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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:

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.

Carpa 1388 descarga/ download Ya he subido al servidor el nuevo numero de Carpa, Carpa 1388. Al final dividire el monografico dedicado a "Nene" en dos partes. Esta segunda parte no se cuando aparecera pues primero quiero acabar el dedicado a Condenacion. Como siempre, la revista debe leerse a doble pagina con portada. I've already uploaded the new issue of Carpa, Carpa 1388, to the server. I'll be splitting the special feature on "Nene" into two parts. I'm not sure when the second part will be released, as I want to finish the one on Condenación first. As always, the magazine should be read as a double-page spread with the cover. Antes de la correspondiente galeria grafica, añadire los textos de prologos e introducciones. Before the corresponding graphic gallery, I will add the texts of prologues and introductions. En realidad, podría considerarse que esta introducción esta de mas en este volumen. Lo escrito en nuestro Carpa 1888, en aquellos días ultimo de la serie, mantiene su validez, pero nuestras lectoras ya han comprobado que no fue su cierre y, desde entonces, ha sido publicado Carpa 708, final definitivo de los 1800, aunque yo no estoy tan segura de la validez de nuestra afirmación. El trabajo artístico de doña Carmen es fuente inagotable para infinidad de tesis y trabajos artísticos y el estudio del material depositado en el baúl aun puede enfrentarse a una de las maravillosas sorpresas que la artista oculto entre su caótico desorden y desde el que reclama, una vez mas, nuestra atención. Como se comento en aquellas paginas, este será el primer monográfico dedicado a la figura de “Nene” fuera de los círculos mas académicos y dedicado a difundir, entre el gran publico, la fascinante obra fotográfica de la artista de camara de Carmencita y su depravada corte. Una artista seducida por la fuerza del mal y que viajo desde posturas eminentemente no poéticas y vanguardistas a entregarse sin tapujos a la mas perversa oscuridad que, como nunca, amenazo a este planeta tal y como presentamos en aquella corta sección final de “1888”. No teníamos muy claro, a la hora de realizarla, si nuestra petición para desarrollar este volumen seria atendida positivamente. Los tanteos entre nuestras lectoras habían sido muy favorables y solo la rigidez, mas que censura hablaríamos de ostracismo contra esa cultura de nuestras cuestoras de mandato, nos hicieron dudar, en un primer momento, de presentar nuestra petición. Sorprendentemente, la respuesta llego mas pronto de lo habitual y esta aceptaba nuestro proyecto sin correcciones e, incluso, añadía los comentarios favorables de la corona, el gobierno y nuestro parlamento. Por lo escrito en la respuesta, nuestras instituciones llevaban largo tiempo considerando la idea de rescatar del olvido las figuras del arte, pensamiento y ciencias del antiguo reino maldito y concederles, por fin, el reconocimiento merecido por su colaboración al desarrollo del planeta, había llegado el momento de borrar la oscuridad maldita de su agónico final y restablecer su importancia en el devenir de nuestra historia. Cuando se publique este numero de Carpa, muchas de las redacciones de los diversos mandatos, ya habrán editado y presentado publicaciones similares a esta y dedicadas a otras tantas figuras de la cultura de aquel reino. En un primer momento, antes de la franca autorización de nuestro mandato, diseñamos una edición basada, casi palabra por palabra, en el esquema de aquella publicación con vistas a reforzar nuestra petición y tener preparado un esquema funcional y aprobado ya por nuestras lectoras. Tras la respuesta afirmativa, convoque una reunión de toda la redacción en nuestra terraza para discutir la posibilidad de crear un nuevo proyecto para presentar la obra de “Nene” que evitara lo ya expuesto en ese Carpa anterior. El contenido del mismo seria transferido a los servidores adjuntos a este Carpa 1388 y con facilidad podría ser consultado por nuestras lectoras. Dejando aparte el hecho que mis redactoras suelen considerar estas reuniones como una fiesta: “La terraza era una fiesta” es el lema de todas ellas, la velada fue de lo mas fructífera y según proclamo Petia para cerrarla: “a partir de ese momento rodaremos en color y será preciso construir un maravilloso escenario musical”, todo eso antes de unirse a Sagrario para interpretar una ebria versión de: “Volveré de entre la muerta esperanza” de Vilma Guas. De esa reunión surgió este numero de Carpa eminentemente visual y orientado a presentar la obra de la fotógrafa desde un punto de vista rigurosamente academico y objetivo y evitar, en todo momento, los juicios morales sobre su persona y concentrarnos en esa poderosa obra artística y no poética que influyo decisivamente en las artistas surgidas tras el fin de la guerra y de la opresión aristocrática. De ese numero anterior solo hemos incluido las pausas publicitarias que, como en aquella ocasión, correrá la selección a cargo de Petia y aunque mantendremos un recorrido biográfico desde sus primeros pasos hasta su muerte durante los combates por el puente de las pescadoras, intentaremos mantener un enfoque totalmente nuevo para esta monografía. En aquel numero fue inevitable anotar o comparar las similitudes de su obra con las de doña Carmen, pero ahora, fuera ya de la serie 1800, evitaremos estas comparaciones y nos centraremos solo en “Nene” y su mundo. Nuestras lectoras ya conocerán la incorporación de forma oficial a esta redacción de Tini A6RN y Basilia Villalobos y como negociamos en la actualidad la llegada de Luisa, la que produce felicidad, a esta redacción también de forma definitiva. Tini y Basilia han sido las encargadas de seleccionar las fotografías realizadas para los talleres de costura y comentar dichas campañas y fotografías. Luisa, por su parte y a través de los archivos de la real casa, ha sido imprescindible para identificar a las protagonistas de esas imágenes y desentrañar, para todas nosotras y nuestras lectoras, los entresijos de la aristocracia gobernante durante la vida de “Nene” y las extrañas costumbres imperantes en su rígida sociedad de clases. Por lo demas, el resto de la redacción se ha centrado en el estudio de todo el material depositado por las tres ayas en nuestros mandatos y, como siempre, Paquita y Dorita asumen el diseño de este nuevo volumen de Carpa. Debo reconocer que ha sido, este proceso de edición, una actividad de lo mas gratificante. Por una parte presentaremos la obra de una