Gargantua Ch. 02byCal Y. Pygia©
She's slender. She has strawberry blonde hair. She has a pretty, but not lovely, face, with a too-prominent and too-angular jaw. Naked, she is stretched out on her back, with both her shoulders and her left leg raised, the latter bent at the knee, lying across a white bedspread that is interspersed with wavy blue bands. Behind her, a gentle ridge of pillows, covered by the bedspread, rises before the headboard, which doubles as a set of shelves upon which she has displayed photographs in ornate frames, seashells, the desiccated corpse of a starfish, a candle, her television remote control, a clock radio, and other items, both decorative and functional. She looks toward the camera (and, therefore, toward the viewer), heedless of the round mounds of her sleek, soft breasts and the prodigious, erect penis rearing from her pubes.
She is one of the many dickgirls who grace the pages of many websites. Although there is an air of the girl next door to her, or even a sisterly quality, she is sexy despite--or, indeed, because of--the manly genitals she sports. Her hand, although slender, is unusually long (i. e., masculine), and her feet, although narrow, are big (manly), too, although her toenails are painted red, like her lips, and the nails of her hand are manicured.
In my earlier review of dickgirls, which I call "Gargantua," in recognition and honor of the prodigious phalli borne by these marvelous creatures, I point out that "in the genre of erotic fantasy art known as futanari, hermaphroditic 'dickgirls' defy nature's dictum that boys will be boys and girls will be girls," observing, also, that this "hybridization of the sexes. . . . often goes beyond the simple confusion of sex and gender, depicting other sexual aberrations such as multiple breasts, multiple penises, or oversize cocks and balls." Futanari, I mention, is also available in two types: illustrations and photographs."
Although both the illustrations and the photographs can be erotic in the extreme and I collect specimens of both types, in this review, I focus on the photographic variety. The camera's fidelity to the apparent reality of the models lends verisimilitude to the images, including the figures' outrageously oversize male genitals. The drawings, although many are rendered with exquisite skill by talented artists, cannot quite capture the look of a real flesh-and-blood woman that the camera conveys, and, in viewing such drawings, one is, therefore, reminded that he or she is looking at a fantastic image rather than one that he or she could, perhaps, conceivably actually encounter in the living, breathing form of the model who poses for the photograph. In art, illusion may not be everything, but it is--especially in fantasy art, when one's subject is dickgirls--of great importance.
The realistic manner in which photographs capture the fantastic images of dickgirls not only heightens the incongruity of feminine figures who, despite their long hair, makeup, slender waists, girlish hips, long legs, and womanly breasts, also sport huge penises (often erect) and larger-than-life balls, but such depictions also heightens the absurdity of the situations in which many dickgirls are shown to participate.
Some of these situations are humorous, and it is with these situations that this second installment of "Gargantua" is concerned. For example, in one photograph, a blonde, stretched forth, over an isolated section of beach, on her elbows and knees, calves lifted into the sky, humps the sand (blurred lines above her right buttock, which is shown, like the rest of her, in profile, indicate an up-and-down motion of her hips). Most of the length of her wrist-thick prick is buried in the sand, and, in the foreground, in the immediate vicinity in which she literally pounds sand, numerous round holes are on display, suggesting that she has performed this same activity numerous times before.
Another photograph shows a naked dickgirl from the rear as, kneeling, she leans forward in shallow water, her hands upon the bottom of a clear ocean's sandy bottom. Her big balls dangle between her firm, sleek thighs, dipping slightly into the water. Beneath her armpit, one can see the slope of her right breast, full, firm, and lovely. A brunette, she looks backward, over her shoulder, seemingly cold, her long, wet, wavy hair a tangled curtain, like brown seaweed, about her beautiful face. Stretched below her and above the surface of the sea is her huge cock: nearly as thick as her thigh, it stretches below and before her, to a length that places its glans on the same approximate level as her chin, a phallic life-preserver or boogie board.
In another photograph, a model dressed only in a blue-gray t-shirt, the left strap of which has fallen to the middle of her biceps so that the top of her shirt pulls down enough to reveal her left breast (round, firm, and sleek, with a pink-brown nipple, also round), clenches the bottom front of her shirt in her left fist as, head cocked to the left, between a parted curtain of straggled dark hair, she gazes, with an expression akin to defiance, at the viewer (and, possibly, her trainer) as, with her right hand, she hoists a dumbbell, the twin of which straddles the huge erection jutting from her groin.
The strain of the dumbbell makes her penis dip below the weight, giving the erection a curious, gentle "S" curve that, one suspects, is not present when the dumbbell is absent. The weightlifter wears neither panties nor any other garments but her shirt, so one enjoys a full view of her lower abdomen, her shaved groin, her genitals, and her lean, rather too-slender upper thighs. Her flesh gleams with sweat, as she glows from the exertion of her training. One cannot but help wonder what plans she has for the cock that she trains in such a peculiar manner during her workouts. Whatever it is, one must conclude, it is apt to be intense!
