Reader

#Chastity #Surgery #Furry

@Norintha@beach.city

You wake up bright and early, even though your appointment isn't until the afternoon. Your girlcock strains hard against the small metal cage you have kept it trapped in for the last two years. You wonder if she knows she is going to get a brief moment of freedom today. Far too excited to get back to sleep, you get out of bed and pull the basket of clean laundry over next to you. You toss your work clothes off to the side, and pick a cute top with an abstract pattern, pairing it with a solid black knee length skirt. It looks mild outside, so you skip leggings. You finish getting dressed in a few moments, and spend several minutes admiring yourself in the mirror. Your pert breasts look good in the form fitting top, though your cage causes a small bulge under the skirt. This is first time in a long time it has done so. The sensation of your cage wagging around free under the skirt, instead of held close with tight panties, makes you feel a little dirty. You straighten your skirt as much as you can, and accept the tiny bulge. It will be the last time she'll have the chance to do that to you. Time passes excruciatingly slowly as you pace around the house. Doing the small chores around the apartment help to pass the time. By the time your stomach rumbles for lunch, you have a sparkling clean living space. On the walk to the bus stop, you think about what to pick up on the way home. It's difficult to think about anything else than your appointment though, so you push that decision off until later. The bus is crowded today, and you have to stand. You cling to the pole, trying to contain your excitement. The sway of the bus and the rhythmic stops and starts every block swishes the hem of your skirt around your knees, and knocks your cage around between your thighs. By the time you reach your stop, you carry your purse in front to preserve your modesty as the cage pulls on your girlballs.

It's a short walk from the bus stop off to the mod and piercing shop. The cute, older, skunk at the front desk waves at you as you enter. The skunk hands you a clipboard and you sign in, your appointment still a good fifteen minutes away. You pass the board back to her and she comments “Oooh, getting locked up for life are you? That's always hot.” You notice a bulge in her skirt as she spins in her chair to file your paperwork. The clock ticks on while you wait until the mod artist is ready for you. The receptionist steals glances at you while you wait, and you decide to ask her for her number on the way out. Finally your mod artist, an anteater named Tiffany, walks out from the back. She stands about six feet in her heeled boots, and beckons you forward by wagging a single finger at you. “Ready for ya, dear.” You practically jump out of the chair, you've been waiting for this for years.

You follow Tiffany into the back of the shop, her full thighs wrapped in leather pants. The room has several posters, showing off all sorts of piercings and other modifications customers can buy. In the middle is an old looking medical exam chair, complete with stirrups. A small stool and a cart with tools sit next to the chair. A surprising number of offered modifications involve holding the customer's legs apart. Tiffany invites you to sit and spins the chair to face one of the walls. “Have you decided which piece you want for the new cage?” She points to a poster on the wall before you. The first option is called the Through and Through, and looks almost like a bike lock fed is through the new cage. Next to it is a cage called the Bulge, with a gentle curve to the urethral insert. That style would make the cage bulge out; advertising its presence. The one you want though, the last one, is called the Stealth. It's insert has a tight curve intended to force your girlcock back into your body.

You nod and point, as you knew from as soon as you saw that cage, you needed to be in it. Tiffany smiles “Let's get started then.” She sets your legs in the stirrups, and spread them apart. “First thing, we need to get you out of your current cage.” From the mirrors on the ceiling you watch Tiffany take metal snips off of a small tray on the cart. With a soft grunt of effort, Tiffany clips the two braided metal locks off of your chastity cage. Your atrophied girlprick struggles to push the cage away, even with the locks missing. Tiffany helps, placing your old cage on the same tray as her tools. Without your cage on, you actually feel naked and a touch embarrassed. Your balls jiggle and try to retract for the first time in years as she pulls off the back ring. “Don't worry the anesthesia will make them descend again when I need them.” You watch Tiffany take a syringe from the tray and then inject the contents between your legs.

“We are gonna play a little game, while we wait for that to take effect.” Her hand brushes your girlcock, the first time someone has been able to take it in their hand in ages. Her thumb rubs under the head of your member, which struggles to bring itself to an erection. She gently pumps your girlprick, coaxing it back to life, before extending her tongue and licking at the tip. Her moist mouth meets your member and your heart pumps, while a cold feeling slowly spreads up from between your thighs. She slowly pumps her head up and down, her tightly pursed lips stroking the short length in her mouth. Tiffany's thumbs press and knead under where your balls hang, sending trembles through your body. The anteater's long tongue coils around your meager shaft, stroking it while she sucks on the head of your girldick. Your fingers grip the ends of the armrests, which you try to use as leverage to push against the anteater's agile hands.

The anesthesia is starting to work, no matter how hard you grind on her hands, you can't feel them pressing on your prostate. Tiffany is aware of this, and slows how fast her tongue works your girlcock, letting the numbness slowly spread. You close your eyes, and push yourself to focus on what sensations you can still feel as the growing cold slowly approaches your member. Her claws dig into your thighs now, as she continues to tease you with the chance of a final release. A whine escapes you, as you start to feel the anesthesia work itself into your girlcock. The anteater slows as she feels your member start to soften. You open your eyes, and your gaze meets hers as you try to pump your member along her tongue. The warm, soft sensations of her mouth die away to a cold nothing. Your limp girlcock slides out of her mouth. She smiles slyly “Sorry hon, I guess you lost today. Unless you want to watch, you should probably lay back. I'll tell you what's happening as I do it.”

