Beastcomics
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Caroline - Parte 24
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[Pigking/CrazyDad] Comics
- Thread starter pinheiroleo33
- Start date
- big-ass milf
- incest
Beastcomics
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Jhony Cash (Trader)
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Teddy’s work is on a whole other level.
DupletT
Active member
I completely agree with you. This is very interesting...
I really enjoy stories about travel and adventure.
Juanito, thank you so much for the captivating story.
I was especially intrigued by the last drawing.
We look forward to the continuation of this wonderful story.
GHITA
Archiviste
This could be a fun option, and would allow Johnson to make even more money, but how could he impose his will on Brenda, as he does with Cynthia
... language aside, FIL at Home belongs to JB and LF to Teddy, so it would be difficult to set up.
GHITA
Archiviste
I have a slightly different opinion. I really like JB's work ; while his graphic quality is admittedly a little less consistent, he's very precise and imaginative in his narrative construction.
He's managed to breathe new life into FM and FIL at Home in a very rich way.
For example, I've always found Teddy's graphic style for Caroline strange. Almost angular, the drawing of her body and face is really unusual. Not my taste.
And I know JB's more than capable of matching Teddy's graphic style. For me, they're both the best.
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Jhony Cash (Trader)
Active member
Every artist has their own signature. The more you become familiar with an artist’s work, the more you start to notice these details. The linework, the framing, the character construction, everything gradually reveals the creator’s identity.
For some time, I believed that Mom’s Help 36 was a work by Juanito Brown. I even held him to that extremely high standard of quality. Today I discovered that this piece was actually created by Teddy, and that completely changes the analysis.
I apologize to Juanito for having demanded a specific level of quality that I now understand belongs to Teddy’s unmistakable style. When comparing Mom’s Help 36 with Lost Family 30 and Lost Family 31, Teddy’s signature becomes evident. The characters with breathtaking curves, the intensely sensual visual construction, a true aesthetic delight in every panel.
On the other hand, when observing the material produced by Juanito, it is also possible to clearly perceive the difference in style. To make this more evident, I created an overlay of pages to highlight Juanito’s work in comparison to Teddy’s, making the artistic differences easier to see.
Juanito’s work presents scenes involving vaginal penetration, however the way these sequences are visually constructed ultimately limits the impact they could achieve. The composition often avoids more detailed framing, which creates the impression of a certain artistic self-restraint in the direction.
It is also noticeable that there is little technical emphasis on the vaginal penetration scenes themselves. The camera rarely explores angles that highlight depth, bodily interaction, and stronger anatomical realism. As a result, the more explicit scenes feel more suggested than fully developed from a visual standpoint.
When we talk about Gracie, a character from Big Black Cock, the aesthetic potential is even more evident. Her design is striking, extremely sensual, and visually well executed. She is the kind of character who, jokingly speaking, “deserves a special tribute” from fans, complete with dramatic reactions in front of the computer screen. The problem is that the intimate scenes do not fully match that visual strength. They could have more intensity, greater variation of shots, and a bolder camera direction to truly enhance the character.
In general, it would be interesting for Juanito to rethink the direction of the more explicit scenes, aiming for greater anatomical naturalness, diversity of angles, and a more immersive visual construction. The potential is there. What is missing is transforming it into real impact on screen.
As for the productions involving bestiality, I would recommend seeking guidance from Teddy, perhaps even an intensive course in framing techniques and more deliberate exposure of the sexual organs, including clearer depiction of penetration.
For some time, I believed that Mom’s Help 36 was a work by Juanito Brown. I even held him to that extremely high standard of quality. Today I discovered that this piece was actually created by Teddy, and that completely changes the analysis.
I apologize to Juanito for having demanded a specific level of quality that I now understand belongs to Teddy’s unmistakable style. When comparing Mom’s Help 36 with Lost Family 30 and Lost Family 31, Teddy’s signature becomes evident. The characters with breathtaking curves, the intensely sensual visual construction, a true aesthetic delight in every panel.
On the other hand, when observing the material produced by Juanito, it is also possible to clearly perceive the difference in style. To make this more evident, I created an overlay of pages to highlight Juanito’s work in comparison to Teddy’s, making the artistic differences easier to see.
Juanito’s work presents scenes involving vaginal penetration, however the way these sequences are visually constructed ultimately limits the impact they could achieve. The composition often avoids more detailed framing, which creates the impression of a certain artistic self-restraint in the direction.
It is also noticeable that there is little technical emphasis on the vaginal penetration scenes themselves. The camera rarely explores angles that highlight depth, bodily interaction, and stronger anatomical realism. As a result, the more explicit scenes feel more suggested than fully developed from a visual standpoint.
