- Apr 13, 2019
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Another masterpiece:
Kiri Insemination (subscriber version):
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Collection Video Maximus Jandari Collection [2024-11-01] [MaximusJandari]
Kiri Insemination (subscriber version):
- Aug 11, 2017
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- Jul 23, 2017
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- Jun 25, 2021
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- Jun 21, 2018
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I really really really hope that maximus chooses to make a non futa series of getting the OW girl pregnant with a follow up with them being breast milked kinda like in the futa videos. Btw subs would be nice to have. Also does this kiriko video have a 4k version or are 4k versions rare for this artist? and lastly that wet trace was a cherry on top Edit: so who is donor 68616E61 
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- Nov 12, 2020
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man these would be really good in VR or even just 3D crosseye
- Aug 11, 2017
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- Aug 11, 2017
- 10,297
- 82,315
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Hiyo All!
So nothing really to -show- as such at the moment all major assets are in heavy development and subject to such significant change that anything I show you would not be even remotely close to representative of what it's going to look like: this is just going to be me talking atcha for the most part.
The next scene, which is going to be Sombra's ultimate fate, is in the concepting and development stage currently, as most of you know by now I like to take a little time off between projects as they can be very draining! (much like her experience will be)
This didn't take the entire month though, so I've spent some time recently addressing some tasks that have been long overdue, this took the form of a lot of admin, some server re-building, some network re-organising, some accounting, and most significantly, the addition of a full time member to the team!
That member being INOPRBL, the modelling and concepting genius behind most of the set in the last piece.
Whereas INOPRBL has been in the side-lines, pretty much from the beginning, as a friend, consultant, and occasional supplier of assets, his involvement has always been limited by the fact that he has to work his full time job, assets take a lot of time to make, and even being as passionate an individual as he is (as are all the people I like to work with) there are only so many hours in the day!
Well, now he's working with us! Or at least is in the transitional phase or transfer to employment. (that is one of the admin jobs I've been working on over the last couple weeks)
This is going to represent a significant shift in our ability to produce consistently higher standards of work in shorter periods of time, as one of the greatest bottlenecks we have here (as with most 3D productions) is asset design and creation.
I mean the guy managed to produce a scene of such quality whilst managing a 50 hour work week, think about what he's going to be able to do now!
The down to the bolts detail of how this all webs together is, honestly kind of mundane, it's a lot of pipeline talk, optimisation of workflows, I'll likely get into the details of our evolving pipeline in another update I expect, but the takeaway should be that, this is yet another step we're taking to up the quality and production timescales in a big way!
And it is thanks to all of you that this is possible! All of your continued generosity is, as of this moment, providing gainful and rewarding employment to 3 permanent people, and numerous other contract workers.
It's incredibly exciting (and also kind of scary) to be at the centre of this developing business, I hope we will continue to surprise and delight you with an ever increasing dedication to quality erotic entertainment!
More news as it comes, bye for now!
Ah, so that's why they went with the BaronStrap video image. He doesn't do the futa so he's ok for ow3 models!
- Jun 28, 2022
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That's even dumber than Spain trying to stop people from jerking off by limiting online access to porn.Guys, we are under siege.
- Apr 9, 2018
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Thats funny because there wont be an OW3, no way, just look at the faceplant that was "OW2"Guys, we are under siege.
My God that's absurd...Guys, we are under siege.
...Tracer is the one who takes futa dick, not serve it. Get it right.
- Aug 11, 2017
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Hi All!
This month we've been working on getting all the assets together ready for the the next scene, which is Sombra's Finale, her turn in the 'high yield' or 'intensive stimulation' centre.
This scene had been concepted/planned for some time, an inevitability really of the pseudo-storyline that 'The Box' series has been headed to, I figure I can't really set up sequels like I have that I'm not prepared to see through!
So whereas I had some idea of what I wanted to do in this scene, it usually takes some input/dedication from one of us to finalise and massage the idea into something worth developing.