You decide to just let her do her job, the chance of one more orgasm having passed. She snaps on a pair of surgical gloves, and shaves between your legs before she starts to work on your body mod. She holds a pair of small silicone half spheres up. “First, a nice little home for your prostate. It's quite effective at preventing direct contact.” She continues to explain “Maybe I will give you an example after we finish.” Tiffany continues along, tunelessly humming as she performs her modest rework of your plumbing. “And now we open a new ending to your urethra between your legs. It'll take you a while to learn how to pee again, so don't be too embarrassed if you get it all over yourself.” You nod, half taking in what she is saying. “There we go hon, that's the hard part done.” Now that the surgery part is over, you watch as Tiffany picks up the slim line Stealth cage you picked out. The metal ring works just like your last cage, and the anteater deftly works it behind your still unfeeling sack.

The cage part, is what really makes the new cage different. A metal insert the length of the cage slides into your girlcock and forces your limp girlprick into a tight curve, holding it against your body. The two pieces of the cage slide together, though instead of a lock, Tiffany uses a fusing metal to make the cage one single piece. “No matter how tight, or how short your outfit is now, no one is going to be able to tell if you have anything at all.” A tingle runs up your back as you hear that, and you can't help but grin. Tiffany runs one of her hands along your ass. “One last thing, just a little demonstration.” She changes her gloves, and works a small bit of lube into your ass. The chill of the lube is different than the numb cold of the anesthesia, and tells you that feeling is starting to return to your body. Her finger slips in and you can feel her prod around, searching in you. You shift your weight slightly, helping her find your silicone coated prostate. You are sure she is in the right position, but you simply can't feel it like you are used to.

She smiles more as the realization that your last orgasm is long gone dawns upon you. The second pair of gloves join the first in the trash, and she helps you stand. Looking in the mirror, you turn from side to side admiring how the new cage forces everything tightly back against your body. “And if you ever decide you want to be rid of those little annoyances,” One of her hands brushes your balls. “Do let me know.” You quickly get dressed, wanting to pick up dinner and get home to spend the rest of the weekend resting. The receptionist skunk hands you the receipt as you finish with her, and you notice a phone number at the bottom, with her name next to it.

https://www.patreon.com/Jenwrites https://cash.me/$JennyFoxes https://ko-fi.com/T6T587IH

#Dragons #Goosex #Plants #Tentacles

@Norintha@beach.city

Your sleep is fitful, and you dream of what your life was even just a few days ago. Living with her, she gave your life meaning. Each time you see her in your dreams, she slips through your fingers and disappears into the fog again. Like she did when she fled to the forbidden woods. By the time you wake your captor is moving around their home, changing the contents of piles while talking to themselves. It is a few more minutes before they realize you are awake. “Make yourself useful, start sorting through the rest of the furs. Anything burned, or with the bitter stench of that oaf Gorlom, haul out and off the edge.” Even from your back, you see the pile is taller than the dragon standing before you. To call the task daunting is an understatement, even the lighter of the pelts and furs are weighty for you. It's been a very long day since you last had food and your stomach rumbles along to that realization.

Read the rest at https://www.patreon.com/Jenwrites

#Drugs #Threesome #Intense

@Norintha@beach.city

The first thing you are aware of is the pounding headache, the second is how much your muscles each ache. Opening your eyes, you find you can see very little as you sit up. All you see is a smear of color, and you try to rub out the blur from your eyes. Finally, blinking repeatedly, you bring the double vision into focus; the headache is now only screaming. As your vision sets you discover yourself to be sitting in a cage, you can just make out other cages at the edge of what you can see in the dimly lit room. It's cool in the cell, as you realize that you are naked. Rubbing your arms together for warmth you look around the cell. You cannot stand, or stretch out all the way without sticking your legs though the bars. You are grateful that the floor of the cage is some sort of padded mat. It's not the most comfortable thing, but it's far better than something hard like concrete. Your muscles burn as you move, but you manage to pull yourself to your knees. You feel a flicker of hope when you see that the other two cells are filled. Not that you are happy that other people are here too, just that maybe one of them can tell you where you are, and why you are here. Both cells hold a single woman, quietly sitting in their respective enclosures. The longer you sit up the better your head feels. Now that you can focus a little, the darkness of the room dies off a little. You still can't see the walls, nor the ceiling; but you can kind of make out the features of the other women. To your left, a heavyset woman sits. Her arms rest on her thick thighs, the shadows obfuscating her groin. Heavy breasts hang off of her frame and thick, dark curly hair frames empty looking eyes. You also see there is a thick bottle by the edge of her cage.

Looking to the right, a shorter woman, probably capable of standing on her knees and not hitting her head on the top of the cell, is sitting. Her legs are folded to her right, her arms rest on her stomach. The head of a girldick sticks out lazily from between her thighs, and your starts to wander about why you might be here. Your neighbor to the right has long wavy hair that falls to her breasts, which are pert and firm looking. She has a similar expression on her face as the first woman does, and sits next to her own bottle. When you attempt to call out to the women, you let out a weak rasp and feel a sharp shock of pain from your throat. The next moment, you taste the coppery flavor of blood. Bringing your fingertips to your neck, you feel the rough bumps of a scar and sutures. A chill crawls down your spine and you sit back down. You spend the next several minutes squinting at your body and feeling around where you can't see. Thankfully you don't find any other alterations to you.