When we talk about Gracie, a character from Big Black Cock, the aesthetic potential is even more evident. Her design is striking, extremely sensual, and visually well executed. She is the kind of character who, jokingly speaking, “deserves a special tribute” from fans, complete with dramatic reactions in front of the computer screen. The problem is that the intimate scenes do not fully match that visual strength. They could have more intensity, greater variation of shots, and a bolder camera direction to truly enhance the character.
In general, it would be interesting for Juanito to rethink the direction of the more explicit scenes, aiming for greater anatomical naturalness, diversity of angles, and a more immersive visual construction. The potential is there. What is missing is transforming it into real impact on screen.
As for the productions involving bestiality, I would recommend seeking guidance from Teddy, perhaps even an intensive course in framing techniques and more deliberate exposure of the sexual organs, including clearer depiction of penetration.
GHITA
Archiviste
hihihihihi you're not being very fair. LF's drawings are themselves old, and their quality has sometimes been inconsistent over time.
The_Nonce
Active member
I'm not sure I understood your comment correctly.This could be a fun option, and would allow Johnson to make even more money, but how could he impose his will on Brenda, as he does with Cynthia
Do you mean that FILAH belonging to JB and LF to Teddy would make it unlikely that the story theme I proposed wouldn't happen due to IP concerns OR that the stories couldn't somehow cross/connect because they're done by different individuals?
Jhony Cash (Trader)
Active member
I was clear that I was talking about the style of the render artists not just the technique. In the beginning there were not even the names of the render artists written on the works as we see today. Even so Teddy’s drawings already followed a unique pattern with highly stylized poses more voluptuous characters and a clearly defined visual identity that was easily recognizable even without an explicit signature.hihihihihi you're not being very fair. LF's drawings are themselves old, and their quality has sometimes been inconsistent over time.
In my view Juanito Brown closely follows the school of Frank Romano with compositions that seem to show little study of framing scenes that feel simple and without much artistic elaboration. Considering that Daz3D Studio already provides many ready made resources the real difference should be in artistic direction composition and creativity not just technical execution.
Over time updates to Daz3D Studio and more realistic plugins naturally raise the overall level of the work. Technical evolution is inevitable. But technical evolution does not replace artistic vision.
I studied fine arts for a period of my life and worked as a student in the studio (atelier) of Apolônio Chagas Maias. I have a foundation in composition and artistic creation. My intention is not to make the author’s work harder but to offer constructive criticism. When I say the work could be better it is not to diminish it but because I clearly see room for a more consistent result.
Comparisons are inevitable. Teddy’s older works had more interesting framing and greater care in composition. In JB’s case there often seems to be repetition of formulas especially in the way scenes are framed which looks very similar to what Frank Romano does.
If someone studies the program for six months and learns how to render properly they can produce something very similar to what JB and FR do because there is no higher demand in terms of framing or visual construction of the scenes. The artistic difference ends up being secondary.
Maybe because I had artistic training in my adolescence I am naturally more detail oriented and tend to research more before presenting a work. No one is born knowing everything but when the tools and resources are available the ideal goal is to pursue aesthetic evolution not only technical improvement....
APOLÔNIO CHAGAS MAIA - Figura Feminina. Óleo sobre tela. Assinado
APOLÔNIO CHAGAS MAIA - Figura Feminina. Óleo sobre tela. Assinado no canto inferior esquerdo e datado em 1989. Medidas: 46 x 37 cm.
www.capadocialeiloes.com.br
GHITA
Archiviste
I don't know, I'm just expressing an opinion. I do think it would be difficult to make two universes from two different creators intersect.
GHITA
Archiviste
understood. thx u for explicationI was clear that I was talking about the style of the render artists not just the technique. In the beginning there were not even the names of the render artists written on the works as we see today. Even so Teddy’s drawings already followed a unique pattern with highly stylized poses more voluptuous characters and a clearly defined visual identity that was easily recognizable even without an explicit signature.
In my view Juanito Brown closely follows the school of Frank Romano with compositions that seem to show little study of framing scenes that feel simple and without much artistic elaboration. Considering that Daz3D Studio already provides many ready made resources the real difference should be in artistic direction composition and creativity not just technical execution.
Over time updates to Daz3D Studio and more realistic plugins naturally raise the overall level of the work. Technical evolution is inevitable. But technical evolution does not replace artistic vision.
I studied fine arts for a period of my life and worked as a student in the studio (atelier) of Apolônio Chagas Maias. I have a foundation in composition and artistic creation. My intention is not to make the author’s work harder but to offer constructive criticism. When I say the work could be better it is not to diminish it but because I clearly see room for a more consistent result.
