As its title, The Princess Comes of Age, suggests, this Black Widows Production, a 47-minute animated hentai film, is a bildungsroman, or coming-of-age story, that depicts, in quite graphic detail, the protagonist’s maturation. In this case, her maturation is neither moral nor emotional. It is not even physical–although she is young nubile (both in the literal and the figurative senses of meaning), she has, quite obviously, already experienced adolescence. Although she does not seem to be a virgin, her maturation is sexual. The task before her is to choose, from among five royal suitors, a suitable mate. She will select whichever contender best pleases her sexually.
The movie took three years and millions of dollars to produce. The results are beautiful and impressive. The sets and backgrounds are futuristic, but believable. Without being intrusive, they enhance the action of the characters that occurs in the foregrounds of the respective settings. The characters’ facials expressions, body language, and, most importantly, movements during the almost-constant sexual antics in which they participate as the princess puts her suitors through their paces are superb. Fluid and realistic, eyes, mouths, heads, torsos, arms, legs, breasts, vaginas, penises, testicles, buttocks, and anuses all move with such realism that it is easy, with regard to the film’s fantastic elements, to willingly suspend disbelief and to accept that, somewhere in the universe, such fabulous creatures as the princess’ would-be consorts actually exist.
The princess’ suitors are a dwarf with huge genitals; a massive wheel-mounted robot; a hermaphroditic flowering plant; a mirror-image of herself in the form of what may or may not be a silver android in female form (sometimes known, in science fiction, as a gynoid); and a huge male head, with no body (his sex is identifiable by the many fleshly stalks that project from his head, each of which is capable of ejaculating semen). The sex of the suitors allow depictions of heterosexual, lesbian, and transsexual sex acts, and the nature of the creatures as mostly inhuman, enhances the perversity–and hence the pleasure–of the sex. Each suitor has one night alone with the princess and one opportunity, thereby, to win her heart by fully satisfying her sexual needs and desires.
Her suitors’ spaceships arrive at the same exact moment. Each lands upon a platform attached to the hub of her “castle,” a space station-like structure atop a rocky mesa in the clouds wherein a chamber has been set aside for each of the suitors. The spaceships each have a distinctive appearance. The shape of some suggest their passengers. The dwarf’s ship is shaped like a mushroom, the robot’s like a huge fan, the plant’s like a leaf, the giant head’s a globe that is the hub to smaller attached globes that are arranged around it as if in orbit. The princess steps into a circular lobby of sorts around which, on a circular track, a large silver arrow revolves, stopping before whichever doorway leads to her next sexual encounter. Each portal has its own unique appearance. The dwarf’s ingress is an arched doorway made of rough vertical planks that are bound by wide, horizontal bands of iron and framed by stones. The robot’s portal is a closed metal spiral inside a metal flange. The plant’s entrance is closed by two huge green leaves. The head’s access is off-white and resembles the upper halves of a parted labia. The gynoid’s entry is heart-shaped and closed off by heavy red curtains.
The princess is the main character. She is slender, with brown hair, which she wears in a fairly close-cropped, Pixie-style cut, and she has huge brown eyes. Her breasts are of medium size and natural. Her legs are long, shapely, and lean; her hips narrow; and her buttocks boyishly compact and firm, but femininely full. Her pudendum is decorated with a patch of neatly trimmed, dark-brown pubic hair. Just the sight of her slender, firm body and its budding curves is enough to wet a woman’s whistle or to put steel in a man’s manly member.
The princess is taken to a chamber of her castle that is equipped with five portals. A light illuminates the entrance to one of the rooms that open off this central chamber, an arched door of rough wood planks, crossed at the top and bottom with heavy iron bands. There is a knocker, also of iron, beneath the top band, and the door is framed by stones. Her walk to the door showcases her fine buttocks, small, compact, and firm, like a boy’s bottom, despite their feminine fullness and contours.
