BAAL

Last modified:
Friday, July 16, 2004 4:42 PM


07/15/04- You may recognize this guy from a few articles ago. I can't say that this is any more interesting, subject matter-wise, than it was earlier this year. However, the thing that held my interest this time was the technique stuff. Although I had initial thoughts about making this into an evil spiked armoured figure (in the spirit of Peter Jackson's Lord of The Ring's "Sauron"), I decided that the brutish and primitive look of the headsculpt naturally pointed in the opposite direction. The physical appearance of the borrowed archetype guides the character outline, but developing the character outline helps with further design decisions, like costuming (or the lack of).

The primitive toothy thing suggested a primal demon, ruled by primal desires. He's only a step above primitive man, but endowed with human behavioral complexities like pride and anger, and lacking in a number of our more enlightened social qualities. Basically, he likes to thump his chest, kill things, and baal. Consequently, I felt that the most natural costuming for him was none at all, and his weapons of choice are his natural arsenal and whatever was lying around. (The armband was a lazy afterthought.)

Creating the butt-nekkid look was the real challenge, and the main motivator which moved this project out of eternal limbo. While I don't like seeing articulation seams in a figure, I don't mind a few... but a whole figure's worth? Yecccch! The articulated neck really bothered me. For operational reasons, it was basically a post sticking out from tapered shoulders, instead of tapering naturally from the shoulders and back. Some non-skinned figures cope with this by not articulating with a separate neckpost, and putting the articulation at the base of the head. However, that solution sacrifices an important expressive articulation point of the doll.

For the skinned figure concept, I refer you to the "Teaser" creature project from a long time ago. This project is far less ambitious than that as it didn't require the multitude of molds-- just a simple generic skin mold. This was an exercise in blending textures; it helps that it's a creature with bad skin, which is very forgiving... I doubt this would work on a babe figure. The other aspect of this was in varying the skin thickness to go with articulation points. While thinner skin is desirable at some articulation points (elbows, for example), some areas (the shoulders) need a bit more, with underlying cushioning to support and distribute the effect of skin deformation. Unfortunately, I didn't start this figure with this direction in mind, having revised the torso articulation twice to better accommodate a non-skinned solution. Likewise, the overall proportioning was intended for a non-skinned figure. A well-planned skinned figure would have a less bulky armature (the skeleton), covered by cushioning (the organs, muscles & fat), and finally, the skin. The idea is that the skin would ride over the meat and distribute itself naturally, according to the positioning of the armature. Although I didn't do that, I'm pleased with the way some of it works, particularly the distribution of torso belly flesh for body twists and the neck. In other areas (shoulders, biceps, hands), the wrinkling is too localized because the underlying structure is too rigid.

It should be obvious that skinned figures aren't very repair-friendly. If there are problems with the skeleton, the skin has to be cut for access, and patched when the work's done. I took a few preliminary steps in anticipation of some of the problems: I made sure to screw/nut-tension some of the weaker hinges (knees, ankles)-- fortunately some (elbows) didn't appear to need it. I also used heavier-than-normal elastic tensioning to balance against the resistance of the skin's elasticity.

One point worth considering with a flexible-skinned figure is the longevity of the materials. Broadly speaking, flexible materials do not last as long as rigid ones-- they're inherently less stable. Latex is particularly bad in this regard. Although the Teaser figure of 5/98 is holding up very well (at this time, six years later), the boot and arm coverings I made in 7/98 for my FAKK-Q figure are showing some of the signs of rubber rot-- brittle at the edges with a gooeyness where the material is cracked. I believe it's a matter of how well protected the latex is from exposure to air-- painting seals the surface and doesn't allow humidity (or whatever reacts with latex) to rot it. I've also learned that mixing acrylic paint with latex doesn't protect it. It depends on the unknown qualities of the paint, but various skins I made for my Real Doll 2020 of 07/01 died very quickly. These didn't have a protective coating of paint. Unfortunately, there's no way at my disposal to test the effects of time on a material, other than just letting it pass. As I've said, flexible materials are naturally less stable than rigid ones, and I don't think technology has really solved that problem-- but you can improve your odds of longer-term success by using materials which have something of a proven track record. Polyurethanes are more expensive, more of a hassle to work with, and the raw component materials have a relatively short shelf life, but the fully cured material has a much longer lifespan than latex. You can also experiment with various caulks sold at hardware stores, but you should realize that experiments are just that-- experiments, that you won't be able to evaluate without the passage of time.

I'd like to believe that making a dude-doll with a fat freddie shows that I'm truly an equal opportunity exploiter. According to our quaint & quirky social standards, the acceptable sexploitation zone for females is much wider, with ample opportunity to tease and flirt at the boundaries of social acceptability without breaking laws. Bare-chested & large-boobed male figures just aren't in the same league, and the penis doesn't have cleavage to be exploited-- its only acceptable public expression is a sock in the jock, or something to that effect. Those standards dictate that the photo documentation here be somewhat subdued. It's fair, since I haven't ever shown any graphic detail of the female counterpart in dollflesh (A degenerate's gotta have standards, y'know?). However, such concerns seem rather stupid since a well-hung demon doll looks just as natural and innocent as any other naked beast endowed with a big dick.


Out of respect for our lofty standards of decency, female bodies have been strategically placed in this photo.