I know what you’re thinking, but trust me, it’s dope.
TSF Showcase 2025-12:
Turned Into a Breast Milk Fountain by a Beautiful Vampire (2016) and (2020) by Kouji
Part 0: A Necessary Introduction
It’s October! Meaning I should to dish out at least something tangentially horror related to play into the seasons. While there is a scattering of dark TSF that I could potentially explore, there is a certain horror-themed specter that has been looming over this segment since it began. A positively dope TSF comic that blew my socks off back in 2017 and introduced me to one of my favorite TSF artists. Turned Into a Breast Milk Fountain by a Beautiful Vampire by Kouji!
…Okay, I should probably address that name, because if you say you love Turned into a Breast Milk Fountain by a Beautiful Vampire, people should look at you like you’re a loon.
The story follows Ashton, a vampire hunter who seeks revenge on the vampire who killed his father, a child-like vampire by the name of Giselle. He arrives to her manor to kill her and put the decades of pain behind him, but Giselle overpowers Ashton and transforms his body after their encounter. Ultimately turning him into a busty woman with breasts that are full of milk. She then uses Ashton’s breasts to provide sustenance to her without killing her new pet, as vampires can do that in this universe. So Ashton is not really a fountain, a breast milk dispensary might be more accurate, but fountain sounds more striking.
As for why Giselle, a vampire, can sustain herself off of breast milk, that is lightly explained under the common myth that breast milk is made from blood. Which is not true. Breast milk comes from nutrients carried by the bloodstream, though sometimes blood gets into breast milk. Personally, I choose to view this as an interpretation of vampires feeding upon the bodily fluids— specifically those that sustain life— of others. They just choose blood because it is the most practical fluid for them to suck out.
The series was originally released in November 2016 and February 2017, before receiving an author sanctioned English translation in March and May 2017. Which… does not happen very often, but I’m not going to complain. While not their first TSF work— that would be TS Boyfriend and the Bi Girlfriend— this was Kouji’s first work that really caught the eye of people with the skills needed to translate stuff into English. I remember it being celebrated back on the Farhad forums, and I was personally impressed by its storytelling prowess.
Following this success, Kouji continued to produce a large volume of TSF works over the following few years, experimenting with presentation, exploring some buck-wild ideas, and improving as an artist. However, in November 2020, they released a full color remake of the work, showing off their refined skills across a 250 page epic… that also received an official English translation. This was a true and direct remake, recreating and expanding every scene in the original, largely adding things, and building off of the same core script. Except this time it is rendered in full colored artwork, instead of the looser style of the original, complete with hand-drawn panel lines. There are differences, but this showcase will mostly follow the remake as I think it is the better and fuller comic.
…But before I begin, two things. While I can respect the straightforwardness of Turned Into a Breast Milk Fountain by a Beautiful Vampire as a title, it’s a bit of a mouthful. While I could just refer to it as TBMFBV, an abbreviation, I’ve been calling this series Milky Vampire for 8 years… and I’m not gonna stop now. Also, this would be a great opportunity to talk about the vampire lesbian genre this story is so clearly drawing inspiration from. Something that I know many lesbians— particularly trans lesbians— are particularly fond of. …But I’m not a real lesbian, and don’t know anything about the genre beyond its surface level. Sorry to disappoint, but I’m no Amelie Doree, nor am I even close to being a Hazel.
Part 1: I’m a Vampire Hunter, Not Some COW!
Strangely enough, the largest and most significant difference between the 2016 and 2020 versions of this comic is the introduction. The 2016 version opens with some basic character bios and a summary of the story leading up to that point. A few poses and some bullet point character traits, before jumping to show that Ashton has already been defeated and transformed by Giselle. The 2020 version opens up with a more elaborate five page prologue that does a far better job of setting up the mythos and the world.
It describes Giselle as a vampire with an otherworldly beauty who lives off in the mountains, away from society as a whole. Her beauty and status as a vampire attracted many visitors over the years, and those who sought her out either returned in failure, or never returned at all. Ashton, much like aspiring vampire hunters before him, ventures up this mountain to seek out Giselle. With the narration making it clear he’s not after renown or profit, but to avenge his father, who the vampire killed when he was a young boy.
After years of training, he navigates the dense woods up the mountain and arrives at Giselle’s lair, an ornate Western style mansion, hidden far from society, without even a walkway to ground it to the wider world. Ashton walks into this the domain of darkness, where he quickly finds his target. A vampire with the shape of a young woman, dressed in pristine fashion, with an almost childlike daintiness to her. A figure true to her mythologized beauty, but far from what one would imagine as a vampire. Ashton does not falter as he sees her, sitting on the railings of the foyer stairs, looking down at him. Yet he flinches as she refers to him by his father’s name, saying how happy she is that he returned.
A second later, she leaps down and dashes at Ashton. He swiftly readies his rifle, using the distance to his advantage, but even with his battle hardened reflexes, he is too late. Giselle to rush at him with profound speeds, shooting him back with a blast of shadowy magic. Incapacitated, the vampire paws over his person, stealing his stakes and knives, breaking them one by one, before snapping his rifle with a single stomp. Years of anticipation and preparation are shattered within seconds, and before he can resist, Giselle holds out her hands, unleashing a dark miasma that coats Ashton’s face. He tries to resist, yet quickly succumbs to this unknown substance, falling unconscious.
It’s a brief introduction, but it is an incredibly effective and moody introduction that makes the world and mythos of the story feel like something greater. Something with at least a veneer of history behind it, enhanced by some good landscape work. Kouji normally works in the world of black and white manga, and every time I read this story I am surprised by their proficiency with a digital paintbrush, creating environments that feel mundane yet natural, with carefully chosen lighting and coloring. From the texture of the grass to the way the mansion’s entrance is basked in shadow, the sun setting behind it. It really makes me wish Kouji had the opportunity to do something on this level again. Unfortunately, the life of an NSFW comic artist does not always reward artistic quality over whatever fetish is being catered to.
Some time later, Ashton wakes up within a dungeon, his hands bound, and a mirror placed before him, where he sees an unfamiliar woman with massive boobs, quickly gathering that this is his reflection. Before he can compose himself, Giselle appears and greets him, looking at him with a longing gaze. Ashton does not ask what her plan or intentions with this bodily transformation. To him, a hunter who spent his life pursuing this goal, he had already failed, and accepts this failure. He demands that she kill him. Giselle in turn asks why she would do that, approaching Ashton with lust before opening up his shirt, revealing his breasts to him… already leaking with breast milk.
This unfamiliar biology stuns Ashton, a fear unlike anything he had ever encountered before runs through him, and Giselle laps up his breast milk, explaining that she had little choice but to do this to him. She claims to have caught a lactating woman before and realized that “the breast milk of mammals is made up of blood.” From this, she determined that the best way to keep a human alive without draining their blood was to have them lactate. To turn them into a breast milk fountain. As I said in the preamble, this is a pretty bizarre interpretation of vampire lore, but from this first ‘breast milking’ sequence alone, the core ethos of this work is made clear. Breaking down Ashton’s resolve until he shatters.
Broadly speaking, Kouji’s biggest fascination as a creator is the concept of a fallen hero. An archetypical strong broad-bodied male being transformed into a woman, where he is overwhelmed and denied both the physical and mental strength he once held. You could say that is, like, half of all TSF out there, but few prolific creators are as consistent with this schtick as Kouji. (In case you need some examples, here’s seven that I talked about last year.) However, I think that Milky Vampire, due to its length and detail, is probably his strongest take on this concept.
Ashton is imprisoned and turned into a glorified tool by Giselle. He still retains a sense of his own self, his eyes, complexion, and hair are all his own. Yet he is routinely forced to engage in acts that wear him down. He is humiliated, emasculated, and forced to acknowledge that his body is not the one he spent so long honing and training. And he is forced to engage in these activities with the vampire who killed his father. Ashton despises Giselle for what she did, for ruining his life before he could even develop a sense of self. Yet he also does not know her. As he looks at her, it’s hard to see her as the monster he built up in his head.
There’s also something that needs to be said about the breast milking itself. This is an erotic work, and lactation is a fairly common fetish in the go-go world of the now-now. However, no matter the interpretation, there is always an undercurrent or nourishment. Nearly every human grew up off of breast milk— or formula— and the visual language of these characters, through their difference in proportions and height, is meant to insinuate… something.
Ashton is not only forced to be sexually intimate with Giselle, but he is forced to nourish her like a mother would with a child. And while I don’t get the impression that Giselle is a literal child— some women just look like that— she’s a tiny little vampire who dressed in lolita fashion. She would probably flagged as underaged by a payment processor— because they are the worst.