Comparisons are inevitable. Teddy’s older works had more interesting framing and greater care in composition. In JB’s case there often seems to be repetition of formulas especially in the way scenes are framed which looks very similar to what Frank Romano does.
If someone studies the program for six months and learns how to render properly they can produce something very similar to what JB and FR do because there is no higher demand in terms of framing or visual construction of the scenes. The artistic difference ends up being secondary.
Maybe because I had artistic training in my adolescence I am naturally more detail oriented and tend to research more before presenting a work. No one is born knowing everything but when the tools and resources are available the ideal goal is to pursue aesthetic evolution not only technical improvement....
APOLÔNIO CHAGAS MAIA - Figura Feminina. Óleo sobre tela. Assinado
APOLÔNIO CHAGAS MAIA - Figura Feminina. Óleo sobre tela. Assinado no canto inferior esquerdo e datado em 1989. Medidas: 46 x 37 cm.
The_Nonce
Active member
Well, I can't exactly speak to the matter regarding the two different creators.I don't know, I'm just expressing an opinion. I do think it would be difficult to make two universes from two different creators intersect.
However, it is certainly possible for Brenda to fall down the same rabbit hole as Cynthia since they exist in the same universe.
I was really eager to go back and verify my theory, so I hope everyone here will indulge me.
Way back in FILAH 6, we see Brenda walking down the street and she crosses paths with Janine. At this precise moment, the two women didn't know each other, as shown in the image below. However, I believe CrazyDad did it to show readers that they inhabit the same universe.
Then, in FILAH 11, Clarice tells Brenda that Janine asked them to take care of Conan. Specifically, it is established that Janine and Brenda are actually neighbors.
Then, in Family Sins 4, we see the continuation of the story where the two women cross paths whereby Janine follows Brenda into an alley and witnesses her having sex with a beggar.
In Family Sins 27 it is revealed for the first time that Cynthia, Thomas, and that goblin Johnson, are related to Janine's family. This is the part where Brian flies to the island to rescue the "Lost Family."
More specifically, in Family Sins 28, it is clarified that Janine's husband, Dener, is that goblin Johnson's biological son.
Without straying too far from the point I'm trying to make, I'll just point out that in FILAH 21, it is revealed that Clarice and her husband had tried to visit Jukka's farm (Eric's father). We also know that that goblin Johnson got the horse that was taken to the island as early as Lost Family 15 from Jukka. Now, this is the part where I'm purely speculating about the potential plot, but it's possible that in conversation, Eric might've asked Jukka for ideas for honeymoon spots. Assuming Jukka is a responsible businessman, he would've asked that goblin Johnson where he was planning to take the horse and learned that that goblin Johnson owned (or was planning to buy) the remote island in question. Further assuming that Jukka and that goblin Johnson kept their business relationship, that goblin Johnson might've told Jukka that he owns an archipelago (one island where Cynthia is currently residing in, the one where Ayumi was supposed to be taken to, and a couple spare ones) and that he'd be happy to let Eric and Brenda have their honeymoon in one of the spare islands.
Then, being the pervert that he is, that goblin Johnson would've made sure to put some animals and contaminate the water supply with his infamous aphrodisiac in hopes that Brenda succumbs to the pleasures of bestiality. Of course, money is always at the forefront of that goblin Johnson's mind, so he'd make sure to have a few drones flying around to record everything and use it as marketing material for other potential customers.
With that said, I believe it is absolutely possible for such a story arc for Brenda!
GHITA
Archiviste
I really like the plot you've imagined. It's very interesting.
LF and FM have always been my favorite series. Even more so now that Teddy and JB have breathed new life into their respective heroines.
Brenda is already starting to infiltrate Sonia's world, a bit like a rival. She's already starting to declare herself the boss in this latest issue, and that's unlikely to sit well with the farm's new owner.
Btw Cynthia is alone on her island right. Apart from the animals and the occasional clients who come to use her, there are no obstacles to Johnson's business. Whereas in Brenda's honeymoon, the major obstacle is her new husband. Brenda is not alone on this island. So how they do it.
On the other hand, the idea that Brenda, even married, is blackmailed by her neighbor to turn her into a virtual slave is also a development that would be interesting to see.
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Jhony Cash (Trader)
Active member
understood. thx u for explication
No problem, I was just addressing a point that, for me, is more technical. I believe that Juanito Brown and even Frank Romano could significantly improve the way they handle scene composition. It is simply my personal opinion; I am not trying to impose my point of view on their work in any way.understood. thx u for explication
The fact is that Teddy’s work appeals to me more because his approach feels more artistic, almost like that of a more experienced photographer. Meanwhile, Juanito and Frank Romano tend to keep everything centered in a single plane. The render quality in Daz3D Studio is fantastic, without a doubt, and I do appreciate Juanito Brown’s work, especially when it comes to "Big Black Cock" scenes. However, I believe it could become even stronger if he applied a more professional treatment, with more detailed framing and closer zoom work in key moments.