After getting yourself back under control, you try waving at your fellow captives but neither of them respond. There isn't anything in the cell, or on the small bit of floor you can reach through the thick metal bars for you to throw to get their attention either. Eventually you give up on getting the attention of either. You sit near the back of your own cell, legs curled to your chest and head resting on your knees. Why are you here? You can't remember anything beyond what must have been hours before you lost your freedom. Your stomach aches in hunger and it dawns that your last memories weren't of last night, but days ago now. Out at a strange club, had a couple drinks. Not many people were around, as it was early in the night still. You can't shake loose any other memories, not even the face of the barwoman who served you.

What's going to happen to you? Your mind starts to race through the possibilities. You convince yourself to push the grimmest ideas out of your head, the women here first must have been here a long while to be that unaware of the world. Having recently moved, you don't know anyone yet. No one is going to know you are missing, know that you are here. Even the thump of you slamming your fist into the padding in frustration muffled enough that the other women don't hear it. Somehow, you eventually fall asleep. The mat is soft enough to sleep on at least. Once you sit back up, you immediately see that there is a bottle in the corner of the cell now. The bottle is big enough around you can grasp it in both hands and seems to be full, as it is heavy enough it's difficult to lift in your weakened state. You discard the lid to the side of the cell and take a deep pull from the bottle.

The flavor of uncooked dough fills your mouth, and the liquid is just thick enough to coat your tongue. With some effort you force the substance down. It doesn't exactly taste bad, but you wish the taste didn't linger in your mouth as it does. It does start to fight your ravenous hunger. There is a fast internal debate in your head between rationing the bottle's contents and drinking it all, to feel a bit of contentment and comfort. You decide to drink all of the bottle at once, and discard the empty bottle to the side of the cage, like the others seem to do. The liquid fills your stomach to almost surprising satisfaction. The next time you wake from sleep, the bottle is gone again. That is the cycle of your life now. Eventually a bottle shows up in your cell and then when you wake up again it's gone. You have yet to see either woman actually drink from their bottle, but they also don't seem to be losing weight.

A sharp klaxon sounds, and awakens you with a start. You bang a leg on a cell bar before you remember where you are. You see your bottle has been returned again, but another noise distracts you for a moment. Both women are greedily drinking from their bottles, then dropping them and sitting back as they had been before. Your bottle feels lighter than it usually does, and as you drink you discover why. The bottle is only half full, and seems to be filled with just water. It fills your stomach, but doesn't feel as satisfying as the usual 'meal' does. You wonder why this bottle was water only, and why an alarm sounded for it. Does that happen every time, and have you just been sleeping through it? You doubt that, even though it would explain why you never saw the others drink.

Lying on your back, you see something new for the first time since your bottle; which must have been a week ago now. A piercing red light in the ceiling. You've stared at every inch of your prison, and this is the first actual light you have seen. You aren't even sure where the dim light that lets you see the cages comes from. As you look at the light, it starts to blur as you move your head. Whenever you blink, the light returns to a single red dot until you shift around again. The cell room starts to feel warmer too. A bead of sweat actually runs down the side of your head. As your head drifts to the side, you watch the short woman crawl to the edge of her cell. She wipes what must be sweat off of her brow, and seems like she is waiting for something.

Suddenly, several of the bars of all three cells fall into holes in the ground. The other two crawl out into the middle of the room. The spark of life returns to their eyes and they begin to cuddle and fondle each other. For some reason, you suddenly realize how sexy both women are. Your face and girldick both feel flush with a burning heat as you see their breasts, thighs, and curves. You turn to crawl out to them on your hands and knees, but find your limbs don't quite move how you expect them to, as you forward. You decide to settle for this position and pull yourself forward with your hands. Unexpectedly, the middle of the room feels like a soft mattress. You hardly notice now though, a fire burns in you and the only thing that can extinguish it are the others. They writhe and their bodies start to muddle together in your vision, and as you touch one of their legs it feels as if you were melting into her.

The shorter woman pushes herself awkwardly across your back and you roll over to your side, and worm your arm between the two of you. Your hand is able to find her thigh, and she makes a gentle moan as your fingertips run between her legs. Her girldick finds its way into your hands and you squeeze and rub her. She wordlessly bites her lip and the other woman wraps her arm around you from behind, a hand squeezing your breast. Everything smears in your vision as you turn to face her, and she kisses you firmly. Her body becomes part of yours, just how the shorter woman's had. You flop to your back, the smaller woman now lays across your lap. The curly haired woman wraps one of her legs around yours, and the woman across your lap starts to suck her girlprick. A soft squeak is the only noise that the curly haired woman makes.

Your own girldick starts to press into the abdomen of the short woman, and her own member has become hard in your hand. She lets go of the cock in her mouth and sits on your legs, before rubbing her parts onto yours. The slow rubbing mixes your fluids together, and elicits a soft groan from you. The other woman, seeing both girlcocks together, shifts to laying on her stomach and sucks on both of you at once. Her tongue wraps around one girldick, then the other. Sometimes it works between the two hard shafts and teases them back and forth. All you can do now is feel the heat flow through your body and breathlessly cry out. Your fingers dig into the soft mattress, and your member fires it's shot into the woman. She continues to suck on both of you, a bead of your cum drooling down her chin.

She has a hand on her own short, fat girlprick. After working herself while sucking both of you for another minute, she reclines onto her ass and runs one hand down under her heavy looking balls. The smaller woman rolls off of you, and you use the opportunity to bury your face deep between the curly haired woman's thighs and ass. Your tongue darts up and down, left and right. The short woman pulls your shoulder from behind and pushes you to your back, demonstrating surprising strength. She straddles you, her ass on your breasts and her member moments from being thrust into your mouth. You grab her ass, and pull her toward you, her girldick disappearing into you. Your tongue wraps around her member and slides up and down the length as you suck and slurp on her.

