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Yet, while I was attending elementary school, I had been taught that my country was civilized and peaceful. Oh yeah? What about the hung cowboys? How could I reconcile these teaching with what I knew from my reading?

I discovered during my reading at my local public library how hangings had been held in the 19th century in the United States. I learned to my horror that some of these executions were done by vigilantes–white men who used hangings to terrorize and control black men–up until the early 1920s.

I found out that hangings elsewhere in other countries also were used as a way of to instill a public awareness of the legal authority of the state, which exercised the exclusive right to execute those who were wrongdoers.

Hollywood movies and television series screwed up my search for knowledge by portraying cowboy hangings in stores that celebrated and glorified the cowboys as icons of masculinity. Of course, an adult might realize that what show business depicted was only make-believe, but try explaining that to a young male who liked to read about cowboys and who developed a very vivid imagination.

Some of the historical accounts that I read when I was young mentioned how it was not unusual for a man being hanged to display an erection while on the gallows with a noose around his neck. I even read some accounts that a man could have an unwanted orgasm as he knew he was about to lose his life at the hands of others.

Accuracy is one element that I strive to depict in my illustrations. Hanging a man by suspending him by his neck slowly is a very inhumane because of the intense and prolonged suffering that suffocation brought on by his own weight causes him. The more he struggles, the more he suffers, and this gives more for the spectators below him to experience.

In truth, the more accepted and more so-called “civilized” execution method is to drop a man whose neck is in a noose on a rope of fixed length downward through a trap door. When he reaches the end of his rope, his downward fall is ended by the rope. When the rope around his neck draws upward very tightly and quickly, the man’s spine is broken so that he dies rather immediately.

Why a hanged man may have an unwanted sexual reaction to being executed is known as autoerotic asphyxiation: Autoerotic asphyxiation arose out of the observation that men executed by hanging often got an erection and sometimes ejaculated. It’s described in detail in [the Marquis] de Sade’s Justine and is mentioned in Beckett’s Waiting for Godot. Why it works is unclear. The simplest explanation is that lack of oxygen causes lightheadedness, reducing inhibitions and enhancing the sexual experience. Masochistic fantasies, castration anxiety, and other psychological factors no doubt also play a role.

In Iran, there is a demonstrated preference to conduct suspension hangings in public where spectators can watch the agony in person. One can easily find photographs online of executions of men with their hands bound behind their backs who are hoisted upward in a suspension hanging. Clearly, Iranian men derive enjoyment out of watching suspension hangings, even though the “official explanation” is that the religious law of Islam authorizes such brutal killing. The Iranian execution photographs always include a large all-male crowd standing by watching the doomed men suffer before their deaths.

Clearly, the hanged man’s arousal is to bring pleasure to his executioners and the witnesses in attendance. This theme appears again and again in the well-known works of these artists: Dom “Etienne” Orejudos, Tom of Finland, Sadao Hasegawa, Gengoroh Tagame, The Hun, Greasetank, Ulf, and Bondageskin as I explain elsewhere at this website.

I believe that it is honest to depict a man with a gallows erection because such is what has been reported throughout history. The witnesses in attendance will readily see that the guy hanged naked died with his cock pointing towards the skies. No doubt that is one of the most highly masculine ways for a man’s life to come to an end. If the doomed man unwillingly shoots his final juices just before his death, the spectators certainly will get an unforgettable experience.

You are not supposed to look into the eyes of a hanged man. But, if you do look, what will you see? You may never forget what his eyes say to you.

Choosing to visually depict hangings may seem very extreme to some–especially if you do not live in a place where public suspension hangings are conducted. I am certain that life today around the world is not quite as polite and civilized as many people may choose to think it is. I also am certain that depictions of hangings will continue to be done because there is an audience for such works.

Secret military executions using rope are a theme that I have explored several times over the years in my work. This illustration is a modest example:

You may also be interested in my work depicting men being executed on a cross.

Thank you for your interest in my work. I ask that you please pass along word of my website to other gay adult men.  –Madeira Desouza

And yes, I have to admit that I have depicted cowboys a huge number of times in my works. I believe that there can never be too many depictions of macho cowboys. As Bruce Willis so wisely taught us, “Yippee-ki-yay, motherfucker!”

My attraction to cowboys was fueled by what I saw on television when I was young. As a kid, I had my choice of several black and white Warner Bros. westerns, which depicted young, handsome, and highly masculine icons of the American West.

Cowboys and the cowboy culture–at least as represented by Hollywood during the 1950s and 1960s–were an essential part of my youth. Pictured here is Ty Hardin, who played Bronco Layne, a former military officer who fought in Civil War. I had a hard-on for Hardin and others who portrayed cowboys on the unforgettable Warner Bros. westerns.

My Upbringing

My grandparents immigrated to the United States from the Azores Islands of Portugal. As a second generation US citizen with deep roots in very Mediterranean sensibilities from the Old Country, the local culture and my upbringing influenced the man I became. There was a strong influence that I definitely felt from my Portuguese heritage from the Old Country. Even though I grew up in the US, I became socialized to accept the very Mediterranean view that I had to be a masculine male when I grew up. That was my destiny.

I was raised in the western part of the US during the middle of the 20th century. In those days it was very routine for me to see my male relatives wearing cowboy hats, cowboy boots, and faded blue jeans. That kind of “cowboy clothing”, so to speak, was an everyday kind of thing when I was a kid. Dressing like cowboys was very common in those days for these men who worked the land for a living.

I never thought of my relatives as cowboys, per se, but that was more or less the role that they had. They raised cattle for dairy and beef products. But, I grew up to want to be like them and to look like they looked. I have pictures of myself as a kid dressed up as a cowboy. When I had sexual fantasies about cowboys that started during my teenage years, I always envisioned strong and masculine cowboys there with me completely naked just like I was.

Sexual Awareness

When I learned about sexual behaviors during my teenage years, I do not recall that I ever was aware of the fact that one man could fuck another man doggy style. I did know as a teenage boy, however, that one man could suck another man’s cock and bring him to orgasm by doing so. I did not attempt such things in my teenage years because I had been raised to be a good Roman Catholic.

Even though I had sexual fantasies as a teenager about cowboys and their masculine bodies, I did not dream of growing up to be a cowboy. I was smart enough as a boy to realize that a life as a cowboy would not be easy, nor would it be a path to financial stability.

But, I always found that I liked wearing cowboy hats, cowboy boots, blue jeans and all that.

Of course, as a teenager, I fantasized about getting a blow job from a cowboy, and I started to associate my feelings of being masculine with being like a cowboy.

Violence

Meanwhile, in real life, my paternal grandfather used guns as part of his work. So, for me, it was not just make-believe like on the westerns on television. I was very young–maybe age 10 or 12–when I was allowed to watch the slaughter of a cow with a gunshot to the animal’s head. Then, the animal was hoisted up on ropes and cut open to begin the process of preparing beef products. Very graphic memory for me!

When I was a boy, I remember being shown by my father the proper way to hold a rifle and shoot it. I can remember learning how to aim and fire a pistol as well thanks to one of my male relatives. So, guns were just there in my culture like all that was normal. A gun also played a terribly sad role in my family history. A family argument when I was very young got fueled by anger and alcohol. The outcome was two deaths from shotgun blasts.

I have met others whose families also had similar experiences with gun violence like in my family. I figured out early on that violence is just part of who we are as a species. We all like to think we’re so civilized, especially now that we’re living in the 21st century. But, the reality is that humanity can be very violent so naturally. we are a very violent I am not someone who is violent, however.

When I lived in Arizona during the 1990s, I went with a couple of male friends who were former Marines to an indoor shooting range where I got to fire a semiautomatic pistol. That was unlike any experience I’d had with guns when I was young. I understand the attraction to semiautomatic weapons that we males have. Guns like that wield such unbelievable lethal power!

I have since depicted cowboys with guns. I guess I keep going back to my childhood memories of gun violence. Perhaps I am trying to make sense out of something that makes no sense at all. During my early teens, however, it wasn’t guns that fascinated me. It was cowboy hangings.

Thank you for your interest in my work. I ask that you please pass along word of my website to other gay adult men.  –Madeira Desouza

I just spent about 2 hours going through your site. What fantastic illustrations you create! They are remarkable, masculine, erotic, orgasmic, totally fantastic! I am in awe! You have a unique perspective to the theme of a masculine man. A Salvador Dali quality of unique perspective and a Dom “Etienne” Orejudos masculinity, yet it is totally your own.

Thank you so much for setting up this website. Your artwork shows great imagination. At the Gold”s Gym where I work out, there are many young men who unbelievably look like they stepped from your artwork. It makes going to the gym, at least that gym, a constant pleasure and wonderment. Thank you SO MUCH.

Thanks so much for your fantastic illustrations. I have been a fan of your works for some time. Your art captures the beauty and brawn of the male form. WOOF. Mega hairy muscle hugs wishing you continued success and inspiration.