Now luckily, with INOPRBL joining our staff full time, this is a job I can mostly leave to him now, and in an ideal circumstance once I reach the end of a production everything is set up and ready for me to sit down and start animating.
Over the years I've gotten better about making sure that things are lined up in a way that reduces, as much as possible this period of 'dead air' between productions. Stuff like ordering the voice work ahead of starting, using stand in or proxy ideas of the scene before the final models are complete (it's how I worked with the last scene)
For most of that production I was working with my own set of proxy mesh's, and only lit the environment once I had the final completed assets.
I can get a fair amount done without the whole scene but there's an acceptable minimum that's needed really for me to work within, it's pretty hard to get an idea of how to pace the scene if all you have is your model sat floating in a blank space!
In this case, since we've only just freed INOPRBL from the shackles of full time employment so he can focus on this work full time, we're still dealing with a little lag as he catches up, as good as the guy is, asset design and development is a very time intensive process, and is only becoming more intensive as our standards soar higher.
With all that said, I have a few looks at how this idea formed up over the last month:
So I sent that off to INOPRBL and I'll show you the concept he came back with in a moment, but there was a lot more details to establish between then and now.
We talked about the important bits, IE how she was going to be stimulated, those being, in our opinion, some of the most important aspects of our scenes, a milking scene needs a good milker!
Designing a good milker is always a struggle between wanting to show the details and mechanics of the device, whilst not obstructing too much of the view.
There's shortcuts that some people will take like, X-ray, which I'm not totally opposed to, but not yet found an implementation I can be absolutely happy with. I like my scenes to exist as grounded as possible, the idea being you can image that what we show is a window into the happenings of the universe, that what you see -could- exist.
So when people say 'do x ray!' my thought process usually goes along the lines of:
-OOh x-ray that would look cool! But how is this image produced?
-Is this a literal bone x-ray? in which case what's the resolution? what's the technology involved? Why would they -want- an x-ray of them? what is there to gain from it? Is it for monitoring purposes? How often is the image taken? What are the accommodations made to ensure the person being x-rayed isn't subjected to significant levels of ionising radiation? Maybe it's a cat scan technology? But that only works when the subject is perfectly still.. Well maybe at this point they're more advanced? But why dedicate that resource to this circumstance? If the image is being produced, why is it being overlayed into what we see through this 'camera?'
So yeah I've thought about x-ray, and we've not yet arrived at a satisfactory set of rules around it to use it.
However, we did come across a couple ideas that allowed us to accomplish the original goal, that being: Show a stimulating device without covering up too much of the subject. Those two technologies were soft robotics and quantum locking.
Enter milker concept:
We wanted a 'chamber' design for the tip, the idea here was a set of quantum locked magnets that would enable the device to expand and capture the genitals and move along them.
We took inspiration from the movements of Jellyfish when discussing how it might move, using the implication of expanding air channels and sacks to control itself without having to require bulky pistons, hinges or hard 'traditional' robotics.
The balls were also another area that is important to stimulate, but difficult to do visually, whilst INOPRBL iterated through the scene layout ideas I was considering how to adequately massage them for their yield, the above concept had us imagining a bag enclosing them, and that idea seemed fun, but a little basic.
It became clear at this stage that, more ideas are always better, so I dusted off blender to start messing with some ideas myself.
This was idea 1 following along with the bag plus cables route, some kind of badge to contain them. It looked alright but not what felt 'right' for this scene. We wanted a device that looked like it could give em a good 'tug'
Enter iteration 2 of the ball squeezulator, complete with some basic animation to demonstrate the idea at play.
I was a lot happier with this, but the hard connections were interfering with the concept of 'visually free' that we were going for.
This was not the final design we went with but this was playing along with the concept of us using quantum locking to control and position the device.
In the mean time, INOPRBL came back with an update on some scene design and had a preview for me:
Humbling skill gap aside, this made me realise a hard truth, I really needed to learn how to sculpt!