While you work her girlcock in and out of your mouth, the other woman has crawled between your legs. She hoists them up to her shoulders, and works two fingers into your ass. The fingers roughly stretch your ass open enough, so that she can guide the fat cock into you. If you still had the ability to, you would shout at the sensation of her forcing such a big member into you. Instead a creaking groan escapes your lips. Her arms wrap around yours and she grabs your waist as she grinds her hips onto your cheeks. The shorter woman slides forward, her knees coming down on the ground by your ears as she squats her cock deeper into your mouth. You gag for a moment, but keep sucking at her. She arches her back and you grab her breasts, giving her nipples a solid squeeze. She looks like she could scream and dibbles a slightly sweet tasting seed across your tongue, and down your throat.

The woman roughly fucking your ass squeezes your hips even harder. She has the look of a demon in her eyes as a wave of orgasm washes over her. Each twitch and pump of her massive member stretches you even farther as she fills your ass with far more girlcum than you have ever had in you before. The short woman has, by now, collapsed on your shoulder and simply cuddles on you. After the large woman's cock has stopped filling you up she leans back, and her girldick exits with a moist little pop. She leans forward and rests her head on your breasts. It is impossible to tell whose body belongs to who, so you close your eyes and let yourself dissolve into the other women until you fall asleep.

Some point later you wake up again. The three of you are in your cages again, and the other two look as blank faced as ever. Many of the thoughts that worried you before simply don't exist in your head anymore, and surely the rest will leave, eventually.

https://www.patreon.com/Jenwrites https://cash.me/$JennyFoxes https://ko-fi.com/T6T587IH

#Crime #Threesome #Long #Pegging

“Wake up, we got a schedule to keep.” Jan says before yanking the blanket off of you and Ramona. You wipe the sleep from your eyes, and see that it's still dark out. “Dammit Jan, what time is it? Did we even get to sleep?” Ramona groggily asks. “It's four, now get up dear, we got a lot of work to do.” You sit on the side of the bed, looking for your jeans. Spying your pants across the dark room, you retrieve them along with your top and socks. Your panties seem to be lost to the ages, and you give up looking for them after Jan coaxes Ramona into getting dressed. The three of you take the elevator down, and then out the back entrance to the hotel.

Read the rest at https://www.patreon.com/posts/stolen-hearts-2-34220116

#Amputation #Clockwork #Aftercare

The mid-morning light streams in from the window, and into the glass of your eyes. Your owner must have gotten up earlier, she isn't in bed. Deciding to make the bed before she returns, you move to get out of the bed but your left leg refuses to move. The gyroscopic ball joint has been grinding for weeks now, but has never completely locked up before. If your delicate clockwork nervous system could experience pain, you are sure your body would be aching now. The front door slams shut, it must be your owner coming back in. Trying to stand before she can see you like this, you pull yourself to the edge of the bed and steady yourself with your right leg. Perched on the edge of the bed, you pull your left leg to the edge. The actuator has been acting up more, and limiting your movement; but this is the first time it's refused to fire at all. “dolly, has your spring wound down? Are you alright?” You hear your owner call from out of the room. You don't want to upset her with more work, but you need help now. She walks in before you can answer, a frown on her face. She stands in the door, jeans and plaid button up on. “Left hip locked up? I have noticed how restricted your movements have been. Your right knee too; and I know both of your wrists are stripping out too.” She walks to the edge of the bed and looks at the clear plex-steel shell of your right arm. “Look at all that dust and grime building up in you, you really have to be more careful with my property.” Your owner admonishes. “Anyway, maybe a change is in order.” You look up at her as she pulls open the bottom drawer, where she keeps her little tune-up kit. She turns back to the bed and unrolls the leather tool pouch. She pulls the largest screwdriver out and looks at you. “Lie back on the bed, this will take a little bit of time. You wonder how much help she can render, but you obediently do as you are told. Your owner holds your leg with one hand while she works the screwdriver. Several long screws are pulled from your hip, and you can no longer feel the warmth of your owner's hand. You watch, entranced, as the malfunctioning limb detaches. The gears in the hip spin free as you try to move the now removed leg. Your owner smacks your other hip lightly, “You know that will grind down your bearings faster.” Remembering you got into this position by not taking good enough care of yourself, you obey. She screws an end cap into place, and you feel some resistance trying to move the gears that controlled your left leg. Your owner looks down at you discerningly for a moment.

“I think you'd look much better if you were symmetrical, don't you think, my dear doll?” Your neck clicks as you look at her slightly askew. “Symmetrical, Madam?” The room is silent, save for the soft winding of your central spring. “Glad you agree, then.” You watch wordlessly as she works, bent over your torso. Your right leg slides off as easily as the left and a matching end is screwed into place. “Don't worry, you still have what's actually important” She says slyly as a hand runs across your hip nubs before sliding a finger into you. “Madam!” She looks up at you. “No, no, you are right, finish our work before pleasure.” She replies to you before crawling up the bed, and pulls the joining screw from your right shoulder, and you gasp as she removes your arm. She leans over you, her breasts barely contained by the buttons of her top as she works on your left arm. She takes both arms and stacks them by your legs before securing your shoulders with caps similar to the ones on your hips. “One more moment, my dear, and we can have our fun.” She disappears from the room, carrying your arms and legs over her shoulder.

