GTS Tropes

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Human fantasies are usually represented in art.

The GTS community also expresses their fantasies in artistic media (illustrations, stories, animations, video games, etc.), however, the most "valued" (and used) medium is that of static images (illustrations, photomontages, CGI art).

Every time an idea regarding the giantesses is presented, these ideas often have several patterns in common: they are usually represented by a giantess interacting with a city (for example, destroying it), sometimes holding with her hand someone relatively smaller than her. Ideas that are repeated over and over again, and occasionally show people fleeing from the giantess. All these ideas (or rather: patterns) used in artistic works are called tropes.

What is a trope?[1]

A trope is a device or convention for the presentation of ideas in artistic media, a shortcut to describe situations that the artist or author can reasonably assume that the audience (or target audience) will recognize. Tropes are the means by which an artistic work is exhibited by anyone who has an idea to show. We collect them, for the pleasure of having the information of artistic ideas in an orderly and structured way.

Tropes are not the same as clichés (the meaning is explained below). They may be new, but they seem common and known; They may be thousands of years old, but they seem fresh and new. They are not bad, they are not good; tropes are tools that the creator of a work of art uses to express his/her ideas to the audience. It is impossible to create an artistic work without tropes[2].

TV Tropes and All The Tropes are wikis that stores the tropes of artistic works, however, their purpose is general. For example, they have Attack of the 50-Foot Whatever (general trope for giants) and Incredible Shrinking Man (general trope for shrunken). However, being a general purpose, they don't delve into very particular tropes that occur in works that involve the size difference, and less in the subject of the giantesses.

Therefore, here, on Giantess Wiki, we can concentrate on collecting and cataloging tropes related to the giantesses (we name them "GTS Tropes"). Here is a list of GTS tropes, divided into groups (according to some characteristic).

And what is a cliché?

A cliché is an element or idea that loses its effect due to its excessive use. This is subjective, since it depends on each person and each community of people.

For example, someone outside the GTS community might find it new and original to see a person lying on the tits of a giantess, but for someone who is inside the GTS community it might seem common and unoriginal.

Tropes are tools

Tropes are just tools. Artists and authors understand the tropes and use them to control the audience's expectations either by using them directly or by subverting them, to convey things and ideas to the audience quickly without saying them.

Human beings are natural pattern seekers and exhibitors of ideas. We use art to convey truths (or lies), examine ideas, speculate about the future and discuss the consequences. To do this, we must have a basis for our discussion, a new language that shows us what we are seeing today. Then our artists use tropes to let us know what things of reality we should put aside and what parts of fiction we should address.

When you investigate or meditate on tropes, remember these two mantras:

Tropes are not bad

There is one thing that you should keep in mind to keep your sanity here, and that is that including a trope in a particular job does not "ruin" or "make it worse." Not even overexploited and "hated" tropes like the foot-POV.

Boobcrush: a consequence (logical and obvious) of the enormous weight of a giant female breast.

If your favorite artistic works have long lists of tropes associated with them, well, so do all other artistic works. The demolition or boobcrush are not a bad thing: the first is practically inevitable (and general), and the second is a consequence (logical and obvious) of the enormous weight of a giant female breast.

  • There is nothing new for God: Including that same statement. Each artistic work is influenced by what preceded it, and artists (cartoonists, writers, video game programmers, etc.) are required to show that influence, intentionally or not, in the process of exposing ideas. The fact that something has been used before does not mean it is a cliché, and artistic works often earn something by having links to other works. That said, there is certainly something too derived, but there is a difference between running a trope directly and running a set of over-exploited tropes (even those are not necessarily bad).
  • Almost all tropes have a positive side: The very cursed mouth-POV, let's not forget, used in the vast majority of works that include vore. While parodies are not always good, they are usually done anyway. Even if a trope did not have a positive side, each trope could be honorably used by subversion, parody or appropriately employed and treated examples in the universe.
  • Fiction is not necessarily supposed to be realistic: Artistic works are not required to reflect reality. Many fiction works seek to show not what it is, but what it could be or what it should be. A trope that is not realistic is not necessarily a defect. In fact, a trope, although unrealistic, can be a convenient shorthand when interpreted directly; setting up aversions or subversions can be more neat than it takes to create an artistic work.
  • Tropes that are bad when imitated in real life are not automatically bad in fiction: This is an important distinction. Many tropes contain or imply cultural, social or moral value judgments that simply do not work in the same way in fiction as in real life. For example, if writers were forced to be "hyperrealistic" following the laws of real world (physics, biology, psychology), then there would be no stories of zombies, spacecraft traveling faster than the speed of light, geniuses smarter than Leonardo D'Vinci, infinitely self-improvable artificial intelligences and... neither would there be giants or shrunken!!!

