New--SpiderMilkshake's Vore Art Critique Thread

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New--SpiderMilkshake's Vore Art Critique Thread

Postby SpiderMilkshake » Mon Jan 11, 2016 11:36 pm

Gonna start my posts by looking for pointers on my new vore story. ^^; I'm always seeking feedback on how well I'm describing and capturing characters while writing vore-type things. Thanks for giving it a look!

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Good Hunting
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On first glance one would think that Muur was asleep.

The thick coiled body was still except for the faint tremble of breath, and on top of the wound circle of naga body the stoutly built shoulders and arms crossed to support his head, eyes lightly closed and expressionless. But his ears were tipped back, a sign of upset or excitement. He was well back in a hollow at the base of a large boulder, ferns taller than a man is tall concealing his form, allowing the bright yellow-oranges and magentas of his patterned back to better mimic light and shadow. Only the dark blue-black spot of his hair-like head scales told on his position.

A soft crackle announced the hunter’s position as his boot slipped into a stray twig. The maranaga’s ear, the right ear, twitched but gave no other indication of being troubled by a human so close. The man sighed, quietly; this naga was quite a large mature one, easily forty feet in length and one of the more robust he had tracked. It had taken four weeks of fruitless jungle treks, interpreting drag marks in poorly preserved soil and tweezering up various little samples of shed scale and... other leavings, to be sure it was a Maranaga and not some other native reptile. No doubt that this was the largest one about—sort of an ocher-orange with those dark magenta chevron patterns—the same one leaving the scale patches rubbed off on the bark of trees.

This “hunter” was no hunter of the usual sort. A hunter who never killed a living thing, shot no bullets, arrows or bolts but did take photographs. He was a rare sort in these times. Especially when it came to lethal predatory carnivores, and especially serpents and reptiles. There was still cause to be careful; the danger to himself was not diminished at all just because his intentions were good.

The ferns crackled with each inch as the hunter crawled on hands and heels. One hand reached back and touched the canvas bag at his hip. Securely closed, it contained his SLR camera and lenses. He always grew paranoid when his prize neared that it would slip out of the pouch and clatter noisily into underbrush. The idea of this majestic snake bolting away was more unsettling than the risk of being attacked at this point.

Muur opened one eye a sliver, concerned by the crunching coming closer. A curious sight was the top part of a brimmed hat bobbing along above the cover of the fern beds, approaching at the speed of a nonchalant turtle. The human obviously lurking below the hat was unaware of being watched—too caught up in keeping the noise of his stalking to a minimum. The huge naga uncurled his tail from under his thickest coil, joint by joint.

“Stand up.”

The hat froze at the deep, hoarse-throated command. Muur shifted forward, bringing his face level with the frozen photographer’s hunched form.

“I can see you, you know.” Cocking an eyebrow, the naga swept the ferns blocking most of the hunter from view away with his tail, “No need to hide.”

The hunter remained still a moment, knees quaking, creaking. His breath was ragged and quick and he fought hard to control it. After all, this Maranaga showed no signs of a threatening posture or sounds of displeasure. He felt compelled to obey the great serpent, curious to see what they had in mind for him.

Muur watched with green, slitted eyes sparkling with interest as the hunter stood, shifting feet cracking at the dead ferns under them but otherwise making no sound. The human said nothing—seeming short of breath, eyes widened with the knowledge of risk, but still somewhat slack… relaxed.

“Come closer.”

Muur’s interest was piqued as the man did exactly that, the clinking of camera and lenses in the bag drawing his eye. The huge naga reached out one hand, unzipping it with a single clawed finger until the camera plopped out onto the bed of fern. His eyes flicked back up to gauge the hunter’s reaction; a worried brow.

“You came for… photographs?” Muur muttered as he delicately palmed the SLR and examined the black and silver shell of the device.

The hunter nodded—his throat was too dry and his mind too fixated on his quarry to speak. Muur’s brow raised lightly. He set the camera to the side, on the top of a small mossy stone.

“I’m sorry.” Muur shook his head, eyes remaining warily on the human, “I can’t let you return to your home with photos of my kind.”

The hunter swallowed hard, growing more nervous. He hadn’t taken any photos aside from a few tests of parrots, insects, and a few blurry ones of deer. But he felt choked as he tried to speak out. Why? He felt… almost fine with whatever this Maranaga wanted to do to solve the problem of his mechanical witness. It was a strange sense of trust—as if he knew deep in him that the snake meant him no harm.

His skin tingled and twitched like a horse’s hide at a new sensation beginning at his ankles. He peered down to see the dark and white-banded tail of the large serpent wrapping around him. With a gasp he buckled, hobbled by tightened coils. He was now resting, his rear planted on the top of loops of coils, and at the naga’s mercy.

“What are you…”, the hunter’s voice cracked, and they coughed and swallowed hard to recover it. “What are you going to do to me then?”

Muur’s expression softened into a calm smile. His heart was conflicted—full of pity, but fully knowledgeable of the fact that if too many pieces of evidence for the Maranaga’s existence reached the hands of humans the island and their peaceful lives were doomed. He had to be sure that the man would not return after this day. He had to truly frighten him.

