Hello, everyone!

Before we begin, you may have noticed that I finally updated the Patreon banner! I hope you all like the new one - I personally absolutely love it, and think it is much better than the previous one.

I have been trying to come up with a new banner since 2022, and have tried 2 or 3 times every year since. But I have never actually come up with something that I like until now. Here is a direct upload of the banner:

Fun fact! I thought the previous banner was uploaded in 2020, and I was replacing a 6-year-old banner. Nope! It was actually uploaded in 2017. So I was replacing a damn-near 10-year-old banner. Yeah, definitely time for a change, I think.

Also, there are a lot of symmetries in the composition of this banner! Some of them were even intentional! See if you can spot them all! I'll give you two, as a starter: Resident Evil ladies on opposite ends of the banner, and Dead or Alive ladies 3 characters in from each side.

With that being said, this week's Progress Report is gonna be a bit less structured than usual. We will start off with the usual, discussing Overbreed, Short Love Story, and To Breed and Bond. But then we're going to spend some time discussing not just other endeavors, but my general thoughts and plans for the future, both near and far.

If this week's preview image didn't already give it away, we're going pretty theoretical this week. So strap in!

Right off the top, I sadly still haven't heard anything back from Milly in regards to her Mercy audio for Overbreed. I'm going to send her another email before I head off to bed tonight. We're not exactly strapped for time or anything, but I do still like having some forward momentum going.

Thankfully, the obligations that had jumped Cinder last week have resolved themselves, and she is hoping to get the next batch of Sombra audio recorded sometime before next Monday. Whether or not we get there remains to be seen, since there are some lingering spectres of obligation hanging over her head, but we're both optimistic.

And then as a last note for Overbreed this week, I am hoping to get all of the Narrative dialogue that I currently have lip-synced this week. More about this in a hot moment.

There isn't too much to report on Short Love Story, other than that Candy has started the recording process. She sent in her Marie audio for the first episode, and she did a phenomenal job as always. Everyone please take a moment of silence for the nasty throat sounds she has to emulate for this particular project. I implored her to take it slowly and not push herself.

Regarding To Breed and Bond, I noted last week that I was hoping to have the final 4k render pushed out and ready for the final audio mix by end-of-day on Sunday. And, well...

It is done. But good lord was it a fight to get there. And not for any conventional reasons. As I was fighting getting the 4k render ready, I ended up making this bleet.

And I really can't overstate just how mangled the project file for Episode 2 of Breed & Bond is. In a word, it is cursed. I honestly don't even know where to begin, but I think the load-bearing Symmetra is as good a place to start as any.

Oh yes. We of course have the load-blowing Symmetra, but now there is also a second, invisible, load-bearing Symmetra, as well!

When trying to get the jigglebones to bake, for all that jiggly goodness, I simply could not get Symmetra's jigglebones to bake. What I ended up having to do was spawn in a fresh copy of Symmetra, make her invisible, and copy the animation over to the new copy. Then I could bake the jigglebones on the new copy, which worked just fine, and copy the baked jigglebone animation over to the original Symmetra.

Well, I say "worked just fine," but I need to qualify that. The bake worked fine. But now I can't, uhh, delete the fresh copy. If I do, Source Filmmaker just immediately crashes. I don't know why. I don't know how. But this fresh copy of Symmetra has become load-bearing - the whole structure collapses without her. So now I have a bunch of invisible Symmetra's littered around the SFM project file, and I can't delete any of them.

Then of course, there is the Dancing Handle.

There is one specific shot in the project I noticed that SFM would just absolutely scream if I tried to do anything with it. In every other shot, selecting items had no issues, worked like you would expect. But in this one shot, if I selected anything, SFM would lock up for a solid 7 seconds. It would work fine after, until I had to select something else - inducing another 7-second lock.

That's odd in its own right, but something I could manage.

But everything changed when the Fire Nation attacked I added the load-bearing Symmetra. Suddenly, without even touching the original Symmetra, the moment I spawned in the fresh copy to bake jigglebones onto, Symmetra's handles for her hands started going haywire.

Her hands, locked to Mercy's legs, just shot off into the aether. I had to manually pull them back.

That in itself is, while annoying, not too bad. The problem was that, every time I tried to grab the handles, which were fuck-off nowhere (see above image), as soon as I clicked them, they would suddenly teleport to where her hands should be. Let go of my mouse, and they teleported back to their incorrect location.

