R. B. Ashton is a prolific creator of size-themed horror who has produced numerous animated videos, CGI comics, interactive video games, and written stories. He has posted a wide variety of size content at Giantess City. This began almost two decades ago with a thread in mid-February 2006 sharing videos rendered in Poser software which featured a giantess and a few shrunken people. This was followed by the story The Monster of Mtubu in July 2007. In the years afterward Ashton altered photographs with Photoshop and made more 3-D animations, often showcasing vore. In 2018 Ashton released his first story for sale, “Kacie-B,” about a giantess based on old school monster films. As of this writing he has released over thirty books for sale! Furthermore, he has collaborated with CGI artist JackOfBullets in creating several CGI comics. He has also reviewed and compiled a list of giant women in mainstream books which included many examples which may have escaped most people’s attention, such as “Hangsaman” by Shirley Jackson. Folks can follow R. B. Ashton via his homepage as well as on Bluesky, DeviantArt, X/Twitter, and YouTube. Lastly, you can support him via Patreon and Subscribestar!
#1) Can you tell the readers a little about yourself?
I’m a writer and editor, and now 3D/game designer, based on the south coast of England. I’ve worked for myself for almost 20 years, dipping in and out of various projects, but for the past decade or so I’ve been mostly focused on publishing my own books and editing books for other people. Publishing has long been a volatile and unforgiving market, though, so I’ve been drifting back into an earlier passion of mine, with 3D model-making and animation – I actually made maps for computer games and my own little games in the infancy of the internet, so it’s nice to revive these interests.
#2) How did you first become interested in giantesses and vore?
It’s something that’s always been with me, so I couldn’t say what specifically triggered my interests; something in the deep time before my memories were fully formed, I suspect. I was always a creative kid and loved fantasy games, and stories of giants or shrinking excited me most. Being eaten alive was the most chilling death for me, though getting caught and held in a hand had a particular charm too. I remember reacting strongly to cartoons where characters were eaten – one or two upset me enough that I almost wrote to TV stations to complain (as an opinionated little seven-year-old), which even then was an indicator that it excited me in a special way.
With those kinds of emotions already in place, when I hit puberty and found myself aroused by beautiful women, my first thoughts weren’t of sex but of seeing them giant and domineering. Specifically, yikes, imagine if she could eat someone whole… So, I didn’t have a trigger, just an evolution into sexualising a part of my imagination that excited me most. I can practically put a date to it, ageing myself, as pre-internet I recall finding images of the early live-action Lara Croft models in magazines and my instinct was to trace them and draw little people in their hands…
#3) What are a few of your favorite works from other creators?
I’m a bit out of the loop from spending so much time in my own work these days, but I can draw up older examples. I’ve been honoured to work with JackOfBullet, as I’ve always thoroughly enjoyed his artwork and really recommend his comics (he’s still very active). He has the size differences I think work best for interaction and I distinctly remember coming across some of his earlier pieces (I believe The Sales Pitch was one) where he’d have a giantess distractedly holding a victim, ignored for a while, before she ate him. That kind of attitude and interaction is pretty special.
Another person doing my kind of fun, horrorish vore now is Jerem31; his Star Vore series is epic! And of course I think it goes without saying I’ve always loved TheWiking2000’s work. Of other 3D artists, I’ve naturally always been incredibly impressed by Flagg3D’s renders and the detailed and fun victim interactions – he can show more in a single handheld still than many people manage in entire stories.
Of video producers, my favourite in the day was probably Isabelle Shy, whose work always had that efficient, unself-conscious edge that works best for horror. I don’t think she’s still around, or my local restrictions are now finding her harder to find; I once saw her Infested! video and would gladly buy it if I could find it again – a prime example of elevating the art by including more developed and varied victim models. (And sidenote, I’ve often wondered but never got to ask if her Bully short was inspired by my very old Scrap animation… definitely had the same energy!).
When collages were more the mainstay, I was a big fan of e10’s and theborrower’s work; there was something raw and real about them, and for me good size content can be exciting even without my typical interests if it’s just believable enough.
Finally, worth a mention, one of the earliest video finds I recall was a great little CGI animation called “Charlene’s Snack” by, I believe, Macroconsumus. That may have been what inspired me to make my own…
#4) How would you describe your stories?
I write horror stories where the threat comes from giant women and shrinking scenarios, either from being captured and reduced to prey or a plaything, or with giant-monster rampage style situations.