I’m new to the computer, so I only found you recently. How do I explain to you that I feel like I have found my home. I don’t feel so alone, or alone and blindfolded. When I found your art, it was like the best birthday gift ever.

This website is written and produced by writer/illustrator Madeira Desouza, who has this to say:

I tell stories and create illustrations about masculine men involved with one another to provoke the viewer. I have seen all my life how straight people do not like to see masculine men showing affection towards one another. Straight people will accept drag shows and comedies about effeminate gay men. And why not? Those are non-threatening. But, if masculine men are depicted in a story or images showing sexual interest in one another, oh boy, that suddenly becomes very threatening to straight people! Some gay men I have encountered also find it uncomfortable to witness masculine men showing sexual interest in one another. Gays relegate such masculine men to the pejorative category of being “too butch.” For all of these reasons, I choose to provoke the viewer in my stories and illustrations.

Bara Genre

Let me codify this for you: The stories and illustrations that I produce are within a USA version of the bara genre.

The word bara is Japanese, and it describes gay male same-sex feelings and sexuality identity that is sometimes violent and exploitative. According to Wikipedia, the bara genre deals with masculine men with varying degrees of muscle. Such macho men and deemed to be “beefcake” (an outdated term) or more commonly called by the contemporary gay community term, bears.

I did not ask for inclusion in this genre. What I do just fits into a USA version of bara.

Themes

Let me further codify this: You will discover that this website makes use of six fantasy themes in stories and illustrations: Here you will use your mind viewing illustrations and reading text to envision and explore make-believe situations of highly masculine men in danger, violence, and horror within six themes that are detailed on this page. Learn more about the six themes.

Fictional characters depicted in storytelling suffer from an imbalance of power so that one man submits to another man who is dominant, more powerful, and in control. Learn more about why power over men works so well.

What you see here is provocative and extreme, but everything is totally made up and for pretending only.

You need to be mature enough to know the difference between what is real life versus what is pretend or made up.

At its essence, sexual roleplaying or fantasizing for gay adult men that is derived from fictional depictions of danger, violence, and pain is a pathway to escaping yourself. This website is your pathway to escaping yourself. Don’t hold back. Just let go!

Please read the legal disclaimers before you start shitting yourself.

"Street Fighting Men" by Madeira Desouza

What interested me the most was homoerotic work depicting highly masculine men in situations of personal peril or danger as compared to images of men showing affection and love towards other men.

While in real life I am a gay man who shows affection and love towards other men, as an illustrator my work goes in a much darker direction.

The kind of imagery of highly masculine men that I create today using a computer is linked directly to established traditions of gay males creating imagery that draws upon six or more interrelated themes that appeal specifically to devotees of gay erotic illustrations.

I provide some personal admissions about my attraction to cowboys, sex, and violence that has stimulated my creative works for many years. I am not alone in this.

The choice by a wide range of people to depict highly masculine men using the six themes can be traced throughout the present day and also into the past to a wide range of artists and illustrators in the United States, Europe, and Japan.

This page of my website will open your eyes to a world you may never have known existed. I have found few other places online that can offer this context to gay adult men while providing such a quick, yet intensive, introduction to images in the tradition of homoerotic danger and arousal. Jump in and enjoy your visit today!

Two Spanish artists, Dali and Miro, had a profound influence upon me from when I was a boy. Surreal art is not for everyone, but I was attracted to this particular style of art from a very young age. When I became an adult, I grew interested in the erotic art work done by underground artists such as Dom “Etienne” Orejudos and Tom of Finland that appeal to gay adult men.

Dom “Etienne” Orejudos

Dom “Etienne” Orejudos was an American artist who drew masculine men in highly controversial poses and situations during the 1970s and 1980s.

He led the way in the production of art with an imaginary, surreal, exaggerated focus upon the male body, masculinity, and homosexual male sexuality. Others, like me, who attempt similar surreal works owe a debt to them all respect the pioneering for which they were responsible. Learn more about them and other gay artists on this page. Surprisingly, there are many gay men who never care to look at art that is intended for a gay male audience. I was one of them.

Then, one day I accidentally saw the works of Etienne while browsing online and I was blown away! I immediately wished that I had taken the time to study gay art because I realized I had missed out on a terrific experience.

Although Etienne worked primarily in black and white line drawings, to me, he seemed almost magical for the ways in which he knew exactly how to create surreal, exaggerated men who are so instantly appealing. As you can see in the detail image below, Etienne demonstrated great skill in depicting highly masculine men’s bodies. He showed what he considered to be an ideal cock and balls, torso, hands, and feet, especially. He also knew how to create youthfully handsome and expressive faces. His works had a major influence upon me.

To be honest, there is also a troubling violence, men’s fear, and violation in many of the works of Etienne. No question about that. Fear, violence and sex have a linkage that many people probably would rather deny and never consider. But, the linkage is there to be found. Without it, Etienne could not have drawn the men and the situations that he drew. His efforts would have been disregarded had there been no connection whatsoever between fear, violence and sex.

This is a difficult and controversial matter that inevitably poses many tough questions about how and why sexualized violence can or should be an element of an gay male artist’s expression. Etienne does not deserve credit or blame as the originator of these kinds of often disturbing visual depictions in gay surreal art. I think that he is notable because he bravely chose to create gay surreal art that some consider to be disturbing. The choice by an artist to depict what is commonly known as “CBT” (cock and ball torture) or the more extreme cutting off or mutilating of men’s genitals is one that many in the audience may find shockingly disturbing.

Etienne was the partner of Chuck Renslow, who opened the first gay leather bar in the US in Chicago during the 1950s, Gold Coast. It was Renslow who encouraged Etienne to venture into creating visual works the worldwide gay male audience. Etienne produced this historic promotional poster for Gold Coast. Note, especially, how Etienne depicted the highly masculine hands and feet of the character in addition to an ample package.

Tom of Finland

Immediately after I learned of Etienne, I was thrilled to find the works of Tom of Finland. He is perhaps the most famous artist of the 20th century for gay adult men. His prolific creations, which were born of post-World War II European sensibilities, demonstrate a most definite respect for (and awe of) highly masculine males. Tom of Finland also does not shy away from male-on-male brutality and violence in the context of sexual conquests.

Tom of Finland is often remembered for his vividly depictions of the homoerotic aspects of Nazi Germany during the 1940s, especially uniformed men with intense masculinity. He is also one of the most prominent artists to explore the gay male’s lust for masculine cowboys in sexual situations involving danger, fear, and violence.

The heterosexual majority certainly may choose to shun surreal depictions of male instincts and behaviors towards other males involving fear, violence, and sexuality. Yet, these were brought unashamedly to the public in print media during the 20th century by Etienne and Tom of Finland.

What mainstream society chooses to avoid, however, should hold little persuasive value to us gay men, per se. We gay men have always known how to be honest about what we like and we are at our best when we go after what we like passionately. I recommend that we gay men should take time to learn about artists like Etienne and Tom of Finland in their own context, but especially because their surreal masculine male art survived them and likely will be remembered into the future.

Ancient Greek and Roman Influences

Depending on the breadth and quality of your formal education, you may have (should have) been introduced to the crucial role that culture and society play in the development of artistic sensibilities and works of art. Due to limited space here, suffice to say that much of what we embrace today in Western society regarding artistic expression descended to us courtesy of Greece and Rome from thousands of years ago.

Anyone can easily find artifacts online and in museums from both of those classic civilizations. Look for their depictions of male-on-male sexual behaviors, violence among men, and fear that men can cause.

Although the English word homosexual was not coined until the late 1800s, thousands of years earlier—with or without any name for it—the ancient Greeks and Romans accepted that human nature included men who had sex with men. That men did violence to other men and created fear in the hearts of men were also well known and accepted as a basic realities of life in those long ago times.

The image shown on the left was drawn in 1956 by George Quaintance (1902 – 1957) to honor how the ancients depicted masculine men with great respect and admiration.

Today, it is tempting for us to think that human nature and behavior has changed significantly over time, especially due to advances in technology to make our lives more civilized. But, when it comes to sex and violence, it probably would be wise to ponder whether human nature has really changed all that much over hundreds of centuries.

Asian Influences

After learning to appreciate the works of Etienne and Tom of Finland, I found the artistic works of two gay male artists from Japan in the bara genre.

First, I became aware of Sadao Hasegawa (1945 – 1999), who created some unforgettable, surreal images that mix vivid aesthetic beauty in males with shockingly horrible and violent fates. As shown in the illustration at right, Hasegawa’s work pays homage to the well-known Japanese artistic style favoring bright color and intensive attention to authentic detail.

Then, I came upon the works of Gengoroh Tagame (illustration at left), who is still producing surreal art today for gay men that is shared over the Internet and in print media.

