Vore Ref 2 by Samael

Vore Ref 2

Samael

2 December 2016 at 16:38:58 MST

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As part of the process of making life easier for my commissioners and myself, I figured I'd make some ref sheets for the kind of things I end up drawing the most of. Nobody wants to go into a commission with an idea in mind they can't quite articulate and then find the artist got the wrong idea from what was said. Its also frustrating always having to look for a reference of the size that you have in mind in this zone of work every other time you want to get something. The artist might also do a completely different form of it from what you expected.

These are presented to make matters easier for you guys when you commission me but feel free to use them when getting art from other folks or purely as a study aid if you fancy. This is not the be-all-end-all of this kind of thing, either, obviously and its not nearly as definitive as I should like it to be. Feel free to add suggestions for things I've missed for future updates for it - once you've seen all of them, in case I have already added it.

The second Vore sheet is intended to cover post-vore options, including interaction with prey, any weight gain and how remains are handled. Also included are harder options, ranging from medium (vague, cartoonish or implied 'hard' vore) to hard (overt hard elements) vore, digestion and food preparation.

INTERACTION
Interaction refers to how predator and prey interact. Though primarily meant for after the fact, certain aspects are easily applied to pre-vore as well.. One doesn't need to have the same category apply to BOTH predator and prey however - a predator could communicate pleasantly when their stomach only gurgles or a predator could play roughly with a stomach that only elicits a gurgle. Naturally, multiple things can stack - prey could fight back whilst the stomach makes ominous noises and the predator remains pleasant.

  • Tummy Talk indicates that the prey's primary is the noise of the predator's stomach. If this is only applied to the prey and Casual Conversation is chosen for the predator, then the predator may be able to 'translate' what the prey must be saying or simply be talking contently to their stomach. If this is applied to the prey and Kick & Shout to the predator, the predator may be having a stomach ache or having difficulty with the prey - though they may still enjoy this!

  • Casual Conversation indicates cordial contact is being made between predator and prey - conversation, reading, phone calls or texting and so forth. The predator may swallow objects for the aid of the prey. If this is selected for the prey but Tummy Talk is selected for the predator, the predator may dismiss conversation as nothing more than the sound of their active stomach. If this is selected for prey and Kick & Shout is applied to the predator, the predator may be openly taunting or playing around with their prey - they may in fact be quite confused by the prey's enjoyment of the situation.

  • Kick & Shout indicates a somewhat more aggressive relationship between predator and prey, with the predator asserting control (with varying degrees of success) over a resisting prey, who may kick, squirm, curse or otherwise fight back. The predator may lay back and tease them about their fate, fight to control them or be having a rough time of it too. If this is selected for the prey but Tummy Talk is selected to the predator, the predator is likely to be content or entirely indifferent to their prey, treating this as normal. If this is selected for the prey but Casual Conversation is used by the predator, they may remain cheerful and friendly, seemingly oblivious to the resistance of their prey.

WEIGHT GAIN
Weight Gain refers to comparative weight gain from prey, rather than how big the character actually becomes. For actual, specific sizes, shapes and styles, the Fat reference sheets can be consulted.

  • Little to None means the character receives a portion of the body mass of the prey in weight or none at all - it could be as little as a barely visible tummy for same-size characters or as much as the entire body weight of the prey.

  • A Whole Lot means the character receives more mass from the character than the character possessed entirely, flying in the face of conventional thermodynamics. This is automatically the case for my own character, Sam, and a general case (though not writ in stone) for my other characters.

REMAINS
Remains refers to have happens post-post vore, when the predator is done with the prey. Note, this does not include most body functions as they are something I am unwilling to draw, though emeto (vomiting) is permitted - this refers to any tangible and identifiable left-overs or possessions of prey. Though cartoonish in nature, this section kind of sounds pretty dark but it is important to remember that this is intended as consentual.

Note, these can easily be stacked with other Remains categories - a New Wardrobe can easily come complete with a Bone Zone. Naturally, no remains is also a valid option.

  • New Wardrobe indicates the character has inherited a large collection of clothes from somewhere. Depending on whether prey is still present or if they have made a substantial contribution of a few Xes to the character's clothing size, they may or may not fit well. This situation specifically refers to wearing of the prey's clothing - just having it laying around constitues another manner of remains and no other left-overs are present at this point.

  • Catch & Release indicates that the character has been forcibly ejected from the predator, level of comfort and gratitude from this act being subject to the commissioner. This is assumed to be the normal end condition for Endosomatophilia.

  • Tooth Picks indicates very few remains at all - usually a bone or two with which the predator can pick their teeth. Bones left behind at this point are only enough that Hamlet performances are capable and at this point but preferably silent - we all know where Yorick's gibes are now. Non-body remains might consist of jewelry, a watch, a hat - usually something singular or the bare minimum to identify a character.

