Bigg

@bpbigg.bsky.social

2533 Followers 1107 Following

The tall man who posts. Writer & coder at boutique adult game studio BP Games. Editor of the Adult Analysis Anthology. Currently working on Monstrous Liberation! https://www.bpgamesinc.com

A large man is taking a mirror selfie in his bedroom wearing light shorts and a tight tank top. The bedroom has a lot of art on the walls. The man's face is obscured by a robot emoji.
As mentioned earlier, one of the primary objectives of censorship is erasing queerness from public life. A lot of queer porn, disproportionately targeted not only by content bans but also public scrutiny and social pressure to stay away from anything “too deviant,” ends up avoiding darker themes, sexual violence, and grimier taboos, leaving adult fiction and games that center those things predominantly in the hands of non-queer creators. Art and storytelling have existed for thousands of years with the express purpose of capturing the entirety of human experience. We have always processed reality by fictionalizing it, by fantasizing about it. Our brains love dark power dynamics, taboos, forbidden passions, subversion, and taking the grossest, ugliest things and making them attractive. Perverted, pornographic fiction shines a light on them, helps us process them and understand them, and de-fangs shame and repression. In an environment of targeted censorship that drives queer creators away from taboos, queer people lose full access to one of the most powerful and ancient tools of self-expression humans have: pornography. In this environment, bigots are handed more weapons with which to further our ostracization, our oppression.
You might recall that in last month’s update I was considering starting a new project in order to address the state of BP Games’s finances. To give a bit more color to the problem: at our present income/spending ratio, we’re looking at running out of money in roughly a year, when at our present development rate Monstrous Liberation is going to take at least two more years to finish. After talking it over with our publisher I’ve decided to approach the problem from the other end, which is to say: cutting expenses. This is going to be done in two ways. First of all, the remaining content planned for Monstrous Liberation is being trimmed-down significantly. In the old plan, after Prim there would have been five more monsters added, followed by a large finale update to close out the plot. Under the new plan, there will be one more monster after Prim, after which we’ll be going straight into the finale - in other words, we’re cutting four monsters’ worth of content. This will trim 12-16 months of development time. I’m not happy about this as we had some very cool monster designs that I was excited to realize, and it really doesn’t feel quite as good to think that the final game will have 11 monsters total (13 if you count all three Vulpeses as distinct, I suppose) instead of 15, but these are the realities of the situation. The second lever I’m pulling is that I’ve decided to reduce the monthly compensation that Pacha and myself receive by 20%. This is another thing I’d really prefer to not have to do, as even prior to this reduction it would not be incorrect to say the amount we’re paying ourselves is “poverty-level”. However, I believe it’s necessary in order to ensure that we can continue to afford to pay ourselves SOME amount through the remainder of Monstrous Liberation’s development. This cut likely won’t stop the bleeding entirely, but it does add several more months of cushion.
