Search the Community
Showing results for tags 'ai'.
-
Version 1.0.0
244 downloads
Blacked Waifus Overhaul Mod A TCG Card Shop Sim Texture Replacer & New Cards Mod Features: Complete replacement and renaming of the Base Card Set. Adds 100 New Cards on top of the replaced base set. New Shop Sign New Shop Bag New Membership/Credit Card New Posters New Sleeves New Figures New Boxes New Playmats And much more... This mod has been in development for a year now. It was started by a user named Akasame on the Blacked Modding discord, who was the one that replaced the base game card set and with another user named Daxterino to replace a lot of the posters in the game. Unfortunately Akasame left the discord and development on the mod when he was in the middle of replacing all the names for the base card set. I wanted to at least finish off the rest of the unnamed cards for the mod, but eventually I found myself working to finish what he had started with an effort to replace all the base game "Tetramon" textures with new ones for the "Blacked Waifus" branding, which then lead to adding in new cards with a new design philosophy centered on the corruption stages of the characters. However, the type of system that allows new cards to be added that this mod uses is unfortunately has become more and more outdated and many card overhaul mods like this one that use even older mods no longer work. Even now this mod is very fragile and hangs by what feels like a single thread already where I'm sure the next update to the game will finish it off for good. So before that happens I wanted to release the mod in full so other players can enjoy whats there even with some of the issues the mod currently has, even if it isn't fully complete how I wanted it to be. Future Plans: While this mod might die with the next game update, that doesn't mean all hope is lost. There are much better mod tools for adding new cards, editing game files, and replacing textures now but they're more complicated to get setup and a little more inconvenient to use. Because of this I cannot simply move this mod over to using those new mods and tools since it would require me to completely rebuild the card set from the ground up. Which, is something I had been wanting to do for a while, to rebuild the mod as my own and to apply the design philosophy of the 100 new cards into the base set of cards. It's going to take a while before work on that begins, plus I want to see where the updates for the game go before digging back into it again, but it'll come one day. Thank you and have fun~ Disclaimer: AI was used in the creation of the artwork seen in this mod. -
View File TCG Card Shop Simulator - Blacked Waifus Overhaul Blacked Waifus Overhaul Mod A TCG Card Shop Sim Texture Replacer & New Cards Mod Features: Complete replacement and renaming of the Base Card Set. Adds 100 New Cards on top of the replaced base set. New Shop Sign New Shop Bag New Membership/Credit Card New Posters New Sleeves New Figures New Boxes New Playmats And much more... Requirements: BepInEX TextureReplacer Card Configurator (More Card Expansions Rewrite) - Create Cards v1.0.0 Specifically get the the Create Cards v1.0.0 on the files page, not the configurator! This mod has been in development for a year now. It was started by a user named Akasame on the Blacked Modding discord, who was the one that replaced the base game card set and with another user named Daxterino to replace a lot of the posters in the game. Unfortunately Akasame left the discord and development on the mod when he was in the middle of replacing all the names for the base card set. I wanted to at least finish off the rest of the unnamed cards for the mod, but eventually I found myself working to finish what he had started with an effort to replace all the base game "Tetramon" textures with new ones for the "Blacked Waifus" branding, which then lead to adding in new cards with a new design philosophy centered on the corruption stages of the characters. However, the type of system that allows new cards to be added that this mod uses is unfortunately has become more and more outdated and many card overhaul mods like this one that use even older mods no longer work. Even now this mod is very fragile and hangs by what feels like a single thread already where I'm sure the next update to the game will finish it off for good. So before that happens I wanted to release the mod in full so other players can enjoy whats there even with some of the issues the mod currently has, even if it isn't fully complete how I wanted it to be. Future Plans: While this mod might die with the next game update, that doesn't mean all hope is lost. There are much better mod tools for adding new cards, editing game files, and replacing textures now but they're more complicated to get setup and a little more inconvenient to use. Because of this I cannot simply move this mod over to using those new mods and tools since it would require me to completely rebuild the card set from the ground up. Which, is something I had been wanting to do for a while, to rebuild the mod as my own and to apply the design philosophy of the 100 new cards into the base set of cards. It's going to take a while before work on that begins, plus I want to see where the updates for the game go before digging back into it again, but it'll come one day. Thank you and have fun~ Disclaimer: AI was used in the creation of the artwork seen in this mod. Submitter PrincessCyan Submitted 05/26/26 Category Other Games Requirements BepInEX: https://www.nexusmods.com/tcgcardshopsimulator/mods/8 TextureReplacer: https://www.nexusmods.com/tcgcardshopsimulator/mods/69 Card Configurator (More Card Expansions Rewrite) - Create Cards v1.0.0: https://www.nexusmods.com/tcgcardshopsimulator/mods/758 Specifically the "Create Cards v1.0.0" file. Install Instructions Install BepInEX Install TextureReplacer Install Card Configurator - Create Cards Extract TCG Blacked 1.0.0.zip to your TCG Shop Sim game directory where the .exe file is. -
Beach Boys - This is the appetizer; no Sex. 😑 Fireman - These Firefighters are so hot. They directly started the fire... 🔥 Brothers Cafe - This cafe offers more than just drinks... ☕ Study Room - The surprise from under the table... 🤪 Construction site - What do construction workers do at work ? X-Men - Superheroes always help each other.
-
My Hero Academia - Enji Todoroki's little secret has been discovered by his son... Hateful Batman - Batman is too rich ! The city's poor have captured him !🤑 Terry Bogard - Summer is almost here. It's very hot.🔥 Cassidy a.k.a McCree - This American cowboy tossed cigar butts everywhere, causing multiple fires !🤢 Carlos and Leon - This is an AI-generated image I created last year. Many people seem to like these images, so I created an animation of them. Made Skyrim great again - I rarely create Skyrim animations anymore; I mostly use AI to create videos.
-
View File Student Secrets [v0.1] Overview: Welcome to Northern College, Mr. Principal. In Student Secrets, you take on the role of Max, the newly appointed principal of an elite F18 college. But you didn't just come for the job, you came for the power. The Story: After a mysterious incident at your last school, you've been given a second chance. On your very first day, you discover a "Black Box" in your office, a high-tech spying device left by your predecessor. It allows you to intercept phone calls, hack into private chats, and access cameras that no one knows exist. Thread Updated: 2026-05-01 Release Date: 2026-04-26 Developer: Lanyard Interactive itch.io - Patreon - Discord Censored: No Version: 0.1 OS: Windows, Mac Language: English Store: itch.io Genre: Submitter Lanyard Interactive Submitted 05/05/26 Category Other Games Requirements Nothing Install Instructions 1. Extract and run.