In Asia, the culture out of which gay art grew differs substantially from both the cultures of ancient Greece and Rome and the cultures of Europe and the Americas. Somehow, both Hasegawa and Tagame broke free from the repression of a deeply conservative Japanese culture and strict legal traditions to produce stunning art work that cries out to be observed by gay males. In the works of both Japanese artists, males consistently are depicted as icons of youth, high masculinity, and attractive good looks.

Hasegawa’s works feature disturbing violence in their surrealistic depictions of male sexual arousal preceding or during torture as a prelude to the victim’s certain death. Similarly, Tagame’s surreal art depicts harsh sexualized torture and brutality such as gang rape of men by men in military and/or prison settings, and frequently include hangings, castrations and impaling. It is easy for the uninitiated viewer to become overwhelmed by the intensity of the violence in the works of Hasegawa and Tagame.

Back in the U.S.A.

Here in the United States of America, as a gay male artist living in the 21st century, I have found five artists particularly influential. First, I want to mention Douglas Simonson of Hawaii, who produces typically photorealistic looking art which is nonetheless surreal showing young, highly masculine, good-looking men in tropical environs such as beaches and jungles. Simonson’s art is irresistible and habit-forming, especially because of his generous use of spectacular colors that showcase his unmistakable skills and talents in depicting the male form. His works also are tame and civilized compared to all the other artists I will mention next.

The Hun is the name chosen by an artist living in Oregon. His work consists mainly of line drawings in old school comic book style done in stark black, white, and grey tones.

The most evident trait of the art of The Hun is the surreal and greatly exaggerated masculinity–particularly the characteristic overly large sex organs.

Next, one will be unable to escape the intense physical brutality of the sexual activities depicted by The Hun’s surreal art, which often shows powerful and muscular men taking full physical and sexual advantage as they dominate submissive men who are vulnerable and defenseless.

3D Digital Illustrations

I was also influenced by a Texan who called himself Greasetank. He worked in the realm of 3D digital illustrations before his website was taken down due to censorship–especially over his use of imagery that looks like it came from Germany in the 1930s and 1940s. He was born in 1951 and died in 2008. I use the same or similar software to produce imagery as did Greasetank.

Greasetank, like The Hun, greatly favors an exaggerated and/or surrealistic masculinity, most notably lengthy cocks. However, Greasetank’s males do not seem to have been intended by the artist to be necessarily attractive or appealing to the viewer.

Greasetank consistently depicted repugnant punk male behaviors, including hate crimes committed using automatic weapons. The sexualized torture and castration or genital impailings depicted by Greasetank is but a prelude to an inevitable and horrific homicide.

Similarly to Tom of Finland, Greasetank also embraced masculine imagery and homoerotica from the days of Hitler and Germany to build many of his art works upon what we today would call Neo-Nazi themes.

Two others who have used the same or similar software as I do to produce imagery, and, who also have influenced me greatly are Ulf and Bondageskin.

Ulf Raynor’s work aims for highly detailed photorealism, yet emphasizes hypermasculine males with very exaggerated anatomy that happens only in fantasy and surrealism. Significantly, many of Ulf’s males are depicted as sexual objects and victims of authority at the hands of other men in power such as within Wild West, military or paramilitary situations. Ulf does not shy away from depicting cock and ball torture and other more extreme violence against masculine icons. He is one of the most prolific producers of digital illustrations for gay men of the 21st century.

Also deserving mentioning here: In the 21st century, an illustrator in the United Kingdom who goes by the name of Rusty McPhee has produced a tribute to the work of The Hun. McPhee faithfully retains the same theme of dominant men overtaking submissive men sexually. McPhee’s talents and skills as an illustrator in the digital realm are impressive. I happen to prefer McPhee’s own original illustrations more than his tribute to The Hun, however.

Another artist who works in the digital realm in the current century using the artistic signature of Bondageskin. I just can’t get enough of this man’s work! I admire how freely he expresses himself in his works and I could spend hours each week studying what he produces–particularly the illustration below on the left depicting the hanging of several muscular naked men.

He deliberately depicts surrealistic and improbably violent paramilitary-type executions involving sexualize torture in which a doomed man sports an impressive erection and experienced an unwanted orgasm before death.

This theme of a defenseless man in peril getting sexually aroused (and even having an orgasm against his will) is found frequently throughout the visual works and stories of many men whose target audience is gay adult males.

This page only begins to scratch the surface by providing a very brief overview of how illustrators have used the same six fantasy themes in their works.

There is much more than you can learn about illustrators, storytellers, and bloggers within the broad subject category of imagery and art intended for a gay adult male audience. I have personally collected a substantial list of links to other websites with similar content that I believe you will also enjoy if you enjoy my Mondo Macho site. –Madeira Desouza

In real life I am a gay man who shows affection and love towards other men. But, my creative works jump deeply and without hesitation into far more controversial directions that some people may find too extreme.

I hope you won’t do what I did: I admitted that I was gay after year upon year of living in denial.

Here I explain how I see myself as a storyteller and illustrator. I also show you a rare look into the creative process the guides me and my efforts: Read the secrets behind my work. Also check out the performance process that I use. Also see: bara genre.

Provocateur

The honest truth is: From the vantage point of my creative works, I made a deliberate choice to be one who provokes others with storytelling and illustrations. Here is my purpose statement:

I tell stories and create illustrations about masculine men involved with one another to provoke the viewer. I have seen all my life how straight people do not like to see masculine men showing affection towards one another. Straight people will accept drag shows and comedies about effeminate gay men. And why not? Those are non-threatening. But, if masculine men are depicted in a story or images showing sexual interest in one another, oh boy, that suddenly becomes very threatening to straight people! Some gay men I have encountered also find it uncomfortable to witness masculine men showing sexual interest in one another. Gays relegate such masculine men to the pejorative category of being “too butch.” For all of these reasons, I choose to provoke the viewer in my stories and illustrations.

To provoke the viewer, I use six fantasy themes that have been used for decades by other gay male storytellers and illustrators that some today may find troubling and difficult to consider.

I believe that the French word provocateur (someone who chooses to behave in controversial ways to get a rise out of others so that others will react strongly) is exactly appropriate to describe me in the creative sense. But, I choose to have a deliberate purpose behind being controversial. I choose to make my audience think about what they are perceiving in my storytelling and my illustrations.

The English word that sort of comes close is troublemaker. However, I believe that word has more to do with a person who chooses to mischief and instigate conflict between people, but not necessarily for any higher purpose than generating excitement or drama out of the conflict.

The Creative Process

I do not sit down and think about how to be provocative in my storytelling and my illustrations. Provocation just happens to grow naturally (or unnaturally) from what I create. The creative process that I use is very free-flowing and spontaneous.

In many respects, what I do is create characters and then step back and let things happen on their own to the characters without me impressing some pre-designed outcome upon them.

Most of the time, I end up being pleased with what turns out in this creative process. But, there have been some instances where I was not at all happy or satisfied with how things turned out with characters I created. If that happens, I end up choosing not to share the work with anyone. In those instances, the work will just sit in a folder somewhere because of my lack of satisfaction with it for one reason or another.

Why Provoke?

I have to admit: I waited very late in my life to admit that I am gay. Now I feel a strong responsibility to challenge other men who may err like I did–pretend to be straight and get married to a woman. Doing that is a total waste of your time, your sexuality, and your life.

I choose to create provocative stories and illustrations that challenge my audience to look at and think about male sexual behaviors from a different perspective than the usual and boring man-meets-man-and-falls-in-love framework.

Thank you for your interest in my work. I ask that you please pass along word of my website to other gay adult men. –Madeira Desouza

What I write is very different from stories for gay adult males that you have found elsewhere in print or online. Plus, I create my own illustrations for most of my stories that are available on this page. This gives you the unusual benefit of a writer’s perspective along with an illustrator’s perspective. Also see: bara genre.  –Madeira Desouza

American Terrorist in Baghdad — A military themed story that will likely piss some people off. But, I really do feel this is story worth telling and in the way I have chosen to tell it.  Read American Terrorist in Baghdad.

Baja Clavius — For all gay men who love science fiction. Part of my Time Travel Trilogy! A young time traveler from the future gets stuck in Arizona during the 1990s and gets sexually involved with the local mondo macho men.  Read Time Travel Trilogy.

Bound to Hurt — A young hunk fantasizes about what it would feel like to be bound and gagged by an unknown threat while surfing the Internet alone at home.  Read Bound to Hurt featuring male bondage photographs by Paulo Martins.

Cowboy Box — For any gay man who is attracted to cowboys. This story depicts a ranch out in Arizona or Nevada where the resident cowboys have a very unique sexual ritual that they follow every night.  Read Cowboy Box.

Justice — Would you suck the 9-inch cock of a muscular cop? Silly question. This story depicts an interrogation by a well hung law enforcement official.  Read Justice.

Sweet Dreams Always Make Me Hard — Unrelenting youthful passion spills over from real life into the dream world of an easily aroused gay man.  Read Sweet Dreams Always Make Me Hard featuring male bondage photographs by Paulo Martins.

