View of a monastery cellar hosting a large orgy between human women and goat-headed demons and imps.
In the back one nun is guiding another, flustered nun down the stairs into the basement. Both are wearing their habits. At the foot of the stairs are two nuns undressing, implying all the women in the orgy are nuns.
All the goat-headed demons have a glowing symbol suspended between their horns, casting the whole scene in a reddish light
Porn image of 3 nuns on a bench with their back to a side altar of the Holy Virgin. Two of the nuns surround the middle one who is in a state of ecstasy , lifting her habit up to her chest and spreading her legs, revealing her pregnant belly. On the lower half of her belly is a glowing sigil, specifically the alchemical symbol for black sulfur: a lemniscate with a double barred cross on top of it. On the ground between her feet lies a wooden dildo, the light of the sigil reflecting off of its wet surface, with splattered droplets where it fell on the floor. The two other nuns are pregnant too, but it is hard to see under their habits.
Above the altar behind the nuns stands a large statue of the Holy Virgin in a romanesque niche, her arms outstreched and palms facing outwards. The main sources of light are two votive candle stands to either side of the altar, causing most of the statue to be cast in shadow. Most of the statue is out of frame, only the hands and lower body are in view.
porn image, composition of 2 scenes, one in the foreground and one in the back.
The one in the foreground features a woman with jaws clenched, face grimacing as she furiously masturbates in an office chair with her right hand, while her left holds the armrest in a white-knuckle tight grip.
On her head she has VR goggles, headphones and a skullcap covered in electrodes, like those of an EEG set-up. The whole kit is implied to be some kind of experimental neurological interface. A streak of blood is running down her face from a nosebleed.
She's wearing brown tinted office wear and a lab coat, but her sweater is pulled over her breasts, her skirt is on the floor around the ankle of her left leg, and her panty hose is torn at her crotch. A significant wet patch is running down the tail of her lab coat.
Next to her is a half height 19-inch rack with a desk and 3 monitors. all her headgear connexts to the rack via an umbillical cable bundle. The two bottom monitors display a mass of code, several line graphs showing increasingly higher readings or higher frequency data as time progresses.
The top monitor shows a status overview of an abstract human figure. Their stomach and right thigh are marked in yellow, the right hip joint is marked in red.
The back scene shows a large lizard man in a concrete containment cell with deeply scratched walls. Said lizard man is roaring while fucking a femme coded android from behind. He holds and lifts the right leg, while his left hand holds onto her neck and shoulders. the bot's transluscent stomach section is stretched out by the lizard man's hemipeni, with cum being forced out, running down her legs. Her face is a large, dome-shaped red-coloured. Vacuum fluorescent display, currently displaying a stylized, cartoony femme-coded o-face.
The juxtaposition of the scenes implies the woman is currently linked to the robot through a neural interface, either controling or just taking sensory input, and is overcome by arousal as a result
low perspective illustration of a nude woman lounging cross-legged on a gothic revival chaise longue, her arms draped over the seat's rests. Her seat is in front of a large bay of windows made of crown glass. The only light is the moon shining through the window, but the moon itself and the night sky are heavily obscured in the refractions of the crown glass.
The woman and the seat are mostly rim lit, casting most of her body in shadows. Her breasts and part of her stomach are brightly lit by the moon. Her face is almost entirely obscured by shadows, save the edge of her cheek, the bridge of her prominent nose, and the icy blue glow of her irises.
Looking back, creatively, this year has been a very slow one. It was hard to find the time and energy to actually work on stuff. While I am satisfied with the art I made, I do wish there was more of it.