-
![More information about "Student Secrets [v0.1]"](https://static.loverslab.com/screenshots/monthly_2026_05/hf_20260413_183757_ece2153c-011f-42b1-8cfc-f6a017fe14d8(1)(1).thumb.png.fb9f10a945af8861fb950e087e68cd22.png)
Version 0.1
54 downloads
Overview: Welcome to Northern College, Mr. Principal. In Student Secrets, you take on the role of Max, the newly appointed principal of an elite F18 college. But you didn't just come for the job, you came for the power. The Story: After a mysterious incident at your last school, you've been given a second chance. On your very first day, you discover a "Black Box" in your office, a high-tech spying device left by your predecessor. It allows you to intercept phone calls, hack into private chats, and access cameras that no one knows exist. Thread Updated: 2026-05-01 Release Date: 2026-04-26 Developer: Lanyard Interactive itch.io - Patreon - Discord Censored: No Version: 0.1 OS: Windows, Mac Language: English Store: itch.io Genre: -
Fate Card Replacer-Ai Girl View File I redesigned the fate cards. Now it’s fun to find them. As with my previous posts, I’m not adding any preview photos to avoid spoilers. Submitter daevas Submitted 04/21/26 Category Adult Mods Requirements Fate Cards Remade - Legacy of The Dragonborn --> https://www.nexusmods.com/skyrimspecialedition/mods/76418 Regular Edition Compatible Install Instructions
-
Version 1.0.1
639 downloads
I redesigned the fate cards. Now it’s fun to find them. As with my previous posts, I’m not adding any preview photos to avoid spoilers. -
Version 1.0.0
1399 downloads
BBR - a hundred NSFW collectible cards replacer. The best BBR cards so far. I replaced the BBR cards with AI photos. I didn't add a preview photo so you'll be happy when you find them and to avoid spoilers. Trust me and give it a try. By the way, I got the patch file from @DirtyLola. Thanks to DirtyLola, the cards look much better now. https://www.loverslab.com/profile/12580497-dirtylola/ Requirements https://www.nexusmods.com/skyrimspecialedition/mods/122838 -
Version 1.0.0
2319 downloads
You can install it normally with the mod manager. No requirements. I didn't add any photos because I didn't want to spoil it. The cards are so realistic and beautiful that you'll want to find them all. -
Here I will post randomly created AI ABDL/DIaper girls.
-
Recently reuploaded this because the vid broke How she looks in game The prompt i put in AI. Now obviously ai isn't perfect so lets just imagine she has the ability to phase through objects and has the power to create metal to transform her cage..which honestly sounds pretty cool. This contains 4 scenes of different ways she behaves in her cage
-
La aparición de este numero especial, Carpa 3088, al improviso, habrá sorprendido, sin duda alguna, a las seguidoras de las publicaciones de nuestro tercer mandato editorial y de las ediciones de la redacción de fotografía antigua del mismo. De una forma somera, en Carpa 1288, se comento, un tanto de pasada, la necesidad de dedicar un volumen extraordinario a la figura de Angustias de la Soledad Martinez Ribera y su magistral obra artística, apareciendo en ese numero como una de las desconocidas influencias de Condenacion Torres Mesa y como, muy por encima, nos detuvimos en sus historias gráficas y desdichada biografía. Cuando se cerro la edición del volumen anterior, todo estaba dispuesto para concluir los monográficos dedicados a la figura de “Nene” e iniciar el trabajo en el gran proyecto editorial centrado en la historia de la fotografía planetaria tal y como anunciaba en la despedida de nuestro 1288. Todo se precipito cuando a las pocas horas de abrirse sus servidores y distribuir las ediciones físicas, fui citada por la autoridad principal de este mandato: Genoveva Dorcas de Aguirre Puertas, a requerimiento de la octava división del conocimiento. El hecho de ser convocada directamente por nuestra autoridad ya es de por si un hecho extraordinario, pero aun lo era mas que “La octava de la sabias”, como familiarmente se conoce a la división de xenobiologia, fuera quien, realmente, convocara la reunión. Llegue al piso 43 de nuestra torre acompañada por Petia y Tini por cuestiones de respaldo técnico y datos pues nuestra linea editorial no tiene y, posiblemente, nunca tendrá relación con los temas de estudio de las arzodoctas de los laboratorios de investigación extra planetaria. Poco puedo contar sobre la entrevista con Doña Genoveva, nada confidencial hubo en ella, con su encantadora amabilidad y presencia, nuestra autoridad ordeno que la redacción se preparara para recibir, en tres días, la visita de Doña Estrella del Castillo de Valdivia y Orozco arzodocta principal de la división y figura legendaria de la exploración espacial por sus investigaciones y descubrimientos sobre las distintas formas de vida extra planetarias. Ella misma nos comunicaría el porque de su visita aunque nos aseguro que sus motivos eran de carácter estrictamente privado y nada tenían que ver con lo publicado hasta entonces por la redacción Prácticamente, toda la reunión fue acaparada por Petia y, en menor medida, por Tini, Doña Genoveva, como otras tantas venerables antes de ella, estaba fascinada por nuestra redactora y sobre todo, en su caso, por su producción novelera y folletinera. Petia correspondió a dicha admiración como merecía nuestra autoridad y uno tras otro interpreto lo mas granado de su composición melódica y obsequio a Doña Genoveva con los archivos de tres producciones inéditas creadas junto a Tini y la pentarquia, para despedirse con la promesa de una bienvenida musical a la visitante que nunca podría olvidar. Al salir, animadas las tres aunque algo intrigadas, por la urgencia de la reunión y visita, decidimos que la única actitud posible seria el no poético gesto de: “Pongame a mi otras dos” al tomar asiento donde siempre. Google translation: The unexpected appearance of this special issue, Carpa 3088, will undoubtedly have surprised those who follow the publications of our third editorial term and the editions from its vintage photography section. In Carpa 1288, we briefly mentioned, somewhat in passing, the need to dedicate an extraordinary volume to Angustias de la Soledad Martinez Ribera and her masterful artistic work, mentioning in that issue one of the unknown influences on Condenación Torres Mesa, and briefly touching upon her graphic stories and tragic biography. When the previous volume was finalized, everything was ready to complete the monographs dedicated to the figure of "Nene" and begin work on the major publishing project focused on the history of planetary photography, as announced in the closing remarks of our 1288th issue. Everything changed drastically when, just hours after launching the servers and distributing the physical copies, I was summoned by the principal authority of this administration: Genoveva Dorcas de Aguirre Puertas, at the request of the Eighth Division of Knowledge. The fact that I was summoned directly by our authority is extraordinary in itself, but it was even more so that "The Eighth of the Wise," as the xenobiology division is familiarly known, was the one who actually convened the meeting. I arrived on the 43rd floor of our tower accompanied by Petia and Tini for technical support and data, since our editorial focus has no connection, and possibly never will, with the areas of study of the archdaught scholars of the extraterrestrial research laboratories. I can say little about the interview with Doña Genoveva; there was nothing confidential about it. With her charming kindness and presence, our authority instructed the editorial staff to prepare to receive, in three days, the visit of Doña Estrella del Castillo de Valdivia y Orozco, principal archduke of the division and a legendary figure in space exploration for her research and discoveries regarding various forms of extraterrestrial life. She herself would inform us of the reason for her visit, although she assured