It took some fenagling, but I eventually figured out that I had to select the handle through the list (rather than grabbing it directly), and then apply a little bit of Zero to it to move it slightly. Once it moved, the handle would be stable and actually let me move it.

The problem is, I had to do this every time I let go of the handle. Move the other hand? Do it again. Let go of the handle to see where the hand is lined up? Do it again. Switch from moving to rotating (oh, did I mention the rotations were randomized too?) Do it again.

So I had to juggle flaming swords and deal with the Minotaur's Labyrinth just to catch these dancing handles and put her hands back where they needed to be. Luckily, even though the motion-paths are off in the middle of nowhere, the hands themselves actually behave correctly in playback.

And then the final cursed aspect of this project, while not an immediate issue, is one that has completely ruined the project file going forward: I lost all of my organization in the process. All the main bones, twist bones, layer bones, hoisted controls (for hair and what-not)? All of is just now shoved into the Unknown tab.

This effectively means I can't make any changes to the project file going forward. Anything that needs to be fixed, I would have to roll back to before I dealt with all of this cursed bullshit, make the changes, and then do it all again.

Thankfully, I don't think there is anything I need to fix. And so I will never have to touch this cursed project file again.

Needless to say, what should have been a 15-minute venture turned into an all-day crucible. I did not anticipate fighting demons that day. I ended up cutting down an entire circle of Dante's Inferno.

BUT IT'S DONE.

Tomorrow, I will be meeting with Tonedeaf to discuss the sound design process. With any luck, he will have some drafts for us to go over and refine. My end of the process is finished, which has freed up my time to pursue other things.

I intend to spend a good chunk of that time working on Overbreed lipsync, as mentioned earlier. But I also intend to spend it investigating other ventures.

The eminent venture is exploring adding camera support to the SFM Blender pipeline. The impetus for this is actually the previous episode of To Breed and Bond: those who have watched it in Early Access have likely seen the particle cumshot in it.

And it's fine.

For a full-bright trail of square flat 2D sprites, it's fine. But I think I can do a lot better.

And so I had a hare-brained idea come to mind. It is composed of three facts:

I know that Blender allows you to render out image sequences with a transparent background (the Primordium logo's burning effect was rendered in Blender).

I have been experimenting with the free NeXus particle simulation beta in Blender for faster viscous fluid simulations, to pretty decent results (see below)

I already have the ability to import scenes, characters, and animations with the SFM Blender Pipeline tool.

With these three facts in tow, the idea itself is simple: import the cum-shot scenes into Blender; use NeXus to build a viscous-fluid sim for the shot, attached to and driven by Symmetra's animation; match the camera motion in Blender; render out just the fluid-sim with a transparent background; and then composite the fluid-sim overtop the SFM render.

I already have the ability to do 4 of these 5 steps. The only missing piece is the camera matching. And so, I started exploring that yesterday, and intend to continue exploring it this week.

Will I have it figured out enough for the public release of Episode 1? I'm not optimistic. But even if I don't, the research that goes into it will be beneficial going forward. It's all stuff I am going to have to figure out eventually anyways, as part of the larger transition to Blender.

So far, the research has been looking very promising. The very first thing I need to do, is figure out how to match the camera FOV between SFM and Blender. And it turns out, not only does Blender's camera have a lens-size FOV unit, but they perfectly match SFM's lens-size FOV presets. An 85mm lens in Blender is an exact match to the 85mm preset in SFM.

I verified that with this little setup made in SFM and imported to Blender.

Each box drafted out by the lines traces the boundaries of what the camera can see in SFM at different FOVs. 85mm is the smallest box, followed by 50mm, 35mm, 24mm, and 17mm. I figured that 5 sample points should be enough for me to compute the conversion factor.

Knowing that Blender and SFM use identical lens-sizes is extremely prudent, but it doesn't solve the problem. Those are just presets in SFM. While they are labeled different lens sizes, they aren't actually stored as different lens sizes. Instead, they are stored as fractional values between 10 and 120. 10 and 120 what, you may ask? I don't know.

The ideal would be that they are 10 and 120 degrees, because Blender also has degrees of FOV. Because if they are, then if I look at this chart of the different FOV values for each preset in SFM...

