This article is a translation of my previous essay. Translation was partly supported by ChatGPT.

Do you know sizefetish?

Size fetishism, also known as macrophilia or giantess fetishism, is a fetish characterized by enjoying various situations involving "difference in size" between characters, or, characters and their surroundings. This "difference in size" refers literally to the difference in body size. Particularly when referring to "size fetish" or "giantess", it generally implies that there is a size differences of more than twice in both height and width of the body. If the difference is smaller or it only involves height, it is often called simply as a "size disparity" or "height difference" fetish.

This fetish has a long history, with examples such as the Iron Fan Princess from the Chinese epic "Journey to the West" (I have heard, it is still referred to as "Iron Fan Princess" in Chinese-speaking communities when discussing the size fetish genre). There have been several turning points in history, including characters like the Ms. Fuji from "Ultraman" or the doujin game "Shukusho Gakuen" ("School of Shrinkers"). There are also research books on the subject, such as "Giantess Studies"[1].

In this article, we will examine the desires that underlie the sizefetishism, focusing primarily on scenarios where a character, typically a Bishōjo heroine (which means Japanese kawaii style), is relatively giant compared to a viewer. Although there are instances where male characters are depicted as giants, the structure of desire may be somewhat similar to that of Bishōjos.

Overview of sizefetish

First, let me explain the concept of "giantess" as a preamble. A giantess (GTS) refers to an extremely large-bodied female character in relation to the viewer. There are people who experience sexual arousal from this. Although the number of people is small, the history of this fetish can date back to ancient. There are many paths, such as monster movies and BDSM, to reach to this fetishism.

This fetish is actually composed of complex elements, which are miraculously encompassed by the representation of a giantess. They include overwhelming power that subdues oneself, an increased surface area of skin that can be touched, the feeling of her very presence through body weight, and the catharsis of destroying cities.

Depending on which of these elements one seeks, giantess fetishism can be roughly categorized into "giantess" (where a heroine is larger than the average-sized viewer) or "shrinker" (where a normal-sized heroine is observed by a smaller viewer). They are further subdivided to various preferences based on the size ratio between the heroine and the viewer.

Typically favored situations include crushing or swallowing the viewer with feet, buttocks, or breasts. In a giantess scenario, she often destructs cities or planets. In a shrinker scenario, emphasis is placed on depicting a sense of daily life through verbal teasing and descriptions of the surrounding environment. While there are many other elements involved, they ultimately seem to stem from the fundamental principle that multicellular organisms are "small in their infancy," offering intriguing insights into the human species. As for myself, I favor "shrinker: from 1/2 scale to 1/100 scale."

Shrinker and Giantess

Before starting into the analysis of the "play", I would like to explain who does it. It is related to the difference between "shrinker" and "giantess." There is no superiority or inferiority between the two, but everyone who analyze sizefetish should recognize the distinction.

Sizefetish situations can be roughly categorized into "shrinker" and "giantess." "Shrinker" refers to finding fetishism in the act of reducing viewer's size, which is abbreviated as "shri" in Japanese community. "Giantess" refers to finding fetishism in the act of enlarging heroine. It is also abbreviated as "giga" in Japan. For example, if the heroine is larger than the protagonist, such as the heroine being 160 m tall and the protagonist being 1.6 m tall, it belongs to the "giga" category, whereas if the heroine is 1.6 m tall and the protagonist is 1.6 cm tall, it belongs the "shri" category.

Both of these categories revolve around the theme of a size difference and are often grouped together as the same genre. However, the points of focus for enthusiasts differ significantly. The genre name often includes the caveat of "relatively giantess" to denote these differences.

To avoid confusion, hereafter I use a word "shri" and "giga" to refer subgenres of sizefetish. "Giantess" refers a relatively giant heroine in either subgenre. "Shrinker" refers a small character in shri subgenre, regardless to whether the character truly shrunk from its original size. If there is any other authentic notation used in English communities, please let me know.

I explain the differences in desires that underlie giga and shri from the perspective of "Attitude to daily life." The core of difference between shri and giga lies not in the superficial size of the characters but rather in whether the familiar daily life presents a different meaning that approaches only oneself or whether the accident intrudes to destroy the daily life.

