Snakes & Chains - 1

 I have long admired this image by Frank Fazetta depicting a fantasy hero being attacked by a giant snake. The glimpse of warrior's torso caught between the snake's crushing coils is quite stunning - and unusually homoerotic for a genre that is usually relentlessly 'proper' and heterosexual in style (although Frazetta's heroes do often sport skimpy, bulging loincloths).

This picture is technically imperfect in places but there's a great sense of strength pitted against strength and of desperate struggle. The human body seems to merge with that of the reptile in places which adds an intriguing extra dimension to the heroes' identity. The shallow water in which the combatants are fighting seems to represent a sort of symbolic 'no-man's land' between their 'home' territories.

This detail from a comic cover is a more modern take on the same theme by Dave Stewart. This is a tentacled creature rather than a snake, but the device of suggesting overwhelming power with a thick body is equally compelling. Again there is a sense of vital struggle with the warrior (Conan?) desperately chopping at his attacker.

The highly detailed muscularity of the warrior's torso makes him less sensual than Frazetta's, but the point of attack is even more erotic in it's way, focused on the warrior's very manhood instead of his upper body. The glimpse of loincloth actually draws attention to this and there's a sense of him being slowly devoured despite being free to wield his sword. The severed tentacle is a classic Freudian symbol of emasculation, illustrating perhaps that the heroes chopping puts himself at risk too! A white substance oozing from it seems to have attached itself to the swordsman's torso, no comment!

In this marvellous magazine cover from the 50's, the snake is subtly transformed from assassin to abductor. The bulky, multiple coils seem to signify inescapable bondage rather than fatal squeeze, although this poor victim is still intended to end up as dinner ultimately. Unlike the warriors, he seems exhausted by the struggle. The role of resistance is transferred to his companion, who energetically fulfils it. Notice how the vigour of his paddle sweep seems to be reflected in the line of the victim's body and outstretched arm. A second snake lurks nearby, but sadly we can only speculate what it might want to do with the man in a Tee shirt.

 The loop of snake around the victim's neck is a particularly effective 'threat' device. It can be read as a noose or a collar, which in hindsight seems an unfortunate adjunct to the undercurrent of racial stereotyping in this image which probably passed unnoticed at the time. Common sense tells you that if this were to be a real event, it would probably be the local man who do the rescuing and he might even be clothed! (In making this statement, I am of course assuming that this setting is in the tropics, not the Home Counties).

With their half naked bodies and torn clothing, these butch magazine covers are naturally, but not necessarily intentionally, homoerotic. There's an interesting juxtaposition of crotch and knee in the middle of the canoe but I hesitate to imply that it was intended to be suggestive!

Laocoön is the classic snake attack image of course and I have referenced it here before in relation to the adaptation by Priapus, which sensibly focuses on the non-controversial central figure. Legends attribute snakes with surprising and varied powers to destroy humans and this is one of the most astonishing. They also manifest this destiny in other stories - in Genesis and the story of Cleopatra, for example.

Laocoön is not without awkward carnal elements but this irreverent re-imagining of by Falkon attribute such motives to the predatory snakes more directly. Falkon often flirted with disturbing life and death subjects with an almost childlike innocence and naivety.

This is another Laocoön-like study but the snakes here are smaller and depicted more as a distraction and nuisance than a genuine threat. The man's pose is relaxed, static and passive, at the opposite end of the scale from Fazetta's image. This is a detail of a larger picture and I've included it mainly for the fascinating clothing detail, which could be made highly erotic with a more energetic treatment. The big boots, white, torn vest and soldierly belts and buckles all have the power to thrill when set against muscular flesh. Most of all the sexy shorts which have somehow been opened by the snakes here, primarily it seems to obtain a purchase for a strike further up. Of course a bulkier snake would have to forgo the pleasure of cock entwinement altogether.

Jotto - Jungle Boy and Tne Snake Gods

Jotto elevates his snake to god-like status, enjoying the luxury of his followers providing him with a steady supply of humans to consume. The Jungle Boy is securely bound and unable to defend himself, while the ball and chain attached to his nether regions prevents flight. He stands his ground as the snake snuggles up close, it's flickering tongue appearing to be quite amorous, but the evil eyes and sharp fangs suggest different intentions.

Jotto captures the snake's strength and menace nicely, with a clever hint of erotic contact between the legs. Jungle boy's rigid stance seems to suggest he's been taken by surprise or else the snake has mesmerised him (another sneaky characteristic often attributed to these maligned creatures).

Kalabro - Cody and the Serpent

I prefer Kalbro's take on this scene. It's essentially the same scenario, but Cody here strives manfully against his restraints as the snake wraps menacingly around his throat, seeming to gloat as it does so. You get a better sense here that the captive might have tried hard to escape this fate by pulling against his chain and ball(s). This snake seems to be the embodiment of evil, but, nevertheless the artist suggests with it's poised head the slight possibility that it's intentions may be carnal rather than murderous. Kalabro's stylised rendering of Cody's well muscled, shaved body is unexpectedly erotic.

Kalabro and Jotto often work together and that collaboration is obvious in these two pictures,
Kalabro usually provides the figures and Jotto the colour and background. 

 Another sacrificial image. This is a variant of a rather better picture, also by Fillion, called 'fairy boy' (yes fairy!) which I included in my earlier A-Z article on him. His snake is rather dragon-like and, like Falkon and Jotto, he attributes human characteristics of malevolence and lust to it. The sense of it having great physical power is undiminished but it appears to be eyeing up Camili's stressed underwear rather than contemplating a sensual, fatal embrace.

Heerdink's 'Laocoon' seems to focus firmly on the snake's strength and sensuality.

The captive seems to resist rather than struggle, it's hard to say whether it's in fear or ecstasy.

The dream-like, 'floating' pose is improbable, but skillfully accentuates all of these elements. 

This inward looking flavour is accomplished by simply not showing the snake's head,

which means that there's no suggestion of it's motivation or intent, it just is.

You also get the sense that this scene is not a myth or legend but real, here and now.

The human's nudity (and implied vulnerability) seems more striking, more significant

than in the other pieces we have seen, lending the image a subtle eroticism.  

(Heerdink keeps within decent bounds by avoiding any funny business between the legs).  

Finally, two images from the hugely talented Steven Player, who tackles the issue of snake sensuality from the other end, as it were. This man is the most attractive portrayal we have seen in this group of pictures. His night visitor seems to be completely benign, there's no crushing or squeezing, just the loosest of entwinements and a probing tail. This invasion is perhaps the least credible, snakely capability covered in this article, but the recipient clearly isn't complaining so why should I? The title here is mine, I'm guessing Player has the seductive serpent in mind here rather than the aggressive snake.

Player - Snake

 This chunky chap is a typical Player, 'skinhead' tough-guy. It's fitting then to pitch him against a snake of daunting bodily proportions. It's already got a grip on his torso and one leg, but you feel that he's tough enough for this challenge, indeed he seems more puzzled than threatened by it.


Perhaps he's seen the message on the snake's body and is figuring out how to deal with it. He will have noticed that the snake's tail is already making inroads into him, but how does one reciprocate? The answer that appears to be staring him in the face would challenge the hardest of 'skins'.


The snake's anatomy is a puzzle in itself - a big, muscular body, topped off by a tiny head.
Is it's tail actually entering the skin's backside or is the phallic presence coming out of it?
Some might say that's a wry comment on masculinity itself. 
In this picture Player illustrates the inherent contradiction of the snake in erotic imagery.
It's a phallic symbol with great powers of seduction, domination and sensuality
but in the final analysis it's incapable of performing as a phallus.
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