We here at HairyBoyz don’t think you could have got a couple more evenly matched than Bruno Bond and Junior Stellano. Both have the most amazing muscled arms, built chests and delicious fur spread across their bodies. Seeing as they’re so similar, it wouldn’t be far unless we let them fuck each other’s asses in this video tosee who was the better top… but you’ll have a hard time deciding who’s better between these experience performers.
This may not be news to some of you but it sure was news to me. I happened to see a tweet by @WolfHudsonXXX featuring a production still from his upcoming release “L.A. Zombie” where he’s fucking Francois Sagat. Here’s the thing: from the photo, it looks like they’re both dead! A little investigation brought me to the site: www.lazombie.com (who would have thought that domain name was still available??) where I learned this is the latest of Bruce LaBruce’s zombieporn productions. Only this time LaBruce is going all out: not only does the move star Sagat, but it features the fine gentlemen pictured above: Erik Rhodes, Adam Killian, Francesco D’Macho and Matthew Rush. Oh, and there are a couple of non-porn guys featured too: Tony Ward (you remember him as one of Madonna’s boy toys back in the day) and Santino Rice (yes, THAT Santino, from Season Two of “Project Runway”). Let’s hope Santino gets killed and eaten early…
By the way, if you’re at all into really nicely-done websites, please pop over to www.lazombie.com and take a look around. It’s a great concept very well executed. Plus, there are tons of photos of Francois!
RJ Danvers (the hottest hairball in the biz) and David Taylor (the unfaultable tattooed muscle stud) join forces in this rough vid. RJ works Davids fat dick from head to balls to start, stroking the shaft and slurpin on the fat head. RJ lies back and lets David have a turn before giving RJ a ride. RJ sits down on David’s fat dick and the camera catches every inch as it’s swallowed by RJ’s gaping hole. After bouncing up and down with dick in his ass, RJ lies back and lets David take control, fucking him on his back and on his stomach before both men explode cum.
Click here for part 1 of this interview.
Click here for part 2 of this interview.
ACE: Final question: Tell me about the latest work available to your fans.
NIGHTLIFE
You’re going to be so envious of Colton Steele by the end of this video. Not only does he get pounded by one hairy hunk, but he gets to choose between two furry fuckers to plant their cocks in his hole! He switches rides between the ultra-fuzzy Cole Streets and porn star Tristan Jaxx (could you get a better assortment). This is a furry three-way not to be missed on any account.
Click here for part 1 of this interview.
ACE: Your description of the process is fascinating; I’m reminded of Bernie Taupin and Elton John writing those incredible songs without even working together in the same room. The idea being generated from the lyrics (the characters and story, in your case) and then shaped by the music (the illustrations) and tossed back and forth in collaboration between you and the artist. Do each of you inform the ultimate result, or are you always the top? (The one supplying and holding to the final vision.)
Dale: I am comics-versatile as a writer/editor; I do not have a prescriptive relationship with my comixpals. I can also write a script specifically conceived to seduce an artist to work on a book with me, as I did with Amy Colburn after I saw her work online, without pitching a story first. I also have pre-existing scripts and find the right artist for them, like I did with Foxy Andy and Mioki, but that’s a much more chancy way of doing things. The editorial aspect remains the same as my job is to be the first reader and help the artist serve and achieve both the artist’s and the script’s desires. That’s not a challenge when the desires are reciprocal; since I see this as a collaboration, reciprocity is super-important to me.
Say, since the coloring plays a strong storytelling role in indicating past and present tense of the first story in CHUMS, my book drawn by Foxy Andy, I sent the colorist for CHUMS a limited color palette commonly used in the comics of the period when the protagonists were in high school. The colorist asked if he could deviate from the color palette; I told the colorist that I wanted allusion, not exact interpretation. If making it more beautiful and sexy would mean breaking with the palette, choose beautiful and sexy over the palette. And the colored pages are sexy and beautiful and totally get the flavor I was asking for. Collaboration is magic!