The coils shifted, wrapping the hunter in a powerful embrace. He frantically pulled away as the tail’s tip snagged one arm. Now he turned back, his eyes level with the middle of Muur’s elevated torso. He raised his gaze and met the Maranaga’s as he loomed above him, tongue flickering rapidly mere inches from the man’s face.

The hunter finally voiced a complaint—a small gurgle of fear. Muur hissed, the sound deep and resonating in his chest and throat, almost a growl. There was a soft pop and a schluck of flesh stretching as Muur’s jaws unhinged and split at the middle. The man held tight in his coils looked straight up and into his wide open jaws, fixated on the fangs and rows of hooked teeth, and expression of shock stamped on his face. The tongue flickered and drew back, revealing a small slit beneath it that led into the windpipe. And in the dark back of the mouth descending on his head and shoulders—a pulsing ring of soft throat, inviting visitors to be tugged inwards.

The hunter should have been in a panic; he should not have remained so stunned and compelled as he was. He’d no way of knowing this naga’s true intent, nor any life experience that would have prepared him for being plunged into a huge humanoid snake’s innards. But he remained paralyzed, tucked up tightly as the coils would allow. As the dark, rhythmic esophagus closed in over his head he let out a muffled yelp, but no more. Muur clamped both hands around the arms of the hunter and lifted the man higher.

Muur groaned, gulping and sucking the hunter’s shoulder’s deeper. His throat below the chin had bellied out, distended where the shoulders were slipping through the tight channel within. It surprised him how little the hunter struggled. But the Maranaga could forget that and instead succumb to the pleasant stretch and fullness the man’s body sliding in was giving him. Another swallow and the hunter’s hips were drawn into his mouth.

The world outside vanished, replaced by a dulling heat and the sounds of the Maranaga’s body. Deep, audible gulping as the rings of flesh tightened about him and pushed him deeper inside. A resonating and rhythmic thudding of a massive heartbeat—it grew louder and louder until it seemed almost inside the hunter’s skull. And then it passed, returning to just a part of the internal symphony. The man was pressed tighter as Muur took a deep and grateful breath. His feet were finally leaving the mouth and joining the rest of him.

The tightness passed as the naga let the breath out, a cavernous whoosh above him. He blinked against a drip of saliva making its way down his forehead. Why didn’t I struggle? he wondered, still in a dazed mist. And why aren’t I struggling now? But despite these thoughts, he couldn’t do it. He could not seem to bring himself to thrash about in the tight confines of the serpent’s esophagus (though he doubted he would have any room to struggle anyways).

Another swallow. This was the final one which pushed in a wave of fleshy rings against him and propelled him against what felt like a wall. But then, with the pressure of his skull and wetted-down hair against it, the “wall” eased open and became another ring of innards. He was forced through the portal—his imaginings went instantly to how toothpaste is squeezed from a tube. With a gasp of relief he slid past, lying limp on his stomach, into a new space.

He felt weak, but reached out to the side and met the thick, undulating wall with his hand. The tissue here was slick with a moist coating, and every so often he encountered an artery or a vein beneath the surface which echoed the drumming pulse. Muur’s stomach encapsulated him like a large sleeping bag of living insulation. Now and only now did he feel an inkling of terror—there was no mistaking that slight acrid scent in here. Some of this fluid slicking the walls pressing in on him periodically was not just mucus or saliva, though he hadn’t had the education to know if it was dangerous now, in an hour, in days… He sighed. Whatever was going to happen to him, he had allowed it to, and he gave up thinking on it for his own sake. Out of the context of being devoured this place seemed dark and restful—so he let himself rest his cheek on his crossed arms and be hammocked by the creature’s belly.



The tropical birdsong hadn’t ceased during the encounter, their upbeat and peppy noise almost drowning out the soft popping of Muur reorienting his jaw. He took another deep breath, feeling his lung expand until it pressed against the living bundle inside his stomach. As he let it out he gave a slight moan. What to do now with this harmless hunter? Keep him a while, of course—there was no more underrated a feeling as having filled one’s belly. But after that Muur was puzzled about. He scratched his chin, gazing out into the sunny woodlands carpeted in ferns. He’d never expected any human to react in such a submissive way in the throes of being eaten alive. It was as if it was something the hunter had truly wanted, even if it frightened him.

Muur turned his attention to the confiscated camera, picking it up from the mossy rock and brushing off a few stringy pieces of the small plants. There were buttons… none of which he had any idea what they did. He frowned. Time to consult the expert.

The added burden of the hunter inside his coils did not hinder his travels too much as he slithered homeward, looping up and over the large boulder he’d been resting against and travelling down towards a small river. Yma would know cameras and this… button thing much better than he. And perhaps he would have some idea of how to release the hunter without giving him the idea to make another photographic bid on the island.