us that her motives were strictly private and had nothing to do with what the editorial staff had published up to that point. Practically the entire meeting was dominated by Petia and, to a lesser extent, by Tini. Doña Genoveva, like so many other venerable women before her, was fascinated by our editor and, above all, in her case, by her novels and serialized novels. Petia reciprocated this admiration as befitted our authority, and one after another, she performed the finest pieces of her melodic compositions. She then presented Doña Genoveva with the recordings of three unreleased productions created with Tini and the Pentarquia, bidding farewell with the promise of a musical welcome for the visitor that she would never forget. As we left, the three of us, though somewhat intrigued by the urgency of the meeting and visit, decided that the only possible response would be the decidedly unpoetic gesture of: “Give me two more!” as we took our usual seats. La visita de Doña Estrella a nuestra redacción, en solitario, sin asistentes, se desarrollo sin incidentes: Se intereso por nuestro trabajo, disfruto del espectáculo musical de la pentarquia, lloro con sus folletines y merendó con nosotras como una redactora mas, pero, antes de despedirse, nos sorprendió a todas al confesar el motivo de su petición a la autoridad del mandato. La arzodocta, décadas atrás, había iniciado una colección de arte privado en la que Angustias de la Soledad Martinez Ribera era su absoluta protagonista. Una colección mantenida en secreto por, en su momento, una infantil cuestión de prestigio academico, dada la temática principal de su obra, y que Carpa 1288 le había llevado a romper, hacer publica su existencia y decidido a solicitar al mandato editorial el permiso, sin problemas concedido, para que nuestra redacción realizara el monográfico que presento en este previo aunque antes quería entrevistarse con nosotras para diseñar y dirigir su proyecto editorial sin necesidad de recurrir a los ruegos u ordenes de nuestras superioras. Doña Estrella fue criada por su tia Enriqueta tras fallecer sus madres en un trágico accidente aeroespacial, Doña Enriqueta Dalando Urquijo era una de las pocas académicas especializada en los antiguos “linelines” o en cualquiera de sus variantes planetarias por lo que la futura xenobiologa creció con ellos y, llegada su primera juventud, quedo fascinada por la obra de Angustias de quien, una vez obtenido el reconocimiento como investigadora y la asociada estabilidad económica necesaria, inicio esa colección que comentaba un poco mas arriba. Un afán coleccionista que le llevo a descubrir desconocidas facetas de la artista y que gustosamente mostraría a esta redacción una vez iniciado el trabajo previo en este 3088 junto a todos los archivos documentales que, pacientemente, había reunido a lo largo de los años. No tuve que convocar ninguna reunión a posteriori para dar una respuesta, los ojos brillantes de mis compañeras suplicaban que aceptara el ruego de la académica. Se rompieron las ordenes de la superioridad e inmediatamente se acordó pasar una semana en la residencia de Doña Estrella del Castillo para visitar la colección y organizar los previos al inicio del real para este volumen especial. Básicamente, se decidió que toda la redacción se instalaría en la vivienda y desde allí se realizaría este Carpa 3088 que nuestras lectoras disfrutaran como hemos hecho nosotras. Como única condición dispuse que la propia Doña Estrella participaría activamente en la elaboración de la revista, como una redactora mas, dado el conocimiento sobre el personaje y, naturalmente, su posición nos abriría el acceso, sin burocráticos retrasos a según que fondos o archivos imperiales o privados. Doña Estrella del Castillo de Valdivia y Orozco, académica ilustre, al cerrar la velada y mientras Sagrario, entre lagrimas, desgranaba “ Un regalo envenenado” de Lucinda Roy, se convirtió en Estrellita para Petia al aceptar un pequeño papel en una breve improvisación con la que pensaba abrir nuestras jornadas de trabajo. Google translation: Doña Estrella's visit to our newsroom, alone and without assistants, went off without a hitch. She showed interest in our work, enjoyed the musical performance of the Pentarchy, wept over her pamphlets, and shared a snack with us like any other editor. But before leaving, she surprised us all by revealing the reason for her request to the editorial board. Decades earlier, the learned archbishop had begun a private art collection in which Angustias de la Soledad Martínez Ribera was the central figure. This collection had been kept secret, at the time due to a childish concern for academic prestige, given the main theme of her work. Carpa 1288 had finally compelled her to break this silence, make its existence public, and request permission from the editorial board—granted without hesitation—for our editorial team to produce the special issue I am presenting in this preview. However, she first wanted to meet with us to discuss designing and directing her editorial project without having to resort to the pleas or orders of our superiors. Doña Estrella was raised by her aunt Enriqueta after her mothers died in a tragic aerospace accident. Doña Enriqueta Dalando Urquijo was one of the few academics specializing in the ancient "linears" or any of their planetary variations, so the future xenobiologist grew up surrounded by them. In her early adulthood, she became fascinated by the work of Angustias, and once she achieved recognition as a researcher and the necessary financial stability, she began the collection I mentioned earlier. This passion for collecting led her to discover unknown facets of the artist, which she would gladly share with this publication once she had begun the preliminary work on this issue, 3088, along with all the documentary archives she had patiently gathered over the years. I didn't have to call a meeting afterward to give an answer; the bright eyes of my colleagues begged me to accept the academic's request. The orders from our superiors were disregarded, and it was immediately agreed to spend a week at Doña Estrella del Castillo's residence to visit the collection and organize the preparations for the actual start of work on this special volume. Essentially, it was decided that the entire editorial team would be based at her house, and from there, this issue of Carpa 3088 would be produced, which our readers would enjoy as we have. My only condition was that Doña Estrella herself would actively participate in the magazine's production, as just another writer, given her knowledge of the subject and, naturally, her position would grant us access, without bureaucratic delays, to certain imperial or private collections and archives. Doña Estrella del Castillo de Valdivia y Orozco, an illustrious academic, as the evening drew to a close, and while Sagrario, in tears, recited Lucinda Roy's "A Poisoned Gift," became Estrellita for Petia by accepting a small role in a brief improvisation with which she planned to open our work sessions. Some images/ algunas imagenes
-
How she looks in game The prompt i put in ai
-
Picture from 26 years ago -- I found this picture online around 2000 (oops, I accidentally revealed my age). I started using the internet in 1998... Give it a makeover with AI and revive it. Milk pump 01 -- Seeing this old photo in my album suddenly inspired me to create a short anime-style video. (source: Gennaro From LucasKazan) Milk pump 02 -- Due to supply difficulties on the spaceship, someone was captured to produce milk; the victim was Snow Villiers from Final Fantasy XIII. Ghost Chaser Densei -- This is from the old game, Ghost Chaser Densei. There are naked men everywhere in this game ! I often fantasize about the protagonist, Denjin Makai, being defeated and then raped by these men. Snooker -- The coach was holding his very stiff pool cue, and it seemed he wanted to use it to poke the young man.