Humans are messy as often as we are elegant. Sometimes we hold back when we really don’t know why. And sometimes we are confronted with the more unpleasant parts of our actions when we’re naked, vulnerable, and sweaty. That admission could so easily risk hurting Robby by implying that you don’t respect his identity, not to mention that it could be seen as a rejection of Hazel. But Robby doesn’t react poorly. He understands, and he talks it out with you. He asks if you like Hazel and if you’d want help with making that first step. And he isn’t afraid to poke a little fun at you afterwards. Sure enough, when Hazel comes home this time, Robby spills the beans immediately. The trust he has in Robby lets the admission land softly. And with a wry smile, the two of them strip to help you have sex with Hazel for the first time, acknowledging and providing the comfort of Robby’s more-familiar body. You have a threesome that isn’t purely for the sake of fucking, but to help a relationship bloom and flourish, and to connect three people more deeply than they had been before. It was a moment that stuck with me because it was so beautifully human. The sex wasn’t incidental to the relationship. It was at the centre of it. That’s what porn games can do. They can show us those unique moments where we have to reckon with a part of ourselves that could risk hurting someone, or ourselves, and show us the ways in which it can be approached with compassion. And it can teach us how we might find the courage to be honest. I was blown away by that scene, and I couldn’t wait for more. A few months later, Itch.io and a number of other platforms were targeted by puritan groups claiming they hosted harmful content. Thousands of adult games were no longer searchable on Itch.io thanks to pressure from their payment processors at the behest of Collective Shout. A few months after that the UK Online Safety Act was passed and put into effect. Suddenly I was no longer allowed to access adult conte
Graphic describing this month's options on the BP Games exclusive art poll for subscribers. On the lefthand side is Bigg, a robot man wearing a tank top and sweatpants, standing under the caption "Loser's bracket! Which of these previously-unsuccessful poll options should get another chance?" The rest of the image shows said options: 1. "Kate Fucks Diogenes". A tanned woman with large breasts and long sandy-brown hair in a stylish pantsuit is looking flirtatiously at a black-skinned minotaur, who seems exasperated. 2. "Nadia In Beach Volleyball Costume". Nadia, a witch with silvery-blue hair, dark skin, and large breasts is standing in front of an array of clothing that includes an orange sun visor, a yellow bikini top, short red athletic shorts, and white-rimmed sunglasses. 3. "Sasha in Slutty Gun For Hire Alternate Universe". Sasha, a young witch with blue hair, is looking crazy in front of a stock photo of a woman holding an assault rifle. 4. "Sasha Cosplaying Kitagawa Marin (My Dress-Up Darling)". Sasha is standing in front of a graphic of the protagonist of My Dress-Up Darling, a fashionable teen girl who loves to cosplay.
Cropped portion of exclusive subscriber art. Depicts Nadia, a full-figured witch with silvery-blue hair, blue eyes, dark skin, and large breasts, wearing an LED gas mask and a black peek-a-boo halter top that shows off her large breasts. Nadia is looking at the viewer flirtatiously.
I cannot get enough erotic games because they so deeply expand the available thematic space of play, opening doors that previously were previously dismissively shut. I’ve been at many tables where sex and sexual assault were dismissed immediately in the process of safety-making; I’ve had game masters say “of course, there won’t be any sex in this game” at completely closed tables, with exclusively adults. I’ve been that game master before, even! I can’t imagine going back to that world, where daring to mention your character is hard will either elicit a laugh, or get you a talking-to. Erotic games demand a certain level of buy-in, and so everyone is at least a little serious about what they’re doing, but also here to have fun. Having the option to dip into erotic themes, I find, also makes the moments where the play is distinctly un-erotic all the more rich. To play an erotic game with people you trust is to invite the entire palette of human emotion to your table, whether you use every color or not. I come into play with a lot of trauma, and having the option to explore those traumas through play has been genuinely healing. The aforementioned Praise the Hawkmoth King has allowed me to go explore my experience with child sexual abuse. To Change by Ulysses Duckler, a transformation TTRPG which often veers into the erotic, came to me at a pivotal point of my medical gender transition, where I was starting to experience some new and often traumatic physical and mental changes for the first time. My partner Wendy Ribston Pippin’s in-progress erotic doll heist game Doll.House (a sequel to Doll.Bod) has been an amazing focal point for processing my traumatic experience working as a trans woman. While games that aren’t erotic could explore these themes, the fact that they are erotic means they can speak directly to these feelings. What draws me again and again to erotic TTRPGs is not just about feelings, though – there’s a physical element here, too. I’ve played a number
It’s a bright, cloudless day, so Sasha pours herself a cup of tea and takes a seat on the hideout’s balcony. She takes a sip of the tea and opens the first page of ‘In The Service Of The Bovine Baron’. S - (‘Goblinna Gregarious strolled through the murky woods, taking great care to avoid any mud or brambles from contacting the pristine white fabric of her uniform.’) S - (‘Her womb still ached from the depredations visited upon it by the werewolf prince who had been her previous employer. Goblinna wondered if her next position might tax her well-traveled womanhood to even greater lengths.’) S - JESUS. We’re not wasting any time, are we?
