The Art of Gilgamesh - 3

Read this mitchmen article about Gilgamesh800's art from Part 1

click on pictures to enlarge the detail

Gilgamesh800 - Prisoner's enema torment - 1

These two pictures depict a muscular prisoner being subjected to punishing torment. Positioned in a frame that holds his neck and ankles in the manner of the pillory and stocks, the victim is forced into an unnatural position, balanced on his knees with his wrists chained together and pulled up tight behind his back. It's a murderous distortion that will soon wreak havoc with his knees and back. 

But that is not the end of it, because dubious, brightly coloured liquids are being forced into him simultaneously through a gag-like mouthpiece and an enema tube up his ass.  

Gilgamesh800 - Prisoner's enema torment - 2

 A hooded, executioner-like figure directs and oversees his torment. He appears to be lecturing him, finger in the air, but we have no idea what the benighted captive has done to deserve this punishment. Since he cannot really move or speak, there is nothing he can do by way of submission, confession or reparation to bring it to an end. He must endure it - as best he can - until his torturer decides he has had enough.

Gilgamesh used a similar punishment position for his captive 'sneaky' cop in Part 1. There it seemed to be a preparation for a humiliating penetration by his captor, but the device is doing that job itself here. The elaborate design and finish of the restraint apparatus indicates that many other men will taste its capabilities in due course.

Gilgamesh800 - Prisoner's ordeal on the Cross

This muscular, hairy man strapped to a cross is just one of many who are destined to suffer in this dark realm. His crucifixion is bloodless, but for him too, the prolonged immobility produces increasing agony, both physical and mental. His anguished expression says it all. He must be wondering if this is to be the full extent of his punishment or are his captors simply preparating him for further pain?

There's a great depiction of emotion in this picture, a man on the brink of breaking and making a desperate mute appeal for anyone to come and help him.

Gilgamesh800 - Muscular Prisoner taken to his Fate

Elsewhere in the depths of the prison another hairy muscle giant is dragged through a cold, stone tunnel. He's pulled along by a well-built guard at the end of a lead attached to the root of his cock rather than his neck. His hands are chained behind his back and he has been gagged, but nevertheless he tries to resist, fearing that terrible things await him at their destination. The guard is insistent and coaxes him along with false reassurances but implacable determination. He finds that persuasion is easier than using brute force and he likes to see the reaction when the prisoner finds out the terrible truth.

The prisoner's reticence and dread come across really well here. It's futile of course.

Gilgamesh800 - Muscular Prisoner Cock-locked in Scaffold Frame

The fear is well placed. For some of these muscular giants the denouement is truly terrible. This tattooed man, probably a captured, mercenary fighter, has been taken to a room where there is a tall guillotine-like frame. Its purpose is obvious, there's even a bucket placed directly beneath the wooden 'lunette' holding him in position below the blade. But it's not his neck that has been put into the opening formed by the two boards, it's his cock.

Gilgamesh800 - Muscular Prisoner Cock-locked in Guillotine Frame

From this direction we can see the prisoner has been chained to a post prior to his cock being snared, so he cannot retreat and thereby extract his tackle from the trap, even if the grip of the boards were loose enough to permit it. It isn't even worth struggling. Above him the prisoner can see the huge blade waiting to fall. The hooded guard places his hand upon the release handle laughing at the prisoner's efforts to control his horror. 

If he is a true hero, he will face even the loss of his manhood with stoic fortitude. They may release him if he survives this ordeal, knowing that his masculine life forces and urge to fight have been lost forever. He and his kindred will no longer be a threat, those sons he wanted will never be.

I'm glad to say Gilgamesh does not illustrate the denouement of this terrible punishment so we can imagine alternative outcomes for ourselves. For me the threat is certainly punishment enough. The prisoner can be released and returned to his cell after a suitable period of cbt. 

Gilgamesh800 - Asad Waylaid by a Thug

There always seems to be a sense of gathering doom in Gilgamesh's art but it usually seems to point to inescapable, indefinite incarceration with a spicing of periodic abuse. Extremes like the guillotine above are rare but one of his recent stories, 'Asad The Mighty' goes further in terms of mortal threat. 

The background to this cameo is not really explained but the title character is portrayed as a giant, muscular, hairy man who goes around the seedy parts of a Middle Eastern town topless, showing off his muscles and bedecked with jewels (presumably the fruits of his Mightiness). We don't know if he is a good or bad man but, not entirely surprisingly, he is waylaid in a quiet back-alley by an armed thug. However, this is a problem Asad is used to encountering and he is well-equipped to deal with it.

