Comics Collection Melissa N. Collection [2025-02-19] [Melissa N.]

[Alicia Mae]

Huh. This update actually introduced an element we haven't see from these white-panel stories in quite a while: breaking the mind control so the victim can actually fight back and/or come to terms with what happened to him instead of just meekly going along with whatever the villain says.

I like it! It’s a nice POV shot too!

 

[rebirth095]

Huh. This update actually introduced an element we haven't see from these white-panel stories in quite a while: breaking the mind control so the victim can actually fight back and/or come to terms with what happened to him instead of just meekly going along with whatever the villain says.

I've always felt like that could be a decent premise for a "horror themed" feminization story. Seeing the brief bits of lucidity where the protagonist is trying to figure out what's happening to them and being powerless to stop it.

Also, while I love the stories where the feminization is "boiling the frog", something you do lose is the more visceral reaction and exploration of the changes. So I certainly appreciate the variety and would look forward to seeing that in future stories.

EDIT:

I like it! It’s a nice POV shot too!

We don't get enough of those! I don't know if they're particularly hard, but I'd love to see more POV panels in these CG comics.

 

[misseva88]

I've also added the latest part to the OP in a Mediafire link as I'm not sure the admins appreciate the pictures being uploaded to posts in a thread.

Does anyone believe we have a true chance of this story turning into a horror for the main character, i.e. she never really embraces being a woman and gets truly depressed with what's done to her? Or will she eventually be okay and embrace the changes?

Edit:
So I guess rebirth095 and I are on the same page here. I usually prefer stories in this genre to have a happier ending, for a change of spice it can make for an interesting premise to see it turn horror-adjacent.

 

[rebirth095]

Does anyone believe we have a true chance of this story turning into a horror for the main character, i.e. she never really embraces being a woman and gets truly depressed with what's done to her? Or will she eventually be okay and embrace the changes?

I doubt Sweet Change will delve into how dark it would actually be to be feminized and not want it as an ending. Frankly, it doesn't seem like Melissa's style. Closest I can think of is Flying High. Which ends more like "GASP! I'm stuck like this?!" rather than dwell on how bad they're taking it.

Otherwise, the stories usually either have the character corrupted enough that they enjoy it, basically were trans, or basically identity death'd so that the character appears "happy" but the original personality wouldn't be happy to see what's happened.

I usually prefer stories in this genre to have a happier ending, for a change of spice it can make for an interesting premise to see it turn horror-adjacent.

For me, I can be on board with a variety of things, but they're usually ticking different boxes.

For a story where I'm fantasizing and self-inserting, sometimes I like the ending where the character never wants the changes and they're stuck (as a super hot woman). EDIT:

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comes to mind where the character never escapes. Stories like that are ones I can pretend I'm that character and it tickles that submissive part of my brain.

"Bad" endings are fine though even if they aren't things as part of my fantasy. A well written story can be through provoking, or evoke emotions that broaden our palette.

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always pops back in my mind of a dark story of identity theft.

On the other hand, I'm not into suffering. There's having a bit of a humiliation kink. Or being into status change (like bimbofication, becoming the maid, etc). But actual degradation and unrelenting suffering just isn't my thing.

My main thing is that I want the story to know what kind of ending it is. To use a bit of a weird analogy: I stumbled upon this h-manga, and this main character is drugging women with aphrodisiac. And this author actually has this character think "I'm not the kind of man who rapes women. I just drug them and I'll only touch them once they say yes."

That kind of thing is insufferable to me. You want to write rape fiction? Then have the balls to just write rape fiction. Don't write it, and then pretend its something else so you can claim you're not a creep or something.

So on the feminization side, sometimes I can't tell if the author knows whether or not they're in the "right genre" and how to present their ending. 90% of the time, I genuinely despise the stories that basically are "oh, I was trans the whole time. I was only able to realize it because I was strapped down and ass fucked until I liked it". You don't get to have it be completely non-consensual and then wrap it up with a neat inner thought bubble at the end just so you can avoid the dark implications. By all means: have the character corrupted. Have them start to enjoy it and fall down a rabbit hole of addiction to femininity. But let's not romanticize it and retcon the character arc.