Shri: Overdose of daily life

The concept of "daily life" mentioned here is closely related to the notion of "real" encompassed by the now archaic term "RIAJU" (abbreviation for "Real-ga-Jujitsu", which means "satisfying real") in Japan. If we seek the reasons for fetishism in one's real upbringing, we can consider it in the following diagram:

Shri is not about seeking a power beyond reality but rather an attempt to derive satisfaction by excessively savoring ordinary reality. It is easier to explain by assuming a case of a person who is not in a satisfactory romantic or sexual life. He feels the satisfactory "real" is not sufficiently on himself, and even if he makes love with someone after twentieth, he won't be able to compete with those who engaged in "school sex". Therefore, the means to bridge that gap is to "excessively savor ordinary reality."

In the situation of shri, daily life is sensed excessively, yet it must still categorically remain as daily life. The floor is still the floor, shoes are still shoes, and girls are still girls. It must always be consciously recognized that heroine is merely living an ordinary daily life, while these things become serious only to the smaller viewer.

This is similar to the desire of a child who wishes, "If there were a huge pudding, I could eat a lot." Even if the pudding is huge, it is still a pudding. Similarly, even if the girl is huge, she should still be a girl. There is no need for attributes like destroying a city. If so, the fastest way is shrinking himself. Of course, for a shrinker, a normally-sized beautiful girl is a threat. However, that threat arises solely because the "real" that one initially desired—the weight, scent, body temperature, and the movements of her muscles—has become quantitatively "excessive." The beautiful girl has not transformed into an entirely different entity.

At every moment, whether willingly or unwillingly, one cannot help but sense the daily life of the heroine. If we phrase it as "savoring the heroine's daily life without taking responsibility," it certainly has a structure similar to voyeurism, regardless of whether or not the heroine is aware of shrinker's existence. The previously mentioned book, "Giantess Studies," suggests the possibility of a voyeuristic aspect in the context of shrinking. It might mean the structure I mentioned here.

In modern times, compared to an era when many people lived under one roof and there was active interaction between houses, the mystery surrounding "other people's living spaces" has likely increased. The discovery of the right to privacy has also contributed to this trend. It is reasonable that this has given rise to a large number of enthusiasts for shri. Since the most private space of person is its body, many other fetishes may be strengthened in this era.

However, naturally, this fetishism is not exclusive to adults or those who are lacking romance. As I will discuss specifically in the section on "play," situations such as compressing one's body that frequently occur in size fetishism are connected to pleasure even before sexual organs come into play. Therefore, even without a sense of lack in daily life or as children before adolescence, one can be drawn to sizefetish due to attraction of these situations.

In the case of shrinker, the element of "exclusivity" tends to be further added to the overdose of daily life. This becomes evident when compared with giga.

Giga: Destruction of daily life

In the case of giga, danger to the viewer can be shared with other people, and one may not be a special existence for the giantess. Even if one wants to feel the softness and warmth of the giantess's skin or her weight, the debris avoid it. The experience of gigantism cannot be monopolized, and the personal relationship between the viewer and the giantess tends to weaken. Denial of exclusively savoring daily life is a feature of giga. In other word, what is desired here can be summarized as the "destruction of public daily life".

The situation where a giantess destroys cities is a typical example of giga story. It is nothing more than the destruction of daily life, and inevitably involves numerous others in that destruction. I think it is also an expression of the desire to assert authority over others. If we say that shri is voyeurism, then gigantism can be seen as exhibitionism. Regardless of whether or not one empathizes with the giantess, the desire to a giga situation itself is a sort of exhibitionism.

On the other hand, denial of exclusively savoring daily life contradicts the sexual atmosphere that was evident in shri. Sexual atmosphere fundamentally rises in intimate settings. In the following interview article, giga is understood as an accident that needs to be socially resolved. However, I am concerned that this perspective may divert too much attention to the impact of giantess on society and hinder a deeper exploration of its sexual aspects. It may be acceptable in publications for all ages, and it is also the reason why shri is less prevalent in recent commercial publications.

If a giantess is portrayed as an embodiment of destruction that go beyond the capacity of society, there is catharsis in that, and it is also reasonable to depict the misery of resistance to keep regularity of society. However, if society can find ways to deal with a giantess, eventually ordinary people and giantess will coexist, and the presence of giantesses will become a part of daily life. Then…daily life rather belongs to shri, doesn't it?

