Did you literally ask the exact same thing a month ago?
I just finished drafting the first part of Limerick’s script. While I’m waiting for the next part, I’m working on a script for a “magic board game” transformation comic.
About that "recurring TF and bimboization" project you've been contemplating and which has been held up by the question of how to coherently reset everything...have you considered using that Fairy from Bimbo Reader? If she has the power to magically bimboize, she probably has the power to start over if what she did didn't satisfy her or whatever?
Yeah, that could definitely work, a trickster god protagonist. There are tons of similar examples in TF: the Spells R Us wizard, BSB’s Scarred Man, Morpheus’ Miss Chiff etc. I’d have to come up with some overarching plotline and motivation for them besides “causing chaos”, though. Otherwise, they’re just plot devices –sentient versions of Master PC. Loosely connected short stories are fun, but they’re not what I have in mind when I think “ongoing narrative”.
At the same time, though, these characters require a certain degree of mystique. Reveal too much and they become humanized. At that point, we start delving into the ethics and morality of their actions and all sorts of interesting but not particularly sexy aspects of TF.
Realistically, I think the closest I’ll get to a recurring TF project within the next few years is simply a comic with multiple chapters. I still have a lot to learn about making comics and smaller, more manageable stories are a better way for me to ramp up without being overwhelmed.
What tools do you use in drawing things (not just your comics)? For example, do you use a special sort of desk? Stuff like that. How much a studio do you have, in other words.
There’s nothing really special about my setup. I’ve got an Ikea desk, a docked laptop + external monitor and I draw on a 4 (or is it 5?) year-old Bamboo Create. I’m thinking this is the year I finally upgrade to some sort of Cintiq (and eat nothing but ramen). My only other “drawing tool” is a soft Moleskine sketchbook that I carry everywhere for note-taking, life-drawing, etc.
Even though I’ve got a case full of mechanical pencils, markers and pens from years past, I’ve lately been happy using just a plain old HB 2 pencil. Most of my completed work is done entirely digitally, anyway. The only parts I do on paper anymore are comic page thumbnails and story layouts.
Why did Limerick send you the script one chapter at a time? That sounds like an awkward way to do things.
We never really discussed it. From my perspective, drawing out a chapter before asking for the next one proved my commitment to seeing the project through, especially since I would sometimes stop working on it for months at a time. Frankly, I was just happy to be working on a script by Limerick. I didn’t feel like being difficult about the specifics.
"My main sticking point is coming up with an in-universe way to have them turn back to normal again and again." - maybe they're stuck in a Groundhog Day loop until they find a bimbo transformation that's right for them?
That’s an interesting idea, but it makes it difficult to have an ongoing plot where characters’ past actions have rippling effects. Thanks for the suggestion, though! It might be fun for a one-off story.
I also bought B&B. Have you thought about creating supplementary comics concerning some of the background characters? I was always a little disappointed that we didn't see what happened to the serious news anchor at the start of the comic. Also, I would have liked a closeup of the cheerleaders at the end :P
I agree! I even mention it in the Collector’s Edition extra commentary: I wish we could’ve followed the minor character’s transformations in the background. Not doing so was an unfortunate side effect of working on the art without having the full script: I only received each “chapter” once I was done illustrating the previous one. It’s also the reason there isn’t much foreshadowing of Catherine’s “maid” transformation.
I’ve often toyed with the idea of revisiting past works. Before Bed & Breakout, when my paid products consisted mainly of sequences, some people complained that my work lacked “sexy times” and ended “right as things got interesting”. I briefly entertained the idea of a “Where Are They Now?” bundle. It would gather all my older premium sequences into a single product plus some pinups and epilogue sex scenes to wrap them up.
I’ve also thought of doing a sequel to the Mind Control POVat the beach! I’m pretty fond of its format, it would probably also work great as an interactive story/game.
As for Bed & Breakout, I doubt I’ll be revisiting it any time soon, though I have been contemplating a more long-form, ongoing bimbofication project with recurring characters that keep getting TFed and bimbofied in various fun ways. My main sticking point is coming up with an in-universe way to have them turn back to normal again and again.
Did the recent controversy increase your sales, decrease your sales, or have (so far) no sales effect?