There's a clever use of close-up here, giving a good sense of Asad's physicality (and vanity perhaps). It also shows the predicament he faces, with an armed antagonist blocking the narrow passageway. 

Gilgamesh800 - Asad Overpowered by Thugs

Unfortunately, the thug is not alone. Asad is attacked from behind and overpowered. He is tied up and stripped of his jewels and his clothes. Tightly bound and dressed only in a loincloth he is lifted up by his (equally strong) captor and carried off. Thus are the Mighty felled.

However the captive's destination this time is not to be a dark dungeon - as is so often the fate of heroes in Gilgamesh's world. Instead Asad is taken to a strange deserted, palace which has an arcaded central atrium containing a beautiful pool. A place appropriate to his standing in life, it might seem.

Gilgamesh800 - Asad is Chained to a Ball

However, Asad is not destined to be a bird in a beautiful cage. He is forced to stand on the edge of the pool, gagged, heavily roped and immobile, while his guard attaches a heavy ball and chain to his ankles. The implications of this are obvious and dreadful. Is this to be his pathetic end? The reasons for such a cruel outcome are not revealed to us. Since he is gagged, he cannot even ask.

Gilgamesh800 - Asad's Captor Toys With Him 

Asad is a brave, strong man but nevertheless is forced to confront the end of life. 

His cruel captor has no pity and actually seems to be excited by the prisoner's plight and his muscular, rope-wrapped body. He strips him of his loincloth and salaciously toys with his manhood. Despite the danger, or perhaps because of it, Asad finds he is aroused too.

Notice the golden hue of his cock, seemingly reflecting his status, and it's interesting juxtaposition with his captor's bulge, clad in the rough fabric of a more ordinary man.

Gilgamesh800 - Asad's Captor Carries Him To The Pool Edge

Asad's captor milks him into the water in a lengthy sequence of images,

it's an absorbing distraction, a temporary reprieve from the threat looming at his feet.

 But as the passion of ejaculation recedes, Asad feels himself lifted bodily into the air.

He is carried towards the edge of the pool, soundlessly protesting.......

The strange, interlocking steps that we see in the background here seem to suggest that Asad has been brought to a place of ritualistic significance to confront his own mortality. Perhaps they represent the choices that he has made in life in order to rise up in the world. This is not a tawdry robbery or assassination but part of something much deeper. 

I won't reveal the outcome of this suspenseful tale, 

you can see for yourselves at Gilgamesh's pixiv site (free membership)

Asad the Mighty (part 1) and Asad the Mighty (part 2)

More Gilgamesh in Part 4 (pending)

Read this mitchmen article from Part 1

The Flat Cap Gang

Mitchell - Medical Interest

 My long running mystery story about an East End gang who kidnap cops and sportsmen and force them to provide sexual services and fight entertainment has resumed at mitchmen Google Group after a lengthy break.

In the picture above, the notorious 'Doctor' (who picks out inmates for special pain endurance experiments) and top thug Doberman (who just bullies everyone) are distracted in the middle of discussing arrangements for 'Fight Night' by a hunky medic working nearby wearing flimsy scrubs (and little else it seems). However there's a lot more to Husky the medic than a pretty bottom.

The story continues with weekly illustrated episodes at mitchman Google Group. 

You have to join but it's free.

For other gay art by Mitchell at mitchmen blog click on the mitchpix label below.

See also the mitchmen Galleries Hub for more links

Royale Studio Models - Peter George 2, in Pouch and Bondage

Peter George (in Royale Studio set 2-PUN) 01

Peter's second solo set for Royale Studio was labelled 2-PUN.

It included this sensational bondage image. 

The catalogue description below identifies that it was a posing pouch set.

Peter George (in Royale Studio set 2-PUN) 02 Catalogue Image

Royale's 2-PUN catalogue thumbnail focussed on the bondage ingredient with this slightly different version of the ladder pose. Even with wrists loosely tied, however, it wasn't mild enough for the image to get into print until a Royale/Hussar Studio retrospective in 1968 (in Trim Studio Quarterly No 26).  

There's a hint of the classical about it, most obviously Michaelangelo's dying slave. However, the workman's ladder jars with that connection, suggesting less lofty goings on (so to speak). 

Peter's pouch in this set looks eminently grabbable. 