I won’t say too much about the psychological elements of breastfeeding someone regularly, the hormonal bonds that are formed as one provides sustenance to another. Ask someone who has breastfed multiple people. But I’d imagine that if someone did it for someone who was not their child, shit would get weird.
Ugh. I’m a thousand words into this, and I’m barely past the tenth page of the remake.
Where was I again? Oh, right, the first milking scene. As I was saying, the act of being milked leaves Ashton humiliated, mortified, and vulnerable. He was so close to his happy end, to getting on with his life. Ever since he lost his father, he dedicated himself to this pursuit, but he failed. He can choose to live like this, or he could end his life, and through sheer grit and determination, he tries the latter.
Ashton bites down on his tongue, causing blood to pour into his mouth. …Only for Giselle to invade Ashton’s mouth, lapping up the blood resting in his mouth before using her… vampire saliva to seal it. Huh. Another trait for the lore page! She treats Ashton like a child in her response, warning him that she can smell the scent of blood from afar, implying that he cannot escape through bloodier means. I’d say he couldn’t kill himself, but hanging, strangulation, and lighting oneself on fire doesn’t produce any blood, so they’re always an option.
Regardless of the potential workarounds, Ashton accepts that he cannot escape through direct suicide and is escorted to the dining room, where a flock of bats are serving dinner for Ashton. A scene that immediately raises a lot of questions— Can the bats cook? Where do they get ingredients? Did Giselle plan all of this? Why feed Ashton dishes like soups or quiches instead of something simple? Like bread and meat and cheese and boiled vegetables? But that doesn’t really matter. Giselle could just be magicking up all of this food for all we know.
Giselle urges Ashton to eat, saying it will improve the quality of his milk, and while he is painfully hungry, he refuses to open his mouth. This leads Giselle to gobble up the food before biting Ashton’s neck. Yes, in another odd pivot from vampire mythos, Giselle has the ability to pour food— or rather nourishment/nutrients into Ashton’s body through her teeth. Feeding him like a mother hen to her chicks in a play on the whole breast milk nourishment angle. Ashton may be providing sustenance to Giselle, but she’s providing sustenance to him. Just like a real cow!
After ‘dinner’ Giselle lets Ashton bathe in peace, taking him to a stone bathing room, where he naturally looks for an escape. But with a tall window and a narrow drain, there it no way out. Though, I would like to comment that if Ashton was really determined, he could drown himself in this bath. It would be hard and take a lot of conviction, but this is a guy who tore into his own tongue within a matter of seconds.
Instead, he merely takes time to look over this new body of his, his hands free for the first time since he woke up, and he views it as little more than a punishment. A sign of failure that he literally carries with him, and one that will inhibit his attempts to escape. Without his honed muscles or equipment, even climbing down the mountain could be perilous. For now though, Ashton chooses to wait, bide his time, and hope, somehow, that this curse will be dispelled if he can just leave this place.
Following these reflections, Ashton is escorted down into the basement of the mansion, down a spiraling staircase and to Giselle’s bedroom. A room with an ornate bed, completely devoid of sunlight or any windows. Giselle slams her book shut as Ashton arrives and greets him, proclaiming how long she waited for this, and we get some… insights into her logic.
Something the story makes sure to emphasize is that Giselle is not a human. She might view herself “as a normal woman loving the body of a man” but she is not normal, and has principles and values that, while similar to those of humans, are different. She claims to love Ashton, that she would love him even if she had to sever his limbs, that her affection towards him is eternal. But this love is a blurred combination of different facets of love. She loves him like a farmer loves a cow that produces good milk. Like a child loves their favorite toy. But whether this is true romantic love… is left somewhat ambiguous.
Furthermore, Giselle rarely refers to Ashton by his name and seems to view him as his father. When Ashton brings up that he is dead, that she severed his hand and left it to flow into the river twenty years ago, she just stares at him, utterly bemused. The concepts of aging, or people dying and going away seem to not register to her. And when met with this impasse, rather than try to close the gap, she just pulls Ashton into the bed.
Viewing this as his best chance to exploit her vulnerability, Ashton tries using intimacy to quell Giselle, thinking that is the best way to defeat her. He uses what he learned from his various sexual encounters to weaken her guard. Rubbing her breasts, kissing her lips, and reaching his hand beyond her underwear… only for his nipples to harden, liquid flowing from them, soaking his robe. As Giselle sees this sight, her veneer of an innocent girl shatters, and she pounces on Ashton— like a lioness upon a fawn. His attempt at dominance shatters in an instant as she suckles out the white liquid pouring out of him beyond his control.
Giselle’s narrow back becomes adorned with a pair of batlike wings as she suckles from his nipples, so engrossed in her meal that she loses all restraint. Ashton feels a rush of stimulation as she indulges in him. Terror mingles with erotic pleasure. Resilience and resistance give way to a subdued longing. A longing that Giselle answers by bringing her fingers to Ashton’s newly crafted sex, piercing through his vulva as he screams, and continuing to ravish him for hours, until his body is tired, worn, and covered in his own juices.
He loathes this situation, loathes the fact that he slept with his father’s killer, and as he stews in this rage, his consciousness fades away.
Tangent 1: What Is a Remake? What Is a Translation? A Miserable Little Pile of Grievances!
Before I continue going through this story, I feel that I should stop and address two things. Both of which should be obvious if you have been looking at the embedded images, showing both the original release and the remake. As stated in the preamble, the 2020 remake came four years after the original, and features a lot of clear visual improvements. Environments are more defined, the dimension of color enhances the image, character proportions are more standardized, poses are generally better, and the work is generally more consistent in its presentation. This should make the 2020 remake a clear improvement on the other. But whenever you try to recreate… anything with artistic merit, you run into the fact that something needs to be lost in the process.
The 2020 version looks more refined, but the 2016 version finds its identity in its rawness, in being a black and white comic without professional aspirations and a sketchier approach to art. By not abiding by proportions, by allowing Ashton a wide array of expressions, it gives the story a personality that is not quite captured in the remake. Everything is a touch looser, more cartoonish, and even a bit sillier. One could argue that the remake looks rigid when presented side by side. And while the infusion of detail, of color, enhanced the presentation considerably, there are quite a few instances where more detail is present in the original, or at least different details.
Little environmental factors like the layout of rooms or furnishings sometimes don’t make the transition. Other scenes are recreated so one-to-one that it’s like comparing a storyboard to the finished product. And while I think the coloring does enrich the story… I can also tell, even without my history following their work, that Kouji is not the most adept with coloring. While the color work can be striking and visual in many instances, the pallet used can often look washed out, maybe even a little dreary. This is ultimately a creative choice made due to the fact that the majority of the story takes place at night and within an isolated mansion. Yet it gives the remake a different feel than the stark white on black of the original.
I think the work is highly effective in building its tone through its color pallet, showing Kouji’s vision and underlying understanding of how to use color. However, I can see this factor determining which version the reader prefers, even if they don’t quite understand why. Personally, I think both are great expressions of the same story, both with their own artistic merits, and would actually recommend reading both of them because of this. The original and then the remake, obviously.
As for the narrative changes and changes to specific scenes, I consider these to be entirety additive. New bits of narration are inserted tastefully enhancing the 2020 version’s story and characters. We get to know more about what is going on in the minds of Ashton and Giselle. Details that were glossed over are given more addition, and the new ‘panels’ added or transformed to accommodate these changes don’t break up the pace of the story.
Though, pointing out all of these differences feels too pedantic even by my standards and… you can just look at the pages side by side if you are that curious. However, I do want to talk about the English script, which is entirely different between both versions of Milky Vampire.
Across the various works I’ve covered across TSF Showcase, I rarely bring up the, often unofficial, translation of Japanese works. I’ve mentioned it with my coverage of Futaba-kun, given how there was a good old translation and a bad modern translation. But with most works, I take what I can get. If I can read it, the words match what I am seeing, and it does not read like some machine translated trash, then I’m content. I can get picky with phrasing, as I am a writer, but I only bring that up when proofing Charishal’s stuff. However, Milky Vampire has two versions of the same general script, and with it two translations from different people, both sanctioned by the original author. So I feel that they warrant some discussion.
Translating Japanese to English is no easy task due to the immense differences between the languages and any two translators can turn in script that, while telling the same story, do it in very different ways. Rarely using the same words or structure to express the same idea. And that’s what happened with the 2016 and 2020 versions. The phrasing, structure, and general vernacular of both versions are different first and foremost, and in a way that’s somewhat maddening when reading the stories side by side, as I attempted.