90% of sizefetish artwork is in background 

Due to the core relationship between giantess and their surrounding environment, the illustration of "background" is crucial for sizefetish artworks. Imagine a single picture where a girl is depicted as large, with the protagonist depicted as tiny at her feet. This alone lacks the appeal of a sizefetish artwork. What's important is whether the background portrays her private room or a miniature cityscape.

By paying attention to how the environment is depicted, we can identify the desires that drive the scene. There are situations where giga-favored thinking exists within a shri situation, and vice versa.

For example, the situation of being eaten by a girl often appears in shri scenarios. However, I think the mentality of those who enjoy such scenes can be close to that of giga fans. This is because within a giantess' stomach, one finds it hard to gauge the scale of the world and oneself (not in relation to the giantess) through familiar objects like furniture, thus it is hard to experience a sense of powerlessness of oneself. In contrast, in cases where one finds himself in a giant's country like "Gulliver's Travels", if the buildings and rooms in that world are constructed to fit the giantess' scale, it is rather a situation that appeals to the shri fans even if the height of the girls might be kilometers.

Giga and shri are not entirely contradictory fetishes, but by separating them at first enables us to analyze their differences and commonalities. Then we can gain a deeper understanding of human desires. If one can comprehend that "otokonoko" (kawaii male crossdresser in fiction, very roughly saying) and "futanari" (character who has both sexual organs of male and female) should not be lumped together under the label of "homosexuality," it is similarly necessary to avoid lumping giga and shri fetishes together under the label of "giantess." While it is understandable as a commercial mean to expanding the market, it lacks precision in terms of analyzing fetishes. We should differentiate them based not on the appearance of the picture but on the desires embedded within. Giga and shri scenarios are, in a way, driven by completely opposite desires.

Why should it be giant"ESS"?

In fact, some people get excited by scenes where objects are run over by cars. Also there is a definite demand for videos where objects are crushed by hydraulic presses. However, on the other hand, there are also those who require female characters as the subject which runs over. Such people are seeking not only pressure but also approval and contact from the heroines. The closest situation in which this can be realized in reality would be face-sitting, but even that is not enough for them.

You may suppose that, when a giant heroine is living a normal life, the tiny people are ignored so that it goes against the concept of approval. I say it is a thought of giga fans. In the case of shri, the heroine may specifically target and kill only the shrinker in a world of regular size. Furthermore, before killing, the heroine captures and controls the helpless shrinker. The shrinker is isolated from society and can only negotiate with the world through the heroine to whom he offer his dominion. This situation is very close to what is known as "Babumi" in Japan. (Note that if there are multiple shrinkers forming their own society, it is likely out of this condition and comes close to the realm of giga situation.)

Giantess genre can add numerous sexual elements here, but the essence is "protection" in the case of shri and "awe" in the case of giga in terms of sexuality. In other words, excessive approval and excessive contact. However, there is no longer anything in the real world that can supply such excessiveness. This is one aspect of the situation surrounding giantess fans.

The reasons why a giant should be Bishōjo are almost the same in both the shri and giga contexts. I think these reasons can be generally explained by the following three points:

1. Strongly feeling the presence of a heroine.

2. The contrast of being unable to defeat someone who should be weak.

3. The norm that "a girl must not be harmed" is strongly enforced due to physical weakness of girls, and creates an image of an inviolability.

For a detailed explanation of the third reason, I recommend referring to Gou Sasakibara's book "The Modern History of 'Bishōjo'"[2]. If these reasons are the main factors for those who have a sizefetish, and the overdose or destruction of daily life remains secondary, their preference can shift from giga to shri or vice versa, depending on artworks one engages with.

However, it should be noted that even the cases where the character is not a humanoid can also be a fetish for some people. In these cases, the feature of cruelty can become more prominent. It is important to remember that the possibilities of the human mind are infinite. I would like to provide two examples here: a giant furry animal, and a dragon.

"Omaneko," the official character of the Omaezaki Sub Base of the Japan Air Self-Defense Force, is officially stated to be 176 cm or 40 m tall. And it is male [3]. There is strong fan communities for giant animal characters, and those with fluffy fur are particularly popular. This may be because furry animals can reduce a resistance to sexual contexts which a Bishōjo can create. Secondly, they can impress a pleasant feeling when hugging such a character. In addition, the fact that they are animals can constantly maintains the fear of not knowing what they are thinking. This fear is appealing to masochism. The fact that Omaneko is male also reinforces the impression of underlying violence.

