tagReviews & EssaysAnimated 3-D Fantasy & Sci Fi

Animated 3-D Fantasy & Sci Fi

byCal Y. Pygia©

The girls are always nubile and young, with bouncy, buoyant boobs; firm asses; and tight cunts. The settings range from underground caverns and dismal dungeons to futuristic cities and sleek spaceships. Surprisingly, what is most original are the young women's sexual partners. They range from plants to gods and demons of both sexes, the men of which always have disproportionately large, even huge, penises. The theme is usually rape, but it is more often rape by demons, trolls, and monsters than rape by men per se, and the women are held in place by tentacles or cables. The key is always the exotic--well, the exotic and the erotic.

Three-dimensional, or 3-D, animation has come a long way, and breasts and buttocks look especially realistic, seeming always to glisten with water or oil. The women's faces are cute, pretty, or beautiful; there isn't a plain Jane among the many redheads, blondes, and brunettes who are put through their sexual paces (oral, vaginal, and anal) by anthropomorphic plants, demons, trolls, assorted monsters, giants, dinosaurs, machines, robots, dragons, hermaphrodites and shemales, homunculi, seemingly disembodied tentacles, aliens, ghosts, men made entirely of water, fairies, phallic birds, and even disembodied penises with faces in their shafts.

The creators' imagination truly is the only limit in the creation of these animated movies, and the artists and writers who design them are nothing if not imaginative; they are also incredibly talented. Watching their damsels in distress couple with ghastly monsters and struggle against superhuman, sometimes supernatural, rapists is a guilty pleasure, indeed, although it sounds rather sadistic and callous to admit it, even if the ladies in question are merely animated drawings rendered in three dimensions instead of flesh-and-blood women facing real monsters.

There is an element of misogyny as well as sexism and chauvinism in these films, and their disdain for women comes through loudly and clearly, as it were, as one watches the female protagonists get raped, mauled, and pierced as they are subjected to these and as many other cruel and bizarre abuses as the moviemakers can imagine. The viewer feels a bit uneasy at his complicity in the female characters' exploitation, as if he were an accomplice after the fact to the perpetrators' violence toward, and rape of, the female characters.

Nevertheless, the highly imaginative fantasy is hypnotic, and it overpowers one's uneasiness; despite the nagging of one's guilty conscience, he is apt to continue to watch, enjoying the sight of naked, hard-bodied women in their prime enduring the violent sexual assaults of forces much more powerful than are the women themselves, forces who (and which) are driven by nothing more than mindless lust and bloodlust.

For the few who might not have had the privilege and fun of watching one or more of these movies, descriptions of a few scenes (from different movies rather than from the same film) may indicate, better than general comments, the nature of the art.

One scene opens to the sound of a woman whimpering, apparently in pain. The screen is dark, however, for several seconds; when the victim appears, she is hanging upside down, suspended in mid-air by tentacles coiled tightly around her upper arms, just above the elbows, and her lower thighs, just above the knees. She wears only a white halter top, secured to a metal belt around her waist, and her erect nipples show clearly through the tight fabric. Another tentacle, a little smaller in diameter than an elephant's trunk, and ribbed, like those that hold her, is inserted deep into the young woman's vagina, writhing therein as she squirms, whimpering.

The camera, as it were, occasionally zooms in for a closer view of the tentacle as it thrusts between her lovely, smooth thighs, fucking her hairless cunt. All the while, among the wavering and thrusting tentacles, she continues to whimper and moan, sometimes nearly sobbing. The effect is unsettling, but it is also fascinating. If it is not sufficient in itself to effect an erection (for most, it would not be), it will certainly be one of the contributing causes of such a state, for, if enough similar scenes are watched, the viewer-cum-voyeur will almost certainly attain a hard-on.

In another scene, a brunette in a white blouse that has been tugged below her breasts, hands secured behind her back, helplessly endures the suction of a pair of grasping tentacles that attach themselves to her nipples for a moment, stimulating them, detach and withdraw for a moment, and then repeat the process over and over while the victim gasps and whimpers. A male figure is shown, from the waist to the tops of his thighs, his face, for the moment, unseen. He wears a hard breechcloth-like girdle, the front of which lowers and falls away to reveal a squirming, dilated orifice not unlike a gaping cunt. A long, thick column of flesh shoots forward, from the interior of the vagina-like orifice, revealing itself to be a gargantuan penis, and the male draws his captive's head forward, forcing her to take his member into her mouth.

