merelyatoy wrote:
It's really cool to see someone reasoning out the mechanics of unbirth like this, not least because it's original and suggestive of a whole fictional 'universe' extending out from this one detail.
Given that unbirth is such a strange concept in the first place, I'm surprised that most depictions of unbirth tend towards a relatively few tropes (cum / digestion, absorption), when it's something that really allows writers and other creatives to do whatever they want (though this isn't a criticism by any means - people are free to write about whatever they like!).
Thanks! I like to do that because it feels more "real" when there's a consistent framework for the characters to operate in. It doesn't surprise me, really, that a lot of stories (in places like this) are written by people who haven't really studied creative writing and don't understand
Deus Ex Machina. If you let the all-powerful Genie out of the bottle, the rest of the story becomes meaningless and boring because the reader knows that the Genie can just fix anything at any time, robbing every possible event of any drama whatsoever. Avoiding that situation takes planning: the reader needs to learn that something exists before the author needs to use it; every character has to have plausible motivation for everything they do.
merelyatoy wrote:For me, unbirth is best when the pred remains pregnant, and unbirth makes the most sense when it's presented in the context of character motivations. So when I write or create a render, I'm trying to depict the pred's desire to completely dominate and control another person, with unbirth being the expression of that desire. Likewise the prey should feel helpless - overwhelmed by their captor's body, and by their own inability to resist.
In a sense, the pred has an unbirth fetish, because when they're aroused, there's nothing they want more than to unbirth the man or woman of their desires - so like dreamweevil's depiction, it's the satisfaction of a basic biological desire. The prey may be unwilling at first, but in the womb they are completely at the mercy of their captor, who will reshape them, body and mind. Perhaps this is a process that involves repeated rebirth and unbirth over a matter of weeks or months, or perhaps it requires a period of prolonged confinement. The belly itself can be either a humiliating tool of concealment - "nobody will know you're struggling in my belly" - or a show of power, and it's definitely part of the attraction for me.
I'll agree with all of that. The absolutely "scariest" and most arousing part of the sequence isn't necessarily the unbirthing itself: the pred exerts her
real power and control by returning to normal afterwards. The birth canal, moments ago large enough to swallow her prey whole, transforms back into a "normal" vagina, she gets dressed and cleans herself up; and even if her prey is still alive, struggling or screaming inside her, she can act as though nothing happened while simultaneously erasing her prey from existence. Even if she's to look pregnant for a while, her knowledge that eventually she
won't show at all is powerful; a continuous reminder of who's in charge and who gets to survive this.
This is true for all sorts of vore, and in the right context is probably why I'm not averse to "disposal" as a thing. The predator consumes its prey, but the event is
really over when the pred eventually goes to the bathroom. The predator is back to "normal" and the prey is gone, evidence flushed away.
The interesting real-world analogue is this: if you've got a sex partner, inspect your own feelings as you watch your partner getting dressed
after sex: the skin you were intimately touching, minutes ago, disappearing back into underwear; your scent on them but
inside those clothes, hidden away; all external evidence being carefully and deliberately erased; a secret just for you.