What are your thoughts on recent censorship waves in Steam and Itch? Very, very sad. I feel like we’ve entered a new point of no return with censorship on games distribution platforms, and it makes me worried for the future of gaming. The new difficulties involved in distributing adult games on these platforms is going to result in fewer people being exposed to them, which is only going to make the stigma around them worse (‘they’re just porn games, they [have] no meaning, they’re for weird gross perverts’, etc). The stigma being worse means fewer people will be playing them, and fewer people will be making them. I always try to be hopeful, but I don’t have much hope to spare in this situation. I think the only recourse we have is to continue creating art regardless of whether authorities want us to or not, and to continue talking about it in ways that resonate with people. As I said before, I believe it’s very important to discuss how this kind of art affects us personally, and to make people see the power it has. What would you like to see in visual novels in the near future? I just want to see more authors discuss what they’re passionate about. Give me weird incomprehensible games about pre-industrial society, give me fun romps that deal with how silly gender is, give me route-based moege that are secretly about astrophysics… I just want to see people using the unique combination of art, visuals, sound, and interactivity that the medium offers to get people interested in the world and what it has to offer. There’s no better gateway into hyper-niche subjects than busty anime girls and ripped anime dudes.
Item art from monsterfucking sandbox isekai adult visual novel Monstrous Liberation. A pulp romance novel, the title written in some strange script. Cover art shows a busty goblin maid being cradled in the crook of a shirtless minotaur's arm.
- Hardcoded (Ghost Hug Games) - Snow Daze: The Music Of Winter (Outbreak Games) - Lord Goblin (BBBen and his Big Brass Band) - SEXBOT (Llamamann Games) - Opportunity: A Sugar Baby Story (BP Games) - Vaygren: Lustful Temptation (Cyberframe Studios) - Aurelia (MirthalGames) - Dating Of The Future (geoWaffle) - Dragon Sleuth Brittany (Cherry Blossom Games)
- Anodyne 2: Return To Dust (Melos Han-Tani, Marina Kittaka) - Heaven's Vault (inkle) - Mediterranea Inferno (Eyeguys, Santa Rangione) - Misericorde: White Wool & Snow (Xeecee) - Small Saga (Darya Noghani) - Jenny LeClue: Detectivu (Mografi) - The Raven: Legacy of a Master Thief (KING Art) - On Your Tail (Memorable Games) - Final Profit: A Shop RPG (Brent Arnold)
Roksim’s artistic sensibilities scream “childishness”, evoking the kinds of amateur early-digital pictures you might find users posting to a Warrior Cats fan forum in the mid-2000s (A sick little part of my brain wants to say they have Humongous Entertainment swag). But the expertise underneath gets betrayed by a lot of bouncy animation, and the intentionality with which the visuals are used. Loud, saturated color palettes, and frantic, scratchy linework, which only grow more intense and unfocused whenever characters become too emotional or too horny, like the visuals themselves are getting too excited about what’s happening to keep composed. And then the character designs: Most characters Roksim depicts are rendered in simplistic, blobby shapes (very ambiguous taxa) that are easy to read and animate, a collection of silly little plushie-adjacent cartoon blorbos. Therefore, when those blorbos start committing heinous acts of sexual violence on each other, there’s room for the vibes to stay seated. This is a world where a person being battered into submission might take the form of a Cartoon Fight Cloud, or where being nonconsensually sodomized might come with a “BONK!” sound effect. These critters do not behave like normal human people, and they certainly don’t treat touchy subjects with the same care. Why would they? They’re all basically incapable of legitimately “hurting” each other. When the whole world is made of cushion padding, the characters have no need to take responsibility for their actions. Roksim’s works implement themes of age regression into their very aesthetic foundations. Deeply Autistic Artwork (/pos /pos /pos).
