Altered States - New Story By Jedakk

[Deleted member jedakk]

OK, but to late.
I wait to a other Version by you.
I like HTML.

Not sure I understand. I'll give you a full HTML version if that's what you need. Why would it be too late?

 

[Madiosi]

Not sure I understand. I'll give you a full HTML version if that's what you need. Why would it be too late?

I have collect all your posts in a html-file.
But i use your file.

 

[Deleted member jedakk]

I have collect all your posts in a html-file.
But i use your file.

Ok, doing a pic to use for the cover, then I'll convert my Word file to HTML and PM it all to you.

 

[Wragg]

I've been steadily reading this over the past day or so....

What an incredibly, intensely, jaw-droppingly brilliant piece of writing! Jedakk, whatever it is that gives you your imagination, can I have some, please? I'd eat or drink almost anything to be able to cook up a tale like that! (I did say 'almost' anything... )

I've seen (and written) stories connecting women crucified across the centuries, but this was handled with such skill that it was entirely believable. Very, very well done, sir!

 

[Deleted member jedakk]

I've been steadily reading this over the past day or so....

What an incredibly, intensely, jaw-droppingly brilliant piece of writing! Jedakk, whatever it is that gives you your imagination, can I have some, please? I'd eat or drink almost anything to be able to cook up a tale like that! (I did say 'almost' anything... )

I've seen (and written) stories connecting women crucified across the centuries, but this was handled with such skill that it was entirely believable. Very, very well done, sir!

Thanks, high praise indeed! I thought when I was reading your Jeeves tale a while back that there was no way that I could have written a piece that, to my eye, read a lot like Wodehouse!

Having said that, when I was re-reading and editing all that I actually wondered how the hell I came up with it. I would say that you'd have to be on something that would make you see plasticine porters with looking glass ties, etc. But I was totally clear-headed when I wrote it, so as cat would say, "fuck me! I don't know where all that came from!"

I can say where some things came from:
cat is maybe half an amalgamation of several women I have known over the past twenty years or so who were submissives and into extreme crux play, and the other half just original I guess. She is no more extreme than some.

cat's potty mouth is something I wrote in for humor. Her propensity for saying "fuck me" came from the beginning of a Tom Clancy book where he had a petite blonde female sailor say that when she sighted a torpedo streaking toward them. I was looking for some recognizable habit for cat that others would immediately identify with her personality. When Joe and Doc heard her say that when she awoke after her crucifixion, they felt pretty certain it was cat they were talking with.

The business about cat's difficulties with trying to rest on that 4"x 4" timber sedile are as they were described to me by a woman who did that herself.

The business about altered states is something I first heard of back about 1980 when the movie starring William Hurt came out. Since then, sensory deprivation and its influence on the mind has become well-known, although I have not seen much regarding sensory replacement, as I chose to use in this story.

The technologies I threw in are at least in the research stage at this point. The bMRI is not likely to be cell-phone size. The cloud-based database of brain scans that they were using to analyze and interpret cat's brain scans is entirely my own idea, as is the concept of time-based graphing of brain activity levels related to pain, fear, anger, etc. Gecko tape might already be available - I learned about the way geckos' feet stick to things several years ago and always thought it was cool.

The line where Doc says about Liz that she could "probably suck a golf ball through a garden hose" came from a friend of mine back in the 80s. The one where Joe says that he "woke up with his cock so hard that his eyes wouldn't stay shut" came from another friend who said that one morning at breakfast when we were working in a construction camp in Iran in 1978. One thing you learn is that if your jokes are sufficiently old, people will think they are new!

So you get the idea - a lot came from a life full of memories and observations and a lot of it is just made up stuff.

 

[Deleted member jedakk]

I'm not planning to illustrate this story, but I was forced to do a scene just to create some cover art for the e-book that Madiosi is going to do of it. This scene gives an idea of what I imagined Maia's crucifixion to look like.

This is where I am right now with the cover art. I might still change the color bar at the top and/or the title text color:

The blonde in the foreground is Maia, of course. Her titulus says so. The Aethiopian girl Amara is on the cross in the background, and the laughing guy in front would be Licinus. The rest are just crowd figures, all grinning, jeering and laughing at the stupid slaves who got themselves nailed to crosses. Note also the sedile on Maia's cross, which I described in the story; it has a narrow edge facing up, and the point on the front keeps her from sitting forward on it to save her lady parts, while the points projecting out to each side force her to spread her legs and open herself as she descends onto it. A nasty piece of Roman punishment.