Tie Me Up and Fuck Me! — The title will sort of give you a clue that this is not a love story between two good-looking guys on a public beach somewhere warm and friendly. This deals with an aggressively cocky reality television show host who invites his own rape during a live show.  Read Tie Me Up and Fuck Me!

How I Work

Here I explain the process that I use when I work. Also check out the secrets behind my storytelling and illustrations. Also see: bara genre.

Extreme Circumstances

When I create my illustrations I usually begin by creating an extreme circumstance. In this example, I chose to start with the depiction of a naked cowboy who has been crucified. I usually do not provide a lot of detail about how the character in the illustration got there so that you, the viewer, can fill in the blanks on your own.

Angle

I also deliberately choose an unusual angle to depict the scene. In this example of the crucified cowboy, I chose an extremely sharp angle that looks up at the character as if you were standing below him on the ground. Such unusual angles are intended to exaggerate the intensity of the scene.

Cock and Balls

I usually choose to depict the character’s genitals in full view. This gives you, the viewer, a point of focus as you look at the illustration. My specific intent is for the depicted character to represent some highly masculine male that you, the viewer, will focus on and begin to use your mind to imagine how you might respond to him emotionally. Are you attracted? Are you repulsed? Are you both repulsed and attracted? What do you want to do in response to how you perceive of the character?

Light and Shadows

To help make the experience for you, the viewer, as realistic as possible, I deliberate use complex lighting, shadows, and skin textures.

As in the example illustration of the cock and balls above, I chose to use lighting and shadows to deliberately draw your attention to the character’s manhood. Usually, my characters have little or no body hair so you will not be distracted from studying their genitals and muscular torsos.

Masculinity

I always choose to depict my characters with a strong respect for their appearance. They are consistently depicted as highly masculine males.

My characters usually show evidence that they have taken good care of their bodies in a purposeful way to emphasize their fitness and strength. My characters usually are muscular and youthful. No matter what fate I may assign to my characters, I consistently choose to depict them with an essential respect for their manhood and their worthiness to be admired.

I also make certain that my charters have large hands and feet that are in accurate proportion to the scale of their masculine bodies.

I work hard to create my characters as if they are real men, even though they are only fictional and cannot exist in the physical world.I want my characters to look sufficiently realistic so that you, the viewer, will not think about the fact that you are viewing an illustration that is fictional.

Emotions

Whenever I depict a character, there is much more than just giving him an impressive cock, broad shoulders and muscles.

My character must have a face that you find believable and compelling.

Too often I see illustrations for gay adult men that stop short of depicting character’s faces in ways that will convey believability and that can make you feel some sort of emotional response.

What is the point of depicting a fictional character with a face that you do not believe nor feel some sort of response in your gut or your heart?

I work to give my characters eyes that convey what he is feeling about the experience that he is undergoing in the scene. Before I am done, his face must clearly suggest a specific and easily-recognizing set of emotions that you, the viewer, will recognize.

Whether you like him or hate him doesn’t matter. Whether you feel attracted to him or repulsed by him doesn’t matter.

For me and my work, what matters is that you, the viewer, have a definite emotional response to him when you see him in my illustration.

When I depict two or more characters in one illustration, my goal is to give you, the viewer, a snapshot of something compelling that is happening to the characters.

I do not like to depict characters unless there is something going on in the scene that draws you, the viewer, into the scene.

Whether you like what you see being depicted or hate it doesn’t matter. Whether you feel attracted to what you see depicted or repulsed by it doesn’t matter.

For me and my work, what matters is that you, the viewer, have a definite emotional response to the situation that you see unfolding in my illustrations.

Those who find my work turns them off usually never come back to see anything more. Those who find my work worth a second or third look are most welcome back here to see what I have been working on since their last visit.

Orgasm

Whenever I depict a character who is having an orgasm, I do not shy away from showing you, the viewer, what it looks like.

I want his juices to flow in the scene. I want the expression on his face to be orgasmic.

I want to show him enjoying the deepest sense of release and satisfaction that his orgasm can bring him.

If there are other characters in the same scene, I want them to be somehow directly involved in that orgasm.

Even if the scene is not realistic in the sense that it could not necessarily exist in the physical world, I want the depiction of the character’s orgasm to appear to be as realistic as possible.

There would be no point in depicting an orgasm if it did not turn out to look convincing and credible.

The action in the scene always needs to support that kind of credible and genuine orgasm if the illustration is going to be effective for you, the viewer.

Thank you for your interest in my work. I ask that you please pass along word of my website to other gay adult men. –Madeira Desouza

"Interrogation Finale"

My work is controversial. I freely admit that. What I produce is intended to provoke you. Also see: bara genre.

In my 2008 illustration entitled “Interrogation Finale,” I depict a secret, unauthorized military interrogation in Iraq that culminates in the death of a man thought to be a terrorist. The outcome I chose show that the dead man’s cock was cut off and shoved into his mouth for the entertainment of the witnesses. You can explore the entire set of original illustrations presented in a comic book style story entitled “American Terrorist in Baghdad.”

Similar to Whom?

Sometimes, I get email that compares my work to that of a Texan who called himself Greasetank. My work is also compared to that of a German with the artist name of Bondageskin. Each has produced works depicting men’s violent perils and suffering before their deaths. I choose to emulate the respectful and admiring portrayal of highly masculine men for which both Etienne and Tom of Finland are remembered. Both of these artists also freely expressed brutally violent themes that sometimes result in death. I have been told that I my work has “…a Salvador Dali quality of unique perspective and an Etienne masculinity…” I find inspiration in the way Tagame depicts good-looking and masculine men in severe peril before their deaths. You can learn more about them and see samples of their work in the Traditions section of this website. This website’s Links section will provide you with my hand-picked recommendations to sites where you can explore these and other artists’ works.

I begin my illustrations using a body plan–how the character’s body looks overall. I usually make certain that the character is believable in the sense that you might see a guy like him in real life.

In this example below, I plan a young cowboy’s body from head to toe and consider what his face looks like. Most importantly, I consider what his cock and balls look like and what he would look like if I were photographing him and told him to bring himself to an orgasm as I captured his images.

Why Death?

"In The Pine Box"

Obviously, the subject of death and how men die is of importance to me or else I would be writing stories and depicting images of pretty flowers and colorful oranges and apples. To my way of thinking and feeling, for storytelling to be effective and interesting, it must have some kind of dramatic conflict or else it is not worth telling a story. These guys will make contact with the surface of the planet at around 55 miles per hour, producing a lot of messy pulp.

Death is inevitable for all of us. You immortals out there who are reading this should just keep quiet. So, why not depict it in story and images?

Do I think about death every day? No. Do I want to be dead? No. Then, why do I depict men’s deaths in story and images? I think about food every single day of my life. I especially love to eat chicken burritos. But, I’m not going to depict chicken burritos in story and images.

"Four Falling Men"

Dreams (or nightmares) are often where most people process their inevitable thoughts and worries about death. Thoughts and images of horror and terror also surface in people’s dreams and nightmares. I happen to let mine out through my storytelling and illustrations. You go your way, I’ll go mine.

My 2008 illustration “Four Falling Men” does not show death. This is a little trick. By the expressions on the men’s faces, the viewer is compelled to expect that these four men know they will not survive their fall from the sky.

"Professional Athlete Crime Scene"

My 2009 illustration “Professional Athlete Crime Scene” also demands viewers to figure out what is happening. In real life, professional athletes sometimes end up dead under mysterious circumstances. The viewer can look at the clues in the illustration and piece together what possibly could have happened. One technical trick that I often employ is to provide a very unusual angle for what is depicted so that viewers will turn their heads to get a better vantage point. Doing so engages the viewer in the process of interpreting the illustration as compared to having a passive experience.

Surrealism

My works typically depict a surreal scene that certainly could not be mistaken for a depiction of authentic reality.

In 2012, my science fiction Lost Cowboy Moon Time was published on Smashwords. To promote this prequel to my 2010 work Dare Not Ask The Dead, I created a surrealistic illustration that depicts a major character–a muscular young man from New Orleans who can read minds:

"New Orleans Psychic"

The mysterious feeling that I wanted to achieve was accomplished by special lighting. I deliberately did not illuminate the character’s entire face so that I would make him seem elusive.

To emphasize his amazingly muscular body, I also paid careful attention to the lighting so that I would create shadows in exactly the right places, thereby emphasizing his masculinity. As if giving him hot boots to wear wouldn’t accomplish that?

Most obvious of all, however, is my use of the color red to draw the visitor’s eyes directly to the character’s crotch. This is one rare occasion where I chose not to depict the character nude–especially to persuade the visitor to want to see more of him.

"Catch My Soap, Dude"

What’s happening in the scene is on a stage in front of curtain, so one might assume that this is performance. The audience may be witnessing foreplay ahead of sexual activity between the two young men in the scene.

One technical note: I often obscure part of the scene to engage the viewer more fully. I made he water in the tub opaque, for example, by carefully pointing the lighting so that viewers would not see clearly through the water to the man’s lower body in the tub.