We can see that 50mm is 0.18381. If we convert that to degrees, with the range provided, then that becomes 10 + ((120 - 10) * 0.18381) degrees, or 30.2191 degrees.

Unfortunately, reality is rarely so simple. The fact they both use the same lens sizes was a freak coincidence. Lightning rarely strikes twice, and it did not in this case. Plugging 30.2191 degrees into Blender, and then swapping over to the lens-size, that comes out to being a 66.67mm lens. Which is, my top scientists and mathemagicians have assured me, not the same as a 50mm lens.

Which means I am going to have to do some good-ole-fashioned best-fit analysis. I am hoping it's a simple linear correlation, but I won't know until I do the math - which is a task for tomorrow.

In theory though, this is the only missing element I need for importing cameras. Once I have the FOV figured out, I should be able to use the existing export code for exporting cameras (just treat them as models that only have root bones, like static props, and a single "flex" that is the camera FOV). And then I can use the same import logic (it's all built in a very modular method to allow easily adding new objects to the system) for spawning, positioning, and animating the camera.

Technically I should also figure out depth-of-field. But for this specific use-case, I don't need it. The depth-of-field is focused squarely on the cum-shot in SFM, so I don't need to worry about the blurring. So for the Blender composite render, I will just not have any depth-of-field blurring, and have a nice, crisp jizz blast.

As a final note on this, I should state that the reason why I am going for compositing the scene, rather than just rendering the entire shot in Blender, is for consistent art style. Blender and SFM have very different rendering engines, and they look very different. It would be incredibly obvious, and quite jarring, when the SFM render just randomly cuts to a single Blender render for one shot, before returning back to SFM.

So, that's all of the usual stuff we discuss in these Progress Reports. But what about the future stuff? What about all the stuff in the preview image? Let's talk about all that next.

The most imminent thing is that, I am hoping to make a new blog post tomorrow or Thursday, that will have a roadmap for both this year's Micro projects, and also next year's Micro projects. I have mentioned several times the plans for both, and on Bluesky I made a bleet with the roadmap.

But Bluesky only lets you pin one post at a time, and I use the pins for the release dates of the current Micro project. And so, this roadmap got buried rather quickly. And I think a blog post, which are exceedingly rare, would be the perfect, semi-permanent home for the roadmaps.

Amusingly, I still have that DVa blog post that I wrote up months ago, sitting about 90% complete. And this new spontaneous blog-post is going to be started and finished before it. I don't know if that DVa blog post will ever be finished, truthfully. And honestly, we're not missing much if it doesn't get made. It was mostly just a bunch of me yelling at clouds.

So then, let's discuss the preview image, which was put together in no particular order.

The first thing I want to discuss are the Witcher bimbo models. I have mentioned many times now how I want to have a fourth episode for the first Primordium chapter, but I have been struggling to come up with something that fits all of my parameters. What became Primordium Chapter 2 was originally the plan for Primordium Episode 1, and was always ever planned to have 3 main sequences. That works fine for a single video. But for a Chapter split into individual episodes, I find 3 episodes to be a bit anemic. And so, I have experimented with a few ideas, but they were all so universally laughed down that I dropped them dead.

I ended up dropping all of the assumptions I had been working on, and going back to the fundamental thesis of the episode: convincing the ladies that Primordium is a substance worth scouring the four corners of the world to find, and enduring all sorts of trials and tribulations in order to obtain. And, of course, the way the ladies are convinced is through unnatural mind-melting sex fueled by magic so extreme that it cannot be replicated without the use of Primordium. If they want to experience this level of sexual depravity again (they do), they will need to find Primordium - there simply is no other way to return to this high.

The way that this has manifested thus far has been through using Primordium to create entirely new entities to fuck the ladies, and manipulating their bodies in order to amplify the experience: Triss manifests 10 copies of herself, all of whom proceed to have an orgy, and Triss is able to feel everything each of them feels all at the same time, all at once. Yennefer manifests 9 magical dicks that all fuck her ass simultaneously in a nonupal penetration, with her asshole made especially elastic such that she is able to experience the pleasure of such extreme stretching without any associated pain. And Ciri manifests a tentacle creature that completely restrains her before penetrating all the way through her mouth and out her ass and then back into her pussy, passing effortlessly through her internal organs without ill consequence while she indulges in the extreme sensation absent pain.

