InuYasha Fan Fiction ❯ Hedonism ❯ Earth: My Cherry was Popped By the Touch of a Penisist ( Chapter 14 )
[ X - Adult: No readers under 18. Contains Graphic Adult Themes/Extreme violence. ]
By: abraxas_ren 
(Shippo) [] S: A discussion of erotic works produced by Shippo.
Anime/Manga: InuYasha Fan Fiction | Genre(s): Hentai | Type: Other | Uploaded On: 08.26.2008 | Pages: 1 | Words: 1.0K | Visits: 1.2K | Status: Completed
(Shippo) [] S: A discussion of erotic works produced by Shippo.
Anime/Manga: InuYasha Fan Fiction | Genre(s): Hentai | Type: Other | Uploaded On: 08.26.2008 | Pages: 1 | Words: 1.0K | Visits: 1.2K | Status: Completed
"Earth: My Cherry was Popped By the Touch of a Penisist" by Abraxas (2008-08-23)
While the enigma of Shippo's Dragon remains unsolved, its mystery scattered about my desk, I pause to discuss a matter tangentially related to the object of my thesis.
Among the documents uncovered at the , the bulk of which amount to Miroku's 'Confession of a Right Hand', folded within a book was a unique artistic artifact. I was not shocked by it, considering that book centered about the monk's history of depravity, however, its discovery prompted the obsession to detail its history.
Given the nature of the artifact, it left the impression that it was connected to the Confession. That it could be a series of illustrations of the work. It was a practice of the publishers of that time to include a drawing as reference. I offer as proof Soseki's 'The Forbidden Colors of Male Love' and Tanizaki's 'Diseases of Southern Osaka', with its images of genitals, malformed and infected, still displayed at the Archives of Tokyo University. So, with that knowledge of the industry, I supposed that Miroku - who was, admittedly, short of funds toward the end of life - sent the script to a publisher along with proofs of illustrations.
That theory had to be abandoned, however, as the illustrations were too perfect to be rough. The artifact, a series of silk-on-wood paintings, was itself too ornately constructed just to be disposable. And the most telling and damning evidence was that the 'plot' revealed by the images did not match with the text.
The lack of agreement could be explained if we assume the Confessions were censored but anyone as familiar with the Confession as I would be struck dumb if asked to explain why anything would have been redacted. Why strike out the scenes of orgy from a book that contained such facts as the size and variation of color of Miroku's genitals, a method to induce ejaculation without masturbation and other, sprawling pages livened with the tales of conquests?
Certainly, publishers of the time could not print enough copies of the Confession to meet demand, so I cannot imagine any of them redacting a scene of such vivid erotica.
The only conclusion was that the artifact was not connected to the Confession. Rather, I believe, it was a possession of the monk. Were I to borrow a lose kind of language, then, I would have to say it was Miroku's pornography.
(I include a copy of the artifact.)
There are other, little images about the corners, however, the first page is dominated by the illustration of the orgy. From top to bottom it shows: feet, some 'clean', some tattooed, legs intertwined with legs, also alternatively clean and tattooed, and, suddenly, the buttocks of the central-figure comes into view. There are two hands spreading apart the checks while another figure - a male - probes with fingers into the space of the crack. The buttocks melts into the area of the back where the tattoo of a dragon is fragmented by a woman who lays askew of the central-figure: her breasts are exposed and her hands are cupped about her vagina as if to offer it to the viewer. Notice that the woman is smeared (within the artwork) by semen; notice, too, that the painting of nipples and the vagina are stained as if by water.
The head of the central-figure remains almost as afterthought, its back toward us, its face away, we cannot determine the identity beyond what the images of the ears suggest.
The second page presents the reverse of the first page - that is, it is the same exact orgy but the view was changed so that where we used to see backs now we are permitted to see fronts. Immediately we notice the penis: erect and painted with the tattoo of a dragon. Semen-like streams taint its shaft while its tip is teased by the lips of a woman. The other, free hand of that male probing the anus is seen clutching the base of the penis. Meanwhile other women gaze lustfully as they grasp onto the sack between the legs of the central-figure.
Then, again, as if we forget, at last we come to the head of the central-figure. Clearly, unmistakably, even through the mask of a grimace contorted by pleasure, it cannot be denied any longer. Yes, the shade of the hair, the proportions of the face - the eyes, the ears - it was the artist himself, Shippo, revealed in all of his glory.
All of the details are uncannily life-like as if it were captured on film then drawn on paper. But we must stop. And we must reflect. At the genius of it. Because, of course, we know such a convenience did not exist within the timeframe of the Feudal Era.
The first two pages are imaginative to the extreme and superbly executed erotica.
Beyond that masterpiece are a slate of other, minor works. Upon the fourth page: men self-pleasuring while women gang-raping with fish-shaped dildos. Upon the fifth page: another likeness of the artist now pleasuring five women - who are already pleasuring five men with various degrees of felatio. I cannot describe with words the magnificence of the sixth and last page: I leave the stains of semen upon it as testament to its power.