gran artista, que a pesar de todo el mal causado por sus semejantes, no merece ese olvido y por la otra, ha avanzado la comprensión por esta redacción de esa sociedad, la mas culta y avanzada del planeta en esa época y que fue capaz de cometer toda suerte de atrocidades en lapso de tiempo realmente breve para nuestra cronología. Desde su caída, infinidad de estudios han intentado comprender las causas y motivos de esa transformación global. Lo que estos análisis no han conseguido desentrañar a lo largo de todos estos años no es el objetivo de esta publicación, pero si que lo es avanzar en el análisis de una sociedad capaz de generar artistas como la protagonista de nuestro volumen monográfico. Debo cerrar ya esta breve introducción, ha llegado mi momento de brillar y asombrar a toda la redacción y a mi Consuelo, en particular, con mi interpretación de: “Fingiré que soy tu esclava” de la sin par Roció Peña para dar la bienvenida a las nuevas redactoras y este ultimo numero de Carpa. Google translator: In reality, this introduction could be considered superfluous in this volume. What was written in our Carpa 1888, in those final days of the series, remains valid, but our readers have already verified that it was not its conclusion, and since then, Carpa 708, the definitive end of the 1800s, has been published, although I am not so sure of the validity of our assertion. Doña Carmen's artistic work is an inexhaustible source for countless theses and artistic works, and the study of the material deposited in the trunk may still uncover one of the marvelous surprises that the artist concealed within her chaotic disarray, from which she once again demands our attention. As mentioned in those pages, this will be the first monograph dedicated to the figure of "Nene" outside of the most academic circles, and dedicated to disseminating, among the general public, the fascinating photographic work of the photographer of Carmencita and her depraved court. An artist seduced by the force of evil, who journeyed from decidedly non-poetic and avant-garde positions to surrender herself without reservation to the most perverse darkness, which, as never before, threatened this planet, as we presented in that short final section of “1888.” When we submitted it, we weren't entirely sure if our request to develop this volume would be granted. Feedback from our readers had been very positive, and only the rigidity—more like ostracism than censorship—of our governing bodies against this culture made us hesitate, at first, to submit our request. Surprisingly, the response arrived sooner than usual, accepting our project without revisions and even including favorable comments from the Crown, the government, and our parliament. As stated in the response, our institutions had long considered rescuing from oblivion the figures of art, thought, and science of the ancient, cursed kingdom and finally granting them the recognition they deserved for their contribution to the development of the planet. The time had come to erase the cursed darkness of their agonizing end and restore their importance in the course of our history. By the time this issue of Carpa is published, many of the editorial teams from the various administrations will have already edited and presented similar publications dedicated to other cultural figures from that kingdom. Initially, before receiving the explicit authorization from our administration, we designed an edition based almost word for word on the structure of that publication, with the aim of strengthening our request and having a functional format already approved by our readers. After the affirmative response, I convened a meeting of the entire editorial team on our terrace to discuss the possibility of creating a new project to present the work of "Nene" that would avoid what had already been presented in that previous Carpa. The content would be transferred to the servers attached to this Carpa 1388 and could easily be accessed by our readers. Leaving aside the fact that my editors usually consider these meetings a party—"The terrace was a party" is their motto—the evening was extremely productive, and as Petia proclaimed to close it: "From this moment on, we'll be filming in color, and it will be necessary to build a wonderful musical set," all this before joining Sagrario to perform a drunken version of "Volveré de entre la muerta esperanza" by Vilma Guas. From that meeting emerged this issue of Carpa, eminently visual and geared towards presenting the photographer's work from a rigorously academic and objective point of view, avoiding at all times moral judgments about her and concentrating on that powerful artistic—not poetic—work that decisively influenced the artists who emerged after the end of the war and aristocratic oppression. From the previous issue, we have only included the advertising breaks, the selection of which, as on that occasion, will be handled by Petia. Although we will maintain a biographical overview from her early days to her death during the fighting for the Fisherwomen's Bridge, we will attempt to maintain a completely new approach for this monograph. In that previous issue, it was inevitable to note or compare the similarities between her work and that of Doña Carmen, but now, outside the 1800 series, we will avoid these comparisons and focus solely on "Nene" and her world. Our readers will already know about the official addition of Tini A6RN and Basilia Villalobos to this editorial team, and how we are currently negotiating the arrival of Luisa, the one who brings joy, to this team permanently as well. Tini and Basilia have been in charge of selecting the photographs taken for the sewing workshops and commenting on these campaigns and photographs. Luisa, for her part, and through the archives of the royal household, has been essential in identifying the protagonists of these images and unraveling, for all of us and our readers, the intricacies of the ruling aristocracy during "Nene's" lifetime and the strange customs prevalent in its rigid class society. For the rest of the editorial team, we have focused on studying all the material deposited by the three governesses during our terms, and, as always, Paquita and Dorita are handling the design of this new volume of Carpa. I must admit that this editing process has been a most rewarding experience. On the one hand, we will present the work of a great artist who, despite all the harm inflicted by her fellow human beings, does not deserve to be forgotten. On the other hand, this editorial team has advanced its understanding of that society—the most cultured and advanced on the planet at that time—which was capable of committing all sorts of atrocities in a remarkably short period of time in our chronological order. Since its fall, countless studies have attempted to understand the causes and motives of that global transformation. What these analyses have failed to unravel over all these years is not the objective of this publication, but rather to further the analysis of a society capable of producing artists like the protagonist of our special issue. I must now conclude this brief introduction; my moment has arrived to shine and amaze the entire editorial team, and my Consuelo in particular, with my interpretation of "I Will Pretend I Am Your Slave" by the incomparable Rocío Peña, to welcome the new editors and this latest issue of Carpa. Galeria/ gallery

