[Sex Motion 3]

Procedural paired sex motion for a female and male actor. The female side generates the sway, thrust timing, contact frame, and arousal state; the male side binds to that contact frame so the pair stays locked together instead of drifting as two independent animations.

Sway and Thrust

Sway Motion shapes the upper-body sway layered over the cycle, while Sex Motion controls the penetration rhythm, travel distance, and tempo response. Treat sway as the visual style and sex motion as the mechanical driver underneath it. A stronger sway can sell weight, but if it is too large relative to the thrust cycle the pair will read as loose rather than physically connected.

Contact and Reaction

Contact Smoothing is primarily for the male role: it filters the female-driven contact frame so small pelvis jitter does not shake the partner around. Raise it when the bind feels noisy, lower it when the male starts lagging behind the action.

Reaction bends the spine in response to thrust extension. Speed and Damping shape how quickly the spring follows; Bend, Hip/Torso Ratio, and Blend decide where that motion lives in the body. Pushing the bend too far makes the loop read theatrical rather than responsive.

Arousal and Orgasm

The Orgasm block adds a second layer that can accelerate the motion, blend in a pose, and drive shaking plus facial intensity. In Physical mode the peak is triggered by thrust stimulation, so Orgasm Sensitivity, Music Compensation, and Arousal Curve control how easily the build-up happens. In Determined mode the cycle is beat-counted instead, which is better when you want predictable musical phrasing.

Once triggered, Shaking Intensity, Shaking Speed, Shaking Damping, and Shaking Frequency define the feel of the peak. Variety adds per-orgasm drift so the shaking is less repetitive, and Ejaculation Chance changes whether the pose collapses inward or resolves into the ejaculation branch. Use Test when tuning so you can see the full cycle without needing live stimulation.

Role Pose Alignment

Female Pose and Male Pose set the base body layout for each role before the procedural layers are applied. On the female side, Pussy Up / Down, Pussy Front / Back, and Pussy Angle move the contact anchor used to publish the bind frame. Small adjustments here are usually better than forcing a large pose offset, because the anchor affects both alignment and penetration direction.

On the male side, Bend Penis curves the chain toward the resolved target. Keep it low unless the model needs help meeting the contact point, otherwise the correction becomes more visible than the motion itself.

Expression

Facial maps the procedural intensity onto eyebrow, eyelid, and mouth morphs. Keep this block subtle if the model already has authored facial animation; push it harder when the body motion needs help reading from a distance.

Sub-Components

Sway Motion

Reusable motion-pattern generator for looping body sway and positional drift. It can randomize built-in patterns, randomize user presets, or expose the underlying curves directly for manual shaping.

Pattern Source

Mode decides where the curves come from. Random pulls from the built-in pattern library, Random Preset rotates through your saved presets, and Manual exposes the underlying motion curves directly. Seed fixes the random sequence so the same pattern order repeats; change it when you want new variation without redesigning the curves.

Timing and Intensity

Moves Per Group controls how often the generator advances to a new pattern phrase. Speed scales playback, while Use Audio lets the motion breathe with the music level instead of staying at a fixed intensity. Extent is auto-updatable, so it is the best control to automate when you want another system to push the motion larger or smaller over time.

Transition and Damping

Transition softens the handoff between phrases; low values make the motion snap to the next idea, high values keep it more fluid but can blur the character of individual patterns. Damping controls how quickly the driven rig catches up on orientation, horizontal sway, and vertical sway, which is often the difference between crisp choreography and a floaty feel.

Motion X

Curve function that is used to control procedural motions.

Motion Z

Curve function that is used to control procedural motions.

Sex Motion

Reusable spring-driven thrust controller. A shaped driver curve pushes one mass, a second mass trails behind it, and the gap between them becomes the regulated travel used by paired motion systems. This makes the cycle feel elastic rather than like a raw sine wave.

Tempo and Travel

Extent sets the maximum travel distance. Auto Intensity can scale that travel from the current music level, while Auto BPM and Speed control how quickly the cycle runs. Use manual speed when you want consistent pacing; enable the audio-driven controls when the motion should breathe with the soundtrack instead.

Driver Shape

Top Duration, Bottom Duration, and Slope Balance shape the idealized cycle before the springs respond to it. A longer top creates a held extension, a longer bottom creates a more obvious reset, and slope balance shifts time between the drive and return strokes. This is where you define whether the motion feels punchy, even, or teasing.

Spring Response

Collision Distance sets the resting separation between the two spring masses. Spring A, Damping A, Spring B, Damping B, and Rest Spring determine how tightly each mass follows the driver and how much overshoot or softness is left in the result. Stiffer values feel more mechanical; softer values feel heavier but can get mushy if the cycle is fast.

Visualization

Visualize Curve draws the target and spring responses in the scene so you can tune the shape without guessing from the body motion alone. It is a setup aid, not something you would keep on during normal use.

Facial

Maps a single motion intensity value onto facial morphs so the expression can open up with the thrust cycle, arousal buildup, or orgasm peak. This is a lightweight driver: it does not generate expressions on its own, it remaps existing morphs and their min/max range.

Morph Selection

Eyebrow Morph, Eyelid Morph, and Mouth Morph pick which morph channels receive the driven value. Choose morphs that read clearly from neutral to expressive, otherwise the motion will feel weak even if the range is large.

Output Range

Each range sets the minimum and maximum value written as the driver moves from 0 to 1. Narrow ranges keep the face subtle and layered over other animation; wide ranges make the motion much more explicit but can clip or fight baked expressions on models with aggressive morphs.

Male Pose

Reusable actor-pose block for staging a character before motion layers are applied. It combines body alignment, hand pose, and leg pose controls so a procedural system can start from a stable authored stance instead of fighting the model’s default rest pose.

Body Setup

When the hosting feature enables body controls, Orientation, Bend X, Bend Y, Twist, Head Rotation, Body Position, and Body Rotation establish the base torso layout. Use these for coarse alignment first. Large procedural offsets layered on top of a bad base pose usually read worse than a cleanly staged pose with smaller animated corrections.

Hands

The Hands block chooses whether hand posing is active and whether both sides stay symmetrical. This is useful when you want a quick, mirrored pose for broad staging or an asymmetric pose that interacts with a partner or prop more naturally.

Legs

The Legs block does the same for lower-body posing. Keep the legs symmetrical when the feature should feel centered and easy to retarget; break symmetry when you need weight shift or a more character-specific stance. Because many motion systems build on this pose, small leg edits can have a large downstream effect on balance and contact.