The 2016 version was initially done by a fan, and bears a level of jank, with sloppy formatting and a couple obvious errors. However, the prose manages to be punctual while maintaining an effective tone. It gets the story across without ever feeling too bogged down in language or too restricted by text box size. And, quite simply, I can tell that the translator and proofreader, Limonchik11 and Goat, were invested in this story and sharing it with others. Hell, one of them even talked about the process and challenges of this translation in Farhad’s forums back in the day. It’s pretty much as good as one could expect from a 2017 sanctioned fan translation of an erotic comic.
As for the 2020 version… I don’t know who did the translation on this one, and generally speaking, I don’t like it as much as the 2016 version. Part of that is consistency. Sometimes the 2020 script takes longer to gets its point across, sacrificing brevity and the punctuality of a consistent voice for more words. This is a difficult thing for any writer to manage. If people understand what you are saying, and it is grammatically correct, why change it? But this looser approach to phrasing can rob scenes of a certain tone, or make descriptions drier than they ought to be. Let me go through a five random examples:
Page 9/15
2016 Original: “If she wouldn’t let him bite his tongue and bleed out, he’d just have to starve himself to death.”
2020 Remake: “More than that, if he was not going to be allowed to take his own life by biting his tongue, then he could always end it by simply refusing to eat.”
Page 17/24
2016 Original: “Giselle flicked her tongue, and her eyes began to glow violently. The cute girl and her soft, tender manner vanished without a trace, and what replaced her eyed him ferociously, like he was prey caught in a trap”
2020 Remake: “Giselle drooled and licked her lips; her eyes suddenly began to sparkle. Any trace of the pure innocent girl act she gave Ashton had disappeared and in its place was the savage look of a hunter whose pray had fallen into their trap.”
Page 35/49
2016 Original: “As he exhausted his various attempts to resist or run away from Giselle, Ashton slowly lost his ability to think properly. A woman’s instinct to want to be protected by a being stronger than herself began to eat away at his warrior’s mindset.”
2020 Remake: “He’d been stopped again and again when he tried to find ways to resist Giselle or run away from her and was gradually losing his normal ability of discernment. The survival instinct of a woman wanting to be protected by someone stronger than her was beginning to undermine his train of thought as a soldier.”
Page 54/79
2016 Original: “Stepping inside, Ashton suddenly realized that he hadn’t had anything but tea in a while, and suddenly felt famished. Walking to the dining room, he noticed Giselle spread out over the sofa, with her head hanging limply over the armrest.”
2020 Remake: “Upon his reentry to the mansion he realized that he hadn’t eaten or drank anything but tea since waking up and suddenly became very aware of his hunger. As he headed into the dining room he noticed Giselle lying face down on a sofa, her head hanging lazily down.”
Page 79/124
2016 Original: “Once, instead of biting into them, I tried bleeding them out from a wound and collecting the blood over time. Another time, I thought it might work if I change the place I suck from each time so I tried that too. I even tried replenishing them with equal amount of animal blood every time I drank theirs.”
2020 Remake: “I truly tried everything I could to keep these men who love me alive. I tried taking their blood using several hours by cutting them instead of directly sinking my fangs into their bodies. I also tried putting animal blood back into them, the same amount I had taken out.”
Neither translation is perfect. I think the 2016 is generally better, but I think the 2020 version is still fine, even better in some instances. I actually had this crazy idea— for years in fact— of going through both works, collecting their scripts, and then writing my own updated version of Milky Vampire. …But that would take at least 40 hours, and I don’t have that kind of time to burn on a side project I would not even be able to share. (I’ll only share things like that when they’re out of print!) The translation is fine no matter what, but trying to compare the two just gave me a headache after a while.
Part 2: No One Can Escape From A Vampire Lolita!
Finally resuming at around page 28 of the remake, Ashton wakes up from his first night with Giselle and is promptly guided through the first day of his new routine. Getting dressed— stubbornly wearing the most masculine outfit available to him— and venturing out to the dining room for his single meal of the day. Because of his ‘good behavior,’ Ashton is not bound or force-fed his food, so he eats and eats thoroughly, his hunger greater than before and his resilience to hunger— a trait developed in his travels— seems to have left him. He basically eats a full seven-course meal like it’s nobody’s business, all as Giselle sips water, staring at Ashton’s breasts as they expand from all of this food.
Giselle then escorts Ashton outside to the garden behind the mansion. An ornately maintained collection of flowers and shrubbery, bordered by dense trees. Yet another element of the mansion that I guess the bats maintain. Or maybe she just magics up the garden. When magic is involved, you don’t need to explain much. He continues down the stone path with Giselle gripping onto his hand before seeing his opportunity and rushing for the trees, marking his first earnest attempt at escape, using the full moon light to guide him. …Only for a swarm of bats to rush at him from the trees, pushing him to the ground to protect their master’s dinner.
Rather than chiding him for this, Giselle looks at Ashton with confusion, asking why he suddenly ran away before tending to his wounds, lapping up the scratches on his arms and healing them in an instant. An act that Ashton views as intimate, viewing her affection for him as sincere by some metric, though I don’t know why. Maybe vampire saliva is more powerful than I could even fathom!
Resuming their walk, Giselle asks to know more about Ashton, and he regales her with the story of his travels. How he spent years venturing far and wide. From being a greenhorn who was looted by goblins on night one to how he slayed a manticore. How he ventured across deserts and their hot blistering winds to the smell of seawater as it spread across a beach. All in the singular pursuit to find her, to kill her, and truly begin his life on his terms.
Giselle listens intently, but her expression remains static, ultimately claiming that she found his stories of the broader world “interesting.” The dread, tension, and struggle Ashton went through does not matter to Giselle, and when Ashton asks about her story, she claims to not remember her childhood. She simply is who she is, resides in this mansion, and kills people to survive. Her sense of meaning is so different from a human that he drops the subject entirely. He laid out his heart to her, and she could only feign interest. Communication has failed, so he merely sits with her in the arbor at the end of the garden, sipping tea poured by bats as the moonlight lingers overhead.
As the night ends, Ashton returns to Giselle’s bedroom, where she is pouring animal blood from wine bottles into a wine glass. She stares at the blood with an enraptured glance before drinking it, claiming that while Ashton’s breast milk accounts for half of her sustenance, she needs to supplement it with animal blood. Giselle could just live off of animal blood. She seemingly has for quite some time. Yet she claims that a drink from a loved one is the most delicious. Implying a further connection between taste and sexual satisfaction.
Ashton tells her to leave to rinse her mouth to get rid of the smell of animal blood, but that’s merely a means to buy time. Having failed to escape the traditional way, Ashton has pursued a more subtle form of suicide, drinking copious amounts of tea to fill his bladder and holding in his urine until he is at the breaking point. If his bladder bursts, the internal damage would likely kill him, freeing him from a life of sexual servitude to Giselle. A painful approach, but the only one he can think of at this point. …Well, he could eat some metal shrapnel, maybe some pins, and cause internal bleeding that Giselle would likely not be able to heal, but we’re not here to see Ashton’s attempted-suicide-a-thon.
Ashton bears with the pain of his bladder as Giselle lays on the erotic tension. She licks Ashton’s body, teetering him closer to the point of arousal, and teasing the milk out of his massive mammaries. He is once again forced to grit his teeth and bear it as Giselle indulges upon his body, becoming locked in a daze as his body convulses from the pressure, before sputtering out a drizzle of piss.
Giselle immediately recognizes this for what it is and investigates Ashton, teasingly remarking that his abdomen shouldn’t feel this hard. She then teases his clitoris, rolling her fingers across it as she rearranges Ashton’s body, pointing his ass in the air and sliding her fingers into his anus. Throughout his asshole, she presses her fingers against his bladder before planting her lips onto his urethra, suckling the piss out of him bit by bit, spitting it out onto the bed.
…Yeah, you probably weren’t expecting a piss scene like this were you? However, I do need to praise it for what it is broadly depicting and representing. Ashton’s further loss of autonomy and Giselle using his resistance as a means to punish him. She is not just forcing him to relieve himself after being caught, she is turning it into a sexual act, tormenting him, making him intimately aware of what he lacks. …And denying him the ability to control his own bowels, in case the relationship of dominance/submission wasn’t abundantly clear. It’s somehow even more overt than the power play of breast milking and, much like with lacation, millions of people are into piss play.