She closes the door behind her, and you are left by yourself. You try to pass the time by testing what level of mobility you have now, though you quickly learn that you have essentially none. You can bend forward, lift your shoulders and head by some modest amount, and even twist to face a new direction. However you can't actually move from the spot your owner has left you in. You don't need to see the clock to know exactly how long you've been waiting, the tick of your spring continues unceasingly. Your owner returns, one hand undoing her button up top. Her member is clearly visible in her jeans, and she closes the door behind her as her top falls to the ground. By the time she reaches the bed, she is hopping on one leg, pulling her pants and underwear off at the same time. Her girlprick begins to glisten with precum as she runs a hand from your shoulder, down to the cap on the end of your hip. She leans in, and your lips meet. Her eyes glisten with ideas as she pulls away.

You find yourself being rolled onto your chest, your face into the pillow. You owner's girldick probes and pushes into the soft lining of your vagina, as gyroscopes and springs bounce to life. Her hands grab your shoulders, fingernails pressing against firm coverings. Her member presses to the end of your custom sized fittings, slowing your main spring along with your perception of the world. Ratcheting gears click, and you involuntarily moan. A hand slides along your scalp, and grabs a handful of your silk hair before pulling your head back from the pillow. “I am happy to hear you agree how much fun this is.” She whispers into your ear. Her girlcock slides in and out of you with enough force to move your body closer to the headboard, and your head pulls back even farther. Her tongue traces along the back of your neck, before legging go of your hair. Both hands are back on your shoulders, now pulling you onto her girldick with each thrust. The sound of her breathing grows louder than the noise of your clockwork, and you cry out again. Your limbs would be trembling were they still attached to you, from the waves of pleasure running through you.

Each throb of her member in you pushes you closer to the edge, as she slams into you. She pushes faster and harder, as your eyes shut and your body shakes. Then nothing, you are empty again. Your owner's legs appear on either side of you, and she turns you onto your back again. The lust in her eyes burns with more intensity than the sun, and she pulls you onto her girlcock as she leans back. You balance precariously on her, trying to move limbs that aren't there anymore to steady yourself. Her hands hold your hips firmly as she maneuvers you into place. She starts to gently buck her hips, and your view rises and falls as her member bounces in and out inside of you. A soft “Oh Madam” escapes your lips as a sigh, while her hard girlcock keeps you centered over her. You watch your owner's face grow flush, and she closes her eyes in deep concentration. Her hip thrusts throw you farther along her member with each push now, her hands gently guiding you back into place each time. She sharply inhales. “Fuck.” Your owner quakes underneath you and holds you up after a powerful bounce pulls her feet flat against the bed; letting you rest on her upper legs while sliding slowly down her girlcock again.

As you reach her hips, she bucks you up again, only to gently slide down her legs. She gently probes your suede lined clitoris with her thumb, and your shoulders fall limply against her knees. The stimulation stutter your jaw, and you can't clearly express how intense a sensation it is. The thrusts maintain a steady speed, but increase in strength. Again and again, your owner's girlprick shoves you up along her legs, and the slow slide back down before she thrusts again, with ever increasing power. Your owner meets your gaze again, this time a bestial lust glowing in her eyes. Her thumb continues to tease and rub at your clit, until she sends you into clicking spasms. The clockwork orgasm runs through your system, and you hardly notice your owner's hands pulling you by the hips again as she splashes her seed inside of you. She catches her breath, as your spring starts to regulate your system again. “Was that way fun for you too, my dear dolly?” “Yes Madam,” You hesitate for a moment. “That was quite enjoyable.” She rolls on her side as you answer, taking you gently to the bed with her.

She slips out of you, and faces you away from her. Her arms bring you close to her body, and she kisses the back of your neck. A soft yawn fills your ear, and it sounds like your owner is settling in for a nap. Her grasp around you loosens slightly as she gets comfortable. You listen to her breathing slow, compared to the ceaseless tick inside of you. The tranquility of the moment is broken by a sharp knock at the door. You had no idea that Madam had a guest over; could you blush, you would. She awakes with a start, and sits up. You roll to your back and watch her quickly dress. She tosses the panties to the side, and buttons up her top. “Oh, I had Heather over, doing a bit of work for me,” she explains before answering the knock. “I hope I wasn't too long, Angie?” Heather's voice floats into the room. “Oh, we found a way to pass the time,” your owner casually answers as she closes the door behind her. As before, you can do little else beyond wait for your owner. The time passes with the same rigorous regularity, but being helpless and away from her is disconcerting in a new way. By the time the door opens again, you miss her in a way you haven't ever before.

She comes back into sight, carrying a pair of clockwork arms, and a pair of legs. Your owner lays the lifeless limbs on the bed next to you, and fetches her tool roll again. The cap on your left hip comes off just as fast as it went on, and she carefully fits the left leg into the joint. The long screws spin back into place with little effort and the leg jumps as you feel it. “Try to move your hip, carefully.” You follow the order, as she slowly guides the limb through your range of movement. “Tell me if you can feel this,” she says matter-of-factly while squeezing your toes. The light pressure of her thumb and forefinger speeds though you. “Yes, Madam, I can feel you squeeze.” She smiles, a more gentle smile than before. After clambering over you she performs a similar operation on your right hip. The end cap laid to the side, and the limb attached once more. Instead of your hip though, she tests the knee that had been malfunctioning before. Just like with your left leg, your right works at least as good as new and has all the sensations Madam desires of you. She grabs the arms, pulls them up by your shoulder and picks the right arm up.