 

[misseva88]

I doubt Sweet Change will delve into how dark it would actually be to be feminized and not want it as an ending. Frankly, it doesn't seem like Melissa's style. Closest I can think of is Flying High. Which ends more like "GASP! I'm stuck like this?!" rather than dwell on how bad they're taking it.

Otherwise, the stories usually either have the character corrupted enough that they enjoy it, basically were trans, or basically identity death'd so that the character appears "happy" but the original personality wouldn't be happy to see what's happened.

Maybe Mirror's dream sequences have resulted in some creative juices flowing in directions Melissa dive into before. We've talked about how Sweet Change isn't really a story that captures many of us, going in this more horror/nightmare direction may lead to at least an interesting hook for the main character. Or at least make the story more memorable.

For me, I can be on board with a variety of things, but they're usually ticking different boxes.

For a story where I'm fantasizing and self-inserting, sometimes I like the ending where the character never wants the changes and they're stuck (as a super hot woman). EDIT:

You must be registered to see the links

comes to mind where the character never escapes. Stories like that are ones I can pretend I'm that character and it tickles that submissive part of my brain.

"Bad" endings are fine though even if they aren't things as part of my fantasy. A well written story can be through provoking, or evoke emotions that broaden our palette.

You must be registered to see the links

always pops back in my mind of a dark story of identity theft.

On the other hand, I'm not into suffering. There's having a bit of a humiliation kink. Or being into status change (like bimbofication, becoming the maid, etc). But actual degradation and unrelenting suffering just isn't my thing.

My main thing is that I want the story to know what kind of ending it is. To use a bit of a weird analogy: I stumbled upon this h-manga, and this main character is drugging women with aphrodisiac. And this author actually has this character think "I'm not the kind of man who rapes women. I just drug them and I'll only touch them once they say yes."

That kind of thing is insufferable to me. You want to write rape fiction? Then have the balls to just write rape fiction. Don't write it, and then pretend its something else so you can claim you're not a creep or something.

So on the feminization side, sometimes I can't tell if the author knows whether or not they're in the "right genre" and how to present their ending. 90% of the time, I genuinely despise the stories that basically are "oh, I was trans the whole time. I was only able to realize it because I was strapped down and ass fucked until I liked it". You don't get to have it be completely non-consensual and then wrap it up with a neat inner thought bubble at the end just so you can avoid the dark implications. By all means: have the character corrupted. Have them start to enjoy it and fall down a rabbit hole of addiction to femininity. But let's not romanticize it and retcon the character arc.

I've already lived the displeasure of gender dysphoria so I'm good on that in my fiction. To me, these stories are a nice form of escapism, I don't need reminders of real world issues in my entertainment, as especially many Holywood folk seem insisting on.

KK & Fraylim did a story for Joe Six-Pack called The Boy's Guide to Girlhood and without trying to spoil it, I imagine that's a bit like how you're describing Sweet Marissa. It was unsatisfying for me. That's not to say bad or awful things shouldn't happen in the stories I read. I'm a believer in the idea that a reader should be sent home happy. I also absolutely hate Requiem for a Dream. I don't have the vocabulary to describe how much I despise that abhorrent film.

I usually prefer social feminisation over sexually feminisation processes, as they tend to be methods (in my mind at least) that stick better for the main characters journey into womanhood. For example, in Mirror I feel Elenas female friends and their expectations of her should be a better way of conditioning her to be female in her daily life than the once a week sex session Nikos has with her.

 

[Thalantyr]

Does anyone believe we have a true chance of this story turning into a horror for the main character, i.e. she never really embraces being a woman and gets truly depressed with what's done to her? Or will she eventually be okay and embrace the changes?

I don't think there's enough time to "eventually" do anything. On February 4th, Melissa said "Just two or three more parts to go...", so after this last update, we only have one or two. So since the dark turn was introduced on the very last page of the possibly second-to-last update, I'm guessing that it will either end with the MC in despair, or the villain will flip the hypnosis back on and the readers will be left with the dark implications even if the MC appears outwardly happy.

