Alien Experiment

AManNamedN - Conversion (2013)

AManNamedN makes a speciality of furry human hybrids and Incredible Hulk-like creatures but this one is pretty near human apart from his feet which match the structure of the alien overseeing the experiment. It's not clear which direction the conversion is supposed to be going in, but the 'human' is showing signs of life where it counts most. I hesitate to call it 'the elephant in the room' but machine and alien alike do seem to be studiously avoiding it!

The technology on show seems less modern than you might expect with a 'ray gun' design reminiscent of mid-20th century sci-fi comics and Frankenstein films. The blocky mounts and ratchets are coloured like rusting cast iron but it does tone in nicely with the alien's skin. 

See more of AManNamedN at FurAffinity

Milking Factories No 4

Choppski - Milking Factory

 Choppski has produced a nice neat facility here for milking semen from helpless hunks.

The extraction mechanisms vary slightly in detail, but there's a nice uniformity in the line-up

 which gives a real sense of a mass production set-up.

You will observe that these three captives have produced different amounts of 'product'. It isn't clear whether that is down to the efficacy of their machines, their own genetic make-up or something else. The relatively poor performance of the youngest-looking one is rather surprising.

I like the simplicity of the restraint arrangements in this image and the artist's decision not to include any body attachments or inserts for stimulating his 'Bulls' into action. It allows their total nudity to shine through.

The arrangements for keeping the milking sleeves in place on restless milk-ees are not clear either, some sort of suction perhaps? a clamp? a claw? Whatever the technology is, the visual effect is of the machine being totally in charge of each man who needs only to be tethered to be rendered totally subservient.

Notice the suggestion of a radiation hazard on the collection device!

Alien Semen Farm (attributed to Sarander) - click to enlarge

This sci-fi, semen farm is quite different. There's a variety of devices for controlling the humans while they are being forced to give up their seed. There isn't a strong sense of a production line. With the machines dotted around in random fashion, it seems more like an experimental lab set-up, while the Queen Bee presiding over events at the rear puts one in mind of a medieval despot's torture chamber. 

These men might be the luckless, captured crew of a space-ship, so perhaps they do have a novelty value to their captors, warranting experimentation. The aliens seem to know exactly what they want from them however - and the sexiest way to get it, with no expense spared! It's a matter of conjecture whether the leather gags and blindfolds are intended to stimulate the milk-producing crew in their endeavours or the alien spectators, but it's a detail somewhat at odds with the hi-tech setting.

The three devices on the right are actually more similar than they first appear and they actually follow the same, 4-limb restraint principle as Choppski's simple stands. However, these alien constructs allow their captives more freedom to squirm and buck as they give up their loads. Whether this enlightened, 'organic' approach improves the quality of the milk, or the yields, I cannot say, but I do like the open-legged squatting pose that seems to be the standard 'rest' position for this device.

The captive on the left is just being fitted with his catheter-like tube which will channel his production into the collection tubes when he's all connected up. This restraint chair seems extravagantly over-engineered in comparison with Choppski's vision but perhaps it's multi-purpose. 

I can't decide whether the captive on the far right has been temporarily disconnected while he has refreshments and is topped up with re-hydrating fluid or whether his alien attendant is priming him by hand, tickling his balls to get him going.

Visit No 5 The Milking Factory Development Lab

Previous Milking Factories: No 1 (feat Kalabro), No2 (feat Nowid), No3 (feat Cupcakes666)

Art by 3DWaxx

 

3D-WAxx - Relax

I've featured a few alien abductions in this blog but nothing quite like this. Normally it's very obvious what the alien is after and it usually involves intimate attachment to complex machines, usually in uncomfortable positions especially designed for human men. This alien however seems to want to sooth and calm his captive leaving his ultimate motivations deliciously obscure. He's an old-school, Trekkie type of creature which is somehow less intimidating anyway than the devilish creatures seen here of late. 

Nevertheless the abductee is firmly strapped down so he's not going anywhere just yet and he's also been fitted with a high tech collar which seems to suggest some sort of long term commitment is in prospect over which he will have no control. He's a clean cut looking fellow who many would like to add to their portfolio and have in a position such as this. Ginger hair has always had a special pulling power and, so it seems, trans-galactic appeal. There's a nice touch of authenticity in the skin colour.

This is a nicely-constructed understated render that fuels the imagination.

3D-WAxx - Market Day

This image is equally straightforward on the surface with a collection of hunky men being offered up for sale in a roman market with more in reserve waiting to take their place on the rostrum. It's doubtful that slaves of this quality were ever so numerous in practice so it's a crying shame that it's only a woman who is interested in them today. It's not clear whether she wants two of a certain type or is offering two units of currency for one, but either way the trader it seems is unable or unwilling to accommodate her - or perhaps he just wants a man to buy them. 

