“VAA201 Assignment 3: Compare and Contrast"

Description

Chaeyoung is a sculpture, a three-dimensional form chiseled in light creamy flesh. Somewhere around 160cm, it would be fair to say you could fit her in the palm of your hand, or maybe in carry-on luggage. Her high heels still on her do not make her any taller, her bright swimsuit-style dress with complex patterns wraps around her ankles, and she bends over a desk ruining your progress on that painting restoration with unwanted fluids; to be fair, half of what spills down her cute little tits are yours.

The curves of her body and her blonde hair are soft and flow neatly, but there are many harder, more intermittent lines that run through her body: the strings from her heels that wrap around her shins and dig into the skin, nail marks on both her neck and her ass, red handprints on her tits and butt. There are also finer details in her many small tattoos. Lips on her wrist that you don’t kiss but rather grab tightly as you find leverage to piston into her, a heart tattoo under her ear that you nip at to coax more wetness from her pussy. These add texture to her smooth skin, so smooth that your cock in frame can spread saliva and a thin veneer of semen all over her pert cheeks more than comfortably. Your length also snugly fits between her shapely thighs as you give her friction in concluding thrusts. The color in the scene is dominated by the rosy hue of Chaeyoung’s skin and everything in the room other than her is unsaturated.

To be more precise, the entire piece is not just Chaeyoung, but includes the setting of the room, a dimly lit workroom with other pieces of art, tools used for painting, chairs and tables suitably large for the many varieties of canvases used. However, similarly to the color, they are sculpted loosely, almost with a blurry smoothness. It is much like yourself, the final subject of the piece. The tint of your body does not matter, the shape of your hands and your cock, while clearly appearing in the scene, are not described as carefully by the artist. Regardless, you are the intended point of view of the scene, your eyes providing the most accurate perspective, standing behind Chaeyoung with a hand in her hair as you observe your seminal work.

“Fuck, you got me so tired, daddy.” Remember to delete this later when you submit the assignment. It helps get the mindset of the artist but it isn’t crucial to the analysis.

Analysis

You just had sex with Chaeyoung. Perhaps this goes without saying, but it is important to note everything for the purpose of the analysis. Maybe more saliently, there is no mistaking the activities in your sight. You did not accidentally trip and fall while holding a plastic jug of glue, you did not drag Chaeyoung’s swimsuit down, and she was not drooling at the thought of a lobster meal she would eat later today. Even if those are the next most plausible chain of events, any reasonable reading of the moment would lead to the conclusion that intercourse took place. The contrast between her delicate curves and the harsh marks lead the observer to remark that the sex in the scene was not gentle. The movement portrayed is minimal, with only soft breaths from Chaeyoung to recollect herself while your cock throbs and you struggle to keep yourself standing.

The room is messy, but it is improbable that the messiness is as a result of enamored scrambling around the room. However, it is indicative of the lack of restraint between you and Chaeyoung, if the lack of concern towards the accidental vandalization of art does not make it clear enough. It was once slightly cool in the room with the pure white light of the LED bulbs from the ceiling, but now the warm sun shines in through small windows and the observer may note that the works of art in the room are not so sensitive that they have to be kept away from the sunlight. Her puffy lips are warm not in color, but in literal temperature to the touch.

When you grind between her legs, she grinds back, begging to put your cock inside. As a sculpture, Chaeyoung almost dances, despite the small stature and the subtlety of her movement. She uses every inch of her body to its fullest effectiveness to keep your cock as hard as possible, even after you’ve sprayed all over her. Even without this knowledge, you can pinpoint the exact point of time in the scene. It must be soon after your orgasm, blurring your vision. Everything would have turned black for moments longer than you expect, so when you open your eyes again, only Chaeyoung stands out to you.

In fact, it is clear the focal point of the scene is Chaeyoung. Though you are one half of the subject of intercourse, possibly even more than that considering Chaeyoung’s petite frame, you fill much less space in the room. You can see your hands, your feet, your dick. Though akin to a camera in the room, you have an imperfect perspective. This lack of clarity paradoxically removes the indistinctness between the second and third person. You are the creator of the work, and you are so used to feeling your emotions instinctively that you do not have to describe them to feel them, though they are both similar and different Chaeyoung’s emotions displayed in her facial expressions and body language. A bit of drool runs from Chaeyoung’s tongue poking out of her little mouth, while your face relaxes while you catch your breath. Both of you are satisfied, you’re both considering whether or not to go for a second round of sex. However, Chaeyoung looks more lost in her pleasure.