  • Bone Zone indicates plentiful remains, anywhere from enough to recognise the character (if they are known) to a pile of prey to indicate the gluttonous nature of the predator. If possessions are used, this may begin to resemble the one scene in Jaws where they pile up stuff from the shark's guts, you know, like, with the license plate and everything? Just lots of assorted junk.

  • Throne of Bone indicates that left-overs are being put to use - literally a character may be sitting comfortably (or uncomfortably all things considered) on a throne made of bones. Other furnishings are up to your imagination.

  • Boneyard indicates a ridiculous amount of bones or other items of the prey being left behind, suggesting that the character has depopulated at least a village.

MEDIUM <-> HARD
This refers to anything beyond the level of Soft Vore. Whilst Soft Vore is defined by consuming the prey whole, Medium and Hard Vore, at minimum, require the character to not be consumed whole. This may range from the simplest implication that the character was eaten in this manner to overt and messy disembowling.

  • Vague is Implied Medium Vore or Implied Digestion; the character has clearely been eaten in a way that is not in one piece (or else the character has belched up a bone or two) but nothing graphic is depicted.

  • Cartoonish is Soft-Medium Vore; it is utterly bloodless, with one character simply taking bites out of another as though they were made of cookie dough. The prey is implied to be a solid wad of themself, with no guts, gore or even bones usually.

  • Implied is Implied Medium or Hard Vore; the prey is primarily picked bones with minimum gore elements. Any meat left of the character can be freely chomped on as though it were a piece of meat as it is distanced from being the actual character and turned into a food object.

  • Obvious is Hard-Medium Vore; the character is still active and the predator is taking messy bites out of them. Blood is present and the character is treated as being made of meat and bone, though biology is usually minimized and character is treated as being, effectively, mobile food. Full guts and gore are not depicted; though they would likely be eaten in the same manner, that is only implied here rather than being witnessed. When I refer to Medium Vore, I typically mean this.

  • Excessive is full on Hard Vore; the character is ripped and torn apart, fully depicting the act, cartoonish as it may be rendered. It is 'excessive' on the part of the predator, as this is performed whilst the prey is still very much mobile - this is not a reflection on the commissioner's interest. Anatomy is rendered as accurately as possible, where able.

DIGESTION
This refers to how digestion is handled and depicted. By default, it is not usually depicted - it has to be asked for so that I don't apply it where it isn't wanted. If assumed that it is NOT depicted at all, regardless of how full the character's stomach is, when portraying Endosomatophilia as this would defeat the purpose of it.

  • Slimey has the character melting like a marshmallow, dripping down. Eventually, they become unidentifable (but colourful) goo at the very most - no skeleton is depicted.

  • Acid Wash has the character only be implied to be digesting - dark smudgey patches and scorch marks touch their hide in various places, but no graphic element is depicted at all.

  • Dissolution has the character burn in patches where acid has made contact. This may be slowly, from the base up, or it may occurr in random patches on their hide to show that it is taking place. This is typically graphic, though it may be handled cartoonishly, with skin giving way to tissue and bone rather than overtly sizzling and melting. This is the most overt form, as Instant is too abrupt for the action to be seen.

  • Instant has the character turn from flesh to bone at the 'waterline' - nothing but skeleton where acid touches. If you've seen Death Bed: The Bed That Eats, the effects are in keeping with that one guy's hands.

*FOOD PREP**
This refers to a character being prepared to be eaten, usually by putting them through something to turn them from active prey to inactive food object.

  • Mild refers to simply a character being in food - places in a sandwich, being stuffed into a pie or even cooked providing it leaves them no worse for wear. This is simply situations where the character is placed in or treated as food without them being significantly harmed. They are still active rather than object.

  • Moderate refers to situations where the prey is directly 'transformed' from character to food but the actual means, even if somewhat graphic, occurrs off screen. A character being put into an oven out of sight, falling into a grinder or pressed in a waffle iron or made at the flick of a switch into a shake. This does not mean the character is completely out of action if the situation is cartoonish - blinking and expressive eyes in a milkshake or a waffle-version of the character retaining their shape and having hands and feet that can move. All that matters is that the prey is objectified by the process and that any graphic element is off screen, too fast to be seen or abstracted into being comically harmless.

  • Major refers to situations that are similar to Moderate but graphically rendered. As above, the character need not be inacapacitated by the action, but they are transformed and usually unpleasantly and visibly into food. If a character is put into a blender and suddenly becomes a prey-smoothie, that would be Moderate Food Prep. If they are sliced apart by the blades, it is Major Food Prep. To put simply, if its Tom & Jerry, it's Mild to Moderate. If its Happy Tree Friends, it is definiely Major.

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  • Link

    And yet they all look majorly cute!