Peter George (in Royale Studio set 2-PUN) 03

This image also toys with the bondage theme, 

but in the more customary, more cautious way of the 1950's

It sneaked into a 1959 issue of 'Model Man'

Peter's creased pouch here shows the familiar Royale signs

 of having been wetted and wrung out.

Peter George (in Royale Studio set 2-PUN) 04

This set also featured some splendid images which departed from the usual beefcake, formal style with a restrained eroticism that allowed the model's physique to shine through. This somewhat intimate pose showed him as the big man which he actually was (see 3-PUN catalogue blurb in Peter George Part 1). 

The narrow saw bench on which he is balanced here must have been quite uncomfortable, but even though it's cloaked in shadow, the timber between his buttocks and the triangular support, pointing upwards, directly underneath is not devoid of erotic meaning.  Like the stepladder image, it transplants an abstract, arty pose 'in pouch' into a slightly incongruous, rough (and sexy) workshop setting.

Peter George (in Royale Studio set 2-PUN) 04a

Unsurprisingly, this powerful pose put Peter on the front page of a Beefcake magazine but not until 1962 and the down to earth bench was crudely obscured, thereby eliminating the element of intimacy and elevating him to a God-like, remote status, which was presumably deemed to be more acceptable.

Peter George (in Royale Studio set 2-PUN) 05

Somewhat surprisingly, the same magazine had already used this, artier image from the set for its cover (in late 1959). Peter looks more boyish than God-like here, perhaps giving the picture a more innocent air. The half-round posing prop on which he is perched also avoids any dubious real-world associations. However, his highly oiled body and the very suggestive pouch shadowing, flanked by amazing thighs, make for a surprisingly sexy undertow. 

From all this front-page publicity, you get a sense of the impact that this man's arrival on the beefcake scene created and how popular he was. For that reason, there are more pictures of him posing solo than most men who modelled for Royale.

Peter George (in Royale Studio set 2-PUN) 06

The half-Polo, roundel seen in the picture above was a regular Royale prop that featured in many of its beef sets. It had the virtue that models could drape themselves over the top to create sensational, suggestive poses, like this. The white pouch, clearly outlined against the black background, draws attention to the erotic possibilities of this position - even more than the equivalent, 'crab' image does in Peter's PT instructor set. There's also a lingering sense of bondage/S&M, it's reminiscent of 'sacrifice' imagery, which puts the jolly, preceding image into quite a different light.

This photo was included, untitled, in the catalogue for Bonham's sale of the 'Originals', but it's only recently that I've been able to identify the model as Peter George from a spread in 'Him' Magazine No 1, ca 1960 (reference pages are included in the archive folder).

Peter George (in Royale Studio set 2-PUN) 07

Royale thought highly enough of this bench pose to include it specifically in their set description. It's an unashamedly provocative position with no pretence of artiness. Instead, it's as if we have intruded on the resting athlete and there's a moment of mutual questioning. Once again, the pouch becomes the focus of attention, its smooth contours presenting tactile qualities that are almost irresistible for those with wandering hands.

Peter George (in Royale Studio set 2-PUN) 08

This more conventional beefcake image shows Peter looking like an experienced professional model. 

The oily but elegant pose projects considerable presence and a sense of his physical size. 

Peter George (in Royale Studio set 2-PUN) 09

His beefing up and toning is even more evident in this super, seated image.

 It shows his torso musculature in detail and to great advantage,

with a wasp waist looking both impressive and sexy.

This shot highlights the more youthful side to his persona.

That over-the-shoulder look is a standard posing device,

but it looks a little fearful here, rather than being imperious and aloof.

It hints again at the sense of an intruder arriving on the set 

at a moment of particularly intimate exposure.

Peter George (in Royale Studio set 2-PUN) 10 & 11

The rear view shown in this magazine spread* showcases a different aspect of Peter's size.

It explains his ability to fill out shorts so alluringly in the PT solo set and in the Airman Gym spanking storyette.

The frontal pose has that appealing, 'come and get me' look again. 

It harks back a little to the 'Captive Slave' scenario.

Eminently grabbable.

*a page from Manual Vol 1 No 4 (1959), 

make what you will of the cartoon clown with sickly smile and over-sized extremity.

Peter George (in Royale Studio set 2-PUN) 12

Studio lights are used to represent the modelling theme more explicitly in these next two examples from set 2-PUN. They show that Peter taking his formal modelling seriously and looking quite majestic. The poles holding the lights create an extra sense of height. 