"Cumming to an Untimely Death"

My 2010 illustration “Cumming to an Untimely Death” is another example of surrealism.

I made effective use of blurring of parts of the illustration to suggest a sense of speed. The doomed naked cowboy is depicted having an orgasm that causes him to lose control of his motorcycle at a high rate of speed on an unpaved desert road. That fall is going to end his life rather painfully!

"Abstract Retraining Device"

I focus the viewer’s attention on the two bound men by deliberate use of dramatic lighting that does not illuminate all the people in the scene. This technique invites viewers to become more engaged in interpreting the image.

"Bunk House Bath Time"

This surreal image depicts an apparent erotic drowning of a young cowboy by two more powerful cowboys and leaves very little to the viewer’s imagination.

"Victorious Warrior"

I created “Victorious Warrior” in 2011. The physically impressive victor has left nothing of the vanquished foe except his head and his manhood. I choose to depict dramatic skies and dark red blood to emphasize the horror in the scene.

Thank you for your interest in my work. I ask that you please pass along word of my website to other gay adult men. –Madeira Desouza

I’ve been told that some straight females are attracted to erotic fiction and depictions of man-on-man sexuality. Women do not want macho men. That’s good because this website is intended for adult persons who have a penis and testicles–not those who don’t have a penis or testicles but want to look at images of those who do. Now that we’ve cleared this up, let’s get to the good stuff.

This section of Mondo Macho shares my unashamed and uncensored opinions with you about what it means to you as a gay man to be mondo macho, or, to be highly masculine. Since I am a self-described openly gay male, and, since I perceive of myself as being masculine versus feminine, I feel that I am qualified to comment on this controversial subject of gay men’s masculinity or the absence of it.

I cannot separate being a gay male from being a storyteller and an illustrator of highly masculine images. While I do not “think” about storytelling or creating illustrations of highly masculine males all day and all night, I am constantly aware during my awakened state of mind that I am someone who is a storyteller and who creates illustrations of highly masculine males.

Because the illustrations are a visual craft that I am involved in, I find that my day-to-day mind set is that of seeing men in the real world around me and making assessments or judgments about whether I find them attractive in the visual sense. I see all males around me as potential inspiration for some future illustration of a highly masculine male that I may create. It’s really that simple and uncomplicated.

The Gay Male Image

Question random people (male or female, gay or straight) about what image they get in their minds when they hear the phrase gay male. You probably will get responses from most people that indicate a non-threatening kind of male–perhaps an effeminate male with gentle features and a playful fashion sense. Or, you might get responses about well-known drag performers such as Ru Paul.

My creative efforts are guided or driven by what I see as a cultural preference for most people (male or female, gay or straight) to view the gay male as a guy who is not masculine. I see things differently:

I tell stories and create illustrations about masculine men involved with one another to provoke the viewer. I have seen all my life how straight people do not like to see masculine men showing affection towards one another. Straight people will accept drag shows and comedies about effeminate gay men. And why not? Those are non-threatening. But, if masculine men are depicted in a story or images showing sexual interest in one another, oh boy, that suddenly becomes very threatening to straight people! Some gay men I have encountered also find it uncomfortable to witness masculine men showing sexual interest in one another. Gays relegate such masculine men to the pejorative category of being “too butch.” For all of these reasons, I choose to provoke the viewer in my stories and illustrations.

Dramatic Tension and Storytelling

As an illustrator and storyteller, I choose to produce depictions in text and images that include themes of masculine men in peril. My depictions of masculine vulnerable men in peril have a high level of dramatic tension and energy. I receive emails from guys who write about how stunned they are to be moved emotionally (or sexually) by my works.

To me, depicting love expressed between one man and another man in images or stories is not sufficiently dramatic in the storytelling sense.

Affectionate, caring and respectful relationships between two men are comforting and bring joy to both men. I feel exactly the same way about depictions of relationships between a man and woman.

I was formally educated in the art and craft of storytelling, photography, news reporting, etc. when I worked towards earning my undergraduate degree in journalism. In the professional context, I learned that telling a story is an essential ingredient if one wants to connect with an audience.

Stories that are told about affection, caring and respectful love may make the audience feel warm and fuzzy. If all the stories told in this world were all or mostly happy love stories, the stories would blend together for their predictability and sameness.

In contrast, stories about breaking up or suffering the loss of a love contain far more dramatic energy for the audience.

The man-meets-man-and-falls-in-love-and-then-they-live-happily-ever-after story is not for me as a steady diet. Such storytelling (in text or visual form) emphasizes the powerful but false belief that life turns out happily and positive for everyone.

There are, of course, moments of happiness and positivity. But, I need dramatic tension as a catalyst for my works because I find optimistic and upbeat depictions lack sufficient energy to carry a story from beginning to end (in text or visual form).

Influences Upon Me

I am following traditions established by others (some are dead and some are living) whose works inform my works in illustrations and storytelling. When I look at the works of Dom “Etienne” Orejudos, Tom of Finland, Sadao Hasegawa, Gengoroh Tagame, The Hun, Greasetank, Ulf Raynor, and Bondageskin, I readily find that they have incorporated a high dramatic tension. I have been greatly influenced by them as I explain in the Traditions section of this website, and I don’t see how any of those men would have connected with their audiences as they did had they chosen to depict warm and fuzzy scenes between men.

Desouza’s Sliding Scale

You gotta have a decent sliding scale to “get” my perspective on gay male masculinity, so here goes: On one side of my sliding scale is femininity and behaving womanly or womanish. On the opposite side is masculinity and behaving manly or mannish.

You may want or need some examples to help clarify the extremes of my sliding scale, so let me offer some examples that are available from the world of cinema (and you can rent these on DVD). The 1978 film La Cage aux Folles (in French with English subtitles), and the Americanized version in English, 1996′s The Birdcage, directed by Mike Nichols, are two films that will explain everything to you that you need to know about this subject quite vividly and with much humor. Rent them both and watch them back-to-back in a single evening with someone of the same sexual orientation as you starting with the French film. Open and consume at least one bottle of a very young Alsatian gewurtztraminer chilled to a soothing temperature of no higher than 50 degree Fahrenheit.

Here’s what you will learn from these two films:

On the feminine side of the scale (in the two films and in real life), you can find gay males who choose to behave in an overt, demonstrative yet passive manner using soft, higher pitched voices with the occasional lisp or sibilance (hissing sounds when using the English letter “S”) or other exaggeration of consonants and vowels. That side of the scale features behaviors that rely upon sweeping arm gestures, limp wrists and touching one’s own face to draw attention to emotions and emotional intensity.

On the masculine side of the scale (in the two films and in real life) one can find gay males who choose to behave in comparatively more aggressive ways than the other side of the sliding scale, particularly in ways that emphasize strength, muscles and dominance.

That side of the scale features the choice of using gruff voices in a lower pitch with no lisping and no sibilance. Instead of touching one’s own face, the touching usually is to one’s own crotch or chest or forearms to draw attention to physique and physical strength.

Using this sliding scale, I think that it is very easy to place every gay male that you happen to meet at one point or another between the extreme feminine side and the extreme masculine side. While some of you may consider this cultural stereotyping (a “good” or “bad” thing, depending on whether you are being stereotyped), at least this sliding scale offers you a way to pinpoint gay male behaviors and outward appearances in a specific and easy-to-understand way.

I have one additional recommended DVD for you for another evening: Shockheaded is an independent film that features a main character who is both highly masculine yet highly vulnerable. I’m guess that you will love this combination! Learn more in my review of Shockheaded entitled “Brutal Destiny of a Ruggendly Vulnerable Hunk” that appears elsewhere at this website.

Personal Preferences

As you already know if you have been paying attention to my commentaries here and becoming aware of the kind of men depicted in my illustrations, my own preferences are for the masculine side of the sliding scale (like the masculine fighter character I created on the right) for how I am and how I behave and what turns me on as a gay male.

But, your own tastes certainly may be different from mine. After many years of observation, I have come to believe that a gay or straight man can choose how he behaves in terms of his outward appearances-–the high or low pitch of his voice, the submissive or dominant physicality, the clothing that emphasizes his body, the self-touching that emphasizes emotional intensity or physical intensity, and, whether he elongates vowels and favors the hissing sound of the English letter “S”.

The question as to why some gay men choose the feminine rather than the masculine side is open for a lot of discussion. I have no answer for you because I have no answer for myself. You can choose to use the sliding scale to begin to understand gay men’s outward appearances and discuss these traits with others.

There are, of course, many points along the axis of this scale from one side of the other:

I have seen drag performers (men who dress and behave in a show as if they are women) who are not necessarily homosexual; but, they use makeup, wigs and women’s clothing as part of their act to entertain audiences.

I have also seen gay males who are not drag performers, but who where facial makeup (eye lashes and eye liner and lip color) along with fingernail and toenail coloring like women do.