The difficulty has been coming up with a fourth summoning that follows these extreme ideas, things that the ladies simply could not find in the magic-infused fantastic world of monsters that is the Witcher's universe.

But in my returning to the fundamental thesis, I realized I don't need a fourth summoning. The summonings aren't the point. The point is convincing the ladies that Primordium is worth all inconvenience to find, that if they find the source of the substance, they could experience these things all the time, that such extreme magic-induced sex could be the sum total of their lives.

Put another way, the thesis of the Chapter is showing the ladies that being thoughtless blissed-out sex-addicted cum dumpsters is within the realm of possibility for them. All they have to do is find the Primordial Well.

And so, enter the most recent idea I had for the fourth episode of Primordium Chapter 1: the ladies using Primordium to bimbofy themselves and indulge in a night-long orgy with the inn's patrons.

I think that ending the Chapter with the ladies all drenched in cum and realizing that they could be sex-doll bimbo cum-dumps all the time with Primordium is a pretty solid way to launch their journey and the future antics they get up to.

Once I had the idea occur to me, I needed to se if it was even possible for me to modify their outfits in an over-sexed way. And I am quite pleased with the results. Ciri's outfit required the most thought, but I think adapting her leather pants into makeshift leather leggings, complete with belts hastily wrapped over them to keep them up, was inspired. Yennefer's was actually the simplest to figure out, with her thigh-high boots already working perfectly as stripper boots.

Triss is still a work-in-progress. Her top came out perfectly, though it required me to completely rebuild it from the original port for technical reasons, and then required some extensive re-UVing to properly accommodate the extensive mesh changes. I am not quite sure what to do with her pants yet, though. Just removing them feels too similar to Yennefer, and turning them into leggings too similar to Ciri. I'm leaning toward doing an interior cut - her pants have that pronounced seam that runs down the thighs. Cut that out, leave just the exterior of her pants, while the interior is exposed.

For the episode itself, I plan for them all being gangbanged in the same space, each of them with their own group of lads. The goal is to effectively make it a 3-by-3 setup, where each Lady runs through each pose in turn, and each getting a unique finisher. Here is a crude chart I made to mentally map it out.

Along the top are the ladies themselves, obviously. Along the side is their different poses. And the F denotes which one gets a focused finisher shot - Yennefer first, then Triss, and finally Ciri.

The numbers represent the order - so first it is Yen in Pose A, Ciri in Pose B, Triss in Pose C; then it is Yen in Pose C, Ciri in Pose A, and Triss in Pose B; and finally, Yen in Pose B, Ciri in Pose C, and Triss in Pose A.

It's all structured in such a way that no lady gets in the same pose twice, and every finisher is a different pose.

In my mind, I think it will work out quite nicely, as the ladies won't change their positions in space. So it won't be the poses stay the same and the ladies move between them, but rather the ladies stay in the same spot, and the poses move around them. Throw in the fact that each pose is oriented to its own table, and each table is rotated a different angle, I think the end result will be very quite satisfying.

Overall, I am quite excited for it, and I think it will be a very enjoyable way to cap off convincing the ladies they need to find the Primordium. Ending the Chapter with a bang, as it were.

Since we're already on that row, let's talk about the Pharah and Symmetra outfits next. As I am sure you all have already surmised, this is for a future To Breed and Bond endeavor. More specifically, they are club outfits, designed for a backstory outfit that simultaneously explains what led to them taking the Overbreed serum that starts the series off, while also integrating the made-on-stream Ladies Night Out video into the B&B lore.

These outfits are obviously not fitted yet. They're just the preliminary kitbashes, putting all the pieces together and getting an idea of what they'd look like. Apart from Pharah desperately needing a belt to hide that abrupt end on the pants, I'm vibing the looks, though.

The premise for this future Chapter is straight-forward: after exhausting themselves plowing an indefatigable Juno, they find themselves explaining their backstory to the perpetually-curious Martian. And it all begins when Pharah brought Symmetra along to the free-use club she regularly visits.

Symmetra's outfit in particular is very intentionally built to feel like it's not intentionally built. When Pharah first tells her that they're going to a club, Symmetra misinterprets it as being a formal party, and very much over-dresses for the occasion. When Pharah asks if that's really what she's going to wear, Symmetra asks if she shouldn't. Pharah shrugs and offers Symmetra one of her jackets, and decides it's good enough.