“Hello? Daddy, you there?” Chaeyoung reaches down between her legs. Her slick labia turns slicker when your cockhead peeks out from her thighs. Her hands are small and nimble. Truthfully, maybe you’re the one lost. You don’t even remember to write down a note to delete this outwardly unfitting section of dialogue.

Interpretation

There is a certain amount of implied agreement and planning in the sculpture. Chaeyoung writhes, insatiable for her daddy’s cock. She begs for your cum coated all over her face, her back, her legs and her little tits, but she also loves wrapping you tight with her legs when you cum. These are not the actions of a stranger with another stranger.

An interpretation of the picture is of Chaeyoung’s hungry need. Chaeyoung could be your girlfriend, she could be your wife or your mistress. The picture gives no explicit labels about her position, though you know she is just a friend. Every emotion displayed is one of physical lust. There is no residue of love. The marks on her body are impermanent, the cum will be cleaned off soon. She is not appropriately dressed for a date at the museum—maybe the beach is more suitable for her attire—and it is too late in the day for the museum to be open anyway. You are her dick appointment and Chaeyoung is too impatient to wait for you to finish your work.

The artist wants to show more than just a picture in the sculpture. It does not require an addition of mixed media, no speakers or dollar-store headphones to depict the sinful sounds coming from between your crotches or the lewd words from your mouths, and there are no Costco samples of her sweat and juices or scratch-and-smell cards that add to the scene’s imagery. However, you know that she smells sweet. It could be vanilla to match her silky skin or possibly a citrus flavor such as lemon to compliment her hair color. Her small physical form of flesh allows you to imagine manipulating her body as you thrust your cock into her.

The purpose of the scene is just as obvious as the underlying events depicted—the artist created this scene because you are horny. The sculpture does not actually exist. The muse of the sculpture, Chaeyoung, exists, but the work of art does not actually exist except in the context of this analytic essay. As a result, one may find a more correct analysis of the piece would be in a secondary analysis of this reading and its structure. By drawing light to its nonexistence, the creator of the scene implores an observer to produce a more thorough imagery in their own conception of Chaeyoung, using deeper and more specific layers of examination.

“God, I love the feeling of your cum all over me, daddy.” Chaeyoung lays with her stomach flat on the desk, her legs dangling from the edge as her ass sticks out. Your assignment is just as ruined as the painting you’re supposed to have fixed. Fortunately, only one of these is due tomorrow at midnight. You consider taking the hit of the late penalty, it’s only 10% for every day missing up to 3 days, and the assignment itself is only 10% of your mark. At this point, these ending paragraphs are motific to the analysis and cannot be removed though their existence will continue to be noted for in-story purposes.

Judgement

It would be contradictory to pass judgement of the scene, as again, the scene only exists as the current representative series of words. The constructive prose plays with the structure of common second-person smut writing to add variety, especially in the current purview of its relevant fandom, K-pop girl groups. Its effectiveness is subjective. Some may find the style indulgent and pretentious, and some of it could be construed as overwriting, as though there were a word count to fulfill, while others may view it as humorous and are able to explore something sexy in the absurdity of work.

Self-awareness, however, does not necessarily absolve the creator from further criticism. For example, despite all the words to describe the scene, there is still a deliberate vagueness in pinpointing its literal form. An entire tableau is described, though your exact position is still unclear, leaving questions on how an observer would actually insert themselves in your shoes if you were also an extant structure within the tableau. Since the subject of the scene is Chaeyoung, it is left unanswered, alluding to the lack of planning and focus towards the creation of an experience over a perfect representation.

A more productive critique would be towards the fictitious sculpture depicted in the work. You like to use a good fuck doll. Chaeyoung is a good fuck doll. Categorically, this is all that is required in a lurid depiction of sexuality. Much like how all Chaeyoung is good for is as a collection of tight holes for her daddy—to be fair, she also knows how to fuck herself onto daddy, her throat and her ass all pushing into your cock—the sculpture exists only as pure pornography. Again, this is contradictory to the existence of the work as it pertains to being contained only within the written word, because some may find the constant reference to its nonexistence distracting to the sole purpose of achieving orgasm. Either work of facetiae should be effective regardless because of the common tropes they use in their respective languages, both vivid enough to imagine you replacing the second person.

Chaeyoung would like to see how long you can stay distracted. She turns her head to find you half soft again.

“I’m going to my fuck my throat onto your cock right now if you keep ignoring me.” Her dirty words pull you out of your absent-mindedness. Maybe absent-mindedness isn’t the right word, you’re filled to the brim with thoughts of your assignment that you have to hand in.

Your phone vibrates in your drooping jeans. Pull it up, but her hands stop you as soon as you try to put your dick back in your underwear. “Sorry baby girl, I have to take care of this.”