Quite right. I wouldn't mind the one second from the left.  

3D-WAxx - Failed Mutiny

There's a shade more edge to this example with a mutineer being whipped while tied to the mast of the ship. Another, noticeably younger, kneels close by waiting his turn. Both men have been stripped naked which is not general practice, but I suppose it takes the drudgery out of this thankless task for the coxswain (or whoever does the job). It also provides an easy way of checking that the men are not enjoying their punishment for the wrong reasons. The victim does look a little stiff!

It isn't obvious that the whip man has been overdoing it in his enthusiasm but nevertheless he's been interrupted by an androgynous-looking person who's obviously one of the big-wigs here despite a youthful appearance. Maybe it's because he isn't going at it harshly enough! I do hope that woman looking through the cabin window isn't trying to influence the proceedings.

There's a disarming innocence in the way this unpleasantness is presented that is like going back in time to simpler times. The two crew members casually observing proceedings as though this sort of thing happens all the time are very nicely done.

3D-WAxx - Josh In Trouble

I can always get excited about lifeguards and spanking and having one who is black lifts this image out of the ordinary. There's also a neat little twist in the narrative underneath that makes you go back and look at the picture all over again. Nice. 

3D-WAxx - Three Little Kittens

Don't you just hate it when someone does this to you? 

It's a little gem of observational art but then you ask yourself 'what on earth is going on here?' 

On the surface this looks like two friends have somehow acquired a captive and are preparing to get off on his discomfort. But it might also be read as another member of the group being primed for bondage himself. But then what does the title signify? It has the ring of covert surveillance, some one lurking, watching and waiting to seize the initiative once the kittens have done the groundwork for him and made themselves amenable to take-over.

Spooky.

3D-WAxx - Once Upon A Time

I can't say I like the women in this artist's pictures but it produces a rather nice sexual tension here with the dreamy boyfriend being held hostage by a mildly intimidating mutant being who obviously is quite fond of his catch and probably in two minds about freeing him let alone swapping him. It looks like they've already been rolling in the dirt. 

If he's capable of wielding that enormous thing dangling in front of him - I think it's called a flail - then I don't give much for the girl's chances of being able to influence this situation. Of course the whole idea of rescue is alien to this blog.

I reckon you should cut your losses and go home girl.

More fantasy scenarios like this at  3D-Waxx at Deviant Art 

His art is a pleasing mix of competent rendering, witty observation and appreciation of all things male with a mild touch of edge and lurking sexual opportunities.

Malex in space

I tend to think of Malex as a purveyor of teeth-gritting, snuff imagery but there's plenty of less scary fetish material from him. His Sci-Fi and Space images are particularly interesting. 

This image showing a helpless, naked captive gazing out of a space ship window where a battle seems to be in progress. It's not obvious why he is in this position, a hostage hoping for rescue perhaps. The picture makes him seem highly vulnerable, as indeed he is should a stray blast damage the air tightness of his vessel. The sense of danger is subtly erotic in quite a powerful way. 

Seeing Malex's familiar and rather austere 'black and white' technique applied in a Sci-Fi context brings out it's relationship to the style commonly used in commercial adventure and war comic books. Perhaps Malex also worked in this field.

Notice how the spaceship overhead (if that's the right expression in space) bears a striking resemblance to the Starship Enterprise. Malex often borrows from contemporary movie imagery for these pictures*

(*look out for the laser cutting scene from 'Thunderball', the half-buried Statue of Liberty from 'Planet of the Apes' and the frame whipping scene from 'Starship Troopers')

  

 This picture reworks the same visual idea but the scenario is even more obscure. (Some of these images come from the old Katharsis site so I dare say the there's a reader out there who knows the story line please let me know via 'comments'). Two space crew seem to have been turfed out of their bunks and tied up naked. Once again a (vaguely phallic) spacecraft hovers overhead seeming to pose an ominous threat which the blackness of the sky seems to accentuate. 

It seems to be the 'situation' that interests Malex most here, the two captives in this image seem fairly tokenistic representations of men, lightly built and relatively ordinary looking, you don't get a strong idea of their personalities or emotions in this situation, even their erotic state seems ambiguous. It seems that it's their nudity, vulnerability and captivity that is important.

It this image the unspoken threat is realised but not fully resolved as the captive is carted off by heavily-armed, robotic dinosaurs to face some further unknown fate. The method of transport invokes the representations of primitive natives in 20th century exploration/jungle stories, Tarzan being a regular 'customer' of the technique in that genre. The captive's suspension is reversed by Malex to make a more erotic display of him and incidentally give him a much more exacting ride to his destination. Whilst the captors here seem to be impersonal, clumsy automatons, the phallic log from which he is suspended hints at more organic tests ahead.