"Rukunoka of Winter," a dragon from the novel "Ishura," is estimated to be several tens of meters in length and lived for hundreds of years[4]. She says herself as an "granny". Her entire body is covered in hard scales, her claws are harder than steel, and she can move swiftly despite her size. The sexual aspect of the destructive power resulting from the movement of heavy, hard objects at high speed is similar to the fetishism towards automobiles. However, in Rukunoka's case, we can see combination of the inorganic texture and lively movements. Moreover, the fact that she can perform such actions effortlessly enhances her mercilessness. Such species of creatures are rare, even in fantasies.

Plays

There is very little that can be actively done from the smaller character's side to drive sizefetish stories. The few possible actions include "watching" and, in some cases, "speaking," which can embarrass or anger the giantess. Particularly in the giga context, where the giantess may have torn clothes or nowhere to hide, the giantess is a good object to be observed. Even if the giantess is unaware of being watched or other situation makes her not feel embarrassed, the screen will be filled with legs, buttocks, and breasts, making it valid as a visual artwork.

However, few sizefetish works are satisfied with just watching. Whether the giantess is embarrassed or confidently flaunting her size, any action she takes will have a significant impact on the environment and the smaller characters involved. It is this impact that makes the sizefetish work. If just watching were enough, an ordinary size would suffice. In sizefetish works, the focus is mostly on being "acted upon" rather than actively engaging in actions.

In the genre of giantess, there are essentially only three main categories of "play":

1. Being crushed by a part of the giantess's body (compression)

2. Being swallowed (vore)

3. Drowning in filth (filth)

In reality, humans subjected to these acts would almost invariably die, so there isn't much variation in the acts themselves, and there are limits to imagining the pleasure associated with these acts (as humans cannot imagine the very moment of their death). Despite the flashy appearances, the crucial point in this genre is a portrayal of the relationship between the protagonist and the giantess leading up to the act.

Compression

The excitement and pleasure caused by being crushed are worth discussing in an entire article. Humans experience pleasure from compression. It develops faster than the pleasure from friction of sexual organs. For example, kids often enjoy getting stuck between piles of blankets in a closet. Also it is commonly heard that adults can sleep soundly when covered with a heavy blanket. Although the reasons are unknown, I believe it stems from a physiological instinct. Perhaps it is because the period of having a small body coincides with the period of being closely connected to the mother, or it may originate from some brain's functions acquired during the evolutionary period of being a smaller mammal, but it is uncertain.

Death by crushing is one of the quickest ways to die, and therefore, it is felt the most unfair. The corpse is not beautiful to see either. However, there is an allure that surpasses this unfairness in compression. It is possible that pleasure exists within the discomfort (and only there), I even think.

When a giantess compresses a relatively smaller character, various parts of the body are utilized. The soles of the feet and buttocks are typical examples. These parts are classified based on whether they are considered erotic zones, whether they have large and uniform surfaces, whether they can make delicate movements in accordance with the giantess's will, and whether they can excrete waste. The optimal choice is determined by the composition of each individual's desires. These elements become fetishes for the following reasons.

• Erotic zone -> Touching it can provide a sense of achievement of somewhat "sexual contact." (ex. buttocks, breasts, groin, vagina, thighs, lips, anus, nipples)

• Having a large and uniform surface -> Evoke the pleasure of surrendering to something larger. (ex. soles of the feet, buttocks, breasts, thighs, palms of the hands)

• Making delicate movements in accordance with the giantess's will -> Generate pleasure due to the giantess's interest in oneself. (ex. fingers, lips, and being pressed to other parts by the giantess's hands) /Alternatively, if the body part cannot make delicate movements, it emphasizes the helplessness of "not being able to change the situation." (ex. soles of the feet, buttocks, vagina, teeth, nipples) /By the way, a situation where the giantess is unaware of the existence of a small person is referred to as "unaware."