I truly value your opinion; your argument is very coherent. I really enjoy reading what you write and I take your perspective into serious consideration.
Jhony Cash (Trader)
Active member
I absolutely loved “Goblin Johnson.” Seriously, he really does look like a mischievous little goblin straight out of a medieval fantasy world who decided to become the main character.Well, I can't exactly speak to the matter regarding the two different creators.
However, it is certainly possible for Brenda to fall down the same rabbit hole as Cynthia since they exist in the same universe.
I was really eager to go back and verify my theory, so I hope everyone here will indulge me.
Way back in FILAH 6, we see Brenda walking down the street and she crosses paths with Janine. At this precise moment, the two women didn't know each other, as shown in the image below. However, I believe CrazyDad did it to show readers that they inhabit the same universe.
View attachment 2345855
Then, in FILAH 11, Clarice tells Brenda that Janine asked them to take care of Conan. Specifically, it is established that Janine and Brenda are actually neighbors.
View attachment 2345857
Then, in Family Sins 4, we see the continuation of the story where the two women cross paths whereby Janine follows Brenda into an alley and witnesses her having sex with a beggar.
View attachment 2345864View attachment 2345865
In Family Sins 27 it is revealed for the first time that Cynthia, Thomas, and that goblin Johnson, are related to Janine's family. This is the part where Brian flies to the island to rescue the "Lost Family."
View attachment 2345932
More specifically, in Family Sins 28, it is clarified that Janine's husband, Dener, is that goblin Johnson's biological son.
View attachment 2345938
Without straying too far from the point I'm trying to make, I'll just point out that in FILAH 21, it is revealed that Clarice and her husband had tried to visit Jukka's farm (Eric's father). We also know that that goblin Johnson got the horse that was taken to the island as early as Lost Family 15 from Jukka. Now, this is the part where I'm purely speculating about the potential plot, but it's possible that in conversation, Eric might've asked Jukka for ideas for honeymoon spots. Assuming Jukka is a responsible businessman, he would've asked that goblin Johnson where he was planning to take the horse and learned that that goblin Johnson owned (or was planning to buy) the remote island in question. Further assuming that Jukka and that goblin Johnson kept their business relationship, that goblin Johnson might've told Jukka that he owns an archipelago (one island where Cynthia is currently residing in, the one where Ayumi was supposed to be taken to, and a couple spare ones) and that he'd be happy to let Eric and Brenda have their honeymoon in one of the spare islands.
Then, being the pervert that he is, that goblin Johnson would've made sure to put some animals and contaminate the water supply with his infamous aphrodisiac in hopes that Brenda succumbs to the pleasures of bestiality. Of course, money is always at the forefront of that goblin Johnson's mind, so he'd make sure to have a few drones flying around to record everything and use it as marketing material for other potential customers.
With that said, I believe it is absolutely possible for such a story arc for Brenda!
He has that classic duende energy, like a tiny magical troublemaker who lives in a cave but somehow still has Wi Fi and very strong opinions online.
I genuinely laughed. If the goal was to make an impression, mission accomplished, because it is impossible to look at him and not think, here comes the little goblin causing chaos again.
GHITA
Archiviste
Like in movies, my favorite characters are always the "bad guys." I find that their Machiavellian nature gives their characters more depth. And that's what I like about Johnson; even when he's practically absent, his bad influence is still present on Cynthia's Island. It's fun.I absolutely loved “Goblin Johnson.” Seriously, he really does look like a mischievous little goblin straight out of a medieval fantasy world who decided to become the main character.
He has that classic duende energy, like a tiny magical troublemaker who lives in a cave but somehow still has Wi Fi and very strong opinions online.
I genuinely laughed. If the goal was to make an impression, mission accomplished, because it is impossible to look at him and not think, here comes the little goblin causing chaos again.
KUBDB
Active member
Rian
Active member
Better than your succubus getting banged by goblin barney, right?That sounds very ugly.
KUBDB
Active member
You did it, Rian! You broke my heart with great force.Better than your succubus getting banged by goblin barney, right?
Congratulations! 
If they were capable of doing that to my dear princess, I would go to Brazil in person to destroy that forbidden episode forever. And if that's not enough. I would break the fourth wall and tear the old Barney to pieces.
No one hurts the princess!
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