#400461 - Fanni Hall Number 3 Robert Bishop House of Milan
Fanni Hall, Number 3
Further Complications
by The Bishop
House of Milan Corp.
Los Angeles, California
1978
optimized
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optimized pictures-only ebook
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full-page pictures-only ebook
House of Milan serialized Fanni Hall comic strips in Knotty magazine. Those 12 episodes were collected and published as The Complete Fanni Hall, They provided source material for this Fanni Hall ebook (#301368).
More like a graphic novel than a comic serial, Number 3 exposes Mr. Bishop's prodigious graphic skill and his conversational prose. By 1978, he'd mastered air brush techniques that add subtle contours and shading to the alluring figures of his female characters.
While not a character, the third-person narrator has personality, maybe Mr. Bishop's. A colorful raconteur with consistent tone and viewpoint, the narrator expresses both sympathy and admiration for our determined heroine and outrage over her captors' cruelty.
When describing Fanni's painful ordeals, he speaks from her point of view, complaining about the severity of endurance challenges primitive stooges enforce during periods of Fanni's captivity.
Unlike the consistent perils of episode two, three shows Bunzie both in bondage and escaping it, taking charge in dangerous circumstances, managing her own captives. We see her devising tactics that injure her would-be captors while extricating guilty and innocent from a dark assortment of perils.
The writer provides many details about subversive organizations and secret government agencies involved in Cold War espionage. The prose includes lists of vehicles and weapons, identified by manufacturer and model number. Descriptions explain the unpleasant sensations that ropes, arm binders, belts, blindfolds, straps, cuffs, dildos and over-sized gags cause.
In this sequence, Fanni interrogates her own would-be captor (Paula) who's fastened to a steel rack:
Fanni ripped out the gag. "How much did she tell you?" she demanded, indicating Madame lying in her thrashed and somnolent stupor. "How much? Quick!"
The lash of the cane was a streak of blurred tan light that buried itself in the soft flesh of Paula's upper thighs. Paula's gasp was accompanied by a wrenching, jolting jerk against the straps. Fanni had been thorough: she couldn't move a millimeter.
"How much?" Another blinding, searing bite from the rod. Fanni's arm came back for yet another blow.
"She told me she was a friend to the Old Man!" was the cry; half shout, half scream. . . .
"How many people know we're here, then?" she lofted over her shoulder. "Just Kit and me and Ralph." At least now Fanni knew the names of the elf and the man in the other cell. . . .
The machine, despite its visual complexity, appeared easy to operate. So much the better. For her. She stared down at Paula, the silence stretching into almost an embarrassment. "Where's the Old Man? How do I get to him?"
Paula's eyes bulged. "You must be out of your damned mind! Even if I knew, I wouldn't tell you. They'd kill me and her and — "
Her reply was cut off and transformed into an incredulous grunt of pain and surprise as the bottom of the rack dropped a full twelve inches and left her suspended by her wrists and ankles. Her buttocks were a good eight inches from the descended surface. Fanni twirled a knob and punched a small blue button in the gizmo's control panel and the straps holding the outstretched arms and legs retracted slowly, purposefully, into the ends of the frame, pulling Paula inch by inch into a perfectly straight line. Her gasps were high and shrill with pain. . . .
The 1978 original shows Mr. Bishop's adroit artistry on about half its pages. Some pages show a single scene. Others contain multiple tableaux, within defined borders and in montage-styled arrangements of layered images. Some pages only hold text.
Deft renderings of his svelte captives employ bondage schemes that present luscious femininity in brazen displays. Illustrations depict confining devices with industrial precision, showing careful attention to knots, buckles, chain links, spikes, rings, hooks and rivets. He designed an extensive wardrobe of gags, blindfolds, collars, gloves, boots, belts and cuffs.
Expert airbrush gradients that express chrome-like gleam and shadow on flesh and leather work as well in the delineation of steel contraptions and sleek firearms. As we retrospectively appreciate Mr. Bishop's unique style and creative genius, it almost seems like his talent danced a playful frolic in the fields of bondage erotica — as a professional driver tests the acceleration capability of a race car — exploring new dimensions of explicitness in the sexy presentation of stretched, suspended, twisted and bent curvaceousness.
The product presents Fanni Hall, Number 3, in two optimized ebooks. Neither shows the advertisements that were included in the original.
One optimized ebook contains text and pictures. The text was reset for the ebook. The story opens with a summary of parts one and two. Few changes were made to the friendly vernacular, but some spelling, paragraphing and punctuation were revised. 29,000 words.
Image tonality was adjusted. The ebook presents complete tableaux and virtual enlargements of picture regions that show bondage arrays, action and figure features. This digital technique intends to reduce the need for zooming and scrolling.
As possible, graphic elements were placed near text that describes them. Close correlation of prose scenarios and picture content distinguish this work from other picture-and-prose curiosa of its day.
All new scans. Female nudity.
A second ebook presents only the art. Optimized images fill more than 120 pages. Both versions include the color centerfold and front and back covers.
Mr. Bishop's stories and pictures are so clear that they seem to disclose his own fantasies. But that functions as evidence of an accomplished master at work.
NOTE
Although some parts of pictures are obscured on this page, the ebook shows everything that's in the original.
Three ebooks, two optimized ebooks, delivered by download from your 30th Street Graphics account.