The last hill was more sparsely vegetated, with plumes of tropical sawgrasses leading up to the slow-moving teal-green water. Somewhere upstream a small fish jumped, causing a stir in the water flies and surface-skimming beetles, but otherwise the scene was peaceful. Muur braced his way downhill with an arched coil, teetering slightly with the added bulkiness in his middle but reaching the bottom without spilling over. The den that he and Yma shared was tucked away a bit downstream on the flood-safe side of a high bank. He was making good time.



Muur’s passenger writhed and rolled over in surprise, bracing his feet and hands all on various points of the stomach walls. The serpent was mobile, the sensations—strange. Underneath him he could feel those powerful serpentine abdomen muscles flexing and gripping around the earth and its obstacles. The long body itself bent and weaved, sides pushing off against the ground to find extra speed. He’d never thought about what a snake’s power to move over land without the benefit of legs would be like from the inside. But he didn’t have much peace to be mystified by it, trying instead to remain level and not be sloshed around by the movement.

Where is he going? The hunter thought, gasping as his hand slipped and he was pushed into tighter confines by a powerful contraction of the guts. After swallowing something my size he wouldn’t have a reason to go anywhere... Not for a few days, at least. Hope was not something his racing thoughts had stumbled on yet, but that was about to change as he felt the slithering motions come to a steady halt, and voices faintly reached him from outside of the Maranaga.

“Ah, what’ve you got?” The muffled voice was pipe-y, jovial. Something brushed by the large Maranaga’s belly and pressed in on the stomach walls, “Oops, should say who have you got there. Friend?”

“Human.” This voice was certainly Muur’s from the characteristic hoarse deep tone, and from how it echoed out from the deflating lung.

“What’s this?” There was a pause, “A… camera?”

“Do you know how to turn it on?”

“Well, sure.” The whirring beep of the lens extending and the display ticking sounded, “There, done. Ooh, that’s a nice unicorn beetle picture. This guy here takes pictures?”

There was a mighty huff of frustration, and a moment of quiet. It was broken by a tittering laugh.

“What, what? I like pictures!”

“Just go through and see if there’s any of naga.” Muur’s voice had a pleading tone to it now. Whatever was against the belly bulge pressed a little closer, causing the hunter to momentarily grumble and push back with both hands for more space.

Blip, blip, blip… The hunter could hear the buttons of his own camera being used by his captors only feet away. There was a silence which lasted several minutes.

“Narcissism be damned, but there’s no pinups of you in here, Muur-y boy!”

“Ughh… Yma…”

“Too bad about that. Hey—maybe we should take some? You do look fine with a full tummy.~”

“Yma,” Muur’s voice was gruff. “This isn’t even our camera. And also we’re not exactly ‘in private’…”

“Haw, shy Muur.~” The voice purred, clearly amused by Muur’s embarrassment, “But tell me—what’s the plan for this photographer fella then?”

“I was hoping you had an idea,” Muur’s body stretched and straightened out, pressed still against the object that had to be Yma. “We have to protect ourselves. You know.”

“You know I know.” Something prodded at the hunter sharply, and it apparently came as a surprise to the naga as well as the flesh tensed and twitched at it, “Why not just hock ‘im up back on his boat and tell him to scoot?”

“You know that’s not enough.”

“Isn’t it, though?” Yma was speaking softly, “Are you that afraid of one photographer? He’s barely even kickin’ in there.”

“I know. It’s not what I expected.” Muur grumbled, “I was hoping this would scare him off, but…”

There was a sound of snickering. The man blinked and wiped moisture from his face as he tried to process the information trickling in through the innard walls. They were talking about him. Discussing releasing him? It seemed tremendously unlikely—carnivorous monsters don’t give up their prey. But if this naga had never intended for him to be food then that was not reliable. And again, that was assuming these creatures were carnivorous monsters.

“…E-excuse me? Can I say something..?”

The conversation going on around him halted. The hunter had a feeling that the two naga were giving each other one of those “looks”. He thumped the wall above him, rigid from many rows of ribs and the serpentine spine under the fleshy pouch of the stomach.

“Umm, I mean… Since I am the thing you’re talking about,” he continued. “If you’re worried that I’ll come back and take pictures, well… I’m pretty sure I don’t plan to come back if you’d, uh, be angry about it…”

“Err…” Muur seemed unsure, tense. The guts around the hunter crinkled up, compressing him into an arch.

“Muur’s a worrywart! He’s not angry—” And then someone shushed Yma.

“Don’t reassure him!”

“I’m just being honest,” Yma grunted. “You’re not angry—you are scared! For good reason.” It seemed that Yma leaned in closer to Muur’s distended stomach, for the voice was much more clear now, “I mean, you gotta understand this… You take a few clear photos of Maranaga, then you get more humans knowing about Maranaga. And after that—you get more humans coming to look at Maranaga and take pictures. Eventually you’ll get someone who’s not happy with taking pictures. Eventually you’ll get the word out to someone who wants some naga-skins or naga-teeth or pet freshy-kidnapped kid naga—”

“Unnnhhh… Yma, you’re making me nauseous…” Muur’s groan was backed up by a deep mournful gurgle from the bunching folds of his stomach. The hunter gasped and pushed the walls away again.