Just another view of Maia looking up:

Another closer view of Maia from below. In this one, you can see her little gold clit ring if you look closely.

And a view from above of Maia. In this one you get a better view of the sedile:

This is Amara, crucified for murder. Enslaved and forced to be a prostitute, she stabbed a client to death with his own dagger. She has the same kind of sedile as Maia and is screaming in agony as she tries to rest on it. You can see the horn in the front pressed up against the front of her lower abdomen.

In this view, you can see the points projecting out to the sides from the sedile pressing against the insides of her thighs and how she has had to spread her legs to sit on it.

And in this view looking down from above, you can see the horn on the end of the sedile again, pressed up against her abdomen.

 

[andy01]

I'm not planning to illustrate this story, but I was forced to do a scene just to create some cover art for the e-book that Madiosi is going to do of it. This scene gives an idea of what I imagined Maia's crucifixion to look like.

This is where I am right now with the cover art. I might still change the color bar at the top and/or the title text color:

The blonde in the foreground is Maia, of course. Her titulus says so. The Aethiopian girl Amara is on the cross in the background, and the laughing guy in front would be Licinus. The rest are just crowd figures, all grinning, jeering and laughing at the stupid slaves who got themselves nailed to crosses. Note also the sedile on Maia's cross, which I described in the story; it has a narrow edge facing up, and the point on the front keeps her from sitting forward on it to save her lady parts, while the points projecting out to each side force her to spread her legs and open herself as she descends onto it. A nasty piece of Roman punishment.

Just another view of Maia looking up:

Another closer view of Maia from below. In this one, you can see her little gold clit ring if you look closely.

And a view from above of Maia. In this one you get a better view of the sedile:

This is Amara, crucified for murder. Enslaved and forced to be a prostitute, she stabbed a client to death with his own dagger. She has the same kind of sedile as Maia and is screaming in agony as she tries to rest on it. You can see the horn in the front pressed up against the front of her lower abdomen.

In this view, you can see the points projecting out to the sides from the sedile pressing against the insides of her thighs and how she has had to spread her legs to sit on it.

And in this view looking down from above, you can see the horn on the end of the sedile again, pressed up against her abdomen.

I think the onlookers here, particularly the women, are absolutely splwendid.

 

[Wragg]

I think the onlookers here, particularly the women, are absolutely splwendid.

Sometimes Jedakk's onlookers end up on crosses themselves

 

[Deleted member jedakk]

I think the onlookers here, particularly the women, are absolutely splwendid.

Thanks! I created a bunch of onlookers in various poses that I used for "The Serpent's Eye" and went back to those for this pic too. In the story, all of them were laughing and taunting Maia, so I gave them all amused expressions in the picture. Pretty cold-hearted bastards if they could laugh at a crucifixion!

 

[Deleted member jedakk]

Sometimes Jedakk's onlookers end up on crosses themselves
View attachment 425997

That did seem to be a problem back in Roman times, at least if the pictures that keep popping out of my computer are anything to go by!

 

[SkatingJesus]

Nice work, again!

"The Serpent Eye" was an awesome story, this onelooks good too!
Can I ask you what did you use for the women tunics?

 

[Deleted member jedakk]

Nice work, again!

"The Serpent Eye" was an awesome story, this onelooks good too!
Can I ask you what did you use for the women tunics?

The women's dresses are all dynamic cloth. I used Sshodan's Chitons for V4, the long Doric chiton for most of the women, short Doric chiton for the Verina prostitute character that you see in some of the pictures wearing a short, semi-transparent chiton. I posed each of the characters in all kinds of standing and sitting poses, ran the simulations for the dynamic clothing, then saved the posed figures into a menu in Poser. So I can insert a particular figure with a couple of clicks, move her wherever I want, change clothing colors, hair, expressions, anything that doesn't affect the way the clothing is draped, and get a different look.

That was a lot of work that I invested to get a large inventory of crowd figures, but it's easy now to use them. As an example, here's a quick render of 22 poses I have for one figure:

So I can insert one of these figures into a scene, then change colors, hair, etc. and give her a different look.

