“Goddess Zilla Returns” from Obey Melanie

Good morning everyone,

This post will close out the recent focus on breaking new ground by discussing size-fetish producers who have not appeared on the blog before. This effort began on March 9th. Since then, we’ve examined works from Cinematic-GTS, Emily Valentina, Giantess Loryelle / Giantess Crossing, and Jennica Lynn (a.k.a. Zorrosteaser)! (NOTE: Of course, There She Grows will cover more upcoming artists, authors, and performers in the future, but this is the end of the emphasis on only new creators.)

Today we’re analyzing a work from Obey Melanie. She sells clips on sites like Clips4Sale and iwantclips. The majority of her work centers on domination and accordingly several videos involve bound or blindfolded men. She’s been working for over 15 years with the oldest item on Clips4Sale dating back to late August 2005. Early productions focused on ball busting, foot play, and orgasm denial & teasing with titles such as “Chastity – Day 15,” “Foot Worship,” and “Smothered Hope.”

“Goddess Zilla Returns” was released on November 21st, 2017. As the name states, it’s a sequel to “Goddess Zilla,” which was put out in early October 2017. Obey Melanie has only produced two original giantess videos, along with a compilation of vore scenes pulled from that pair of earlier clips. I selected “Goddess Zilla Returns” for this review since it’s the most recent.

However, I will also briefly discuss the first Goddess Zilla clip. Specifically, I must tell growth fans that there were no growth scenes. When viewers are introduced to Melanie during “Goddess Zilla,” in Area 52 no less, she is already gigantic. There was no transformation scene, no process during which she rapidly changed size on camera. Thus, if you were hoping for an elaborate growing scene I want to make sure you understand that neither Goddess Zilla clip includes growing. That noted, let’s move on to Goddess Zilla Returns.

The action begins with the giant nude woman moving around on all fours while a news helicopter follows her actions.

Toys are not particularly realistic props.

I liked the helicopter rotor sound, but we never heard any dialogue from Obey Melanie. In fact, much of the runtime was unexpectedly quiet with only slight crunching noises when Melanie trampled miniature cars. To put that differently, there were not enough screams of terror. One would expect a bedlam of frenzied activity if a giantess was crushing pedestrians and eating folks randomly. The sounds of ambulances, dogs barking, guns firing, panicked people fleeing, police sirens, etc. should have been present throughout.

This “guy” did scream when crushed by her big toe. However, he was the only man to vocalize his pain during the rampage.

A male voice-over mentions that the huge giantess is “… causing destruction throughout the city.” However, the speaker’s tone was matter of fact without the alarm that the situation warranted. The subdued nature of this clip resulted in a (presumably unplanned) jump scare when the stillness was disturbed by the blaring, royalty-free sounds preceding “Breaking News.”

In addition to play vehicles, many tiny figurines were used as victims. The paint and sculpting for these looked pretty good. Although, being only statues they did not move. Credit to the performer though, she chews on those tinies for awhile and I was worried that she might actually swallow them! Nonetheless, I prefer the animated tinies which appear in clips like “Giantess Mountain – The Goddess Awakening SFX.”

Even a mature woman benefits from chewable vitamins!
Vitamin “Vore” that is ❗

It was great that a miniature urban setting was made with many homes as well as a coffee shop and police station. However, it was obvious that this scene took place inside a regular room. The electrical socket on the wall was a jarring reminder that we weren’t actually watching a giant woman in a city. A dark curtain or bed sheet would have been a better backdrop than the mundane wall. Even better would have been a chroma-key effect (like a green screen) to replace the background with a proper skyline.

Note the power outlet in the left of this screenshot. Also, the nipple piercings were unrealistic. They beg the question, “How does that jewelry still fit at her immense size?” Yet, it’s understandable that removing such piercings are difficult.

Much of the shortcomings were undoubtedly caused by budgetary issues. It costs money and requires training to buy and use green-screen software for instance. Presumably, the low budget led to the use of store-bought playthings in this production. Regardless though, some improvements could have been made at little cost. For example, the narrator could have provide a much more spirited performance. They shouldn’t worry about over-acting. Too much excitement would have been better than not enough.

Overall, I cannot recommend Goddess Zilla Returns. There’s just too little here to justify the purchase. A text at the end states “To be continued…”, but there’s been no more Goddess Zilla since 2017. (NOTE: The vore compilation was released in July 2020, but that merely collected older material.) Obey Melanie has produced over 1,300 clips, but only three of those involve size. Furthermore, none of the clips released in 2021 feature giants or tinies, but instead they involve ass worship, edging, and foot jobs. Therefore, it seems that Obey Melanie’s true passion lies in female domination. Nonetheless, it’s interesting that the appeal of size was enough to persuade such a model to produce videos in the genre.

That’s it for now folks. Thursday’s article will be another Top 10 list of shoe bursting scenes, as requested by Johnny Blaze on February 1st. Until then, keep growing!

This review is protected under Fair Use copyright law.

All Rights Reserved.

4 thoughts on ““Goddess Zilla Returns” from Obey Melanie

  1. Not sure if this is the right place for it, but something I’ve noticed lately is a lack of “realism” (such as it is) when it comes to giantesses in small spaces.

    For example, in some pieces, a giantess grows indoors yet her head never approaches the ceiling. Or a 50’ giantess suddenly has furniture and lodging built to her accommodations. That’s not to say all comics or videos struggle with this; and anyone who creates content is infinitely more talented than I’ll ever be in that regard.

    But for me, when dialogue and action focus on “I’m never gonna fit in there”, it adds a new dimension of excitement and interest. I’m guessing for videos, this would be harder to accomplish than in comics or 3D art?

    So let me ask the community and our gracious host a question: Which stories or artists get it right when it comes to the practical reality of giantess/growth art?

    Apologies if this is the incorrect forum for this type of comment and question.

    Liked by 1 person

    1. Hi Eom!

      This is a perfectly fine place to ask your question. Initially, my first thought was to respond with a few examples of “relatively” realistic giantesses in small spaces. However, it doesn’t feel like a short reply would do it justice. Thus, I’ll write a full post on this topic . God willing, should be able to publish that in May. In the meantime, if folks have relevant examples please comment or shoot me an e-mail!


  2. Thanks for the warm and welcoming reply. Much appreciated.

    To me, there’s an established set of criteria for what makes good giantess content. Videos should have walking SFX and booming voices. Comics should have size struggles and progress the story in a natural, logical order, etc.

    I grant that, for example, video production costs and techniques may prohibit the inclusion on SFX. But these little touches are what separates good content from great because they, for me anyway, add new dimensions to the story. Earth-shattering footsteps force me to wonder what are the citizens of doomed city thinking. The attention to detail allows me to imagine sub-stories apart from the main arc.

    Liked by 1 person

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