“I—oof—I get the idea..!” The hunter settled again, concern lacing his dripping brow but with his eyes sparked with a thought. “Well, you guys are assuming I share these photos around… I don’t.”

“…Never?”

“Then why do you take them?” Muur’s voice was shaky but no longer ill-sounding.

“Because I… I like to.” The hunter smiled in the dark confines, “I’ve really only liked nature and animals… other humans haven’t been too kind to me.”

He sat upright, pressing his head against the roof of the stomach and his back against the arching curve of the rearmost wall, “Besides, the way my reputation is with photos of strange animals… no one would believe the pictures were real.”

“…I see.”

As the quiet intensified the hunter began to worry he’d divulged too much. His cheeks reddened and burned. What was he thinking—he’d just poured out his shameful sob story to a pair of huge snake creatures, hoping that would be enough to let him go with his camera and a smile? What kind of B.S. appeal was it to whine that you’re not popular with the other hairless apes, therefore you should be fine with risking losing your lives and home for me to be happy with my hobby holiday? He curled up his knees as closely as he could, sighing.

The two naga were whispering, he could feel it. Muur’s lungs were releasing little puffs of air, but the sound was too distant and too soft to make out words. It was time to be roughly thrown out, he supposed. And time to say goodbye to his beloved camera, since they surely would not give it back.

Muur cleared his throat, the sudden clamor above him causing the man to jolt.

“I, ummm, I-I mean we,” Muur’s voice was quiet, nervous. “We’ve decided to trust you. We’ll let you go. With your camera.”

“What?”

“We’d rather make a friend than an enemy.” Muur gave a nervous laugh, “and a human who doesn’t fear Maranaga is… probably not going to be dangerous to us, so…”

“You’re seriously letting me be?”

“You asked to be let be!” Yma cackled, finding the whole deal hilarious as he thumped the outside of the bulge, “Just shoosh and accept the friendly barfing session!”

Muur’s belly tensed completely, the stomach walls churning and pressing inwards in preparation of rejecting the human inside. Splaying out both hands, the hunter whined before he even had time to worry about what his wants sounded like.

“W-wait..!” The tensing stopped, “Can I… stay in here for a little longer..?” His face burned again in a deep blush, “It’s kind of… err, calming.”

Again, the hunter had the feeling the two naga had given each other the “look”, but he relaxed back into the soft chamber’s walls anyways. It didn’t seem as crazy anymore how easily he’d been swallowed, not that he knew the trusting and timid nature of these Maranaga. Maybe he was psychic—somehow he’d gotten that sense of a creature that wouldn’t harm without good reason. Or even reluctant to harm even with a decent cause. They were peaceful. It was refreshing.

“Hmmm…” Muur seemed to relax, the cords of muscular tension releasing and making the innards enveloping his guest even more cushioning, “I don’t mind.”



The day wore on a bit longer, an hour seeping past like liquid sunlight. Muur and Yma were somewhat entangled in the sunning space outside their den, a bulbous lump in Muur’s coils creating the occasional snoring sound. Grasshoppers occasionally landed on the hair and ears of the two Maranaga, but a swish sent them flying off again without disturbing the large reptiles.

Yma was purring, watching Muur’s expression of contented fullness and absolute comfort with a good humor. And a teasing smirk.

The larger of the two must have felt Yma’s eyes on him. Muur half-opened an eye and glared at him.

“What…”

“I was just thinkin’,” Yma grinned like a toad. “You’re lucky! You found one of those Vorey Phils.~”

Muur groaned, settling his face into both palms as Yma tittered away. Why do I live with this goober… He settled again, throwing an arm tightly over Yma’s shoulder and hugging him a bit roughly in response. Ah, now I remember why. Yma snuggled into Muur’s chest, happily sharing the warmth the big naga was picking up from their “houseguest” as well. Muur was too full, to relieved, and too sleepy to worry or gripe anymore today. They all were.

FIN
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New material I'd like to get a bit of critique on! I'm trying out new brushes for sketching and coloring and this two-part manta ray POV thingie is one of the first things I did with color on this new brush. Just want to hear how the style enhances the maw, the texture of the manta fella, and how it works with innards. ^^ Thanks in advance!
Attachments
Manta_Maw-colored_sketch.png
The approaching mawshot. :D
Inside_the_Gentle_Giant.png
The follow up--exploring the new surroundings inside the manta. ^^
Last edited by SpiderMilkshake on Tue Feb 09, 2016 1:16 pm, edited 2 times in total.
"I like to keep a bottle of stimulant handy in case I see a snake, which I also keep handy."-W.C. Fields
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Re: New Art--Manta Ray Predator (prey POV and outside POV, s

Postby SpiderMilkshake » Wed Jan 20, 2016 7:05 pm

New work that I'd love to see critique on!

These are the first two pages of a sketch comic involving vore, but as of yet these pages are pre-vore. Scenario is the feeding day for a huge serpentine creature--a Maranaga housed in the secretive Cryptozoo named Spider--and a large crate containing a scrawny ram is brought in. Someone at the Cryptozoo thought it would be a good idea to try the practice of "live-feeding" for Spider... what happens next? How does Spider react?

