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Fate/Grand order - There are too many characters in Fate/Grand Order. Can you recognize who they are? Robin Hood was captured by tentacles 🪱 Captain Evil - Captain Evil is going to rule the world! No man can stand against his shield and phallus...... 😈 Gay World Cup - The World Cup has just ended. Now the Gay World Cup is about to begin. ⚽ Medieval - Your ancestors were all like that (not my ancestors) 🤩 My ancestors might have been like this (quack doctors ? or perverts ? ) 🤢

Carpa 5558 cerrara la historia de Angustias de la soledad Martinez Ribera. En un principio habia pensado editar un numero reducido como especial de verano, pero, al final, se presentara como uno mas de los numeroa de la serie. Como siempre, es mejor que Analia nos introduzca en este Carpa 5558. Intro: El trabajo previo para los volúmenes dedicados a la historia de la fotografía y el segundo dedicado a “Nene” nos ha ocupado todo este ultimo año. Nuestra actividad editorial quedo bajo mínimos y solo publicamos pequeños trabajos complementarios a números de Carpa ya presentados: 1812,1943 y 3388. Dada la proximidad de las vacaciones veraniegas decidí cerrar el año y posponer la publicación de los dos números comentados para el primer y segundo otoño simultaneando así su aparición con los trabajos del resto de redacciones y mandatos. La edición el año anterior de Carpa 3088 y el revuelo causado por la investigación de Petia impidió que todo el equipo disfrutara de unas merecidas vacaciones que repararía ahora con la larga pausa prevista y que abarcaría, prácticamente, los tres veranos. Nuestras lectoras comprobaran que nada de esto ha sucedido y en sus pantallas disfrutan de este nuevo Carpa, Carpa 5558, dedicado a cerrar nuestras investigaciones sobre el destino final de Angustias de la soledad Martinez Ribera y Casimira Vivar Garreta tras su exilio al segundo continente. En el momento de cerrar esa edición, Petia y todas nosotras, prometíamos retomar la investigación cuando fuera posible, pero desgraciadamente el retraso en la apertura de nuestra historia de la fotografía impediría, junto a muchos otros motivos, que pudiéramos centrarnos en ella hasta pasados, quizás, un par de años. Doña Estrella, tal y como se comentaba en Carpa 3088, una vez cerrada la edición, se dedico a rastrear y adquirir todo el material relacionado con la artista destacado por Petia durante sus pesquisas archiveras y si algunas veces fracaso, logro descubrir algunas muestras del trabajo de la artista inéditas o que se consideraban perdidas para siempre. Tras el resultado final de su gira mundial, comenzó a cribar el segundo continente obteniendo los resultados que motivaron su segunda visita por sorpresa a esta redacción. Acompañada por Fina, bonito sin duda es el amor verdadero, compartió con nosotras esos resultados, innecesario acicate, para que en lugar de disfrutar de nuestras merecidas vacaciones pusiéramos en marcha este volumen final dedicado a Doña Angustias añadiendo, como goloso remate, unas vacaciones pagadas en Mira verde para realizar desde allí todo nuestro trabajo. El resultado por todas nuestras seguidoras puede ser imaginado sin dificultad, Mira verde es el veraniego destino soñado por muchas de nuestras ciudadanas y cualquier plan vacacional palidece ante ella. Antes de la marcha de la pareja, Tini había resuelto todo conflicto previo y se cerraron con rapidez permisos y autorizaciones de nuestro mandato. Doña Estrella y Fina no podrían acompañarnos durante la investigación y redacción de este nuevo Carpa, la pareja había sido reclamada por la octava de la sabias para liderar la expedición a un lejano sistema estelar en el que uno de sus planetas mostraba signos de haber alcanzado un nivel evolutivo comparable al nuestro, pero por motivos desconocidos, había sido arrasado tras un largo conflicto bélico. Se transferirían todos los archivos y documentos a Petia para que a partir de esos nuevos datos retomara la prometida investigación. El material ofrecido por Doña Estrella no incluía ninguna revelación definitiva, es cierto, pero prometía extraordinarios resultados. Nuestra autoridad autorizo sin reservas la publicación de este numero especial como una deferencia especial para nuestra Estrellita, afirmación de la propia venerable y ya se ha comentado como Doña Genoveva Dorcas de Aguirre Puertas se ha rendido a la xenobiologa y concede cualesquiera de sus peticiones. En esta ocasión, por eso, acepto el trabajo externo aunque negó la colaboración oficial del tercer mandato. Todos los gastos y recursos necesarios serian proporcionados por Doña Estrella, sigo en mis trece y nuestra redacción seria la encargada de subirla a los servidores habituales, pero no se publicaría la habitual edición física para nuestras suscriptoras, el volumen pasaría a ser considerado uno de esos especiales de verano que el mandato accede a publicar de tanto en tanto. Una agradable sorpresa para las lectoras sin duda son estos especiales y siempre muy bien