So on the feminization side, sometimes I can't tell if the author knows whether or not they're in the "right genre" and how to present their ending. 90% of the time, I genuinely despise the stories that basically are "oh, I was trans the whole time. I was only able to realize it because I was strapped down and ass fucked until I liked it". You don't get to have it be completely non-consensual and then wrap it up with a neat inner thought bubble at the end just so you can avoid the dark implications. By all means: have the character corrupted. Have them start to enjoy it and fall down a rabbit hole of addiction to femininity. But let's not romanticize it and retcon the character arc.

Along these lines, did you read Emory Ahlberg's "Anywhere But Boring"? Without giving too much away in case you haven't read it yet, I'd be curious to hear what you thought of that. Personally, I really enjoyed it.

We've talked about how Sweet Change isn't really a story that captures many of us, going in this more horror/nightmare direction may lead to at least an interesting hook for the main character. Or at least make the story more memorable.

The last page of this update is the first time I've been interested in this story. And it's not because I have to have a really dark story. I enjoy both dark stories and sweet stories. I just don't want the same story every time. I like variety. And this last page is the first real thing that differentiates this one from others like Temporary Roommate and High-Heeled Journey.

 

[Oled65cxpua]

Huh. This update actually introduced an element we haven't see from these white-panel stories in quite a while: breaking the mind control so the victim can actually fight back and/or come to terms with what happened to him instead of just meekly going along with whatever the villain says.

 

[rebirth095]

KK & Fraylim did a story for Joe Six-Pack called The Boy's Guide to Girlhood and without trying to spoil it, I imagine that's a bit like how you're describing Sweet Marissa.

Sort of, but I think the tone is different. It's been a while since I read Boy's Guide, but despite the protagonist being "stuck as a woman", there's a passiveness to the main character that is, in my opinion, what makes that story weak. Or at least for me, it makes the fantasy unfulfilling because it doesn't really capture any of my submissive kinks. Let's be honest, MOST of SixPackSite stories are like that. Very bland characters and lots of passive allowance of being feminized.

Sweet Marisa is forced feminization. The level of cruelty may very well turn people off. But it knows what it is and it entertains some of those scenarios that the submissive part of my brain fantasizes about. That's why, even if it's not a story that's my usual cup of tea, I respect it because it commits to what it is. I recognizes just how fucked up the scenario should be for someone to have forcibly feminized someone else and doesn't romanticize it or downplay that.

I'm a believer in the idea that a reader should be sent home happy.

For me, I believe the reader should finish the story "satisfied". Now that doesn't mean that the ending is happy or sad. But there should be closure of some kind. If I'm in the mood for a story where a husband gets cucked, then the satisfying story progression is that the husband gets cucked. But the story should know what genre it is and know what audience it's writing for. It's why I rant about stories where the ending tries to justify it as "Look! They actually do like all the fucked up shit happening to them!". I think you need to EARN that kind of justification. Otherwise, you've slapped the ending from a different genre onto the one you've currently written.

I usually prefer social feminisation over sexually feminisation processes, as they tend to be methods (in my mind at least) that stick better for the main characters journey into womanhood. For example, in Mirror I feel Elenas female friends and their expectations of her should be a better way of conditioning her to be female in her daily life than the once a week sex session Nikos has with her.

Generally, I don't think one is inherently better or worse for delivering a good feminization story, I think this all boils down to whether the arc the character goes through passes scrutiny. That said, I think that too many stories equate "sex with man" and "being a woman". Especially when they don't go through the emotional aspects. I feel like feminization and how that relates to sexuality can be just as powerful and internalized as much as social pressures. Speaking personally, my own journey experimenting with vibrators, dildos, and exploring my body in "non-masculine" ways was powerful. But it's true most stories don't pay off that level of detail. Most of them just go straight to "Oh wow, sucking cock for the first time has made me a cock addict! Me so girly now!".

Along these lines, did you read Emory Ahlberg's "Anywhere But Boring"? Without giving too much away in case you haven't read it yet, I'd be curious to hear what you thought of that. Personally, I really enjoyed it.