Mostly, I write to what I know an artist does really well and wants to draw and at the same time throw them a bit of a challenge. Say, right now I am writing a book for Jon Macy and he does period art really, really well. I am writing him a script for him set in and featuring character types from a period I haven’t seen him draw but that I would love to see him draw; also, I find beatniks and gray flannel suit guys really hot and want to see them fuck… He responded positively to the pitch so we’re in agreement about where I am taking his art with my script.
But if what I want to write doesn’t line up with what the artist wants to draw or can draw, it’s not going to work. I do have specific ideas of what I want to see in gay erotic comics and if the artist doesn’t share that vision or lack the art chops to illustrate it, it’s not going to work. Say, I have been approached by folks whose heart was clearly not in it and it showed in the work. If the artist isn’t turned on, the audience won’t be and neither will I… Mioki, who is a very accomplished erotic artist on his own, asked me to work with him because he’s a big fan of my work and I couldn’t be happier.
ACE: You mention a variety of styles, from Tom of Finland to Disney. That’s quite a range and clearly the way you approach the story and characters is influenced by what you discuss up front with the illustrator regarding the style. What styles have influenced how you work?
Dale: I identify with the life-affirming impetus of my favorite gay literature, music and art; like Pet Shop Boys, I want to make art that makes gay guys feel good. Tom of Finland’s comics that smile and have fun and don’t take themselves so seriously are a primary influence. Early Colt and Zeus silent gay porn films that had relational moments between the protagonists before and after the sex that added a certain sweetness to the intense carnality of the sex scenes also inspire me. Alan Moore’s ambition to make very articulate and emotionally powerful comics by remixing tropes that might be overfamiliar and making them fresh also influence me. The inventive, lighthearted comics of my youth also had a foundational impact on me.
ACE: You said the magic word: hypermasculine. Tell us Dale, what does that word mean to you?
Dale:: Hypermasculine means that the erotics of the characters showcases and/or exaggerates features gay culture associates with masculinity — muscles, body hair, facial hair, maturity, etc — but my definition is broader than, say, Tom of Finland’s, as I find a diversity of body types and levels of butchness really attractive. Sexy beardy geeks turn me on just as much as bears, muscle marys, scruffy punks or daddy types.
Let me stress that I don’t think being masculinity means being dominant, mean, rapey or emotionally unavailable (like The Hun) or that its more “real” than any other kind of gender performance — that, I find absolutely dick-softening. If anything, my comics argue that hypermasculinity is another kind of fun drag (see all the costume changes in “Hot Librarian” in MANLY) and not in opposition to tenderness and generosity of spirit while still affirming how hot it is. I myself struggle with issues with my own butchness so I hope that my comics in some way alleviate the pressure to conform to rigid behavioral and morphological tropes while still celebrating what’s so exciting and romantic about butchness. Perhaps this is the reason why women buy and read my gay erotic comics, too.
—–
And that’s the end of part two of this interview. While I work on bringing you the conclusion, take a look at the books:
Dale Lazarov is the writer of quality hardcover gay erotic comics such as STICKY
ACE: Dale, I’m starting with the dumbest question I’ve got: if there are no words in the finished product, what exactly are you writing?
Dale: That’s not a dumb question and it’s one I love the opportunity to respond to at length.
First, I pitch the story idea to the artist to see if it connects with them. Once I get their OK, I write what they call in comics a “full script” which breaks the story down into pages and the pages into panels. Artists are free to interpret the script and add to or subtract panels from the pages which works perfectly if the artist is true to the feel of the story and keeps the story, character and sexual choreography beats in the script.
I basically write transcripts for silent gay erotic comics I imagine in my head. First, I write a description of the protagonists so the artists can send me character designs based on them. Then, I write a script that details, page by page, the flow of the story, the character interactions, the sexual choreography, etc. I only write down what needs to be on the page and don’t spend a lot of time with incidental details. Since my gay erotic comics lack captions and dialogue, I write stories that work visually.