My main concern is, considering comments I've received on other art posting places, is that the feeling and expressions I'm trying to get across in the pre-vore section of the comic aren't coming across to viewers. So I'd really appreciate some honest and in-depth interpretation of the feeling and the expressions of the characters involved from people--honesty is key! I won't reveal the feel I'm going for in order to prevent contaminating people's thoughts. ^^
Attachments
Sketch-Story--The_Living_Nightmare_1.JPG
"The Living Nightmare", page one.
SketchStory-TheLiving_Nightmare_2.JPG
"The Living Nightmare", page two.
"I like to keep a bottle of stimulant handy in case I see a snake, which I also keep handy."-W.C. Fields
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Re: New Art--The Living Nightmare, sketch comic, needs criti

Postby Rhysion » Wed Jan 20, 2016 7:25 pm

The story wasn't too bad I thought. The characters were a little silly in some ways, but the overall it was fun. I liked the quicker pacing and descriptions.
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Re: New Art--The Living Nightmare, sketch comic, needs criti

Postby SpiderMilkshake » Thu Jan 21, 2016 5:18 pm

^_^ Thankee kindly for your words! I'll keep them in mind should I revise and for future writing.
"I like to keep a bottle of stimulant handy in case I see a snake, which I also keep handy."-W.C. Fields
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Re: New Art--The Living Nightmare, sketch comic, needs criti

Postby RonanTraumer » Thu Jan 21, 2016 6:48 pm

I'm not the best judge of visual elements, though I will say that I greatly envy your skill at drawing convincing animals. But I do have a few words of input about your story.

I wasn't sure that the story would be up my alley at first because I'm not a big fan of anthro-ish characters, but I did find the story and the characters captivating. I like the warm-and-fuzzy themes here, and you do a respectable job of laying out scenes with emotional resonance. The ending was very... nice. Nice, tranquil, soothing, and rather heartwarming.

The only significant thing that I felt was "off" in this piece was the shifts in perspective between Muur and the hunter. In some cases the transitions weren't very clear and it took me a moment to realize that a shift had happened. In others, the transitions weren't quite smooth enough and the perspective change was a little jarring. One way of smoothing this out would be to re-introduce your subject when the attention shifts. Example:

Muur groaned, gulping and sucking the hunter’s shoulder’s deeper. His throat below the chin had bellied out, distended where the shoulders were slipping through the tight channel within. It surprised him how little the hunter struggled. But the Maranaga could forget that and instead succumb to the pleasant stretch and fullness the man’s body sliding in was giving him. Another swallow and the hunter’s hips were drawn into his mouth.

The world outside vanished, replaced by a dulling heat and the sounds of the Maranaga’s body. Deep, audible gulping as the rings of flesh tightened about him and pushed him deeper inside. A resonating and rhythmic thudding of a massive heartbeat—it grew louder and louder until it seemed almost inside the hunter’s skull. And then it passed, returning to just a part of the internal symphony. The man was pressed tighter as Muur took a deep and grateful breath. His feet were finally leaving the mouth and joining the rest of him.


Here is one of those uneasy shifts that I found somewhat disorienting. We've been inside Muur's head throughout the first paragraph, and so we automatically continue to read through his lens in the second paragraph until we are told otherwise... at the very end of the third sentence. I mean, we can infer through context that we're reading about the hunter now (obviously it's not Muur getting pushed into a body) but the trouble is we don't have that context until we've already read the paragraph, which is too late. If you had started by re-introducing the hunter ("The hunter's world vanished, replaced by a dulling heat....") then we get the signal early enough to establish the proper frame for the rest.

The first paragraph about Muur, in fact, does this properly, because the preceding paragraph came from the hunter's perspective, and this one immediately tells us to think about Muur instead.

My other points of criticism are fairly tiny:

A soft crackle announced the hunter’s position as his boot slipped into a stray twig. The maranaga’s ear, the right ear, twitched but gave no other indication of being troubled by a human so close.


We don't necessarily need to know that it was specifically the right ear that twitched, do we? So it was the right ear -- does it matter? Should we check our mental picture to see if we imagined that ear twitch correctly? And which way is left and right again? His right or our right? Seems like an extraneous and inconsequential detail that our imagination already handled just fine without the appositive.

(Also, you seen to have forgotten to capitalize "Maranaga" here, the way it was in every other instance.)

He was well back in a hollow at the base of a large boulder, ferns taller than a man is tall concealing his form....


Two notes here:

One, "taller than a man is tall" is sort of awkward in the way that it repeats "tall." Maybe try "ferns standing higher than a man is tall" or something like that.

Two, in later scenes we see that the ferns are only tall enough to not quite conceal a man crawling on his hands and knees. Slight inconsistency there that forces us to rethink the picture.

His skin tingled and twitched like a horse’s hide at a new sensation beginning at his ankles.


... Huh? Maybe it's just my unfamiliarity with horses, but I don't associate horse skin with being twitchy or tingly. Horse hide is just dull leather to me.