It’s honestly hard to say. Here’s a graph of my revenue and pageviews per day for 2017 (specific numbers removed):
As you can see, any increase in sales was definitely not proportional to the increase in traffic. Sadly, my analytics aren’t perfectly set up so I can’t tell exactly where my buyers come from. I’m assuming some are new people who discovered my work because of the controversy, but the vast majority of visitors (like 99%) were just curious to see what this “bimbofication fetish” is about. Very, very few of them were potential customers.
Sales spike whenever I release anything new and the whole controversy started just as Study Break was winding down. It’s hard to say if those minor peaks would’ve happened anyway but it’s definitely telling that, on the revenue graph, going viral is practically indistinguishable from any other day.
There’s tons of ways to interpret the data, but I think it’s heartening to realize that my income results from hard work and my fans’ support rather than random, unpredictable “viral events”.
Didn't know you had a tumblr I've only seen your work through deviantart. Sorry you had to go through that whole internet drama and hope your doing well. Love your work.
I’m doing well! It was an interesting experience. Thanks for the kind words, Anon! <3 I hope to keep making work you enjoy for years to come!
I’m currently busy with non-porn projects I’ve been putting off. Once that’s done, I’ve got a bunch of TF projects waiting. I’ve had the first part of a new script by Limerick sitting in my inbox for almost a year, now. I also have a bunch of my own ideas I’d love to realize. If only there were more hours in a day!
I bought your Bed and Breakfast story and I have a question. In Part 4 of the script there's mention of a "Bubblegum bimbo" who would be walking by in the background. I'm sort of curious how you imagined her and why she was cut?
Hey Anon, what an interesting question!
I had completely forgotten about that detail!
Can’t say I remember consciously deciding to cut the Bubblegum bimbo. In adapting Limerick’s script, I often tried to distill the essence of a scene rather than get stuck on specifics. Part 4 is the “aftermath”: society has adjusted to the virus’ effects, people aren’t fucking in the streets anymore and bimbos are contributing members, each in their own special way.
Every transformee in the hotel has a specific “job”, so what’s our “Bubblegum bimbo” doing simply walking around?
I felt like readers might ask themselves that same question and she’d end up being distracting. If I can’t come up with a good reason to draw something, I’d rather spend the time and effort elsewhere. Or maybe I was just lazy.
As for her look, I’m picturing something very pink, like this (though I suppose she could also be made of bubblegum):
1. Some people took my commission De-bimbofication and (I assume) posted it to social media along with some sexist variation of “women should spend more time reading, less time primping” or “once you start reading, you grow principles”, as if being smart and being sexy are mutually exclusive. They were leaving similar comments on the image itself, forcing me to keep replying “Nope. I’m not saying that. There is no message. Women should be free to dress and act any way they want.”
Most of my artwork is obviously sexual, so people can dismiss it without reading too much into it. I suspect that, because De-bimbofication isn’t clearly identifiable as “porn”, people assumed it must be some sort of social commentary.
2. Other people saw those first social media posts and called out the misogyny in what they assumed was its statement (just like I’d been doing in the comments). Nell-fallcard (thanks!) brought this to my attention just as things started getting nasty. She tried to support me against people making harsh assumptions about who I am without bothering to check the image’s origin or context. I couldn’t stand up for myself on Facebook, since it would mean connecting this account to my real life identity (something I’m not yet comfortable with) so I created a Twitter account to try and handle things there. It was tough. I was trying to understand their point of view and present my own side only to be met with mockery and derision. A few people, to their credit, actually treated me like a human being, leading to some interesting conversations. They helped me comprehend what was happening. For a while, it felt like I was alone fighting a huge, faceless, angry mob. If you ever find yourself attacking someone you’ve never met on the internet, please consider that they’re also a real person, with feelings. It’s easy to forget that.
Around this time, I got an email from a Buzzfeed editor, asking for a short interview.