In the time It had taken me to iterate through 2-3 ideas of one device, he'd fleshed out a wonderfully detailed (still sculpt level resolution) scene idea, it was clear my method of box modelling my machine ideas had to change.
In the time I spent reeling over this he'd already put together a rough concept for the milker, I knew I had to do something to start filling it in.
The milker design was a fun one but not something I was 100% happy with, it didn't feel like it had enough that was playing with her. This scene is supposed to be a bit 'edge-ey' so I picked up the stylus and started to sculpt out some ideas.
This update is starting to get kind of long so I'll spare you the weeks of iterations that brought me to where we arrived today, materials and technical design aside, this is where I landed with how we wanted the milking bits to work.
Spurned on which just how rapidly sculpting allowed me to iterate through ideas I turned my attention to some of the other parts:
So back to the title of the post: Pipeline.
As it sounds, it's meant to be a representation of the path that a production takes from concept to finalisation.
I've mentioned before that we're taking steps to reduce this downtime, our plan as it stands at the moment is, once the assets for this scene are finished, INOPRBL can begin concepting and finishing the assets for the next.
A lot of what I've made so far over the years has been abandoned mostly never to be used again, due to a poor standard of rigging, or just a low quality or poorly realised idea.
I feel we're getting to the point now where the assets we make, are the ones we keep, and can therefore reuse! We're also taking a much more modular approach to how we build scenes.
Our hope being that, when it comes to moving between projects, it's not going to be a case of spending a couple months waiting for a coherent image to form, and is simply a case of sitting down and getting to work!
It's been a long road so far, and it's got a bit more to go before things run quite as smoothly as we'd like, but the continued support from you all is ensuring that, at least for now, this remains possible, We are ever fortunate to have such a dedicated fan base.
About A414
For those of you not quite up to date or, perhaps haven't seen my earlier works, either through preference or otherwise, this whole endeavour started with a very narratively driven, POV style sequential series.
It was the original Arc that I wrote that this whole universe was formed around, and I've gone back and fourth on revisiting it for a good amount of time now.
So much so that long standing members of the community have noticed, most amusingly to the point of making meme's about it:
I wanted to revisit this 'officially' I've mentioned it a few times in passing comments and replies on discord and such.
I have not forgotten about poor A414, he will be returned to, however in the time between his visits, the standards of the productions we put out has risen so sharply, It would be a significant step back for me to use the assets, models and such that I had in place when I originally wrote and animated EP5.
I can't, in all good conscience, at least with my own sense of moral integrity, release something of that standard and claim it's the best we can do right now.
The story and the arc contained within are very important to me, and it deserves to be realised in the best way we possibly can do it.
With the arc containing a lot of strong character moments, a reliance on non erotic segments, and the establishment of an understanding of the universe itself, along with it being a delivery method for a lot of the exposition we want to deliver, having seen the potential we now have with the extra staff involved, it wouldn't be right to proceed with it until we're ready.
The main foundation I'm waiting for is the finalisation of our in house -do everything- base mesh that our technical director has been slaving away at for the past 5-6 months, it's something we're going to close back in on, but we're just not there yet.
I want to see him back too, but I can't say when it will be as the constituent parts cannot, and should not, be rushed.
Another massive thank you to all my supporters for the continued dedication and patience.
More news as it comes, bye for now!
- Apr 26, 2021
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Well, several honestly, let’s talk about it.
This is just going to be all wordy and cannot be summarised, if all you want to know is the status of the latest project is that most/all of the core animation is done, all the assets are ready, all that remains is polish, sims, lighting and rendering.
I hope to release it this month.
Enter mistake number 1:
I failed to plan adequately
Sombra’s conclusion was an episode that I know people have been waiting for now for almost a year, I’d promised it would be the next project, it needed to be epic, perfect, I -could not afford to fuck it up-
And, I’d just added to the team a dedicated modeller, and he just went full time working on this. He’d managed to get a bunch of assets done in the time I took animating the last scene (despite also jugging a full time job at the time), so given all this extra time we now had, there’s no reason why we couldn’t manage it!..... Right?