With the small exception of the jarring perspective shifts, none of these points really detracted from this story being a very enjoyable read. Good work.
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Re: New Art--The Living Nightmare, sketch comic, needs criti

Postby SpiderMilkshake » Fri Jan 22, 2016 5:51 pm

^w^ Ahhh, this is extremely helpful! I do have the habit of not being able to see such discrepancies in my own work and words, so having a focused eye pick these out for me is really great to have!

Thank you muchly, RonanTraumer!
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New Work Posted For Critique As of February 9th

Postby SpiderMilkshake » Tue Feb 09, 2016 1:15 pm

:D Thought it was about time I sought some critique on this two-part work. This pair of drawings are... a bit unique, in that it's the first time I've ever drawn my own persona character as prey rather than predator.

I'd love to hear how these pieces "read", feeling-wise, opinions on the quality itself and methods to improve it. ^^ Thankee kindly in advance for taking the time to look 'em over!
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Theres_Always_a_Bigger_Giant-1-fin.png
Part 1--Pre-Vore
Theres_Always_a_Bigger_Giant-2-fin.png
Part 2--The Nom
"I like to keep a bottle of stimulant handy in case I see a snake, which I also keep handy."-W.C. Fields
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Re: New--SpiderMilkshake's Vore Art Critique Thread

Postby SpiderMilkshake » Sun Feb 14, 2016 1:01 pm

New as of Valentine's Day--a sketch I have for a piece in the works. Looking for some input on the bulges, and if the prey's head inside my sona's jaws looks natural enough.

This is a humanoid form of Spider, my naga sona. ^w^ There is one anthro dragon prey already inside my stomach, the other being swallowed "snake style". I adore same-size and half-size when it comes to snakes and snakish creatures. ^^ Lemme know any thoughts, and thanks in advance for your words!
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Slipping_Into_Someone_Comfortable-sketch.png
Only a sketch--time to change things is now, if needed.~
"I like to keep a bottle of stimulant handy in case I see a snake, which I also keep handy."-W.C. Fields
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New Feb. 18th--Full Tour Set, including Release Picture

Postby SpiderMilkshake » Thu Feb 18, 2016 6:45 am

Good day all! ^w^ Newly completed the previous sketch as well as an optional sequel picture. Seeking out some technical and aesthetic opinions and critiques on these as this type of vore is one I shall be drawing a lot more in the future--I want to get gud (as I can, anyways).

Anyways, enjoy this set and if you think you can say something that can help me in the future, by all means do so! :D
Attachments
Slipping_Into_Someone_Comfortable-normal.png
"Slipping Into Someone Comfortable"--Swallowing two anthro dragons in my humanoid form.
Releasing_the_Dragons.png
"Releasing the Dragons"--After a long night of working these two through my guts there is a tough but pleasurable release. ^//^
"I like to keep a bottle of stimulant handy in case I see a snake, which I also keep handy."-W.C. Fields
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Re: New--SpiderMilkshake's Vore Art Critique Thread

Postby User1205952 » Thu Feb 18, 2016 5:43 pm

...
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Re: New--SpiderMilkshake's Vore Art Critique Thread

Postby SpiderMilkshake » Sat Feb 20, 2016 2:12 pm

^^ Ah yes, thanks for your points! In the first one yes--those dragon anthros are meant to be a little less than half-sized compared to Spider. And I can certainly see what you're talking about in the second one--something is quite off with the foreshorting and perspective, probably the size of the head. ^^'

And again thanks for your comments! :D I'll be sure to put them to good use in the future!
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New Feb. 25th--X-Ray Version Is Finished!

Postby SpiderMilkshake » Thu Feb 25, 2016 6:59 pm

:D Delighted to say the X-ray version of this piece "Slipping Into Someone Comfortable" has finally been completed. ^w^ Would graciously accept any thoughts or constructive criticism on the image.

To add a bit of detail, the two anthropomorphic, sort of "cutesy" type dragons who are prey in this drawing are a male and female couple who've always wanted to experience being eaten together (A short story detailing the little adventure is in the works--erotic content in this one ^///u\\\^). The predator here is of course meself in my sona's humanoid form... a great big naga with appropriately snakish devouring potential. :gulp: Omnomnom~
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Slipping_Into_Someone_Comfortable-X-ray.png
"I like to keep a bottle of stimulant handy in case I see a snake, which I also keep handy."-W.C. Fields
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New Story WIP--Snake Vore, Child Prey, Full Tour

Postby SpiderMilkshake » Sun Mar 06, 2016 3:22 am

:D Below I've posted most of the first half of a new vore story I'm writing in which a boy who loves the local science museum finds one of the exhibits to be EXTREMELY realistic! XD

The story in its entire contains non-fatal full tour of a giant reticulated python, but the reveal I have in mind at this point is that they boy is plopped out back into the museum and finds the actual fake fiberglass snake-slide exhibit to by lying unused in a back hallway... ^w^ Cue realization from the kid that he was just eaten and pushed through and out a real live snake's digestive tract.

