NAVIGATION

About Animation Samples Voice Acting

Required Voices Interested Voices Applying For Voice

ABOUT ME

I'm a 23-year-old Computer Science graduate whose turned his hobby into a career. I started doing erotic art (RE: porn) at the ripe age of 18, during my freshman year of university. I had already been making models, comics, and posters in the Source engine for about 5 years prior (starting at around 13 years old), but they were all "family safe" things - comedies and military-related things mostly.

I came into Source Filmmaker with absolutely no animation experience at all, and now, five years later... Well, judge for yourself. After all, that's what the page is for.

ABOUT MY WRITING

If I were to summarize my attitude toward writing porn stories in three words, they would be as such: porn is absurd.

More succinctly, porn stories are by their very nature grander than life, especially porn stories of characters that have been established as being overtly non-sexual. They require a string of assumptions and stretches of canon and imagination to justify themselves, and then it is often the case that no amount of stretching and bending can fully justify the actions: the story requires a leap of faith in accepting. This is what I mean when I say "porn is absurd".

As such, I feel that porn should acknowledge its absurdity. That isn't to say it needs to be off-the-walls zany (though off-the-walls zany is always fun), but being completely grimdark dead-pan serious the entire time comes across as painfully try-hard and cringe-inducingly ludicrous to me. As such, my writing for shorts (such as Doctor Feelgood, or More Than Just a Bounty-Hunter) tends to be campy, happy-go-lucky and entirely self-aware. This is for two reasons: firstly, the shorts tend to be focused more on the performance than the writing, and so I use the campiness as a platform for a wider range of performance than a serious production could provide in such a short time-span; and secondly, their short lengths make it obtuse for me to write a fully contained story, and so I tend to eschew any efforts to firmly ground the piece in favor of the "Fuck it, let's have sex!" mentality of writing.

Longer productions, such as full films or series, don't suffer from these constraints, and as such, I tend to dial the campiness down significantly. Instead of making the characters self-aware and happy-go-lucky as a means of acknowledging absurdity, I instead let the scenario unfold in a more organic way that is in itself as absurd as the premise of the porn itself. As a brief example, the premise of Hiveship is Samus Aran getting fucked silly by tentacles. To approach the absurdity required for that premise to take place, I have to establish a few things. To get Samus out of her armor, I introduce the idea that the alien ship is susceptible to Chozo technology - her armor would alert the ship, which is counter to her objectives of infiltrating the ship and leaving it still inert. To introduce Samus' interest in the tentacles, I introduce contact-induced flashbacks of Samus masturbating to tentacle porn. To explain why the tentacles would want to fuck Samus in the first place, I bring in the concept that the tentacles are effectively "service drones", whose only purpose is to maximize the happiness of their masters. Bring it all together and throw in a splash of telepathy for the tentacles, combined with Samus being the only organism on the ship making her their de facto master, and the tentacles find themselves happily fucking Samus silly, fulfilling a powerful fantasy of hers. In this way, I acknowledge the absurdity of the situation in an organic and natural way. The premise of Samus being armorless in an alien ship getting fucked silly by tentacles and loving it is absolutely ludicrous - but through the narrative, I was able to make exactly that happen in a way that makes sense within the universe and confines of logic - provided you don't think too hard on it, of course. In this way, I acknowledge the absurdity of the premise subtly, by gradually nudging into it.

As a result of this, my writing has two modes: Short mode, which tends to be campy and self-aware and doesn't try to justify itself; and long mode, which focuses much more on using narrative devices to justify itself within the established canon.

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VOICE ACTING

All voice-acting is paid. These are not gratis roles.

I have been doing short, looping animations for about 5 years now, and I am ready to move on. I am a storyteller, and there are many stories that I want to tell - and maybe you can help me tell them! If you are interested in voicing a particular character, please don't hesitate to shoot me an email at lordaardvark@outlook.com. We can discuss what you're looking for and any questions you might have, and then we can work out a project to work on together.

If you're not sure you have what it takes, or you're not sure you're "good enough" to voice a certain character, allow me to help allay any such concerns, by showing off some samples of previous voice projects I have done. What I want to make perfectly clear is that I am not looking for a "perfect" match - a voice actress being interested, comfortable, and having fun is much more important to me than a carbon-copy of a voice!

VOICE ACTING (cont'd)

As the samples above suggest, being incredibly close is not a high priority to me. As long as the pitch & timbre are about right (high voices for high-voiced characters, low voices for low-voiced characters, etc) and the mannerisms and accents are comparable (thick German accents for American characters don't work well, but something like Poppy's Spanish accent works well enough for Lulu), then I am more than perfectly happy with the fit - and my audience by and large are as well. Here is a brief list of the major things I am looking for, in the order of importance to me. Note you don't need them all, but the more, the merrier!

1. Pitch & timbre roughly matching character
2. Mannerisms and accent roughly matching character
3. Decent-quality recording (either a good noise-cancelling microphone, or the cheaper alternative of using a program like Audacity to remove noise from recordings)
4. Comfortable with voicing traditional boy/girl scenes involving oral, anal, and vaginal sex
5. Willing to moan, grunt, pant, and make other such lewd sexy noises
6. Willing to record lewd lines with vulgar & sexual words, dirty talk, etc
7. Willing to make oral sounds, such as sucking
8. Comfortable with voicing classic fetishes, such as lesbian sex, group sex / gangbangs, light bondage play, dominance & submission, rough oral sex, and rough penetration
9. Willing to make more extreme oral sounds, such as face-fucking, gagging, and choking (NSFW video w/ sound warning) is EXTREMELY desirable, but NOT REQUIRED
10. Comfortable with voicing more extreme fetishes, such as monsters, tentacles, and bestiality

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INTERESTED VOICES

These are characters whom I have interest in finding voices for, but I am not actively pursuing. The required voices above are a higher priority to me, but I will certainly be willing to listen to auditions for these characters as well. Just know that it might be a while before I can put together a project for us to work together on. Forgive the sparseness of this section - it is still under construction, and putting together all of these samples takes a while

• Elizabeth (Bioshock: Infinite)
• Jill (Resident Evil 5)
• Mad Moxxi (Borderlands 2)
• Rachel (Ninja Gaiden)

Have a character in mind, but not listed here? Audition for them anyways!