So, we went full bore, we imagined the most detailed, perfect rendition of what this space would look like, the theory was sound, give me, as the animator, enough basis to work on some aspects in the mean time, establish an order of operations to complete those assets in a manner that made the most sense, and work in parallel to complete the project.
All of this started well, and apart from a little downtime here and there from me, Things progressed smoothly for the most part. Thanks to the developments to the model, my planning in having the model and voice work prepared ahead of time, my animation process had never been smoother, it being a rather restrictive, limited situation, (and not having mouth animation to worry about which is by far the most time consuming element) allowed me to steamroll ahead of my colleague’s place.
So, once again I was waiting on assets, so I spent some time helping out with those elements where I could, we were still early on in the production, we had time.
But then life struck. The team and I had a lot of personal challenges during this period, and that left us without any new toys, I’d completed as much animation as was worth doing at that point outside of the necessary context provided by the completed assets.
So once again, I was waiting for progress and twiddling my thumbs.
We continued to struggle, finding what I could to keep myself busy, but there was an enormous amount of wasted time, and being that I’m very much focused on a project to project basis, the idea of diverting my attention to something else whilst waiting for the assets didn’t seem like it was a good idea.
With the benefit of hindsight, I should never have gone straight into the Sombra project at that time.
It was too big and too ambitious to go straight into immediately off the back of the last production, in order to have kept a reasonable timeframe for releases I should have had another project with existing assets to do, whilst the assets for this project were being produced.
But I had promised I would do that one next, and I know everybody had been keen to see it, and I believed at the time it was something we needed to focus on, so I doubled down.
Unfortunately by the time I realised my error, it was just too late to pivot and turn something around in time that wasn’t then going to further delay the Sombra project, by the time I realised that we were going to end up well behind schedule, the damage was already done.
I made a mistake in planning, and that cost us efficiency. I should have been more thoughtful about the production pipelines. These failures cost us, and slowed the output of content to a crawl. For that, I am sorry.
Enter mistake number 2:
I wanted the best of the best, but I’m not there yet.
The creation of an ‘all perfect all round universal super mesh’ was started almost 18 months ago now, and it’s still not ready.
Now, whereas that’s not been a continuous 18 month project, with it taking a back seat to the needs of asset rigging and troubleshooting to the various works we’ve produced over that time, a significant portion of time and money has been poured into producing a model, a model that I wanted to use in my mainline A414 series.
My idea originally was that once complete, this could be something I could continue to work on in the downtime I had between whatever big project I might be waiting for (I could have spent the time I was idle during Sombra project to work on it for instance)
The reality though was that this was too ambitious an idea for a small team at this point, and too much of a resource sink, and while I had held off taking action on this for a long time now given the significant investment in it; i had failed to identify this as something that needed pivoting away from.
So, this is now being regularly rigged with a normal method so that I can actually use it, and use it soon.
I wanted to not ‘regress’ into my previous scenes, because I saw the potential of what we could create, and didn’t want to take a step back, at the cost of providing entertainment to you all.
Again, a logistical oversight that cost us time, money, and productivity. One that has been corrected, but impactful nonetheless.
Enter mistake number 3:
I lost sight of why I do this.
When I started producing these animations, it was borne of a personal fantasy, it was full on, self insert ‘man this would be a fun scenario, wouldn’t it?’ reasoning.
It was my art. It is my art. It's my story, my legacy, and my passion. I wanted to show it to the world.
Then people started paying and supporting me to do it more, which encouraged me to continue doing it. This grew steadily over a little while until eventually, on a whim, I thought of a fun concept which I got a bit carried away with, and that became ‘The box’. This little side venture of mine turned overnight from a bit of a fun hobby that pays for itself, into something I could live off of.
