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This is the opening shot of Fetish Fights 3 by Can-Am which eventually concludes with the 'crucifixion' scene reviewed in the first of these articles about Dean Spencer. Here we see Dean tied to a ladder-back chair and dressed in a yellow, rubber, two-piece not dissimilar in design to the splendid outfits worn by the hunky males of the TV 'Gladiators' series in the 90's.
In the FSF video, Dean has presented himself to be trained and we see him here in the 'Waiting Room' looking as though he's having second thoughts and wondering what he's got himself into.
He's been put into restraint while he waits, not by his allocated Master, but by a person we never see. It creates the impression that this place is a fully staffed, processing centre for would-be subs.
The clinging, rubber, crop-top Dean is wearing shows off his pecs and biceps. A tight, thick, leather thong holds him firmly against the chairback. It passes around his chest, under his pecs, enhancing their shape for the benefit of whoever comes to view him.
The featureless shorts that make up the other half of his outfit might be seen as passion killers in any other context, but their generous size allows for plenty of interior expansion. It looks as if Dean is already taking advantage of that as he contemplates what might lie ahead. It isn't clear whether he's brought the outfit with him or if it's been supplied to him by the centre as novice kit. If he's read up on the subject he may know that yellow is not just another colour in this world. That might explain his 'thoughtful' expression.
His wrists are secured behind the chair back by a simple loop and link arrangement. There's an element of leverage on his arms, pulling them back as they pass behind the upright back, but the relatively loose coupling of his wrists spares Dean the worst possibilities of that feature.
His legs are folded back fairly tightly at the side of the chair and his feet (clad in regulation, S&M, black boots) are suspended from the chair-back by more thongs. It's a position that severely limits escape options but produces pleasing bunching of the leg muscles.
Over time, though, the inability to put his feet on solid ground will become increasingly frustrating
and the compression of his leg muscles will become more and more uncomfortable for him.
The chair back is tall, flat and absolutely vertical, forcing a man's upper body into an unnatural position.
Dean looks around hoping someone will come to him, but the room is completely empty.
Dean looks around hoping someone will come to him, but the room is completely empty.
He becomes aware that he's under surveillance by cameras.
Under the cold eye of the camera his groin feels unprotected and exposed.
The wide, open-legged position is imposed by the broad, chair seat.
It is also another nagging point of stress on his body.
It is also another nagging point of stress on his body.
As the waiting goes on the discomfort starts to kick in. He wriggles.
The tightness of his captor's restraint allows little scope for easing those protesting muscles.
He's starting to feel very alone now.
He's starting to feel very alone now.
Angry, defiant feelings start to bubble up inside him.
They know he's waiting, why doesn't someone come?
They know he's waiting, why doesn't someone come?
To be continued
~
This ladder-back chair seen in these pictures was often used by Zeus, who collaborated with Can-Am on this production. The design provides plentiful options for attaching restraints and it's simple, austere lines tell you it's probably not very comfortable. It's black colour contrasts nicely with Dean's outfit. I suppose you might argue against using a padded seat for S&M but remember, the leather (or vinyl) will provide a 'sticking surface' for bare, sweaty skin. It will deliver a painful and embarrassing postscript when the moment comes for Dean to get up. (If he were a nude captive, the idea of displaying his crown jewels on a cushion has a certain appeal too).
For a list of other Vintage Bondage articles at mitchmen visit Dean Spencer - Part 1