I draw conclusion by tying the artifact to my thesis. Although I cannot prove it, I believe its plethora of dragon-tattoos are a sign. Clearly, monk and artist shared a peculiar kind of relationship if such material could be passed (and used) between them. Perhaps Miroku guided Shippo's sexuality? Perhaps they shared fetishes? A fresh read of the Confession, with an eye toward details of Shippo's life, will be part of my research. As will be a study of another, recent discovery - papers by a Souten. My hope is that all of these materials and the connections between them will complete a picture of the artist and yield the answer to the mystery of Shippo's Dragon.
(1000)
While the enigma of Shippo's Dragon remains unsolved, its mystery scattered about my desk, I pause to discuss a matter tangentially related to the object of my thesis.
Among the documents uncovered at the , the bulk of which amount to Miroku's 'Confession of a Right Hand', folded within a book was a unique artistic artifact. I was not shocked by it, considering that book centered about the monk's history of depravity, however, its discovery prompted the obsession to detail its history.
Given the nature of the artifact, it left the impression that it was connected to the Confession. That it could be a series of illustrations of the work. It was a practice of the publishers of that time to include a drawing as reference. I offer as proof Soseki's 'The Forbidden Colors of Male Love' and Tanizaki's 'Diseases of Southern Osaka', with its images of genitals, malformed and infected, still displayed at the Archives of Tokyo University. So, with that knowledge of the industry, I supposed that Miroku - who was, admittedly, short of funds toward the end of life - sent the script to a publisher along with proofs of illustrations.
That theory had to be abandoned, however, as the illustrations were too perfect to be rough. The artifact, a series of silk-on-wood paintings, was itself too ornately constructed just to be disposable. And the most telling and damning evidence was that the 'plot' revealed by the images did not match with the text.
The lack of agreement could be explained if we assume the Confessions were censored but anyone as familiar with the Confession as I would be struck dumb if asked to explain why anything would have been redacted. Why strike out the scenes of orgy from a book that contained such facts as the size and variation of color of Miroku's genitals, a method to induce ejaculation without masturbation and other, sprawling pages livened with the tales of conquests?
Certainly, publishers of the time could not print enough copies of the Confession to meet demand, so I cannot imagine any of them redacting a scene of such vivid erotica.
The only conclusion was that the artifact was not connected to the Confession. Rather, I believe, it was a possession of the monk. Were I to borrow a lose kind of language, then, I would have to say it was Miroku's pornography.
(I include a copy of the artifact.)
There are other, little images about the corners, however, the first page is dominated by the illustration of the orgy. From top to bottom it shows: feet, some 'clean', some tattooed, legs intertwined with legs, also alternatively clean and tattooed, and, suddenly, the buttocks of the central-figure comes into view. There are two hands spreading apart the checks while another figure - a male - probes with fingers into the space of the crack. The buttocks melts into the area of the back where the tattoo of a dragon is fragmented by a woman who lays askew of the central-figure: her breasts are exposed and her hands are cupped about her vagina as if to offer it to the viewer. Notice that the woman is smeared (within the artwork) by semen; notice, too, that the painting of nipples and the vagina are stained as if by water.
The head of the central-figure remains almost as afterthought, its back toward us, its face away, we cannot determine the identity beyond what the images of the ears suggest.
The second page presents the reverse of the first page - that is, it is the same exact orgy but the view was changed so that where we used to see backs now we are permitted to see fronts. Immediately we notice the penis: erect and painted with the tattoo of a dragon. Semen-like streams taint its shaft while its tip is teased by the lips of a woman. The other, free hand of that male probing the anus is seen clutching the base of the penis. Meanwhile other women gaze lustfully as they grasp onto the sack between the legs of the central-figure.
Then, again, as if we forget, at last we come to the head of the central-figure. Clearly, unmistakably, even through the mask of a grimace contorted by pleasure, it cannot be denied any longer. Yes, the shade of the hair, the proportions of the face - the eyes, the ears - it was the artist himself, Shippo, revealed in all of his glory.
All of the details are uncannily life-like as if it were captured on film then drawn on paper. But we must stop. And we must reflect. At the genius of it. Because, of course, we know such a convenience did not exist within the timeframe of the Feudal Era.
The first two pages are imaginative to the extreme and superbly executed erotica.
Beyond that masterpiece are a slate of other, minor works. Upon the fourth page: men self-pleasuring while women gang-raping with fish-shaped dildos. Upon the fifth page: another likeness of the artist now pleasuring five women - who are already pleasuring five men with various degrees of felatio. I cannot describe with words the magnificence of the sixth and last page: I leave the stains of semen upon it as testament to its power.
I draw conclusion by tying the artifact to my thesis. Although I cannot prove it, I believe its plethora of dragon-tattoos are a sign. Clearly, monk and artist shared a peculiar kind of relationship if such material could be passed (and used) between them. Perhaps Miroku guided Shippo's sexuality? Perhaps they shared fetishes? A fresh read of the Confession, with an eye toward details of Shippo's life, will be part of my research. As will be a study of another, recent discovery - papers by a Souten. My hope is that all of these materials and the connections between them will complete a picture of the artist and yield the answer to the mystery of Shippo's Dragon.
(1000)