Notes: -Much of the information in this entry, may be subject to change. Mostly small corrections, but possibly some re-ordering of events. -For cohesion, this entry will contain some sections that list off history that is not of the Selachii specifically, but listed regardless, because of the content's inclusion into the mod. -Each section denotes events occurring before or after the departure of the Selachii from Akavir. -Unless specifically stated, events may or may not come directly before or after another. -Spaced lines may suggest a long period of time between listed events. -Seriously, this entry will contain major spoilers - this is the last warning you'll get. >An unnamed Ehlnofey, or Ancestor Spirit, takes a vast amount of time to perfect an aquatic species, that maintains a bipedal shape, so it can walk upon land. It seems to have fixated upon the traits of a Shark, for it's creation. >This spirit seems to have perfected this new species at a time between night and day, when both the Sun and Moon where visible in the sky. It was named Eclipse, and later this name is translated into the language the Selachii would adopt from the Tsaesci. >Eclipse understood the concept of gender, and yet, it's body did not reflect one or the other. It was a mixture of both, due to the Spirit's lack of understanding, not it's own. >The purpose of Eclipse's mixture of genders was for a purpose - it was able to physically mate with itself, to produce offspring. Other than it's first offspring being a Selachii, little else is known about them. >Eclipse encounters what it eventually came to know as a Dragon. For a number of reasons, no violence is incited between the two. >The Dragon recognizes Eclipse as a creation of the Ehlnofey, but chooses to inquire as to their origins, rather than assume. >Over time, the Dragon teaches Eclipse of it's language - Dovazul. They become familiar enough where Eclipse is named in the tongue of the Dragons, and learns of the Dragon's name. >Later Selachii would note a familiarly with Dragons not seen in other races, being more willing to see them as more complex creatures. >A wealthy Warlord from the Pale, in the province of Skyrim, amasses an army with the intention of taking the seat of power in the Hold. He brings many men and women loyal to him to several victories before the invasion of the capitol itself, accompanied by his firstborn - a daughter, Hela, whose skills were in both the Blade, and in the arcane arts learned from her mother, a well-accomplished Mage and Alchemist. >"You ask me for power. You fall before me, you ask to be BROKEN. Why? But we both know the answer to that. As all I can break, is what remains. But you shall have exactly what you ask - because you are strong. BECAUSE I KNOW YOU WILL SURVIVE! And unlike the broken girl I gave a drop to, you shall be reborn in blood itself, WARRIOR! NOW GIVE ME YOUR EYES, AND I WILL MAKE...YOU...SEE!" >The Selachii encounter the Tsaesci, and enter into a conflict that lasts for a year. >During this conflict, a human soldier who had faithfully served the Tsaesci, arrives in their capital, and presents to the Tsaesci rulers his wife and child - both of the Selachii race. Once they understand what they are looking at, this marks the beginning of cooperation between the Selachii and Tsaesci. >The Selachii are asked to provide soldiers for the Tsaesci's invasion of Tamriel, during the 1st era - they refuse, but allow members of their race to choose for themselves. >Selachii are first seen on the shores of Tamriel during the Tsaesci's 1st Era invasion, but records of the race being involved are non-existent, or based on rumors. >A Selachii member of the Dragonguard sets foot on the shores of Skyrim, along with a number of his compatriots. Ordered to hunt down and kill Dragons, he was one of few among the Dragonguard who believed this goal to be flawed. Partially due to his race, but also due to a wish to see some level of complexity in his enemies - meaning his actions to kill them are not just about wanton murder. >Over the course of six years, his group slays ten dragons preying upon the cities and villages of the Province. But they soon hear legends and rumors of an ancient Dragon known to rest beneath the frozen waters of the Sea of Ghosts. They mean to slay this Dragon, and return to their ship to hunt it down. >Days in the cold, only the Selachii was not freezing. The rest were tired, and worried that this dragon would not be found. The unit's commander and captain of the ship, called the dragon in their language - but not knowing it's name, they simply called out DOVAH, but it was to no avail - nothing happened. >The Selachii asked to try, and the Commander agreed, since three Dragons had fallen to Hideki's blade in the past year. When Hideki called out for the Dragon, it was moments before the seas became rough, the temperature dropped severely, and the sound of a Dragon's voice echoed across the sky - but it was not in the Dragon's language. "All but one of you are, unworthy of challenging me." >At the beginning of Tamriel's 2nd Era, the political situation among the Selachii is again, one of chaos. >The family in charge is replaced by others over the course of 50 years. >Three possible factions engage in various types of conflict to gain power over the Selachii, essentially three families - Shirogane, Kai, and Morimoto. >A village of Selachiii that has vastly different beliefs from the majority of others, one that has never had ties with the rest of the race, is visited by a group of travelers who later tell an, interesting story about the events of this night, on which a celebration was being held. >They were invited to partake in a feast, the served food being standard fare for the race, though it did