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Behind the Red Mist

Dollhouse Doom Ch 1

Ever since I created the Krynshar multiverse, I have wanted to make a Krynsharverse focused on dolls, as men being turned into dolls has been a kink of mine since I was a teenager. I have a strong memory of being first interested in this idea when I watched the Pokémon episode where Brock was turned into a doll. Brock’s doll form was my biggest inspiration for the shape of the dolls in this Krynsharverse: rag dolls with handless arms and limbs spread in an open position. This is perfect for showing my models' armpits, pleasing both the readers who have a fetish for this and the models who like to show them (I know that the model from chapter 1 loves showing his armpits). I decided to maintain this idea for the legs, removing the feet and keeping the legs open, leaving the models' penis and testicles suspended in the air—a very exposing and sexualized position for the models soon to be transformed into dolls.

But I needed to do more. These changes left the model still looking like a man who was shrunken and had part of his limbs amputated, and that wasn't exactly what I wanted. I wanted the model to resemble a doll. So, inspired by rag dolls, I added seams to the doll's feet and hands, and inspired by teddy bears, I decreased the length of the doll's neck and the length between his shoulders and increased the length/size of his belly. Additionally, simply because I wanted to (and I can), I made his ears proportionally bigger, which makes him look more stupid. This is how I created my own style of doll for this Krynsharverse.

Playing with the doll is a way of humiliating him. It emphasizes that he is no longer a human and is now nothing but a helpless toy that has no control over what is done to him. Changing the doll's appearance is also a form of control: Now he will no longer look the way he chose to look when he was a man. Now his appearance depends on the desires of whoever owns him, and the poor doll can't do anything about it.

In chapter 1, Krynshar plays with and changes the doll's appearance, changing his hairstyle and putting clothes on him. But he doesn't choose just any clothing—the type of clothing also contributes to humiliation, whether because it is stupid or because it presents some type of embarrassment to whoever wears it, adding yet another kink trigger along with all the others.
I was definitely inspired by an episode of Dragon Ball GT where Pan was turned into a doll and the Dolltaki combed her hair and tried to change her clothes (he was interrupted in the process, fortunately, because it would be extremely gross/bizarre to watch a man take off a child character's clothes). When I watched this scene for the first time as a teenager, I just kept thinking about how I wanted Trunks (a hot adult man) to be in Pan's place.

Dolls need a dollhouse. I didn't want to simply download an image of a dollhouse from the internet and have to deal with all the image quality and angle limitations that this would present. I wanted a personalized dollhouse, one that I could use to take photos from all possible angles to provide backgrounds in all different types of scenes. So I bought a dollhouse online and customized it myself.

I tested different types of black paints and finishes. In the middle of this process, I ended up ruining the toy furniture that came with the house because they absorbed a lot of paint, and I had to buy more furniture separately—it was a laborious process, but it was fun and also a fascinating learning experience for the next time I need to paint things. Thanks to this work, I don't need to worry about the limitations of a background. I can freely plan the scenes, as I can arrange and photograph the background however I want, thus expanding the bounds of my creativity.

I wanted other toys besides the furniture to subtly appear in some scenes, and I also wanted to add more depth and mystery to this Krynsharverse. I thought that if Krynshar already knew the names of his victims, it would indicate that he had planned the “kidnapping” well in advance. So I bought toy letters online to write the victims' names next to the dollhouse. I wanted to use only the red letters so as to maintain the black and red color palette of the multiverse, but the red letters were insufficient to write the name of the chapter 1 victim, so I also used orange letters and edited their color to red in Photoshop. The design of the toy letters became inspiration for this Krynsharverse’s logo.