These pics are renders of the prostitute character I created wearing Sshodan's short Doric chiton:

And of course I can insert her into a scene and change things, too.

This is a pic of some more of the figures on my menu, most of which you will see in various pics in "The Serpent's Eye":

Figures 1, 8 and 9 are wearing Shodan's Doric chiton.
Figures 2 and 7 are wearing Rachel dynamic tunic and shawl by Optitex-dynamiccloth and Khory_D (Khory@Calida3d.com). This is a two-part set of dynamic clothing.
Figure 3 is wearing Sshodan's Doric chiton with Stormwind's wrapped cape, also dynamic.
Figure 4 is wearing Sshodan's Ionic chiton - loose.
Figure 5 is wearing Sshodan's Ionic chiton
Figure 6 is wearing Sshodan's doric chiton with SaintFox and Digital-Lion's Soft Sheets 3 Isadora Veil.

Might be more info than you wanted! I also have two or three groups of a dozen or so male and female figures that I can bring into a scene all at once to create an instant crowd.

 

[hornet1ba]

Those are as usual excellent 3d renders!
Make me want to read this story!
Sorry but a long story without a visual representation is hard for me form a mental image :-(

 

[thehangingtree]

The women's dresses are all dynamic cloth. I used Sshodan's Chitons for V4, the long Doric chiton for most of the women, short Doric chiton for the Verina prostitute character that you see in some of the pictures wearing a short, semi-transparent chiton. I posed each of the characters in all kinds of standing and sitting poses, ran the simulations for the dynamic clothing, then saved the posed figures into a menu in Poser. So I can insert a particular figure with a couple of clicks, move her wherever I want, change clothing colors, hair, expressions, anything that doesn't affect the way the clothing is draped, and get a different look.

That was a lot of work that I invested to get a large inventory of crowd figures, but it's easy now to use them. As an example, here's a quick render of 22 poses I have for one figure:

So I can insert one of these figures into a scene, then change colors, hair, etc. and give her a different look.

These pics are renders of the prostitute character I created wearing Sshodan's short Doric chiton:

And of course I can insert her into a scene and change things, too.

This is a pic of some more of the figures on my menu, most of which you will see in various pics in "The Serpent's Eye":

Figures 1, 8 and 9 are wearing Shodan's Doric chiton.
Figures 2 and 7 are wearing Rachel dynamic tunic and shawl by Optitex-dynamiccloth and Khory_D (Khory@Calida3d.com). This is a two-part set of dynamic clothing.
Figure 3 is wearing Sshodan's Doric chiton with Stormwind's wrapped cape, also dynamic.
Figure 4 is wearing Sshodan's Ionic chiton - loose.
Figure 5 is wearing Sshodan's Ionic chiton
Figure 6 is wearing Sshodan's doric chiton with SaintFox and Digital-Lion's Soft Sheets 3 Isadora Veil.

Might be more info than you wanted! I also have two or three groups of a dozen or so male and female figures that I can bring into a scene all at once to create an instant crowd.

Impressive collection! I would not know where to look for these programs much less what the hell to do with them!!!

 

[Deleted member jedakk]

Impressive collection! I would not know where to look for these programs much less what the hell to do with them!!!

Those are not exactly programs, more like 3D models of clothing, just like the figures and props that Poser uses. Most clothing fits, more or less, the figures it's intended for and tries to move along with the figure's movements. That works sort of if the clothing fits pretty closely, but not so much for the kind of clothing the Romans wore, which was loose and draping.

The dynamic clothing the characters in those pictures I posted are wearing DOES drape and fold like real cloth. But it's a numerical modeling exercise to get it to do that, takes a bit of work to learn how and some thought to get what you want out of it. There is no way in hell you'd get clothing to look right any other way in some of those sitting poses those figures are in, other than this technique.

 

[SkatingJesus]

The women's dresses are all dynamic cloth. I used Sshodan's Chitons for V4, the long Doric chiton for most of the women, short Doric chiton for the Verina prostitute character that you see in some of the pictures wearing a short, semi-transparent chiton. I posed each of the characters in all kinds of standing and sitting poses, ran the simulations for the dynamic clothing, then saved the posed figures into a menu in Poser. So I can insert a particular figure with a couple of clicks, move her wherever I want, change clothing colors, hair, expressions, anything that doesn't affect the way the clothing is draped, and get a different look.