The Chapter walks through the relationship they kindle during that first time together at the free-use party, and them making going together being a regular thing. Eventually, Symmetra grows dissatisfied with the size of the lads that frequent the club, and they get their hands on some temporary Overbreed from an unscrupulous source (I haven't yet figured out who exactly; Sombra is my first thought, but I'm not hard-locked into that). They take turns with the serum, using their resultant massive cocks to fuck each other. Symmetra realizes she loves pitching even more than she does receiving, and when they use the last of their serum fucking each other (mostly Symmetra fucking Pharah), they immediately go back to their source for more. When they get it, rather than fucking each other, they both decide to fuck their source instead, which is when they realize the only thing they love more than getting fucked together is fucking together. The ladies then proceed to return to the free-use club that started it all, but now as pitchers rather than receivers - and they end up free-using Emily and Tracer, annoying the other patrons to the point of eventually getting kicked out by hogging the ladies and blowing load after load into them, rather than letting others take turns with them. The Chapter ends with the ladies running through their temporary Overbreed too quickly, and so they decide to hunt down and take permanent Overbreed. Which then leads, pretty much immediately, into Chapter 1.

I'm not sure which Chapter this will be exactly, but it will be - at minimum - Chapter 5. This is simply due to the logistics of everything: Chapter 2 is Brigitte helping Symmetra find a cock-ring that is strong enough to resist her powerful orgasms and give her the endurance to better keep pace with Pharah; and Chapter 3 is Pharah trying to get her own stamina down to better match Symmetra's (so they can cum together), exploiting the realization that she cums faster the more her partner cums, and finally settling on her iconic ladder cock-piercings as a permanent ribbed-for-her-pleasure, solely designed to make her partner cum faster, so she can cum faster.

After those first 3 chapters, Breed & Bond really opens up, and can explore other characters in mostly any order. The only prerequisite for this backstory is that the ladies need to meet and breed Juno first, as the backstory Chapter immediately follows up after the Juno Chapter, with them explaining it to her mostly as a way to distract her and give themselves a moment of rest from her insistently jumping their bones.

Which means that, if the Juno chapter immediately follows as Chapter 4, the backstory Chapter would be Chapter 5.

So yeah. I'm not exactly rushed for time getting these outfits together. And in case people were afraid I didn't have any future plans for Breed and Bond, well... There you go. I hope that alleviates that concern at least.

Right. Moving on through the preview image, let's talk Elsa and Anna next.

To make a long story short, while I am very pleased with how Peasantsday came out on a technical level, I feel like it definitely squandered its setting. To say nothing of squandering Mimi's absolutely fantastic performance as the ladies. Since before Peasantsday was even finished, I have been trying to come up with a prequel project that could rectify these issues.

But I have struggled and struggled to come up with an idea for it. I have had a few pieces of the project in mind. I knew that I wanted to have Elsa writing self-insert smut of a Curvy version of herself getting into kink-fueled shenanigans. I knew I wanted to have a Sorceress that uses magic to observe the ladies' sexy fantasies, and let them indulge in their decadence by giving them exactly what they want. And I knew I wanted to give the project the title The Sins of Sovereigns, because I think that's just too kick-ass a name to let go.

But there's been two missing pieces: Anna's counterpart to Elsa's curvy self-smut, and a narrative impetus to drive the plot forward.

I have considered Anna's counterpart being that she doesn't fantasize, but actually does: while Elsa fantasizes about sleeping around, Anna actually does just sleep around. But that doesn't really have a strong narrative impetus in itself.

The other day, while musing on the idea again, I think I came across the narrative impetus that locks everything into place: jealousy.

It starts out with Elsa being jealous of Anna's sexual freedom. And when the Sorceress comes into play, and temporarily gives Elsa the huge tits she's fantasized about, Anna becomes jealous of all the attention Elsa gets. The Sorceress then plays the sisters' jealousy against each other, giving each of them exactly what they want to one-up the other. As they each ratchet further into depravity off each other, they both come to the realization that they would rather just be cum dumps than sovereigns. The Sorceress, ever the sycophant, naturally obliges their desires in this capacity as well.

Which then leads into Peasantsday, as the ultimate manifestation of The Sins of Sovereigns.