She must stoop to enter the chamber within, the front wall of which is smooth stone and the others of which are paneled in the same rough planks as form the door that are braced by darker timbers that run vertically down the walls in the corners and horizontally across the walls at mid-height. The floor is also smooth stone. The chamber is furnished with tables in the shape of large mushrooms and stumps and lanterns hang upon the walls. Three rectangles, side by side, in the ceiling allow visibility from above. Some of the sex takes place on a bearskin rug. The dominant colors of the room are orange and brown.
The dwarf wears a conical orange cap with a folded up brim, and orange, pointed-toe slippers. He has yellowish skin, large eyes, a wedge-shaped nose, sharp teeth, ears that stick out and are shaped rather like bats’ wings, although they are yellow, like the rest of his complexion, a narrow chest, a small pot belly, thin arms and legs, long, bony fingers, and an enormous penis and gigantic testicles. He wears a mischievous grin at times and, on one occasion, winks at the princess. He is also magical. When the princess laughs at his small stature and initially small penis, he scowls at her, outraged. A bright white light emanates from between his eyes, filling the room with its brilliance, and his penis elongates, stretching to such a prodigious length and fullness that its tip shoves against the room’s opposite wall, driving the dwarf into the wall behind him. He then smiles menacingly at the princess, who has, quite literally, seen the error of her ways in having laughed at the dwarf’s size.
The princess fellates the dwarf, who then has intercourse with her doggy style, repeats the act cowgirl (woman-on-top) style, and then again has sex with her in the doggy position before ending their session with anal intercourse from behind. He ejaculates, his semen spilling along her back. Their lovemaking also includes analingus, with him giving and her receiving. The artists’ attention to details enhances the animation’s verisimilitude and quality. The princess’ breasts ride forward as she plunges her mouth along the dwarf’s erection, and they sway in reaction to his thrusts into her vagina or anus. His testicles also swing back and forth in time with his movements. Facials expressions realistically represent emotions and sexual pleasure. As the sexual acts progress, different views of the room are shown, as if a camera is recording the action and pans, tracks, and dollies to show various aspects of the chamber’s interior. By the time the dwarf loses control and ejaculates, male viewers will, too, and female audience members are apt to get wet early and stay damp throughout the scene.
The princess next tries out a suitor in the form of a gigantic, wheel-mounted robot. In the outer chamber that forms the hub that connects the suitors’ chambers, a metallic needle mounted upon a circular track follows its rails to the portal to the robot’s chamber, and viewers are treated, again, to the sight of the princess’ sleek, firm, round buttocks as she strides forth to enter the chamber beyond the portal.
This suitor’s room is equipped with a huge exhaust fan, several computers and monitors, shelves, and electronic equipment. The action takes place in a ring formed by a low metal rail. A tall metal pole with a crossbar stands in the center of a circle painted upon the gray floor inside the larger circle that is formed around it by the low metal rail. As the view shifts, mostly green, yellow, pink, and lavender squares (monitors), a monitor in which spiraling circles spin, and the exhaust fan are shown. During sex, shadows of the robot and unidentified overhead objects resembling pipes fall upon the princess.
The robot is huge, dwarfing the princess. His head, torso, and triceps are round–literally ball joints–and his arms are hydraulic, ending in metallic claws. The claws are large enough and strong enough to clasp the princess’ wrists or ankles but also gentle enough to tweak her nipples. His hips are more rectangular in shape, although of a metal–probably steel–like the rest of his body. In intercourse, they move in both a fluid up-and-down and a back-and-forth motion and his upper body tilts back and forth as he rocks backward and forward on his single pneumatic tire. His legs are shock absorbers in the form of thick, coiled springs. In the front part of the robot’s hips, a circular plate spirals open so that a triple-barreled assembly can project forward and swing down, into place. Each barrel houses a dildo, as the astonished princess sees upon entering the robot’s chamber.
