Psychosexual Horror

"It's a way of talking about lust without talking about lust, he told them. It is a way of talking about sex, and fear of sex, and death, and fear of death, and what else is there to talk about?"

— Neil Gaiman, Fragile Things: Short Fictions and Wonders

This trope is when eroticism, sexuality, and scenes of a sexual nature are the theme or genre of a story, usually done through Personal Horror, Psychological Horror, Supernatural Fiction, or represented by characters and monsters with Freudian associations. This may involve physical threats or psychological threats (e.g. madness, hallucinations), as well as a thorough exploration of the psychological aspects of a character's sexual impulses.

Psychosexual horror is a story that combines elements of psychological suspense, sexual tension, and danger to explore themes of sexual activities and sexual development. These stories are often used to explore power dynamics in relationships and are also used as an examination of sexual anxieties, which is a fear-based response to sex and/or intimacy.

Psychosexuality as a subgenre frequently involves fears and anxieties around sexual activities and developments. Most characters (protagonists or otherwise) do have some form of sexual anxiety as the story deals with themes of sexual awakenings, sexual fears, sexual inadequacies, and sexual traumas. However, this can also address themes of puberty, homoeroticism, and losing one's virginity.

This genre also explores themes of sexual exploitation, emotional manipulation, sexual violence, and sexual identity. Often involving: power imbalances in relationships, manipulation, obsessions, and traumas that are linked to past sexual abuse, childhood trauma, or other traumatic experiences. In relationships, sex is often used as a weapon in these stories by using sexual tension and their own sexual prowess as a means of control and dominance.

With personifications, allegories, and tulpa, the sex of the character plays a massive role in psychosexual horror. These antagonists have predominant sexual characteristics that allow them to be easily identified as male or female. These stories can be accompanied by suggestive imagery, a Visual Innuendo, or symbolism.

Males and male-coded antagonists use weapons with phallic connotations to kill their victims in an up close and intimate way. In other cases, female and female-coded antagonists can be a woman who seduces males to kill them. These antagonists serve as an allegory for sexual activities and anxieties, as sex relies on absolute consent, and a level of trust and vulnerability between partners.

Male and male-coded antagonists have more phallic imagery that involves thrusting and penetrating attacks. Female antagonists will more likely have vaginal imagery and their method of attack involves using their teeth to kill their prey before eating it. Female villains often use the same tactic of seducing and then devouring their typically male victims, which is treated as a visual metaphor for sex. In addition to being a visual metaphor for sex, the female antagonist who devours male victims may also symbolize male sexual anxiety, domineering or abusive female partners, or female sexual desire.

Some psychosexual horror antagonists can be based on societal anxiety toward Sexually Transmitted Diseases and Infections^note  such as the HIV and AIDS crisis during the 1980s . These antagonists can be outright aversions of STD Immunity and their designs encourage a lot of Body Horror and creative writing as they try to have physical contact with their victim or the story involves spreading a debilitating and fatal condition.

Womb Horror can be paired with this because unplanned pregnancies are a result of unprotected sex. Womb Horror addresses themes of parenthood, reproduction, and childbirth-based Body Horror. Sinister Nudity is frequently associated with this trope.

It can go with All Psychology Is Freudian, Sex Is Evil, Paralyzing Fear of Sexuality, Sex Miseducation Class, Miss Conception, No Periods, Period, Menstrual Menace, Growing Up Sucks, Women's Mysteries, Circumcision Angst, Vagina Dentata, and Literal Maneater. Compare Fan Disservice, Fetish Retardant, Full-Frontal Assault, and Naked Nutter.

Not to be confused with Freudian Threat, which is intimidating someone by threatening them sexually, usually along the lines of castration. Not to be confused with Intimate Psychotherapy, which is when Sex for Solace causes serious psychological problems to subside.

