Ah, my apologies. I've don't follow TiTs as close as I do CoC II, and now with Will's departure and the fact Bianca, the Jumpers, Sophora, and everything he was working on is all but scrapped- I have even less of a reason to follow that game's development.
Nastizia is the only character that's getting updated I really sort of care about anymore.
You've totally summed up my feelings on the Frostwrym situation to a T.
And to your final point about Tobs. Yes, I agree. I'll still praise him for his work ethic but the actual product he makes is bad. It's become clear to me in the past seven years of this game's development he's not going to change his writing habits.
I'm not saying it's easy in the slightest at all when I criticize the writers here. I want to make it perfectly clear, I know from experience how hard it is to write sex, I used to write smut myself.
You sort of need to be in a headspace to really do it. It's very hard to write scenes that don't feel dry or clinical like you're writing a medical textbook. It's hard to come up with words to describe things without just repeating "penis", "cock", and "dick" fifty times in a row. It's how you get shit like "baby bag" and "kit carrier" because you inevitably struggle to not have three long pages of thousands words of smut feel clinical. Less is more when it comes to smut. Yeah, it might seem cool that a sex scene is over ten thousand words long, until you actually read it.
Sex is inherently something that focuses on our senses; sight, smell, touch, taste, sound. All of those are hard to put to words. Tobs tries solving this by using metaphor and tangents to describe things, but that's just not how you go about writing sex. You leave the reader confused and pulled out of the scene. The exact opposite of what you want.
Tantalizing smut is suppose to paint a vivid image, something for your mind to play out like a movie and arouse you as you read. It should be easy to read, the words flowing together and taking the reader along for the ride. It should focus on feelings, what do the participants feel? How are their bodies reacting? Show us the actions, the shifting positions, the expressions on the participants' faces. Describe the scene using your senses. Metaphor has it's place, but not when it's spent padding out a paragraph for no point other than the be poetic. It should be simple and to the point, then back to the feelings. Feelings are the focal point.