I have no issue with people winding down roads and finding themselves in the end. I've known friends that were convinced they were straight, then bi, then gay, then ended up in a heterosexual marraige after meeting someone they fell for. Does that invalidate their journey? Absolutely not. My own journey with my gender and sexuality, how I present myself is also winding and nonlinear and at times contradictory. But those are real stories, or stories meant to be real.

I think Anywhere But Boring is well written enough. While I find some of it a bit contrived (and there's certainly scenes I'd workshop a lot more), I understand what story it's trying to tell. But I don't think it's a feminization story. It's a trans story (and I think it knows its a trans story). There's nothing wrong with that. But for me personally, I'm really not interested in trans stories (in the same vein that I don't enjoy most coming of age stories based in real life in general). For me, I find it uncomfortable getting into the actual personal lives of someone else (even if they're fictional). It feels intrusive and disrespectful to treat as erotica.

That's why I generally dislike "sweet/sentimental" stories. The vast majority of them either feel too intrusive, or come off as glurge. It's like encountering toxic positivity. Having a story go "yay, all I had to do was transition, and now my life is perfect. I'm hot, everyone that matters accepts me, and I'm married to the perfect significant other" just rubs me the wrong way. Either because that's not reflective of real life, or because it's such clearly wish fulfilment from writers that are projecting too much. It, again, makes it feel incredibly intrusive.

By all means, have a happy ending. But let's earn that happy ending. Let's have a premise that makes sense for the story we're trying to tell. And let's be clear with our genre. I think the main "ding" I'd give Anywhere but Boring is that while in hindsight, I realize it wasn't meant to be a feminization story, it does start off like one. So it is a bit of a "bait and switch". But to its credit, with hindsight you do understand that the story knows what it is. And so I'll give it props.

 

[Puffinraven]

A sweet change: To be honest, a fat woman is not pleasing to the eye.

 

[Elaine.]

A new part has been released today

 

[Stevedore100]

As the newest part is up on the other site, I'll give my opinion here - the 1st part seems to be the beginning of story closure- the daughters wanting Elena as their only mom and Elena reciprocating. The daughters seem to now have zero interest in finding out their real mother, but is it still important to Elana, given what Angelo's told her?
The mystery person at the end would most logically be Marina- she's been gone a few weeks, has the only known personal relationship to the cop, and her abrupt dropping out of the story seemed rather odd. No idea what she's up to. I have sometimes wondered if her family's departure from Greece had something to do with the whole Nikos' kid hoopla, and maybe she has some unknown motive.
Or maybe it's not Marina - would not seem to be Joel, since he has the Melissa big hair barbie look now. Who else?

 

[Alicia Mae]

I think that IS Joelle. Joel’s death was faked, and the inspector was the one that reported the news of it to the Samaras family. I think he knows Joel and was in on the staged death- he just didn’t know that he’d transform into a blonde woman after weeks away.

That said, I’d love to see a spiteful Marina transformation that shows how far from her life with Andrew she’s gone.

 

[Thalantyr]

The mystery person at the end would most logically be Marina- she's been gone a few weeks, has the only known personal relationship to the cop, and her abrupt dropping out of the story seemed rather odd. No idea what she's up to. I have sometimes wondered if her family's departure from Greece had something to do with the whole Nikos' kid hoopla, and maybe she has some unknown motive.
Or maybe it's not Marina - would not seem to be Joel, since he has the Melissa big hair barbie look now. Who else?

I think that IS Joelle. Joel’s death was faked, and the inspector was the one that reported the news of it to the Samaras family. I think he knows Joel and was in on the staged death- he just didn’t know that he’d transform into a blonde woman after weeks away.

That said, I’d love to see a spiteful Marina transformation that shows how far from her life with Andrew she’s gone.

The hair is not even close to a match for Joel, who looked like this 1 day prior to the scene in the bar:


Neither the color nor style matches the woman in the bar:


Joel's hair was styled for a specific purpose, so it doesn't make sense for it to be completely changed the next day.

