Every effect has a cause! I understand that, but what I'm finding increasingly difficult to accept is that PK's amateurish approach is starting to harm his work. The number of publications has ballooned to a ridiculous level; there should be 10 per category, which would already be a huge number! They created a video section that was ultimately abandoned, a puzzle section that was clearly also abandoned, and now they have a publication schedule that even Teddy isn't involved in and which I'm betting will be abandoned as well. In journalism, they call this an editorial line; in the industry, it's a strategy! For it to work in the long run, they need to get organized! Fewer publications, more regular appointments with readers, and not in such a haphazard way. A publication can be followed for three months and then disappear for over a year, and WORSE, the fact that it's a bestseller isn't even taken into account. It's like they doesn't care
.... They should learn to be serious, it's a shame they don't listen to anything
You summed it up well. These guys are amateurs. To make things worse, there is a portion of the fanbase that wants their favorite characters to have a new story every single week, no matter the cost. Instead of criticizing and pointing out when something is not working so the artist can improve and avoid repeating mistakes, they treat any criticism as a personal attack. As if they were incapable of understanding that making mistakes is part of the process. I do not applaud poorly done work. I point out the errors and expect them to be corrected.
There is a glaring difference between Teddy, Juanito Brown, and Frank Romano. Teddy is by far the best of them all. Beyond technical skill in graphic arts, he has artistic sensitivity. You can clearly see that he genuinely enjoys what he does, and that is essential. That is exactly what turns a simple renderer into an artist.
This difference becomes very clear in the zoophilia scenes. For Juanito Brown, animals are merely a narrative appendage. They appear occasionally in the story, without depth, without real involvement with the heroine, almost like a functional object. For Teddy, on the other hand, animals become relevant characters within the narrative context. He gives real attention to the dogs’ facial features, their gaze, posture, and body expression. The animals gain presence and life within the scene.
In the Doctor Brandie sex scenes, Teddy created a true rally of dog sex. It is obvious that he gave strong emphasis to the canine character, highlighting its performance within the visual narrative. These were very well-constructed chapters presented in sequence. In fact, this is one of his trademarks. Teddy usually works in sequences of two or three chapters to close a specific narrative cycle at a certain point in the story, which gives rhythm, progression, and coherence to the plot.
Juanito, by contrast, treats zoophilia as a mere appendage to the character. The development is weak and irrelevant, almost as if the character were using a vibrator. There is no real involvement and no narrative weight. He could improve significantly if he adopted Teddy’s perspective and treated these elements as an integral part of the story rather than something disposable.
From a technical standpoint, this involves several factors. Rendering is not just about generating images. It involves scene composition, framing, lighting, camera angle selection, and visual continuity. Teddy understands this. He varies his shots, works with close-ups, medium shots, and wide shots, uses depth of field to guide the viewer’s eye, and composes scenes in an almost cinematic way. Juanito often relies on poor framing choices and repetitive, unexpressive poses.
There are also several evident technical deficiencies in other works, such as those related to PIGKING. I will not even go deeply into Frank Romano. His stories are irrelevant. He does not like female characters. He is clearly a renderer focused on a gay audience. His female characters are depreciated. Either they are overweight and unattractive, or thin and expressionless. Trans characters, on the other hand, are rendered in the most feminine way possible. He has his target audience, which is clearly not me.
Another serious technical issue lies in the sex scenes themselves. There is no clear penetration. There are no well-resolved explicit sex scenes. The plugins, meaning the 3D programs used to create genitals, are not realistic. The sexual pose plugins are limited. They do not allow proper leg opening, nor do they support camera angles that clearly demonstrate penetration, as seen in pornographic films. There is a lack of pose planning, lack of manual rig adjustment, and poor camera choices.
Even so, these renderers believe what they do is beautiful and flawless. When someone points out a technical or narrative flaw, haters immediately show up to make jokes and shield the mistakes. Juanito has improved significantly over time, that is undeniable, but he still makes a lot of serious mistakes in his work.
Criticism is not an attack. Criticism is a tool for growth. Applauding mistakes and calling them art leads nowhere.
I won’t be able to see any more of the great adventure of the charming Claire.