As I observe, in my original review of futanari, "All dickgirls cum copiously, in quantities that would do a stallion or an elephant proud, virtually drowning themselves and their lovers in oceans of semen." The prodigious capacity of their balls is itself amusing, since it is based upon such an absurd exaggeration, and the proof, so to speak, of the pudding's enormous quantity is likewise hilarious.
One photograph of a brunette dickgirl, shown half-seated, half-squatting upon the white carpet of her white living room floor, a white couch behind her, gazing downward as she contemplates the massive ejaculate that adorns her breasts, belly, thighs, and right calf, is a study in bemused wonder. Her legs are spread wide, to afford the viewer an unobstructed view of her massive genitals, and her arms are behind her, exposing her unobstructed torso to the viewer so that, in effect, her entire body, upper and lower halves alike, is transformed into a tan-pink canvas that shows off the artistry of her ejaculate to its best advantage.
She wears only a pair of black high heels with thin straps that wind about her ankles and a black crown that she's slid two-thirds of the way down the column of her full-blown manhood. The black contrasts with both the tan-pink canvas of her flesh and the white pearls, in beads and strings, that decorate her body. The metaphor is as apparent as it is amusing: she is a masterpiece, painted by her own semen.
In another futanari photograph, each of a trio of blonde bombshells exhibits a trio of erect penises. Wearing nothing but a pair of black stockings, the ladies--or ladyboys--lean forward, their spread, painted, manicured fingertips resting upon their thighs The multiplicity of erect penises draws special attention to the huge male members, heightening the incongruity of the figures' otherwise-feminine forms.
Occasionally, a celebrity's face appears amid the many hermaphroditic or shemale-sexed bodies, but the websites seldom identify the actress, singer, or athlete who is thus "parodied." If the viewer him- or herself doesn't recognize the famous face, he or she is apt to suppose merely that he or she has had the good fortune to view an especially attractive futanari model. In the latest batch of such art that I've perused, I have recognized the faces of Allyson Hannigan, Jessica Alba, Jennifer Aniston, Eliza Dushku, Lindsay Lohan (sampling candy from a box of Fut Tamales), and Michelle Trachtenberg. Other countenances look somewhat familiar as well and are probably also those of celebrities, but not ones whose names spring to mind. It's both frustrating and intriguing to think that some of these faces are those of celebrities whose identities escape me. Artists should make it clear which celebrity has, as it were, posed for such photographs (or drawings) rather than leaving it up to viewers to wonder or guess.
The bevy of futanari beauties are shown in both indoor and outdoor settings. Indoor locales include bedrooms (duh!), living rooms, studies or dens, kitchens, billiard rooms, and bathrooms. Outdoor environments consist of lakes, beaches, swimming pools and swimming pool decks, yards, pastures, balconies, woods, and gardens. The indoor settings are well furnished and tastefully decorated, their beauty and elegance complementing the beauty and elegance of the dickgirl or dickgirls who are posing or frolicking in these chambers. Likewise, the natural beauty of the outdoor scenes highlight the loveliness of the ladyboys who appear amid the woodland greenery, garden blossoms, or white-capped waves and golden beaches of their respective surroundings.
Essentially, futanari dickgirl art is about beautiful, impossibly well-endowed hermaphrodites (when the figures have both male and female sexual parts) or male-to-female transsexuals who either have not yet undergone sex-reassignment surgery or have opted to retain their cocks and balls along with their womanly bosoms. The figures' breasts are sometimes oversize, like their male genitals, but even when their tits are not extraordinarily large, their penises and testicles are always enormous, so, in the final analysis, the emphasis of this art is upon the male member and its accessory gonads, the testicles, because, even in the absence of a vagina (as among the transsexual, rather than the hermaphroditic, dickgirls), the figures would be signified and accepted as female (the lack of a penis, instead of the presence of a vagina, indicates the female sex).
When the prick is not merely present but insistently so, both because of its erect state and because of the organ's enormous dimensions, there is no doubt that, contrary appearances to the contrary (long hair, makeup, breasts, and a generally feminine build), the figure is, first and foremost, male and only secondarily female. The breasts and the other feminine attributes of the figure are, after all, secondary sexual characteristics, as biologists tell us; the penis and testicles are primary sexual characteristics. Likewise, the very name of these characters, "dickgirl," specifies the primacy of the penis; "dick" forms the first part of this portmanteau word; "girl," like an afterthought, brings up the rear.
Viewers may insist that they are attracted to dickgirls because they represent a novel third sex that is neither fully male nor fully female, but the penis and the testicles make such a claim more than merely dubious. The huge dick is the true focal point in dickgirl drawings and photographs. For this reason, in the final analysis, futanari dickgirl art is a homoerotic genre. For those who, like me, find other men's cocks and balls sexy and beautiful won't be put off by this reality. Instead, they will find the homoerotic nature of such art yet another reason to appreciate and enjoy it.
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