Later on, you get to fight with Imos in the party again, but it’s only because there’s no one else around to do it. Aina’s been kidnapped by Schum, Thrash is tricking Lotia into sex with the hollow promise that he’ll leave Imos alone in exchange, and Tori’s preoccupied with a third shithead Dracovalis of her own. So Imos teams up with one of his only friends in town, another weak, normie NPC, to go save the day. They rush to the cave where Aina’s held, and they start combat with Schum’s goons… And they lose. Mechanically, the math’s impossible, there’s no way to win. They’re wiped almost immediately, waking up back in town in the disgusting beds their superhuman bulls relegated them to. Imos’ friend admits it was a crushing defeat, but he insists they can’t give up on Aina, they’re the only hope she has right now! So they run back to the cave, and they challenge the goons to another fight… And they lose again. And again. And again. Imos and his friend slowly lose faith that they can do this, to such a point that eventually they don’t say anything at all before they slog back yet again to face their inevitable defeat. And after every loss, the game cuts away to what’s going on in the cave, to the newest development in the battle Aina’s losing against Schum, and you’re made to watch as, after she can fight no more, he breaks her down until she can barely remember where or who she is anymore. And it feels like your fault. Not Imos’ fault: yours. You’ve known since Imos wiped to bees how hopeless he is in battle. You might not want to admit it, but you know Thrash booting Imos from the party was the right decision for getting safely and smoothly to their destination, because your battles got a whole lot easier once he did. So you know perfectly well you’re never going to watch Imos save Aina, but until he’s ready to accept that for himself, Dark Hero Party’s going to make you pilot him through every single defeat, to feel firsthand like the literal loser that Imos in
One of the pieces of art that can be viewed through the subscriber links. Shows Sasha (a young witch with blue hair, in her older design) folding her arms and looking superior towards Clatterguts, a goblin prankster, who is currently dangling several feet off the ground, having been snared in a rope trap of Sasha's design.
Graphic for this month's monthly exclusive art subscriber poll for BP Games. On the left side is Nadia, a full-figured witch with silvery-blue hair, light brown skin, and a large bust, under the caption "Nadia says it's about time we updated her wardrobe, and who are we to say otherwise?" The rest of the image shows the four poll options: "Rave Gear", showing a mesh halter top, gas mask, leather miniskirt, and tall combat boots, "The Librarian", showing tortoiseshell glasses, a pencil skirt, and a ruffled blouse, "Beach Volleyball", showing white retro sunglasses, an orange sun visor, a yellow bikini top, and tiny athletic shorts, and "Lazy-Day Loungewear", showing a loose tank top, loose harem pants, and fuzzy pink slippers.
I will gladly acknowledge that adversity makes for excellent seasoning. I remember that the prince didn’t just let me run away with him. I wooed him over the course of a dozen chapters, slowly learning his tastes so I could please him, gently uncovering his woes so I could heal him, forging the simulacrum of a real relationship and granting me a twofold sense of satisfaction when I finally, finally took him inside me. But the thing about Jean was, Jean just said: “Wanna fuck? Y/N,” and I said “Y,” because of course I wanted to—why the fuck else would I be playing a porn game? Are choices really empowering if we’re just going through the motions?
Cropped portion of exclusive art visible through links. Shows Sasha, a young witch with blue hair and the main character of adult isekai sandbox monsterfucking visual novel Monstrous Liberation, upside-down while clinging to a stripper pole dressed like Pomni from The Amazing Digital Circus. Sasha looks like she's having a very hard time maintaining the pose, and her stupid jester's cap is falling off her head. She didn't think this through.
Jerry.