• Excreting waste -> Enhance the sense of the giantess's presence and daily life. Furthermore, if it is considered dirty, it has a function of demeaning the status of the person who touches it, appealing to masochism. (ex. feet, groin, armpits, anus)

For example, the soles of the feet are not generally considered erotic zones, but they have a large and uniform surface. Once the giantess begins to step on something, it is not easy for her to control the force, and although not as much as the toes, they can sweat and get dirty with soil in certain situations. In terms of having a large and uniform surface and lacking delicate movements, they are distinguished from fingers and the groin. Some people favor the soles of the feet but are not particularly fond of scenes where the toes are wiggled to intimidate. That's me.

Vore

Fetishism of being eaten consists of two elements: "confinement" and "acceptance." The organs used for eating are not limited to mouth but can also include vagina, rectum, mammary glands, and urethra (especially in the case of futanari or male characters). Occasionally, even the ear or nasal cavities are used. Many of these acts involve aspects of drowning in secretions in addition to acceptance and confinement. I will discuss it later.

Eating is equivalent to confining something within the body. Situation of confinement scares people, similar to being physically restrained. However, when a Bishōjo or a favorable character does this, the fear easily transforms into excitement. This is an obvious expression of masochism.

Furthermore, being eaten implies that one is not being rejected, and as a result, one can get extremely close to her body. Let's refer to this as "acceptance." This is closely related to cases where one is inserted into the vagina (unbirth) or into the mammary glands (nipplevore). The former usually ends up entry into the uterus, while the latter often ends with drowning in milk. Since the vagina and nipples are considered as sexual organs, entering these places is regarded as achieving some sort of sexual contact, resulting in pleasure. Additionally, the concept of "regression to mother" can justify abandoning the self-consciousness.

On the other hand, I suppose that scenarios involving the dissolution and absorption of the shrinker's body in stomach may not have significant aspects of assimilation. Acceptance is already achieved once it passes through her throat. Beyond that point, it falls into the realm of "drowning in secretions" or belongs to the genre of Ryona (a Japanese slang which means bloodthirsty masturbation).

Filth

The masochism of touching something dirty and the fetishism towards smells are collectively referred to as "filth" here. These two elements cannot be well separated. In human society, all bodily odors and secretions are considered dirty, yet at the same time, sweat and vaginal secretions contain sexual pheromones that can induce sexual arousal. Since smells can strongly evoke physiological responses, they are regarded as threats to social order. In turn, it might have reinforced fetishism through the pleasure of breaking taboos.

In any case, scenarios involving touching smells or secretions expects strongly impressing the presence and everyday life of a giantess, demeaning the position of the one touching them, and arousing a sense of achieving even the slightest sexual contact. Of course it doesn't end with just touching; the smells and secretions of a giantess can easily kill the smaller character. Urine, depending on the quantity, and feces, depending on the weight, can cause the smaller character to drown or to be crushed to death. Other substances such as saliva, sweat, breast milk, and flatulence are also used.

It is worth noting that many of these substances mentioned here are either liquid or gas. They envelop the smaller character from all directions and fill confined spaces. For example, this is evident in situations where the character is confined inside a shoe filled with an odor or a giantess expels urine on the character confined in a plastic bottle. This arouses a sense of masochism from having no escape, enhances the presence of the giantess, and provides pleasure from being in contact with a large surface area. Additionally, liquids can adhere to anything, making them practical to proceed scenario. Situations where the character is pressed down by giantess's toes or the idea of wearing tights on her feet to collect sweat make great use of this characteristic.

I have discussed these three elements with the focus on the actions experienced by shrinkers in shri scenarios, but the same elements also apply to actions experienced by buildings and planets in giga scenarios. Their functions are the same. In the case of giga scenarios, direct contact between smaller characters and the giantess's body becomes more difficult, and it is harder to monopolize these experiences. However, in exchange, the pleasure of "discontinuous change" arises when hard objects like buildings are destructed (the same can be said for human bones). It can be described as a form of catharsis.

However, while there are the three elements of confinement, vore, and filth, I think the combinations of these elements are already saturated. In other words, there are not many variations in the play content. Therefore, we have to choose differentiating factors from two. One is to bring realism to sizefetish situations through technologies like virtual reality. The other is character design, namely, focusing on from whom we want to feel the various elements of sizefetish plays.

