When orcs capture an elf princess things get rough.
The penis between these two members is also not circumcised, but its glans is half exposed inside its foreskin, unlike the glans of the bottom organ, which is entirely hidden within its prepuce.
A similar, but simpler, picture shows a beautiful woman wearing a pair of high-heeled shoes, a necklace, and a simple, but fashionable dress, which she has lifted above her hips and holds back with her hands to exhibit the erect, circumcised penis, of respectable dimensions, that juts from her groin; instead of testicles within a scrotum, the cleft of her vagina is seen between her legs. Others of George's paintings also depict similar hermaphroditic figures.
In George's paintings, sex includes vaginal intercourse; fellatio; group encounters between two women and a man; lesbian cunnilingus; masturbation; and saddled women, equipped with tails, playing the role of ponies. Nearly always, men are shown with oversize penises, the tips of which drip, on occasion, with semen.
Many of Namio's drawings are black and white, but some feature one or two items that are rendered in color. The articles that receive such treatment stand out, sometimes in a startling manner: pink robes, pink arm patches, pink or red blouses, blue tops, red sashes or ribbons, or leopard skin-patterned boots. However, they frequently have nothing to do with the sex that her work displays. Presumably, they are included to add variety to the pictures, all of which have but one theme--female dominance over men--and almost all of which feature forced cunnilingus.
Namio's females tend to be large. Always of the Caucasian persuasion, they are usually Rubenesque, or "thick," to use a term popular in today's vernacular for overweight, but well-proportioned women with good muscle tone. They have big breasts, solid abdomens, wide hips, bulky (but smooth and firm, rather than saggy or wrinkled) buttocks, and thick, powerful thighs. Their faces are typically thin in comparison to their bodies, and all of them are beautiful in a classic sense. Usually, they appear alone with a single man, but, on occasion, they may be paired, each with a man of her own.
The men in Namio's pictures are much smaller than the women, and they all perform the same function, providing oral satisfaction to the hefty heifers who are their mistresses. Whether shown from the woman's front or rear, the miniature men are typically reduced to a relatively small head, the mouth and chin of which are lost to view, between the woman's thighs or buttocks, as he services her orally. Indeed, he is reduced to being nothing more than a parasite, whose purpose is but to perform constant and continuous cunnilingus upon his host--or hostess--often while, as if to add insult to injury by dismissing his negligible importance even further, she goes about the business at hand, smoking a cigarette, applying lipstick, fanning herself, enjoying a cocktail, reading a magazine, or having her hair done by her stylist.
In some of Namio's paintings, the men are even further dismissed, one having lost his head entirely, as it were, by having inserted it to his shoulders inside his mistress' vagina! Another picture shows a small male figure seated, Indian fashion, on the floor, his back to the wall, while his mistress, a lovely whale of a woman, thrusts her formidable backside into his face, burying his nose, mouth and chin between the huge, meaty globes of her vast derriere.
In one of the more preposterous paintings--there are several which stretch the viewer's credulity beyond sustainable limits, but are erotic, nevertheless--and one of the few that does not depict face sitting per se, or cunnilingus, shows a voluptuous, good-looking brunette in a black-and-red-striped top lying astride a hammock comprised of a reed-thin, naked man whose ankles and wrists are tied to ropes, the other ends of which are secured to branches of trees which are not themselves shown in the picture.