“There was no more sign of the strong young man who had made his living out of hunting demons.” Despite Ashton’s stature, he has been relegated to “the smaller and weaker one.” And as he is subjected to Giselle’s coddling, he disconnects and tries to rationalize his fate. Every effort he made has failed, but is his situation really that bad? He is housed, fed, and is safe around Giselle. Pain and permanent damage are impossibilities rather than a single mistake away He is being loved and lathered with affection as she suckles his breasts like a sow’s teats.
An internal dialogue plays out as Ashton mulls over his feelings, but he is unable to deny the parts of him that urge him to submit. His resistance does not die, but it is supplanted by a part of him that wants to remain like this. And from this indecision, the days being playing out formulaically.
They wake up, Ashton eats, and Giselle feeds upon Ashton as she sees fit, tearing off his shirt and indulging in his breast milk. Ashton never grew fat no matter how much he consumed, as if his body was predisposed to a fixed state. Giselle only grew bolder with each passing day, assaulting him wherever she pleased, drawing milk from him and ‘checking his bladder’ by planting her fingers into his sex. He resisted, but futility brings passivity, and he began to merely accept it. The rest of their time would be consumed by idle chatter, strolls, maybe a game of chess. Living what Giselle thought was a day in the life of a ‘normal’ couple in love.
The mundanity hurt Ashton’s very heart, but he continued to submit. His once tanned skin began to lighten from a lack of sunlight, though not as much as the sickly pale vampire. His hair grew midway down his back. He gave up on wearing shirts and pants, as it was simply easier to take off a loose bottomless blouse and cast aside a long skirt. Giselle no longer needed to tear clothes off of him, and he began to uncloth himself with a mere gesture or glance. She was going to get what she wanted anyway, so why even bother pushing back against her?
This was his life, and while he still pined for escape, while he still swelled with hatred for his captor— his owner— he lost the will to resist beyond snippy words and snide looks.
Part 3: Milk Abstinence for Freedom – A Battle of Wills!
After this standard has persisted for weeks, perhaps even months, Ashton has fallen into a stupor of depression. Lying in bed after a night of erotic milking, and chiding Giselle as she reaches for his hand. She asks if he has gotten used to living here, and he says that he could never get used to that. That he hates her, and if she died, he would cry tears of joy. That he wants to return to normal, or if that is too much, to spend one day without her touching his body against his will. Giselle hears his words and responds with a sinister glare, as if she knows exactly how to correct Ashton’s ‘lack of enthusiasm.’
With no Giselle clawing over him that night— or rather day— Ashton sleeps soundly and dreams about his life before this. How he was a hero, someone who would save towns from demons, earn acclaim from the village people, and even spend a night with their finest women. Women who adored him enough that they were willing to wed him, to bear his children, let him have a family for the first time in far, far too long. If Giselle had followed the script and just died, he could have had it all, lived as a man amongst men. Yet here he is. Reduced to a damn titty milk fountain.
Ashton wakes up to the sight of Giselle clasping her hands over his breasts, looking at him dryly before departing with a skip to her step. As he looked on at himself, still waking up, he sees a pair of rings over his nipples, immovable without proper tools or vampiric strength, straining him as he walks or feels his breasts grow with milk. He storms across the mansion to find Giselle reading in the moonlight, and she informs him of the method to her madness.
Inspired by his stray comment about wanting to be free from her grasp, Giselle proposes a wager. A game, as it were. She wants Ashton to respect how he needs her. How she is doing him a favor by suckling his breast milk, and if he truly despises her that much, then he should be able to last a few evenings without her. So, they agree that whoever can go without needing to the other. Giselle promises to refrain from drinking any milk or blood, while Ashton physically cannot milk himself.
Whoever lasts the longest without submitting will be given a reward. Giselle will fulfill Ashton’s desire and kill herself, allowing him to move forward with his life by achieving the impossible. Something that not even a silver stake, much less a bullet, even less the power of the sun, could hope to achieve. And if Giselle wins, then Ashton must proclaim his love for her. Something that, despite their numerous encounters, he had never once uttered.
It is an absurdly unbalanced wager, but knowing how warped Giselle’s senses of love, meaning, and purpose all are, Ashton chooses to believe she is acting in good faith. That her enraptured stares at his breasts are signs of her wavering conviction. Unless he agrees, and she accepts her own demise, then what chance does he have of escaping? Of fulfilling the singular goal that has driven him to this point? Even if she cannot die, if she submits, he could at least sever her body across the lands, burying her for centuries… like Ouroboros in King’s Proposal!
Ashton agrees, their wager is set, and as Giselle leaves the room, Ashton attempts to grab her hand, illustrating just how deep his conditioning has run. He chides himself for this learned instinct and goes about his days at his own pace. He ventures to the arbor at his leisure, sipping tea in his lonesome, musing over what drove Giselle to this state, and what has become of him. The faint sense of hope, long discarded, begins to percolate within him, and as he waits out the night, he sees the sun rise for the first time in a long while. The bats flee to rest, and as he walks toward the trees, he is not interrupted. There is nothing physically stopping him from leaving and, all along, it was just this easy. All he needed to escape now is a modicum of autonomy and the drive to walk away.
At this moment, Ashton still has both, yet he ventures back to the mansion regardless. He could leave and live a free life, though doing so would be an act of surrender. It would leave unfinished business. And he has to kill the bitch who did this to him. This was his only chance, and he refuses to waste it, refuses to give up his pursuit for revenge.
Embolden, he returns to the mansion, stares at Giselle as she is stooped over a couch, looking at his breasts with great hunger, before eating a meal in peace for once. He wanders the halls, searching for something— anything— to bide his time, but the longer this goes on for, as hours give way to days, the irritation grows. He suffers from his gorging breasts, eventually putting two and two together as he realizes that food only makes them larger.
So, Ashton refrains from eating, starving himself to bide more time, thinking of nothing more than how much he wants this to be over, how much he wants to be free. The bats notice this pain and attempt to serve him, setting up his dinner wherever. Even as he becomes violent, as he tosses the food onto the floor, the bats insist, using their innocent little mugs to whittle down his resolve. He accept it— he accepts the entire meal— fully knowing that this momentary pleasure will only invite future pain.
As the third day begins, Ashton’s breasts have grown to an unbearable size and with his frustrations high, he decides to distract himself with masturbation. He knows the technique, knows what makes the body he was thrust into react, yet he treats this body not with soft affection, but hard rough motions. To distract himself, to simulate what Giselle did to him, and to offer some relief, however faint it may be. As he pleases himself, he stares at his reflection in a grandfather clock, seeing a raunchy woman in heat, a far cry from who he used to be, and a sight that beings him to tears. Yet, he persists, desperate for something, anything, to curb the pain, to offer even a moment of reprieve. It does not. His physical frustrations remain, and he needs to end this, now.
Ashton wanders into the bedroom and finds Giselle knitting, biding her time and not even looking at him. The longing or hunger she was showing before is absent from her face, as if she could not care less if Ashton surrendered. As if she knew she had already won. She chides Ashton for his distance and rejecting the bats as they tried to feed him. Ashton responds by unfurling his top, presenting his overwhelmingly large breasts to her, nipples permanently erect, areolas the size of coasters, swollen with milk.
Whoever acts first will lose, and this sight, seeing Ashton bear himself with such openness is enough to give Giselle psycho eyes. She appreciates him being so inviting, and looks like she is ready to pounce him, finally unsealing the rings binding him. To win, all he needs to do is wait, to let her grab him and pull him into the bed. She rises, slowly walks toward him, and as victory is so near, as salvation is within seconds… the dude totally biffs it.
Ashton grabs Giselle, slams her against the bed, and squishes her face between his engorged tits. Immediate regret lines his face, and Giselle discards her desperate foil, smiling as she declares her victory. He came so close, got so far, but in the end, it did not even matter. All this suffering for nothing.
Giselle flings Ashton onto the bed, topping him as she stares longingly at his face. She says she fell in love with his male body, was pained to have changed it at first, but now, she finds everything about him precious. His defiant attitude, his belief that he can kill her, and how much fun he is to tease.
She lathers her tongue around his sealed nipples, toying with him as sweet release is just out of reach, undoing one of the nipple rings, pulling it out with only her tongue. Before Ashton can unleash his milk, Giselle grasps his areola, demanding that he fulfill his end of the bargain. If he wants salvation, he must confess his love for her. Ashton knows that it is a simple request, just hollow words, and that they would be meaningless if his heart was not in them. His hatred flares up at this inopportune time, the image of his father pops into his head, and Giselle responds to his reluctance by bearing her fangs.
