The Vice Peddler

As the scene and all its many props came together (the environment is the Industrial Loft, btw, though I yanked out most of the furniture), I realized that I wanted The Guy to be doing just a little bit of something with his hands. Trouble is, as a .obj, he's a static object, and the posing data from Daz got lost in all the transfers. So, I wound up (re)learning how to do armature deforms and weight maps. The range of motion was suitably very limited without looking like jagged shit, but I was able to infuse just a hint of life into The Guy's otherwise very static posture. Also, very subtle but still visible - The Guy is wearing a huge wedding bracelet on his left wrist. There probably aren't many rings that could easily fit him, and Ellie absolutely would spoil the shit out of her hubby with a massive jewelry piece to mark their bond. Regarding the other characters, Ellie is wearing the "Office Lady" set, which is clearly meant for smut renders, but is well-made. Immy I think is wearing freebies (the rip was facilitated with some light polygon deletion within Daz), and Hannah's outfit was originally a prison uniform that I re-textured. I also had to do a lot of breast fixer adjustments thanks to her prodigidous bust. It may not be obvious because we don't get great looks at the girls until now, but I made Immy quite a bit heavier for the final scenes (which fits with her questions and curiosities). Hannah got a little thicker too, but I don't think it's as obvious, especially since her outfit is baggier. Misc thoughts: I think the story/character beats largely speak for themselves; hopefully nobody's upset that I retconned Ellie to be such a deeply closeted feedee that it does an integer overflow that turns her into a fanatical feeder. The feedism/fat-fetish flag was in my resource folder for ages and I was dying to find a place to put it; a sticker on Hannah's tablet is maybe kinda blunt, but it works. Also, a glance at Immy's laptop is further confirmation of her distressingly-alluring fantasies. Another plot thread that I wasn't able to cram in was Hannah and Immy essentially proposing a polyamorous (polygamist?) pseudo-marriage with everybody else; I think the implied time passage and familiarity that everybody has with each other makes it pretty clear that the main cast is already very close to each other as is. Oh well. A final detail that I included for minimal effect was the redesigned bariatric frame, mostly visible as a single beam in the upper middle of the previous scene, and a blue metal truss in this one. In the full scene, there's actually a set of cables suspended from the rafters that help support the beam too - the gang is clearly thinking big!

And here we are, at the end. Story-wise I again wanted to think critically about what somebody like The Guy would actually do with himself all day, and frankly just eating all the time seems like it would get boring. So of course, videogames felt like an obvious answer. I had some dialogue planned about The Guy needing modified controllers or some hinting at getting a neural interface, but the final version wound up not having space for that. The only remaining nod towards that digression is the VR headset near the bed (the "mannequin" is actually another G8 figure with a "rubber" shader skin applied to all its surfaces, and most of his body parts hidden). Once again I wanted The Guy to be driving changes, so looking for sponsors and productively leaning into the controversy inherent in being the fattest fuck online seemed fairly plausible for the internet era. I wanted to work in some dialogue about streamer branding, the "Blob Army" or something to that effect, but again, the final two pages wound up ponderously overstuffed as it was. The biggest technical issue for the final scene(s) was actually coming up with a proper "blob" shape for The Guy, and holy shit this was a journey. I took some time away from Daz to work out with Blender. I can hear the groans already, but here's a no-shit piece of advice: call me a boomer if you must, but if you want to be a serious 3D artist, you need to know how to work Blender. It took some doing, several false starts, and several pages of notes, but I wound up getting to grips with two methods of simulating jiggle physics, and learning how to do mesh sculpting. I ultimately decided not to use the jiggle physics techniques, though I'm sure there'll be an appropriate application someday. Which left sculpting. I frankly don't have much advice there other than to get a reference and to just do it. I started by inflating The Guy as much as I could in Daz and setting the posing there (I didn't quite get it right, hold that thought), then exporting the figure as a .obj and re-importing him into Blender. Sculpting is easily my weakest skill here, and I'm frankly just glad I wound up with something that looks passable. Daz can import .objs, and after a bit of fiddling to ensure the axes and scale were correct, I did a re-import, but had to re-apply the surfaces to the re-sculpted Blob Guy. I should probably have mentioned this much earlier, but eh, people need to read if they want to learn: one annoying quirk of Daz is that shaders won't "stick" to a surface unless you apply the "Iray Uber Base" blank shader first…. most saliently, this needs to be done before Genesis skin shaders will show up correctly. But I did that, and I was able to copy the skin shaders from a "donor" G8 Male and get skin showing up correctly on the reshaped, but static, Blob Guy.

