hastily withdraws his foot.

But instead of scampering away, Flex just lies there, 

Protecting himself but leaving his legs wide open.

He seems to be challenging The Shadow to do it again.

Despite his inner fear, The Shadow obliges, 

He feels a grim satisfaction, crushing Flex's hand as well as his peg.

Looking down on Flex's naked body, his hair- flecked pecs and stubbly chin

The Shadow realises he doesn't want to let Flex go,

But to struggle with all the strange tricks his body seems to offer.

His mind made up, he picks up shreds of the ex-hero's suit 

and begins to bind him with it, hand and foot.

It's the first time he's restrained a defeated opponent in this way.

And he finds Flex's feeble resistance strangely satisfying.

It's almost as if he's collaborating, willing The Shadow on.

Lying naked at The Shadow's feet feet in a V-tied, hog restraint,

Flex squirms, grunting as he half-heartedly tests the bindings. 

But the Hero qualities of the suit have turned against him

The power in it seals his entrapment.

Flex's shoulders are broad and muscled, his buttocks plump and round

And The Shadow finds that sight more mesmerising than ever.

His hands are drawn towards the dark place between the thighs.

Just in time he checks himself.

 If Flex's globes can still enthrall him, what of the deceptive peg?

He kneels to roll Flex over to inspect his unprotected groin.

Flex moans as if he dreads his conquerer's touch. 

The Shadow likes him responding in this way.

As he heaves the heavy body up, he is distracted again by Flex's buttocks

They are now just inches away and bunched up tightly by the rolling action.

Helpless wriggling fingers stretch out protectively across them.

The Shadow senses the mysterious power that lurks down there 

and resolves to look into it later - in a more suitable place. 

As he rolls the defeated Flex onto his side, 

His nakedness spells out the totality of The Shadow's victory.

"You are mine now, Flash" he crows, silently,

"All my life I have wanted you and now you are mine. All mine".

 Flex somehow understands these thoughts

 realising that he has inherited a truly heroic mantle, that of The Flash.

It's a position that exceeds his wildest ambitions.

"Yes master", he murmurs, "I'm yours".

~

And at that moment, in a room, not far away, a weary-looking, strongly built man looks away from his TV screen which is showing a biff-bash movie. He sits wonderingly for a moment, then he takes off his yellow mask, goes to the kitchen and drops it into the rubbish bin. The Silent Shadow has been neutralised at last.

 Now he can give up his job in the Heroes shop and retire in peace.

 Smiling he returns to his armchair, picks up the remote and changes channel.

~

Read the whole saga from Part 1

See stills and video trailer of Phoenix Flex v Silent Shadow

in Hero Hunks at Wrestler 4 Hire