In this picture, the naked captive is not tethered to anything but is completely immobilised and unable to move. Tightly bound and hooded he's placed in a kneeling position that immediately suggests a sacrifice or execution. Surrounded by a bleak wilderness, his body is covered in perspiration indicative of his fearful anticipation. 

One threat to him appears to be from below, underground where a strange alien creature can be glimpsed possibly able to burst out of the ground and and consume the hapless spaceman. Materialising imaginary creatures is a risky business in terms of credibility (as the images below and tentacle art generally illustrates). The partial cropping here helps perpetuate the sense of an ill-defined menace

The starbursts in the background may be meteors, raising the possibilty that this man's fate is to endure a meteor shower out in the open and exposed while his captors hide safely underground. A sort of extra-terrestrial stoning.

 

 In this picture the castaway astronaut is being spread out and tied down in a similarly bare landscape by a fearsome-looking, horned, spider-like creature. We finally get a decent glimpse of the victim's face. He looks up in awe at a plant-like entity which looms over him with fluid dripping ominously from it's tendrils. Notice how the shadow of the plant seems to suggest a threat to the young man's neck. 

The background geology here is quite intriguing. What we initially take to be weird rock formations bear a striking resemblance to crashing waves and the more you look at it the more it looks like sea. Perhaps it's a petrified sea.

This unfortunate traveller faces a threat of a different sort, that of medical experimentation by curious humanoid aliens. In all of these images it seems these inhospitable distant planets have a perfectly breathable air for humans but not apparently for these creatures who are suited up as full blown astronauts rather than medical technicians. 

The human's face is covered by what looks like a tentacled creature inspired by the movie, 'Alien'. It's tail is wrapped round the guinea pig's neck making a none-too-subtle suggestion of suffocation or some other deeply invasive coupling. I use the word coupling deliberately, because at this point the captive seems to be quite excited by the experience. Of course that doesn't mean he is going to survive it. The unpleasant threat posed by this creature may explain the protective suiting worn by the observers and it may be that these are humans too, with a warped sense of scientific curiosity. 

It's interesting to compare the tentacled creature here to the ones that took Harry Chess and Mickey prisoner in my Ajay article (Part 3). Humour aside, these images are exploring similar ideas of being totally taken over, engulfed by a more powerful being, one not constrained by normal human rules.

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This scenario too would be worthy of a Harry Chess tale for it's sheer outlandish complexity. The image of a terrified, tied up man dangerously balanced above a pit containing a tentacled creature is fair enough. Quite why the caterpillar-like captor is using this contrived method of 'delivery' requiring considerable dexterity to set up and quite how it managed to capture and tie up the human in the first place is baffling. That said, the danger ingredients here are quite compelling. It seems unlikely that the creature in the pit is planning to tickle it's captive and the caterpillar 'feeder' is suitably powerful and repellent. It's another example of inter-species collaboration like the spider and plant above. Malex's drawing of the captive is one of his more realistic and physically attractive human creations.

At one time, these bleak landscapes were standard sci-fi territory but I think Malex's folio is unique in terms of fetish art. Modern artists, helped by the power of computers, seem to have moved on to more fantastical worlds and creatures in lusher settings more akin to earth.

Malex's spacemen all appear totally naked, ramping up the hostile threat of alien worlds and airless space. He doesn't appear to have explored the erotic power of tight-fitting spacesuits which have always interested me. I have published two astronaut pictures here 'Astronaut by Mitchell' 
and 'Space Cadet Chastised' by Mitchell

I don't think there's any decent repository for the work of Malex, 

visit my original A-Z article on Malex for search advice and more about the artist's other work.

Torture Central - 1

Torture Central is a relatively young blog with an interesting selection of S&M images and clips. The emphasis seems to be on quality rather than quantity so although the collection is not vast, most of the exhibits hit the button (for me at any rate) and there was plenty of stuff I hadn't seen before. This article is based on the modest collection of artwork featured there.

 Cavelo - Talk or your buddy gets it

I not totally complimentary about Cavelo's style in my A-Z article about him, but this image with a very handsome captive on the left (picturing them is surely Cavelo's greatest strength) and a classic 'buddies in a predicament' storyline certainly gets my thumbs up. That seat-less torture chair surely was inspired by 'Casino Royale' and brings all the associations of that story to the party, but Cavelo also makes the most of it's capacity to humiliate whoever sits on it.
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Crucifixion - Artist - Cyrano/Mahoney?

The artist of this picture is not given an attribution at the site but it looks like Mahoney or Cyrano who I believe are the same person. Cropping out the crosspiece makes a striking image that focusses attention on the man being punished rather than the mechanics of the punishment.