We get a decent look at the bariatric frame and a total fucking curveball with a surprise wedding panel holy shit! Ellie in this frame is probably my single favorite rendition of her. I love how the pose came out, I love how tiny she is sprawled all over her man, I love how she's so flushed and grinning from ear to ear, I love how she's delicately holding The Guy's big stupid bowtie… I probably could have done something different for her panties, though. She is wearing some; it's very subtle but it's a teeny-tiny string thong in white cotton. As always with the other "big steps" or escalations in the story, I wanted The Guy to be the one to propose; Ellie already having so much leverage over an immobilized Guy just felt like a dangerous conflict of interest for her to essentially demand a commitment - an offer he can't really refuse, eh? I know a feedist relationship this extreme can't happen (to this level at least) due to basic human biology, but I still wanted to engage with the dynamics as earnestly as I could manage. Also, were the relationship darker or more abusive, I still think it wouldn't make sense for Ellie to demand a hitching - she already has about as much control over The Guy as anybody could have, if she chose to exert it, and getting the wedding officiated might risk blowing up her hypothetical control system. Anyways, regarding technical tricks, the bowtie ribbon is the Versatile Tentacle yet again, this time with a tweaked silk shader applied. The bowtie was a free 3D grab with the shader duplicated. The wedding ring was a very old freebie asset I'd had for ages, but I did put different shaders on the metal and gems. A sneaky little trick I pulled was to add a "micro" light source to subtly highlight the ring, in addition to the normal key+fill+ambient/back lights for the scene. Another fun fact, according to a BAC calculator I found online, a typical wine cooler (3L) would hit The Guy (who probably weighs about a ton here) about as hard as two beers would hit a normie. Party on, fat boy.

Aka "wacky lens central". Moderation is for other people, I want fucking everything in frame, but no I also don't want a fisheye effect. Turns out the latter can only be partially avoided; Daz has a "lens" feature for cameras that lets you set up various distortion effects, and one of those effects can partially counteract a fisheye effect from a very high FOV. The trouble is the lens doesn't get simulated unless you're doing a full IRAY preview or render, so having to manipulate objects in a distorted frame while not easily knowing how they'll actually look kinda sucks. Believe it or not, The Guy's shape still is achievable with some limit-removed Daz sliders… sort of. I chose poses carefully to avoid putting too much distortion on his massive belly, and also chose angles to focus more on the girls and to minimize exposure of geometry flaws, and even then I still had to so some significant Photoshop work. Specifically, The Guy's left upper arm needed a crease moved closer to his chest, and the back rolls further down and in shadow (same frame, with Hannah being fingered) actually had a fucked-up "open" mesh. It was subtle, but a keen eye could spot it, and more importantly I knew it was there. By now I think you know how I got auxiliary pictures onto the tablets (I also added noise in PS), but there's some extra background work that might not really be apparent that I still put in. First, the tablets actually have some "robot arm" props holding them up and attaching to the bed's headboard (but are not visible in the final product). The (barely visible) bariatric support is just a bunch of cubes reshaped in Daz into square support tubing with a black paint shader. The Versatile Tentacle makes 3 appearances here, one for each half of the belly sling (flattened out and given a linen shader, also not very visible, unfortunately; Hannah is actually bracing herself against her side of the sling) and one is used to make Ellie's dildo. The "lube" bottles are actually a lotion-bottle asset I don't remember picking up; I oriented them so the real label wasn't visible, knocked together a quick "CosmoSlide" mock branding, and slapped that on the visible side of the bottles with the Layered Image Editor. There's also a couple of towels crumpled onto the bed that I even did D-Force sims on, but like many small details, barely visible. Alas. At least I know the revelers can clean themselves off once they're done. For balance I figured it was time to give Imogen the bulk of the speaking lines, and despite her chaotic and impulsive personality I also wanted her to be a problem-solver in her own way: the bariatric frame and belly sling systems are actually her brainchildren in this continuity, plus her concern with Ellie's well-being while Hannah is joyously indisposed. I also love how that "fuck me" look Immy's giving the camera came out.