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Examples

Anime & Manga

• In Arachnid and its sequels, people have mutations or obsessions related to insects and this dehumanization is reflected in how practically everyone and everything is tied around rape.
  • An Insect Queen-like Living Aphrodisiac decides to turn Japan into a horde of "rape-zombies" out of trauma from being raped by everyone around her since she was little. Alice kills her out of self-defense, only for the zombies to destroy the country anyway by violating everyone regardless of gender, age or familial ties. Another antagonist decides the solution to this is to lure a Child Soldier with Dinoponera ant venom-coated weapons into getting raped by the zombies in a way that makes her a source of antibodies for curing the virus, turning her from an innocent girl to a lewd goofball.
  • Alice spends the entire first series fighting off threats of rape and feels predisposed into being violent, so she ends up abandoning her Only Friend Megumi to go slaughter rape-zombies aimlessly because she couldn't bear the thought of harming or even killing the Psycho Lesbian whenever she became too forceful. The unattended Megumi then becomes the She Wolf of the SS to a prison shelter in the apocalypse, letting female civilians get abused by her henchmen while repeatedly masturbating to the thought of reuniting with Alice.
  • Hanakamakiri, a boy Raised as the Opposite Gender, had to kill a grotesque looking pedophile to avoid being raped after being orphaned, but ended up under the care of Kinohadakamakiri, a terribly controlling mentor who repeatedly violated him with a gordian worm-like device.
  • Ichijikukobachi, another traumatized rape victim, stabs people with a ovipositor sting-like drill on a cord while hysterically rambling about how girls want to penetrate men. She's followed by Togehamushi, a naked girl with Spike Shooter powers who barely avoided rape because of them in her backstory. Ironically, both of them fight a Dumb Muscle guy who's one of the few males in the setting who isn't a rapist.
• Berserk:
  • During Casca's healing arc, Farnese and Schierke astral project into her mind to clear away the stupefying amount of baggage she has from being raped by Griffith during the Eclipse. As such, most of the monsters they face have a distinctly phallic appearance.
  • Farnese's horse is possessed by malevolent spirits who then attempt to rape her, though she's saved by Guts.
• Parts of Shinji's ordeal in Neon Genesis Evangelion are related to his attraction to Asuka and the early urges of his puberty. Indeed, in The End of Evangelion, part of the finale is Asuka, Misato, and Rei asking him whether he wants to have sex with them.
• In Make the Exorcist Fall in Love, Asmodeus, Demon Lord of Lust, is introduced using her powers as The Pornomancer to brainwash dozens of women into trying to rape Father, a twelve-year-old child at the time, with no regard for his actual consent. While Father manages to compose himself by tearing out his own eye in penance, the event leaves him with a Paralyzing Fear of Sexuality.

Art

• Just about everything produced by H. R. Giger, with biomechanical depictions of sex organs and coitus rampant in his works.
• Venus, Cupid, Folly, and Time: This painting by Angolo Bronzino depicted Venus and Cupid having sex. While it seemingly appears as just an erotic painting, researchers in 2015 discovered that the painting was used to depict syphilis, a sexually transmitted disease that was running rampant during their time period.

Comic Books

• Arkham Asylum: A Serious House on Serious Earth: In this story, there are strong themes of sexuality and sexual abuse.
  • Amadeus Arkham's parents sexually abused him. In his adulthood, Amadeus and Constance, his wife, also sexually abused Harriet, their daughter. It's also stated that "Mad Dog" Hawkins was sexually abused by his father as well, which contributed to his descent into insanity, leading him to become a serial killer who targets women.
  • This version of Clayface is also based on AIDS, as represented by how he's naked, has his skin wasting away as a result of his disease, and how he wants to "share his disease" with Batman. This is directly referenced by Grant Morrison themself in their script notes.
    Grant Morrison: Alert readers will perceive him as AIDS on two legs and realise that he represents the fear of what lies beyond the curtain in the Tunnel of Love. If we take all the encounters with villains as corresponding to various psychological states, then this one is Batman's fear of sexuality as something intrinsically unclean.
  • Batman is a heavily repressed and sexually dysfunctional man who was mentally stunted after witnessing his parents' murder. In one scene, Joker taunts Batman and spanks him, making Batman uncharacteristically angry about being touched. According to Grant Morrison, this version of Batman is afraid of sex and commitment because he's ultimately afraid of being hurt and abandoned. So when Joker spanked him, he basically pierced Batman's armor and showed a small level of dominance that was able to make Batman feel weak and violated.
    Grant Morrison: This Batman is a frightened, threatened boy who has made himself terrible at the cost of his own humanity. He is completely incapable of any kind of sexual relationship. He has made himself hard and domineering in order that he might never be hurt or abandoned again.
• Crossed is about a Hate Plague that transforms its victims into psychotic sadomasochists, committing horrible acts of evil for the sheer sake of it. So naturally, sexual violence is a very prominent theme. And it's not just limited to the Crossed themselves, as Harold Lorre from Psychopath can tell you...