Relationship between person of view and giantess: further discussion of daily life

Let me note that my analysis primarily focuses on shri due to my personal interests. However, I think that both shri and giga are facing the same challenges. Variation of action is saturated so that they need to make more attractive characters. In giga scenarios, since the giantess's living space is usually not depicted, it is important to express personality of each character through dialogue and behavior.

Variation of shri is already saturated when viewed broadly but it can infinitely branch when viewed narrowly. Following Leo Tolstoy's words, "All female bodies resemble one another, each daily life is daily in its own way."

Situations that focus on the body, such as nipplevore, do not offer much variation. A nipple is a nipple. However, for example, imagine a giantess feeds something to eat for a tiny character. What given as food differs by artworks. Such a detail reflects the fetish in shri. As shri scenarios involve an excessive experience of daily life, the important point is "what kind of daily life should be excessively experienced."

Therefore, future shri artworks will be evaluated by illustration of a relationship with the giantess or immersion into the sense of daily life, in addition to understanding of possible plays. A VR game "ResizeMe!" is a good example of focusing on immersion.

Depicting daily life does not necessarily mean accurately emulating physics. For example, if a 100-meter-tall giantess appeared in a city, buildings must be destroyed and dust would spread. In giga arts, such effects are rarely omitted. However, in shri arts, dust on the floor is usually neglected. In many cases of shri, considering dust does not contribute to enhancing the presence of the heroine. Therefore it is not included in the demanded "daily life".

From this discussion we can say shri has an aspect of "reconstructing daily life" before engaging in it. This is in contrast to giga, which focuses on destroying daily life. Furthermore, the reconstructed daily life no longer has "society" but is directly connected to the heroine's living space. In that sense, it is similar to the structure of "Sekai-kei" (a category of scenarios where a protagonist is forced to choose either of heroine's life or the fate of the world. Literally means "World-type").

Or can we even say shri an inversed "Sekai-kei", if we consider it as a system that keeps the heroine in the daily-life region while sending the protagonist to the distant "World" as the farthest region. (Some discussions characterize Sekai-kei by a direct contact of the smallest category (protagonist/romantic emotion) and largest category (heroine/world) without intermediary category (society).) I feel, the deeper we dive into the microscopic scale, the closer we come to the universal truth in a sense. So far it is difficult to explain accurately, but it may be analogous to a concept of "Everything has Buddha nature" in Zen Buddhism. I feel this sense in music of the facilities of Advanced Science Research Group (Senkaken) in the game "Shukushō Gakuen".

By the way, it is worth noting the cases where a mother is giant compared with her own child. In such cases, whether the play involves compression, vore, or filth, it means beyond mere killing or acceptance. It obtains the aspect of "denial of getting birth" because all these acts mean returning what came out of the mother's body back to her (or burying it to her). Regardless of whether the smaller side desires it or not, this strongly appeals to masochism of readers. Lusamine and Lillie from the game "Pokémon Sun and Moon" are the best materials from this perspective. Since unbirth and nipplevore has aspect of "rebirth", it softens the desperate impression.

Scales

It is important to determine how much we enlarge a giantess or shrink a viewer for finding a position of one's fetish within the spectrum of sizefetish. The magnification scale directly affects what play can be done and how it can be experienced. Even in a situation where a character is being crushed in shri, if the artist prefers the weight to be gradually applied under delicate control by a giantess, the smaller character unlikely shrinks to smaller than millimeters. Here I outline the possible actions with various scales.

Shri

• 1/1 to 1/3 (1 m - 50 cm): Can embrace a trunk of the giantess's body. Most plays do not result in death.

• 1/3 to 1/10 (50 cm - 10 cm): Can be held in giantess's hand. Can be teased with small objects like stationery and tableware. Can be tormented with urine and feces. Can explore a room. Can be kept in a birdcage or dollhouse. Not found by other people. May die when the full weight is applied, but the giantess can control it.

• 1/10 to 1/100 (10 cm - 1 cm): Can be pinched with giantess's fingers. Can be covered by one breast, one foot sole, and labia. Can be inserted into the mouth, vagina, and anus. Can be swallowed. Can fit into shoes, underwear, and other cloths. Can be tormented with sweat and saliva. Can go out with the giantess without being seen by other people, using a bag or her pocket. Can explore parts of the room, like on a desk. May die from the partial weight or force of any muscles of a giantess, but she can control it.