I like to diversify the way of telling stories in each Krynsharverse. For this one, I chose to tell the story as if it were a comic. This style is perfect for graphically showing different scenes of Krynshar playing with his victims, especially since the doll transformation itself is very simple for a Krynsharverse TF.
Making a single scene from a comic page can take a lot of time. Some scenes take more time than others, so I needed to be as brief and direct as possible. I focused more on making thought-provoking scenes that played with the fetish explored in this Krynsharverse and that engaged the ideas I described at the beginning of this BTRM, rather than telling a big story. Leaving part of the story open for interpretation allows anyone who knows how Krynshar chooses his victims in other Krynsharverses to create their own interpretation based on that. Those who don't know it could interpret it in different ways, which is okay too—after all, I play with this mystery and use it as a strength in this Krynsharverse.

Different scenes require (many) different photos of the model for any given Krynsharverse. I asked this model, Aaron, to take photos of his door for the first scene on page 1. To my surprise, in the photo he sent, there was a notice taped to his door saying “PLEASE DO NOT KNOCK. No salespeople, thank you.” I immediately saw a chance to work with that. I asked for many more photos of the door from different angles and distances. I made a point of leaving that very visible and large notice in scene 1, because thanks to that I would have a reason to justify why Aaron's character was so angry in the following scenes. It also presented an opportunity to create a funny scene—after all, Krynshar is completely ignoring the notice glued to the door and is doing exactly what the sign says not to do: knocking on the door and trying to sell (offer) something.

I wish I had made the notice on the door bigger, to make the small print easier to read (“No salespeople, thank you.”). I could have zoomed in on the scene more, but that would have made the door handle disappear from the scene, making it difficult to instantly recognize that the photograph was of a door. That would have made it necessary to look at scene 2 to better understand scene 1, and this would be a design flaw. Changing the layout would also not be a good choice, as this would take up too much space on the page. So I let the notice pictogram do its work—anyone who is curious can zoom in on the page and better read what is written there.

Since Aaron was transformed into a doll, I kept things close to his body to act as size references. After all, the image of a shrunken body doesn't look shrunken if it isn't next to big things that should be proportionally small compared to the human body. So it all starts in scene 4, page 3: the sofa and the controller in Aaron's hand remain at their original size while his body is in the process of shrinking disproportionately.

In scene 1, page 4, the controller is still in the scene, but it is no longer in Aaron's hand, as his hand has shrunk and can no longer hold it. The sofa continues to appear, showing both that Aaron is floating on top of it and that the controller fell on the sofa.

This detail is important so that scene 3, page 4 delivers the instant understanding that Aaron is lying on the sofa (after all, the controller that fell out of his hand in scene 1, page 4 has fallen on the sofa, eliminating the need to show the entire sofa in scene 3, page 4). All of this makes it possible to zoom in on Aaron, now completely transformed into a doll, without having to show the sofa. The controller also serves as a size reference for Aaron’s new shrunken size in this scene.

In scene 1, page 7, I present the dollhouse. Scene 2 shows Krynshar's hand holding Aaron close to the parts of the dollhouse and the letters, helping whoever is watching the scene to understand the proportions of the dollhouse. This helps because future scenes don’t have to depict Krynshar's hand for size reference. And of course, scene 2, page 7 also highlights the toy letters that spell Aaron's name, bringing the mystery that I wanted to bring and also giving a hint about the inspiration for the Krynsharverse logo.

The dollhouse in the story is bigger than it actually is in real life. Compared to my hand (which I photographed as Krynshar’s hand), the dollhouse is much smaller, but I decided to make it appear bigger in the story so I could keep the doll the size I wanted (because the doll would be too big to fit in the furniture if I used the real proportions of the dollhouse). I didn't want to make the doll smaller than it appears in the story: for my kink, the perfect size is for the doll to be the size of my hand, not small enough to fit his entire body in the palm of my hand. It wouldn't be practical to dress and groom such a small doll.

Scene 3, page 7 is a brief way of showing more rooms in the house while Krynshar plays with his new doll, cueing the next scene.

Thanks to the size reference that Krynshar's hand gave to the house and its furniture in scene 2, page 7, it was not necessary to add Krynshar's hand as a size reference on page 8. Instead, I was able to use that space to show what's going on with Aaron.

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