Film — Live-Action

• The titular creature of the Alien franchise is rife with Freudian imagery and was originally created as an explicit rape allegory. The facehugger phase of the creature has a vagina-like opening with a phallic proboscis that orally violates the victim, causing them to become pregnant (in a sense). The chestburster itself is entirely phallic-shaped. The adult phase features a similarly phallic head shape, and the way it kills Lambert is rife with sexual assault undertones.
• Black Swan: Nina Sayers is the sexually naive protagonist who believes her innocent nature and sexual repression make her lack the passion the Black Swan role requires. She pushes herself to the brink of insanity and is confused by her sexual attraction towards Lily, her rival who plays the black swan.
• Both versions of Cat People combine horror and sexuality, though the 1942 version is much more subtle compared to the significantly Hotter and Sexier (and Bloodier and Gorier) 1982 remake.
  • In the 1942 film, a naive and troubled young woman named Irena fears she will turn into a monstrous panther if she ever kisses a man (with the unspoken yet logical conclusion that sex is off-limits too) due to a family curse, complicating her romance with co-worker Oliver, who tries to convince her it's all in her head. It's not.
  • In the 1982 film, Irena is a virginal orphan who is trying to reconnect to her roots and falls in love for the first time, but is informed by her long-lost brother that they're werepanthers who are forced to transform if they have sex with humans and can only return to their human forms if they kill a human. The only people they can safely have sex with are fellow werepanthers, so after years of loneliness and sexual frustration (not to mention a lot of murder), Irena's brother is a little too excited to be reunited with her. Irena isn't so keen on this arrangement, but the dangers of her burgeoning sexuality causes problems in her relationship.
• Cherry Falls has this in spades: the slasher is a teacher named Leonard, who is the product of rape between his mother and the local sheriff, while in high school. Leonard is mistreated during his childhood and, as an adult, returns to the titular Cherry Falls, where they begin their killing spree, targeting only virgins, under the cross-dressing disguise of a younger version of their mother. After killing enough teens, the remaining student body decides to hold an orgiastic party where they can "lose their cherries", so they may not be targeted by the killer. This does not work at all.
• Friday the 13th: Zig-Zagged. The franchise famously uses a lot of sex scenes and it's usually how Jason Voorhees is able to catch and kill his victims. Sex actually does play a role in how Jason originally died, Jason drowned in a lake because the camp councilors left them unsupervised as they ran off to have sex.
• Gerald's Game: A woman named Jessie is chained to her bed as part of her husband Gerald's sexual fantasy. Unfortunately, Gerald dies of a heart attack after taking Viagra and Jessie is left trapped in the bedroom and chained to the bed. Unbeknownst to Gerald, Jessie has a fear of intimacy and sex after her father sexually abused her when she was 12, and she drifted towards him because Gerald reminded her of her father.
• Ginger Snaps follows sisters Brigitte and Ginger whose lives are changed after Ginger is bitten by a werewolf and infected with the werewolf curse. Everyone brushes off Ginger's strange new behavior as a result of her simply "becoming a woman" but in reality, it was something far sinister. The film uses a werewolf curse and lycanthropy as a metaphor for puberty and female menstruation. Not to mention the curse can be passed through unprotected sex and not just by being bitten.
• Hellraiser: The Cenobites are the servants of Leviathan, bringers of pain and pleasure, explorers of the outer reaches of experience. The cenobites are shown wearing leather outfits that invoke BDSM fetish imagery and are fixated on bringing pain to their victims.
• I Spit on Your Grave is a Rape and Revenge story in which Jennifer Hills is sexually assaulted by four rednecks and seeks revenge for what they did to her.
• It (2017): Although it's done differently in the novel, Beverly Marsh's fear of puberty and her fear of being seen as sexually desirable are still present. She's bullied by the girls in school for being attractive and they spread rumors of her being promiscuous. She's also aware that several adults and her own father seem attracted to her, which accumulates in her father trying to rape her and Beverly having to escape him by beating him unconscious with a toilet lid.
• It Follows: In this supernatural horror, after having a sexual encounter with a man called Hugh, a 19-year-old student called Jay Height is stalked by a nameless entity that kills those it catches up to. The stalker is relentless in its approach and she knows that she will never be completely safe, even if she passes it on through sexual intercourse. The movie itself has various sexual imagery and allegories, with the entity being the personification of venereal disease.
• Jennifer's Body centers around Jennifer, a sexually confident teenager who is possessed by a succubus who seduces men so she can eat them. With several implications that one of the themes in the story is how Jennifer is actually deeply insecure about being treated as a sex object and that she is dealing with her own attraction to her best friend Anita "Needy" Lesnicki.
• A Nightmare on Elm Street Part 2: Freddy's Revenge: Although it's up to debate on whether or not this was intended by the creator, the fanbase for this movie believes it's an allegory Jesse Walsh's internal struggle with being bisexual during a time when homosexuality was heavily stigmatized and while the AIDS epidemic was active.
• Possession starts as a rather grounded drama about an unraveling marriage, but it takes a hard left turn into this territory when it's revealed that the female protagonist, Anna, has been having sex with this weird, fleshy... thing that lives in an abandoned apartment and gradually starts looking more human as the film progresses.