And not just that, it was giving me a reason to get out of bed in the morning, I think everybody can relate, at least in some way, to the feeling of darkness in one’s life. I’ve said it before in an update many months ago, this… ‘job’ if you like was one of the first times in my life where I realised that, if money was no object, I would still continue to do it, I had found my passion.
As the months went on, and I became more comfortable with the idea of self employment, and we began to expand, I got excited about telling this original story again, it was left repressed for a while because, I’m no fool, I know that primarily my audience is interested in seeing futa girls be milked. What was supposed to be a fun little side piece was quickly becoming everything I was doing. I had some ideas to explore, and it took on a life of its own, but it was steering further and further away from the tracks, from the plan and ideas I had laid out to begin with, and that began to gnaw at me slowly.
I was flying by the seat of my pants, and was lucky enough to have a support network around me that allowed me to continue to produce content, even if it wasn’t the content I really wanted to do.
But the promise of expanding the team, of no longer having to do it all on my own, allowed the possibility of realising the story in a way I’d never imagined possible beforehand. As an artist, that possibility excited me. I set plans in motion to do it in the best way imaginable.
A very important factor to consider in reference to some of the comments I’ve seen here and elsewhere from a few members of the community, to paraphrase:
‘The stuff you’ve made already is good enough, just keep producing that and you’ll make more money and i’ll be happier’
People may see the insane level of detail we go to when producing assets for the scenes and think that it’s entirely not necessary, that, because they’re fixated on only one small section of the screen, that’s the only part that matters, and I shouldn’t be wasting my time with those other aspects.
It’s an entirely understandable point of view to have.
It also completely misses the point of why we do this.
If I hadn’t always had this drive to do better, I’d never have made the standard of animation that attracted people to me in the first place.
When I produce art, it’s as much for me as it is for you. If I’m not happy with the standard of what I show to the world, there really isn’t any point in me doing it. I don’t “make content”, I make art. Reducing my passion to a conveyor belt of ‘good enough’ is a misunderstanding of why I get out of bed each morning.
That’s not to say I don’t understand the importance of spending time in the right places, I think the fact that I produce the length of content that I do, on the schedule that I do, is testament to that fact.
But there’s no denying the fact that productions have started to reach a level of bloat and complexity that is starting to really just get a bit out of hand.
I was trying to find the next ‘the box’ in the hope that it would alleviate the pressure and desire I’ve had building in me to express myself, whilst not realising that I was going in the wrong direction, pointing us the way of bigger, more complex scenes at the cost of what made me start this in the first place.
To that end, I’m installing a new philosophy and approach to my content delivery plan from now on.
- With the exception of the Sombra piece (which is coming in at around 12 minutes) Productions are going to have a soft limit of 6-8 mins and a maximum of 10. If a story needs more time to evolve than that, it will be split into parts.
- Large, new scene pieces like Sombra will be less frequent, in favour of exploring alternative stories and characters in existing settings (the box, aimee’s labs etc)
- Side stories will be focused on expanding the world-building universe, and exploring all these different aspects through the lens of ‘mundane, ordinary people living in the universe we created’
- The lore and narrative, for the most part, will take centre stage. Pieces will be made that accentuate this, with a focus on providing a richer understanding of the interconnecting paths of the lore.
Thank you everyone for reading, I extend a sincere thanks to those that have stuck with me through this. I will always welcome any and all feedback, even if it’s harsh or critical. As long as it’s constructive, I will listen.
I cannot guarantee I will not make further mistakes in the future. I am human, and I will strive to be the best human I can be. I hope everyone can see the way these mistakes happen. They are born from good intentions, and are hard to visualise in the moment.
Thank you to all, and thank you for accepting my heartfelt apologies for the delays and production errors. I will be putting a lot of work into fixing their root causes, and will move on in a positive light.
Thank you. I could never do this without your support ❤
I really wish this dev just spent the time on their work instead of writing regular 2000+ words walltext updates.