Wrestling hunk Chace brought down to size

This amazing, hairy torso belongs to erotic wrestler, 'Chace LaChance' and this picture knocked my socks off when I stumbled across it at Wrestler4 Hire. Chace has been around in the erotic wrestling circuit for some years and I've always liked his boyishly handsome face and nice physique. 

But this is something else - and I like it!

 

 The pictures come from an combat encounter with Jessie Lee, 

seen here climbing gingerly into the ring as Chace shows his body off to the audience. 

Jessie is muscular, but he's not a big man. 

Is he about to be made into mincemeat? 

These fights don't really need a believable plot line,
but Chace's showing off gives Jessie a chance to jump him.
He gets a neck hold and hangs on tight!

Interestingly, Chace's muscular body looks bulkier and better when he's not posing!  

Jessie has to fight Chace unaided by minions,
but still benefitting from the element of surprise,

he manages to drag his prey backwards into the corner

It's a little bit posed, but I love a good 'overpowering' image,

showing off the victim's arching, unprotected torso.

Jessie climbs onto the top of the ropes and still drags Chace with him.

Sensing the danger, Chace reaches out with flailing arm to an invisible helper.

(Nice crotch shot, btw, looks like the blood is pumping at this point!)

Another wow! moment as Jessie consolidates his grip on Chace into a proper neck hold 

Chace's body looks magnificent here with fabulous 'grow back' tracing the contours of his muscles

and the curving lines of his trunks showing off imperial-size thighs. There's just enough glimpse of buttock and bulge to sustain our erotic interest. Even the tattoo does it's bit, making his arms look amazing. I normally dislike tattoo's when they obscure body detail, but they certainly work here, I think the faded colouring helps.

Braced by the ropes and with his arm muscles straining, 

Jessie is able to tighten his grip on Chace's neck.  

The so-called 'Sleeper Hold' is supposed to render the victim unconscious.

Whatever the reason, Chace begins to sag and his slightly twisted body, 

suggesting a despairing attempt to wriggle free, makes another great domination picture.

 Jessie forces the big man down onto the floor in a submissive kneeling pose.

Now it's even harder for Chace to use his body strength to resist him.

With his feet planted firmly astride his victim, forcing him ever downwards.

Jessie senses victory is at hand.

Chace is becoming like the proverbial rag doll now, 

his resistance is slipping away and he descends closer and closer to the floor 

Jessi follows him down, never relaxing that killer grip

Even on his knees he can still control the fallen hero.

This despairing roll by Chace's is his last throw of the dice.

It doesn't faze gloating Jessie, but gives us a welcome show of buttock, thanks to skimpy trunks.

Jessie verifies Chace's descent into unconsciousness with the traditional 'floppy arm' test.

Seen in profile you can see that Chace's boyish features have not entirely disappeared,

but have been embellished by the textures of maturity to give him a nice, pugnacious look.

Even in humiliating defeat, Chace's still body looks a treat.

Masculinity totally undiminished.

A groggy, unresisting man.

It looks like Jessie's dragging him off to the recovery room

and who could blame him if he were?

Great men, great pictures.

My narrative here is imaginary, derived from the original fight but not the same
 View the whole set:- Chace LaChance vs Jessie Lee at W4H (Wrestler4Hire)

You may have to take out the free membership option to view but it's worth it.

mitchmen's war No 12 - Not Going Commando

These two pictures from a 'Commando' Comic caught my eye because of their striking imagery. 

However, on closer inspection though I discovered an amazing, hidden erotic message.

(N.B. I have removed inappropriate and racist language from the text)

(1)

Were it not for negative character traits shown in the thoughts of the man above you might find him quite attractive in a boyish way. The artist who drew him was a frequent contributor to 'Commando' in the 1980's. He has a bold style that sometimes veers into outright caricature, but he has a knack of capturing 'something about a man' which I rather like. He depicts more heroic types in just the same way as the example above, showing them not as stereotypical, square-jawed, hunks (not that I've got anything against square-jawed hunks!) but as ordinary, slightly immature men, which is what most WW2 soldiers were of course (at least, when they joined up).