-
Carpa 1288 enlace para su descarga: Descargar Carpa 1288 download link: Download Carpa 1288 ya esta disponible para su descarga y como se comenta en su epilogo, cerrara la serie 1800 y los numeros de Carpa directamente relacionados con AMparo y sus compañeras. Tengo dos opciones abiertas para el siguiente Carpa, pero como tengo muchas dudas prefiero no comentar nada mas por el momento. Sera mejor que la propia redaccion nos intoduzca en este nuevo numero de Carpa: En la actualidad, resulta imposible trazar el mínimo perfil biográfico sobre el personaje. Conocemos la ubicación de la granja familiar y se conservan los habituales documentos burocráticos sobre su nacimiento o matriculación escolar básica, pero poco mas se sabe de la vida de la artista hasta el momento de su desaparición junto a las tres inseparables en el, diga lo que diga Petia (Carpa 708), desierto de Aguas calientes. Tras el fin de la guerra, Amparo, cumple con su promesa y libera a las madres de Condenacion, retorna la propiedad agrícola y, aunque, tras su desaparición, se inicia la pertinente investigación, su testimonio no aporta nada nuevo y su rastro se perderá sin remedio. A su muerte, la propiedad se subasta y años después desaparecerá bajo los nuevos planes urbanísticos de Toleta por lo que se borra cualquier recuerdo de la presencia de Condenacion y su familia. De su vida junto a Amparo solo se guarda el relato de la misma, Condenacion no escribe o comenta su obra, apenas encontraremos alguna nota manuscrita al dorso de sus obras, pero estas, en su mayoría, son meras indicaciones para trabajos o modificaciones posteriores. Afortunadamente, la capacidad de análisis de nuestras dos redactoras metálicas ha permitido identificar este auto de Condenacion, tomado ante un espejo con toda seguridad y ataviada con el chaquetón reglamentario de las oficiales superiores. Posiblemente, el arco temporal es limitado, fue realizado durante su etapa de aprendizaje como fotógrafa bajo la supervisión de su enamorada. Ya se ha comentado como Condenacion, antes de su encuentro con Amparo, solo había utilizado la camara fotográfica familiar para las consabidas sesiones de recuerdo. Quizás sea un tanto aventurado afirmarlo, pero creo que esta seria una de las primeras fotografías conscientes de la artista, adecuada introducción para este prologo a nuestro nuevo Carpa 1288. [...] En esa manipulación tipográfica que comentábamos, la artista, se adelanta de forma vertiginosa a los postulados de la llamada escuela Tolvanera, sus teorías sobre el diseño moderno marcan las actuales tendencias visuales y la propia Dorita las reconoce como propias. No caeremos en el error de exagerar la genialidad de la artista del pasado ni tampoco en el de ignorarla como fruto de la casualidad, pero si que queremos dejar constancia como la joven campesina alcanzo, con su esfuerzo y trabajo, las mismas conclusiones que las grandes teóricas de nuestro tiempo y, estoy segura, junto a Amparo acabaría desarrollándolas de una forma totalmente académica. Nuestra pagina acreditativa se basa en el indice incluido en ese numero de Cordel en la que la artista fragmenta y mutila la tipografía para convertirla en un elemento estético mas de la composición y obligar con ello, a la espectadora o lectora, a participar activamente en la construcción de su significado. Condenación utiliza la geometría del diseño para ocultar parte de la información transformando el nombre de la revista en una base arquitectónica y el número en una textura. A través de formas biomórficas, basadas en antiguos mitos sobre las “Divinas” que sugieren movimiento, y una gestión magistral del espacio negativo, la publicación se posiciona no solo como un archivo gráfico, sino como un manifiesto sobre la belleza de lo incompleto. Es, en definitiva, un ejercicio de precisión donde cada vacío y cada letra cortada tienen un propósito deliberado. [...] Google translator: Carpa 1288 is now available for download, and as mentioned in its epilogue, it will conclude the 1800 series and the Carpa issues directly related to Amparo and her companions. I have two options open for the next Carpa, but since I have many doubts, I prefer not to comment further for the moment. It would be best if the editorial team itself introduced us to this new issue of Carpa: Currently, it is impossible to draw even the most basic biographical profile of the character. We know the location of the family farm, and the usual bureaucratic documents regarding her birth and primary school enrollment have been preserved, but little else is known about the artist's life up until the moment of her disappearance, along with her three inseparable companions, in the Aguas Calientes desert, regardless of what Petia (Carpa 708) might say. After the war ended, Amparo kept her promise and freed Condenación's mothers, returning the farm property. Although an investigation was launched after her disappearance, her testimony yielded nothing new, and her trail was irretrievably lost. Upon her death, the property was auctioned off and years later disappeared under new urban development plans in Toleta, erasing any memory of Condenación and her family's presence. Only Amparo's own account of her life with Condenación remains; she didn't write or comment on her work. We find only a few handwritten notes on the backs of her pieces, and these are mostly mere indications for later work or modifications. Fortunately, the analytical skills of our two metal editors have allowed us to identify this photograph of Condenación, taken in front of a mirror, clearly wearing the regulation jacket of senior officers. The time frame is likely limited; it was probably taken during her apprenticeship as a photographer under the supervision of her lover. As has already been mentioned, Condenación, before her encounter with Amparo, had only used the family camera for the usual photo sessions. Perhaps it's a bit of a stretch to say so, but I believe this would be one of the artist's first conscious photographs, a fitting introduction to this prologue to our new Carpa 1288. [...] In that typographic manipulation we mentioned, the artist was remarkably ahead of her time in anticipating the tenets of the so-called Tolvanera school. Her theories on modern design shaped current visual trends, and Dorita herself acknowledged them as her own. We will not fall into the error of exaggerating the genius of this artist of the past, nor will we dismiss her as a mere coincidence. However, we do want to acknowledge how this young peasant woman, through her effort and work, reached the same conclusions as the great theorists of our time, and I am certain that, together with Amparo, she would eventually develop them in a fully academic manner. Our supporting documentation is based on the index included in that issue of Cordel, in which the artist fragments and mutilates typography to transform it into another aesthetic element of the composition, thereby compelling the viewer or reader to actively participate in constructing its meaning. Condemnation uses design geometry to conceal information, transforming the magazine's name into an architectural base and the issue number into a texture. Through biomorphic forms, based on ancient myths about the "Divines" that suggest movement, and a masterful use of negative space, the publication positions itself not only as a graphic archive but also as a manifesto on the beauty of incompleteness. Ultimately, it is an exercise in precision where every void and every cut-off letter has a deliberate purpose. [...] Algunas de sus paginas: Some images:
-
You can post whatever ABDL AI stuff in here -
You can post whatever ABDL AI stuff in here, just keep it somewhat SFW, no sexual activities or nudity.