The robot is obviously supposed to be male, because “he” is equipped with a variety of dildos with which to satisfy her royal highness’ cravings for vaginal intercourse, simultaneous oral sex–or what passes for such when one’s partner has no actual tongue or penis–and anal intercourse. The vaginal variety of intercourse is performed in the missionary position, with the princess on her back and the robot grasping her ankles in his claws as he rocks back and forth on his tire, ramming a thick, long orange dildo back and forth in her vagina. During the anal variety of intercourse, the princess is impaled from behind, either as she receives the robot’s phallus while she is in the wheelbarrow position, with her partner holding her ankles in his claws or while she is in the doggy-style position, gripping the crossbar on the pole in front of her for support and the robot pinches her nipples. During anal intercourse, the same orange dildo is sometimes used, penetrating her to its full depth of what appears to be at least a foot; other times, a shorter and narrower model is employed. The princess is no mere passive recipient of the robot’s thrusts; she counterthrusts in time to his shoves of the dildos into her orifices. Her half-closed eyes, her pants and moans, and her gasps make it clear that the princess enjoys the robot’s rough sex. (Her royal highness seems particularly partial both to anal intercourse and to doggy-style sex.) The robot is equipped with a tongue of sorts, which it uses to perform cunnilingus upon the princess, holding her upside down by the ankles so that she can simultaneously perform fellatio upon whichever of his phalli he has extended at the moment. Watching the princess being rammed by the large, smooth shafts of the robot’s dildos, especially in the anus, is delightfully sexy, especially because, although the phalli are solid, sleek, and long, they enter and thrust within her orifices with graceful, fluid, and indefatigable motion, with all the efficiency of machinery. Although the robot ejaculates what appears to be purple seem, it may be that he has simply blown a gasket and is spurting transmission or brake fluid all over the princess’ back, rather than fecundating fluid.
The revolving arrow next stops opposite the leaf-draped entrance, and, as the princess walks toward the portal, the gigantic leaves, hung from a wire, trellis-like archway that resembles metal vines, fold up, admitting her.
Inside, there are no furnishings or decorations. There are only flowering plants. Most of the flowers are pale yellow and lie upon the ground, their stems living green filigree or vertical bars behind and around the central flower. The ground within the circle of the lesser plants is covered with a large round lacework-like design that is embedded with leaf shapes. Oddly, the space between the leaves and stems is sometimes white, sometimes black. There is no obvious light source in the room, although the chief plant and the princess are always shown in full illumination and the lesser plants are also sometimes, but not always, illuminated.
A colossal orange flower, possibly a day lily, bent as if in a bow, its arm-like stems dangling at its sides and along the ground before it, rises, as if to greet its guest. The plant’s stems are phallic, suggesting that it is a male, but it also has female breasts on the front of its broad stem, so, in fact, it is hermaphroditic. Astonished by the sight of this fantastic plant, the princess approaches closer to it, lifting one of its gigantic petals. The plant strokes its guest’s breast, and the princess smiles. Her actions seem to arouse the plant sexually; one of its stems rises into the air. The princess grasps the stalk and begins to lick and fellate it as she masturbates herself. The plant responds by penetrating her vaginally with another of its shoots. Another stem then impales her anus, and the plant has intercourse with her vaginally and anally at the same time. After a while, the plant’s tendrils suspend the princess in the air, extending its style and, with the tip of the style, or the stigma, it nudges the princess’ clitoris before thrusting the style into her vagina until, some time later, the plant climaxes and spurts its pollen over the princess in such quantities that the pant’s green fertilizing fluid oozes from both her vaginal and her anal orifices.
In the movie’s next scene, the red-draped, heart-shaped portal opens onto a long, narrow staircase. The princess climbs it, her buttocks swaying and flexing provocatively. At the top of the stairs, she encounters a large round mirror in a yellow frame in which she sees a silver image: a beautiful young woman who, except for her baldness, resembles the princess herself. Intrigued, the princess points a finger toward the looking-glass, touching its surface, which ripples as if it were water. Suddenly, the surface forms a whirlpool-like cone that sucks the princess into another dimension.
Except for occasional round, white, translucent bubbles, there is no scenery at all in this environment. The women float in empty space, against a pastel-pink background. The scene remains interesting because of the various lesbian sexual activities and the shifting angles from which these activities are shown.