I always think there's a fetish-like power scenario in the photographer-model relationship. You can imagine the experienced professional giving instructions to the novice so that his body is posed for maximum effect. That includes creating sexy highlights and juxtapositions which he may be unaware of. Thus, the two (erect) poles have a mildly phallic sub-purpose here, especially that one directly behind him.

Peter's pouch has a glittery, stiff look in this image. Something similar can also be seem in image 4 of this post. However, the rest of the set have the more usual, slack, suggestive appearance. This is possibly a Royale wetting effect or just a trick of the light, but I suppose it's also possible two different pouches were used to give different options for sensitive editors. 

Peter George (in Royale Studio set 2-PUN) 13

Holding a pole is always good for unimpeachable suggestiveness!

Peter's shoulders and arms look exceptionally good here.

It's also a good example of his 'Leyendecker face' (see Part 1).

~

Peter George with Bamboo Poles

Peter George in pouch with bamboo pole (1961)

There is a further group of 'pouch' images where Peter poses with bamboo poles, but I am doubtful that they form part of the '2-PUN set for a number of reasons: Firstly, they seem different in style, more formal, more distant. This one is a rather beautiful snap bringing out the smoothness and slenderness of his physique (although nothing can disguise that amazing backside).

Peter George in pouch astride bamboo poles (1961)

Peter's pouch seems more compact and rounded in this group, less triangular.

 and I fancy he's a shade less beefy and toned here. 

There's another erotic allusion in the positioning of the pole between his legs, 

Peter George in pouch with crossed poles (1961) 

The lighting is more sophisticated in this group with shadowing playing a distinctive role even in the lighter images preceding this one. The twist in his body here creates a more dramatic pose than is seen in any of the PUN-2 images which mostly involve straightforward standing or lying down. It also creates a bikini-like effect in the pouch which is rather pleasant.

There's an oblique suggestion of crucifixion in this one with the crossed poles and outstretched arms.

This photo and the next one are taken from a spread in Manual No 25 (June 1961)

hence the 'artistic' angling.

Peter George kneeling naked with bamboo pole (1961) 

Here, the pole creates a sense of tension in Peter's body which is artistically poles away (!) from the studio lights images in PUN2 above. It's similar to classical images of the knight kneeling submissively before his King. If you like his boyish side this is a great example, but there's plenty of beef to ogle in his thighs and backside too. These pictures can be deceptive, but he appears to be naked and pouch-less here (compare the seated image, no 9 above)

Notice that these images are attributed by 'Manual' mag to Dolphin Studio which was another Royale 'brand', it was later renamed Hussar Studio. The picture below, was actually published earlier (in Man Alive 13, Dec 1960) but was labelled as being by Hussar, so the identities don't seem very distinct.

Peter George in pouch with poles (1961) 

 As far as I can discover, none of the images in the bamboo poles group were published as early as 1959, which is the principal date of the 2-PUN set, this group all appeared in either Dec 1960 or 1961. 

Peter George in underwear with pole (1962) 

In addition, this image with the same notched pole (published in Jun1962) 

seems to suggest that the group also included poses in underwear.

~

The next post in this series will be devoted to Peter posing in the nude.

All the images in this series will be uploaded to the mitchmen Royale Studio Open Archive in due course, watch for an announcement. 

view more articles about Royale Studio images by clicking on the GIU/Royale label below

Classic Homoerotic Images 5

 If you were an 'out' gay man in the 1980's you could not have failed to know this image, 

It seemed to occupy the back cover of every single gay magazine.

The homoerotic element is obvious - a man with muscles, ripped clothes and a prominent pouch. But the portrayal of him straddling and controlling a wild beast was no less potent. The ad was obviously suggesting wonderful men and wild times were to be had at the baths, but even to non-bathers the association of this sort of power and assertiveness with being gay seemed immensely new and empowering. 

The faceless, grey men trying to stop the rider seemed to epitomise the idea of gays breaking free from the secrecy, negativity and contempt which most of them had endured for their whole lives. 

Gay men, it said, are different, we are strong and beautiful, and we will free ourselves.

No one was to know that within months a different sort of beast, HIV, was to rampage through these same baths, cruelly curtailing that joyous freedom. It would briefly reinvigorate the homophobes but ultimately brought gays together more than ever to claim our rights and place in society. 

The ad uses the Boris Vallejo picture 'Mysterious Rider' (1978), without alteration as far as I know. 