• In Psycho, Marion Crane gets murdered by Mrs. Bates (really a crossdressing Norman Bates) while taking a shower. The brutal murder itself has undertones of rape with the knife representing the male sex organ, the stabbing representing penetration, and the blood gushing representing ejaculation. The fact that she was murdered because Norman's attraction to her or any woman in general set off his jealous mother only adds to the horror. The film's third sequel, Psycho IV: The Beginning, further reveals that because of his mother's sexual abuse on him growing up, Norman hesitates whenever he tries getting physically intimate with any woman on a date and instead kills her out of homicidal impulse due to his mother's domineering personality over him.
• Revenge (2017): The film is a rape revenge story where Jen is raped by a friend of her wealthy boyfriend and she seeks revenge after she is left for dead.
• The Sadness is centered around a virus that affects the alembic system: the part of the brain that regulates sexual and violent urges. The end result is an outbreak that turns Taiwan into a slaughterhouse overrun by uninhibited serial killers and rapists.
• Shivers (1975) is about a colony of Puppeteer Parasites being spread through sexual contact. They were inverted by a perverted old Mad Scientist who wanted to turn the entire world into "one beautiful, writhing orgy". The infected rapidly lose any and all inhibitions, and we do mean any and all, including rape, incest, and pedophilia.
• Sleepaway Camp: A girl called Angela is the sole survivor of a boat accident that kills her father and brother and she's sent to a summer camp. In the movie, Angela is revealed to be Peter, her brother, who was forced to adopt his better-received sister's identity by his adoptive aunt because she didn't want to raise another boy. As Angela, Peter is kissed by Paul and it reminds him of a time when he saw his father and his boyfriend Lenny after they had sex. Peter doesn't understand sex, never had the talk (or had the talk properly), and he doesn't understand the harmless nature of John and Lenny's relationship. These feelings are horrifying and deeply confusing for Peter and it causes him to go insane and murder people for mistreating him and for treating him as a girl.
• The Slumber Party Massacre: A group of teenage girls decide to have a Slumber Party but are unfortunately terrorized by a maniac with a power drill who starts killing them one by one. The main antagonist, Russ Thorn, is designed to represent the male sex drive and a woman's fear of penetration. Russ's drill weapon is given a lot of phallic imagery and he makes a few sexual comments.
  "Takes a lot of love for a person to do this."
• Society mixes psychosexual imagery with visceral Body Horror in its depiction of the rich, who are eventually revealed to be a separate species living among humans that regularly performs "shunts", grotesque orgies where members of high society twist themselves into horrifying networks of flesh and feast on the poor.
• Teeth features a teenage girl, Dawn, who discovers she has Vagina Dentata. Because she lives in a universe where for some reason every man wants to get in her pants, willing or not, she's castrating attempted rapists left and right.
• Tetsuo: The Iron Man: Where to begin with this one? Whether it's the Metal Fetishist's... fetish, the overpowering themes of repressed sexuality or the gigantic biomechanical penis the two characters merge into at the end, this film blurs the line between sex, death, flesh and metal. Often quite literally. And that's not even getting into the Salaryman's... new appendage.
• Trick 'r Treat: A group of flirtatious girls are shopping for Halloween costumes and picking up dates for a party that night. They have in tow Laurie, who is described by her eldest sister as "the runt of the litter". Laurie doesn't want her sister to help her hook up with someone because she wants her "first" to be "special". She is followed to the party in the woods by a man clad as a vampire who had already killed a woman in an alley. He attacks Laurie, and there is a horrific noise that gets the attention of the girls at the party, only for a figure wrapped in Laurie's red cloak to fall from the trees. It's revealed to be Steven Wilkins, the school principal and already having been shown as a murderer a few times over. He begs for help, as Laurie steps out of the woods, snarking that the other girls told her to play hard to get and Wilkins had bitten her for it. It is then quickly revealed that Laurie, her sister, and their friends are all werewolves as they begin to strip down, first their clothes and then their flesh, and the men they'd enticed to join their party were their victims for the night. Rewatch Bonus comes into play as one realizes their earlier conversation at the costume shop was full of hidden clues about who, and what, they were.
  Janet: Last year we were in Tampa.
  Maria: And we went as sexy nurses.
  Danielle: No, Janet, Tampa was two years ago, I remember because you puked doing a guy in his pickup truck.
  Janet: I ate some bad Mexican, and it was a jeep.
  Danielle: Last year was San Diego. We dressed as sailors and ended up with sailors.
  Janet: Yeah, and Maria's sailor was a girl.
  Maria: So what, she had a nice ass! [muttering] It all tastes the same to me anyway...
• The Wall has several animated scenes where sexual imagery is played for horror. The best example is a shadow of Pink's wife during the "Don't Leave Me Now" sequence, which turns into a nightmarish mantis/butterfly/flower/vagina monster.
• X (2022): A group of actors and a small film crew embark on a road trip through Texas to shoot a pornographic film titled "The Farmer's Daughters" for the booming theatrical porn market. In this film, the theme of existential horror is expressed through the fear of getting older, wasting years, and the sexual frustration over no longer being sexually active or sexually desirable. In the movie, the antagonists are intensely envious of the group for being young and sexually desirable in a different, more progressive time, and getting opportunities that they themselves never had during their own youth.
• We Are the Flesh: A sinister man named Mariano coerces siblings Lucio and Fauna into an incestuous relationship (while he watches and masturbates) in addition to helping him turn an abandoned building into a cocoon/cave-like structure in exchange for food and shelter in a world where an unknown apocalypse has devastated the planet.