Probably should have made a timeskip more spelled-out because holy shit does The Guy blow up from the prior scene. This is about the part where I confirmed that, sure enough, as The Guy's belly gets bigger it only gets even harder to set up interesting framing. This scene needed a couple of iterations too. Initially I was going to have Ellie eating a light meal of her own while on a sofa and a little ways away, but it would have been really awkward to fit her into frame plus The Guy's vastness. So I wound up going with posing that had Ellie coming in close, which was a better fit given the sexually-charged dialogue in the original scene and the text in mine. I'm not generally huge on slob, but I can fuck with some messy eating here and there, and it definitely seemed like the right sort of thing to include in this scene. The burger and hotdog are finds from free 3D sites (and good hotdogs are apparently hard to find for free), while the food mess is from the hugely helpful and previously-mentioned Dirty Dishes collection. The handprint is from SY Splatters again, and overall I'm actually really happy with how the giant pool of syrup wound up having such a convincingly "liquid-ey" appearance. At first I figured that just seeing how fucking pudgy The Guy's hand was would be enough of a teaser for the gainer contingent of the audience, but I decided to slip in a little more. The webcam and PIP live feed of the alternative perspective is pretty subtle, but I hope the people who zoomed in a bit found a pleasantly huge surprise. I don't remember where I got Ellie's bathrobe, which is a shame because the terrycloth came out great.

Obviously an escalation like adding funnel-feeding is the sort of thing that should happen at Ellie's place, but I wanted to do a different view of her apartment rather than the couch + living room for the umpteenth time. I thought for a while about how to make the scene more interesting or different, then settled on having Ellie in like a maid/servant/baker costume for some reversal roleplay, and settled on the maid getup (Maid Outfit by MantaMade). From that, the scene writing got a lot easier, though I still needed a couple of passes to get her talking points in order, like having her drop character and asking for confirmation. The pitcher is the Morphing Glass asset with a tiny D-Former to create a spout (it doesn't actually have a handle! Hence why Ellie's hand is positioned behind it), the funnel was drawn from an online freebie site, and the tube was the Versatile Tentacle again, with a plastic shader modified to be translucent and a Smoothing Modifier applied. All the props in the background are freebies or "scavenged", and there's even a blender in the background though I don't think it's really visible. I'm still not quite sure what I was going for with Ellie's expression - I think I was trying to make her a little "plastic smile-ey" or apprehensive, but that's a tricky face to get right. Lighting was pretty basic, with a pretty bright key light coming in from the left and a ton of ambient light.

And here we introduce the supporting girls and their new looks, and the final appearance of Ellie's bedroom and its horrible-to-work-with walls. I took a minute to think about how to write the girls and how they'd interact with The Guy. Right away I thought it'd be appropriate to have Imogen still being kind of mean and irreverent, which then led me right towards making Hannah her foil and checking her worst behaviors. Immy also wound up being really short, about the same as Ellie, but I plumped her up a bit, gave her a bottom-heavy build, and some generally punk or alt vibes from the hair and tats. Getting her ghost-pale complexion nailed down took a little doing, but I got there eventually: a combination of translucency weight and skin base color are the main levers. Once I'd finished her figure I just couldn't banish the thought that she put out very strong "chaos goblin" vibes, so I leaned into that for her subsequent appearances. Immy uses the WF Karla hair with an inbuilt red hair shader, and her sleeve is from one of ShanasSoulmate tattoo packs (tats are actually easy-ish to bootleg, but I got that asset for peanuts a while back). Hannah naturally needed to be Imogen's opposite; no less sexual, but tall, imposing, contemplative, and steady. I came up with the headcanon backstory that they were diehard SSBHM hunters, so of course they'd be interested in Ellie's pet project. I also decided to stick with the original idea of having Hannah working as a nurse; it'd tie in with her personality, and of course some scenes that come later. Hannah uses the Rosabel Hair asset, and an African-American character skin that I think is a Daz default. Also, I don't think it's very visible in the final render, but Hannah has some light stretchmarks courtesy of the Big Girls morph pack. All the girls have some makeup on, but I can't recall which product(s) I drew from. I also did some D-Former shaping on The Guy where he's getting grabbed. I'm not crazy about how the effect turned out, and doing more "realistic" fat grabs would have been a shitload more work aka needing an external program.