recibidos, por las amantes del arte fotográfico antiguo, desde la aparición de un primer numero publicado por esta redacción y costumbre adoptada por el resto de redacciones y, finalmente, por el tercer mandato. Dado el carácter festivo con el que fue concebido este Carpa 5558, he decidido permitir que mis redactoras lo adapten a las tres estivales y se empapen del distendido tono otorgado a cualquier periodo vacacional y se incluirán, para las intro a las secciones y cortes, referencias visuales relacionadas con estas especiales vacaciones. Como siempre, Dorita, será la encargada del diseño del volumen y, en esta ocasión, continuara con la linea estética iniciada en Carpa 1288. Un perfecto reflejo de la época a tratar y base ideal para desarrollar la investigación de Petia, convertida junto a Tini en directoras efectivas de la edición pues solo ellas, dadas sus características especiales, pueden compaginar esos días de sol y playa con el mas riguroso trabajo academico. Se ha comentado que no aparecerá ninguna nueva revelación extraordinaria, la vida de nuestras protagonistas discurrirá hasta el día de su muerte sin grandes sobresaltos, liberadas de la tiranía trabajaran en sus proyectos con total libertad y sin ninguna preocupación financiera las dos lo harán en lo que, realmente, les apetezca hacer. Se abandonara el genero pornografico y aunque al hacerlo pierden parte de su genio, alcanzan una serenidad y madurez creativa realmente impresionante que si bien no influirá en el desarrollo del arte de posguerra, si que lo hará indirectamente por su relación con algunas de las grandes figuras de las nuevas generaciones tal y como anuncia el óleo sobre cartón artístico seleccionada para la portada de este numero. Una obra descubierta por Doña Estrella al azar durante la visita de cortesía a una de las grandes comerciantes de antigüedades del segundo continente. Un óleo almacenado desde hacia tiempo y que dada su firma, Paulina Antúnez Davila, se consideraba una simple imitación, verdaderamente de cierto mérito, del trabajo de Angustias de la soledad Martinez Ribera. Si la anticuaria hubiera sido lectora de nuestras publicaciones hubiera evitado que Doña Estrella adquiriera la obra a un ridiculo precio y se hubiera ahorrado la desesperación al serle revelada la identidad real de la autora del óleo. Una pequeña maldad de Doña Estrella para reparar ciertas desavenencias comerciales del pasado entre la anticuaria y la xenobiologa. El óleo fue descubierto por Doña Estrella al poco de iniciar su búsqueda y jugo a su favor el retraso, producido por la investigación de Petia, del monográfico dedicado a Doña Angustias. El relato de su compra protagonizo la habitual sesión musical para cerrar su visita relámpago y, como hizo en el pasado, nos desvela ciertas practicas comerciales desconocidas para cualquiera de nosotras y tanto nos sorprendieron durante la realización de Carpa 3088. Durante todo su viaje contó con la imprescindible colaboración de Fina y Paola que intervendría en esta compra de forma directa. Una relación entre agente y coleccionista que va mucho mas de lo estrictamente comercial, que arranca desde la juventud de ambas mujeres y, por el momento, Doña Estrella prefiere no comentar. A la par que Doña Estrella y Fina viajaban por todo el planeta, el personal de Paola se centro, sobre todo, en la búsqueda de cualquier documentación relacionada con la estancia de nuestras protagonistas en el segundo continente y serian las responsables del descubrimiento de esa actividad fotográfica de Paulina ignorada por todas nosotras. Una actividad artística centrada mas que nada en la enseñanza, utilizando para ello una educativa combinación de métodos tradicionales con las cargas automáticas del pasado. Como Petia comentaba de su obra pictórica conservada en Boca negra, volvemos a encontrarnos con unas aspiraciones mucho mas académicas y controladas, alejadas de cualquier experimentación vanguardista. La discreción comentada anteriormente vuelve a ser patente en las fotografías adquiridas por las agentes de Paola y que, por lo que parece, nunca fueron expuestas en publico. Utilizadas como demostración de sus enseñanzas fueron puestas a la venta cuando se liquido la propiedad insular, un destino compartido, sin duda, por la obra de la portada y gran parte del archivo que no fue incluido en su legado posterior. Doña Estrella narro el descubrimiento de la obra en el almacén de la anticuaria, la fingida indiferencia con la que fue recibida su aparición, cordial despedida de la comerciante e inmediata comunicación con Paola: Necesito un gancho para el segundo continente: alta, pelirroja y con grandes tetas como le gustan a esa babosa. Adquirirá una serie de obras, incluyo listado, pero te adjunto la foto del verdadero interés. Tonta turista con dinero dispuesta a ser engañada, te concreto mañana todos los detalles. Ya tiene razón Petia cuando afirma que el regalo de la diosa roza con sus dedos la eternidad cuando se comporta como una perra sin alma. Analía Castro