Literature

• The 120 Days of Sodom is this trope incarnate. Revolving around a sequestered group of politicians, aristocrats and their young victims, it remains one of the most disturbing pieces of human literature despite being written during the French Revolution.
• The Bloody Chamber: Many of the stories (including the title story, which is based upon "Bluebeard") explore themes of sexual awakening, intimate relationships and predatory behaviour via Gothic fairytale retellings. The stories usually focus on a female perspective, with girls and women having to outwit predatory men, although some stories play around with this (for example, "The Lady in the House of Love" has an innocent, idealistic young man preyed upon by a female vampire, who struggles to overcome her monstrous nature to obtain her dreams of love).
• Carmilla: The book that introduced the Lesbian Vampire to the world. Carmilla is in love with Laura but is also slowly draining her life away. In an effort to spare Laura for a time, Carmilla drains several of the local village girls.
  Carmilla: Dearest, your little heart is wounded; think me not cruel because I obey the irresistible law of my strength and weakness; if your dear heart is wounded, my wild heart bleeds with yours. In the rapture of my enormous humiliation I live in your warm life, and you shall die — die, sweetly die — into mine. I cannot help it.
• Fifteen Painted Cards from a Vampire Tarot by Neil Gaiman is a series of vignettes about vampires, including the fact that vampires are a way of talking about lust without talking about lust, of talking about sex and fear of sex, and death and fear of death. There is also a scene where a young man goes missing and is found in the coffin of his fiance, and someone wonders how they both fit since the coffin was built for one and she was very visibly pregnant (and then someone remembers that she wasn't pregnant when she went into the coffin.)
• Gerald's Game: Jessie is chained to a bed as part of a bondage game proposed by her husband, Gerald. However, after Gerald dies suddenly of a heart attack, Jessie is forced to find a way out. During the story, Jessie is forced to confront her sexual trauma, which was that her father sexually abused her during a solar eclipse. She's been afraid of sex and intimacy ever since and subconsciously married Gerald because he reminded Jessie of her father.
• It: Beverly Marsh's childhood trauma is the fear of puberty and her own growing sexuality. As she realizes that her own father is sexually attracted to her. After defeating IT in 1957-1958, the Losers Club was so traumatized by the experience that it gets them lost in the sewers. In order to rebuild their bond, Beverly decides to have sex with each member of the Losers Club so the spiritual connection will be rebuilt through a sexual one. This was supposed to represent how the Losers Club had grown up too fast and lost their innocence by fighting IT, but the scene is understandably written out of any adaptation of the book.
• Naked Lunch: One of the many themes is sex, homosexuality, pederasty and sexual cruelty. Often intertwining with the sheer depths of suffering and depravity that drug addiction can reduce a person to.
• In Dean Koontz's novel Night Chills, Ogden Salsbury, a scientist working on a mind control experiment involving subliminal messaging for the government. Salsbury is a sexual sadist but is noted to be harmless unless he feels he already has power over women, and Salsbury is quick to realize that with the success of his mind control methods, he has total control over everyone in the town of Black River. He orders a housewife to make love to him in front of her husband and son, and orders them to sit and watch. When they're interrupted by a boy who was not present for the mind control drugs and subliminal programming due to being away on a camping trip, Salsbury orders the family to kill the boy, then forget it. The hero of the story later finds Salsbury in the act of raping a woman with an automatic pistol. The hero and his family, after dealing with the problem, realize they must leave their home because they know the key phrase to activate the mind control, and don't want to even have the option as a temptation.
• The Ocean at the End of the Lane: The narrator, as a child, witnessed his father having sex with Ursula Monkton, who was actually an Eldritch Abomination in human form. She's still disheveled and half-dressed when she realizes that he's snuck out of the house and flies off to confront him.
• Rawhead Rex: The main antagonist, Rawhead Rex, is an ancient evil creature that personifies the male sex drive as a living and malicious organism, to a point where even his head is phallic shaped and he is repulsed by menstruating women.
• "Snow, Glass, Apples" is a retelling of Snow White that portrays the mysterious Snow White as a vampiric creature who seduced and killed the Queen's husband.

