Cities, like forests, have their dens in which the vilest all their vilest and most dangerous monsters hide.

"Teddy Bear 2" by Japanese artist Henmaru Machino depicts, using anime/manga-style art, a kneeling girl with stumps in place of arms and legs and a ball gag strapped to her mouth. Behind her is a teddy bear (forcibly?) having anal intercourse with the girl. This work can be considered a commentary on Japan's sexual fetishisms, inclusive of BDSM and lolicon, the Japanese abbreviation for "Lolita complex." From a certain perspective, "Teddy Bear 2" is an allegory on child prostitution in Japan. In reference to the quote by Victor Hugo above, a bear is a "monster" that dwells in forests, and the teddy bear is a doll that fathers typically give to their young children; thus, the teddy bear in Machino's art may be interpreted as being representative of a "monstrous" middle-aged-man—a father or father figure—having intercourse with a helpless girl—a pre-teen or teen prostitute. This work can also be perceived of as allegorical of the Japanese male's failure to adhere to his Confucian virtues of nurturing and protecting the female, while imposing restrictive "virtues"—as symbolized by the girl's immobile stumps and gagged mouth—on the female. In brief, through an analysis of Machino's "Teddy Bear 2," we allegorize the so-called "virtues" of Confucianism in relation to underage prostitution and are left with grotesque imagery, epitomized by the perversity of a "father" raping a "daughter."