Fight Faces












Kurtis Rivers vs Zachery Loftus (Movimus Wrestling)

The pure technical genius of Kurtis Rivers has a mesmerizing effect on me. As he maneuvers around Zachery Loftus's taut body (larger and solider than his own), his face registers no discernible reaction to the struggle. He might as well be playing with a Rubik's Cube as he doggedly seeks an angle at which he can utilize the longhair blond's joints and tendons as weapons against themselves. Something about that kind of unemotional truculence gets me. I feel it in my crotch and in the pit of my stomach. Something about it triggers my instinctual fear responses. There's just something predatory about it. Thus, despite the lack of affect, it's Rivers who gives this battle its intensity and propulsion.

For the first minute of the fight, after the stretching exercises are over, Zachery, too, shows no emotion. Then I see what I take to be determination in the set of his face - nostrils starting to flare, lips flattening against the teeth, but, most of all, eyes sharpening into ice picks. Later, the face begins to register anticipation, then discomfort, later still, fatigue. Zachery's evocative responses to the contest make him the one I would, given the ability and opportunity, prefer to wrestle. Part of the preference is based on my feeling for drama. Part of it, too, is my desire for some degree of emotional connectivity with my antagonist - even if the effects are distressful like rage or humiliation. If I'm going to be taken down, I'd prefer it be by a garrote or by bare hands than by an expressionless attack drone. Zachery seems more passionately involved in the struggle. Kurtis strikes like a missile.

I like both styles of wrestling performance, for lack of a better word. Kurtis's surgical precision is scarier for me, but I enjoy the cold chill of fear as part of the S&M mystique of combat. Zachary's hotblooded enthusiasm charges me up - makes me want to jump in and reciprocate. The combination, as in this match, is the ideal - providing both chills and thrills in twenty minutes and four abrupt and startling submissions.


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