(2)

This picture of the same character is infused with the same gangling, not-quite-mature characteristics.
The open legged pose is mildly erotic with cute turned-in feet, but scrupulously 'proper' in accord with the norms of the genre. At this point in the story, 18 pages later, his desertion has evolved into outright collaboration with the other side. I'll fill in the story line at the end of the article.

My main interest is in some surprising homo-erotic details in the pictures,
which are revealed if you look more closely......

~

If you look at the backside of the running man in the first picture (1),
you'll see some thin lines cutting across his thigh,
but they don't look quite like crease lines should look.

They hint at an alternative version of the picture, which I have developed below (3).
 .

(3)

I visualised the original artist doodling these extra lines and wondered idly what this man would look like if he was dressed in shorts. My colouring brings this vision out. Not just any old shorts, but shorts which have been rolled up at the leg and look very short indeed and rather sexy! The baggy, lower leg details don't fit in with this alternative vision, but notice how the shadow on the far leg takes on a shorts shape too. There's even a discontinuity in the top of this thigh suggesting a matching turn-up. The curve of these imaginary shorts makes the man's stance look open-legged, more static and rather more sexy than simply running.

I started wondering if these odd 'thigh lines' appeared in any other pictures in the story and a search turned up the second picture (2, above). Similar lines also appear here with even less obvious purpose than the first example, but also suggesting leg-hugging shorts. However, I then noticed another detail in this picture which put shorts right out of my mind, illustrated in the revised version below.

(4)

 In case you are wondering, I haven't added anything but colour to this picture and if you refer to the original (2 above) there is an unmistakable line of circles around the Cooper's upper thigh which look just like the hem of frilly knickers. I can't think of any other thing this pattern might be intended to represent.

It may be that the artist is playing on the cowardly character of his subject (using clumsy female/gay associations which we would reject today). If that was his intent I'm happy to own it and interpret it as a subversive, hidden, erotic message. Maybe he's secretly confessing to an interest of his own!

 Whatever the intentions or leanings of the artist might be, there is no suggestion in any of the story that Cooper is gay. There's actually no sexual dimension or depth to any of his relationships with the other men.
~
I outline the plot of Cooper's story and his fate below.

The pictures featured here come from
Commando Comic No 1432, 'Trapped!'


 At the outset of the story Cooper, who we met above, is depicted running from the battlefield.
Unluckily for him, he runs straight into his own Sergeant, 'Frank'.
(Sergeant Frank is tagged with his first name because he is a 'goodie'!).
Both of them have been cut off behind the opposition forces front lines, hence Trapped!

The Sergeant vows to take Cooper back to face disciplinary action.
 You can see here how the 'hero' Sergeant is shown as a callow youth rather than the traditional hunk. I think the depiction of a sullen Cooper, hands in pockets (left), is marvellous, much more interesting!

The voices they hear (right, above) turn out to be two US soldiers who are also cut-off behind the lines. They join forces and then run into a pilot who has just crashed in the same area (!).

It's inappropriate to label this scene as homo-erotic,
but I would observe that the artist did not need to depict it quite like this!

The group agree to rescue the senior Officer who was a passenger in the plane.
The opposition forces, however, are also hunting for him themselves,
hoping to extract vital intelligence from him.
Their pursuit gives Frank's group a torrid time and Cooper deserts them (below).

 Cooper's flight leads him straight into an opposition patrol.
  Their Commander obtains Cooper's collaboration by threatening to execute him.

Under threat of death, Cooper betrays his colleagues twice, once by revealing their whereabouts and when that capture attempt fails, he rejoins the group and signals when they are vulnerable to attack.
However, Sergeant Frank catches him doing so, foils that attack too and knocks Cooper out.