The vampire chomps on Ashton’s neck, not to draw his blood, but to pour nutrients into him. He panics, his breasts feel like they are about to explode, and rather than accept this, rather than just die and embrace the pain, he cries like a baby. Giselle’s wings flare up, her stomach howls with the hunger of a beast, and as fear consumes reason, Ashton surrenders with the words “I love you.”
Immediately, Giselle’s monstrous disposition fades, she looks at him with blushing cheeks and the warm smile of a lover, kisses him on the lips, before planting them onto his nipples. She suckles him with vigor, taking a deep rewarding drink after going so long without sustenance. Ashton is dazed from this single motion. Relief and pleasure mix into one as he is finally freed… only for Giselle to grasp his areola with her hands again, saying that she never said one time was enough.
If Ashton wants her to continue, if he doesn’t want her to put the rings back on his nipples, he needs to say ‘I love you’ every time she takes a mouthful of his milk. He does not even think before he declares his love for her twice, pulling her toward his breasts. She sucks, then releases, and Ashton immediately replies with cries that end with that phrase. ‘I love you.’ Again and again. Until minutes turn to hours. Until the pain plaguing his breasts goes away. Until his words devolve into a baby-talk cry. Until Ashton becomes awash in relief.
When all is said and done, when the feeding has neared its end, Ashton looks up at Giselle, her milk-drenched lips, and embraces her of his own accord, kissing her for reasons he could not articulate. She was the one who put him into this mess, yet she also saved him from this pain, brought him pleasure, and for that, he cannot help but embrace her. And when he is done, when he frees her lips, he comments on how good it felt for her to suck his breasts. Words that bring Giselle’s pink-red eyes to tears.
In her sorrow, Giselle explains why those words mean so much to her. For years, decades, perhaps centuries, she has fallen in love with the men who approached her. She captured them, was consumed with such longing that she consumed their blood in an eager blitz, and tried to keep them alive. All her methods were crude, obvious failures, and with each agonizing death, she was consumed by sorrow. Ashton is the only one who managed to stay with her so long. The only one who said that is felt good when she sucked their blood. She says this all with what appears to be honesty, spoken like an innocent young maiden, and with Ashton predisposed to humor her, he listens as she speaks of what happened to his father.
Giselle claims Ashton’s father approached her with a gun, but lowered it once he saw her. She showed him around, how she subsisted off of animal blood in her cellar, and he offered to help her. He promised to deliver animal blood to her every day, keep her company as a conversation partner, and give her everything she wanted. She responded to his kind offer by sucking him dry, reducing him a hollow, bloodless corpse. The sight brought her sorrow, left her lonely, but in her own special way.
Ashton claims his blood would have boiled if she told him that story when they first met, but he remains calm now, believing her words to be an absolute truth. He relates to her in fact, saying that his father’s death brought him sorrow and loneliness, but fails to recognize the degrees of these feelings. Giselle misses Ashton’s father like a child misses a lost toy. Ashton misses his father like a child who… lost his one and only parent at age 5. The degrees and meaningfulness of her actions crumble into something trivial. Giselle did not want to kill Ashton’s father, she was just eager and overzealous, and is that something to hold against her?
…Well, yes, actually. She is still a serial murderer who has killed dozens of people, and even if she did not want to kill them, that does not change the fact that she’s a murderer.
Ashton, however, is too far gone to recognize her as a monster. Too strongly manipulated, abused, and isolated to see Giselle as what she is. Someone who exist to bring harm onto others. He now only sees her as a “pitiable and adorable being.” And so, he promises his commitment to her. He promises her that she can breastfeed from him every day. In exchange, she needs to stop attacking the people of his hometown. Something that, for the record, we have not seen Giselle do.
Giselle has not abandoned Ashton to hunt for other humans, and even in the prologue, she is presented as a threat to people who enter the mountains. She only hunts for animals. She possibly even has her bats harvest their blood for her. She is isolated, a solved problem, and does not reach out to harm others. Yet, with emotions driving Ashton, such vital facts seem scarcely important.
Deep down, Ashton still regards himself as a vampire hunter, and at the base levels, a vampire hunter’s job is done so long as people are safe from vampires. So, he accepts his role as Giselle’s lover and embraces her. Choosing to believe in the ‘truth‘ and ‘facts‘ presented to him. His resolve and resistance fades. All animosity has shattered. All connections to his former, masculine, lifestyle are gone.
The two now live a harmonious life as two lovers, side by side from awakening to slumber, with Ashton even wearing a dark dress that matches Giselle’s. They continue this life, looking like mother and child— thanks for spelling that out Kouji— even as winter approaches and the garden becomes covered in frost.
One evening, the pair venture out into the snowy mountains in search of hibernating animals, Giselle plucking them out from their holes and draining them of their blood. It should be a merry exercise, two lovers harvesting food in the snow, but as Ashton looks on at Giselle ripping into the flesh of a fox, he feels despondent. He has committed himself to being Giselle’s food source, to caring for her like a mother would to a child, and seeing her rip into animals, smelling the blood from her mouth, it fills him with a sense of inferiority. He wishes that his milk alone could sustain her, but even with his breasts having retained their enormous size, it’s still not enough.
Then, one late afternoon, a bat awakens Ashton from his slumber, guiding him to the front door, clad only in his robe. He ventures into the foyer, where bats clamor behind the second floor railings. He can sense a presence behind the front door and leaves to grab a knife to defend himself from a stray bear or wolf. Before he can leave, the door slams open. Ashton turns around, and is met with the barrel of a rifle, inches away from his face.
Tangent 2: What’s The Deal With Giselle?
…And now, at the halfway point of this story, I think it’s time for an intermission.
One of my favorite things about Turned Into a Breast Milk Fountain by a Beautiful Vampire is the character of Giselle, and for one main reason. The story never makes it clear how much she knows. How aware she is. How much planning she puts into her behavior, and how much she understands about humans. For much of the story, she is presented as someone who does not truly understand the concept of love. Someone who does not get what it means to be alive, and is disinterested in others beyond their ability to function as food for her. She is someone who views eating and fucking as the same thing.
Reading the text, it is easy to come away with this impression, but throughout the story, Milky Vampire adds some pretty overt subtext that implies she’s a mastermind. At least to some extent.
Let’s start with the first point. How did Giselle do all of this? How did she transform Ashton? A spell that changes someone’s sex makes sense as a basic store-brand spell. Especially when Ashton’s hair didn’t even get any longer— a rarity and minor detail that I appreciate. However, how did she make Ashton’s body capable of producing breast milk? That is something that typically only happens after a person has given birth, as their body begins producing hormones that spur breast milk development. These hormones can be synthesized, and you can buy them— I know some trans girls who have tried them and seen fabulous success— but this is not really magical hormone supplements.
Even then, I have to ask how much planning and forethought Giselle put into this. To make Ashton like this, she would have had to study human biology, the differences between sexes, and how breast milk development works, and use her powers to mold him into this busty milkmaiden form. I cannot believe that she just came up with this on the spot, that this was just some spell she found in The Vampiric Magic Codex Volume VII. She claims to have experimented by taking out blood, by putting animal blood inside people, and I believe that. But she could have done that decades, if not centuries, ago. She has been alone, in this massive mansion, with oodles of books to read and nothing else to do.
So, I have to ask if she understands humans at a higher level? Does she know how to emotionally and psychologically manipulate them? Is she merely acting when she claims ignorance of how humans work in order to endear Ashton to her in some warped away? Does she actually understand everything Ashton is doing and is she merely trying to shape him into a more receptive pet? Is she grooming him from a badass vampire hunter into the best breast milk fountain in the world?
Furthermore, I have to ask how extensive these changes were. Ashton appears to be human, but his inability to gain weight, his rampant lactation, and curated diet of bat food, add a layer of ambiguity.
What else was changed? Were his hormones and brain chemicals changed so he would become more loyal and devoted to Giselle? Does he actually have ‘free will’ at this point, or is his mind gradually being shaped through continued stimulation? Is he resisting, at a point, because Giselle programmed him to? When a mad scientist starts using magic on you, you cannot even be sure that you are still you when you wake up.
I don’t have any firm answers. I don’t feel that I can make many definitive statements regarding what Giselle knows. And I love that. I love this layer of ambiguity, how everything Giselle does could be an act, or it could her genuine feelings. Because she does not have the same psychology or emotional range as a human. Her morals are wildly different. And, much like when dealing with an alien, you cannot assume anything! …Other than the fact they probably need water and sustenance to live. But can we even believe that? Maybe she just likes the taste of blood and titty milk and is a weird freak about it!