Now we start getting really good looks at the damage Ellie is doing to The Guy's waistline. I'm still able to get away with using the default Daz morphs plus some options brought in by a free SickleYield pack, and it definitely helps that I don't need to show his whole body. I thought for sure I'd have to bring in custom geometry soon after this point, but I was able to push the "standard" set of morphs pretty damn far. So for setting up posing and POV sight pictures, I have a small confession: I'm not actually a fat guy. For a lot of the scenes to come, I actually simulated poses and POVs with a stuffed shirt (layered with inferences from other (SS)BHM art references of course). One serendipitous quirk of this project is that I'm too dumb to figure out how to warp a figure's limb lengths to pile on more fat, so the skeletal anatomy is necessarily near-flawless. I've seen people complain about that effect for some supersized character art, and I think having the anatomy being very grounded makes the eventual extreme contrast especially compelling. Ellie's pants have a "pink camo" pattern that I found online and substituted in, the moving boxes were freebies, but the dirty dishes were actually a Dirty Dishes asset pack by CGJellyfish - fuckin' fantastic asset tbh. The bag was a re-use of the takeout bag from Scene 10, but with some delicate use of D-formers to pull in the top part of the bag and the handles.

Man if only I could dirty talk IRL like Ellie does here. What a filthy mouth she turns out to have! Anyways, let's rip the bandaid off: this block of scenes is the biggest set of changes I made versus the original. Sort of. I didn't want to break the first-person perspective (yet) but I quickly realized it was hard to get a titillating first-person look at Ellie. While I know a big fat dude-gut blocking a view of Ellie is pretty hot in its own right for some viewers, I figured it would make a boring scene. Also the original sex scene here breaks with first-person anyways… So I decided to bring in the mirror. Reflective surfaces are trivially easy to set up if you understand surface parameters, but they add a lot of complexity to the simulation, and getting all the shit into frame was tricky. Looking back, I probably should have moved some furniture around, but that'd have required redoing the prior scene too, which I was not in a hurry to do. This scene also kinda marks the point where I started to feel obligated to include some additional contextual or storytelling clutter - Ellie's bra and panties on the ground were "tossed" there by D-Force, though I doubt many people really noticed. I did, though! Also, as I'm sure fans of the original noticed, I chose to cut out the "belly drop" scene. I just plain felt like it wouldn't make sense for The Guy's size at that stage (I included a reference to the guy doing something hot with his gut in the dialog though), and also I wasn't confident that I could do the necessary mesh shaping work to make the effect look good. Even at this point, after racking up a lot of meshwork experience, I would be apprehensive about trying.

And here we make a bit of a turn. I gotta be me, so that means I'm gonna make things too goddamned wholesome and too goddamned wordy. I dunno - in my mind I just have a hard time seeing a long-term romantic feedist relationship not winding up super tender and doting. I know this is a significant pivot for 3D Ellie vs comic Ellie, but it just feels "right"…. And I suppose my version is technically "fanfiction" so yeah let's just call it some alt-universe shit I guess. Additionally, I really wanted the escalation that lands The Guy irrevocably into Ellie's home and orbit to make sense, and it was important to me that while Ellie offered escalations, it was The Guy himself who took her up on them (it should also be pretty obviously implied that The Guy conceived of the "donut shop stuffing" and the "FFA femdom playtime" scenes). I know this is a little off the topic of tech, but the writing informs the art, so I wanted to explain the writing a bit. I see online arguments about whether or not it's "right" to have depictions of toxic versus wholesome kink relationships, and while I understand arguments in either direction, I'd simply feel irresponsible putting out content that depicts toxic feedist kink dynamics. I don't judge anybody who does - this is purely the answer that is correct for me personally. And I know that's probably a split between me and Tonbelly. Hopefully that doesn't stick in their craw. Anyways for the scene I actually used a distant light to simulate sunlight and turned the color temperature down a bit to get that nice early-morning golden glow. Technically you can also do this by adjusting light color, but color temperature is a little…. more "slick"? The clothes are also one of the cases where I used D-Force cloth simulation to drape them over the chair. D-Force is a whole ball of wax, I'm not really going to get into it here. This scene also shows off Ellie's alternate hairstyle, the WF Kelley Hair asset, with a customized hair surface to match her "loose" style.