She lays it between your shoulder and her leg, as she kneels beside you. Replacing the lighter arm is even quicker than your leg, and within moments she is bending your elbow and having you rotate your wrists. Afterwards she reaches across you once more and, this time, replaces your left arm instead of removing it. This arm passes her tests just like the rest of your limbs have. Your owner clasps your hands together gently in hers and kisses your fingertips. “I love you my precious doll. Heather replaced the wearing gears and spent springs, these should stand up to more use than they had before.” She leans over and kisses you on the lips, before pulling you down to the bed and wrapping her arms around you for an afternoon nap.

https://www.patreon.com/Jenwrites https://cash.me/$JennyFoxes https://ko-fi.com/T6T587IH

Gender makes you wonder. Splitting people up on the basis of presumptions about the shape and function of their genitals. I don’t get the obsessive need to make every bit of society reflect these simple arrangements of flesh and functionality.

We police the ideas of man and woman so heavily and deny them to people when they slip out of the bonds of these limits. A man who lost his dick is a eunuch. A woman unable to bear children is less than a woman. Human beings rejected from categories they never really agreed to in the first place.

I think a lot about the way that many non-binary folks seem to have similar thoughts about gender as “gender critical feminists.” We both see gender as an unnecessary construct, a limiting system that enforces archaic roles for human society. Systems that hurt women especially, but also men in the ways they limit forms of human interaction. By while they will raise sex up as the binary to replace this system, most non-binary folk I know would rather we not do that while still recognizing the realities of the bodies we have and the functionalities we possess.

Five years ago I looked at all gender bathrooms with fear. What if I go into one and someone thinks I’m trans? I found safety in the comfort of being seen as a woman, probably cis, in the world. A person that fits neatly into the binary that we are forced into. A week ago, while presenting more androgynously, I encountered a new challenge. What bathroom do I use when I’m not trying to come across as female?

Society continually asks you these simple binary questions about your gender. Male or female? The GCs say it’s about sex, but looking down at my genitals, half a surgery placing them neatly outside the binary, a unique variation on a theme that usually resolves close to one of two shapes, I wonder where I belong in their strange world where we continually assign people social roles on the basis of our genitals. That question hits me in the face when I look at the two binary restrooms and find myself longing for an all gender restroom sanctuary.

I’m agender. Non-binary. I don’t feel alignment with these simplistic systems for splitting the human race neatly in two. Like so many that fail to live up to these criteria, I am not a failed man or failed woman, but a person, independent of the rules I’m supposed to follow and independent of the criteria on which I am judged.

I am me. I want to live with options, not limits.

Introduction

I'm writing this after a follower on Mastodon had trouble understanding a thread I made about this. Basically, I was comparing Unity's paradigms to Godot's. Unity is a very popular game engine, particularly among indie developers. Godot is a similar engine, but open-source. It seems to be less popular, but has definitely been a common topic in my YouTube recommendations.

I thought the difference was interesting enough to talk and write about, but this is definitely an area where terminology can make it difficult to follow. This is an attempt to provide enough background on the “problem” of games and game engines, and provide a basic description of how these two engines differ in the paradigms used.

I am assuming very little mathematical, physical, and computer science knowledge of the reader. I hope this is readable even if you flunked geometry, didn't take physics, and never have programmed a computer in your life. If you already know the subject of a section, you can move on. Or not, I'm not a cop.

Caveats

I have only read the Godot documentation, I have not put it into practice yet. This may mean that I have too rosy a picture of it. We'll see, I plan to use Godot for my next project.

Setting Definitions

What Is a Game?

You might have noticed scare quotes around the word “problem” above. They are there because one might question how games are a “problem”. They're supposed to be fun, after all! But in software design, we often refer to the goals of a piece of software as a “problem space”. For example, the problem space of a word processor can be described as allowing a user to enter, edit, save, and print formatted text. This section describes the problem space of games.

A video game, at its most general, is a computer program that aims to provide an entertaining experience to its user or users (a player or players) through an interactive simulation of a world. This is possibly an over-broad definition, but I'm choosing it because it most accurately represents what a game provides to a player. It may even be a non-exhaustive definition, because I haven't thought of one, but I bet there's an exception out there. We could pick apart this definition, but for now, I'm going to move on.

What Is a Game Engine?

The important part to notice about the above definition is the “interactive simulation of a world”. This is ultimately the most major subset of the problem space that a game engine attempts to solve. That is, a game engine provides an user interface for instantiating and defining the (possibly) interactive simulation of a world. I say possibly, because while a game engine is definitely interactive to a developer, it may not require input on the part of the player. You may also notice that I'm skipping over the “entertaining experience” part. This is because game engines can be used for much more than games, and I've used Unity for business software before.

But what does it mean to “simulate a world”?

World Simulation

In short, a world describes a space of positions and a set of positioned entities within it. A simulation will instantiate, destroy, and update these entities as the simulation runs. This may feel more like a problem of physics, but to be honest, that's all a game is.

You may quibble that a game may not need to have a set of positions defined in physical space. But you're jumping ahead. Yes, the space does not have to be the traditional Euclidean geometric world of Newtonian Physics. But a game will have a space. A text adventure has an abstract map of locations and their connections. Even a board game could be reduced to the space of connected graphs. It's all math, baby!

In general, however, the world that is simulated by games is a traditional Euclidean world of Newtonian Physics. Usually in three dimensions, but it can also be in two dimensions. (Maybe one day four or more dimensions?). Probably worth describing this Euclidean world of Newtonian Physics.