Cooper's demise, two thirds of the way through the story, avoids an awkward, messy ending.
It's a rather sad tale really. A not-very-subtle lesson in morality, bravery and loyalty for young readers.

I confess I'm drawn to Cooper's rebellious, outsider character
 imagining there must be a redeeming feature we haven't been told about.

The more interesting moral for me is that there may be more 'hidden eroticism' in this artist's output!
Watch this space!

For other imaginings in this series click on the 'War Comics' label below
or read all these War Comics articles from the Start
 

For more hidden eroticism also click in the label below.

Taken Off The Streets - 5

For all the erotic action, there's a certain beauty and artistry in some of the interactions at BF

 Chris is obliged to feign attraction to his captor here, but he makes a pose that is defiant and artistic.

I'm not usually into stocking-knit masks but it creates a nice visual effect in this image,

an odd mixture of hooding, sexual barrier and villainous, non-disguise. 

A similar, unwitting, but rather charming, sexual display is cajoled out of Max here

 in the guise of harmless assessment and appreciation of his assets.

But Max soon discovers that collectability and admiration at BF

 does not imply respect for his body, not even for his most delicate assets.
We share his pain in this finely judged snapshot.

Steve's lusciously lithe body (shown to great advantage here) does not protect him either.

His neck and feet are tied to a suspension rope pulling upwards,
forcing him into a helpless and awkward position which is very nice to look at but invites attention.

A similar suspension triangle, reversed for Martin, putting him in a beautiful arching pose

which is partly tensioned by the dildo stick between his legs.
His plumped up buttocks become an irresistible target of course.

Shamus makes a backward arch, which is equally beautiful here,
but the interlocking triangle of muscled arms make this 'hog lift' a more special.

The manual lift is a very personal demonstration of the strength of his captor and his willingness to use it. The noose-like, neck bindings in this improvised suspension pose an additional challenge for the captive who is diminished accordingly, intimidated, used and reduced to a mere object.

Jack here undergoes a similar experience, also involving a personal lift, albeit in less threatening, conventional, hog-tie roping. His humiliation is amplified by having the crotch of his own underpants stretched across his face at the same time. It's not a pretty picture but it captures the sense of helpless 'flight' rather well. It doesn't flatter the captive at all and he is anonymous anyway so it's a disturbingly complete abasement.

Ross' tousled hair and dishevelled clothing are testament to the struggle to contain him.
But they actually underline his helplessness rather than a nudity that you cannot really see.
Shamelessly exposed and helplessly contorted, you can sense his bewilderment and dismay.
It's a classic image in it's way.

 Men's bottoms have a central role in BF proceedings and few men relish displaying them. 

Here Mike has been handcuffed to allow his ass to be paraded before an appreciative audience

The contrast between his nudity and everyone else's clothing is a powerful visual isolator,
while, the handcuffs, which are all he wears on his body, eloquently describe his captive status.

 

The simplicity of this pose by Kirk is striking and visually interesting.
The fact that he is kneeling on a table bestows a 'guinea pig' status upon him, similar to Mike above.
It's true even if you didn't see that his limbs are loosely tethered to the corners.
His underwear suggests there might even be a respectable (if puzzling) medical purpose.
Kirk isn't a rocket scientist but it looks like he's guessed where this position leads.

There's no denying the erotic thrust of this image, possibly the sexiest in this collection, but, cleverly, it's not sexually explicit at all by modern standards. It's also obvious that  Liam is tied up, but it's mostly implied, not visible.

His boots and soccer socks (in sexy pale blue) draw attention to his nakedness elsewhere.
and they enhance his almost unseen, rear attractions with a sporty and cosmopolitan aura.

Incongruously beset by painful nipple clamps he presents an open goal for prospective fans.