I have also seen gay males who look muscular and athletic and based upon all outward appearances, they could be drafted this week into the National Football League.

As a gay man, whatever type of man you find emotionally and/or sexually attractive is an individual trait that I believe is not subject to our willful choice.

I believe that being gay brings with it many turn-ons and turn-offs that we must eventually admit if we are honest with ourselves.

The way psychology and sexuality work together in us humans, I really don’t see how any of us can make willful changes to what turns us on or what turns us off.

We can try new or different things on a short-term basis, of course, We also may learn to tolerate things that we don’t like too much–like finishing our broccoli because we know that green vegetables help bolster our nutritional health.

But, if we truly are turned off by the taste of broccoli, well, there’s probably little that we can do except smother the dreaded green vegetables with a lot of cheese and just keep eating them. –Madeira Desouza

You know you really like websites showing masculine men who get treated in rough ways!

Unlike other webmasters who produce sites for gay men, I don’t just post links carelessly. Your experience here at my website promises to be be very different. Your experience here will be better because I have chosen to post links only to websites that offer you the same or similar content and themes that you found here at my website, Mondo Macho.

Just to let you know: I assure you that I have personally visited each and every one of the websites listed below. I have only posted links to websites that I found to be worthy of your time and attention. I do not receive any financial compensation whatsoever for posting any of these links. Also see: bara genre.

Please post a comment at the bottom of this page if you would to suggest a link to a website that is not yet listed here–whether it be your own site or someone else’s. Thanks for your help. — Madeira Desouza

Alvarez, Ismael — Spanish language website by an amazingly talented artist

Anti-Heroes — Highly masculine illustrations of sexy males

Bastille — The Explicit Art of Bastille (1929-1990)

Belasco — Masculine male comix

Black Dirty Bear — Italian and English language website for those who enjoy extreme gay erotica

Blindfolded and Alone — homoerotic combat fantasies

Blondbear — Prolific digital illustrator who emphasizes naked masculine males

Blue Blazes — Digital illustrator depicting masculine men in images of blood, violence, and death

Boeser Wolf — German artist who draws compelling and challenging images of men

BoiConstrictor’s Bondage and BDSM Blog — Struggling, tied-up guys, milking, and erotic torture

Bondageskin — Controversial digital illustrator from Germany who emphasizes violent executions sometimes involving very young males

Boundex Art — Male artist who specializes in depicting men in bondage situations

Carcel, Mike — Prolific American artist whose works explore very extreme male-on-male torture, sexual violence, and death

Chris Muscle Art — Artist from Poland whose drawings of exaggerated masculinity are irresistible

Cute Dead Guys — Necrophilia explored: Erotic perspectives on the bodies of dead males

Daddy's Poser Art — Huge collection of digital illustrators who depict males for a gay adult male audience

Depictions of Death — More necrophilia: Digital illustrations depicting males in scenes of death and dying

Dogs — Perros shows rough worldwide treatment of men

Ephorox Uncensored — Muscular, masculine men illustrations

Etienne: link #1 | link #2 | link #3 — The late Dom Orejudos, significantly influential and pioneering gay male artist,
who drew unforgettably masculine men in memorable situations

Fillion, Patrick — Famous gay comic artist displays his stunning talents

Fraser, Robert — Masculine male comic art and photographs

Gay War Games — uncensored BDSM action in wartime fantasies

Gicquel, Xavier — Explicit drawings of masculine men that you will not soon forget

Greasetank — Highly controversial digital illustrator from Texas, now deceased, whose works are most likely to jolt your sensibilities if you have any

Hasegawa — (1945 – 1999) Highly influential gay male artist from Japan with troubling visions of masculine men

Heavy Bondage Blog — Images of heavy man-on-man bondage

Heroic Homosex — Explicit website emphasizing man-on-man connection without penetration–sounds odd, but give this site a chance

Howe, Delmas — Texas artist whose drawings of cowboys and other masculine men will impress you

The Hun — US artist living in Oregon famous for drawing exaggerated masculine males involved in perilous situations

Jones, Tom — Based in Brazil, this artist draws masculine men with obvious respect and awe

Josman Art — Comic book style artist focusing on older men in sexual interactions with younger men

Kalabro Art Blog — Artist fascinated with men, muscles, S&M, bondage

Kirwan Arts — Famous line drawings of men by Michael Kirwan for a gay adult male audience

Logan — Extreme masculine male comic book style art

Malex — Line drawings depicting torture and executions of helpless males

Master DRO's Ass Blog — A collection of hot images and thoughts about the beauty of the male ass from a Master who knows

Rusty McPhee — Digital illustrator living in the UK whose highly masculine male images may just be highly addictive to us gay men

Metalbond — Website dedicated to exploring the subject of the physically restrained male

Mitchmen — Artist devoted to honoring the beauty of the masculine male form

Monkey Go Go — Gay adult male artist specializing in appealing masculine male illustrations

MSSF: Art of Muscle — Digital illustrations with a choice to depict muscular males who appear to be in their late 40s or 50s

Nasty Comix — Tumblr blog where you can explore masculine male illustrations from various artists

Olaf — (1938 – 1977) Olaf Odegaard, who specialized in black-and-white line drawings of masculine men

POW Fiction — Gay S&M stories

Project Firegun — Kurt Lundqvist, versatile artist who captures masculinity like few others do

Quaintance — (1902 – 1957) highly influential gay adult male artist, George Quaintance

Roids n Rants — Photo blog from a guy who claims to be an ex-male prostitute

Rough Gods — Sizzling photographs of highly masculine men by Michael Alago

Shuring, Ad — English language website by Ad Shuring from Holland should be admired and treasured by all of us gay adult males

Simonson, Douglas — US artist living in Hawaii who draws classic male masculinity feature Asians and other Pacific Rim males

Smith, Ira C. — Erotic artist who specializes in black-and-white line drawings

Sven de Rennes — Masculine men drawn in sophisticated and appealing works

Tagame — Famous and beloved Japanese artist whose controversial works are both extremely violent and sexually explicit

Tam's Art — Masculine male line drawings and erotic fantasies

Telemachus — Digital illustrator who presents masculine men in peril and pain

Tom of Finland — Arguably the most famous gay adult male erotic artist of all time

Ulf, Art of — Blog with illustrations and commentaries by Ulf Raynor, himself

Untamed Men — Interracial sex, bareback sex, huge cocks, fisting, and pup play

Ward, Bill — Famous artist in "Drummer" magazine whose black-and-white line drawings of highly masculine men are classics

Warriors — Sexy images of male warriors through the ages

Age Play

A man can derive pleasure from interacting sexually with a younger man. This is controversial, especially in the context of unwanted sexual advances in which younger men are taken advantage of. But, in fantasy situations, where there is no actual taking advantage of anyone, age play can be the starting point for exciting fantasy escape–especially when this becomes a group activity. The center of the pleasure in this theme can often by how the younger man is completely surprised by how skillfully the older man can sexually satisfy him.

Age Play

Master/Slave Play

When gay men choose to delve into master/slave play, one many takes on the dominant role over the other. This can involve one man who is serviced by two others. This kind of role play can involve using restraints so that the submissive man feels the fantasy more deeply. Arousal for both players can be amplified by bondage devices or other sex toys.

Master/Slave Play

Cock/Ball Torture

Contrary to myth, this does not involve actual cock and ball torture. There is no genuine torture–only pretending–but can involve electrical shock applied to areas where there is an immediate and uncontrollable reaction. This theme often is one part of some of the other themes that are explored on this page.

"Cock and Ball Torture"

Prison or Kidnap Play

In prison or kidnap play, things get a little more elaborate. This is a fantasy in which a man is confined in a prison or paramilitary situation, or, a man has been kidnapped and is held against his will. This theme also usually involves other themes that are explored on this page.

Prison Play

Rape Play

A controversial theme, rape play does not involve actual unwanted sex–only pretending. Again, this theme usually is employed in the other themes that are explored on this page.

Rape Play

Execution Play

Perhaps the most controversial of all is execution play, which involves pretending to take the life of another. This theme celebrates the imbalance of power that one man has over another rather than the actual taking of another man’s life. Again, this theme usually is employed in the other themes that are explored on this page.

Execution Play

Here is an illustration of this concept: If a man is held naked in a device that restricts his arms and legs from any movement, the perfect imbalance is created. No matter what he attempts, the naked man in the device will be unable to defend himself. Also see: bara genre.

He will only able to react to what other men choose to do to him. The first thing he knows is that he has lost his power. The second thing he knows is that his manhood is in serious jeopardy. Finally, he knows that he has no choice but to do and say whatever his captors command or he will suffer physical harm.

If you use this website, you are agreeing to the definitions and disclaimers contained in this legal statement.

The intent of this legal statement is specifically to convey that the imaginary characters which are depicted on this website cannot be characterized as human beings. Nor do the characters have an age because they are not human. They were never born into the physical world. They are the equivalent of cartoon characters. Also see: bara genre.