3. Bimbofication is, undeniably, a sexist fantasy. I was very conflicted about this. In everyday life, I like to consider myself a feminist. Can I support feminism and women’s rights while harboring sexist fantasies? What if I create work that caters to others’ sexist fantasies? After all, we don’t choose what turns us on. I believe erotic art is a way to indulge sexist fantasies safely and harmlessly. However its nature as porn needs to be clear. In the end, that’s what caused the outrage: outside its context, people mistook a sexist, fetishistic fantasy for a statement about the real world. It’s also the reason I apologized; not for creating the image, but for unintentionally offending with its statement.
Until the Buzzfeed article was published, I was freaking out. I barely slept that first night. I realized that the stream of hatred could actually go on for days, with new people constantly discovering the image and being outraged. I also worried about Buzzfeed’s portrayal. Would they present my side fairly and help de-escalate or would they fan the flames? I considered telling my audience what was going on but I worried they might go into attack mode and fighting fire with fire could make things even worse. Thankfully, the Buzzfeed article confirmed what I was saying all along (“it’s sexist, but it’s just porn”) finally allowing me to relax (and sleep).
Once the Buzzfeed article went live, and especially after I was featured on the Philip DeFranco Show the outrage died down. Most of the comments had become positive messages of support. Thank you all! I hate it when people say “I can’t answer you all individually, so I’ll thank you en masse” because it sounds super pretentious but it’d honestly take days to go through all the messages. Know that I read every single one and every single positive thought means a lot to me!
4. Finally, now it seems we’ve come full circle. People are outraged about the outrage. They say “People are too sensitive! There’s nothing wrong with drawing a slutty woman being cleansed by literacy!” which just brings us back to the beginning.
To clarify: the image IS sexist. My work IS sexist. If that turns you on, then great! Enjoy fapping! It’s meant to be a fantasy! But if you use my work to justify your behavior and real-world beliefs, you might want to do some soul-searching.
It’s been one hell of a day for the TF community, and despite my specialty being of the visual sort, I have taken it upon myself to make a short post here regarding some of the recent events. For those of you who still aren’t aware, a good friend of mine, Sortimid just took the brunt of a massively unwarranted attack from the internet regarding one of their recent commissioned pieces. The source of the attack was quite simply: misinformation. Many people who viewed the work out of context inferred a message, and a tone that they believed reflected poorly on the artist. Eventually it came to light that the artwork is in fact erotica, and some of the outrage has died down.
Philip DeFranco, whom many of you are probably familiar with, recently posted a video where he examines the situation, and makes a brief foray into the realms of transformation art. Many of my own pieces were featured in the video, and I do want to make this statement, as I will undoubtedly be receiving a lot of traffic from the larger internet community in the coming days.
Firstly I really just want to talk about fetishes in general. It is my own belief that we fetishize what we cannot have, what we wish for, what we were raised to find inappropriate, and what we fear.
At this point, I’m going to move to talking about my own art and thematic material, as I feel more qualified to do so. I do receive a lot of concerned questions regarding “transphobia.” I think that a lot of these come from the belief that we fetishize what we fear, and also the misconception that I am misogynistic in my agenda. This couldn’t be further from the truth. We like what we like, and there are two main groups of people who regularly view my work. A major portion of these viewers do identify as transgender, or are unsure of their own gender identities. They view the work as an escapist reality, or a fantasy. Others view my work purely from an erotic standpoint, and as a non-binary individual who is also interested in the erotic nature of the subject, I cater to both of these groups.
That’s right. I’m trans.
This leads me into a long-winded explanation of why I do what I do. I am a firm believer that many of those who fetishize M-F or F-M (Male to Female / Female to Male) transformations, like myself, were brought up in an environment where the media, our peers, and our families taught us that being transgender was wrong or inappropriate, and so many of us grew up hiding our identity or kink for fear of ridicule and punishment.
In my own childhood I began to question my gender identity and sexuality at an early age, and when I finally began to search for these things on the internet, there wasn’t a lot to be had. There still isn’t but, as I have grown, and eventually joined this community as an artist, I have marveled as the TG/TF community has grown and flourished. I like to believe that more youngsters curious about their own identities, will have an easier time finding and learning about these subjects that have been seen as taboo for so long. (If you are under 18 please view my gallery with caution. Some material may be inappropriate)
So, transformation going viral might seem like a terrible, terrible thing for those of us who have been, and will likely continue to be attacked for what we do, but in the long run I see this as a wonderful opportunity to begin to normalize transformation. Sure, we have been comfortable under our rocks here, and in the shadows of the internet, but I firmly believe that we are slowly paving the way for a new generation of non-binary, curious, and boundary pushing individuals. The path to progress is a difficult one, but I am really blown away by the support and caring messages that I have received both recently and in the past. It really means the world to me that even in such a strange way, I can make a positive difference. So wether you’re ten, or ninety nine years old, I encourage you to explore the unknown, feel compassion for those around you, and make this word a more accepting place.
