The As You Wish DVD intro succeeds because it turns a potentially violent or predatory image—the target—into a symbol of shared, intentional fantasy. Karina Hart’s target is a radical act of erotic cartography. She draws the map; the viewer follows it.
This precision creates a powerful tension between the “target” and the “whole.” Hart’s legendary physical attributes (her height, her distinct figure) are the canvas, but the target is the focal point. The intro suggests that true erotic power lies not in chaotic consumption, but in disciplined appreciation. The viewer is not a hunter; they are a marksman, and their reward depends on their focus.
The intro opens not with action, but with a contract. Hart, playing a mysterious, affluent woman in a luxurious modern apartment, presents the viewer with a unique proposition. She places a literal target—a red-and-white adhesive bullseye—on her own body, specifically over her heart and later near her navel. This act is the essay’s core thesis: In a genre often criticized for ambiguous power dynamics, this gesture is revolutionary. The target is not a sign of vulnerability, but of agency. By placing the sticker herself, Hart communicates: “I am not a passive object to be hunted. I am setting the parameters of the game. Here is where you may focus your attention, because I wish it.”
The As You Wish DVD intro succeeds because it turns a potentially violent or predatory image—the target—into a symbol of shared, intentional fantasy. Karina Hart’s target is a radical act of erotic cartography. She draws the map; the viewer follows it.
This precision creates a powerful tension between the “target” and the “whole.” Hart’s legendary physical attributes (her height, her distinct figure) are the canvas, but the target is the focal point. The intro suggests that true erotic power lies not in chaotic consumption, but in disciplined appreciation. The viewer is not a hunter; they are a marksman, and their reward depends on their focus.
The intro opens not with action, but with a contract. Hart, playing a mysterious, affluent woman in a luxurious modern apartment, presents the viewer with a unique proposition. She places a literal target—a red-and-white adhesive bullseye—on her own body, specifically over her heart and later near her navel. This act is the essay’s core thesis: In a genre often criticized for ambiguous power dynamics, this gesture is revolutionary. The target is not a sign of vulnerability, but of agency. By placing the sticker herself, Hart communicates: “I am not a passive object to be hunted. I am setting the parameters of the game. Here is where you may focus your attention, because I wish it.”