Art by Shenguanlin

This striking image offers a harrowing glimpse into the depths of this artist's nightmarish world of abductions and crushing captivity. Men who are taken are doomed, it seems, to an existence of perpetual, suffocating, bondage, punctuated by participation in humiliating rituals involving bodily functions. This includes milking of course, but strictly speaking this particular set-up wouldn't qualify as a mitchmen Milking Factory because of the 'artisan' extraction arrangements and low volumes involved. 

The human storage cages seen in the background were also featured in the recent 'Milking Factory' contribution by this artist. They seem like a praise-worthy, humanitarian, rest and respite facility for the milked men, but a cynic might argue it's just a necessary business response to the milk production limitations of male biology and hardly represents a free range approach to keeping them. 

The bubbles seen drifting around the captivity chamber are an intriguing but unfathomable detail. Dream-like? Maybe one of my readers can decipher the symbolism.

Shenguanlin's complex art is built on simple bondage imagery, like this semi-suspended hog. 

His favoured tipple seems to be Rugby Players and other butch sportsmen, 

The bindings are invariably comprehensive, neat and believable.

This image is lifted by the lifelike representation of the captive's taped eyes and face mask.

 The face covering appears to be improvised from socks, underwear or shorts (of unknown, dubious condition and origin!) These are clues to his deeper fetish leanings.

This hog variant puts the prisoner into real world setting, balanced on a table in an austere cell whose bare interior contrasts vividly with the vegetation seen beyond the prison bars, the lush world from which he has been removed. Stripped down to just his shorts and socks, a typically hairy physique is revealed. Since he's so tightly hogtied, the table beneath his body is the only external thing the prisoner is aware of, because a blindfold, gag and earplugs deprive him of his other senses. 

This relatively simple image is visually appealing thanks to it's colour balance and crisp detailing. There's an intriguing sense of the unknown. Who is he? Why is he here? We can almost feel his isolation and share his mystification of where all this is leading. He may not even realise that he's set upon a table which seems to imply a tactile physical inspection may well follow his sensory deprivation.

The same basic hog-tie image is worked up here into a dramatic, erotically-infused scene with three rugby players put on display in matching restraints, having been held responsible for the loss of a match. It must have been quite an important one!

Part of their punishment seems to have been a beating of some sort, the random angles of the red weals on their bodies suggest a 'running of the gauntlet' prior to being tied up (compare the recent Drtkk imagery). The beating, however, is just a warm-up for their real punishment. Their faces have been wrapped in a mixture of dirty jock straps and smelly trainers (no doubt provided by their team mates). I suppose it brings home to them, rather vividly, just how much sweat and toil their colleagues had put in, when they hadn't. They are sweating profusely themselves now, even if they weren't during the match.

The restraints here look a whole lot tighter and much more strenuous for the three captives than the previous examples. Their heads are pulled back tightly and connected to tightly flexed legs at the toes. They will probably be dropped from the team after their poor performances, but if they're forced to endure this much stress for long - say, the same length as the match - they aren't going to be in a fit state to play again anyway for a while. 

This picture is packed with fascinating and sometimes sleazy detail. This artist has an unusual way (to me at any rate) of depicting the struggling movement of the captives. It consists of squiggly lines drawn around the outlines of their bodies. It works better when you get used to reading it. Some of it seems more like trembling than energetic struggle - which is not an entirely inappropriate reaction! He provides sound effects as well. A (slightly incongruous) dialogue box explains the scenario.

You can see the 'special effects' more clearly in this rather nicely drawn image of a skater-type tied to a chair (surprisingly it's a padded one!). The trembling interpretation applies quite well here. There are virtually no erotic ingredients in this picture beyond the captivity scenario itself and the suggestive, clean-cut characterisation of the prisoner.  However, the taped-up shorts are quite intriguing and fans of trainers and chunky legs get a small treat. The heap of tapes at the prisoner's feet and the ropes lying on the floor behind him suggest he's part of a much bigger bondage operation.

Here the artist takes the same basic image and makes a spectacular transformation with some relatively small alterations. The covering of the face with noxious looking fabrics has the most immediate impact, followed by the spurting, caged cock which is a good compromise between realism and wishful thinking. But there's another, easily overlooked change that arguably has more impact overall and that is the 'doubling up' of the taping which adds body bulk and emphasises the total restraint of the prisoner. 

There's a host of fascinating detail including the introduction of an electrical box whose terminals are connected to the man's balls with crocodile clips. However, this arrangement seems designed not so much to torment him, but to stimulate his engorgement into a seriously restricting cock and balls cage which also has a head attachment improvised from twisted wires and holding a 'sound' in place. 

This isn't the same man as the previous picture, this one has hairy legs, suggesting more maturity and a greater inner strength that warrants his more demanding restraint. The crudely boarded-up cell window seems to imply he's going to need it. 