-
Post whatever you want in here, nsfw or not, but in general its intended for risqué content such as soft nsfw and nsfw, and more fetish related such as hypnosis and transformation, Rules: DO NOT POST AGE REGRESSION any posts will be removed and you will be banned, Please be respectful and engage in an orderly fashion.
-
This is the start of ABDL Nano Images Post, Post whatever you want here, as long as no nudity is shown, or bodily functions. Remember too keep in mind general rules, and always be respectful when posting in here.
.thumb.png.acd3f9fe068ed17bba8b4541f2bc9616.png)
-
Mas que mediada, la edicion se encuentra en su recta final. Enfrascado en otros proyectos fui dejando atras la habitual entrada para cuando los numeros de la revista estan mediados. Para introducir la misma, utilizare la intro de una de las ultimas secciones. Google translator: More than halfway through, the edition is in its final stretch. Engrossed in other projects, I've been neglecting the usual introduction for when the magazine issues are halfway through. To introduce this one, I'll use the intro from one of the last sections. Intro: Para continuar con la cuenta regresiva de todo esta publicación, comenzaremos el análisis y presentación de la obra gráfica de Condenacion desde su trabajo para “Cordel”, la publicación en contenedor realizada junto a Amparo supone su ultimo trabajo gráfico autónomo. A partir de ese momento, y con la lógica etapa de transición, esos trabajos se realizaran y adaptaran a un objetivo determinado y se alejan de la pura experimentación que los caracterizaba. Aunque la información disponible sobre “Cordel” es escasa, damos por seguro que se trabaja en el primero de los cuatro volúmenes cuando la relación romántica es estable, madura y ha despertado en las dos la necesidad de trabajar en una obra conjunta que alcanzara su máxima expresión en los trabajos para “UNO”. El contenedor fue concebido, ante todo, como un gesto artístico, radicalmente no poético, nacido durante la etapa mas dura de la larga campaña y con unos objetivos sobre los que solo podemos especular. En el baúl, Amparo comenta, sobre todo, el ultimo de los cuatro: “Adiós a Cordel”. El contenedor cerraría la serie y solo fue conservado uno de los cuatro realizados y comentado, someramente, en Carpa 1508. Precisamente, este único ejemplar archivado, es el que permite analizar el resto de la serie de una forma harto teórica pues, en ningún momento, podemos abandonar el terreno de la especulación académica. La revista en contenedor y colectiva, un formato experimental empleado por grupos artísticos y de forma individual por distintas creadoras, comenzó a utilizarse en las llamadas redes de arte postal dos décadas antes del estallido de la guerra. El contenedor vacío se enviaba entre las integrantes de una determinada red artística y cada una de ellas añadía una obra o modificaba algún aspecto del contenedor hasta que retornaba a la creadora original. Al final de su viaje, dicho contenedor se exponía o servia como base para un catalogo o pequeño formato que incluía junto a las imágenes de las obras incorporadas algunos textos teóricos. Seguramente, Amparo, en su época de estudiante, participaría o crearía uno de estos contenedores. En el caso de “Cordel”, la novedad radica en su clasificación como revista o publicación periódica volumétrica y su corta tirada. Los cuatro ejemplares de cada numero se enviarían a distintos centros de arte o figuras individuales relacionados de una forma u otra con el mismo. No sabemos a quien se enviaron los 15 contenedores o cuando se hizo, en realidad, no estamos seguras de que llegara a hacerse pues, las autoras, no muestran ninguna preocupación por si han llegado a destino, su repercusión y mucho menos, documentar su edición. Todo indica que nos encontramos ante un puro gesto no poético en la mas primigenia de sus formas y dada la época de su realización, la ultima respuesta ante la barbarie. Tras la transición creada por Dorita, hemos abierto la sección con los dos formatos que podríamos considerar la acreditación y autoria de “Cordel”. Condenacion crea dos soberbios diseños para cada una de ellas en los que combina su peculiar y cromática propuesta con el torbellino no poético de su enamorada y fragmenta nombre y apellidos en un audaz disposición, aparentemente, aleatoria creando para las dos un espacio cuasi tipográfico nulo que sigue sorprendiendo en la actualidad. Ya comentamos en intros y prólogos como Condenacion es realmente una artista avanzada a su época, quizás demasiado para creerlo, y como tiene a muchas de nuestras académicas enmudecidas. Google translator: To continue the countdown for this entire publication, we will begin the analysis and presentation of Condenación's graphic work with her work for "Cordel," the container-sized publication created with Amparo, which represents her last independent graphic work. From that moment on, and with the logical transition period, her work would be created and adapted to a specific objective, moving away from the pure experimentation that characterized her earlier work. Although information about "Cordel" is scarce, we can be certain that she worked on the first of the four volumes when their romantic relationship was stable and mature, and had awakened in both of them the need to collaborate on a project that would reach its peak in the works for "UNO." The container was conceived, above all, as an artistic gesture, radically non-poetic, born during the most difficult stage of the long campaign, and with objectives about which we can only speculate. In the trunk, Amparo comments, above all, on the last of the four: "Goodbye to Cordel." The container would close the series, and only one of the four produced was preserved and briefly discussed in Carpa 1508. This single archived copy is precisely what allows us to analyze the rest of the series in a highly theoretical way, since we cannot leave the realm of academic speculation. The collective, container-based magazine, an experimental format used by artistic groups and individually by various creators, began to be used in the so-called mail art networks two decades before the outbreak of the war. The empty container was sent among the members of a particular artistic network, and each of them added a work or modified some aspect of the container until it returned to the original creator. At the end of its journey, the container was exhibited or served as the basis for a catalog or small-format publication that included, along with images of the incorporated works, some theoretical texts. Amparo, in her student days, surely participated in or created one of these containers. In the case of “Cordel,” the novelty lies in its classification as a magazine or volumetric periodical and its short print run. The four copies of each issue were to be sent to different art centers or individuals connected in one way or another to it. We don't know to whom the 15 containers were sent or when it was done; in fact, we're not even sure it was done at all, since the authors show no concern for whether they reached their destination, their impact, and