Bermudez. Google translator: Carpa 5558 will conclude the story of Angustias de la Soledad Martínez Ribera. Initially, I had planned to publish a shortened issue as a summer special, but in the end, it will be presented as a regular issue in the series. As always, it's best if Analía introduces us to Carpa 5558. Introduction: The preparatory work for the volumes dedicated to the history of photography and the second one dedicated to "Nene" has occupied us throughout this past year. Our editorial activity was reduced to a minimum, and we only published small supplementary pieces to previously released Carpa issues: 1812, 1943, and 3388. Given the approaching summer holidays, I decided to close out the year and postpone the publication of the two aforementioned issues until the first and second autumn, thus coordinating their release with the work of the other editorial teams and committees. The previous year's edition of Carpa 3088 and the stir caused by Petia's investigation prevented the entire team from enjoying a well-deserved vacation, which they would now make up for with the long hiatus planned, practically spanning three summers. Our readers will find that none of this has happened, and they are enjoying this new Carpa, Carpa 5558, dedicated to concluding our investigations into the final fate of Angustias de la Soledad Martinez Ribera and Casimira Vivar Garreta after their exile to the second continent. When we finalized that edition, Petia and all of us promised to resume the investigation as soon as possible, but unfortunately, the delay in launching our history of photography, along with many other factors, prevented us from focusing on it for perhaps a couple of years. Doña Estrella, as mentioned in Carpa 3088, once the edition was finalized, dedicated herself to tracking down and acquiring all the material related to the artist highlighted by Petia during her archival research. Although she sometimes failed, she managed to uncover some previously unpublished examples of the artist's work, or pieces that were considered lost forever. After the final results of her world tour, she began sifting through the second continent, obtaining the results that prompted her second surprise visit to our offices. Accompanied by Fina—true love is indeed beautiful—she shared these results with us, an unnecessary incentive, so that instead of enjoying our well-deserved vacations, we would launch this final volume dedicated to Doña Angustias, adding, as a sweet bonus, a paid vacation in Mira Verde to carry out all our work from there. The result, as all our followers can easily imagine, is that Mira Verde is the dream summer destination for many of our citizens, and any other vacation plan pales in comparison. Before the couple's departure, Tini had resolved all previous conflicts, and the necessary permits and authorizations for our mandate were swiftly finalized. Doña Estrella and Fina would not be able to accompany us during the research and writing of this new Carpa; the couple had been summoned by the eighth of the wise women to lead an expedition to a distant star system where one of its planets showed signs of having reached an evolutionary level comparable to our own, but for unknown reasons, it had been devastated after a long war. All the files and documents would be transferred to Petia so that she could resume the promised research based on this new data. The material offered by Doña Estrella did not include any definitive revelations, it is true, but it promised extraordinary results. Our authority unreservedly authorized the publication of this special issue as a special gesture of respect for our beloved Estrellita, a statement made by the venerable Doña Genoveva Dorcas de Aguirre Puertas herself. It has already been noted how Doña Genoveva Dorcas de Aguirre Puertas has yielded to the xenobiologist and grants any of her requests. Therefore, on this occasion, I accept the external work, although I deny official collaboration to the third administration. All necessary expenses and resources will be provided by Doña Estrella—I remain firm in my position—and our editorial team will be responsible for uploading it to the usual servers. However, the usual physical edition for our subscribers will not be published; the volume will be considered one of those summer specials that the administration agrees to publish from time to time. These specials are undoubtedly a pleasant surprise for readers and are always very well received by lovers of vintage photography, ever since the first issue was published by this editorial team, a practice adopted by the other editorial teams and, finally, by the third administration. Given the festive spirit in which this issue of Carpa 5558 was conceived, I've decided to allow my editors to adapt it to the three summers and immerse themselves in the relaxed tone of any holiday period. Visual references related to these special holidays will be included in the introductions to the sections and breaks. As always, Dorita