This tweaking of straight-forward bondage images to show extreme, earthy outcomes reflects an interest in the whole process of a man's descent into captivity and this image depicts the starting point. A very real-looking man has been entrapped, apparently in his own home. He's laid out on a settee being tied up, surrounded by items indicating his passion for playing rugby - but not for washing his clothes. This stereotypically masculine trait makes him ideal material for Shenguanlin's predators. 

The captive has been put into a shiny, black, bondage suit with his arms strapped to his sides. The suit is not particularly tight but manages to display a sizeable mound between his thighs, which looks as if it might a white undergarment (and contents) extracted from inside the suit. It's squashed into two moundlets by a very tight belt, part of an assortment of ropes, bandages and belts providing head to toe restraint. 

This looks like preparations for an abduction - the protective packaging of a prized acquisition, but the captive's legs are actually being tied to the settee which implies he isn't going anywhere just yet. The captors leave him free to voice his confusion and protests, but it's hard to see that continuing for long.

In this image a similar looking man is being processed in a dark, undefined space. His two masked attendants are indistinctly drawn, but clad in skin-tight, dark body suits creating an eerie atmosphere of sexual menace. The title tells us more of what is to come, the smell of the place may give him that clue.

Standing erect so that the attendants can finish strapping him up, he is already fitted with  a thick, high collar that forces him to look upwards. A ring gag, attached to a whole-head harness keeps his mouth gaping open and already, his face is dripping with cum. His cock and balls, extracted from his body suit, are uncovered and forced into a multi-ring cage that squeezes tight round his balls and the base of his cock. 

Despite this multi-layered restraint, he is weeping excitedly. The artist cleverly maintains an element of ambiguity throughout the story suggesting consensuality. The photo ID card stuck on the captive's chest even suggests a club-like arrangement, recognising his individuality and tracking him. A bit like an animal passport. 

The captors tape over his eyes and carry him to an iron cubicle where he is put inside a body-shaped casket like a mummy. It seems to fit him perfectly not allowing him to make any movements. Perfect for shipping but the casket is actually chained to the wall. In the picture the attendants move in close to make final adjustments and he can probably feel them touching and arranging him. They stroke his cock encouragingly (sympathetically?) and too late, he senses something not very nice is going to happen to him, but his gargled plea is ignored. 

Next, they will fit the other half of the casket over him. The front section is fitted with a mouth tube that will be fed through the ring of his gag, there's also an orifice for his cock and balls to be pulled out, both requiring careful fitting. Eventually his voice is silenced by the outer cases being bolted together.

By the time the attendants have departed some time later, the outer casing is doubly clamped and chained to the walls of the cell. The incarcerated captive's mouth piece is connected to a stub of a tube in the ceiling of the cubicle. When opened it will drain waste liquids from a Basketball Team's locker room just above. 

The captive's projecting cock is now fitted with close-fitting shaft-ring which can be agitated mechanically via an electric motor. His balls will simultaneously receive electrical stimulation and this control arrangement will draw repeated orgasms from him. His own emissions will be channelled to a valve gadget that either recycles them or else dumps them onto the floor. 

The prisoner manipulation and accumulating sense of doom in this little epic (which runs to 8 pictures in all) is very effective, all the more so if you identify with the captive. The artist explores this earthy scenario repeatedly in his work and I will provide links to find more at the end of the article.

This looks like it might be the same, butch captive but his restraint is very different here. He's been clad in a tight-fitting, latex, bondage suit that shows him to have a highly muscular physique. One that deserves to be displayed. His arms are restrained in a complex, shibari style, upper body harness but his legs are simply tied together at thigh height, hobbling him. Only two parts of his body are exposed. His head is enclosed in a harness with a gag attachment (which looks rather like a ball gag but is intended, I think, to be a ring). His cock is locked into a  chastity device through which he is leaking onto the floor. 

He's been parked in a urinal and, unsurprisingly, seems to have attracted the attention of it's users. There are limits to what they can do to him in this constraint but they have left behind souvenirs of their visit. A string of cum-filled condoms round his neck seem to have been left as tips, or I suppose they may be his own handiwork (if it's possible produce handiwork without using your hands!). Other visitors have splashed their compliments over his face, since the obvious receptacle is blocked off by the ball gag. 

Ominously the captive has been labelled here with a 7-character ID code, stuck to his chest. It suggests that this period of service is not just a a passing experimentation on his part but a more lengthy commitment. It also implies that he is just a small part of a laboriously assembled team of service providers.

The condom motif is seen again here. These do seem to be filled with the prisoner's own produce. He's being continuously prompted to produce more by a vibrator strapped to his thigh.

This looks like a facility where passers-by can help themselves to refreshing, cold, cum shots.

They have contemptuously discarded their drained condoms at the prisoner's feet, one has even been draped over his shoulder.

This artist likes his captives to keep their socks on (see hogs above) and I love this one's semi-hairy pecs which remind me of my adolescent attraction to a young workman who worked for a while, bare top in his dusty, black jeans, on a building site very close to where I grew up.