much less for documenting their publication. Everything indicates that we are dealing with a purely non-poetic gesture in its most primal form and, given the era in which it was created, the last response to barbarity. Following the transition created by Dorita, we have opened the section with the two formats that we could consider the accreditation and authorship of “Cordel.” Condenacion created two superb designs for each of them, combining her unique and chromatic approach with the unpoetic whirlwind of her beloved, fragmenting names and surnames in a bold, seemingly random arrangement, creating for both of them a quasi-typographical void that continues to surprise even today. We already discussed in introductions and prologues how Condenacion is truly an artist ahead of her time, perhaps too far ahead of her time to believe, and how she has left many of our academics speechless. Suponemos que se respetaría un modelo de construcción base para todos los ejemplares del contenedor. En “Adiós a Cordel” se escoge una caja de cartón de las empleadas para guardar el papel utilizado por las mecanógrafas de nuestro ejercito. Esta caja de cartón se texturizaba con papel encolado y pintado al que se le añadía una ilustracion, fotografía o técnica mixta. En el numero conservado, ya comentado, se incluye una de las fantásticas ilustraciones de Condenacion y el titulo de la misma. En este caso se emplea una simple tipografía realizada con una plantilla de escritura y un marcador de tinta indeleble. Una elección sorprendente, por su simplicidad, para su asombroso contenido. En el interior se presentan dos cajitas rectangulares pintadas en negro e ilustradas con dos dibujos de Amparo como receptáculos de toda la obra presentada. En una de ellas se incluían esas dos ¿paginas? acreditativas junto a un sin fin de trabajos de las dos. Para completar el contenido del volumen se añaden dos esferas pintadas y que ha sido imposible descubrir su procedencia, pues ninguna de las dos autoras trabajan la materia o el volumen. Consuelo parece la mas acertada al considerarlas dos objetos encontrados que, sin modificación ninguna, pasan a ser considerados dos objetos no poéticos de lectura multiple y dada su esférica forma, adecuado epilogo a la serie. En este ultimo ejemplar no se advierte ninguna metodología o distribución del trabajo. Como contenedor que es, alberga un buen numero de obras relacionadas tan solo por la autoria de las dos artistas y que no desarrollaremos aqui. En su momento ya se detallo y analizo el contenido de la revista en nuestros servidores y en este monográfico solo nos detendremos en los trabajos realizados por Condenacion y considerados por esta redacción como la ultima evolución de lo iniciado en la residencia materna, apertura de nuestra publicación, y que, como anunciaba en el inicio de esta sección, realizaremos de forma regresiva. La obra gráfica de Condenacion solo puede ser estudiada desde su encuentro con Amparo, de todo lo anterior abundan las referencias en los escritos de Amparo, pero nunca se identifica con seguridad ninguna de estas obras anteriores. Puede suponerse que la artista llevaría consigo alguna carpeta, material artístico esta confirmado que añadió a su equipaje animada por la propia Amparo, pero dada la fabulación añadida por esta ultima a su relato, debemos mantener unas ciertas reservas al respecto. Procuraremos, a lo largo de las paginas siguientes, no especular demasiado sobre el tema, se que es un imposible dado nuestro particular método academico, pero será la mejor forma de presentar esta obra gráfica que tanto esta dando que hablar. Es cierto que, a nivel popular, la figura de Condenacion no ha provocado el mismo revuelo que su enamorada, pero en los distintos mandatos relacionados con el diseño, sea cual sea su categoría, levanta fuertes polémicas por su modernidad y anticipación. La propia Dorita esta asombrada de las conclusiones visuales alcanzadas por la artista 400 años atrás y que solo puede rebatirse con argumentos un tanto elitistas, procedentes de algunos círculos conservadores, que vienen a considerarla una suerte de animal afortunado. Como primera ilustracion, acompaña este texto, hemos seleccionado la interpretación que realiza de un pequeño pez, habitante de acuario y calificado por esta redacción como la pequeña carpa dorada de Condenacion e incluida en uno de los sobres grises de Amparo. Google translator: We assume that a basic construction model was used for all copies of the container. In “Adiós a Cordel,” a cardboard box of the type used to store the paper used by typists in our army was chosen. This cardboard box was textured with glued and painted paper, to which an illustration, photograph, or mixed media piece was added. In the surviving issue, already discussed, one of the fantastic illustrations from Condenación and its title are included. In this case, a simple typeface created with a writing stencil and a permanent marker is used. A surprising choice, due to its simplicity, for its astonishing content. Inside, two small rectangular boxes painted black and illustrated with two drawings by Amparo serve as receptacles for all the presented work. One of them contained those two accreditation pages along with countless other works by both artists. To complete the volume's contents, two painted spheres have been added, their provenance impossible to ascertain, as neither of the two artists works with materials or volume. Consuelo seems the most accurate in considering them two found objects that, without any modification, become two non-poetic objects open to multiple interpretations, and given their spherical shape, a fitting epilogue to the series. In this final volume, no methodology or division of labor is apparent. As a container, it houses a number of works related only by the two artists' authorship, which we will not discuss here. The magazine's contents were previously detailed and analyzed on our servers, and in this monograph, we will focus solely on the works by Condenación, considered by this editorial team to be the latest evolution of what began in the maternal residency, the opening of our publication, and which, as announced at the beginning of this section, we will present in retrospect. Condenación's graphic work can only be studied in light of her encounter with Amparo. References to her earlier work abound in Amparo's writings, but none of these earlier pieces are ever definitively identified. It can be assumed that the artist carried some portfolios with her—artistic materials that Amparo herself confirmed she added to her luggage—but given the embellishments Amparo added to her account, we must maintain a degree of caution. Throughout the following pages, we will strive not to speculate too much on the subject. I know this is impossible given our particular academic approach, but it will be the best way to present this graphic work that is generating so much discussion. It is true that, at a popular level, Condenación's figure has not caused the same stir as her lover, but within various design circles, regardless of their category, she raises strong controversies