Part 4: Shot Back to the Past
The second half of Milky Vampire opens with a flashback, introducing us to a young boy by the name of Douglas. Son of a farmer, and resident of the village at the foot of a mountain. He of course knew of the vampire supposedly living at the top of the mountain, but he paid such heavy matters little mind. Instead, he spent his days helping his parents and admiring the village hunter, proving them with meat and furs, while caring for Douglas’s friend, a bright-eyed boy named Ashton. Their bonds were as strong as could be, but that changed when Ashton’s father left one day and… never came back. Ashton waited, holding out hope even as the seasons changed, waiting for his father every day, while Douglas grew distant from him, not wanting to tell him the likely truth.
As spring came into bloom, the truth became obvious. A hand washed up down the river, devoid of blood, bearing a metal ring. A ring that Ashton immediately recognize. It was the ring Ashton’s father gave to his mother, and the one he carried on his pinky finger after her death. He wore it as a good luck charm, claiming that his mother’s spirit would protect him even if he got lost in the deepest reaches of the forest.
Upon confirming seeing his father’s hand, Ashton panics. He begs the villagers to help look for his father, and they are as dismissive as medieval people tended to be around children. They know he’s dead, and pointedly say that, even if he was alive, he would be of no use to them without a hand. Ashton collapses in response, overflowing with sorrow, with no one willing to confide in him, aside from Douglas. He stays as his friend sobs, but he has no words for him. He’s just a child too, he lacks the vernacular or grace to comfort someone like Ashton, but he remains committed to help him.
Ashton spends the rest of his childhood in sorrow, doing odd jobs for a few coins, struggling to get anywhere in his life, being treated as a village slave. Douglas gives Ashton someone to talk to, even swipes food from his parents’ farm to give to his friend, but Ashton remains locked in this state of depression, barely ever speaking. And when he does, he claims that one day, he will get his revenge. He will kill that vampire.
At age 15, Ashton gathered whatever supplies he could and left the village. He knows he is too young and inexperienced to kill a vampire, so he shall travel the world, and battle stray demons to hone his skills. Ashton thanks Douglas before he departs, for uplifting him and supporting him when no one else would, and hands him his mother’s wedding ring. Douglas is shocked by this, but Ashton says this is his way of thanking him for being such a good friend. His only friend. Claiming that this ring will prevent Douglas from getting lost and motivate himself to never give up. Because, back home, his only remaining memento will be there, waiting for him.
Ashton then leaves, and eight years slowly trickle by. No letters, no word, and any sane person would write off this big-eyed soft boy for dead. Then, Ashton returns, his features chiseled, his eyes ground into narrow slits, and his confidence immense. He barely even talks to Douglas before declaring that he’s here to kill the vampire, that he’ll make short work of her and be back in time for dinner. Douglas, having the utmost faith in Ashton, prepares a delicious meal for him, eager to hear about his friend’s travels for this dark period of his life to be over. He waits until sunset, then nightfall, but nobody returns from the mountain.
The next day is the same, as is the day after that, and the day after that.
After a week of waiting, Douglas has a nightmare where he finds Ashton’s severed hand drifting down the river. He decides that he cannot wait idly by. Nobody went to rescue Ashton’s father when he went missing, and he will not allow the same to happen this time. The next morning, Douglas spends his savings on a hunting rifle and ventures out into the woods. However, they are a sprawling mass of trees, too dense and dark for him to make much progress until winter, when he uncovers a set of tracks. Human footsteps leading from a blooded fox den. He knows that these footsteps are dangerous, yet this is his first lead in months, and he cannot bear to let it pass him by. He rushes ahead, and arrives at a snow covered mansion.
Douglas knows that this is the vampire’s lair, and if there was any doubt, the windows full of bats were enough to prove it. Though startled by the bats, he knows he has come too far to run away now and presses on. He needs to do it for himself. For Ashton. For the hunter his village so callously forgot about upon his death. With a powerful determination, he kicks down the door, swings his rifle forward, and aims it at a… a lightly dressed blonde woman, looking at him with shock.
Douglas is confused by this ‘woman’s’ presence, but keeps his gun trained on him until he speaks, muttering his name. “Douglas.” He pauses, grabbing Ashton as he attempts to flee, apologizing to him for pointing a gun at her face and saying he’s looking for a friend. A man named Ashton, with the same light blonde hair as him. Ashton does not have it in himself to hide the truth, and regales Douglas with a modified version of their story.
Ashton tells Douglas about his transformation and how the vampire of the mansion has been feeding upon him, and while Douglas had doubts initially, this ‘woman’ knows everything Ashton would know. Every bit of childhood minutiae and secret. Douglas has no choice but to recognize him as Ashton, and as he thinks back to Ashton as a small boy, the resemblance is uncanny. Though, the utterly massive boobs are a bit beyond his imagination.
Douglas is eager to rescue Ashton from this mansion, to return him to the base of the mountain, but he rejects this offer, saying that he plans on staying here forever. Douglas asks if he is feeling despair at losing to the vampire— he absolutely is— but Ashton insists that this is where he belongs now and forever, saying that Giselle needs to feed on him every day. This sparks concern from Douglas, asking how Ashton could survive if Giselle could be sucking his blood, and why she would turn him into a woman for that. Ashton, too humiliated to admit that he is a breast milk fountain, dodges the question, stammering, making him look all the more suspicious.
This reaction frustrates Douglas, who points out how you cannot trust anybody who lives in a mansion— vampires included— and that her word is as good as mud. Ashton insists that she is honest, that Douglas merely does not know her, but he lacks a retort to one of Douglas’s points. Giselle is immortal, but Ashton is not. He’s only 23— meaning he has another decade or three— but once he dies, Giselle will probably forget about him. He won’t be able to help her, be with her, and she won’t be able to feed off of his milk.
This revelation leaves Ashton shaking, but Douglas still tries to take her back. She resists, crying and shouting that she wants to stay here, but Douglas does not believe he is in his right mind. Ashton cries, saying that he does not want to give up Giselle. That he loves her. That he has been lying to himself about having learned to deal with his depression, with his loneliness. All he wants, all he ever wanted, was the love of someone else. And if Giselle is willing to love him, he will take it. Anything to bring him joy, pleasure, and comfort in this fucked up world! …Okay, I’m embellishing a bit there, but that’s at least subtext.
Douglas can no longer see signs of the bold hunter who visited him so many months ago. Ashton has regressed into a child, too vulnerable and desperate to make decisions, too coddled and abused to know when he was being abused. With grit teeth, Douglas grabs Ashton and pulls him away, rightfully gathering he has been deceived by a monster and promising that he will help him, even if he doesn’t know how.
However, before Douglas can pull him out of this mansion, before he can even finish his sentence, Ashton snaps. He smacks Douglas, pulls the rifle from off his back, and with the precision of a skilled demon hunter, shoots a hole through his chest. Douglas falls, dead within a fraction of a second, and Ashton… is left to face the reality of his actions.
Douglas was his only friend. Someone who always believed and supported him. Someone who always had his best interests in mind. He ventured out through the snow, spent god knows how many days searching for him. And… this is how Ashton treated him. All those years of friendship, all those words he said so many years ago, all meaningless now. Because Douglas was no more. He was now just a pile of meat. …Just a pile of fresh, hot blood. At least, that’s how he chooses to recognize it.
Ashton should be mourning his friend, but he is beyond that. All he can think of is Giselle. How she is bound to come here any moment, eager to lap up the blood of Douglas. A man. Someone else would sustain her, would fill her, and when Ashton would kiss her, he would be tasting the blood of another man. For Giselle, there was a thin line between food and sexual desire. So her consuming someone else was a sign of his failure as a romantic partner. Of his inability to provide her with what she desired. What she needed. Ashton cannot let Giselle need someone else, so he takes the body, dragging it into the basement, staining the foyer floor with blood as he moves this meat away to the cellar. As he does so, he does not notice a familiar ring escaping from Douglas’s person, falling onto the floor.
While Ashton disposes of the meat, Giselle peeks out from behind a pillar, having witnessed, seemingly, everything. She looks at this sight, at the ring Ashton gave to Douglas, and flicks this metal circle out the door. Never to be found. Never to stir a bad memory in her Ashton. The vampire then departs, returning to her chambers to sleep until moonrise. At this time, she wanders into the ‘wine cellar’ to see Ashton standing, barefoot, in a pool of animal blood and glass.
He claims that there was an accident. An obvious lie, yet Giselle does not press him. She merely waits until he finished cleaning up, got dressed in his usual dress, and is ready to talk. Ashton says he is concerned about what Giselle will do when he dies. If she will find someone else. He, personally, cannot stand the thought of someone else being with Giselle, and is determined to be with her forever. An impossibility… unless he too becomes an immortal. Unless he becomes a vampire and allows Giselle to subsist on his… vampire breast milk. That way, they could be together forever.