• 1/100 to 1/1000 (1 cm to 1 mm): Can be covered by a single finger, a single toe, one nipple, or a tongue. Can fit in between the toes. Can be put in a condom. Communication with the giantess becomes hard. Can go out while closely attached to the giantess's skin. Even a giantess with no expertise can create a cage for keeping the small character. Can be blown away by breath. Giantess can no longer control the force.

• less than 1/1000 (less than 1 mm): Can enter any opening on the giantess's body. Can fit between fingerprints. The giantess no longer finds the location of the small character. It becomes unclear which part of the giantess's body is seen. No longer dies.

Giga (want your idea)

• 1/1 to 3 (1.5-5 m, 50-1000 kg): Can fit into a ordinary residence. Can live together with regular-sized humans. Most plays do not kill regular humans, but possible to kill if intended.

• 3 to 10 (5-15 m, 1-50 t): Can kill regular human with body weight. Can peek inside low-rise buildings through windows.

• 10 to 100 (15-150 m, 50-50,000 t): Can destroy buildings. Can sit on the roof of a building. Can live in school grounds, mountains, or wilderness. Can fight against giant monsters. Can eat humans. Can destroy a city block by lying down. Body waste becomes problematic for society. Cannot prevent underwear from being seen if wearing a skirt. Sometimes beaten by human weapons.

• 100 to 1,000 (150-1,500 m, 50,000-50,000,000 t): Can destroy buildings with clothes. Cannot prevent destructing buildings by walking. Can destroy a city block with excrement. Can cause earthquakes by jumping. Can sit on low mountains. Can stand in the sea. Not damaged by human weapons.

• 1,000 to 100,000 (1.5-150 km, 50,000,000-50,000,000,000 t): Can insert buildings into her mouth, vagina, anus, and shoes. Can destroy a city block with the tongue. Can lift and carry a city block with hands. Can touch to a flying aircraft while standing on the ground. Can destroy a city with a few steps. Can walk across continents. Can sit on most mountains on Earth.

• -- Giga Depletion Area --

• 10,000,000 to 100,000,000 (15,000-150,000 km, 50,000,000,000,000,000-50,000,000,000,000,000,000 t): Can sit on the earth.

• 100,000,000 to 10,000,000,000 (150,000-15,000,000 km, 50,000,000,000,000,000,000-50,000,000,000,000,000,000,000,000 t): Can cover the earth with hands. Can insert the earth into mouth, vagina, anus, and eye.

• more than 10,000,000,000 to (more than 15,000,000 km, 50,000,000,000,000,000,000,000,000 t): Can reach the sun and other planets.

Characters with even greater heights can be found, such as Astrophys-tan Bot (a Vtuber, with a maximum height of 48 billion light-years) and Kanzeon Bodhisattva (from Kanmuryojukyo Scripture in Buddhism, with a height of approximately a hundred trillion light-years).

As you can see from the numbers of zero, the range of size spreads wider in giga compare with shri.

One of the reasons why shri rarely illustrates sizes smaller than millimeters is because there are few creators who know or can imagine what can be seen at that scale. Even if they knew, it would be difficult to portray something symbolic of Bishōjo within the view of a shrinker. Should we draw detail of each individual cell of a heroine? Is it possible to attractively differentiate "1 nanometer vision" and "1 picometer vision"? If an artist wanted to impress the existence of the heroine even at that scale, they would need a "renormalization" technique such as anthropomorphing each cell (Uru's short comics attempt this with sperms of futanari heroines), or a "multi-scale" situation where another "shrinker Bishōjo" is introduced as a new reference for scaling.

The reason why the numbers increase indefinitely in the giga is not only because astronomical phenomena are well-known compared to shri, but also because increasing numbers itself can arouse sexual pleasure to humans. We often occasionally have a sense of being drawn to far somewhere when imagining vast spaces or long periods of time. In my opinion, this sense is very similar to the sensation that occurs just before orgasm.

Small topics

Sense of time duration

In the book "Elephant's time, mouse's time" (Zou no Jikan, Nezumi no Jikan), Tatsuo Motokawa introduces an idea that species with different body sizes have different different metabolic rates and, as a result, their perceived sense of time may also vary[5]. This relationship between body size and various physiological phenomena is called allometry. This idea is sometimes brought into the sizefetish. The idea is that a smaller human has faster physiological functions compared to giantess, so its thought and sensation are faster, making the movements of giantess appear slow. For example, it is seen in the situations where a shrinker feels it extremely long before a giantess let it get back to its original size, or where a giantess observe the civilization of shrinkers from its beginning to the end. But personally, I am not fond of such situations.