include some local fish and other hunted meats. >Though most of the tale they told was not taken as unusual, there seems to be a part of the story which they either refuse to tell, or for some reason, cannot. Eventually their tale is forgotten by most. >The Selachii refuse to take part in the Tsaesci's invasion of Tamriel during the 2nd Era, due to not believing in their allies stated reasons. >It is believed that, due to this choice on the part of the Selachii, certain groups among the Tsaesci begin growing a distrust of their allies, alongside the existing clash of views on the nature of Dragons. >The ruler of the Selachii during this time, is found to have been assassinated, with the one behind it believed to be a Tsaesci, though their identity is never discovered - however, no one believes any of the three families vying for power, are responsible. >The Shirogane line takes the throne, and aims to take the Selachii into an age of peace. >Azuma Shirogane takes his place as ruler of the Selachii, and marries Shino, who had been one of his best soldiers for years. >Five years later, they have two children, Himiko and Yoru. >At a celebration held on the day of his children's fifth birthday, the young Himiko is found to be missing from the day's events. While many are sure that she was still safe, Azuma was reasonably worried. However, it was soon found that Himiko was enjoying the company of one of the palace servants, who was found reading a book to Himiko. Azuma and his retainers wished the servant girl punished, and she was willing to submit to it. Himiko protested, suggesting that the girl had been teaching the young princess many things, including reading to her as she had been found. >Auzma's retainers still protested, but he asked them for silence. Asking the girl's name, she cited it as Motoko. After a few moments of silence, he gave the girl a choice - if she would agree to continue to serve, protect and help Himiko learn, she would be given the support needed for her to carry out these tasks, including higher pay, and living within the palace walls. If not, she would be asked to leave the palace, due to her dishonesty. >Motoko briefly stood, before kneeling at Azuma's feet, saying that she would endure Oblivion, in pursuit of Himiko's protection. >Legends tell of one known as the Yurei, known as such due to the lack of a proper name, that wanders the land. They appear as a very pale Selachii, with long, black flowing hair, and wear only a loose fitting white Kimono, with a red sash draped around her arms - and the legend is usually considered lacking, without the knowledge of her height - a full head or more taller than the average Selachii. Few have an understanding what this entity desires. The only thing known is, that her desires are benevolent, and any who seem to have encountered this entity, were never harmed. >As they come of age, Himiko and Yoru experience the death of their mother, Shino, and the question is then raised as to how long Azuma will keep his family in power, as well as his own status. >When Azuma makes it clear that he intends for Himiko to succeed him as ruler of the Selachii, he meets with heads of the other two prominent families, and it is Himiko that brings a peace between them >The only point in which the meeting went sour, was when it was the Morimoto family that nearly mandated that Himiko marry their oldest son. She refused, and persuaded the peace to occur without such a requirement. >The details were never made public, but most believe it is due to Himiko agreeing to a few lesser demands made by the other two families, but similarly, no one is sure of what those might have been. >On her 25th birthday, Himiko is given a present by her father, that holds a lot of responsibility and weight - the rule of the Selachii. Thus, on this day, she becomes known as Queen Himiko. >Yoru protests, drawing a blade against his sister. The two fight, and as Himiko has the tip of her sword against his throat, it is his own father who bids him to leave the city, and make his own way in life. Himiko does not protest to her father's ruling. >Himiko opens herself up to her people far more than her father, or previous rulers ever did. The first time she spoke to her people, she freely walked among them, greeting them all with equal respect. >She embraced the use of magic, endorsing the use of it publicly for purposes of healing and rejuvenation. Helping to fund the building of a temple whose purpose was to be devoted to healing, welcoming all. Within a year of construction being finalized, she occasionally visited, assisting healers with those needing healing, learning a great deal from them. >Queen Himiko rules the Selachii for 150 years, before she fades into history. >Himiko revives a tradition(that her father never used) five years into her reign, that the previous three rulers of the Selachii abandoned - the training of Handmaidens whose goal is to protect and serve the King or Queen. >Tomoe Gozen, a strong Selachii warrior who served the previous rulers, agreed to serve Himiko - once she proved an equal match in combat. This began a tradition of the Queen's Handmaidens needing to match her, as a final test. >In the 30th year of Himiko's reign, a funeral is held for Tomoe Gozen, the event being treated like the death of one of the Selachii's rulers. >Tomoe's daughter, who was given her mother's name at birth to honor the legacy, wears her mother's armor to this event, which despite being held on a bright and sunny day, for her and others, it was still raining. >An attack is carried out on a village which was of value to the Selachii, for it grew and sold Sakura, or Cherry Blossom trees, which were enhanced to provide certain effects when one ingested their petals. >In the 105th year of her reign, Queen Himiko was first seen to be pregnant by her people. >In a season of falling snow, Queen Himiko gives birth to twin children, a boy and a girl - Kōsetsu and Yukiko. >Many have reason to believe that, one of the Queen's handmaidens is the "father" - they are not concerned with this knowledge, be it fact or rumor. >In the 125th year of her reign, Queen Himiko sails to an island where she meets with an entity that is supposedly the progenitor of the Selachii race. >Yukiko takes the throne as regent during this time, due to her brother being younger. >Queen Himiko and her handmaiden Sakura are injured during an attack by Yoru, and is given power over death by a entity that seems similar to a Selachii, naming itself as Eclipse, and in the language adopted by the Selachii, it is Nisshoku. >Queen