Live-Action TV

• Black Mirror: In Shut Up and Dance, the main character, Kenny, gets his computer hacked and is unknowingly recorded while masturbating to Internet porn. He's then coerced into running various errands for the hackers under the threat of having the footage sent to everyone on his contact list, which eventually includes armed robbery where he holds the bank teller at gunpoint, not knowing the gun was fake, and fighting a man in the woods to the death. The man reveals the twist in the episode, Kenny wasn't just trying to save himself from the embarrassment of being caught with his pants down, he was caught masturbating to child pornography and he only complied with the hackers to ensure he doesn't get exposed to the public. Kenny kills the man in the woods but the hackers upload the footage anyway, with the episode ending as a traumatized Kenny is arrested by the police.
• Twin Peaks: In the series, as well as the film Twin Peaks: Fire Walk with Me, the main mystery is the murder of all-American high school girl Laura Palmer, in the quaint little town of Twin Peaks. As FBI Agent Cooper delves further into the mystery and Laura's life, the viewer is shown a dark image of her: she still is the typical blonde Homecoming Queen, but has been sexually abused by her father since early adolescence, and turns to drug addiction and sexual encounters as a result of the abuse. While her father is the one who abused her, he was under the influence of a diabolical entity named BOB — yes, with capital letters — and there is some doubt whether his actions were due to BOB's full possession, or if BOB influenced some hidden, dark part of Mr. Palmer to come to the forefront. Worse still, Palmer, possessed by BOB, raped and killed his own daughter — the death that initiates the original series.

Music Videos

• Miserable's touches on themes of psychosexual horror with its ending. The video has the members of Lit, all of whom are male, performing the song for a beautiful giantess played by famous sex symbol Pamela Anderson. Most of the video indulges in straight male fantasy by having the giant woman scantily clad in only a bikini and platform heels, and having the men perform on top of different parts of her body often associated with female sex appeal, notably her butt, hip, legs and breasts. All while she poses seductively and acts like the typical Lust Object while the camera ogles her. However throughout the video the woman is subtley shown to be the real one in control, doing casual displays of power like shaking her shoe while the men are standing on it, causing them to nearly loose balance and fall off, or literally holding them in the palm of her hand, or rolling her eyes at them when they can't see her face. This all comes to a head with the ending, which starts with one man standing atop another part of her body associated with feminine beauty (in this case, her lips), when she casually opens her mouth and eats him alive. The rest of the video abruptly abandons the male fantasy aspect, instead portraying the men as frightened, weak and helpless as their attempts to run, hide or plead for their lives are easily thwarted as the woman picks them off and devours them. At the same time, the giant woman maintains her hyper-femininity while indulging in her man-devouring spree, such as chasing them with a Girly Run and playfully chowing down on them in ways that, if she wasn't eating terrified men, could almost be seen as fun and coquettish. As if to drive the point home, after eating the last male in the video, she Supermodel struts into the horizon, as if taunting the viewer.