“Hmph. Sure. Buuut, you can’t leave this room.”

“It might be something important.”

“Daddy! Do you want your cock cleaned or not?” It’s already clean enough, wiping it all over her pussy only makes it wetter. She takes initiative, not waiting for a reply as she squats on the floor in front of you, her head against the side of the desk.

Open your phone. ‘MN’, the contact name says.

“My house. Now,” the hushed voice says with a sensual vocal fry.

Chaeyoung expectantly looks up at you and pouts before she taps on the soft spot behind your balls with her tongue. “Does this taste good, daddy?”

Seems to taste good for her. Your hardening shaft answers for you as she teases the most sensitive spot in your body. Her licks send chills as they circle back and forth from your ass to your balls, but she finds a place to settle down with, gurgling each ball in her mouth. You struggle to keep your voice straight. “I’ll be there. Soon.”

“Be where daddy? You’re not leaving until I’m done here.” Your eyes return to Chaeyoung below you, her face blocked out by your increasingly longer and firmer cock. Her eyes cross staring at your length, as though this is her first time, or as though it’s a beautiful work of art. Yours cross too but only half in gratification. All that and only one third of the way through. You have so much left to write.

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Description

Mina is a painting. The painting is a large oil painting on canvas, much wider than it is tall, and it blends three scenes. They are all set in the front hallway of a house, though the details of the architecture are not explicit; there are even continuity errors between the different scenes. The only objects of import other than Mina and you that are depicted in the scene are a bench, a wall and a single incandescent bulb which serves as the source of light, though the background implies it is nighttime with dark windows past the subjects of the scene. While the strokes of the painted background are thick and use clear geometric shapes, both of the bodies are drawn in thin and light brush strokes. The artist does not ever separate the two from each other, as all of the scenes overlap. Mina is pale, the palest colors in the scene, and never painted with clothing, as her black dress with colorful accents is on the floor and fades as the scenes progress. You have your jeans on in the initial scene, but they disappear right after. The texture of the surface of the painting is rough.

The first scene, Mina is on her heels with her head against the wall. You lean over her with a hand on the wall, and your cock is in her mouth. There is a bulge in her throat. The door is open. The door is now closed in the second scene, but not fully. Mina faces the wall and needs two hands with her posture slightly bent forward, as faces the observer of the painting and a drop of your pearly seed is in the corner of the mouth. At the same time, you lean backwards when you stand behind her. Your cock is halfway inside of her slit while you try to find an angle to hit the fleshy spot inside her and make her cum so that she can clench around you and make you cum in kind. In the third scene, Mina bends down much further so that her hands are on the bench. The tip of your cock teases at her ass. Cum leaks out of her innie pussy, the hint of her lips that peek out glistening.

“Why were you so late?” Mina says as she drags down your pants and springs your cock free. It is late. Your dreams start to fill with the mundane, sitting on your laptop with only a single lamp that adds to the illumination on your face, such that you can’t remember which words you’ve actually written and which are hallucinated.

Analysis

Not only is sexual activity between you and Mina depicted in the painting, but there are many different varieties of activities. There is a focus on the physical exertion and pure lust painted in the scene because though the painting is large, its size is used to display the small details in each type of action. When Mina takes her facefucking, her fingers are soft pliers as her hands grab onto your thighs. The background is painted in broad strokes yet the shadow cast in the pressure of your skin is drawn in painstaking precision given the source of light. As you work on thrusting into the impassioned woman, Mina’s brows furrow and makeup on her eyes and her lips are slightly smeared, certainly at the force of your usage of her throat. Her mouth is open in a wordless moan. Finally, the culmination of pleasure in her anal scene also portrays a contrasting struggle. In any other moment, she is the last girl to acquiesce for her wrongdoings. Mina would talk back whenever the opportunity arises and she is as cold as her exterior appears. Yet in the throbbing pangs caused by the mere tip of your cock in her asshole, Mina cannot speak. Her tongue lolls out of her mouth out of sheer stimulation.

The painting’s length is not used to depict a large single scene in landscape, but rather, the extensive use of the second dimension is to portray time. There is a lot of movement in the scene. The form of Mina is both lithe like a ballet dancer and thick in the right places. For as carefully as she moves to arouse, she is sloppy. This is just as, if not more, arousing to you, considering you are able to keep up your erection following two orgasms, though the visage of the both ravishing and ravished woman helps. In a single painting, Mina is portrayed from a routine act of being spoiled and haughty to a kitten completely subservient for your milk. After the first scene, the next scenes imply a preceding orgasm as more and more cum seeps out of her holes. The painting is chaotic in its shapes and brush strokes but extremely structured with the addition and removal of details in a clear linear temporal flow. The colors of the background are chaotic and saturated, though dark. Masses of blacks and indigos contrast with small shapes of yellow and pink that portray the scant light in the hallway.

