The Erotic Mind-Control Story Archive

“Story for Jack” by Markjo342

Way back in the mid-1990s, when The Flintstones was reality TV and I was just a li’l nipper too young to drive but old enough to search the Internet when the rest of the family was asleep, a person needed less than twenty minutes to find and read every gay MC story in existence. This was waaay back when MC stories were often posted anonymously, ed surreptitiously via email, mailing lists, bulletin boards, or early websites. The stories themselves often had a “therapeutic” start, where the writer “justifies” the use of mind control by bringing in a professional therapist or psychologist to “fix” some problem (addiction, smoking, athletic performance)—this would probably be the early MC version of the “redeeming social value” arguments often used to get around censorship. Sex happened not just because the guys were horny, but because it was narrative “proof” that the control was working. By today’s standards, these older stories feel short, superficial, and amateurish, because they were drafted as labors of love by horny writers who were calling into existence the kinds of stories they wanted to read. I kinda liked that punk do-it-yourself ethos, and it became one of the reasons I too started posting. “Story for Jack” is one of the few “old guard” stories still on this site; it’s a good example of those quick-and-done early pieces, a popular one too—everyone back then on the gay MC forums and IRC channels knew it. Mention “Story for Jack,” and everyone knew exactly what you meant—and probably wanted to roleplay it.

“Inside Out” and “Ownership: A Romance” by Julian Obedient.

His stories are sparse and lyrical, where a layer of icy prose obscures the river currents moving underneath—skate at your own risk. His work reminds me of the New Narrative school, though minus the emphasis on overt autobiography. An Obedient story is less a conventional pornographic romance and more an erotic psychological fantasy presented under the guise of “literary fiction.” He brings into hypnosis erotica the language of romance, political allegory, and modernist prose, but his real subjects are often neither sex nor hypnosis; his best stories are about the paradox of possession: whether anyone can truly own another person without becoming owned in return. Poetic language isn’t to everyone’s taste when they’re just looking to get off, but his stories leave me wishing I could write like he does.

“Just Too Tired to Fight It” by Jukebox

This prolific writer has earned all of the praise heaped on the stories in the forums, and is one of the few non-M/M MC writers that I read. Jukebox’s stories, usually brief, are usually psychologically immersive, relationship-centered fiction with a strong realist impulse. What distinguishes them isn’t any one kink or premise, but a consistent commitment to making the characters’ inner lives feel coherent and earned. Readers could pick any number of fine pieces; this story is one of my favorites.

“BMOC Beat Down” by Cicero, aka Kyle Cicero

Okay, his stories are more “domination” and less “mind control,” but they’re fun little romps. He explores deep-seated fantasies and vulnerabilities regarding manipulation, psychological duels, surrender of control, and submission to cognitive dominance, often in a “Stockholm syndrome” context that involves kidnapping and transference. As “Kyle Cicero,” his novels often combine erotic plots with genre fiction, such as supernatural mysteries and police procedurals.

“Adam’s Rules for Good Boys” by Hokan

Hokan’s writing often has a strong emphasis on conditioning, ritual, and identity reconstruction. Unlike many stories in that niche, though, this story has a clear internal structure: it isn’t just a sequence of erotic scenes but is organized around the gradual expansion of a belief system. Hokan’s prose is plain, direct, and functional, where his language rarely calls attention to itself. He makes little use of metaphor, symbolism, or descriptive flourish, instead writing sentences that move the reader efficiently from one event to the next. That gives this story an almost oral quality, as though someone is recounting events rather than self-consciously writing a story.