Himiko uses her power to save Sakura, who still wishes to loyally serve. >Queen Himiko sails back to this island at the close of the 150th year of her reign, being sealed within the island cavern, which now contains the temple that will serve as her tomb. >All of Queen Himiko's 1000 handmaidens agreed to serve her in death, being given the same power she had previously given only to Sakura. This does not include their deaths, yet they were entombed with her. >The Selachii put together two ships, each bound for a different location, but both have the same purpose - to present the Selachii to the 2nd Empire of Tamriel. >One ship is sent to the shores of Black Marsh, or Argonia. It returns after a successful voyage, bringing news of favorable relations with the Argonians. >Hitomi, the Captain of this ship, suggests that the Argonians looked at the Selachii curiously, unsure of any possible trust. They chose to "let the Hist decide", and gave a few Selachii, this Captain included, a taste of the sap from a large tree. >Some of the Selachii's reactions to the sap were subdued, some fell to their knees with blank looks in their eyes(but were fine soon after), and the Captain suggested she saw the tree as something else. She seems to have later recorded that she saw something else watching them, as well, though she never would know what this was. >A number of Selachii on this voyage make the choice to remain in Black Marsh, requesting permission from their Captain. Hitomi agrees to this. >The other ship was supposed to be sent to the Imperial City, but it never arrived. The Selachii never learn why. However, the truth of the matter, is that it one of the first attacks on the Selachii, by members of the Tsaesci race who greatly mistrust their ally. >Queen Yukiko officially takes the throne. >It is believed that Yukiko was one of the Selachii's last rulers in Akavir, and it is unknown if she, her brother Kōsetsu, or one of their own children became ruler of the Selachii, before the event which drove them from Akavir. >The location of the Island where Himiko took her final voyage, is lost to history after the Selachii depart Akavir. >A great force attacks the Selachii capital in Akavir, consisting of Tsaesci soldiers, who have seemingly entered into alliances with some of Akavir's other races, to attack the Selachii. >In desperation, a pact forged by the Selachii long ago, is broken. Twice. [YMMV on above spoiler-ed content - it may or may not be part of the canon story for the mod] >"Where my creator had no concern for you, I possessed it. Where it cared nothing for you, I acted for you. Where it would have destroyed you, I have taken steps, to let you save yourselves." The last words from Akavir, from an unknown source. >A few hundred years into the 2nd Era Interregnum(possibly around the year 750), the Selachii arrive on the shores of Black Marsh for a second time, and are greeted peacefully by the native Argonians. >The Argonians question the reason for this exodus, and receive no clear answers, as no Selachii has them. Still, they remember the offering given by the Selachii, along with the few Selachii who stayed and still lived in Black Marsh, and offer refuge. >The Selachii settle on a large island to the South of Black Marsh, and in a few years, they have the beginnings of a large city. They eventually name it Same-Shuto, which many regard as simple, but effective. >The Shirogane family still holds a great degree of power when it comes to the leadership of the race, though it has differed to the Council's authority heavily. The Kai family also becomes much more prominent during this time. >A large deposit of silver is discovered on the ocean floor surrounding the Selachii named capital city of Same-Shuto, and the Selachii begin mining the material within two years. >Silver becomes the Selachii's currency, though it is a material they seemingly used before in Akavir. They value it more than the use of Gold by the other provinces of Tamriel. >The Selachii make a promise to give a portion of this wealth to the Argonians on a certain basis, though it is out of respect that they do this, as the Argonians requested no exchanged currency, or other resoruces, for the Sealchii to live on the island. >One of the first well known scholars among the Selachii race is known as Gaku, who quickly becomes known for his high affinity for magic, alongside his pursuit of knowledge. >Gaku departed by ship from Same-Shuto, apparently with information he found dangerous, leaving a note suggesting nefarious actions. No one ever finds out the truth of these events. Most rely on supposition for answers, but only for lack of information. >Motoko, the latest Matriarch of the Shirogane family is seen by visiting dignitaries from other races as nothing more than a layabout, drunk, who cares nothing for her nobility. This is in spite of the fact that each of their races has the same examples, and they are arguably worse. For in spite of her lecherous ways, she is physically fit, a trained solider and warrior, along with being just as kind as any of her race. As well as a student of history, considering that of her own, Akavir, and Tamriel. These assertions are dropped once publicly challenged - for many of these same rumor mongering nobles are aghast at the idea of having to challenge their assertions in open combat. Publicly shamed, they soon defer to truth, even if it includes the classic tales they know well, and would speak of with negatively within their own lands. >Selachii Scholar Marin Kai begins work on a book concerning her people, and meets the Imperial Scholar Lyra in the process. >The Council decides in secret, planning a venture to Akavir, sight unseen, and the Selachii Navy is set to increase in size within the next three to five years. >Kaiyo and Kaze, the two sons of the Admiral in charge of this venture, Shio Kai, are assigned to his own ship, being at sea for a year. >Lyra leaves Same-Shuto, intending to travel around Tamriel, leaving with Arashii, a Selachii she met during her work with Marin. >The Selachii's debate on Marriage begins. >The ship baring Kayio and Kaze returns, and within three months they are set to leave once again. >In 2E 850, Marin Kai's work is complete, and her book, known by the title of "Selachii Legacy" to those speaking Cyrodiilic, is released. >Kayio and Kaze return to Same-Shuto with their father, and this time, Kaiyo is named First Mate, and their indefinite shore leave begins, as his father becomes involved with training new Sailors. >The Selachii debate on Marriage ends, with the choice to remain