will be in charge of the volume's design, and on this occasion, she will continue with the aesthetic style begun in Carpa 1288. It's a perfect reflection of the season and an ideal foundation for Petia's research. She and Tini have become the effective editors of this edition, as only they, given their unique circumstances, can combine those days of sun and sand with the most rigorous academic work. It has been said that no extraordinary new revelations will appear; the lives of our protagonists will unfold until their deaths without major upheavals. Freed from tyranny, they will work on their projects with complete freedom and without any financial worries. Both will do what they truly want to do. They will abandon the pornographic genre, and although in doing so they lose some of their genius, they achieve a truly impressive serenity and creative maturity. While this will not influence the development of postwar art, it will do so indirectly through their relationship with some of the great figures of the new generations, as evidenced by the oil on art cardboard selected for the cover of this issue. This work was discovered by Doña Estrella by chance during a courtesy visit to one of the great antique dealers of the second continent. The oil painting had been stored for some time and, given its signature, Paulina Antúnez Davila, was considered a mere imitation—albeit one of some merit—of the work of Angustias de la Soledad Martinez Ribera. Had the antique dealer been a reader of our publications, she would have prevented Doña Estrella from acquiring the painting at a ridiculously low price and would have spared herself the despair of discovering the true identity of the artist. A petty act of malice on Doña Estrella's part to settle certain past business disputes between the antique dealer and the xenobiologist. The oil painting was discovered by Doña Estrella shortly after beginning her search and the delay, caused by Petia's research, of the monograph dedicated to Doña Angustias played in her favor. The story of his purchase starred in the usual musical session to close his lightning visit and, as he did in the past, he reveals to us certain commercial practices unknown to any of us and which surprised us so much during the making of Carpa 3088. Throughout his trip he had the essential collaboration of Fina and Paola who would intervene directly in this purchase. A relationship between agent and collector that goes much further than the strictly commercial, which starts from the youth of both women and, for the moment, Doña Estrella prefers not to comment. At the same time that Doña Estrella and Fina traveled around the planet, Paola's staff focused, above all, on the search for any documentation related to the stay of our protagonists on the second continent and would be responsible for the discovery of that photographic activity of Paulina that was ignored by all of us. An artistic activity focused more than anything on teaching, using an educational combination of traditional methods with the automatic loads of the past. As Petia commented about his pictorial work preserved in Boca Negra, we once again find ourselves with much more academic and controlled aspirations, far from any avant-garde experimentation. The discretion mentioned above is once again evident in the photographs acquired by Paola's agents and which, apparently, were never exhibited in public. Used as a demonstration of his teachings, they were put up for sale when the island property was liquidated, a fate shared, without a doubt, by the work on the cover and a large part of the archive that was not included in his later legacy. Doña Estrella narrated the discovery of the work in the antique store's warehouse, the feigned indifference with which its appearance was received, a cordial farewell to the merchant and immediate communication with Paola: I need a hook for the second continent: tall, redhead and with big tits the way that slug likes them. You will acquire a series of works, I include a list, but I attach the photo of the real interest. Silly tourist with money willing to be deceived, I will specify all the details tomorrow. Petia is already right when she claims that the goddess's gift touches eternity with her fingers when she behaves like a soulless bitch. Analía Castro Bermudez. Algunas imagenes: Some images:

Assorted Alice In Wonderland pictures View File Some AI generated pictures of Alice In Wonderland. Saucy not spicy! Perfect for your sims who have a thing for Alice. It is called Wonderland Adventures in the build mode catalog and only has a black picture frame. Enjoy! Submitter Wildphil Submitted 08/12/26 Category Paintings & Posters Requirements Base Game  