The painted form contrasts with Mina’s particularities in some ways, while it’s also completely congruent in others. Being painted with cum is not her inclination, as she would rather your seed fill any of her holes before wasting it on her body, no matter how good it looks. However, the two-dimensional depiction serves this internal satisfaction, enjoying the feeling of cum whether in her throat or pussy, both warm and milking, or in her oppressively tight ass.

There is no fourth wall in the house. The painting is staged like snapshots of a theatre production, the only evidence of a fourth wall being a front door that closes as the painting progresses from left to right, yet the fluidity of the second person painted allows a viewer to visualize in their mind the scenario in which they are that second person.

“Master. I—I didn’t mean to be so uppity. I just wanted your cum so badly. You, you already cleaned out my dirty mouth with your yummy cum, I don’t… know what t-to do. Here.” Mina presses up against the wall, squishing her tits. She wiggles her ass, rocking it back and forth as she tries her best to put your thickness in. “I’m not sure if my pussy is good enough, but, hopefully. You know, if you’re in the mood to breed your kitten as punishment, I know it’s not punishment but—fffuck. ”

You try to leave more notes for yourself to delete the detritus of dialogue but the only notes you write are left in your dreams.

Interpretation

The creator of the actual piece of art in review, the metatextual analysis contained within the diegetic essay, uses the dryness of analytic description while mixing more prosaic language to create a novel form of pornographic writing. It is not written in a completely formal essay style as the limitation may be too challenging to advance the events of the basic overarching plot. There are many places where the structure of artistic critique is broken for narrative effect. As well, the second person perspective in writing is plainly not suitable for a true scholarly review, but it is used anyway to fit the more traditional format and allow a reader to self-insert. Again, the placement of the reader relative to the piece being called into question as it is right now can be gauged as a form of filtering for more discerning audiences. Most consumers of pornographic material utilise it for its intended purpose, as a masturbatory aid, and it would be reasonable to assume, not containing any of the required activating phrases that stand out to at first glance, written in a dry manner with academic filler words and longer than usual, that this paragraph would be glossed over. These readers focus on the explicit sexual moments recounted in graphic detail which is expected, and the structure of the piece allows them to skim through the text to find the sections that are more gratifying. However, by introducing a second level of criticism within the text, it provides an exercise for other readers, especially those who have already allowed the dopamine release formed from orgasm and have a more functioning lateral orbitofrontal cortex for logical thinking and decision making (known colloquially as “post-nut clarity”). In a less than sober state, the following paragraph would be much more likely to attract attention in the striking nature of its introductory sentence, though it is not guaranteed.

Now consider anal and the painting proper. Mina needs anal. While Mina is many other things, a complex human being with emotions and a unique life path that many others have not undertaken, she is also her ass in how she uses it to the fullest. This is an allusion to the many other works of sexual art involving Mina (for example, Peach’s Expensive or Locke’s Chapter 12 of Business Trip, Answers). By using the common association of her most significant asset and her defining action, the representation of “Mina” becomes valified in an observer’s mind, even if it shares only one third of the physical piece.

Similar to Mina’s movement in the painting, and the painting’s design principles overall, Mina’s personality shines through in the work with a level of carefully planned chaos. The dress which did not even last through one scene of the painting is not the kind of dress one would wear at home. It’s too pretty, too well-prepared, too easy to tear off in lust. Whatever Mina does not plan for is not important in her mind, she doesn’t even care if the door is open initially. She assumes that just as she is thirsty for your cum, that you become thirsty as well, seeing her thighs below the hem of her short dress and the cleavage as you look down at her. Mina is right. As well, the lack of the fourth wall in the painting is an obvious parallel to a lack of fourth wall in the current story.

“Oh, master, you’re still hard. I think I’ve been a good enough kitten, right, master?” Mina smells like musk, cum, sweat, and all of sex combined. She mewls, not an actual thing that most people do unless they bend over to fully display the tight ring of their asshole for you. It puckers, not in fear but in expectation. Almost with the same pleasure found in orgasm, you push in and see black in pleasurable yet ineffable tightness, flushing out every other thought in your head.

It’s funny. All your assignments are instantly flushed out of your mind as soon as the grammar is good enough. It’s a lot like the ‘exam effect’, where if someone were to stop you on your blissful way out of the final examination and they were to ask you to take an exam on the exam you just completed, you would get a zero. Right, your dick is in a gorgeous girl’s ass, almost folded over in her foyer for your cock. You thrust.