My main questions for critiquers are:
1) Is the situation believable? Not just the vore aspects--the whole shebang. Feel free to nitpick on this point.
2) Is the language too flowery, too bland, or just that right level of descriptive?
3) Are there any points of description or detail that lose you (reader)? If so, what are they and would the story still work if they were shortened drastically or skipped?
4) Finally, how appealing is the snake maw and the beginnings of swallow that are shared here, from a vore-lover's perspective? :)

Alrighty, here is the section:

A Special Snake Exhibit
(A Short Vore Tale)
-------------------------------------------------------------
Jack had been excited about moving in two blocks away from the science museum since the day he’d discovered how close he’d live to it on Googlemaps, a few days after learning his family would be moving house into the city. Two months later and his enthusiasm hadn’t dampened in the slightest. The museum was one of the more active, and creative, in the country, and so new exhibits popped up in three-week increments, staggered across the five floors of the grand building. Sometimes they even had meteorology and botany displays, complete with miniature weather system recreations in glass tanks and live exotic plants, on the roof. Needless to say, Jack was a science kid, just out of middle school. School seemed piddly compared to an entire afternoon spent wandering the hallways, taking in the ever-changing exhibits.

Though he was understandable disappointed to see the Dimetrodon and Edaphosaurus animatronic shows had been moved on to the national museum, what had taken their place was equally awesome-sounding:

For three weeks only this May—the 5th floor welcomes “Explore the Snakes of the World” scientific exhibit! From the 1st until the 21st we will be hosting many interactive snake-themed displays designed to improve your knowledge and appreciation for these amazing animals! Includes a reptile-specialist supervised showing of living snakes for the kids, interactive video tours of a snake’s journey through over thirty species and habitats, and the long-awaited Snake Slide—experience what it would be like to be swallowed by a snake and tour the snake digestive system! (must bring swimwear to ride and have children under 5 be chaperoned by an adult over the age of 21) Only three weeks to experience the new Snakes of the World exhibit! Admission is free!

If there was any creature that fascinated Jack more than bugs, sharks and prehistoric beasts—it was snakes. Now, living so deep in the city’s urban regions he hadn’t seen a live snake in months. This exhibit was coming at just the right time! He didn’t doubt he would end up visiting it nearly every day for the duration of the show.

After school was out he burst from the back door and jogged across the soccer field, ignoring the guttural jabs that the players practicing there threw his way. Jack slipped out the back gate and onto the sidewalk before it had flooded with groups of kids making their way onto buses and into minivans. He could see the large windows of almost black tinted glass in the ashy top floor of the museum poking out over the top of the bank across the street. Not far to go and he’d be the first kid to stroll into the fifth floor exhibit in the entire school.

He jaywalked at a run as a minivan awkwardly pulled into a space, blocking other cars for just a few seconds. He hugged the bank wall, slipping past several women walking their dogs and emerged on the opposite side of Main Street South. Luckily he had the red light on his side this time, and as he slowed down in the archway of the museum entrance the attendant there smiled and waved him through. The girl seemed to be college age—she’d worked there nearly every afternoon since Jack had lived nearby, and by now he’d been to the place often enough she knew him on sight.

He rode the elevator up, knees bouncing in impatience as he watched the digital number climb higher. It was one of those slow, public elevators. The cheapo version in state buildings meant for common folk to use. Finally the bell sounded a cheerful “ding!” and the doors slid open to the Snakes of the World exhibit entrance. Jack stepped out and grinned, almost with the wide jaws of a snake himself. Beyond the banner the very first thing he saw was a huge climbing terrarium, so large it could not be made of glass alone but glass slats between steel struts. The décor inside the terrarium was a huge faux rainforest tree, roots twisted to form occasional soaking pools with sprinklers providing tiny waterfalls and misters for the tropical snakes inside. Up against the glass with a pair of small kids watching was one of the snakes—a huge reticulated python, easily a 15-footer. The serpent was basking peacefully in a heat lamp, seemingly unbothered by the excited and fidgeting kids. All around the sides of the big terrarium were walls lined with smaller exhibits and the more simple glass terraria for the smaller specimens.

Jack’s attention was immediately drawn to the live creatures along the left side, where no other museum-goers had congregated yet. A pair of lustrous and curious-looking California kingsnakes peered out at him from a pile of coils in their shaded hide, purplish tongues flickering. Next door Jack spotted the head of a horned viper, glaring out at visitors with a weariness that the kid understood immediately. Snakes were quiet and humble creatures, usually. And humans were certainly not, which they made known with every earthquake of a step and bawdy, unsubtle gesture!

Jack watched the snakes for a while, eyes shining as he recognized many exotic species. But as the hour wore on, inevitably the space in the fifth floor became more crowded, more noisy. It was harder and harder to really absorb the interactive habitat games and enjoy the intricacies of a giant model of a rattlesnake head which injected “venom” (really colored water) into a giant version of a milking tube. Finally Jack decided to just move on to the last section of the exhibit, which was around the bend next to a row of shelves meant to storing kids’ shoes.