All of the situations in which the imaginary characters are depicted on this website are pretend or fake or make-believe. This specifically means that what you perceive as taking place in the original illustrations is completely imaginary and not intended to condone or encourage any particular actions or outcomes regarding actual people who live in our physical world. Specifically, the original illustrations on this website do not attempt to represent genuine physical world situations or outcomes whatsoever. Nor do the original illustrations represent genuine human behaviors or emotions.

One final warning: All that you see when you view this website is 100% pretend or fake or make-believe. Moreover, all that you interpret when you view the illustrations on this website is completely imaginary and it is happening in your mind only. If you are unable to differentiate between fantasy and reality, you need immediate psychological treatment because you may be a danger to yourself and to others.

Also note that all of the material presented on this website is protected by international copyright laws. Have a nice day.

My creative work is not intended to disrespect Roman Catholicism or to make any commentary on organized religion. I choose to depict crucifixions only for the sake of storytelling and illustrating. You will notice that I frequently insert cowboys into my illustrations of cross men. And yes, I do realize that choosing to depict a cowboy on a cross is an anachronism. When I do these kind of illustrations, I am aiming for emotional impact, not historical accuracy.

"Crucified Cowboy Falls

Introduction to a Crucifixion

Piss on Him

Cross Fucked Cowboy

Halloween Crucifixion

Crucified Cowboy Shoots

Cowboy on a Cross

Cowboy on Saint Andrews Cross

Thank you for your interest in my work. I ask that you to please pass along word of my website to other gay adult men.  –Madeira Desouza

• Battling Biology — Come Out Now; Don’t Wait — My own coming out story is that I waited too long. You should not delay your coming out if you have reached at least the age of 18. Find out more by reading this article.
• Brutal Destiny of a Ruggedly Vulnerable Hunk — If you like viewing independent films, you will enjoy Shockheaded, an independent film with an unusual guy who is both rugged and vulnerable.
• Cowboys, Sex, and Violence — An exploration into my own addiction to depicting cowboys and the reasons why I link sex and violence to cowboys.
• When Gays Commit Suicide — Here are my views that explain why I believe gay people should not take their own lives no matter how much they may be suffering.

New information has surfaced in 2012 about Jerry Sandusky that you MUST READ: More than a decade before former Penn State coach Jerry Sandusky was charged with more than 50 counts of child sex abuse, a psychologist warned university police that his actions fit that of a “likely pedophile’s pattern.”

Jerry Sandusky gave interviews http://on.msnbc.com/vnatBY in which he portrays himself as “father figure” to young boys. He also expressed regret that he (an adult) showered with young boys. Anyone else need any more substantial proof of how mentally ill Jerry Sandusky really is?

Religious Teachings

There is a religious context to my belief that Jerry Sandusky should kill himself: I was born into and raised within the teachings and dogmas of the Roman Catholic Church. As a teenager, I became convinced of the validity of Roman Catholic Church teachings that if you took your own life—no matter what the reason—after your death, you will go straight to Hell for all eternity as suitable punishment for what you did.

While I do not consider myself to be a follower today of the Roman Catholic Church or its teachings, the teaching about suicide stuck with me into my adulthood. Today I find that I cannot continue to believe in the concept of eternal fires of punishment that the Roman Catholic Church taught me about. At the same time, I also find that I also cannot believe in the concept of eternal bliss among streets of gold and lovely angels that the Roman Catholic Church taught me about. Those were all fine things to believe in when I was a teenager. But, I had to grow up eventually. And I did.

Cultural Norms

I do not believe that the choice to take one’s own life rightfully belongs in a religious context at all.

If you are well educated and you have studied world history and international cultural norms, you will learn that taking your own life is viewed very differently in some corners of this world of ours. It was very shocking to me as a young man, who had been taught a person goes straight to Hell if he kills himself, that some cultures practiced ritualistic suicide.

In ancient times, Roman leaders would fall on their own swords to end their lives. Taking one’s own life was considered in the ancient world before the time of Jesus Christ to be an honorable option. Over the centuries, ritualistic suicide has remained (even though most people choose to think that we are “so much more civilized than ancient Rome was.”) It’s probably mundane and lazy to give you a Wikipedia link, but here goes http://en.wikipedia.org/wiki/Hari_kari so you can learn quickly about seppuku—the Japanese word for stomach-cutting—if you don’t already know about it

As a young man, I could not understand how could any powerful and centuries-old society would tolerate such a cultural phenomenon as deliberately cutting your own stomach to bleed out and die. But, I felt having learned about such violence gave me a broader worldview than the limited perspective that a Roman Catholic Church education from grade one through twelve had given me.

Most of us already know about the military aspect of a death ritual: Kamikaze is the Japanese word for divine wind, which is very commonly known from World War II to describe the practice of Japanese aviators that deliberately crashed aircraft into the enemy to kill themselves while killing as many of the enemy as possible. Most also have heard of the well-known term suicide bomber, which descends from the exact same concept of inflicting terror, injury, and possibly death upon the enemy in the process of killing yourself.

The Jerry Sandusky Dispensation

I previously wrote a commentary that expressed my opposition to young gay people who commit suicide in response to being bullied. However, I believe that Jerry Sandusky is in a special situation.

Jerry Sandusky is not young. We do not know one way or another if Jerry Sandusky is gay. Who can care whether Jerry Sandusky is gay or straight? His sexual orientation is not the hot issue today. Nor can anybody claim that Jerry Sandusky has been bullied because of his sexual orientation.

While I definitely continue to believe that no young gay person who gets bullied should choose suicide, I nonetheless believe that Jerry Sandusky should kill himself. Such a choice would, in my opinion, be the best possible choice from among many choices available to Jerry Sandusky.

A self-inflicted death by Jerry Sandusky would hasten the much-needed clearing up of a great and deep dishonor that has been brought upon Pennsylvania State University stemming from the accusations about Jerry Sandusky’s behaviors. I use the word accusations. In the US legal sense, Jerry Sandusky is innocent until such time as he might be proven guilty in a court of law.

It seems predictable that the very same legal foundation in our country would all but guarantee intensely lurid television coverage of the trial of Jerry Sandusky. Far higher television ratings that the trials of O.J. Simpson or Conrad Murray are to be anticipated as the entire world tunes in to learn about what actually did happen in those showers at Penn State. In many ways, worldwide coverage of the trial of Jerry Sandusky would only deepen the shame felt at Penn State.

If Jerry Sandusky were dead, it is highly unlikely that there would be worldwide coverage of courtroom testimony about his alleged behaviors. Certainly, it seems inevitable that there will be civil suits of high dollar value against Penn State and some of its present and former employees. However, if Jerry Sandusky is no longer alive, such legal actions are not likely to get worldwide media attention.

A great moral imbalance was created by the behaviors that Jerry Sandusky demonstrated towards those who today accuse him of sexual misconduct. That moral imbalance should not be allowed to continue into the certain circus atmosphere of worldwide media attention to courtroom proceedings about alleged sex crimes. The first step towards restoring a sense of moral balance in this whole matter would be the death of Jerry Sandusky. His accusers would retain their legal right to take civil action in a court of law against Penn State University even if Jerry Sandusky were no longer alive to be charged in court with criminal wrongdoing.

Method

I think it would only be fair if Jerry Sandusky chose some spectacular method of killing himself. As long as his suicide does not bring harm to any other living being, I think the more spectacular the suicide, the better everyone will feel afterwards.

This means that Jerry Sandusky should not choose clean ways of killing himself such as taking too many sleeping pills or other drugs. I would speculate that hanging himself by the neck would be cliche. But, if Jerry Sandusky hanged himself himself by his cock and balls until he died, that might be more symbolically appropriate. Does it even cause death if a gay is hanged by his cock and balls?  –Madeira Desouza

The collection of my favorite illustrations presented on this page affords you an up-close and unflinching look into my psyche. Many of these pictures explore the six themes that I so often depict in my work. Here I present only those images that I consider to be my very favorites among all that I have created from 2007 to today.

I explain why each illustration is my favorite. If you click on any image on this page, you can enjoy a full-size version. –Madeira Desouza

I especially like how this 2009 illustration turned out so powerfully to depict one man's control over another man's cock and balls. Was the man on the bottom willing to get himself into this position of being dominated?

This 2009 illustration is my favorite of all the crucifixion illustrations I have done because this one shows the highly unusual perspective of the crucified cowboy as he falls downward from the cross on to the observer.

For many years after first visiting Nevada I have had this same, recurring fantasy: I find a hot naked cowboy hithicking to Las Vegas in the desert. This 2008 illustration shows how I envision the moment when I fist discover him. What are the many things that I do with this man?

I created this illustration entitled "Cowboy Death by Fire" in 2008 after being impressed with artists work depicting Native American Indian revenge upon the white man who invaded their homeland. What will the victorious Indian do this doomed cowboy before death ends this fateful encounter?

