From “Science Fucktion: A Public Conversation”:
Johannes Grenzfurthner: Nowadays where random porn is pretty much accessible on the Internet and it’s pretty easy to produce. I mean, tentacle porn is harder to shoot, but…
Richard Kadrey: I have all these friends who are now obsessed with tentacle porn. Porn star Mandy Morbid actually did a tentacle porn shoot with a monster they built for the film.
Johannes: I thought that tentacle porn only exists because of the Japanese censorship thing going on that you can’t show a dick and therefore someone started to create tentacles. But I think it’s only an urban myth, and the sex and tentacle thing has been going on in Japanese culture for a couple of hundred years now.
Richard: You can see it in old paintings; it’s long-term obsession. Japan is an island nation and they have this very strong relationship to the sea. A lot of cultures that have that strong relationship to water have similar mythology. There are Amazonian myths about freshwater dolphins, and in fact supposedly there are these coming of age rituals where young fishermen fuck the freshwater dolphins down there.
It also works for the women because sometimes the dolphins come out of the water, and fuck the women along the Amazon. Then they have these alleged merbabies, which is a really nice way to cover up that you’re pregnant from an affair. You’re just sort of like ‘it was the dolphin, honey. Not my fault.’
Johannes: There’s a nice Oceanic myth: that the world was created because one of the gods fucked an anthill, I mean I really like that. I probably wouldn’t try it, but he is a god, anyway.
Richard: Depends on the ants, I suppose. Some ants are sexier than others.
From “A Future in Porn” by Tina Lorenz:
Here are my favorite theses – they are of course at least partly powered by Wunschdenken – wishful thinking. Let’s see if any of these will hold up in, say, 20 years:
The male gaze will diminish dramatically. As new audiences are being courted by various pornographic genres, the hetero- normative, voyeuristic male gaze upon a female object of desire will be replaced with a diverse look upon people acting out their sexual desires before a camera. Heterosexual white men may still be the most avid consumers of pornography today – but who is to say if this will not change if the pornography offered is more inclusive of people not identifying with the gendered status quo? Also, feminist porn (the kind of pornography that establishes a necessarily choreographed sexu- ality in a diegesis free of heteronormative power games) will hopefully become such a strong force in pornography that it echoes back to other subgenres.
Visual effects and other techniques borrowed from Hollywood narrative cinema will be employed more. As modes of narration and new developments in visual technology have a tradition of arriving in the porn world a tad late, I would argue that we will see an increase of visual effects (either as instruments for visualization of the diegesis or as body doubles), especially in indie and narrative porn, as those sub-genres are apt to allow a significant amount of screen time to story development. The need for actual sets will therefore decrease.
Genres such as Altporn challenge traditional number-based pornography even today. This trend will probably continue and oppose the growing masses of uninspired fuckfests, thus diversifying the market even further.
From “The House of Poison” by Thomas S. Roche:
You walk down the alley, dodging discarded chicken bones and piles of human shit. The doorman never takes his eyes off of you, and you can’t be sure, but you’d swear he never blinks.
Beneath the neon sign is a black-lighted chaser box, showing what appears to be a woman in a black bikini covered in tarantulas. The black lights circle rhythmically around the headline. ‘GIRLS. GIRLS. GIRLS. FREAKS OF NATURE. CARNIVAL ACTS. SEE THE ASTOUNDING MADAME TARANTULA MAKE LOVE TO A THOUSAND DEADLY SPIDERS!’
The doorman gives you a takes a bored look, takes a drag on his cigarette, gets down from the stool, crushes his cig under- foot. You can smell a waft of his smoke and you recognize it as a clove. He produces a top hat and a skull-topped cane from the shadows and clears his throat.
Suddenly, his languid movements become animated, as he begins his script as abruptly as if it were audiotaped.
‘Good sir, or Madame,’ he begins with a wink. ‘Within the walls of The House of Poison, you will discover horrors that will titillate and disturb you! Tonight’s act features the terrifyingly beautiful Madame Arachne engaged in a live sex act with one thousand deadly man-eating spiders from the jungles of Cambodia! Madame Arachne will shock and amaze you – but mostly, her deviant and unfettered love for her arachnid charges will titillate ever fiber of your being! For months, my friend, you will think back on Madame Arachne’s shocking and abnormal love for her pets, and you will be haunted, my friend – haunted by the scandalous and appalling depths of depravity to which human behavior can sink! And all this for only ten dollars, with a two-drink minimum.’
You fish for the wad of crumpled bills in your backpack. You smooth out a ten and hand it to him. The barker leans his cane against the bare brick wall and takes a stamp out of his coat pocket. ‘Right hand please,’ he says, and you offer it to him. He stamps you with a line drawing of a black spider.
‘Welcome to my nightmare,’ the barker says, his face reacquiring the bored expression it held before as he sweeps aside the black leather curtain hanging in the doorway.