According to Immanuel Kant, time is a form of internal sensibility, while space is a form of external sensibility. Let's recall that shri is enlarging the external world and taking it into our experience. If we extend the time to sense it, it may result in a "dilution of the density of events." On the other hand, there may be a standpoint that prefers to carefully appreciate each single action over an extended period of time. However, humans cannot perceive unchanging things, and there are limits to the excitement derived from endlessly observing the same action (act of neglect appears like one of the few exceptions, but its excitement is rather derived from the anticipation of internal transition induced by endless external stimuli). I look forward to further discussions by experts of allometry fetishism.

However, one basic fact in allometry is familiar to all sizefetishists. When comparing two species with different body lengths, the ratio of body surface area is roughly proportional to the square of the length ratio, and the ratio of volume and body weight is to the cube of the length ratio. Sizefetishists can instantly perform calculations like "if the height is increased by 10 times, the weight becomes 1000 times."

Means of shrinking

The two main methods for shrinking a character's body are beam and drug. Drugs can be used through droplets or ingestion, but both types have limitations based on the situation and posture. Beams are more convenient to use. However, drugs can have a certain vividness coming from their inconvenience.

Composition, time development, and a singularity of death

Visual arts of sizefetish always faces a challenge of including of both the face and legs (or feet) with a good balance within a single image while maintaining senses of impact and presence. Fetishes should be characterized by unbalanced features, but appealing to a wider audience and getting popularity require a balance. In my opinion, it seems easier to draw in the general people into the swamp of sizefetish rather than trying to make sizefetish arts more sophisticated. It is because everyone has experienced a time when their body length was a fraction or a few fractions of the height of a woman...

Furthermore, sizefetish arts are essentially incompatible with static images. One of the core aspects of sizefetish lies in anticipating the changes in personal relationships and object structures (change in object structures means destruction in this case). It is a genre that truly comes to life when introducing the time development by adding texts or spanning multiple pages.

However, even with the introduction of the time development, sizefetish art still poses unique challenges. It is that people desire to see the process of smaller character's death depicted in high resolution, despite being unable to imagine the very moment of their own death. Making a corpse is not the core of demand. This makes it apart from other genres of splatter. Particularly in the case that a giantess is aware of a smaller character, it often challenges to "how close can we get to the moment of death?" We cannot simply mask it with unusual torture devices or exaggerated screams, when we want to see a giantess slowly crushing someone to death.

The eroticism of sizefetish is an eroticism of death. If death is not implied, the sizefetish is not erotic. Giantesses are the embodiment of the most primitive sense of death wrapped in sugar coating. And, even for ordinary sex or masturbation, everything is erotic only when it evokes the anticipation of death.

Summary

As a summary, sizefetish is roughly divided into two categories, shri and giga. Shri focuses on excessively savoring daily life, while giga emphasizes the destruction of daily life. Plays include compression, vore, and filth. It is becoming important to carefully depict the relationship between the giantess and the viewpoint character to break through the saturation of variations.

Ad: Giga novel

I am also writing a sizefetish novel (in Japanese). It is a fanart of a comic "Pokémon Adventures: Black 2 & White 2". It imagines a Pokéwood film "OL the Giant!" where Whitley played an office lady. 

Reference

[1] Toriyama Jin, Saga Hihou, "Giantess Studies", Sanwa Shuppan, 2012
[2] Sasakibara Go, "The Modern History of 'Bishōjo'", Kodansha, 2004
[3] Japan Air Self-Defense Force, "Introduction of official characters of Omaezaki Sub Base", https://www.mod.go.jp/asdf/omaezaki/1/kichishoukai/index2.html 、Viewed at 2023-06-03
[4] Keiso, "Ishura", Kakuyomu, Updated at 2023-02-18, https://kakuyomu.jp/works/1177354054882641261 , Viewed at 2023-06-03
[5] Motokawa Tatsuo, "Elephant's time, mouse's time", Chuo Koron Shimsha, 1992

fin.