All Giselle needs to do is suck most of Ashton’s blood, but not too much, triggering the transformation. Giselle had thought of doing so before, with one of the many men she sucked to death. But Ashton? She thinks she loves him enough to express restraint, to allow him to become a vampire. They are in agreement, and begin their nightly ritual. The two enjoy a bath, Giselle feeds upon Ashton’s milk once more, and the two enjoy the throes of sex, commemorating their love before it is finally time.
As the last minutes of his humanity play out Ashton contemplates if there is anything he wants to do before becoming a vampire, but nothing comes to mind. The world beyond this mansion is too painful for him to remember at this point, and the only stable thought, the only safe thought, is of Giselle. He once wanted to kill her. To free the world from her. And to start a family. But now, without those goals, he is nothing. Nothing but an empty vessel. Nothing but a thrall for Giselle.
Ashton affirms his love for her, begs her to never drink the blood of another living being, and with the admission that he destroyed her wine, he invites Giselle to suck his blood. The drinking is sensual, slow, and leaves no scars as Giselle’s saliva seals all marks. Ashton is left floating from this act of intimacy… until the pain kicks in. A feverish pain beyond any illness or poison Ashton had encountered in his travels. A pain that would have made him plead for death if she had done this to him earlier. A pain that embeds him with enough might to tear into Giselle’s back, scarring her as he collapses into her lap.
Part 5: The Blonde Vampire
A long, long time passed.
The chill of winter had faded, the trees ran lush with vegetation once more, and a group of three boys, all equipped with lanterns, venture up the mountain at night. They are searching for the vampire’s mansion, armed with nothing more than daggers, ‘weapons’ more suited to cutting vegetables than anything else. The boys bicker in fear as they regale each other with stories of people who went missing in their village, all thanks to a vampire. How even a great hunter of demons could not stand up next to this vampire. The leader boy balks at his companions’ fear, insisting that he will go on without him, and as we get a look at his face, it becomes clear who this boy is. He is Douglas’s son.
All are residents of the village at the foot of the mountain, which has erupted in chaos as the once dormant vampire became bold and ventured down regularly. Some fled for their lives, others clamored for solutions, and bold adventurers looked upon this news as a test of their mettle. The children are beyond outclassed, yet they venture out into a clearing, where they are greeted by the sound of something soaring through the air. This figure lands on the grass, wearing in ruby stilettos and standing tall, their wings that stretching nearly two meters above their head.
They look on and see a vampire, dressed in red and black, with glowing red eyes that stared into one’s very soul, and light hair that shined in the moonlight. …Also, the biggest set of boobs I have seen in a hot minute. Like, cot dayum!
The vampire formerly known as Ashton stares at these boys like a hunter would to a rabbit. They fire an orb of darkness at them, binding two of them to a pair of trees, while the Douglas’s son stands his ground, brandishing a knife. He explains that he was a mere baby when his father went into the woods, but he disappeared, like so many others. He wants his father back, or, in lieu of that, to avenge him by killing the monster who took his life.
The blonde vampire then grabs Douglas’s son, looking at him as little more than a sack of meat. The boy cries, begging for the truth, and answer before he dies, but the vampire does not care. She finds the boy vaguely familiar, but his screams are as meaningful to her as the screams of a captured pheasant. He receives no answers, no words as the vampire digs into his neck, sucking every last drop of body from him, before moving onto his friends.
The blonde vampire returns to the mansion, where Giselle makes small talk as the two make their way to a dimly lit room. A place that was once a dining room, but since they lost the need for dining, all that remained was a sofa for feeding and a table for tea. But before the feeding can begin, we are given an insight into the blonde vampire’s mind.
Something that Ashton never understood is that vampires are normally unable to see humans as anything more than food. Nothing more than animals to be hunted. However, Giselle was an exception. She managed to feel affection for humans, love even, but it was not quite a human’s understanding of love as much as it was an uncanny hybrid between two extremes, leading to her awkward actions. Or, so that’s how the blonde vampire sees it now, recalling that she was once Ashton, but being so divorced from her humanity that she cannot recall her days as a demon hunter.
This is why I am not calling her Ashton, as she really isn’t at this point. She’s her own person, the end result of a lengthy transformation, and someone so divorced from the man we met at the beginning that it feels wrong to view them as the same.
At this point, all the blonde vampire needs, all she cares about, is Giselle. She opens her elaborate dress and invites Giselle suckle her like a newborn babe suckling her mother’s teats. She drinks her fill, embracing the blonde vampire with eagerness as she is left floating in an erotic delight, before thanking her with a kiss. Her lover has been sustained, but despite killing three just minutes ago, the blonde vampire still hungers.
She informs Giselle she is heading over to the next mountain, the two talking about how, while the villagers are decreasing, travelers keep coming, hoping to hunt or slay the beautiful vampire atop the mountain. Travelers with amulets and guns, not that they are concerned. Seemingly nothing can kill them. And while the vampire’s food supply might be drying up, they can always move. Always search for more humans. Past the mountain, past the wastelands, across the ocean. There are countless humans for them to feed on, and the blonde vampire will kill as many as necessary to keep Giselle alive. To keep her for herself.
The blonde vampire spreads her wings as she rests upon the balcony, kissing Giselle under the moon light before taking off. Giselle stares at her partner as she soars, her love stronger than ever.
And so, the story ends in a manner not unlike how it began, but with the world in a state far, far worse.
…Oh, and the translator of the remake apparently did not understand that the story was beginning and ending with the same words, so the phrasing is slightly different. Great! I love ending on a high note.
Part 6: The TSF Lens of Milky Vampire
There is a lot to read into, and enjoy, about Turned Into a Breast Milk Fountain by a Beautiful Vampire. However, in my exhaustive summary of everything this work does— in how it captures such a great sense of tension, dread, the decay of self, and loss of autonomy— I neglected something. How does this fare as a TSF work? …Well, needless to say, I think it is pretty dang good.
Ashton is a man amongst men, someone who has achieved pretty much every feat a man could aspire to, short of siring a child. He lost everything worked up from nothing, and hardened himself into a hero who murders freaks, fucked the hottest girl in town, and then leaves to do the same thing the next town over. He smokes cigars, has a chin so firm it’s basically a weapon, and has defied death time and time again. And what better type of guy is there to transform, to deprive of his accomplishments, and transform him his very antithesis?
TSF, as component of TF, can be used in a broad number of different types of stories, but they typically fall somewhere on a spectrum with two extremes. Someone finding themselves through transformation, and someone losing themselves through transformation. And Ashton’s transformation of loss, both mental and physical, is something that I just adore.
From a physical level, it’s a pretty standard trans-sex transformation with some breast enlargement and muscle reduction. Ashton retains many identifiable features, but he still lost a head of height and no longer has the body of a warrior, not even recognizing himself as he looks into the mirror at first. It’s immediate, it’s jarring, and he’s absolutely pissed. It gives him plenty of good reason to look at himself, at this whole situation, and demand that Giselle kill him.
Because he is a man, he trained to be a great man, and this is going against that. He is not supposed to be like this. And Ashton spends much of the early story in a state of lingering dysphoria. He is overwhelmed by his body, tries to forget about its differences, clearly misses his strength, and hates everything that comes with this new vessel.
It is an essential part of the story, what makes it work, and what puts Ashton at the apex of hatred, of disdain for what happened to him. And from this apex, his resilience is steadily chipped away. Sexual assault and stimulation quells his rage in some ways, disempowerment leads to passivity, and the isolation of being with Giselle, of ‘Stockholm syndrome,’ softens his bitter hatred.
Admittedly, gender is secondary to Ashton’s concern, a distant afterthought in some regard, but he still considers himself a man throughout, and only comes to accept his female body once his sense of self breaks. This happens gradually— his resolve is weakened after every featured trip to Giselle’s dungeon. However, he does not really start to give up, to give into Giselle, until he needs to fulfill his end of the game. The abuse, frustration, and need for Giselle erodes his consciousness and leaves him willing to accept… everything.
The stories Giselle tells, the feelings she claims to have, and his emasculating status as a breast milk fountain. He accepts it all. Some might say Ashton’s autonomy leaves him unable to make decisions. That he has been reduced to a mere puppet. To which I say… there are many humans who have and will continue to adopt that role.