Video Games

• Agony (2018) is built by, for and with this trope. Just about everything in this depiction of Hell revolves around sex, death, childbirth and even more sex.
• The Binding of Isaac: The Lust miniboss is themed around sexual depravity and sexually transmitted diseases.
• Baldur's Gate III: Both the Mindflayer parasite and Astarion's vampirism are deliberately described in erotic terms to draw comparisons between both and sexual consent:
  • The game begins with the Player Character having a Mindflayer "tadpole" forcibly inserted into their eye, becoming a "True Soul" that can psychically communicate with other "True Souls". The "tadpole" is often described in phallic terms, while the brain is described in a yonic way ("She parts the folds of your mind...tasting them"). Antagonists will often violate your thoughts without asking first, causing you pain, while the protagonists will always ask first.
  • When you first catch Astarion hovering over your sleeping body at night (before having admitted to being a vampire), he immediately declares it's Not What It Looks Like, then asks permission to have some of your blood. Should you consent, he lays you down in a comfortable position, and asks the next morning if you slept well. After this, he never drinks from you without you explicitly giving him permission first. In Act II, a pushy Drow NPC repeatedly asks for him to bite her even after he's said no, and the player can reaffirm that they will not overrule his decision or push him to do anything he doesn't want to, even as the team's leader, as he is his own person and not the player's slave. Astarion later thanks you for this at camp, where the subtext becomes text: His abusive sire forced him to seduce people as victims to the point where he's actually forgotten that he has his own free will, and that you helped remind him that he does.
• Catherine: The 2nd boss of the game, the Immoral Beast, is a walking, heart-shaped female butt with Katherine's eyes, a nose, and a massive tongue and gnashing teeth for a "mouth". It shows up the next night after Vincent wakes up with Catherine in his bed and realizes that he just cheated on his own girlfriend, and properly represents his fears and feelings of guilt about it.
• Dante's Inferno: The circle of lust is where sinners are punished for the deadly sin of lust. The Temptress & Seductress of Lust were once women who lived lives full of Lust, so utterly consumed by it that they were corrupted into demonic creatures with a huge tendril emerging from their sternum to the navel down to the vagina, seemingly an unholy fusion of their corrupted genitals.
• Dark Deception: In Torment Therapy, the level is designed to represent Doug's lust for other women and sexual misconduct as it's a hospital merged with a strip club and the enemies are nurses dressed in nurse fetish outfits.
• Haunting Ground: Practically every villain/boss represents some kind of sexual threat towards the protagonist Fiona:
  • Daniella: The supernaturally and chillingly beautiful maid of Belli's estate is another of the ArtificialHumans that work/live in the castle or so it appears at first. She envies Fiona's ability to feel pleasure and pain, and, being infertile herself, the girl's abilily to bear children. In the latter case, the maid even caresses Fiona's belly, in the place where her womb is and, in one of the Bad Ends, although there is a discretion shot, sounds of flesh being torn apart can be heard, implying she ripped out Fiona's abdomen.
  • Riccardo: in one of the endings, Riccardo (Fiona's "uncle", since he is a clone of her father) caresses a heavily pregnant Fiona, who is implied to be carrying Riccardo's child.
• Outlast II: The Stalker is a naked creature that represents Father Loutermilch's sexual abuse towards Jessica, whom he had been molesting repeatedly until she died of a broken neck when she fell down the stairs as she was trying to run away from him. Blake blamed himself for not acting on his suspicions or helping his friend during this time, and Loutermilch was never brought to justice since her death was framed as a suicide.
• Phantasmagoria: A Puzzle of Flesh, the unrelated sequel to Phantasmagoria, ramps up the sex factor, but to serve the narrative: the main character, Curtis, is trying to connect with people and consults with a psychiatrist about his hangups. One of the sexual elements of the game involves Curtis sharing his bisexual fantasies about his two co-workers Trevor and Jocelyn, and during certain parts of the game, goes with another female co-worker, Therese, to a bondage parlour.
• Resident Evil 2: When playing as Claire Redfield, you get a fax on the machines at the police station warning that Police Chief Brian Irons was once implicated in the rape of a classmate in college. He is found with the body of the Mayor's daughter, lamenting that she will soon putrify and turn into a zombie, then mutters something about taxidermy being a hobby of his. Then he attacks Claire, who is only saved when he's attacked by the G-Virus monster.
• Rule of Rose can be read as this. The player controls a girl in her late teens named Jennifer, who goes back to the orphanage where she spent her childhood. The game very much hinges on Psychological Horror and subtle hints as to what is happening, leaving the story up to the player's interpretation. However, the game does provide some elements of the genre: there are hints that the orphanage's director sexually abused some of the female orphans; the antagonist shows a very possessive love for Jennifer; there are hints — nothing explicit — of a female-oriented sexual/romantic attraction between some of the orphans of the Aristocrats Club.
• Silent Hill 2:
  • Maria is a physical lookalike of James's wife Mary, which implies there is a connection between them before the events of Silent Hill. Unlike Mary, though, she acts extremely flirty and sultry towards James and dresses in a low-cut skirt and a top that slightly bares her midriff. Later in the game, it's revealed that Maria is the incarnation of James' sexual frustration while Mary was bedridden due to her illness.
  • The Bubble Head Nurses are shambling, twitchy female figures wearing sexy nurse outfits that lurk in the dark hallways of Brookhaven Hospital. The nurses are designed to represent James Sunderland's own sexual urges during Mary's sickness, and their disfigured heads could be an allusion to Mary's own superficial deformities caused by her terminal disease.
  • A monster known as Abstract Daddy, which resembles two figures intertwined on a bedframe and covered in a layer of flesh, which represents Angela's history of sexual abuse at the hands of her father and brother.
• Silent Hill 3: Heather or Cheryl Mason is a girl in her late teens that gets caught up in the happenings of Silent Hill. The first boss of the game is called Splitworm: a very phallic-looking, purple, eyeless creature that splits open its head to reveal a fleshy interior and big teeth. Many of the other monsters have either phallic or pregnancy imagery, and there's a good reason for this: Heather has been an unwitting vessel for the gestation of the Order's God, giving the whole story a Child by Rape theme.
• Silent Hill 4: the plot's spotlight is shared between villain Walter Sullivan and Henry Townsend:
  • Walter was abandoned as a boy in apartment 302, and begins to think it is his mother. There is some nebulous information regarding his early adult life, but he graduates medical school and goes on his killing spree of the "21 Sacraments". Among ten of his first victims were a pair of twins, a boy and a girl — the girl's body horribly mangled. Later, when he continues his killings, his 16th victim (who represents the in-game archetype of 'Temptation') is a Spicy Latina named Cynthia Velázquez, who wears a sexy blouse. When she dies, Cynthia's body is covered with stab wounds all over her. His next on-screen female victim is Eileen Galvin (his 20th sacrifice, filling the archetype of 'Mother'), Henry's neighbour. Again, when Henry finds her in her apartment, she is wearing a purple party dress with a low backline, and badly hurt. The next time adult Walter appears, he is in a hospital room, rummaging through a female body's stomach/womb.
  • As for Henry, he is rather isolated and recluse, living almost a hermit-like life in his room, which is commented on by his neighbours. This situation worsens when Walter's very much alive ghost locks him inside the room. Throughout the game, Henry interacts with the world outside his apartment through the peephole and finds a secret spying hole on a wall of his living room, which allows him to spy on his neighbour Eileen. When he meets Cynthia at the beginning of the game, she comes on to him, but he barely shows any reaction to her proposition. Later, when Henry goes to the hospital to rescue Eileen, he finds a large Eileen's head in one of the hospital rooms, and the player can hear some female moaning in the background.
    • Combining both facts, some interpret Walter as misogynistic, projecting on his female victims the woman/mother he never had/met, while Henry can be read as showing some voyeuristic behaviour.