The clone-y moustache was a perfect fit for the era.

Read more about New St Marks Baths 
Opened in 1979, it was closed down for 'health reasons' in 1985

for other Classic Homoerotic Images and other mitchmen posts with a 'Pride' theme
click on the labels at the foot of this post. 

Royale Studio Models - Peter George 1, in PT Shorts

A few posts back we saw Peter George playing a down-trodden gymnast, repeatedly spanked in Royale Studio's 'Airman's Gym Training'. His first solo shoot had a similar athletic theme.

Peter George (in Royale Studio set 3-PUN) Catalogue Image

His debut set at Royale Studio (ca May 1959) was labelled (somewhat confusingly) as 3-PUN.
It featured poses in very revealing, tight, white gym shorts with a military belt. 

I don't have full thumbnail sheets for any of Peter's solo sets for Royale, only the representative thumbnails in the Royale master catalogue sheets, and the descriptions provided (like that below). The key differentiator seems to be the clothing worn, so I have assigned the photos I have to sets based on that. In the case of 3-PUN it's those sticky shorts. 

The catalogue description for 3-PUN provides a fair amount of seemingly real, personal detail implying that Peter was serving in the armed forces at the time of the shoot. Royale's catalogue did not specify which branch of the services he was in, but an article in Trim Magazine No 15 (1960) and others described him as an RAF Corporal (reference pages in archive folder). The image below appeared in Man Alive No 5 (June 1959)

Peter George (in Royale Studio set 3-PUN) 01 RAF PT Instructor Kit

At the claimed age of 21 he would have been past the age of compulsory National Service and serving as a professional airman, Peter George was probably not his real name but these images and the other information that was supplied about him would have sufficed to identify him and in all probability end his military career, so I'm inclined to think he was really an ex-serviceman when he posed for Royale. As it happens this particular set didn't seem to appear in the beefcake magazines until a few years later.

Peter's PT Instructor persona and fitness was also showcased in the notable, spanking-rich, Royale set, 'Airman's Gym Training' (Royale Studio 05 in the mitchmen archive). 

Peter George (in Royale Studio set 3-PUN) 02

This nice introductory picture highlights the model's upper body musculature and thighs as well as his smile and erotic credentials in a relaxed, natural pose.

(Picture taken from a 'Hussar' retrospective, published in Grecian Guild Studio Quarterly No 22, in late1967. Hussar was a studio name also used by Royale, almost interchangeably it seems, I've not yet discovered how they were differentiated, if at all). 

Interestingly the 'PUN' label for this set does not seem to follow the usual practice of naming sets by using the model's initials. Perhaps it relates to another name that was later replaced by Peter George. 

Peter George (in Royale Studio set 3-PUN) 03

This squatting pose was (and is still) widely used for sportsmen, notably for team photos and it is automatically seen as 'manly'. Footballers tend to place one hand on the ground to steady themselves in this pose, concealing their assets. Peter's ability to balance on his toes here without bending forwards is evidence of his fitness and hands us a much clearer view of his crotch bulge than is normally the case. The cap-sleeved tee-shirt and plain shorts are highly plausible, real world, PTI kit (not usually worn this tight of course). 

JC Leyendecker - Harvard Rower

 Peter George had boyish looks and a tall, lean, physique that was muscular but perfectly balanced. With his wavy hair and penetrating eyes, he might have just stepped out of the world of Leyendecker.

He was an enormously popular model for a period in the 60's.

Peter George (in Royale Studio set 3-PUN) 04

This standard, gym, stretching exercise (with Peter not quite touching his toes!) 

produces an erotic display which would have horrified conservative viewers.

The tight T-shirt also shows up nicely here.

Peter George (in Royale Studio set 3-PUN) 05

This party trick, further evidence of Peter's flexibility, would have been even more distasteful. 

I have seen young women performing this 'crab' exercise and even walking in this fashion, 

but I'm not sure it was ever OK for men to do it, even in looser clothes than Peter is wearing. 

The erotic intent is all too clear from the viewing angle.

Peter George (in Royale Studio set 3-PUN) 06

This leg stretching exercise produces a less explicit display,

but it has multiple homoerotic undertones all its own. 

I imagine there's a variant of the pose in this set taken from behind, but I don't have it. 

You can see one however in the 'Airman's Gym Training' set, image 12

Peter George (in Royale Studio set 3-PUN) 07

This fragment from a magazine spread shows the upright position of a similar stretching exercise.