Later the figure, who has the look of an android rather than a man, ejaculates copiously between the splayed thighs of the woman, who, rolled onto her shoulders, watches the immense flood of thick, pearly fluid wash slowly down her stomach, toward her breasts. Having finished with her, the android, cock still erect, releases the woman's ankles, which he'd been holding, allowing her to rise to her knees. He seizes her arm, and her nightmare continues.

Another scene is even more imaginative. A phallic plant woman rises from a mound of huge leaves. The stem that is her body swells into full, sleek breasts and shoulders. Instead of arms, long tendrils extend from her shoulders, and, in place of a head, complete with feminine face, she has a huge, rather beautiful orange flower who, were I a botanist, I might identify so realistically is the blossom rendered. Needless to say, the plant woman's complexion is smooth and green. I describe her as "phallic" because her stem-arms are used as extremely long, fairly thick penises, and she uses them to fuck the beautiful, naked young woman who is positioned, on her hands and knees, before the plant woman, in both her cunt and ass. (Double penetration is a frequently featured activity in 3-D animation scenes.) The doubly impaled woman rocks back and forth as the plant's phalli slide into her orifices, often to the depth of a foot or more. Her actions indicate that the woman is a willing participant in the act, so, in her case, the sex is not forced. The phallic plant woman's massive flower-head rocks in unison with the maiden's body, as if the vegetative partner nods her silent assent to their fornication.

As the plant and the woman continue to fuck, the perspective changes occasionally, to offer the viewer a closer glimpse of the impaled woman as seen from the side. She is magnificently beautiful, with flawless skin, her large breasts, dangling below her, sway backward and forward as she rocks upon her knees, and her tight, firm ass, seen in profile, counterthrusts to the plant woman's thrusts, the green phallic stem of the flower woman's arm lost to view within the unseen anus. Again the angle changes, and the viewer is treated to the sight of the thick, long, green stems thrusting smoothly and rapidly into the woman's asshole and cunt. All the while, the doubly penetrated woman moans and gasps.

The sex, whether consensual or forced is presented with a matter-of-factness that implies that it is not only actually happening but that it is, when consensual, pleasurable or must be endured, when forced. The attention to detail, the fluidity of the characters' movement, and the straightforward depiction of the action, whether it is fellatio, vaginal intercourse, anal intercourse, masturbation, or something more exotic, has, like the sheer brilliance of the imagination that has created these characters and scenes, a fascinating, hypnotic quality about it that makes watching the animations an almost addictive experience. One wants to see the same scenes, and others, over and over again. The sound effects--ominous music, pants, gasps, moans, groans, sobs, cries, shrieks, growls, snarls--also enhance both the pleasure and the addictive quality of these hypnotic scenes. So well rendered and realistic are the figures--even the fantastic ones--that it is a joy merely to watch them crawl, slither, walk, run, hop, leap, swim, and otherwise move through the strange and wonderful settings in which the imaginative action takes place. There is something poetic about the bob of breasts; the swivel of hips; the tightening and relaxing of firm, sleek buttocks; the stretching of limbs; the bunching and loosening of muscles below smooth, tight skin; the turning of the head upon tall and stately necks; and the facial expressions of the wide-eyed ladies in distress and, less commonly, their tormentors.

Since many of the animations are the creations of Japanese animators, the speech is frequently in Japanese. However, the dialogue is sometimes in English, as in a scene in which a huge, shaggy creature resembling Sasquatch or Chewbacca, holding a naked blonde close to his body, his huge hands, massive claws extended, cupping her buttocks, swings her around and lowers her to a seat, saying, in an accent reminiscent of that of Arnold Schwarzenegger, "Sit here." Whimpering, she complies, and he takes up a position behind her, his massive, hirsute arms reaching around her so that he can tweak her erect nipples and cup, joggle, and squeeze her boobs. Her whimpers turn to soft grunts as his massage of her breasts continues, and a close-up glimpse of his face shows him to be bestial, indeed--a combination of features taken from a werewolf and an minotaur with a penis more like that of a bull's than a human's. The featuring of various monsters allows the animators the bonus of inserting, as it were, a suggestion of bestiality into many of their films.