With this new direction in mind, I immediately began sketching out what a first Chapter would look like. Its premise is simple: Elsa in her room writing her smut, with Anna in a tavern acting a slut. Whatever Elsa happens to write in her story, Anna happens to reflect a similar action in real life. All without the other knowing.

Toward this end, I immediately had this idea of Anna dressing as a commoner, so that the people wouldn't recognize her and treat her different. She doesn't want to be treated like royalty; she wants to be treated like a common whore. I hunted down some outfit pieces and kitbashed together an outfit, which is seen above. And I have to say, I am extremely pleased with how it came out.

Which then leads us to the last image in the preview, which is, of course, the Love and Degeneracy Chapter 2 draft. I've said several times that Chapter 2 is going to introduce Kate. I've even posted prototypes for the setup. I am a self-admitted filthy Marshpricefielder. Love and Degeneracy is my self-indulgent uber-project. And by Job, I am going to get my lesbian throuple come hell or high water.

These sketches are from what I imagine will end up being Episode 2, just because Episode 1 is probably a bit too narratively dense to include this. As I continue to draft out Chapter 2, and refine my larger vision for the project, I find it drifting further from my original plans. But I think that's okay.

I mentioned in a previous Report that I've struggled to find a clear direction for Kate, and recently settled into the idea of Kate being a latent dominatrix. Not necessarily the leather and whips kind (though Kate in leather would be hot as hell), but more the take-control kind.

More specifically, I've had this idea that Kate prioritizes Max's pleasure over her own. And so, in situations with multiple people involved, Kate has a tendency to domineer everyone to focus on satisfying Max.

For this Chapter, the premise is that Kate openly admits she loves Max, but notes that she knows Max loves Chloe--and that Chloe loves Max, too. And so, rather than taking Max away from Chloe, or making Max choose between them, Kate suggests that she and Chloe can both love Max, together. Max isn't sure how Chloe would feel about it. Chloe, on the other hand, is hella hyped at the idea of a threesome, and is immediately on-board. Whether or not she realizes that Kate is talking romantically rather than sexually remains to be seen - Chloe is notoriously not a terribly wise woman.

Episode 2 sees the girls back in Kate's room, where Kate awkwardly admits she doesn't really know where to begin. Chloe suggests they start by taking off their coats, and then that Max and Kate should pick up where they left off when Chloe interrupted them - making out. As Chloe watches, she suggests that Max should slip her tongue, and Kate immediately reciprocates the French kiss. Chloe asks if Kate's ever kissed a girl before, and Kate responds that she's a quick study. She then turns to Chloe and immediately begins French kissing her, before Chloe starts sucking on Kate's tongue. She eventually pulls off, and playfully teases that Kate is better at kissing than Max is.

And this is where the current iteration begins to stray from my original plans, which was going to be Chloe taking charge, using Max as her support while they guide a timid Kate into the wonders of lesbian sex.

Instead, in response to Chloe's teasing, Kate calmly says that she learns by watching, before putting her hands on Chloe's and Max's backs, firmly pushing the two together and telling them to teach her more. As Chloe and Max kiss, Kate watches silently, with the only sound she makes being to softly but firmly give direct orders: use your tongues. Suck Max's tongue. Spit in Chloe's mouth.

The Episode ends with Kate reiterating that she learns by watching, and that she wants Chloe and Max to teach her everything.

So far, that is all I have written for Chapter 2. And I like the direction. I think it has a pretty strong narrative throughline, and it works to immediately establish a unique character for Kate. But I don't really know how I will adapt my existing ideas into it.

My original plans for Chapter 2 was, after the round-robin kissing, for Chloe to eat Kate's pussy while Max gives her words (and smooches) of encouragement. Chloe would then comment that if Kate liked what she can do in front, just wait till she sees what Max can do in back; which would then lead into Max eating Kate's ass, while Kate smooches Chloe. Chloe asks Max how she tastes, to which Max notes that Chloe needs to try it herself. Chloe agrees, and the two eat out Kate from either end, reversing their roles: Chloe eats Kate's ass, while Max eats Kate's pussy. Kate then asks Chloe and Max how they make love to each other, and Chloe suggests that Max show her. As Max and Kate prepare to scissor, Chloe warns Kate that Max is a "notoriously stubborn lay," and shouldn't feel bad if she can't make Max cum. Her words almost immediately fall flat, as Kate's natural inclination for being extremely polite and supportive sees her showering Max (who, recall from Episode 1, has a hitherto latent praise kink) in praise, bringing Max to a squealing, squirting orgasm in record time. Chloe is left feeling inadequate, but Kate tries to bring her out of that stupor by suggesting that Chloe can make her cum from scissoring instead.