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Nath66 - Alien Experiment

A fantasy image featuring a human male fertilising/laying an alien egg was included in my 

A-Z article on Nath66 in 2010 but a reworked version of the idea has appeared recently showing a notable advance in technique. This is a rather nice sample (click to enlarge) borrowed from a bigger selection at Torture Central (link to Nath66 in my original article). 

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Kajlet - Durst (thirst)

There are a number of examples of Kajlet's work on the Torture Central blog, this one is rather less intense than most of them and intriguing to say the least. The military overlay is stylishly done and adds greatly to the interest of the piece.

Visit Torture Central or follow my links above for more work by these artists.
There's a master index of artists on my blog here.

 

In my next article I will review some of the photographic imagery at the blog.  

A-Z of Fetish Artists - Zelolee

Zelolee - Shoot at this Guy

   

Zelolee's style is at the opposite end of the spectrum to Zaria, his captives are muscular, masculine and mature. As you can see from this image, his stories are concerned with fantasy worlds where men are men, but as captives, naturally, they are shown no more mercy than Zaria's erotically tormented younger men (who seem to have turned here out to witness this ancient hero's self-abasing humiliation in what looks like a very modern jail cell). There's a certain 'plasticity' about his rendering of the muscle detail here which is distinctive if not entirely convincing.

Rokudenashi - Crisis page 9

In this example from Rokudenashi's comic book 'Crisis', however, the same rendering technique works very well on the hero's skin-tight suit, suggesting a clingy suppleness that must be a treat to wear!

Zelolee - Brothers

Zelolee draws upon pseudo-medical imagery for this scene with a needle poised threateningly above the captive's vital organs. His technique here is very basic with minimal body detailing but the same sense of style and design is very apparent.

The Perverted Sage - page 14

This versatile artist shows another side in 'The Perverted Sage'. It's another tentacle saga but one is struck by the extreme stylisation which depicts these entities as arching, pointed, almost one-dimensional shapes, rather like blades of grass. That association imparts to them a quality of flexibility and delicacy which makes the possibility of arousing their victim a credible one. Their capability to grip and penetrate is also portrayed but the artist's technique suggests it's through an almost magical gentleness, leaving the viewer to imagine the what follows.

Zelolee matches this lightness of touch with a restrained palette of pastel colours which suggests normality rather than drama. It seems to drain the energy from the captive warrior. Notice too that the Sage and the Warrior are almost indistinguishable with similar angular, masculine features and stylised hair. It suggests an equivalence in their heroic status which is illusory, the Sage is an alien with self-transforming capability, but their similarity lends an erotic twist to their struggle.

The Perverted Sage - page 19

In the final frames the captive is imprisoned by the tentacle entity which is seen to have a simplicity of structure that does allow us to draw on our normal constructs for beastly beings. It focuses us on what it is doing, holding the captive and milking him of his semen which has acquired the status of a gastronomic delicacy for the alien being.

Zelolee - The Battlefield Urinal page 5

'The Battlefield Urinal' is set in a more real world with no magic or fantastical beings and Zelolee accordingly adopts more earthy tones. I suspect 'Urinal' is a mistranslation as this story does not concern golden showers. It recounts the tale of a captured soldier who develops (or reveals) under torture an erotic response to pain. It leads to much abuse until a sympathetic officer intervenes and sends him back to his own side. Unfortunately his secret is soon discovered there by his commanding officer who cannot resist adopting him as a sexual slave. 

 

Zelolee - The Battlefield Urinal page 15

Zelolee characterises the hapless soldier visually as something of a muscular brute in comparison with his normal looking colleagues. In fact he shows heroic qualities under torture by his enemies before his weakness is revealed. His misleading appearance adds pathos to his serial subjugation in which even his own side abuse him. It's the sort of tale that Tagame specialises in, but Zelolee's simpler approach to illustration allows the psychological sub-text to show alongside the more visual mechanics of his tortures.>

Zelolee - When The Ice Meets The Fire

I've left this picture to last because I simply like the depiction of the muscular captive. His face is less forbidding than some of Zelolee's heroes seen above and the gleaming bruised body with a tantalising smattering of body hair is terrific. I confess that for me the monster between his legs is more arresting than the one looming over him.
~

I haven't found a site yet for Zelolee* but search engines will bring up examples for you.
(*Thanks to reader lamlamblam for supplying Zelolee's pixiv page
and correcting my attribution of 'Crisis' - see comments below)

 For more articles in this series click on the A-Z label below or search for specific artists using the index page or search boxes (in the navigation banner and top right)

Priapus of Milet - 3

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Decamerone 10

Statues and classical and mythological interests all coincide in this image, which is based on the famous sculpture of Laocoon and his sons being consumed by sea serpents. Personally I think the exclusion of the sons (unconvincingly muscular in the original) is an improvement. The live victim imprisoned by stone recasts the equally mythological story of the 'statue coming to life' in a highly original way (see also my A-Z entry on Sean Platter). I think it's fair to say that Priapus' melding of photography and art is not always totally successful at a technical level but there's a creative spark about these images that more than makes up for it.