The answer is that, to be satisfying to the players who are seeking these states, the failure itself is half of the draw, and not just the result. Games are, in the most abstract sense, experiences created by a set of rules (Anthropy, 2012, p. 43). It should then come as no surprise that games become fertile ground for kink and sexual roleplay, and for adult games to play with states of desire in a fluid manner. Yes, of course, the higher objective here is for everyone to exit the experience sexually gratified, and you might consider this “winning”. Inside the experience, however? Someone’s personal way of “winning” might not be a win state as the experience defines. They might want to lose, on purpose, because gratification is gained in the act of losing. If someone’s kink is being caught and tied up, being put in a state of peril, it’s not all that satisfying if the peril doesn’t exist. Win and loss states must exist here in equilibrium; to feel like a loss is real, there must be a tangible way to win. Losses must be earned as much as wins are. This is how many adult games create a subversion of affirmative design. Rather than looking at “win” states being the only desirable one, it takes a step back and asks itself two critical questions: what experience have we made, and what do people want from it? “Loss” and “win” are completely detached from affirmative design ideas, and might not even be considered in those terms. There’s a state where a player wants to struggle after being caught, knowing there’s an escape state that’s reachable, and always finds a way to get caught again. This is acknowledged, fully embraced, and designed for as much as a full escape would. Why is one way of playing, “losing” over and over, considered the “wrong” way to enjoy games, if this is exactly what the player wants?
One of several images available through links. Shows a sheet of sprite poses for Peppermill, a goblin scout with pink hair, floppy pointed ears, small horns, and big tits. Peppermill is dressed in a grey half-cloak, black leggings, and brown belted tunic. The poses are as follows: - Neutral: Peppermill is standing with her hands clasped behind her back - Hands On Cheeks - Finger To Mouth - Fists Up - Under Control: The Threads of Compulsion are chastising Peppermill, immobilizing her and causing her pain
"Sex doesn't have a 'goal', and if you're doing it like it's a race to the orgasm every single time then you're probably not getting everything you could out of it. Games shouldn't have to be a race to victory either, and falling short of that goal or failing to aim for it altogether shouldn't have to mean the experience ends. Success is when you manage to maintain kayfabe well enough for everybody to enjoy themselves, even when things go off the rails - especially if things going off the rails is the most interesting option." - 'EITHER WAY, WHAT BLISS: THE PROBLEM OF BALANCING A GAME FOR PLAYERS WHO WANT TO FAIL"
One of the biggest issues game developers have to contend with is that of failure. Failure drives players forward just as much as it holds them back, discourages them from taking risks out of fear of what they’ll lose if it doesn’t pan out. As Morgan points out, “the way a game frames your failures acts as an invitation, an opportunity to convince you to stay immersed”, and it’s not an easy negotiation to pull off; there’s a reason one of the first pieces of advice novice TTRPG Game Masters receive tends to be “you have to make failure fun”. It has to feel harsh but fair, punitive enough to encourage a certain kind of playing yet not so much that players will get frustrated and put the game down for good. It stands to reason that ryona games would have an easier time than most with this: ‘losing the game results in hot, dubcon erotica’ is as fun as you can make it, after all, and the frustrating and at times humiliating aspects of failure, those very same negative emotions that make failure so difficult to balance out in a game, would be both heightened and offset by the ensuing erotic scene(s). It turns out you really can have too much of a good thing, however, because the core issue of ryona-type games is that failure is perhaps too much fun. Since the erotic content (which is likely to be your main motivator for playing) will only grace your eyes after you’ve lost, failure ceases to seem like an obstacle and the threat of a Game Over no longer drives the player forward, becoming instead an irresistible siren’s call luring players down a mechanical dead-end. The games tend to be difficult to play through as a result: the mechanics often seem like an afterthought, either so easy it barely feels like a game at all or so obtuse that it becomes “a sort of puzzle box of oft-boring and potentially frustrating gameplay with the porn locked inside” (as Morgan aptly puts it). Even when they hold their own, the player’s propensity to choose the path of no resistance preven
"Sex doesn't have a 'goal', and if you're doing it like it's a race to the orgasm every single time then you're probably not getting everything you could out of it. Games shouldn't have to be a race to victory either, and falling short of that goal or failing to aim for it altogether shouldn't have to mean the experience ends. Success is when you manage to maintain kayfabe well enough for everybody to enjoy themselves, even when things go off the rails - especially if things going off the rails is the most interesting option." - 'EITHER WAY, WHAT BLISS: THE PROBLEM OF BALANCING A GAME FOR PLAYERS WHO WANT TO FAIL"