open-minded about such unions. >Kajitsu Setchi, a Selachii whose viewpoint was based on traveling in other parts of Tamriel, argues with Advocate Sora Ao about the choice. >Marin's work faces brief controversy, which she herself dispels, speaking before her people. >Kaiyo begins to suspect something about what his father is doing, and asks to know what is going on. His father only tells part of the truth. >Shio meets with the Council, to suggest what should have been done long ago - send a scout ship to Akavir, or use their Tsaesci contacts. They refuse. >Asking to meet him aboard his ship, Shio decides to tell Kaiyo everything. He brings with him the document which he and the Council signed. This document lists their outlined plans - an invasion and subsequent conquering of the continent of Akavir, including territories held by Tsaesci. >The confrontation between Shio and his son, leads to what both consider honorable, in light of the circumstances. A fight to the death - Shio loses a son, or the lie would be presented before their people, and he(Shio) faces an honorable death. >Kaiyo returns home in the rain, falling to his knees in tears, tightly embracing his sister, Marin. >Marin Kai goes before the Council, as Kaiyo and his brother leave Same-Shuto aboard his father's ship. >Presenting the signed document before the Council, they question it's legitimacy. But it has their signatures, and by the Selachii's laws, with the severity of what the document put into practice - a near decade long plan to amass a large enough force to invade Akavir, which they had cut in half in desperation, and the entire purpose of the venture was conquest, a concept which the Selachii had agreed on the founding of Same-Shuto, that they would never involve themselves with - this is grounds for the dismissal of the entire Council. >Sora Ao has little to say when he soon arrives, and Advocate Umiko Kai is equally as speechless. However, Umiko is one of the first chosen to accept a Council seat. Sora is suggested as well, but politely refuses. >Marin herself leaves Same-Shuto soon after, eventually sailing with Kaiyo. Their fate, is unknown. >Statues depicting Kaiyo and Marin are erected two years after their departure, within the plaza leading to the Council building. >These statues are built alongside an existing monument - a Cherry Blossom tree, which was brought from Akavir as a sapling, and has survived since their arrival. >When the Selachii first saw these three monuments together, they noted a certain similarity to the Mitsudomoe, and believed they coincidentally represented three things: >Statue of Kaiyo - War >Statue of Marin Kai - Knowledge >Cherry Blossom Tree - Peace >Five years after Kaiyo's flight, the Admiral who would later be known as Kokushi, Yashiro, leaves Same-Shuto, turning to the practice of Piracy. >Encountering rumors of a legend within a town built upon a sunken island, Kokushi decides to seek out this treasure. He soon comes into conflict with other Selachii sailors, who believe the legend too dangerous to chase. >Kokushi is seemingly cornered by at least seven other ships, near a massive island with swirling with black clouds continuously covering it's peaks, during the coming of dusk. He proves the might of his men and his ship, by destroying all but one of the attacking ships. >Kokushi enters into this cavern, followed by the remaining ship. Both ships are soon boarded, and a large battle begins. >Kokushi is bested by the captain of the other ship, and is left for dead. >The Shirogane family faces tragedy - their youngest, Motoko, is found near her murdered sister, the body of a lone assassin lying dead close at her feet - the girl covered in blood, holding the sword that was recently given to her. "When you murder a child of royal blood, or even a woman of royal blood, you are attempting to destroy legacy. Far more than killing a man or a boy of the same blood. Do that, and you do so for honor, for a message, or for power." >"You will not touch any member of my blood, ever again. For the reach of the Dragon's blood is long, and extends not to just those of my line. It is to the blood of every single member of my race. You may claim those of my own that pledge themselves to you. But never shall you wish for any others of my race to sit at your table, EVER AGAIN!" >Matriarch of the Shirogane family, Motoko, makes several trips to Elsewhyer and Black Marsh, repairing some strained alliances bought upon by the less than unified state of Tamriel. This affords her the company of several nobles among both races. >One of these Nobles, a young and enterprising Khajiit whose family were mostly distant relatives that in his mind, deserved none of his family fortune, travels with Mokoto back to Same-Shuto, where he eventually decides to settle. >Motoko, sails to the northern province of Tamriel, Skyrim. She arrives in Solitude to the same fanfare as other visiting nobles, and soon, she visits many locations within Skyrim, including a seemingly clandestine visit somewhere in the Reach. >The Selachii Council receives an anonymous gift - a large chest, about the size that could hold a sword, or spyglass, but this one contains neither. Instead, it contains a large scroll, made of what looks like gold, which was embedded with jewels. A note was also inside, baring the words "Returning this to the people it now belongs to. The tragedy that befell us before, will not be repeated. We should not be restricted or limited, for the fact that we place a value on knowledge, and we always have." >The 3rd Era of Tamriel begins, with all of Tamriel once again part of an Empire - the Selachii, though technically part of Black Marsh, parley with this new Empire, who suggested they must supply members of their race for the burgeoning Imperial Legion(due to their apparent martial strength), they began allowing members of their race to choose to join the Legion. >Ten years into the 3rd era, the Septim Empire's Elder Council appoints two Selachii to it's ranks. >One is appointed as a liaison to the Empire for the trade of Silver within the Empire - along with the influence the Selachii are able to bring with such a vast resource. >The second is appointed due to the Selachii's numbers in the Imperial Legion, to ensure the Empire never forces conscription onto the Selachii race. >Some visitors from the Empire question the fact that a Selachii known to be a Pirate is apparently honored by the race, believing the statue to be in poor taste for that reason. Even knowing the history does not sway them all. One Imperial Ambassador called for the