>can some other sense of character value or development stand in as long as it's well defined and turns him into more than a non-agent to be acted upon?
I think so. It’s true of most fiction that a character is defined by what they pursue and/or by what pursues them. How can we care about what happens to them if there are no stakes? A character that does nothing and goes nowhere isn’t interesting unless you’re writing an anti-plot like Waiting for Godot
(and even those sorts of characters expend a lot of effort and try a few different ways to go nowhere).
>to what degree could the dynamics between the quean and vixen qualify a story? If the relationship between the women fleshed out, in the spotlight, and has a satisfying power element to it, could it scratch that itch by proxy
We already know this is possible because some cuckquean stuff focuses on the dynamic between quean and vixen to the point that it can feel pseudo-lesbian at times. In these, the man is often pretty generic and faceless, a symbolic means to the real end. Such works usually play to the humiliation-quean side of things, though I have seen a few compersive works that focus on the relationship between the women without involving the man much at all. As for doing this kind of dynamic where the man is explicitly submissive, I don’t know because that’s not really my thing. I guess one could write a story about a domme who lends her male sub out to one of her friends - that has a few different dynamics you could explore.
There doesn’t necessarily have to be a sexual power dynamic between the women in these stories either. In the example idea above you could make the two women co-dominant or platonically equal to each other and you’d still get a satisfying story as long as you fleshed out their relationship as friends or ex-colleagues or enemy spies or whatever you want to do with it.
In the case where the submissive man is also a fleshed out character, you could relegate him to secondary status but it would still be more satisfying if he changed from the experience of being shared. For example, he might be worried about performing or being over-excited by a new woman, or worried for his dominant’s reaction to the reality of him fucking another, then that worry drains, intensifies, or changes as the sex unfolds. He might be proud to be put out to stud and determined to make his mistress look good, then abruptly find he’s not as enthusiastic about the sex as he thought he was, and that has to be solved.
I guess the point I’m making here is that to be /cuckquean/-“approved” a story has to have characters that things happen to
, not happen at
As to the objections further above, it’s nice to root for an underdog, but we have to like, sympathise with, or otherwise have a reason to be aligned to that underdog. If we merely find the underdog contemptible without having a reason to care about him then all we end up doing is cringing and wishing we were watching someone else. There has to be a bit of light and a bit of shade on the canvas, you know?