Tropes are not good

We have already said that the tropes are not bad, but that does not mean that they are also good:

  • All tropes can be misused: This includes tropes that everyone thinks are good, such as invulnerability. The trope of invulnerability misused (in a serious superhero story) can be done in such a way that everyone else (superheroes) in the story seems weak, useless and irrelevant (in addition to making the character invulnerable look like a Mary Sue or Gary Stu, taking away all possible tension or suspense to the story).
  • All tropes can be over-exploited: Too many foot-POV in an artist's gallery gives the impression that (s)he has a lack of creativity. The same goes for other tropes, such as the City-Attack, Stepping-On-People or the vore itself.
  • The fact that a trope is realistic does not mean that it is good: One of the most fundamental archetypes of the giantesses generally as invulnerability or physical domination are not realistic. The important thing when creating an artistic work (especially if you are going to write a story) is that it is credible, not that it is real. Reality limits the possibilities, after all; often people are so accustomed to thinking that the giantesses are invulnerable and destructive, so they believe that the reality (that is, the laws of physics and biology of our real world) is a lie (or they simply ignore them purpose).
    • A case that attracts attention is the deceptive book of Farivas called Gigaphilia: Beyond a fetishism. Little is known about him (if he really was the "only" author of the book), but what is known is that "he was investigating the psychology of giantess fetishists". Based on the above-mentioned premise, some people suspected that he planned a "physics" that would match the fantasies (or "ideology") of the giantess fans (the entire GTS community) using algebraically correct procedures, of so that anyone who had very basic knowledge of physics could be deceived, that is, Farivas managed to create credible physics (but not for that reason)[3].
  • A good artistic work does not need "good" tropes: People often look for an ideal recipe for a successful artistic work, as if the artistic appreciation was a kind of alchemical process, and is surprised when its sewn creation takes three steps before disappearing into critical oblivion. A good artistic work will not be worse if it does not have an invulnerable and destructive giantess. A good artistic work does not worsen if it is a parody of Attack of the 50 Foot Woman. Moreover, a good artistic work does not even need basic tropes such as Walking-Through-The-City, growth or tremors.

Tropes are also fetishims


A meta-trope is a trope of tropes. TV Tropes has identified 61 meta-tropes, but we will only use 11 of them and 2 new meta-tropes created with the specific purpose of relating similar tropes to the issue of size difference. That is, we will only use 13 meta-tropes.