Western Animation

• American Dad!: In "Poltergasm", Francine's years of pent-up sexual frustration and dissatisfaction manifest as a spirit that haunts the house. Her problem is Stan no longer takes his time with her and doesn't let her climax. Once Stan fixes the problem, the spirit leaves after Francine has a thunderous orgasm.
• Futurama: The third act of the second movie, The Beast With A Billion Backs, has a giant tentacle monster named Yivo descend onto the universe and penetrate every living being with shkler tentacles, converting them all into a massive polyamorous relationship. While the phallic imagery is only implied at first, it becomes explicit right before the fourth act, when Leela (the only one to avoid the brainwashing) reveals the monster was secretly mating with the universe. However, the rest of the movie downplays the Implied Rape as Yivo retracts shkler tentacles, focusing more on Yivo as symbolic of both heaven and a suspiciously idyllic polyamorous relationship.
• South Park: In "Proper Condom Use", the kids of South Park are forced to endure sex education after Stan unknowingly masturbates a dog as a trick in front of his family. However, Ms. Choksondik's scare tactics on unprotected sex and venereal diseases, along with Mr. Mackey's incompetence, instigate a gender war between the fourth-grade girls and the fourth-grade boys because Ms. Choksondik forgot to mention that sexually transmitted diseases can only be spread through unprotected sex, not regular physical contact.

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