My interests go mostly towards callous and destructive, predatory giantesses, but the real crux for me comes from the interaction of realistic characters and victim reactions. I aim for stories that bring in enough character and emotion that it feels real – some stories are more serious than others, some a little sexualised, but mostly I’m going for ‘ordinary people in extraordinary situation’ scenarios.
That said, I use my fiction to go in all manner of outlandish directions, with size-based horror at the core. I’ve dipped this into contemporary, western, sci-fi and fantasy settings to name a few. After all, the genre and drama involved is dressing for a more fundamental thrill of seeing people and things on a massive scale. And seeing smaller people getting snatched up and eaten.
#5) Do you have any advice for people making their own size-themed horrors?
Specifically looking at horror and size horror, I’d break this into three main things (other than my usual general advice: the quickest way to improve is to cut things out!).
First, size is scary when we get a true sense of scale – don’t scrimp on the descriptions. There’s only so many ways we can say something is massive, so this mostly comes from comparison/situational description, where little details make the difference. If shown exactly what is being seen, smelt and felt by a person in a particular spot, it puts us in the moment. By example of what not to do, this is one of the biggest failings I felt we got from the mainstream Small World which portrayed the tiny woman’s perceptions as abstract, unable to perceive the giant, which undermined the entire situation.
Second, horror only works if we care about the characters. Interaction in all size media, to my mind, works best when it includes interaction from the smaller people, something that’s often neglected. All the better if the victims have believable motives, feelings and personalities. It doesn’t have to be a lot though, just consider the difference between a giantess stomping on a car and a giantess stomping on a car where there’s a lady inside frantically trying to open the door – those last six words create a whole impression of her state. There’s a glut of giantess content that can feel disengaged and generic because they reuse stock footage or don’t show victims at all, where if you put in one (original!) shot of a face reacting to getting picked up or about to be squished it would create a uniquely engaging moment.
Third, if we’re to be threatened by a giant then it’s most effective to think outside the framework of the fetish. Less is typically more here. Drawing things out too much, being too explicit, directly showing threats all the time, reduces the impact of the threats – in size content particularly, showing too much awareness that this could be sexualised reduces the credibility of it being scary. I’m sure it works for many people, but when I see size models talking at length about what they’re doing, teasing, it breaks the illusion, because we’re being reminded that this is fetish content rather than a believably scary situation. A giantess who wordlessly grabs a little person, gives them a sniff and eats them is infinitely more effective, to my mind, than one who talks happily about things the victim wants to hear. Look again to Isabelle Shy’s work for examples here, if you can find it!
#6) What are the perks available to your Patreon supporters?
My most consistent two perks are weekly new chapters of my serialised fiction (roughly 1.5k-3k words every Monday) and weekly art and animation previews on Fridays. The higher tiers gain instant access to the bigger projects, such as games, downloadable eBooks, and complete serials in advance, but these are released less frequently.
Patrons get early access to everything I make: I release my animations publicly for free, but they’re on Patreon at least a week before (sometimes much longer, when I forget to release them elsewhere). Likewise, early test versions of my games are up on Patreon before anywhere else, and I typically offer these out based on a total spend rather than fixed tiers, to reward people who’ve been with me for a while.
It’s hugely encouraging to have subscribers and has made a massive difference in how much time I can dedicate to this work. I appreciate that I’m not always able to offer bumper monthly perks but the amount of support I’ve found from consistent subscribers makes me want to work faster!
#7) Are there any upcoming projects you would like to mention?
At the moment, I’ve got a micro DLC coming to expand on the Under the Table interactive novel game; this isn’t my usual area, as it was privately sponsored, and it’s been fun to explore a different scale. After that we’ll have Dorm Till Dawn 2, a sequel to a visual novel from the college-shrinking world of Sensus Supra. Both of these are more dynamic, less linear games than previously, and I’m hoping after these are done to move into something even more interactive. The long-term goal is a more FPS-style story, though as I learn I’ll probably come up with some arcadey ideas in the meantime.
Alongside that, I’m currently serialising Gargantuorcs!, a fantasy horror which is dark and weird with nasty creatures as well as the usual giant women, and I’ll have a contemporary horror story coming for Halloween (probably with a gradually growing scarecrow woman). There are also a few animations on the way, including Size Train, a tube situation with varying sized people.
Thank you for doing this interview!
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There She Grows 