You guys mean the world to me. Thanks for reading.
plenty of bimbofication porn and no one bats an eye.. a single de-bimbofication pic and everyone loses their minds
Most of my artwork is obviously sexual, so people can dismiss it without reading too much into it. I suspect that, because De-bimbofication isn’t clearly identifiable as “porn”, people assumed it must be some sort of social commentary.
Hey BSB, weird question but what's your opinion on the buzzfeed outrage behind Sortimid's de-bimbofication pic. I figured you could weigh in since you tend to draw bimbo tf as well.
I actually had a chance to briefly chat with Sortimid about this in the stream today.
Basically one of his sequences was confused for some kind of social commentary by people who didn’t realize it was fetish content. It happens sometimes! Especially when it comes to transformation, where the content isn’t always overtly sexual.
It was just a simple misunderstanding that I think people are blowing out of proportion.
I feel bad for Sortimid though, and really hope that people don’t give him a hard time over this (more than they already have).
Just wanted to say I bought Study Break yesterday (Thanks again for helping with the download) and it's great! I love the focus on mental before physical. Not something you see too often!
Coming from bimbo TF, subtle mental transformations and gradual loss of inhibitions are both things I enjoy. It’s great to hear I’m not alone!
If anybody else has had issues with their download links, please let me know!
While I value the creative freedom of working on my own projects, I can honestly say I’ve enjoyed every single commission I’ve worked on.
I’ve never made an open call for commissions, I’ve only drawn them when a fan wanted me to create something specifically for them. As a result, they tend to be fun opportunities to explore concepts and ideas I wouldn’t have drawn, otherwise.
If you’re thinking about commissioning me, feel free to contact me at srtimid@gmail.com
So, I need to get Steph into the apartment. I think it’s the moral thing to do, and also, so hot. I can hardly ditch Steph after, you know, making her a cum guzzler, and also that box is so tight. I’ve been having all these images of three-ways in my head. And there’s the financial factor. It’s an easy decision, except, I sort of have to get my wife to buy into it.
I’ve been having trouble with that.
ME: So hey, idea, what if we get a roommate? To help with the rent? CANDACE: What? Why? ME: You know. Three-way expenses. Three-way… other things. CANDACE: We only have one bedroom, right? Hold on.
She went through the apartment and counted.
CANDACE: Yeah we only have one bedroom silly. ME: We can have her cook. CANDACE: Oh wait… her? A girl? ME: Yeah, my, uh, co-worker? Steph? Do you remember me talking about Steph? CANDACE: I think so. The fat one who couldn’t keep a guy? ME: Yeah… yeah. That one.
There’s another problem here, which is that I never mentioned that I’m sort of cheating on her with another woman, who I also made over into a big-titted slut. I’m not sure how to have that conversation.
But eventually I realized that I’m going about this all wrong. I’m thinking like sad accountant Trevor with frigid wife Candace. I need to think like big-dick Trevor with extremely horny wife Candace. So I fired up a threesome porno, I sat Candace on my lap, which is where she normally sits anyway, and we watched.
CANDACE: Ooh. ME: Damn, that’s hot. Look at that, the blonde is getting her pussy licked, too. AND her titties stroked. Wow, what a lucky girl, to have a wet and willing other girl around. And the other girl is asian! What are the odds. CANDACE: Damn.
I started to fuck her slowly.
ME: Damn I only wish I could also play with your ass and titties at the same time but I only have these two hands. CANDACE: Uh… huh… ME: Damn damn damn.
Candace got a sly look.