Ah the first double-render scene. The shot on the TV actually comes from a secondary camera setup - I rendered that scene, saved it, cropped it, and re-imported it as an emissive texture for the TV screen. The pigtail plug itself is literally just a wine corkscrew prop that I imported and retextured with a pinkish plastic shader and clipped into The Guy. Yeah the tail is probably larger than is realistic, but I wanted it to show up well. With that done, I shifted to the traditional POV camera, this time with The Guy on hands and knees. Food props are freebies I already had in my library or yet other grabs from the usual 3D sites. The cola got re-shadered to make the plastic and cola elements look more realistic. I think the textures on the bag were kinda fucked, I had to play around with tiling and offsets to get something resembling a fast-food branding. Again, if you don't know what that means: homework.

The big step in technical terms is the addition of food mess to The Guy. Real quick and dirty implementation here: add a smear from the SY Splatters pack with coloration tweaked to look like chocolate frosting, and I made sure to get some decal-ing on The Guy's hand too. The crumbs are just sphere primitives with a "rock" shader applied, then recolored to be dark brown. The smears and crumbs I futzed with while the previous cake asset was still in scene so everything would look correct. And of course more tenderness and intimacy: Ellie cuddled up real close to her big man, and said man pulling her close with his clean hand. It's actually kind of a blessing that this comic involved a super fat guy because it means I didn't have to get CGI genitalia dialed in - talk about a risk for uncanny valley shit. And of course Candy on the TV is having a good time too, though I don't recall who her partner was for that scene.

Technically a very simple scene. Low lighting but still using the typical key/fill pairing. It's supposed to be very dark, like the world has vanished save for Ellie, a lustful hunger, and a cake the viewer does not need (but desperately wants). Our avatar of "lustful hunger" is the legendary Candy Godiva (get off my lawn). This scene also marks the first appearance of the FenixPhoenix Blush geoshell asset. I wound up really liking the effect and using it pretty regularly - it just adds so much "life" to a figure, especially in a charged moment.

Ugh this scene. My annoyance isn't from how it turned out but because I made a really embarrassing and amateur fuck up while working on it. During an early draft I had dialed in this FANTASTIC sneer on Ellie's face… Then I saved over the scene file and lost it. Fuck! Fuck! Fuck! Thankfully I had a draft render from that lost version (albeit with bad lighting), so I was able to keep fucking around with the camera and Ellie's mug until I got something that was close enough. I still pine after that original sneer though… It was surprisingly hard to find a good stereotypical dominatrix harness but I did wind up pulling the trigger on LEONdigital's StrapNet2. Clothing assets can be a bit of a die roll but thankfully this one was great. Not much else to say other than the sightline and camera angle was in fact set by having a G8 dude on his knees at Ellie's feet. Oh! Also the leash is actually the Versatile Tentacle asset - it should be free, and it's a fantastically adaptable and useful object, though it takes a little patience to get all the segments shaped and posed right.

This scene probably went through more iterations than any others: adjusting lighting several times, then eventually adding more props and background. Pretty much everything is free assets (TurboSquid, CGTrader, and Sketchfab have tons of free stuff, so long as you're ok with a little DIY for texturing and scaling. RenderHub also has some free stuff and leans toward Daz format). The donut box is actually a Frankenstein shitheap of rescaled cube primitives that I smushed together from within Daz and slapped a pink paper shader on. Nobody's looking at the box, but I still wanted it to look "right" so I invoked another great paid asset here, SickleYield Splatters dForce - this'll come up again. The bakery/cafe environment is actually an enclosed box, so all the light has to come through the window or from added light sources. At the risk of getting a little wanky I really like how the overall framing and lighting came out: a lot of the elements on the screen draw your eye towards Ellie's face, but it's actually the donut that's in slightly better focus. Ellie herself has a twinkle in her eye but there are shadows all around her face from the backlighting, and the poster in the background depicts a literal fall while also pointing towards Ellie. I also like how her smirk turned out: she knows she's got you, or maybe she knew she never needed to try.