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Force of Nature 01

The snake, sensuously entwined around the human body is a classical forerunner of the modern tentacle 'genre', but the famous Japanese print of a woman being ravished by an octopus, The Dream of the Fisherman's Wife (1814) is even more pertinent and often reckoned to be a milestone in erotic art. Priapus provides us with a homo-erotic version of this idea in Force of Nature 01, draping the model with the real thing. I find the idea of the warm male body being enveloped by the grey, cold, clammy octopus quite thrilling.
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Priapus draws out the erotic essence of tentacles, which is not their supposed penis-like quality, but their ability to express the overwhelming ecstasy of being touched, embraced - and indeed 'captured' - by another. The tentacles gently exploring the submissive body offered up to them seem purposeful and believable. Priapus is equally true to the anatomy of the creature by not showing it's mouth, which is located underneath the body, so we can't see what it is up to, we can only infer it from Blake's expression. I imagine that a greater familiarity with octopus anatomy increases the initial erotic impact of this image no end, but it doesn't really matter, because what we lose in explicitness is made up for by an overpowering erotic sensuality.

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Close Encounter 09

Close Encounter 09 has a more 'conventional' approach to erotic tentacles, assigning them to a technologically advanced, alien life form seemingly able to morph it's limbs into crusty-looking dildos or penis-eating long-cocks at will. But instead of employing the usual approach of bodice ripping and forcible restraint followed by ruthless forensic probing, this tentacle creature gently cradles and seduces his human subject, who shows no fear or anger but merely the normal degree of concern one would expect on encountering such a novel experience. There's no evidence of coercion, no shredded remains of clothes (or spacesuit) which lends an air of mutual exploration to this particular close encounter.

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Close Encounter 10

Close Encounter 10 takes this idea to it's logical conclusion with a truly fearsome, dragon-like alien creature descending with fire and brimstone to arouse and take his lounging man who acquiesces to this assault with calmness and even affection. Would that all men were this obliging! These images show confident insights into the nature of sexual adventure and submissive sex.

Part 4

A-Z of Fetish Artists - Tom of Finland - 4

Kake concluded

Links to previous articles: Part 1 , Part 2 and Part 3

 

After the explosion of sadism and power-play in Kake 14-15, Tom reverts to vanilla with a series of 'carefree', uncontroversial, casual encounters in Kake No 16, 'Sex on the Train' (with a soldier), No 17, 'Loading Dock' and a linked pair, No's 18-19, 'Pant's Down Sailor' and 'Curious Captain'.
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Curious Captain (Kake 19)

 

These last two feature a black sailor for Kake to get stuck into. There's an echo of the dramatic moment in Kake No1 as the copulating pair are discovered, not by Daddy of course but by an Officer (with a luxuriant moustache). I need hardly point out how significant the fear of being 'found out' is for gay men and back in the 70's being found out in the military was double jeopardy. Tom milks the drama as the sailor is ordered to attention and given a teasing inspection by his superior. Kake relieves the tension by drawing this late arrival into the proceedings and revealing him to be wearing a pair of tight underpants (above) which are very sexy. 

  

The sailor is the second black character to appear in Kake (after the businessman-dandy in Kake 7). There aren't any more – not even in crowd scenes. Between them, these two feature in 3 of the 26 stories (12%) but represent less than 5% of the characters. This low figure may surprise you, since Tom is noted for his mixed race pictures which make him almost unique among erotic artists (of any colour), they even did a book about it! I will return to this topic in a later article. 

 

This group of more straight-forward sex adventures for Kake ends with No 20 'Pleasure Park', a reworking of the 'accumulating orgy' theme from No7 and equally unremarkable, but it's worth comparing the two, if only to see how far Tom's cartooning technique has evolved in the intervening years.

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Greasy Rider Attacked
  

After the fetish hiatus of stories 16-20, and a break of 3 years, 'Greasy Rider' (1978) represents a return to more interesting subject matter and a step up in drawing quality. I have my doubts whether this story was really intended to be part of this series, since Kake's normal role of subversive, sex adventurer is seemingly played by a different man, noticeably youthful, with curly, blond hair and wearing a doubtful sweater instead of a leather jacket. The character who most looks like Kake is a wealthy landowner and horse-rider with an aggressive attitude to strangers who trespass and proposition him. He doesn't really fit the mould either, Kake has his moments of aggression and anger but it's hard to imagine him keeping his trousers on long enough to accumulate wealth!