But the mystery woman's hair color is a match for Joanna:


So my guess is that it's either Joanna or a post-makeover Marina, who, as Stevedore100 pointed out, has a relationship with the inspector already. Plus Marina just left Andrew a couple weeks ago which aligns with what the woman in the bar is saying, and narratively it seems to fit that she would pop up again. On the other hand, the mystery woman's jaw looks a little aged to me. Slightly more jowly like Elena and Joanna are. I dunno, it's hard to tell with this art style and lighting.

 

[rebirth095]

I'm a little annoyed playing this game, because I'm really tired of these end-of-part-cliffhanger "who's that pokemon?" scenes. But I don't think it's Joel. Mainly because there's no point in having a makeover, only to have a second makeover. Joel was already unrecognizable as a pink bimbo blonde. There's no reason to go for a different look, just for the inspector.

It could be Marina. I have to say, the image looks like a older and bustier woman though. I guess Marina could have had some work done... but there's no point. She's not going to be seducing Nikos, and she was already effective in seducing the inspector. And on a more selfish note, Marina was plenty hot so I can't see this as anything but a downgrade if she had work done.

Joanna is a possibility, or this is just a completely new character (the missing mother, who has been creeping up into the story). Is it possible Joanna had even more work done, which is why she's more unrecognizable? She at the very least changed her hair. But a few weeks is plenty of time for her to have done more. I'll say, the only reason I wonder if it's Marina is because while she's clearly more top heavy (and an aged looking jaw), the other shots show a much younger (or at least thinner. 1683, that waist looks tiny!) form than what I associated with Joanna. But maybe that's clothing and camera angles at work...

To what end... No idea.

Overall, I just don't get this development. Elena just comes off incredibly narcissistic. Marina is 100% right in every grievance she airs in the flashback. Elena doesn't feel guilty at all! She instead just warps it so that Marina is the "bad guy", and validates herself by going "Eva and Sofia want me!" Which, I honestly still don't buy. What advice does a dude that got scammed out of his money have to offer two adult women that would bring them closer together?

Has the method acting just worn off now? I get that Elena might be a little confused herself, but her thought bubbles seem to imply that the method acting isn't "active" right now. Frnakly, it feels like that's the case because the motivations are selfish. It's about what Andrew wants, not who Elena is. Whereas all the previous times when Andrew was acting as Elena or thinking as Elena, it was always the attitude of trying to best act as the way Elena would. So if these are "Andrew's" honest thoughts... I guess I don't really have a conclusion, other than this is probably the clearest we've been. Andrew apparently cannot take responsibility for being a piece of shit, and is content with hiding as an entirely different person.

I'm honestly feeling gaslit by Andrew, not gonna lie

 

[Stevedore100]

Joanna wouldn't surprise me. She hasn't seemed one to consider the idea of disguise, more disappearing act, but who knows?
I thought the cop was just a secondary character but his reappearance suggests he may actually be important - more than just an aged body for Marina to revenge shag with.

 

[rebirth095]

I thought the cop was just a secondary character but his reappearance suggests he may actually be important - more than just an aged body for Marina to revenge shag with.

He's pretty necessary for the scheme, isn't he? I mean, the whole intended plot is that once Toska shows up, he'll get arrested and framed for crimes (including shooting Joel). So you need a cop to do that for you, and presumably the inspector has either been paid off or something.

Also, I felt like it was implied that Marina might have slept with him to uncover some information. I know part of that is my own biases, as I've been in the "Marina is right" camp for the majority of this story. But otherwise, a revenge fuck doesn't work if the person you're taking revenge on either 1) doesn't care, and especially 2) doesn't fucking know it happened!

 

[Stevedore100]

When he first shows up at the pool party., he mentions that he had interacted with Nikos recently for something else, but we never learned what. Maybe this is related.

I had thought originally Marina was trying the get something from him, but then her thought bubbles indicated she was just doing it out of spite, whether Andrew was aware or not. Now, if this is Marina., it seems she may well have had ulterior motives. It will be interesting to see if her leaving Elena and Greece was all pre-planned.

 

[LadyBoyJay]

I'm a little annoyed playing this game, because I'm really tired of these end-of-part-cliffhanger "who's that pokemon?" scenes.