CANDACE: Hey… your birthday is coming up. Maybe we could have a girl over. ME: Uh, sure! Hey, I have someone in mind! CANDACE: [Eyes slightly narrow]. Who? ME: Steph. CANDACE: Oh. Is she still a little fat? ME: In, uh, parts.
A long pause.
CANDACE: Okay.
Then she slipped down to between my legs. I had just cum but was still sort of hard, and she started to stroke me back to full-mast.
CANDACE: While we’re… like… talking with our mouths and stuff. ME: Yeah? CANDACE: I’ve been thinking how I’m getting soooo bored with condoms… and it’s not like I’m doing school or work or anything. ME: Ahhhhh. Yeah? CANDACE: So maybe you might as well start cumming in me, honey. Over and over and over. I’ll take care of the rest.
Crap. I’m sure she noticed how my dick surged at the thought.
ME: I’ll think about it? CANDACE: Okay cool, and I’ll think about threesomes and stuff.
Then she started to suck me off.
So there it is. It’s like she’s got a kind of… bimbo-craftiness. She wants me to cum in her. That’s what my little asian mistress is going to cost me.
Have you ever thought about putting your books on the apple book store
Doesn’t Apple frown on pornographic content?
The only alternative publishing option I have ever attempted is Amazon Kindle Publishing. I think I uploaded one of my first paid sequences there…? Six Secrets to Looking Younger and maybe Riiing! as well? All I remember was that I had to fill out a bunch of looong forms, Amazon’s cut was insane and I still haven’t made a single sale through them.
I never felt like I tapped into a wider audience, instead it felt like yelling to an empty room.
I wouldn’t be surprised if I blundered somehow. After all, plenty of erotica authors seem to be doing quite well for themselves on Amazon.
You've been doing this for a while. How do you think your style has evolved?
Hmmmm that’s a really good question! My dA account just turned 5 years old so let’s look back.
I wouldn’t say my art has changed much stylistically, but I definitely think it’s become more refined. My understanding of anatomy has improved, my poses are more dynamic, I’m using color and values better.
That said, I still have a LONG way to go. Art is hard and I have SO much to learn.
It’s not as visible but I’d say the biggest improvement, by far, has been in my productivity. I’m much better at staying focused and getting work done (though, again, there’s a long way ahead). Business Time, my very first sequence, was 11 steps long and took a few weeks of work. Five years later, I made an entire game in only 24 hours (and that includes learning Twine and coding the logic)! I’ve begun thinking of “finishing projects” as a muscle: the more I do it, the easier it becomes. This has also allowed me to take on more ambitious projects like Bed & Breakout (and more, which I’ll be sharing very soon!).
I’m curious about your perspectives! How do you guys feel my art has evolved?
If you could send a TF plague on earth that would effect everyone what would it be?
Peoples “biggest” fetishes begin to manifest on their bodies physically. People into big boobers would grow a set of their own, people into a specific body type would change to match etc.
People with latex fetishes would find themselves developing a rash, which soon gives way to patches of latex, slowly covering their bodies. People into bondage would find themselves coughing up ballgags that fix themselves in place when they reach their lips. Feet would harden and extrude stiletto heels, skin would become slightly baggy and become spandex, or tights, hosiery, etc. Furries would, of course, turn into furries.
Hey, I'm one of the Magic Green Ring's contributors and I'm curious as to which outfits you like the most? Thanks :)
I don’t really have time to go back and read through everything, but good job! I enjoyed the descriptions! I tend to prefer the cleaner, classy bimbo look to the white trailer trash stereotype.
Part of the game’s fun was meant to come from experimenting and figuring out how the bimbo remote works (much like you would if you really did find a magical bimbofying device) and being rewarded for your effort with boobies. It’s the reason I used symbols rather than text for the buttons. I think the subtle abstractness of “fire” or “lipstick” works better than saying “this is the Sex Drive button, press here to increase sex drive”.
That said, I’m slightly annoyed that they look blurry. The icons were the last thing I drew and, at that point in the project, I just wanted to “get it over with”. By the time I noticed I was using the same soft-ish brush tool I use for all my inking, I was already halfway done. I couldn’t be bothered to go back and redo them with the pencil tool.
If there’s ever a sequel, I’ll try and make the buttons sharper and mobile app-like.