I create many cowboy illustrations. This is one of my absolute favorites because it shows multiple, simultaneous orgasms and a dominant black-on-white perspective.

In this illustration I explore the impact of using light and shadows to bolster the depiction of the danger that men may face.

I especially like this illustration for its color and sarcastic sense of humor regarding how employees might be mistreated in an industrial setting. Imagine sucking this man's thick, juicy cock untiil his shoots his load against his will.

This one is a favorite because of how tender the affections are between the two in the illustration. And how often do I depict tenderness between two men in my illustrations?

I especially like this illustration for how it captures the sheer terror of the bound man who realizes that his manhood is about to end. This illustration is similar in theme to well-known works of other erotic artists.

This illustration has an alternate version in which all the men in the illustration are black. But, this one depicting the white guy in the foreground moments before he is raped by three large black men generated much attention from visitors, so it emerges as one of my very favorites.

An extreme image that I created for an illustrated story about a reality show host fantasized about being tied up and fucked on live television.

Sexual summer fun in a wading pool. This is one of many illustrations in which I deliberately depict masculine males in interracial relationships.

An illustration that highlights the delightful pure trust that male lovers can have for one another. I suspect that this is a fantasy that does not happen in real life.

"Shower for Five" is one of my favorites because it depicts a carefree and genuine interaction between five men who only care about each other and the pleasures that they can being to one another.

This one entitled "Staturesque Masculinity" is a satirical look at the elements that make a man have that mondo macho appeal. Is it that he is a master of both ancient and contemporary weapons?

I am especially fond of this illustration of a tearful cowboy that is just waiting to be taken advantage of sexually. Why do you think he is crying while having such an impressive erection?

A newly-inducted gang member gets initiated. The use of special lighting and mirrors makes this one so compelling.

Here is an alternate version of the gang initiation illustration to give viewers the opportunity to spend time studying this scene.

This illustration is entitled "High Control Needs" is one of my favorites because it shows the unashamed hold on a man's genitals by another man who is fully erect and ready for action.

This is another in a series of grabbing of mens' balls illustrations that is a favorite of mine.

This is another of my controversial illustations of hangings. The event that takes place in a paramilitary setting is depicted as being of value for spectators.

This depicts the aftermath of a brutal sword fight in which all that remains is the victim's head and his manhood. I believe that the victor is one of the most impressively masculine characters that I have ever created.

What happens during a team-building night for lonely men who are posted in a secret military outpost?

This is my favorite illustration of all the depictions of angels that I have done. The mighty seraphim have six wings--not just two like they have incorrectly been depicted for centuries.

This illustration depicts a strange device in a prison yard. A new convict endures a quiet helplessness that foreshadows multiple sexual experiences for him with nasty, muscular thugs.

I used the same man-stretching device in another illustration. This one depicts a stage show in front of an audience that explores the theme of men's power over other men.

You can explore my large body work as an illustrator for gay adult men by visiting the Madeira Desouza section of the Daddy’s Here website. There you will find a full presentation of my explicit and controversial illustrations organized by the years each was released.

Here I give you a very special insider’s tour of my time travel trilogy. I hope that this will help you as a reader to have a much richer experience.  –Madeira Desouza

The Threat

I tell stories and create illustrations about masculine men involved with one another to provoke the viewer.

I have seen all my life how straight people do not like to see masculine men showing affection towards one another. Straight people will accept drag shows and comedies about effeminate gay men. And why not? Those are non-threatening. But, if masculine men are depicted in a story or images showing sexual interest in one another, oh boy, that suddenly becomes very threatening to straight people!

Some gay men I have encountered also find it uncomfortable to witness masculine men showing sexual interest in one another. Gays relegate such masculine men to the pejorative category of being “too butch.” For all of these reasons, I choose to provoke the viewer in my stories and illustrations.

The Moon

Yes, I do believe that some day in the future time travel will be possible. I’m not so sure that time travel will, as I have depicted it in my trilogy, require a lunar base. But, I chose to set several episodes of my time travel trilogy on the Moon under the crater Clavius because I believe science fiction should take interesting risks in telling stories. I chose that particular crater as a way of honoring Arthur C. Clarke and Stanley Kubrick. In the late 1960s, they situated their fictional lunar base at Clavius for 2001: a space odyssey.

The Repairmen

At its most simple level, my trilogy is about repairmen. My fictional repairmen have a fairly unusual job, however, compared to repairmen who fix washing machines or computers. My trilogy is about repairmen who use a time machine to travel on missions back to the past to fix timelines.

In my trilogy, the main reason for the existence of time travel is not to take the reader on a showcase of dazzling technology that produces grand and sweeping high concept adventures. No, not at all.

My time travelers are repairmen whose missions are to change people and events in the past to keep timelines from becoming worn down and generating chaos for humanity. What matters most is the human adventures that they experience as men–not that they are on secret time travel missions from the 23rd Century.

The Brain

I gave my time travel trilogy narrator the capability to remember multiple events and outcomes even after he goes back in time and changes the past. I knew that this would be controversial since the human brain is locked within the one timeline, so to speak, that we each inhabit.

As far as I know, the human brain can only process memories from within that one timeline. But, having a character with brain damage that somehow enables him to preserve and recall memories from multiple timelines that he visits was a very compelling storytelling choice for me. Hopefully, the readers will find that equally compelling.

The Desert

In my time travel trilogy, I set many of the episodes in the desert on Earth in a place that I call Bullhead, Arizona.

The inspiration for this comes from a genuine location. I actually lived and worked in Bullhead City, Arizona. (city website | Wikipedia page)

I learned quite a lot about myself and other people because I lived and worked in such an unforgiving desert. The reputation that this region has for being very hot is no exaggeration. I personally experienced summertime temperatures that exceeded 120 degrees Fahrenheit.

The Navajo

One of my main characters is a young Navajo male named Vincent Wauneka. I created this character out of the great respect I have for the Navajo people and their culture. Unlike the often stereotypical way that Native Americans are depicted in fictional storytelling, in my time travel trilogy the Navajo character will never remind you of the cardboard Indian characters you’ve seen in a lot of Hollywood movies.

Within the Navajo Nation is the famous Monument Valley, the site where many iconic Hollywood cowboy movies were filmed, including works by Clint Eastwood and John Ford. I incorporated this special place into my time travel trilogy because of the attraction that I have felt to this land. In real life, Monument Valley is way off the beaten path–no interstate freeways or major airports are nearby. So, many Americans never venture to this remote area. But, I have consistently found that being there in person in Monument Valley always is an experience of great spiritual and emotional impact.

The Ex-Wife

Gay men who were never married to a woman won’t understand. But, for the rest of you: I created the character named Katherine Snowe as the ex-wife of the time travel trilogy narrator, Ted Avila. She is one of only two female characters in my time travel trilogy, which otherwise is all male.

The behaviors and the speech of this female character come across as extreme and provocative. When I was younger, I was married for several years to a woman who behaved and spoke in such extreme and provocative ways.

All of the narrative elements pertaining to the character of the ex-wife have been drawn from events that I saw with my own eyes and speech that I heard with my own ears. I am not a gay man who hates females. However, I have a very strong belief that no gay man should ever marry a straight female no matter what. That was one of the biggest mistakes that I made in my life, but I am proud that I wised up and corrected my mistake.

The Downloads

All three parts of this sexy trilogy are available 100% FREE from Smashwords. You should download and read these in this order:

      

All three parts of this sexy trilogy are available 100% FREE from Smashwords. You should download and read these in this order:

I wrote this time travel trilogy for gay men who love to read. If you are gay and you enjoy reading stories about masculine men in situations of danger and peril with very explicit man-on-man sexual scenes, then you will want to check this trilogy out.

I invite you to check out my insider’s tour to help you enjoy this time travel trilogy more completely.

Here are the publication dates of each of the three parts of the time travel trilogy along with brief descriptions:

Time Travel Trilogy Illustrations

In exploring what I see in my head, I write fiction and create digital illustrations. I wanted to post my illustrations that support the science fiction story along with my text on Smashwords, but I was told during the review process that I was not allowed to show male frontal nudity on Smashwords. So, I compensated for that censorship here on my own website.

Central to the story in DARE NOT ASK THE DEAD is the historic practice of hanging men by the neck until they died. Here is an illustration that depicts a hanged Arizona cowboy. A time traveler from the future does not know how to save the cowboy from certain death.

Hanged Arizona Cowboy

Here you can see the naked time traveler from the future, Ted Avila. He nicknamed his time machine the “Giant Blue Hockey Puck”:

"Time Traveler"

This illustration time traveler Ted Avila being hanged in front of the naked Arizona cowboy as part of some sort of ritualistic execution:

"Ritualistic Hanging"

Here is a look at a central character in LOST COWBOY MOON TIME and BAJA CLAVIUS, Matthew Lejeune: A muscular young man from New Orleans who can read people’s minds and who wants to be a cowboy in Arizona.

"New Orleans Psychic"