Meta-tropes imported from TV Tropes

  1. Played Straight: The trope is simply used.
  2. Justified: The trope has a reason In-Universe to be present.
  3. Inverted: The trope (or its elements) are reversed and then used. Some tropes have more than one possible inversion.
  4. Subverted: A trope is set up to occur, but then the writer pulls a fast one on the audience, and the trope does not occur after all.
  5. Parodied: The form of the trope is twisted and used in a silly way, specifically for comic effect.
  6. Deconstructed: The intentional use and exploration of the trope, played far straighter than usual in order to show the trope as poorly thought out, impractical, or unrealistic. A Deconstruction does not always have to be a less nice version of the straight trope. It just points out the trope's flaws or how it's even possible.
  7. Reconstructed: Reconstructed tropes are the new and improved Played Straight of an often deconstructed trope. A Reconstruction admits the assumptions pointed out in Deconstruction, so it reassembles the trope into something that resembles the original to become useful again. In other words, this is the inversion of a Deconstruction.
  8. Enforced: The trope occurs solely because of outside expectations or obligations placed on the writer, such as Executive Meddling or censorship.
  9. Implied: The trope isn't shown, but the audience is indirectly led to believe that it happened off-screen.
  10. Logical Extreme: The trope is taken as far as it can logically go while still fitting within the description.
  11. Rainbow-arrow.gifRainbow-arrow.gifGender Inverted: This case is rather special. Here you simply we change the leading role of a giantess (giant female) for a giant male, which in broad strokes does not alter its meaning as a trope.
    • Example: Alternate Giantess-VS-Kaiju for Giant-VS-Kaiju
    • Sometimes this metatrope doesn't exist for tropes that do not need the sex of the leading giant. Example: Foot-POV or Imminent-Vore
    • Sometimes it is very difficult for a GTS trope (that is, a trope designed especially for giant women) to work just as efficiently for giant males (GT Trope), and vice versa. Examples:
      • Boob-crush works only for giant women because they have boobs, however, it will not work for giant men. Unless the trope is forced in the following 2 cases: a man has boobs because he is very fat or because artificial boobs were implanted.
      • Penis-ride (a normal-sized human "rides" a giant penis like a horse or motorcycle) is a trope that works for giant males because they have a penis, however, this trope will not work for women. However, this trope could be forced on women with the following 2 cases: futanari (women with a biological penis) or a woman having a false penis (latex or leather).

Exclusive meta-tropes for size difference tropes

  1. Change of Scale: If a trope operates on a certain size (scale), making its participants larger or smaller may or may not alter its functioning.
  2. Shrinking-Related Counterpart: If a trope works for relative giantesses, will a special trope work for the relatively shrunk at the same time?

Optimal context

A GTS trope will not always work efficiently. In some cases, it only works with specific situations and in a range of sizes.

For example, Stick-Man works well when the difference in sizes is very large (from 23x to 500x), but loses efficiency when it is smaller (the loss of details of relatively smaller beings does not fit well) or larger (the size difference is so large that it is not even necessary to draw relatively smaller beings anymore).

Therefore, we look at 3 parameters:

  1. Absolute sizes: We start from the assumption that you work with absolute giantesses, that is, in what range of absolute sizes (measured in meters) the GTS trope works efficiently.
  2. Relative sizes: We start from the assumption that we work with relative gigantas, therefore, the measure we are going to use is the dimensionless one (also known as relative size, it is expressed as a real number followed by the letter "x").
  3. Special types: Those on the list of that article. If ALL are valid, just mention the "relative giantess" type (since that type encompasses all by definition).

Forum discussion

  • After a long wait, we are pleased to announce that we can finally continue with the GTS tropes project.
  • You can participate in this planning (it doesn't requires a Miraheze account). You can find us in our official forum:

Rainbow-arrow.gifRainbow-arrow.gifGTS Tropes: Project planning


  1. What is written below is based on what is written on TV Tropes. Specifically, of the following articles: However, it has been deliberately modified to fit the purposes of Giantess Wiki.
  2. We will demonstrate this proposition by reductio ad absurdum:
    1. Let's suppose there is an artistic work that does not have tropes.
    2. However, not having tropes is considered a trope by definition (let's call this trope "tropeless").
    3. Therefore, this article work has a trope ("tropeless"), which contradicts the initial assumption that this artistic work has no tropes (contradiction!).
    4. Conclusion: All artistic works have at least one trope. (QED)
  3. Suspicions about this author are further intensified by knowing that he was an ally of Calvos Sexuales Soviéticos. Considering further that his book was suspiciously free and without legal registration, it can be deduced that he intended to disseminate his ideas to as many people as possible who are interested in the subject. In addition, he said absolutely nothing to the scientific community (this may be because he was fully aware that his book would ruin his reputation). A possible explanation is that his book was one of his many "experiments" with the GTS community, with the aim of continuing to study the giantess fetishists. Despite these suspicious features, we cannot definitively conclude anything about the objectives of Farivas. Only he knows the truth. The possibilities that he has simply been wrong or that he is crazy are not ruled out.

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Anonymous user #1

20 months ago
Score 0 You
Exelent, i see the tropes like resources. Things to be use but just stuffs, no the goal. I like of someones, of anyway...