statue's removal, and an Advocate at the time brought up the fact that the statue of Marin Kai was seemingly not held in contempt. However, in spite of the disdain, few Selachii wished to see either of the two statues removed. The Council's decision, was that Kayio's statue would remain - for it exists as a reminder that, no matter if he resorted to Piracy(such claims being based on rumor and supposition, not pure facts) after his departure, he is a Sailor, and is to be honored as such. >Several ships barring Imperial Legionnaires are attacked and sunk off the coasts of Morrowind and Black Marsh. Only one survivor of these ships is known: Verro Corvus. >Verro refused to explain what happened to his ship, and left the Legion soon after his return to Cyrodiil. His fate is unknown. >His journal was left behind in the Imperial City's Legion Offices, but it disappeared before it could be examined, a freakish tentacled statuette left in it's place. >The only link between these ships, seems to be that they had frequented ports of Black Marsh and Elsweyr, that were known to occasionally have outlets for the trading of Slaves. The Selachii cannot help but question the Empire's supposed ban on Slavery, where they turn a blind eye to it, when it is Khajiit and Argonians, and the wish to placate Morrowind by allowing it's practice in that province. >Many within the Empire cast some degree of doubt on the Selachii's loyalty, when it is reported that Selachii fought against the forces of the Empire during Uriel Septim V's invasion of Akavir in 3E 288. >The Selachii do not deny this, but suggest that the Selachii fighting with the Tsaesci were doing so of their own volition, and consider such a slandering belief unusual, considering the Akaviri Potentates who once ruled the Empire because of their previous invasion, and the influence they had on the Empire. They also cited the 3rd Empire's retaliation against Akavir as being unprovoked, due to the last Akaviri invasion having occurred within the 2nd Era, centuries ago. >There are 3 attempts for men in red robes, intending on performing some kind of ritual in various places around Same-Shuto. All three fail. >A 4th attempt succeeds after nightfall, opening a portal to Oblivion in the middle of the plaza, leading to the Council Chambers. >Within an hour, many Selachii rise to fight the forces of Oblivion exiting the Gate. >Hours later, a mage who witnessed the Gate's opening, suggests a way to close it. A number of Selachii enter the gate with this mage, eventually finding a tower, holding a magical orb at it's apex. Once the mage touches it, they find themselves back in the plaza, and the stone surrounding the gate crumbles. >Days later, there is an effort to remove the remains of the gate, and restore the plaza. A silver tablet is inlaid into the center of the plaza, which lists the names of those who perished during this time. >No other gates open in Same-Shuto, but as the Selachii hear of them opening in other places, especially Black Marsh, they soon learn the knowledge of how to close them is already proliferating. They send sailors to assist the Argonians, Khajiit, and other provinces regardless. >After the eruption of Red Mountain in Morrowind, and the subsequent secession of Black Marsh from the Empire, the Selachii find themselves in a tenuous position. They still support and are a part of an Empire, that the province they are technically a part of, is no longer part of said Empire. One Advocate at this time, famously repeated the situation back to the Council, who had just relayed the same information, and it is noted that his words sounded as if he was already drunk, and he was not, yet. He was known to have been red-faced at a Sake bar only three hours later, however. >The Argonian invasion of Morrowind comes at no surprise to the Selachii, who officially deny any claims that they sent sailors to assist, asserting that any Selachii who fought alongside the Argonians where doing so of their own accord. >In the assassination of Potentate Ocato, three Selachii are killed, these being members of his personal guard. >Shortly after the island of Solstheim is granted to Morrowind by the High King of Skyrim, a group of Nord pirates move their base of operations to a much smaller island to the north. They soon come into conflict with another pirate whose ship is unlike what they had seen before - a Selachii at the helm. After a number of battles, she finally engages and kills the captain of these pirates, and lets them live to serve her own aims. >Within three months, they have raided a few villages on Morrowind's coast, but soon enough, their new Captain becomes increasingly fearful of, something. It is not until they travel to the coast of Skyrim, intending on Dawnstar as their next target. They never reach it, as they are pursued by a ship for days, and after being attacked, and the Selachii captain's ship is sunk, they escape for only two days, but are caught again. >It seems that a few Selachii members of the Imperial Legion may have backed the efforts of Tidus Mede, and fought with him to claim the Imperial City. >Famed Captain Keji Hatoyama is given command of a large fleet, consisting of around ten ships, and tasked with tracking down a group of pirates known to be hiding out somewhere in the waters between Tamriel and Akavir. >It is five years of searching before these pirates are found, and their final stand comes with few losses on the part of the Selachii fleet, however, a mistake by a young sailor known as Akario, forces Keji to act when there should not have been a need, and in the end, both of them are injured. >Akario heals within days, but Keji did not fare very well. Two weeks from Same-Shuto, Captain Hatoyama succumb to his injuries, and was given back to the sea. Akario's failure made him refuse captaincy, opting to allow the next in line to take charge for the remainder of the voyage. In spite of this, the return to their capital saw Akario granted the right to take the position of captain, but he would not choose it for another ten years. >Ryoko, a Tsaesci Noble, whose family had long fostered good relations with the Selachii, lives among the Selachii for a number of years. >Some believe she has some other purpose for living with the Selachii, but few rumors surround this. Eventually, she meets with the Council, seeking a allowance for one of the Selachii captains to make a voyage to Akavir, so she could return home. >When called upon, some show interest, but one outshines them - Mioko Shirogane. She nearly runs to stand before the council, and in spite