However, this story represents a new direction in more important ways. In previous tales Kake is rolled over by authority figures like policemen. It's the same story in several of Tom's early pictures also involving trespassing scenarios. Young men caught illicitly swimming or sunbathing are rebuked and humiliated by security guards (presumably as a prelude to punishment of some sort though I've never seen a picture showing this). This time it's different, the trespasser mocks the angry landowner, inviting him to sample his dick and when he is attacked for his impertinence, he fights back and overpowers the man, tying him to a handy fence. The rest you can guess.
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 Tied to a Fence

There's some fine bondage pictures in this set, skilfully imagined from an elevated spectator viewpoint as though we are watching, hidden in a nearby tree. Tom also completed several of the pictures to his more polished standard so it's an altogether better product.
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Greasy Threesome
As usual in Kakeland, someone else turns up to join in, a butch-looking, attractive man, something of a cross between a rough yokel and a scantily-clad, late night clubber making his way home. 

As the action progresses the angry landowner morphs into a more youthful Kake, thoroughly enjoying himself but in awe of this new arrival, a young, blond Adonis who has given him a taste of his own medicine.

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 Greasy Water Sports

In the final frame, the landowner's submission is total, but it seems his humiliation is not yet complete, as the latecomer beckons to his stallion which stands in the field watching them and already primed. It's a daring sign-off, a reflection of the increasing freedom of the times, although Tom had already frivolously explored some 'animal moments' in his 'Jungle Jack' series of the mid-sixties. That seemed like a mischievous attempt to shock and amuse, but this time Tom is also clearly exploring new depths of degradation and a possibility of sleaze and sexual excess in his characters which goes way beyond anything else in Kake.
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Kake Arrested

There's another gap in time before the next story, No 22 Highway patrol, where Kake finally appears on his motorcycle for the very first time in the saga, (there are two more fleeting appearances in Nos 23 and 24, see my introduction to Part 2 about this). He is approached by two traffic cops planning to use him for some fun. They handcuff him and drag him off for an intrusive and humiliating sexual ordeal behind a roadside hoarding. Kake quickly produces an erection for them but his face doesn't show much pleasure until one of the cops offers him some ass, thereafter all is smiles and routine, 'carefree' sex.

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Kake Humiliated by Cops

Notice that these are American cops (for the first time in Kake) and Tom has captured the buffed-up, tight-fit, power look that some US Policemen cultivate. They are far more intimidating physically than their UK counterparts and the latent power to punish, inherent in the Police role, infuses this encounter with uncertainty and danger from the outset. If these two were dressed as sailors it would all seem quite different! There's enough ambiguity and closing clarification in this fantasy to sidestep accusations of forced sex, but as Tom well knew, it is that initial ambiguity, that doubt about intentions, that makes the scenario so erotic especially when compared with the simple 'meet and greet' stories like, for example, No16 'Sex on the Train' and the orgies (7&20) .

This story (1982) comes shortly after Tom's first visit to the US in '78 and all the remaining Kake adventures are inspired by or set in North America, (you might also discern some American influences in the immediately preceding tales too), however the drawing of the cops in this episode is the only example in Kake that seems to reflect something erotic that Tom actually saw on his visits.

Kake himself ages as the series progresses and it's round about this time that the familiar jutting chin and big moustaches start to become dominant features, a development that is destined to split his followers into two camps.

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Kake Tackles the Outlaw

Kake's bike makes a second appearance in No23 'In The Wild West' and it all looks like vanilla land as he discovers a saloon full of eager studs. Their revels are rudely interrupted by a be-stubbled outlaw who proceeds to poke the frightened cowboys at gun-point. The new, heroic Kake emerges from hiding to disarm him, he is overpowered and stripped to reveal a deliciously hairy body.

I say deliciously hairy but I guess not all my readers would agree, Tom's attitude is harder to pin down. He rarely drew hairy men which is perhaps not surprising as he comes from the era of beefcake, shorn of all hair to avoid any suggestion of sex. However his occasional depictions do seem to show a grasp of what makes a hairy body attractive, so it's interesting that in this story he uses it for a bad man, creating a beast who stumbles on the orgy and takes the young ranchers at gunpoint (instead of aggressively seducing them as Kake would normally do himself!) You may recall another conspicuously hairy man in the Kake saga who is also a criminal, the man who stole Kake's leathers (see No's 2+5). I suppose this story predates the 'emancipation of bears' but quite why Tom should associate hairiness with wrong-doing I'm not sure.
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 The Renegade Led Away For Punishment