I think Melissa should have revealed the mystery woman's face at the end. Not doing so loses momentum, in my opinion. Instead of us fans spending our time waiting until the next update speculating on what someone like Marina is up to, we are still stuck speculating on who the person is, which we've already been doing since Melissa gave us a teaser. Hyping up a tease and then not following through quickly enough, begins to lose some trust the more often that is done. Speaking for myself, I'm not 100% confident that Melissa will reveal the identity of the mystery woman in the next update.

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Elena just comes off incredibly narcissistic. Marina is 100% right in every grievance she airs in the flashback.

I don't really feel that way at all. It might be correct, but I'm just not feeling it. The reason why I don't is because once again, I'm being told that Andrew/Elena is a bad person, but I've never seen it visually. I'm having trouble believing it because from what I've been shown, Andrew/Elena looks like a selfless character who is willing to self-sacrifice to protect others. What I'm seeing and what I'm being told to think, don't match up. That's an issue for me. The same thing is going on with the daughters. We, the audience, just got told that a whole bunch of mother-daughter bonding has been happening offscreen. Which is something that I really wish I could have seen and felt, but without seeing it, the authenticity is just lacking.

 

[Stevedore100]

I get both pints of view regarding Marina and Elena. If what Marina is saying is true, then she is justified. Andrew never really disputes much of what she says, but we never really get a taste of his bad behavior that gets us to say, "Andrew you're a turd". Maybe those dream sequences were supposed to help us understand him, but they just seemed confused to me.

 

[rebirth095]

Speaking for myself, I'm not 100% confident that Melissa will reveal the identity of the mystery woman in the next update.

Actually, looking back through the sex scene, Marina is much bustier than I remembered:



Especially in this shot where she's got makeup, the mystery women's features do look more like Marina to me. No surgery required. Wig and makeup along with style of dress might be why she's unrecognizable by the inspector. That said, I still wouldn't rule out Joanna.

The reason why I don't is because once again, I'm being told that Andrew/Elena is a bad person, but I've never seen it visually.

We've been shown it though? Let's recount the series of events. Andrew gets super deep into method acting and burns bridges with everyone but Marina, who is the one person that stayed by his side.



After a tiny monologue, Orlov manages to convince this guy to fork over all his savings.



He does so, without ever once talking to Marina about it:



I mean, that's pretty selfish to me. Marina had to deal with him at his most toxic, got him "sober", and then he flushes their life savings down the toilet.

Somehow, Marina forgives this man. At least wanting to give him another chance.

Let's see how Andrew talks about this:



This is why I say "narcissistic". Andrew doesn't understand that it's not about the money. He doesn't connect the dots at all that when Marina brings up this incident, she's not shaming him about the money. She's talking about trust.

He treats their relationship as transactional. He fixates on the fact that her bringing it up makes him feel bad. Except that it's DESERVED. But he doesn't have enough empathy to realize that she's not bringing it up to hurt HIM, it's about the fact that he's not been trustworthy in the past. Look at that dialogue. His defense for himself is "I had no way of knowing he intended to scam me." He acts as if Marina forgiving him somehow wipes his history. The way narcissists do whenever they're caught in a lie.

For ages, a lot of us thought Andrew was drugged and caught in some kind of compromising situation. But no! He just flat out abused Marina's trust and bought magic beans.

Those I think are more cut and dry. I think there's other stuff that's questionable but could be perceived as being justified.

Lying to Nikos and throwing Marina under the bus. Even believing their lives are in danger, this is cruel and the fact that Andrew's instinct is to go down this kind of lie doesn't give me positive impressions of the guy.



And generally, all the emotional (and physical) cheating Andrew has been doing with Nikos (this is obviously more of a grey area due to all of the method acting questions as to how much control does Andrew actually have). That said, there's scenes where Andrew calls off sex and clearly has control:



And follows this up by having sex with Nikos that evening. I've made the argument before that Andrew does what he believes Elena would do. So things he says and thinks during this time period need to be looked at through that lens. However, it's also true that he's capable of saying no. And the fact is that he ultimately doesn't say no.