Then the rest of it is editorial work. The artists send me character designs and I give them feedback and/or corrections if needed. Then they send me layouts of the pages to see if the storytelling, body language and the design of the page is clear. Then I see either pages in process of pencils and/or inks to give more specific notes on the expressiveness and anatomy of the rendered illustration. Most changes I ask for are minor as I work with very talented illustrators who really get what a comic is and does and also know how to show hypermasculine carnality with inner sweetness through sequential art.
Here’s a brief sample of “Fair Cop”, a script I wrote last week for Chas Hunter, a Canadian illustrator who lives in London. I pitched him a story about a sexy chav (the UK equivalent of a “hip hop gangsta”) and Chas suggested we hook him up with a policeman at a park when he’s out walking his dog. Since the idea of cops and toughs hooking up in parks is very Tom of Finland, my challenge was to make it new and interesting while keeping what makes that kind of ToF story very hot. Since Chas said he wanted to try drawing in a bande dessinée (European comics) style that is slightly more cartoony than American comics styles, I wrote the script with this in mind as well, and made the chav’s dog a little more of a supporting character like Tintin’s dog. There’s something really perverse and fun for me in pornifying art styles not associated with filth — say, Amy Colburn drew MANLY’s butches in an animated Disney art style! — so I instantly got into the idea of using Eurocomics tropes for making hypermasculine gay sex comics filth.
I hope this script excerpt gives you a sense of the scripting part of the process.
***
PROTAGONISTS
Gaz — He’s 22, 5′9″ and combines the outer masculine confidence of a tough guy hustler with the inner cuteness of a boy. His hair and beard are 1-inch in length. His bling is all platinum and he likes his track suits classic rather than overdecorated. His most significant features are the enormous pectorals that no track jacket zipper can contain; he has a cute little boyish butt, too. He has a little bulldog named Kinnell (as in “fuckinnell!”)
Ved — He’s 25, 6′2″, and looks like he should be doing Bollywood movies as he is incredibly chiseled and handsome with elegant chest hair covering chest, legs arms and butt. But he’s a British bobby. He has thick, wavy but very well cut hair under his helmet and neatly-trimmed facial hair of your choice. (“Any style of facial hair is allowed in British police
Please keep in mind that these are all night scenes on the street unless I note that it’s during the day. The point is that Gaz has to give Kinnell his night walkies and Ved is the night beat patrolman for the area.
PAGE 1
Panel 1 — At street level, we see Gaz’s awesome shoes as he walks Kinnell who trots happily right next to him. Kinnell looks like the happiest dog in the world. We’re on an East End street lateish at night.
Panel 2 — Now we see Gaz from shoes to cap — he is iconographically a chav only especially homoerotically so. He’s smoking a cigarrette and looking like he owns the world. However, he is not performing “sexy” as boldly as he does in the following pages: his trainer jacket is zipped up, his trainer pants are floppy, etc. We now see the details of this street that establish this is “East End London”. Across the street there’s a park where the protagonists will have sex.
Panel 3 — Gaz checks his cellphone as Kinnell smells a post office box. The cellphone is important to a later development in the relationship so let’s plant it here.
Panel 4 — Kinnell pees on the post office box. Gaz looks up as if he’s been startled. Ved lifts his helmet slightly to greet Gaz as Ved walks his beat.
Panel 5 — Gaz looks at Ved walking away. Wow, that is one hot bobby with the classic tapered V shoulder and waist. Ved has a massively huge butt but we can’t see it under the jacket — or maybe we do.