The World as Described by Euclid and Newton

A Euclidean world is a space where the geometrical rules of Euclid apply. It's too deep a subject to dive in deeply, but it starts from a definition of a point in space, defines lines and line segments between points, angles between those lines, and so on and so forth. It can be a two-dimensional, or a three-dimensional space, or honestly even higher dimensions. But games tend to use two or three. This discussion will assume three.

For the purposes of math it can be understood as setting an origin point in the space. This position is assigned three numbers, in particular, zeros. Each number represents the distance along three orthogonal axes (singular axis) that intersect that point. Orthogonal is complicated, but you can understand it as at 90-degree angles to each other geometrically. Traditionally, these axes are called the x-axis, y-axis, and z-axis.

The three numbers together are called a vector, with x, y, and z components. Any position in the space can be represented as such a vector, called the coordinates. If I'm at the origin (0, 0, 0) and I move 1 unit along the x-axis, I have moved to (1, 0, 0). If I then move 3 units along the y-axis, I have moved to (1, 3, 0). You can move fractional units, and even “negative units”, so if I moved 2.5 units along the negative z-axis after that, I have moved to (1, 3, -2.5). Units are arbitrary distances, but it's often useful to use meters as the units.

That's Euclidean space. Newtonian Physics builds off of that to describe how point masses move and interact in Euclidean space. Basically, given a point mass at (1, 3, -2.5) with a velocity per time unit of (2, 2, 2), it will calculate that it will be at (3, 5, -0.5) on the next time unit. Time units are also arbitrary, but seconds are usually most useful.

If it hits another object, that object will have force applied to it causing it to accelerate, and the original object will lose momentum causing it to decelerate. It covers a lot of basic models for understanding objects we might encounter on Earth and even in Outer Space, and is much too broad to get into here.

Interestingly enough, the real world is neither Euclidean or Newtonian, which was Einstein's big discovery. Gravity bends space throwing off the calculations. At a small enough level, atoms and smaller particles do not act Newtonian at all, and then when you get into quantum levels, it gets really complicated. But within games, we usually stick to these well-tested and familiar rules. This is even true for physics simulations, because while we know reality is not Newtonian, the effects at the size of everyday objects in the gravity well of the Earth are close enough to the calculations to be useful.

Now while your head is swimming, I'm going to talk about entities, which you have probably forgotten was in the definition all the way up above.

Entities

OK, then, you may quibble that a game may not need to have entities. Which I guess is true, but then it's a pretty static simulation of nothing. It may be useful for meditation, but not so much for games. Entities are what make a simulation interesting.

Entities in games have two guaranteed things:

1. A current position in the space of the game
2. A set of rules defined in code that explains how to update the entity.

Now, the rules technically don't have to be defined on the entity itself, they can be part of the main logic of the game program. But it's a useful place to define them, nonetheless, because it matches how we think of the problems more.

Entities include things like the player and non-player characters, projectiles, particle effects, that is, representation of physical objects in the world. But entities may also be abstract and external to the world, like the music that plays in the background, or a score display. Or most importantly, the (main) camera, which represents the final view that will be rendered to a player. OK, that's probably enough definition, but I need to describe a design paradigm that Unity and Godot both follow.

The Entity-Component System

A common design for game engines, and the one used by Unity and Godot is called the entity-component system. It adds another thing that entities have called components. A component is basically the set of rules for updating an entity described above but abstracted in such a way that it can be shared by entities. Components tend to have accessible parameters that alter behavior and can be set at design time or run time.

This allows you to reuse common behavior between individual entities while customizing which behavior an entity needs. For example, a player character entity could have a camera component that records their view, an input component that updates the entity position on input, a mesh component that is drawn to represent them, and so on. A non-player character would not need the camera component or input component, but would have an AI component that updates their position and the mesh component. Both characters can have a vital stats component that represents their hit points, and can be modified by entities and components to represent damage or healing they take.

A Hierarchy of Entities with Components

As the simulation of a world gets more complex, it is useful to place entities in a hierarchy of entities. For example, rather than having sibling player character and player gun entities that you both need to keep track of, it can be easier to have the gun entity be a child of the player entity.

This hierarchy does not have to be static. If the player drops the gun, you can remove the gun as a child. If a player gets into a vehicle, you can make the player a child of the vehicle, and then remove them as a child when they get out.

There is another benefit of this system as far as physics calculations go. It allows you to define a reoriented space around the the position of the entity represented by what's called a transformation matrix. This allows you to describe something in the entity's local space, such as 5 meters in front of it, and then calculate what that set of coordinates in would be in the world space. You can also nest this down even further, arbitrarily deep. Performing these complicated calculations is one of the things a game engine performs.

Components can similarly be altered over time, perhaps changing parameters, or even destroyed, created, or moved to other entities. For example, if a character catches fire, you can add a fire component to that entity that lowers health and renders a flame around the entity. Once the fire dies out, the component can be removed.

How the Entity-Component System Is Abstracted by Unity and Godot

OK, that's the last of the preliminaries. Now I'm going to talk about the meat of what I wanted to discuss, how this entity-component system is abstracted in both Unity and Godot. Note that capitalized terms in these discussions represent specialized terms within their respective engines.

Unity

Scenes

Let's start from the top. In Unity, an initial world of entities is defined in a Scene. That is, there's a shared space, and a list of entities in that space. This can be roughly thought of as a level or area of a game, and a game may move between then. For example, if the player character walks into a house, you can move to a separate house Scene from the overworld Scene, and then back out.

Scenes also may be less specific areas of the game, such as a battlefield Scene that is moved to when combat happens, or even non-world “areas” such as a menu Scene that is moved to when the game starts up.