After healing her ego by leaving Kate a squirting, squealing mess, Max opines that it's a shame they can't both make love to Kate at the same time. Kate offers an alternative to that narrative, leading to a unique three-way scissoring position I have only ever seen exactly once and have wanted to recreate ever since.

All three girls cum together, Chloe and Max collapse onto the bed on either side of Kate and begin peppering her in kisses. And then as a closing shot, we shift to the other side of the wall, where we see Victoria leaning up against the wall and vigorously fingering herself while she quietly mutters that she doesn't want Kate to stop.

Again, that was my original plan for Chapter 2. And I really like it. But, I also really like this new direction for Chapter 2. And I don't know just how to merge the two.

I'm not terribly worried about it at the moment though, since Chapter 2 is--at the very earliest--two years away. I have plenty of time to resolve and refine the idea, and get Chapter 2 into a final, polished state.

And then finally, I want to end this Progress Report by discussing even further future plans. Right up top, I have been sitting on a sequel series to the Claire and Jill cabin video Refuge. It was one of the original series I had written for 2026. But when the cards fell onto the table, I had 5 different series written out, and could only fit 4 series into the year. Refuge was fifth place.

And then, as I've mentioned before (and the blog post will make clear), 2027 is the year of the Original Character. Which leaves 2028 as the earliest that Claire and Jill may see a return. But I do absolutely want to return to them. And I very much want them to be in 2028.

Which unfortunately means that 2028 is already feeling pretty crowded. I absolutely want to do more Love and Degeneracy in 2028. I also really want to do The Sins of Sovereigns in 2028. And I'd like to do Refuge in 2028. That's already 3 projects, with only 4 projects per year.

As the time comes closer, and all these projects have their proper debuts, I will probably open it to a poll to get opinions on what the fourth project in 2028 should be - an entirely new project, a sequel project (Rabbit.Hole, perhaps?), or another chapter of an existing series.

Ultimately, what I really need, more than anything, is a larger production team. I am perfectly content doing these projects as a one-man-band. I feel comfortable and confident making them. The issue is, I just can't make them fast enough.

Here we are, halfway through 2026, and I already have enough project ideas for the rest of this year, all of next year, and all of the year after that. And that's not even considering continuing all the projects. That's bringing in new ideas.

In an ideal world, I would have a whole cabal of animators working with me. I would write the stories and the screenplays, and then hand them off to several animators and have them all being developed at the same time, with me serving in a purely directorial role, keeping them on-target and in-line with the vision (while inevitably having said vision evolve and become even better, as the animators' ideas and opinions are discussed and integrated).

Of course, alongside a wider cabal of animators, I would also need a larger team of sound designers. Ideally, one sound designer per animator, having them working in pairs much like myself and Tonedeaf do.

In reality, though, this will likely never happen. I make a very humbling living by myself, but I hold no illusions about it being even close to enough to bring on any additional team members. I would love to have a whole production studio behind me, but I simply couldn’t afford to pay them fairly for their time, skill, passion, and—most importantly to me—creative sacrifice, in choosing to work on my projects rather than work on their own.

And I have a simple credo when it comes to these things: if you can’t afford to pay your employees fairly, then you shouldn’t have employees at all. If I couldn’t pay these animators and sound designers their weight in gold, then I wouldn’t even bother doing it at all. Animating is a demanding skill—I know, I’ve been doing it for near fifteen years now, and I am absolutely not even close to the top of the field with my skills.

But in a fantasy world where I had unlimited resources and capabilities, that is what I would like to do. I would love nothing more.

At any rate, that’s enough of the prospective musing. Let's crash back to Earth and wrap this post up with my plans for this upcoming week.

As I mentioned at the top, the first thing I want to do is make that roadmap blog post. My biggest aspiration, then, is that I want to finish lip-syncing all of the Narrative dialogue I currently have for Overbreed, with a secondary aspiration of getting the camera fully integrated into the SFM Blender Pipeline. And, of course, getting Breed & Bond Episode 2 released on Friday.

Beyond that, though? We'll see where the winds carry me.

Until next week, everyone!