PAGE 2
Panel 1: Another night, another awesome Chav outfit for Gaz as he walks his dog: this time, he’s wearing a zip-up hoodie. As he’s “escalating the sexy”, consciously or unconsciously, the hoodie is zipped open to the midwaist and the trainer pants are a bit tighter on butt and pubes. He’s wearing one of those extremely homoerotic 70’s style undershirts that cut right between abs and man-cleavage. On the back of the hoodie, it says EXTERMINATE! in black and silver Dalek 60s comic-strip lettering that have been expensively machine-sewn onto the cloth. (Reference: http://www.solarnavigator.net/images/dalek_amiga_computer_attack_game.jpg )
Panel 2: Gaz picks up Kinnell’s poop with a plastic bag. Wow, he has such a hot little boyish ass! Kinnell looks at Gaz’s butt like he’s saying, yup, that’s my master’s hot butt…
Panel 3: Gaz stands up with the bag of poop in his hands to see Ved walking in his direction.
Panel 4: Ved, down on one knee, scratches Kinnell while looking up making friendly small talk with Gaz. Nothing untoward is happening, other than the body language and panel framing aligns Gaz’s basket with Ved’s mouth and Gaz has his hands on his waist, spreading his hoodie open…
Panel 5: They wave each other goodbye…
PAGE 3
Panel 1: Another night, another awesome Chav outfit for Gaz as he walks his dog: a three-tone trainer suit with matching cap. The trainer jacket is wide open to reveal he is wearing a VERY tight, 70s gay guy criss-cross cable knit wifebeater which shows more skin than clothes it and cuts above his waist, with his tight jogger pants almost showing pubes and the top of his designer jockstrap and, on the back, most definitely showing buttcrack. Kinnell looks up at Gaz like, uh, I don’t need to pee, what’s this all about?
Panel 2: We are now looking at Gaz, from Gaz’s side of the street, spotting Ved across the street, on the side of the street where the park is but walking in the opposite direction. Ved is twirling his baton and whistling; a tiny, pretty bande dessinee musical note comes out of his lips.
Panel 3: We now reverse the frame and are now looking at Ved, from Ved’s side of the street, responding to the VERY loud wolf-whistle that Gaz is throwing at him from across the street. Gaz is using his fingers to help himself whistle and the bande dessinee musical note emerging from his mouth is HUGE and POTENT.
Panel 4: Facing down both sides of the street. They kind of stare at each other in misunderstanding.
TITLE: FAIR COP
PAGE 4
Panel 1 — from the same position as panel 3 of page 3, Ved responds calmly as Gaz, with one arm, holds one side of his jacket open to reveal his body like a flasher, and, with another, pulls down on his pants and jock strap to reveal his beautiful, hardening penis.
Panel 2 — from the same position as panel 2 of page 3, we see Ved walking into the park. He’s signaling, with an amusingly cliché police waved pointed hand, the direction in which he should be followed.
Panel 3 — Same position as panel 1 of this page, only without Ved. We see Gaz jogging playfully towards us with his pants held under his balls and his dick still out, bobbing about with the movement. Now Gaz is cheerfully whistling a tiny, pretty bande dessinee musical note. Kinnell runs next to him, looking like he’s saying “I should have guessed”…
Panel 4 — Gaz finds Ved inside a bush with his huge dark brown cock and balls sticking out of his unzippered pants fly. Gaz and Ved make friendly eye contact so it doesn’t seem very anonymous. It’s kind of a neighborly or public service sort of engagement! Kinnell looks blasé.
***
And that’s the end of part one of this interview. While I work on bringing you part two, take a look at the books:
Aaron Action sits in a long hallway and strips down for a quick jerk off. His hairy pecs and abs lead straight into his pants and down to that stunning tool. Once he’s naked he finds a black dildo and pushes it into his ass, riding it and playing with his fat uncut cock like a complete pro until he shoots his load everywhere for the camera. A solo not to be missed.
In an arid landscape, these six sexy outdoor fuckers let loose with their cocks on each other’s sweaty assholes; sucking and fucking each other with nothing but their boots to protect them from the desert wastes. Maybe it’s just the heat, but this gangbang really let loose, even partaking in some double penetration before finishing things off with a circle jerk.
This image of PJ that is featured on BuiltBears.com was just invited to the Absolute Masculinity XL group on Flickr. I think it’s a great addition to that amazing group.