In Unity you have one current main Scene, but you can also additively load a Scene to another. For example, rather than having the interior of a building loaded all the time, or having to unload the overworld Scene when the player enters it, you can additively load the interior Scene when the door is opened, and then unload it when the player leaves.

Scenes can also be used to separate actual game development work, having one group of people working on one Scene for one part of the world, and another group of people working on another Scene for another part of the world, and then connecting those two different Scenes during gameplay.

Game Objects and Components

The entities are referred to as Game Objects, and their position and orientation represented in their transformation matrix, which is handled by the required Transform Component on it. Easily enough, components are just called Components in Unity.

Other Components, both defined by Unity developers, and by a game developer can be added to Game Objects to describe further behavior. A Component is defined through a Script, which is a C# class.

For example, A Sprite Component can be added to a Game Object representing a non-player character, and you can write your own AI Component to update the Sprite and Game Object.

Prefabs

Game Objects can be bespoke entities defined in a Scene, but often, we want to be able to create many instances of equivalent Game Objects. Rather than placing every single monster in a scene separately, you can define a monster Prefab, which can be instantiated as a Game Object many times. Perhaps a spawn point is defined, and each new monster Game Object is instantiated there from the monster Prefab as the player plays the game.

Putting It All Together

So In Unity, you have files that represent Scenes, that have a set of Game Objects, that have Components. Components have their behavior described and implemented by Scripts, which are the code for that component (C# classes implementing certain methods that will be called by the engine). Game Objects may be defined in a Prefab, which can be used to instantiate many instances of the same Game Object.

Godot

Godot is very similar to Unity in its design, but uses a simpler system of just Scenes and Nodes, which combine and mix some of the objects described up above.

Scenes

Scenes in Godot are very similar to Unity Scenes, but the entities in a Scene are represented as Nodes, with a single root Node at the top. We'll get to Nodes in a bit. Scenes in Godot can also be additively loaded, so the root Node of another Scene can be loaded into the current scene.

Nodes

A Node, including the root Node of a Scene, are the entities. They have a position in space (it's not a separate component like in Unity), and a list of child Nodes.

However, the child Nodes of a Node are also the components of the entity. A Node can be specialized by the Godot developers or a game developer in this sense. Each Node may have a Script attached, which is a C# class describing its behavior.

For example, an abstract non-player character Node would represent the entity, and have a specialized Sprite Node that will be drawn to represent it, as well as a specialized AI Node written by the game developer to update the parent Node and Sprite Node.

Scenes... Again?

Godot does not have the concept of Prefabs like Unity does. Rather instantiating a set of entities can be done by loading another Scene into the current Scene. A Scene used like this is referred to as a Packed Scene in the code, but it is just a Scene. So for a level of a game, you would have a Scene for that level, that will load another Scene's root node (perhaps a Scene for a monster) as an entity.

Putting It All Together

Stepping back, you can think of a Scene in Godot as defining a root Node with specialized child Nodes with their own specialized child Nodes. One Scene's root Node will be loaded as the current scene, and other Scenes may be loaded to instantiate Nodes in that Scene. Nodes are defined by Scripts, which is just code in a C# class.

Comparing and Contrasting

In Godot, there is no separation between entities and components like in Unity. The Godot Node serves as both a Unity Game Object and Unity Component.

Additionally, there is technically no true separation between a Godot Node and a Godot Scene during run time, because each Godot Scene defines one root Node and its children. A Godot Scene, then, can be understood as a predefined Node that can be designed during development, and loaded and instantiated at run time.

In comparison, Unity maintains the separation between Scene, Game Object (entity), and Component. Scenes have one or more child Game Objects, which have one or more Components, as well as their own child Game Objects. Predefined Game Objects can be described in a Prefab during development, and then loaded and instantiated at run time.

There are arguments for both systems that I can think of. Usually, in object-oriented programming that it's beneficial to be explicit about what would be a world, and what would be an entity, and what would be a component, even if they can be abstracted as the same thing. This is mainly because they have distinct purposes, and the different name and type helps a developer understand how to use it.

On the other hand, I have often found the distinction in Unity to be very muddy in reality, to the point I think abstracting them as Godot does can make it clearer. In Unity, a C# class represents a Component. Components are always attached to Game Objects, and the attached Game Object can be accessed and manipulated. But in all cases, except for the default Transform Component, you have to query for a particular Game Object's Component and operate on that. And that code goes within the Component that you attach to the Game Object that you define in the Scene. It's somewhat circular.

Godot on the other hand reduces both the distinction between entity and component as well as scene and entity to just Nodes. Nodes have Nodes, which define position and behavior (no separate Transform Component), and you can query and interact with other Nodes on other Nodes. You load Packed Scene as the root Node for the current scene, which may load other Packed Scenes as Nodes for entities. And so on. The code for each Node is defined as a C# class. The circularity is removed, because it's Nodes all the way down.

The real reason this interests me is because I've found moving between Scenes in Unity to be tricky, as well as maintaining the state of Scenes that were previously visited. You end up making a singleton game manager Game Object that you pass from Scene to Scene, and you have to be careful to not create a competing one. I feel like in Godot, you can maintain the game manager as one of the children Nodes of the current root Node, and then load other Nodes as siblings. Well, I'm going to test that out, and I'll be sure to let you know.

That was a lot, but the basic idea is that Godot reduces Unity's system of four types of objects into two, which can really be understood as reducing it down to one. It's an interesting difference, and you may hopefully have enough knowledge to decide which you prefer.