Another soccer player, Mark, demonstrates that nakedness is not a prerequisite for a beautiful buttock show. As a lifelong shorts fan I love this image. The wetting treatment in progress here may ultimately blur the nakedness boundary, but meanwhile the discomfort of wet pants probably qualifies as a cruel and unusual punishment.

 

The allure of Lee's inviting crevice is hard to contest
but it's a great picture too with a tripod-like composition that's cleverly judged.

But art or not, I defy anyone not to get excited by Kirk's plump globes 

 

The lick of the lash is an inevitable consequence for them all at BF.
~
In this retrospective I have focused on images and situations that particularly excite me at BF.
It's not comprehensive, I have pretty much ignored the older Str8 Hell material.
I like the imaginative use (and destruction) of clothing which I think marks the studio out as different, but I confess I find the level of realism and extremes in many scenes quite daunting.
For that reason I avoid the videos and 'raw skin' scenes and stick to spotting the best 'situation' imagery where I think this studio truly excels. Their policy of repeating similar punishment scripts with minor variations doesn't seem to inhibit the production of novel imagery and in practise seems to work as a teaser as much as a spoiler. I suppose it is an honest acknowledgement of the needs of mass production which other studios share but try to disguise.   

Read whole BF series from Part 1

Visit the BF website (members only)

There's a good collection of trailer material at Scally Guy
and there you should find all the men featured here being dealt with in more detail. 

Taken Off The Streets - 4

Putting men in their place is the name of the game at BF.
It's a house with many rooms.....



....like the crude invasion of intimate zones,
a hand crudely groping inside Jamie's underwear...

....like the intricate tying up and peg-pinching of private parts
a technique demonstrated in this picture of Chris.




There's the all-over, sharp shock of a drenching with  cold water,
a ball-tied Guy has his candle casually extinguished.



Sometimes more brutal assaults of a conventional kind.
Jack's cheeky boy persona earns him the role of oily, human punchbag.

Oiling the body of a captive like Toby, is an intimidating technique in itself

Lending him a visual allure and inviting attention which perhaps he does not seek,
The coating heightens his nakedness and sensitivity to touching
and creates an isolating barrier around his body,
one that must be removed before he can regain the comfort of clothing

This 'Free Style' bondage does not employ attachment to fixed objects 

It gives an illusion of freedom but hampers movement

Here Yuris, with minimal wrist restraint,
 struggles to obey an instruction to undress himself,

This arm and leg restraint, demonstrated by John, does allow some independent movement,
but not enough to escape humiliation or chastisement.

This mode of bondage is the basis of one of BF's most imaginative trials.

Clips are attached to the nips and cock of the captives.

There are small magnetic discs dangling from them on chains .

The captive is told to use them to collect other small discs scattered on the floor

 The captive must shuffle across the floor as best he can to get close to a target disc,

a clumsy motion at best, demonstrated here by Lee 

Effecting a pick-up requires him to crouch right down on the floor surface
in order to get one of his dangling magnets close to the target discs,
although from this angle he can barely see where they are.

The supervisor encourages him with his slapper.

The captive must master the co-ordination of distant body parts
which are not designed for precise positioning.

Here Lee demonstrates the cock attachment pick-up 

 Vincent, also seen in the last post,
has been one of the most memorable recipients of this punishment.

His muscular body hinders flexibility and movement.
but does not disappoint visually.

His reward for success is an increasingly heavy load on sensitive, pinched, body parts. 

A short video trailer of Vincents trial above, it's fairly mild,
but I'd caution readers of a sensitive disposition to approach BF videos with care
 as the visual content and improvised dialogue can be quite challenging.

 

Some men are called upon to give personal service,

a pleasurable challenge to most gay men, although Will here doesn't seem sure.

 

 Arguably the most delicious of all, 

the muscular Brad submits to waiting on his newly-acquired masters

wearing only his underwear and a dickie bow.

(series concluded in the next post)

Read whole series from Part 1

Visit the BF website (members only)