How we make an AI CG set

What ai generated actually tells a buyer

It tells you three things, and only one of them is about the pictures.

First, consistency. An AI-generated set can hold the same face across 121 pages, in eight scenes, at different angles and in different light, because the face is built once and then used. That is a real advantage over hand-drawn work at this length, and it is why our sets run long instead of wide.

Second, correction. Every page is finished by hand — line cleanup, color, lettering, the dialogue variants. The label describes how the image was developed, not how much attention it got afterwards.

Third, disclosure. Every set says ai generated on the shop page, next to the work, in the same weight as the price. We do not bury it, and we do not put it in a footer. A buyer who does not want AI work should be able to tell from the listing, not from the purchase.

What the label does not tell you is anything about the hardware behind it. That is not a buyer's question, and it is not something we discuss — the book is the book.

Full color and the cost of a page

Full color is a budget decision before it is a look. Every page costs more to finish in color, so the set either gets fewer pages or a simpler page. Ours chose: fewer pages, more color per page.

That is why the sets are 43, 81 and 121 pages rather than a uniform hundred. A story that only needs eight scenes gets 43 pages and a high polish per frame. A record-format set with five stages gets 121 pages because the format itself is cheap to repeat — same room, same crop, the stage printed in the margin.

The color work has one rule: skin temperature has to be legible. A cold room and a warm body, a body that has stopped being cold, a face that has lost its flush and then got it back. You cannot do that in flat tone, which is why we do not work in cel style. The register we write in depends on it.

Two dialogue variants also cost color budget, since they are the same art with different lettering and sometimes a different expression pass. We keep them because the second variant is usually the better read.

Mosaic censorship as a composition constraint

Mosaic censorship is required by the platform, and the lazy way to do it is to draw the page and then cover part of it. That produces a hole in the composition and a page that looks censored.

The alternative is to plan for it. If the mosaic will sit at the join, the frame should not be built around the join — so we shoot at chest height, at hip height, at the hands, and let the part that will be covered be the least composed part of the page. The eye should already be somewhere else when it arrives.

This is also why so much of the work happens at the edges of the frame: a shoulder, a strap, a shadow on the sheet. Those are not shortcuts. They are the parts of the page that will still be visible, and they have to carry the scene on their own.

We do not sell uncensored versions, and there is nothing hidden behind the mosaic on another page. What the set shows is what the set shows.

Multi work series: what has to be true

Calling three books a multi work series means they have to survive being put next to each other. Ours share four things: one woman per set, interiors only, two dialogue variants, and a record or document format that the story can lean on. They share nothing else — different registers, different page counts, no recurring cast between sets.

The shared rule that matters most is the point of view. Every set runs behind the woman's eyes. That is a series decision, not a per-book one, and it is what lets a reader move from the convent to the tank without relearning how to read us.

Numbering matters too. Set 01, 02, 03 are printed on the cover, in the shop metadata and on this site, so a reader who liked one can find the others without a chart. A series that does not number itself is a catalogue, and catalogues do not get read in order.

What a set costs in pages, and where it gets cut

The rule we work to: a scene earns its pages or it loses them. When a sequence is not holding, we cut a page rather than add one, because the failure mode of these books is almost never too short.

Cutting happens late, after the lettering. You can tell a set was cut well when the page numbering still reads continuously and the story does not. Both of ours had scenes removed in the last pass, and neither book has a hole a reader would notice.

Then the set goes to the platform, gets labeled, gets priced, and stops being ours. Everything after that — the shop page, the discount, the currency — belongs to the shop, which is why every product page here ends with the same sentence: the sales page wins.

What we haven't made yet

Four registers are missing from our catalogue on purpose, and this is the only page where they are written about at all.

Anal. We have no anal work. The craft problem is that anal scenes are usually staged as an escalation of a scene that is already explicit, and our sets are built to end on a vocabulary change rather than a physical escalation, so the scene would have to be redesigned from the outline up. It also demands a drawing discipline — lubrication, tension, the way the body resists — that is easy to do badly and obvious when it is done badly.

Futanari. Nothing in our catalogue is futanari. What interests us is not the anatomy but the staging: a body that is both, written without a joke in it. That requires a design language we have not built, and we would rather leave it than do a version that reads as a novelty.

Netorare. We have no netorare. Its engine is a third person who is absent from most of the pages, which is the opposite of our house rule — POV, one woman, no cast. Writing it properly means breaking the series rule, so it stays on the list rather than in the catalogue.

Urination. None either. The register turns on loss of control and on shame about a specific fluid, and our sets already use fluid as a measurement in the tank set; doing both in one book would blunt both.

If one of these appears later, it will appear with its own set and its own product page. Until then, they are notes — not features we are hinting at.