And it's not just limbs that are being stretched in this picture.

Imagine the temptation if you were the class supervisor.

Peter George (in Royale Studio set 3-PUN) 08

In this picture Peter isn't wearing the military belt but he has the same shoes as the other 3-PUN pictures, so I have included it in this group. His shorts show a remarkably tight fit between the buttocks, showing astonishing shaping.

This image was on the back cover of Man Alive No 4 (April 1959), there's a 'clean' version (without text) in the mitchmen archive folder for this set (link in final part of this series).

~

Part 2 of this article will cover Peter's other 'PUN' sets for Royale Studio,

his storyettes and other imagery will follow in later instalments

More Art by Penguin Frontier

In this mitchmen post a further selection of images by PenguinFrontier illustrating hunky heroes with muscular torsos making love and pursuing sexual desire.

PenguinFrontier - Biohazard 8 - Chris Redfield + Ethan Winters

This image, inspired by the Biohazard/Resident Evil computer games, shows the redoubtable Chris Redfield seemingly expressing his feelings of desire for Ethan Winters with whom he has what can only be described as a 'complex relationship' in the storyline of the Biohazard series. 

The artist has produced serial variations of this image in various stages of undress, but this is the best of the bunch for me, tantalisingly erotic with a beautifully hunky Chris seemingly frothing with desire for a man who seems to be resigned to it, disinclined to resist but not overly enthusiastic. The naked versions can be found at the links below, but being the same image in essence, they reveal little more by way of explicitness. 

PenguinFrontier - Overwatch - Gabriel Reyes v Jack Morrison 1

This image shows a similar encounter between two of the central characters of 'Overwatch' (you can also see them flirting in the mitchmen post entitled Strip Poker by Krabat). Jack is open about being gay in the series, one of the first games heroes to have this positive distinction. The apron he's wearing, with nothing underneath apparently, is a classic seduction device so it's hard to understand why he looks so surprised, to be nudged from behind by Gabriel, his commander. 

Gabriel isn't declared to be gay by the game authors and I suppose he might be expected to show more appropriate behaviour being a senior officer. His Latin ancestry, which was also seen as ground-breaking for a major character at the time, adds spice to this tete a tete (although perhaps that's hardly the right expression).

Again, for me, this semi-clothed conjunction is much sexier than the naked iterations of the image (one of which is reproduced below). Gabriel's hand shown sliding under the apron is very erotic.

PenguinFrontier - Overwatch - Gabriel Reyes v Jack Morrison 2

Apart from equipping Jack with a splendid cock, the naked variant tells us little more. 

Sex is only truly erotic when it shows a human interaction, not just the mechanics.

PenguinFrontier - Pleasure of Domination

This image is notable for its depiction of the dominant hunk's body and sagging underwear. I haven't been able to identify a background story for this image, but I can't say that fairy-like pointy ears, even as a mutation, do a lot for me. He lookss a little too boyish and for my money bondage collars, like jockstraps, look best on men - preferably big men like the military type shown teasing him. 

That said, there's a decent sense of forced submission here with the military clothing underlining the idea of conquest. The somewhat tacky underwear brand also gives the soldier a touch of swagger. The depiction of his admirer indulging in savouring the essences of man, marks him as a true aficionado.

 

PenguinFrontier - Resident Evil, Leon + Chris Redfield

 Leon Kennedy and Chris Redfield belong to different organisations in the Resident Evil story but this shows them in a highly suggestive combination. It looks as if Leon has just rescued a very sweaty Chris from a terrible fate, and Chis is showing his gratitude in a very affectionate way.

Leon just looks embarrassed. What's wrong with these people? 

PenguinFrontier - A Twisted Affection 

This startling image pits an Anglo-Saxon hunk against one of those lean, sharp-featured characters of ambiguous gender so beloved of Asian artists who dabble with the fantastic. There's also an artful scattering of supplementary imagery redolent of femininity, time and space. It seems to suggest an encounter, an attraction that transcends normal boundaries. 

The background looks like a (somewhat organic) surge of water suggestive of powerful emotional and sexual release. 

I haven't been able to unravel the artist's references at pixiv (tagged Maithiso Loki So), but it seems to add up a siren of sorts luring the hero to his death. 

~

PenguinFactory is easy to find via search engines, but I've listed two galleries below

PenguinFrontier on pixiv

Small selection on Penguin Frontier on Deviant Art