That was a lot of work that I invested to get a large inventory of crowd figures, but it's easy now to use them. As an example, here's a quick render of 22 poses I have for one figure:

So I can insert one of these figures into a scene, then change colors, hair, etc. and give her a different look.

These pics are renders of the prostitute character I created wearing Sshodan's short Doric chiton:

And of course I can insert her into a scene and change things, too.

This is a pic of some more of the figures on my menu, most of which you will see in various pics in "The Serpent's Eye":

Figures 1, 8 and 9 are wearing Shodan's Doric chiton.
Figures 2 and 7 are wearing Rachel dynamic tunic and shawl by Optitex-dynamiccloth and Khory_D (Khory@Calida3d.com). This is a two-part set of dynamic clothing.
Figure 3 is wearing Sshodan's Doric chiton with Stormwind's wrapped cape, also dynamic.
Figure 4 is wearing Sshodan's Ionic chiton - loose.
Figure 5 is wearing Sshodan's Ionic chiton
Figure 6 is wearing Sshodan's doric chiton with SaintFox and Digital-Lion's Soft Sheets 3 Isadora Veil.

Might be more info than you wanted! I also have two or three groups of a dozen or so male and female figures that I can bring into a scene all at once to create an instant crowd.

Thanks a lot for your complete answer!

I guessed right, that it was some dynamic clothing stuff. Sadly, I never found a way to use that correctly, I bought the Optitex plugin, but it makes my Daz crash!

So, I let down the thing, and use other technics to create clothes and effects that I want. I should rework on it, if I find time to do it!

 

[Deleted member jedakk]

Thanks a lot for your complete answer!

I guessed right, that it was some dynamic clothing stuff. Sadly, I never found a way to use that correctly, I bought the Optitex plugin, but it makes my Daz crash!

So, I let down the thing, and use other technics to create clothes and effects that I want. I should rework on it, if I find time to do it!

Yeah, I've never used DAZ Studio and don't know whether it will handle dynamic cloth. The Poser dynamic cloth feature is actually pretty easy to use once you understand it. One of the key things is that the draping and folding process is actually done in a series of animation frames, one step per frame. So you have to create an animation that takes the figure from its default pose - straight up with arms out - to whatever pose you want over maybe 30 to 70 frames, depending on how complicated the pose is to get into.

This is the most difficult one I have done, I think, where two figures have to come together and the dynamic dresses they are wearing have to collide with each other and fold accordingly:

Not only do they collide front-to-front, but their arms have to wrap around each other and also collide and compress the dresses in the back. I think the animation to make all that happen took about 70 frames. But the thing to remember is, that it doesn't have to be realistic animation, it just has to get your figures into the final pose, and with everything colliding in the right order. So you don't have to make them walk toward each other, they can just slide together. And when their arms bend to wrap around each other, it doesn't matter if they pass through each other as long as they end up in the right place.

 

[Deleted member jedakk]

Madiosi is currently working on putting the entire story in to e-book format which you'll be able to download from the Archives shortly.

In the meantime, here's a PDF version of the entire story, all 111 pages!

And here's the final cover art I created for it, showing catherine on her cross in the dungeon, blindfolded, and Maia nailed to her cross in ancient Rome:

 

[Wragg]

Madiosi is currently working on putting the entire story in to e-book format which you'll be able to download from the Archives shortly.

In the meantime, here's a PDF version of the entire story, all 111 pages!

And here's the final cover art I created for it, showing catherine on her cross in the dungeon, blindfolded, and Maia nailed to her cross in ancient Rome:

Nice cover pic, Jedakk!

 

[Deleted member jedakk]

Nice cover pic, Jedakk!

That damned thing was a real pain in the ass. I first had just the pic on the right hand side there, thinking that a picture of Maia would be good enough. But I got called to task about that, and others wanted to paste in some photomanip of one of Ramon's girls where they thought Catherine ought to be, and that wasn't going to fly with me.

So I was forced to create a fallout shelter/dungeon, sculpt a girl who fit my mental picture of catherine, blindfold her and crucify her. Argh!

Here are some more views of cat in the fallout shelter:

Obviously there should be Joe, Doc, Liz, etc. there but I didn't need them for the cover art. The odd looking stuff on the floor in the bottom edge of the last pic is the sand that they spread out there to make cat feel like she was lying on dirt when they tied and nailed her hands.