The subdued offender is led to a tree outside the town to be hoisted - but only (only!) by his balls. It's erotic in it's own right but despite the humorous slant it there's also a very dark presence from the parallels with Western lynchings. I suspect this is not accidental having seen Tom's liking for hinting at forbidden fetishes (like sounding, fisting and bestiality) and how adept he was at disguising his messages when he needed to.
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Strung Up By The Mob

The suspended outlaw is memorably chastened by belt and cock and left hanging, shortly to become an object of interest to a randy American Indian who just happens to be lurking nearby. This suggestive ending is similar to Kake 5 where the compromised and helplessly-cuffed (and also hairy) thief awaits the (probably cruel) attentions of an approaching policeman. Unfortunately, even allowing for Tom's penchant for provocative post-scripts (as in Kake 21) this version involves an unhappy use of racial stereotyping. It's in a similar vein to his depiction of 'natives' in the 1960's 'Jungle Jack', in fact the imagery in this Wild West story seems to be drawn entirely from the comics and films of the 50's and 60's. Even the cowboys don't seem to reflect Tom's visits to America when he had probably seen real ones (who can be just as well built and impressive as the cops in Highway Patrol).

The portrayal of this native American is so dated that it speaks of naivety rather than malice, a miscalculation like the hi-jacker scenario in Kake 8. But at this time (1982), Tom is a mature 60 and culturally we are midway between 'Soldier Blue' and 'Little Big Man' (1970) and 'Dances with Wolves' (1990), so one might have hoped for something more enlightened.

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The next story isn't actually set in the US at all. 'Kake in Canada' (No 24) is a nostalgic trip down memory lane for Tom with a friendly, hulking logger providing the entertainment. Tom frequently depicted sexual encounters in woodland settings which are standard cruising grounds for gays (e.g. in Kake 4). However, loggers in forests are quite different animals. They are symbols of male virility, like construction workers, who unselfconsciously display their naturally developed bodies as they work and are frequently admired from afar by adolescent boys (and men who should know better). Coming across one working alone, Kake sees the opportunity to realise a boyhood fantasy and his approach accordingly is more circumspect and respectful than usual, as he confesses his admiration for the logger's physique.
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Evening All!

The lonely logger soon catches on and one thing leads to another, but their fun is interrupted when a Mountie (i.e. a Canadian Mounted Policeman) comes knocking on the door, minus horse and seeking shelter from the inclement weather - shades of Agatha Christie and a hundred horror films. Those who doubt my views on the threatening, authoritarian role of Policemen in these stories might like to observe how Kake and his new friend hastily make themselves decent as the Mountie enters. Tom has has dedicated a picture exclusively to this scary moment of 'being found out' and he's drawn it with a care which clearly demonstrates it's erotic significance to him.
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 A New Mount

Kake rapidly decides that this brand of copper in his fancy, bum-flattering, red coat is an opportunity not a threat and is soon up to his usual groping tricks. His muscular new friend proves to be of like mind and restrains the shocked Mountie while Kake goes through the contents of his trousers and then conducts an in depth follow up. It seems to be a sweat-inducing, frightening, new experience for the Mountie (above) but an intensely satisfying, shared pleasure for the boys.
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Double Cocked

Their enjoyment is short lived however, as the Mountie shows considerable ingenuity in locating his handcuffs and somehow locking both his attacker's balls into the same ring, thus fulfilling the old adage that the Mounties always get their man. He celebrates by baptising their conjoined genitalia with a well-aimed despatch of cum. This scene where the Policeman reasserts his authority and pays back his tormentors is the only picture in the whole story where the viewer can see that he is aroused and therefore can be presumed to be enjoying the occasion. His cock is obscured from view during the preceding events, which is rare enough in these stories to be considered significant, just like 'the dog which did not bark in the night'.

The story tantalisingly ends at this point, all we see is the Mountie departing towards the mountains seemingly savouring the memory of the encounter with the rub of a hitherto unseen, riding crop, - a crop whose sting one might suppose has just been tasted by Kake and his Lumberjack accomplice, thereby restoring him to his customary mid-table position in the hierarchy of Kakeworld.

The structure of this plot is very similar to the 'Wild West' story with an opening, free and easy sex scenario, followed by a rather more fraught middle section and an open ending featuring tethered balls in both cases. It's quite clever how Tom has flipped the characters to produce a very different storyline.

17

 Can't You Read?

Postal Sex No 25 dispenses with the carefree sex altogether and features another of Kake's red rage moments when a postman/mail-man foolishly bends his photograph while attempting to get it into the mail box. Compare this image with that of the Careless Biker and Careless Sailor in Part 1 and see how Tom's fascination with domination spans the years. Hardly changed, except now it's Kake who's doing the dominating. The rest of this tale perhaps gives an idea as to how those 1963 series might have developed in different times.
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I Didn't Mean It Mister!