To his dismay he discovered a red rope had been hooked up across the hall, a sign hanging on it:

We apologize for the inconvenience—the Snake Digestive System Model Slide is temporarily out of order as it has not been set up properly yet.

“Aw, dammit.” Jack kicked at the pole holding up the rope a bit. It had sounded like a cool ride, and it ought to have been set up by now, on opening day. But he brightened up as he noticed no attendant to direct him away; surely it wouldn’t hurt just to take a quick look at the ride entrance, right? Glancing about he slipped under the red rope and tip-toed to the end of the small hallway.

It was more dimly lit here, with only one recessed bulb giving out a dull gold tint to everything. Before him was a jumbled setup of poles and ropes meant to control a line of eager brats, now lying uselessly to the side. Directly under the lighting was the massive model maw—crafted to look exactly like the gaping maws of a reticulated python, but obviously much larger than was ever possible.

Jack approached with widened eyes, straining hard to see the details in the low light. Whatever material they’d used to make the mouth flesh and gums was incredibly life-like, almost shining with saliva. Maybe rubberized vinyl? There had to have been some sort of water jet built in as well as the inner surfaces were dripping wet. The boy set his hand down lightly on the tip of a huge hooked tooth, admiring that it was quite sharp, even if meant to be a kid’s ride.

He jumped back as the end of the tracheal tube flexed and a deep billowing puff of air blew by his face. He laughed; they’d somehow gotten animatronics involved in this thing too? The museum had really shelled out on this model this time. Usually it was some painted-up fiberglass item, occasionally with a different texture or two. This was realistic—almost disturbingly so!

No doubt the moment it opened scared snot-nosed kids would have the museum staff closing again. Peeking back over his shoulder and seeing no one to scold him, he decided that this first chance to ride might also be the only chance, and he knelt down next to the scaled lips of the mouth and leaned inside.

The jaws began closing on his upper half, a deep red tongue slipping out from in front of the tracheal tube and looping each fork behind the soles of his shoes. The boy yelped. Was this meant to happen? More animatronics, with some kind of motion tracker to set the movements off? Whatever the inner workings of the model were it was definitely tugging him into the python’s jaws all the way and it would be better to sit still and ride it out than struggle and end up pinched, prodded and bruised by the mechanical actions of the mouth.

There had to have been some sort of water spraying device hidden somewhere. Jack felt the sudden increase in moisture, his hands slicking across the healthy pink of flesh in the back of the mouth and being instantly soaked. Ugh, probably why the flyer mentioned swimsuits, Jack thought though it was far too late to try and pull himself out and find some trunks. His feet slipped inside and he was now completely cocooned in the slippery mouth, wedged between the rows of sharp sickle-like teeth. His head was thrust over the narrow channel of throat, which looked just as wet and slippery as the dampened maw textures. He supposed it was supposed to work like a waterslide, and with as much a shrug as he could manage in the tight confines he shimmied forward and let his shoulders dip down against the rubbery throat.
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XD Sorry for the cliffhanger... this is a bit past the 1/3 point of the story, three pages only. Short enough read to critique a bit, long enough to include the GOOD part! (at least, for this site X3) Thanks in advance for all who read and/or offer their comments.
"I like to keep a bottle of stimulant handy in case I see a snake, which I also keep handy."-W.C. Fields
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Re: New--SpiderMilkshake's Vore Art Critique Thread

Postby -Stromae- » Sun Mar 06, 2016 12:47 pm

I like the level of detail you have. It is not excessive at all, you manage to create the correct amount of detail to let the reader imagine the scene by themselves. I don't personally think at any point it started to drag, you are doing that right.

It is especially good in the start of the vore part, so you are doing a great job with that. Hopefully the rest of the story has that same level of detail!
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Re: New--SpiderMilkshake's Vore Art Critique Thread

Postby User1205952 » Wed Mar 09, 2016 11:32 pm

...
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New Apr. 2nd--Snake Form Swallowing of an Anthro Dragon~

Postby SpiderMilkshake » Sat Apr 02, 2016 3:10 am

:D Hello all!

Newest art I'd like to have a bit of feedback on is a traditional piece, and truly my first piece of drawing depicting vore in my snake form. ^w^

Just looking for a bit of opinion on how traditionally-drawn vore looks--what the appeal is or if it's lacking something that digital art does better. ^^; Or just a technique that could help my traditional vore work. And also--how does the snake jaw look and does the internal work with where it's placed? ^w^ I'm rather confident on most things about this but some feedback will surely help me make more and better things of this nature in the future!

Thanks in advance for all comments and critiques! ^^ They are much appreciated!
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Dragon_Entering_a_Snakes_Gullet.jpg
^^ Intended as non-fatal, but certainly more enjoyable for Spider here than their draconic prey. X3
"I like to keep a bottle of stimulant handy in case I see a snake, which I also keep handy."-W.C. Fields
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Re: New--SpiderMilkshake's Vore Art Critique Thread

Postby eatmeplease » Sat Apr 02, 2016 9:35 am

It's very nice!
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