The silver female figure may be a female android, or gynoid, or it may be an alternate universe’s version of the princess herself. She begins to finger the princess’ vagina before performing cunnilingus upon her guest. After a while, the silver female regurgitates a large, red, double-headed dildo equipped with hard, rubbery bumps from her mouth, as if she has been storing it down her esophagus, and begins to plunge a foot or so of one end of the thick, artificial penis into first her royal highness’ vagina and then into her anus while the princess floats upon her back, knees bent and legs apart. Before long, they are sharing the dildo. Floating in midair, in mirror-image positions, heel to heel, upon their backs, each ahs one end of the dildo in her vagina and they thrust their bodies back and forth so that they each drive the shared dildo into the other’s vagina. Occasionally, perfectly round, milky or transparent bubbles drift past them as they masturbate each other and themselves with the dildo in this manner. They continue to please each other until, the scene ending, they both orgasm at the same time.
The final scene is the most bizarre and, in some ways, the most perverted and delightful because of its originality and novelty. After the princess passes through the red-draped, heart-shaped doorway, she slides down a long, winding white slide, past yellow walls. At the bottom of the slide, she flips onto her feet and finds herself standing upon a white marble table in the center of the top of which is an emblem shaped much like one of the spaceships that arrived at the outset of the movie–the one with the globular hub around which radiated smaller globes at the ends of struts.
Other than the table and the slide, which is visible in some shots, above and behind the princess, the room is relatively empty. The dominant colors are white, yellow, and gray, although the support columns, the tops and bases of which are smooth disks, are of such soft colors as butterscotch and tan.
Squatting upon two tan-colored, truncated thighs, which resemble testicles inside an enormous scrotum than upper legs, an otherwise gargantuan bald and bodiless head observes the princess for a moment, perhaps enjoying her astonishment at the sight of him. The head is brown, and the creature’s eyes have elliptical irises inside yellow sclera. These organs are situated beneath a perpetually frowning bony ridge of the skull. It doesn’t appear to have an upper lip, although the lower lip is full and mottled, as if blistered. There is neither nose nor ears. However, many tubular growths project out of the top and sides of the massive head. From time to time, it opens its enormous mouth, allowing headless, phallic-shaped birds with bats’ wings to fly forth, surrogates by which it vicariously enjoys sex with the princess, perhaps through a psychic link with its avian familiars. The first of two of these birds impales her vaginally, thrusting its neck back and forth inside her sex as it hovers before her groin, its wings beating furiously, hummingbird fashion. The princess is, at this time, on her back. Next, a second of its kind joins in the action, engaging her in anal intercourse as she leans over the marble table and fellates the neck of the first creature. The bird-phallus upon whom she performs fellatio then joins its counterpart, and the two creatures simultaneously engage the princess in vaginal and anal intercourse, hovering like hummingbirds intent on feeding upon the nectar of her nether orifices. Meanwhile, the head observes the bird-phalli, seeming to enjoy their sensations through his psychic link to them. As he reaches orgasm, all the tubular spikes that grow from his head ejaculate semen simultaneously, thick streamers of the stuff spurting into the air as the rigid-necked bird-phalluses, continuing to hover as they beat the air with their wings, go limp and droop.
The princess’ choice of her mate is then revealed, and viewers learn whether their favorite suitor wins her royal highness’ hand. Which will she choose, the dwarf, the robot, the flowering plant, the lesbian cyborg, the bodiless head–or all of them? The answer awaits, and it is apt to be a surprise.
The movie’s video code library (Xvid) follows MPEG-4 compression and decompression standards. The audio-visual files are provided by Internet copying from removable media (DVDRip). The video aspect ratio is of cinematic quality (i. e., 640 by 360). The format and codec are also of cinematic quality: 1.78:1 and MPEG-4, respectively, and the film requires 399.5 megabytes of hard disk storage space. The audio is the standard sample rate for compact disks (44.100 kHz), uses the MPEG Layer 3 digital audio format, operating at a data rate of 128.00 kbps avg. The file size is 444.5 megabytes.