#298 - TSL IW The Spanish Leather Ironwood

The Spanish Leather
Part One and Part Two
written and illustrated by Ironwood
published by Eric Stanton
Clinton, Connecticut
after 1990

digital replica
and
optimized for ebook viewing

editor's note
I found 24 files on a website and downloaded them. (If you search the web, it's easy to find and download.)

I was so impressed by this strong work, that I immediately began to develop it as ebooks.

The skill, eroticism and candor of words and pictures in The Spanish Leather reach a mature level of competence and quality. To achieve the intensity of masochist fantasy like Mr. Stanton's Family Affair, a story must have a gorgeous sadist who imposes pain, frustration and humiliation on a helpless victim. In some of these scenarios, the victim is a weak male. In The Spanish Leather, the captive worked as privateer captain of a 16th century sailing ship, a respected leader of men.

I've priced and categorized the product as Bargain Bin, but ebook production involved tasks required by the optimization process. Generally, Bargain Bin ebooks are not optimized, which relates to their low prices.

In 2020, Ironwood wrote to us about his work. .

the story

Part One As Captain Hawkins and a few of his crew enjoy a libation at a tavern in the coastal city where their ship is docked, a military retinue and palanquin pass nearby. The captain makes a vulgar toast to the glamorous passenger, Contessa Maria de la Yiega, the Spanish governor's daughter. She orders the sergeant to arrest him.

Theresa, the Contessa's maid, recognizes the captive as a notorious pirate, providing additional pretext for incarceration and punishment. Hawkins soon arrives in an attractive palace that's decorated with men suspended in chains. In a large room, leather straps constrict his limbs to painful bondage in a wood frame.

When the Contessa appears, she announces that dangerous animals should be leashed. Her version begins with a buckled strap around Hawkins' testicles. She threads the attached chain through a ring in the stone floor, stretching his tender flesh.

She supervises Theresa as she shaves all hair from their prisoner, including eyebrows. Pubic hair is removed with tweezers. The Contessa directs her maid to lift voluminous skirts and climb astride his face. As a choking leather collar aims his nose at the ceiling, Theresa complies with pleasure. When his efforts fail to please, the Contessa lashes his immobilized back. When the Captain develops an erection, she whips it.

After Theresa's satisfaction, the women leave. Hawkins remains, attached to wood posts, his head bent back, his testicles pulled to a ring in the floor.

Part Two The next morning, Contessa Maria ties his wrists to his earlobes and installs a complex head harness on her anguished toy, silencing him. Leading Hawkins by the leash that's buckled around his scrotum, Maria takes him on a tour of the stables. He's shown other men, caged like animals and in equestrian livery for the impending race.

Pretty women fit Hawkins with saddle, bridle, bit, blinders and tail. Binders with horseshoes bend his arms and legs.

In revealing halter, panties and boots, Theresa mounts him as jockey. During the race, she warns Hawkins that the mistress plans to geld the losers.

art

Ironwood's ink sketches illuminate comic panels with gifted artistry. He lettered narrative blocks and dialog balloons.

Depictions of lovely bodies expose gender details, delineating the bursting fullness of tightly bodiced breasts. Male genitalia, usually in bondage, appear without modesty or exaggeration, within consistent premises of the story.

Figure forms show delicious curves, modeled with hatching. Architectural settings locate scenes with precision, adding a few historical notes.

text

The prose employs an honest vocabulary that skillfully describes what's shown in pictures and what isn't shown. Brief, appropriate dialog includes little of the ritualistic wordiness sometimes found in language of dominant female characters in fiction pieces.

the ebooks

The digital replica shows each page with page numbers. Twenty-four pages show between one and eight comic panels. The tonality of art was brightened, adding clarity.

The optimized ebook disassembles pages, placing panels on separate pages. To present images as large as possible on monitor screens, some panels were revised, re-positioning dialog balloons and narrative blocks. As possible, pictures of female figures and males in bondage are repeated and enlarged, next to the complete panel or on other pages. Images appear on more than 80 pages.

The downloaded image files indicate that the original was printed on paper that was somewhat transparent, revealing content from the reverse side. Image adjustment in ebook versions eliminate that defect, yielding even textures.

To minimize rough edges, .pdf files were generated with only light compression. Consequently, files are unusually large, 27mb and 50mb.

Ink renderings articulate an explicit tale of male captivity and female rule spiced with voluptuous strands of sadist and masochist fantasy. Exploiting creative opportunities afforded by the comic format, Ironwood gives us a brilliant gem of bizarre art and scenario. The serene villainess, regal and desirable, orchestrates ornate degradation and varied torments for her muscular pirate.

If there's a fetish motif here, it's leather, showing off female forms and restraining men. Inclusion of anachronistic leather styles works as a strength; period fidelity would likely defeat some erotic objectives.

Literate, explicit pictures and prose mix a smooth blend of vivid images and evocative suggestions. The unflinching focus on male bondage, anguish and humiliation helps define the genre. For those who enjoy femdom fiction, the ebook iterations will facilitate convenient access whenever the mood develops.

Two ebooks, one optimized, delivered by download from your 30th Street Graphics account.