People are weak, fallible, and can be manipulated and abused until they become monsters in the shape of humans. We have seen that throughout history— we see that today as people eagerly abduct and assault children under the guise of nationalism. Autonomy makes us human, but it is wrong to say that all humans, even adults, have true mental autonomy. Some people are mere followers, and Ashton… becomes one.
We immediately see the effects of this when Douglas comes trying to rescue him, offering him an escape, something he would have taken with open arms a few weeks ago. Yet, he is so committed, so determined to be a follower, to be subservient to his captor, that he rejects Douglas. He rejects freedom.
Ashton has affirmed his loyalty to Giselle above all by refusing to leave her behind. He could not bear to tell the truth of his situation to his one and only true friend in this world. And in his rage over this situation, in his frustration over being told to leave, in knowing that he should leave, if he is who he claims he is, he killed him. He rejected the world, rejected companionship, and rejected his best prospect of a normal life. All he has left is his life with Giselle, and without her, if he were to leave now, he would truly have nothing. The option remains, yet he is not strong enough— perhaps no longer strong enough— to leave her behind. He has been molded by her, and she is all he knows. So, he chooses to become devoted to her.
But not only that, Ashton wants to forget. The narration claims he does not think about Douglas’s dead body as a dead body, but we have seen enough of his actions and internal thoughts to know that is not the whole truth. Instead, I believe Ashton wants to be rid of his humanity, wants to become an unemotional person who does not need to care about anything, or anyone, other than Giselle. It is escapism, it is cowardice, it is the inverse of everything Ashton as a man was. Yet in this state, with his body and mind so effectively molded by Giselle, he chooses this path. To become someone new. To become someone who bears the name Ashton, but is truly The Blonde Vampire.
In the end, the man known as Ashton is completely gone, completely corrupted, and so radically different she’s become the antithesis of everything she once stood for.
As a work of transformation, I think this is a masterclass job. It is slow, plodding, full of long psychological manipulation. One with mind games that lurk within subtext and an uneven decline that, nevertheless, feels completely warranted and consistent. I’d say it probably works better under a TF lens rather than a TSF lens, but as I said, the story just would not be what it was without a leading man. None of this would work if a woman were turned into a breast milk fountain. The contrast just would be insufficient.
Part 7: The Alternative Ending
Rather than cap things off on that, translation notwithstanding, banger ending, Turned Into a Breast Milk Fountain by a Beautiful Vampire ends with a collection of scrapped plot concepts. These are mostly just lightly fleshed out ideas, not really worth highlighting beyond extras, like Ashton living amongst cows and being milked like one. Or Ashton walking around dressed like an exhibitionist sex slave. Or Ashton menstruating and that driving Giselle bonkers, even though she should be used to menstruation, as bats menstruate. …Well, the last one had potential, but it was not meant to be.
However, the 2020 remake features two decently length scenarios. The first one can be seen as an alternative ending, or good ending if you care about morality over quality. It sees Ashton come to an agreement with Giselle after their battle of wills, where Ashton is allowed to leave, live in his hometown amongst humans. Though, he comes back every few days to give Giselle her fill of breast milk and… other needs. It’s a somber little piece, seeing Ashton return to his dilapidated childhood home, repair it, make it livable once more, before schlepping up the mountain as night falls.
There, he embraces Giselle for a night of bliss. Bathing with her, having all manner of sex with her, letting her drink a few days of milk buildup, before spending a few days living their usual life. Tea in the arbor, milking in the garden, presumably a few filling meals served by her bats, all before Ashton fills a few bottles with his milk. It was not enough to sustain her over time, but it would serve as a savory treat to enjoy while Ashton was away.
What’s more, Giselle also decided to begin saving the pelts and meat of the animals she hunted, allowing Ashton to bring a bounty back to town, earning a reputation as a wandering hunter. Much like his father. However, rather than claim his old identity, she merely says that she is a hunter’s daughter from a faraway land. Everybody in the village had forgotten about Ashton after his eight year absence, with the exception of Douglas. He still looked upon Ashton, recognizing his hair, eyes, and even clothing style, but Ashton simply maintains his distance, never engaging with him, while observing Douglas, and his growing son, from afar.
From there, peace was restored. People stopped disappearing, talk of the vampire faded into hold hearsay, and people even began traveling up the mountains to hunt. Ashton maintained his distance, known more as an occasional wanderer, but he still relished this peace. He may have been unable to slay the vampire, but at the very least he brought prosperity to his hometown.
It’s a great happy ending for the story, one where literally hundreds of people are not killed every year. But Kouji just had to pursue another idea, and I don’t want to talk about it, as I think it’s a stinky lump of crap that should not exist.
Part 8: The Child Rape Ending
Much like the rest of Milky Vampire, this second bonus story is about sexual assault… except the protagonist is a young Ashton. Like, five-years-old young.
Yeah. I need to talk about this if I am going to talk about Turned Into a Breast Milk Fountain by a Beautiful Vampire, but I will do so with white text on a white background. Because I don’t want people to scroll and happen onto this.
The second scenario sees Ashton traveling up the mountain to Giselle’s mansion, where he suddenly meets Giselle. She greets Ashton by name, dotes upon him like an older sister, and lures him away to her house, claiming it’s near the top of this mountain. He, naturally, agrees, and Giselle wraps him in a dark vortex. He wakes up on Giselle’s lap, his body, and clothes washed— I don’t want to know how— and a multi-course spread of food before him. Ashton, having been on the brink of starvation, eats everything as Giselle watches, and feels something funny going on in his body.
Giselle then takes him into her dungeon, and… she drinks from a 5-year-old’s milk-bearing breasts— a phrase that should not exist. Ashton pisses himself as his “weenie” morphs into a vagina, and Giselle gets feral in her approach, not caring about Ashton’s resistance, before losing herself and sucking Ashton’s blood. However, rather than kill him, Giselle inflicts this 5-year-old with an unimaginable agony as he is transformed into the littlest vampire. A lolita loli that flies through the night, searching for her father, while Giselle insists that he’s out there. Somewhere, and not… just dead. Because he absolutely is.
Together, the two of them lead a rather warped life as mother and daughter, enjoying the blood of captured travelers as a pair, before having… “boobie time” where Giselle sexually assaults this unaging 5-year-old. Probably for decades.
Thanks Kouji.
I hate it.
I fucking hate it.
I was willing to give you a pass on the super sentai toddler pee-pee TSF comic you did, but this… What the fuck, dude? I DID NOT sign up for this? You could have just NOT drawn this. It’s a bloody ten page extra, but no, I guess you just couldn’t help yourself, ya weird fuck. I love a lot of your work, I love the main body of what you delivered her, but this? No, fuck this gross pedo shit. You’re better than this, dude.
And knowing this, can I actually recommend that people buy this comic? …No! I have to draw a line somewhere, and this is it.
Does this bonus scenario have the right to exist? Yeah, sure. It’s a cartoon character, not a person with blood, kidneys, and a social security number. So any argument about it being harmful is going to require some heavy lifting and actual good faith research. But putting this in as an extra is like reaching the bottom of a can of refried beans and finding a bunch of dead wasps lathered in cat feces.
Part 9: Milky Vampire is DOPE!
Now that I have ruined the mood with that rotten chestnut, I should probably wrap up my thoughts on this fine story.
Turned Into a Breast Milk Fountain by a Beautiful Vampire is, as I have said many times before, one of my favorite TSF stories of all time. I loved it when I first read it in 2017, still love it eight years later, and the more time goes on, the more I appreciate everything it does. The way relationship of the main characters progress from blind hatred to unabashed love. The way it so thoroughly and utterly transforms its protagonist’s mind as well as his body, until what remains is the utter antithesis of everything he stood for, a complete 180 transformation.
I am still impressed how it uses concepts and sexual acts that I would have once depicted as overtly fetishistic material with no narrative substance in order to tell a gripping story. It makes lactation and sucking piss out of somebody’s bladder work beyond blind perversion. Everything it does has a point, there are themes at play, a relationship that changes through repeated instances of pain and pleasure over a broad stretch of time. And the use of backstory, of giving the protagonist a deliberate history, only goes to enhance every instance of humiliation, every part where his convictions falter.
While the simple fact that it received a remake— a rarity in comics, let alone erotic comics— goes to make the highs of the story all the greater. What was once a story with scrappy edges is defined and expanded in ways that feel earnest and natural. With a presentation that shows how much Kouji developed as an artist, going from the well-composed sketches of the original to what is probably his most ambitious and lavish work, even to this day.
Milky Vampire is one of my favorite TSF works of all time. It has stuck with me, inspired me, and whenever I go back to it, I find more reasons to love it.