The Postman is subjected to a stinging spanking and forced to provide sexual services as punishment for his laziness. The 'Do Not Bend' instruction on the package provides a justification for this action and a humorous (but not entirely accurate) comment on it, but Tom allows Kake to exhibit surprising levels of anger and controlling behaviour on occasions. It seems to be completely at odds with his apparently carefree approach to life, but if you think about it, is actually quite consistent with his no-negotiation, 'get on with it' seduction technique.
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Kake's Special Delivery

The triggers for Kake's anger in this case are interesting - a damaged picture (no doubt close to Tom's heart) and the Mail-man's disregard for the written instructions. Kake's impatience with a younger man's casual rule breaking is a typical sign of growing older, but more than a little hypocritical. The anger in Greasy Rider (No 21) is slightly more complex, it too stems from a young man's disrespect for 'The Rules' (of trespass), but is also prompted by a direct sexual challenge to the older man (who both is and isn't Kake -see my commentary above). Both stories but Greasy Rider in particular seem to reflect rather neatly a confused resentment of ageing. This explanation can also be applied to the 'Just out of Reach' picture, which I discussed some time ago. That one's from 1970 when Tom hits 50. Now with the Mail-man he's nearly 65 and has just discovered a veritable wonderland of youth and guilt-free sex, but he's too old (and too venerated) to enjoy it fully. Wouldn't it make you feel grumpy?

(Kake's anger in story 5 is slightly different, caused by the theft of his leathers, which represent his 'gay identity' as well as property. Theft was another sore point with Tom and I will return to it later.)
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Predatory Punks
 
Back with the Postal Sex story, the postbox design and 'mail-man' terminology provides a tenuous anchor in the USA but there's not much other evidence of observation of Postal Uniforms or any other aspect of American life, although you might count the two passing punks I suppose. These are two of Tom's more scary creations and become involved in the action. They end up participating in the exploitation of the hapless young postman, feeding him to Kake's dick and then taking a piece for themselves. When he finally escapes, the Mail man is smiling, but it's for the first time in the story - and he's already being closely watched by a sly policeman who clearly fancies a go himself.

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Kake In The Office

Kake becomes a chauffeur for his swansong in a big city office but there are no white knuckle rides here. I love Tom's clothing fetish but not always his taste in military uniforms and Kake's gear in this story is almost a parody of Tom's fixation on the buttoned up look and ballooning pants. For once he does not seem able to tap into the subject environment convincingly, nor pick up the potent power mechanisms that make his best stories fizz. Instead he falls back on a roaming variation of the jaded, accumulating orgy theme. If you don't mind skirt, the story is enlivened when he catches out the office Romeo shagging a secretary over a desk, a neat reversal of the gay 'exposed' scenario. Kake takes advantage of Lover Boy's unprotected ass which seems to have the effect of temporarily boosting the (supposedly) straight man's performance with his girl, but he seems rather less unhappy about the after-burn effect (above).

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Tom really raised the ante in this final group of stories blending the consensual and non-consensual in an ever more ambiguous manner, with an occasional, tasty topping of the threatening, extreme or bizarre. It's powerful erotica that is loved by millions of fans precisely for it's dangerous perversity and edginess. The series was never simply about a Utopian dream of men giving themselves freely in carefree sex. It's also chronicles what it's like to be gay, how the gay world functions, it's pleasures and it's dangers. 

Kake grows older and changes as the series progresses. His clumsy youthful adventuring transitions into comfortable, mid-life promiscuity until, in Tom's advancing age, he is made to confront his demons again. He doesn't entirely grow up or become sensible and he never quite loses his vulnerability, but he grows in stature and courage, so that by the end he's not just taking what he wants, but confronting what he sees as wrong.

As the series ends there's a sad sense of job done, game over, as Kake wanders through the totally alien environment of an office, going from one group to another, repeating what has gone before without very much purpose, but still simply enjoying the company of men.

Tom's fans reading these stories instinctively recognise and empathise with the expression of personal gay experiences and feelings that shape these tales, including the resentment, hurt and anger that sometimes simmers just below the surface. That recognition of a kindred, slightly tortured, spirit is just as empowering as the sight of men free to enjoy sex together without guilt and is part of Tom's continuing appeal in more enlightened times.

The innocuous 'joy of sex' terminology beloved of his modern day publishers and attempts to whitewash his career with a superficial paint job of political correctness and arty respectability not only misrepresents and devalues his achievements, but denies the very essence of his work, which is anything but correct and respectable. Tom, I think, was an easy going chap who would go with the flow to achieve what he wanted but I suspect he would be both amused and saddened by the spectacle of spin-doctoring. Fortunately we still have his work and that will always speak for itself and keep the torch burning.
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To be continued in Part 5

Links to previous articles: Part 1 , Part 2 and Part 3

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