due to her modernity and anticipation of the future. Dorita herself is astonished by the visual conclusions reached by the artist 400 years ago, conclusions that can only be refuted with somewhat elitist arguments from certain conservative circles, who consider her a sort of lucky animal. As the first illustration accompanying this text, we have selected her interpretation of a small aquarium fish, which this editorial team has identified as the small goldfish from "Condemnation" and which was included in one of Amparo's gray envelopes. El pequeño formato de la carpa fue realizado con papel recortado y tintas planas en época indeterminada, pero si lo comparamos con la ilustracion incluida en la pagina de Condenacion, abría la sección, comprobaremos que los dos son contemporáneos. Imposible resulta saber si la carpa fue realizada para “Cordel” y mas tarde rechazada o, simplemente, fue una aproximación para llegar al resultado final, una forma mucho mas fantasiosa que reniega de cualquier realidad al contrario del trabajo comentado. A pesar de su modernidad, incluso actual, no deja de ser una representación de un determinado ser vivo fácilmente identificable por todas nosotras y que ha sido adaptado por la redacción, quizás de una forma inconsciente, como totémico animal tal y como era costumbre en el antiguo imperio maldito. A lo largo de todos esos años, Condenacion combinara la representación realista, una particular realidad, con una fantástica abstracción, única en ella, de la que es imposible encontrar referencias y sólidamente construida en su mente, pero que nunca desarrollara por escrito. En realidad, nunca podremos escucharla, las pocas veces que lo haremos será por la intermediación de Amparo, es muy difícil encontrar transcripción directa de sus pensamientos. Un hecho un tanto sorprendente para una artista de sus características y que nos llevo a iniciar distintas lineas de investigación para hallar algún testimonio personal, pero ninguna de ellas dio resultado y el tiempo ha borrado el eco audible de su trabajo aunque consuela el maravilloso legado depositado en el baúl. Esta ultima sección se dividirá en tres grandes bloques. Este primero dedicado al trabajo publicado o incluido en “Cordel” y la obra que ha podido situarse como contemporánea a ella. Una segunda parte que recogerá todo lo conservado desde su encuentro con Amparo y la ultima, y mas breve, presentara las pocas obras anteriores a la llegada a su vida de Amparo y esos años previos a la guerra donde, en soledad, se formara como artista. En todos los casos, hemos decidido renunciar a la novelería, nuestra puerta siempre estará abierta, pero, como en casos anteriores, consideramos necesario no especular demasiado por la personalidad de la artista que desde un oscuro papel secundario se esta convirtiendo en uno de los pilares básicos de la historia del arte de nuestro planeta. Para la transición de cada uno de estos bloques utilizaremos algunas de las obras incluidas en “Cordel” realizadas por Condenacion, aunque ninguna de ellas esta firmada, son decididamente inconfundibles pues gráficamente, las dos artistas se encuentran demasiado alejadas para prestarse a cualquier tipo de confusión. Amparo, al dibujar, nunca renunciara a la realidad y solo se vera influenciada por su compañera en el diseño de su carpeta y algunas composiciones no poéticas que a pesar de una determinada intención no pasan de ser meros elementos ilustrativos para esos trabajos no poéticos, por supuesto, que tantas veces hemos alabado. Condenacion recibirá influencias fotográficas y, quizás, lo mas importante, disfrutara de las enseñanzas de una tutora adecuada para pulir ese desarrollo autodidacta que, como se ha escrito mas atrás, le permitio esa libertad creativa avanzada, pero limito su desarrollo. Estas carencias serán corregidas por Amparo permitiendo la realización de las series que abrían esta edición. Gooogle translator: The small-format carp illustration was created with cut paper and flat inks at an undetermined time, but if we compare it with the illustration included on the Condenación website, which opened the section, we can see that both are contemporary. It's impossible to know if the carp was created for "Cordel" and later rejected, or if it was simply an approximation leading to the final result—a much more fantastical form that rejects any reality, unlike the work discussed. Despite its modernity, even today, it remains a representation of a specific living being easily identifiable by all of us, and one that has been adapted by the editorial team, perhaps unconsciously, as a totemic animal, as was customary in the ancient, cursed empire. Throughout all those years, Condenación combined realistic representation, a particular kind of reality, with a fantastic abstraction, unique to her, for which it is impossible to find references and which was solidly constructed in her mind, but which she never developed in writing. In reality, we will never be able to hear her voice; the few times we do, it will be through Amparo's mediation. It is very difficult to find a direct transcription of her thoughts. This is somewhat surprising for an artist of her caliber, and it led us to initiate various lines of research to find some personal testimony, but none of them yielded results, and time has erased the audible echo of her work, although the wonderful legacy deposited in the trunk offers some consolation. This last section will be divided into three main parts. The first is dedicated to the work published or included in "Cordel" and the work that has been considered contemporary to her. A second part will gather everything preserved since her meeting with Amparo, and the last, and briefest, will present the few works prior to Amparo's arrival in her life and those years before the war when, in solitude, she developed as an artist. In all cases, we have decided to forgo sensationalism. Our door will always be open, but, as in previous instances, we consider it necessary not to speculate too much about the personality of the artist who, from an obscure secondary role, is becoming one of the fundamental pillars of the history of art on our planet. For the transition between each of these sections, we will use some of the works included in “Cordel” created by Condenación. Although none of them are signed, they are decidedly unmistakable, as graphically, the two artists are too different to lend themselves to any kind of confusion. Amparo, when drawing, will never abandon reality and will only be influenced by her partner in the design of her portfolio and some non-poetic compositions that, despite a certain intention, are merely illustrative elements for those non-poetic works, which, of course, we have praised so many times. Condenación would be influenced by photography and, perhaps most importantly, would benefit from the guidance of a suitable mentor to refine the self-taught approach that, as mentioned earlier, granted her advanced creative freedom but limited her development. These shortcomings would be addressed by Amparo, enabling the creation of the series that opened this edition.