As the scene continues, the blonde is visible, even in the darkness of the interior of what appears to be a cavernous dungeon, but the minotaur-like creature--or creatures, for, as it turns out, there are two of the--despite their gigantic stature, are all but lost in the gloom, because of their dark fur, except when a close-up occurs. As a result, their pink penises, emerging from the darkness to slide into their victim's mouth, cunt, or anus, seem to be disembodied and to be acting on their own, which enhances the bizarre tone of the scene.

The backgrounds are unobtrusive, but they are also, in many cases, finely detailed and realistic. Some are full of pipes, cables, machines, and metallic instrument panels. Others are interiors of spaceships. Rough stone floors, marble floors, plank floors, tile floors and walls built of timbers, cobblestone-like rocks, and tiles add to the backgrounds' verisimilitude and enhance the overall realism of the settings in which the bizarre, frequently impossible sexual acts take place. The animators did not shirk on the creation of the backgrounds; they are as lovingly created, with as much painstaking detail, as the foreground figures.

Robotic sex is another theme of these animations. In one, a stripped-down, golden robot, mindful of a starved C3PO, with glowing red eyes, bends over his hapless female victim, holding her ankles in his vise-like grip as, relentlessly, he drives his metal penis in the fast, fluid, and efficient, if mechanical, motion that is possible only for machines, while his impaled prey, rolled onto her shoulders, receives his thrusts into her upturned cunt, whimpering, grunting, and groaning all the while. A pounding hard rock beat accompanies the fucking.

Naked, a kneeling woman releases the erection of a naked male figure made entirely of water who stands before her, and his cock, splattering droplets of water, recoils. The woman, surprised and delighted at the sight of the recoil, exclaims, "Oh!" The male figure is mostly blue, but he is also transparent. The woman takes the tip of his long, thick prick into her mouth, and, as it drips water, she begins to suck the wet penis, her thumb, on its opposite side visible, but distorted by refraction, through its shaft. As she strokes and sucks his prick, the figure twists and turns, and light shimmers through him and upon the surface of his water-skin, while her hands are reflected upon his watery epidermis. The scene dissolves to show him positioned behind her. She is bent at the waist, supporting herself upon the seat of a chaise lounge chair while he fucks her. The view has expanded, and the viewer discovers that the action takes place beside an indoor swimming pool, possibly the very one from which the watery creature climbed. The sex is consensual, for a change, and the woman obviously enjoys making love to her partner. The playful, fun quality of the scene adds to its enjoyment.

An especially creative scene involves a nude woman who, as she lies supine upon a table in a cavernous room, is fucked by a hummingbird-like creature. It apparently resides in, or was eaten by, a huge monster that is part frog and part Jabba the Hutt. From its gaping maw, the bird flies, straight for the damsel in distress, and as it beats its wings, hovering before her cunt, fucks her, first with the tip of its long, tapering tail, and then with it neck and head. It is subsequently joined by another bird, also allowed to escape from the frog-thing's mouth, which hovers above the other bird, its wings beating frantically, like its twin, as it thrusts its head and neck rapidly back and forth within the circle of the maiden's anus. The use of the hummingbird-like creatures is a stroke of genius, implying that the woman's cunt and ass are flowers wherein sweet nectar is stored.

There are many, many scenes equally imaginative and perverse, most of which are exciting enough to raise a solid erection among peeping Toms and to wet the appetites, so to speak, of female voyeurs. The animations are as erotic as they are exotic, and they are certainly habit-forming. It is hard not to watch them, and the more that one does watch them, the more he or she will want to watch them again and to watch new ones. The bizarre monsters, the perverse sexual acts, the inventive settings, the inspired details that the creators of these splendid films lovingly lavish upon their productions shows that they are as smitten with them as their audiences, and the quality of the artwork is more than merely impressive, as is the creativity of the scripts.

I could go on and on, describing more and more of these fascinating and fantastic scenes (those involving hermaphrodites and shemales are among my personal favorites), but I suspect that the reader has neither the time nor the patience to read about as many as I would like to describe, and, besides, these same scenes are available free of charge, to view online or to download onto one's own hard drive, for repeated viewings. All one need do is to enter an appropriate string in his or her favorite web search engine, such as "3-D animation porn clips" or something similar, and, with a little patience and the use of a few synonymous phrases, a website will be found that offers sample clips of the sort described here. Who knows? You may decide to subscribe to one or more of the sites that feature these marvelous series of animated 3-D fantasy and science fiction erotica. I am confident that you will appreciate them as much as I do.

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byCal Y. Pygia© 0 comments/ 22062 views/ 0 favorites

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