Devious Followers - Continued LE/SE 2.14.6 - AI voiceover (ElevenLabs) View File Partial voiceover for Devious Followers - Continued using ElevenLabs artificial voice synthesizer, a.k.a. AI voice. Compatible with both LE and SE/AE versions. Feel free to report audio glitches/artefacts or when incorrect emphasis changes the sentence meaning. Voiceover versions: Glinda - Follower will say moded topic in a new voice. Not very immersive. FemaleYoungEager - Voiceover for followers using FemaleYoungEager vanilla voice type. Works only on followers with this specific voice type. Missing voiceline: NPCs (other than the follower) during tavern scenes and "slut deals" are muted; Jarls are voiced in 6 different voice types, guards - in 5; Khajiits and argonians are muted; NPCs in Potion Quest are muted; Merchants and Innkeepers are mostly voiced. Muted voice types: Delphine, all Argonians and Khajits, female Orcs, female OldGrumpy/OldKindly, female/male Cowardly, male Solder; Examples: Glinda: Female Young Eager: Submitter AndrewLRG Submitted 08/26/2025 Category Adult Mods Requirements Devious Followers - Continued and its requirements Regular Edition Compatible Yes Install Instructions

Giantess Queen Redux Fixed and Upgraded View File Hello, this mod is a fix and slight upgrade for now on the good giantess queen redux. Things that were fixed: Religions. Thing that were added : Anal Vore and Breast Vore. (the lines are bad so if you are a better writter than my ai I will use your lines.) Things that were changed: Added back fertility to giantess, but heavily reduced. Futur plan: fixing the lyfestile trait and adding more options, also adding more content. If you see unfinished content, its normal, its still a work in progress. The overall is still now fully playable. Please enjoy and don't hesitate to write a comment, it helps. I don't have permission but I will take it down if the original user wants me too. I will write to them too to ask for it. Submitter Orasio Submitted 08/09/26 Category Crusader Kings 3 Requirements  

Deviously Cursed Loot 9.0 LE/SE - AI voiceover (ElevenLabs) View File A partial voiceover for Deviously Cursed Loot 9.0 using ElevenLabs artificial voice synthesizer, a.k.a. AI voice. Compatible with both LE and SE versions of the mod. Feel free to report audio glitches/artefacts or when incorrect pronunciation changes the sentence meaning. Installation Instructions: 1) Download and install Deviously Cursed Loot 9.0 Voiceover 1.0.zip. It is a multi-part zip archive, so download both Deviously Cursed Loot 9.0 Voiceover 1.0.zip.001 and Deviously Cursed Loot 9.0 Voiceover 1.0.zip.002 files. 2) Depending on your Skyrim version, download and install either Deviously Cursed Loot - LE - Voice Changer.esp OR Deviously Cursed Loot - SE - Voice Changer.esp. This .esp file will change voice types for some NPCs added by Deviously Cursed Loot. Some unique NPCs will be muted if this plugin in not enabled. NPCs with changed voices: Some unique NPCs voices were changed either to improve voiceover quality (gave them more expressive higher quality voice type) or to diversify used voices so that close standing NPCs won't have the same voices. List of changed NPCs: Unvoiced Quests/Events: This voice pack contains around 8 hours of generated audio for 26 vanilla voice types. Most unique NPC's, like The Dollmaker, Sasha, Chloe, Leon and The Whip and Chain staff are fully voiced as well as their quests. Some events, like 'The working girl', 'Solicitation', Shopping quest and talking while being gaged are voiced in 26 vanilla voice types. Still, some quests remain muted. Deviously Cursed Loot is a dialogue-heavy project, it would take extremely large amount of time to voice every line in every possible voice type. I'm planning to add missing lines in the future. Muted Quest/Events/NPCs: All Argonians and Khajits, Female Orcs, Female Dark Elf, Female Coward, Male Solder and Sheogorath - I haven't cloned their voices. Dominant Follower; Submissive Follower; Crime and Punishment - everything related to prison is muted; Public Indecency; Saving Sasha quest - I didn't understand whether this quest was finished or not. Device Comments - when NPCs comment on the Devious Devices your character is wearing - only topics related to Devious Belt are voices. Yoke Errand Quest; Examples: The Dollmaker Leon Chloe Female Commander voice type Female Commoner Female Condescending Female Young Eager Male Commander Male Commoner Male Commoner Accented Male Condescending Male Elf Haughty Male Sly Cynical Male Young Eager - one of the most problematic voice types, can't get a decent version Submitter AndrewLRG Submitted 06/21/26 Category Adult Mods Requirements Deviously Cursed Loot and its requirements. Regular Edition Compatible Yes Install Instructions 1) Download and install Deviously Cursed Loot 9.0 Voiceover 1.0.zip. It is a multi-part zip archive, so download both Deviously Cursed Loot 9.0 Voiceover 1.0.zip.001 and Deviously Cursed Loot 9.0 Voiceover 1.0.zip.002 files. 2) Depending on your Skyrim version, download and install either Deviously Cursed Loot - LE - Voice Changer.esp OR Deviously Cursed Loot - SE - Voice Changer.esp. This .esp file will change voice types for some NPCs added by Deviously Cursed Loot. Some unique NPCs will be muted if this plugin in not enabled.