-
SimVerse: Life (v0.2.6 - The Living Desires) DEMO VERSION v0.2.5 is available to play on here, can be downloaded here. GAME MODS can be downloaded via our Discord Server. (I cannot uploaded the game here because now it's bigger than the LoversLab size limit) The Simulation is Dynamic. "Ever played a life simulator and felt like the world was just waiting for you to do something? Like the characters in the background were just props?" We wanted to change that. SimVerse: Life isn't just another life sim; it's a parallel universe. We've built a city with its own pulse, powered by an AI engine that gives every single person a life as complex as your own. The city doesn't pause when you're away. The world moves on. NEW IN V0.2.6: The "Living Desires" Update (Social Magnetism) Hey everyone! The V0.2.6 update, which we're calling The "Living Desires" Update, is a major expansion of the game's social simulation. This update is all about how you present yourself to the world and how the world—and its inhabitants—react to your presence! Here’s what’s new: Social Magnetism & Outfit Attributes: Clothing is no longer just about looks. We’ve introduced hidden attributes: Seductiveness, Cuteness, and Looks. Your choice of outfit now dynamically influences your Romance success, how much "forgiveness" you get for social blunders, and how quickly you can climb the social ladder. The Narrative System: The city is finally talking back! We’ve added a dedicated Narrative Container that displays real-time ambient reactions from the public. Depending on your current style and attributes, you’ll see the crowd whispering, staring, or even admiring you as you walk by. Spontaneous Intimacy: Relationships are no longer a strictly linear grind. You can now boldly "Ask to Have Fun" with Unique NPCs of the opposite gender regardless of your relationship status. But be careful—success is a complex calculation of your charisma, your current style, and even your wealth. Autonomous NPC Solicitation: The NPCs have gained a mind of their own. Playing as a female character, Male Unique NPCs may now proactively approach you with intimate propositions if they feel a strong enough attraction. This is influenced by your "aura" and the location—expect more bold moves in nightclubs than in offices! Complex Rejection System: How you say "No" matters. If an NPC approaches you, you now have five distinct ways to respond: Accept, Professional, Polite, Firm, or Angry. Each choice carries realistic consequences for your relationship, your dominance, and the NPC’s long-term memory of you. Living World Refinements: To make your daily life smoother, we've added the Umbrella (keep an eye on its durability!) to handle the unpredictable weather. We've also permanently reduced Bus Fares to Rp. 2.500 and optimized weather transitions to keep the simulation feeling fresh and balanced. A World That Breathes, Even When You're Not Looking Here's the deal: the most unique thing about SimVerse is its inhabitants. The Non-Player Characters (NPCs) are living their own lives, completely independent of you. Real Schedules, Real Jobs: Every NPC adheres to a full work schedule, travels to their work location, and takes breaks, all automatically. They Survive & Adapt: The AI is smarter than ever. NPCs manage their own health (seeking medicine), clean their home when dirty, and run for cover when the weather turns bad. They Build Relationships... With Each Other! NPCs form friendships, dating relationships, rivalries, and professional bonds amongst themselves. You're just one part of a complex social web. A City of Secrets: Use the Gossip System to uncover other NPCs' hidden Traits, Preferences, or Aspiration Goals. Live Your Life (Or Break The Law) While the world moves around you, your life is in your hands. You are a new face in the city with everything to prove. What will you do with your time? Manage Your Needs: Balance Hunger, Energy, Happiness, Cleanliness, and Health. Neglect your Energy, and you could Blackout in public and get robbed! Master Your Skills: Level up five core skills: Social, Intelligence, Charisma, Stamina, and Cooking. Your job performance is now influenced by whether you are over- or under-qualified for your role. Climb the Career Ladder: Use the JobLink App to find work from Intern to Manager across diverse companies. Deep Personality System: Your traits define you. Are you Materialistic? You'll gain massive happiness from shopping. Are you a Genius? You'll gain Intelligence XP faster. Adult Area: Invite an NPC to home: You can invite an NPC to your home and ask for "Have Fun". 😉 Have Fun with Generic NPCs: Generic NPCs will try to start a conversation with you, and some may ask you to "Have Fun" with them when you play as a female. Have Fun with Unique NPCs: You can ask Unique NPCs of opposite gender to "Have Fun" anytime, anywhere. In addition, they can also ask you that if you play as a female. Law & Disorder: The Crime System is Now Complete The city now has laws, and you can choose to break them, or be the victim of those who do. Crimes: Commit Pickpocketing, Extortion, or Physical Assault. Success depends on your Dominance, skills, and the Crowd Density. Consequences: Victims and witnesses will react realistically—some flee, some fight back, and others call the police immediately. Jail Time: If arrested, you can pay a fine or serve a real-time prison sentence in a cell. The Future & How You Can Help Our Roadmap We have huge plans for SimVerse. Now that the Visual Overhaul (v0.2.4) is live, we are moving towards v0.2.5 (Launcher & Engine) and v0.2.6 (Social Life Enhanced) which will introduce the SimStagram App! You can check out our full development roadmap here! Help Us Get on Steam! Our biggest dream is to bring SimVerse: Life to the largest PC gaming platform in the world: Steam! This would allow us to reach a massive new audience and continue developing the game for years to come. There's just one hurdle: Steam charges a $100 USD submission fee for every new game. If you enjoy SimVerse and believe in its potential, we would be incredibly grateful for your support. You can join SimVerse: Life Official Discord and DM Matcha if you would like to help. Every contribution, no matter how small, goes directly towards hitting our $100 goal for the Steam release. Thank you for being a part of our journey! Note: Every donator will get custom role in our Discord Server This is an Early Version - Join Us on the Journey! SimVerse: Life is a massive and ambitious project, and what you're seeing here is just the beginning. We are actively working on it and have huge plans for the future. By playing it now, you're not just playing a game; you're joining a community and helping us shape the future of this world. We would love to hear your feedback and ideas. So, are you ready to step into a new life? Download SimVerse: Life now and see where your story takes you. (DISCLAIMER: AI & CONTENT) All visuals and characters in this game are generated using Artificial Intelligence to achieve a photorealistic style. Any resemblance to actual persons, living or dead, is purely coincidental. All characters depicted are fictional and 18+.
-
Collectible Waifu Card- Ultra Realistic AI Gen Edition View File You can install it normally with the mod manager. No requirements. I didn't add any photos because I didn't want to spoil it. The cards are so realistic and beautiful that you'll want to find them all. Submitter daevas Submitted 01/16/26 Category Adult Mods Requirements No requirements. Regular Edition Compatible Install Instructions -
I'm unsure how it's self-aware when sex happens, but it somehow notices! I thought the AI could only hook onto things it could log thru text displays, such as trait names (and descriptions), moods (and descriptions), summaries, quests, etc. In theory, I would think sex animations are just eyecandy for the player only, yet somehow the AI is seeing it. Now granted I'm using several mods: RimTalk (main), RimTalk Event+, RimTalk Persona Director, RimTalk Expand Memory, and RimTalk Enhanced Prompt. I believe one or more of the mods secretly has hooks in place for RimJob animations under the hood, but maybe they just chose not to disclose that in the mod description, since it's Steam? I'm also not prompting it for sex (ie. I'm not telling the AI it has sex at night, or something).
-
Demo: https://huggingface.co/spaces/Qwen/Qwen3-TTS I'm struggling to get it going locally but there are videos up on YT and the demo above if you want to check it out, it looks pretty interesting. -Uses maybe 6 gigs of RAM -Can create custom voices from text -Can add emotion, change tone, speaking rate, etc.
.png.99f7aa76d0d2b237da0163a06c637963.png)