I wanted to share that with you guys: I did learn how to prompt for stable diffusion renders, everyone can do a 5 second shot of naked elf dancing in the woods, the challenge here was more to see how to keep different characters consistent through minutes of render. There's no real solution actually. So, of course, I had to try... First video below you can see an example of easy re-render of a 20 YO game. Second video is actually where I suffered a lot as I tried to keep it consistent. Won't bore you to death with the details but yeah... Anyway, it's not a game or a mod but I though you guys may like to see this and maybe, for some, change your mind about AI slop. Cheers ! Grumpf. My story though, will be something different, you can grasp an idea with the credits here: (check links below for HQ) My boring explanation below, can be skipped Today, I have finished and published a 3½-minute AI-assisted fantasy film sequence following Païka, a fallen goddess, and Anna, her human companion, through friendship, adventure and mortality. This is the opening and end credits sequence of a much larger story I've been developing. It includes original characters, animation, music, lyrics and subtitles. Watch the film on YouTube Download the high-quality 3K version on Internet Archive Also CH1, more or less not a draft anymore. 5.1 Surround if you can ! https://archive.org/details/1024-audio THere's a PG13 version of it but somehow, I think you don't really care about it ! https://archive.org/details/ch-1-pg-13 Now the really boring stuff, you were warned. The journey When I started this project, I knew almost nothing about local AI generation. I couldn't install PyTorch. I didn't know ComfyUI. WAN wasn't part of my vocabulary. Then, one obstacle at a time, I learned what I needed because the next shot required it. The final pipeline eventually involved ComfyUI, WAN, DALL·E, Qwen, Photoshop, Flowframes/RIFE, FFmpeg and Subtitle Edit. Not because I set out to learn eight different tools, but because every stage of production presented a different problem. Generate a consistent character. Animate her. Repair a face. Preserve detail. Interpolate motion. Upscale. Assemble nearly 10,000 PNG frames into a lossless master. Encode a playable version. Add subtitles. And, occasionally, convince an AI that a medieval statue should have exactly two legs. What I learned The biggest lesson was that prompting is only a small part of making a coherent film. A beautiful still image is not necessarily a good starting frame for animation. A face that looks slightly wrong at low resolution will not magically improve after upscaling—it will usually become spectacularly more wrong. Objects teleport. Glasses multiply. Trays ignore gravity. Squirrels occasionally float. The workflow that finally worked was roughly: WAN at 8 or 16 FPS → ComfyUI upscale to 3072×1728 → Flowframes/RIFE interpolation to 64 FPS → lossless FFV1 master → HEVC delivery encode. Every scene was generated and interpolated separately before final assembly. AI-assisted, not AI-generated I deliberately call this an AI-assisted film. The images and animation were generated with AI tools, but the story, characters, direction, shot selection, editing, pacing, rejected generations, workflow design, repairs, lyrics and final decisions required months of human work. AI generated possibilities. I decided which ones belonged in the film. There were countless failed shots and discarded versions behind these three and a half minutes. The final result is not perfect, but it is finished—and it is the film I wanted to make. Seven months ago, I couldn't install PyTorch. Now I have a film. That's a pretty good upgrade.