of it not being required, hits her knees to nearly beg for the honor, even if none of the Council voiced any concerns, save for questioning the present Lady Ryoko if she would accept sailing under the Shirogane captain's command - to which she agreed with a smile. >When the Great War begins in 4E 171, Selachii members of the Legion find the conflict distasteful, but still loyally choose to defend the Empire. >After the signing of the White-Gold Concordat in 4E 175, many Selachii who were part of the Legion, even more those who were present in the Imperial City that day, left the Imperial Legion, most for good - many returned to Same-Shuto, or traveled elsewhere. >The Selachii's second Elder Council seat is abandoned, after the Selachii holding it angrily spoke before the rest of the Council, suggesting that the Selachii will from then on simply refuse any demands to force any member of the race to join the Legion. It is unknown if this Selachii made it out of the Imperial City, or if they were attacked and/or jailed after making this statement. >The signing of the White-Gold Concordat brought fourth a question - would the Selachii follow the lead of Black Marsh, Elsweyr and more recently, Hammerfell, and sever ties with the Empire? Many argued that it was not needed, given that their technical status as part of Black Marsh meant this had already happened long ago. However, some among the Selachii still maintain ties to the Empire, for good or for ill. >Additionally, there was the question of the WGC's precept, and if the Selachii would abide it. When this question was asked by an Imperial Ambassador, it caused waves of laughter to spread across the room, echoing to any who heard the details of the treaty. Not one single Selachii thought it was a good idea. It is of note, however, that the Council was among the first to begin laughing. Soon enough, the Ambassador sighed, smiling herself, as she had lived among the Selachii for most of her life, as she was truly not surprised. >Shortly after the closure of the Raven Rock Mine, the settlement received a rather unusual visitor - A Selachii dressed in a northern style of her culture's attire, who offered to supply the settlement with exported goods at a reasonable price, in addition to offering some protection. Giving her name as Hiyake, she delivered the first shipment of otherwise unobtainable goods within a month. >A pair of ships from the shores of Alinor arrive in Same-Shuto, baring a delegation from the Thalmor, who speak before the Selachii Council. >The Justiciar cites a violation of the White-Gold Concordat by the Selachii, as they have refused to, or simply did not change their laws concerning Religion, in the wake of the Great War, and the Concordat's subsequent signing. > The Selachii make it clear that they have no intention to change the mentioned laws, and the Justiciar is incited to rage at this proclamation. He goes on to threaten violence against the Selachii people, to which the majority of those watching this session laugh, and the Council agrees to make an example of the Justiciar - he is executed on the spot by decapitation, and his armed escort held at sword point, before they can draw their own. >4E, 200 - During the waning days of Same-Shuto's Summer festival, Uzaki Kono is named as High Priestess of the Iyashino-Ka. Some members of other races in Same-Shuto later criticize her appointment, citing her as too young, in spite of her experience.

Toda esta semana he trabajado en las diferentes versiones que utilizara el grupo de combate de Amparo. A la vez, he completado las paginas con siluetas negras y bocetadas las ilustraciones complementarias. Resumiendo, otra semana de lo mas divertida. Hoy es fiesta en mi pueblo, santo patron, asi que me he animado a realizar esta entrada. Google translator: All this week I have been working on the different versions that the Amparo combat group will use. At the same time, I have completed the pages with black silhouettes and sketched the complementary illustrations. In short, another very fun week. Today is a holiday in my town, patron saint, so I decided to make this entry. Esta es la version del camion Herrera como ambulancia, es un diseño propio y totalmente ficticio pues el camion original nunca fue usado como tal. This is the version of the Herrera truck as an ambulance, it is its own design and totally fictitious since the original truck was never used as such. Version de transporte sin toldo. Transport version without awning. Version de transporte con toldo. Transport version with awning. Version cuba para el transporte de combustible o agua potable. Tank version for transporting fuel or drinking water. La version como vehiculo de mando ha sido la ultima que he hecho, otras versiones que habia pensado las hare en el momento que las necesite. The version as a command vehicle has been the last one I have made, other versions that I had thought about I will make when I need them. El sabado por la tarde comence a trabajar en un camion Herrera de 9 toneladas. Estoy usando las piezas construidas para el modelo de 3 toneladas adaptandolas y transformandolas. Me inspiro en los grandes camiones Faun utilizados por el ejercito aleman en la segunda guerra mundial. Piezas nuevas no tendre que hacer muchas, la semana que viene creo que tendre el modelo realizado y las primeras versiones. On Saturday afternoon I started working on a 9-ton Herrera truck. I am using the parts built for the 3 ton model adapting and transforming them. I was inspired by the large Faun trucks used by the German army in World War II. I won't have to make many new pieces, next week I think I will have the model made and the first versions. Esta es la pagina que abrira la seccion dedicada a la historia del grupo. Este numero se centrara, basicamente en la historia y organizacion del grupo y su primera mision durante el asalto al sagrario de Santa Brigida y las operaciones posteriores. This is the page that will open the section dedicated to the history of the group. This issue will basically focus on the history and organization of the group and its first mission during the assault on the Sanctuary of Saint Brigida and the subsequent operations. Estos dias he trabajado en las estatatuas que coronan la gran explanada del sagrario. Estas figuras fundidas en oro y tachonadas de piedras preciosas encierran en su interior los cuerpos momificados de miles de cautivas capturadas durante las guerras del Crisantemo y que supusieron la perdida de las fronteras orientales y llevaron los limites de nuestro imperio a la marca de las 12 tumbas. Nada mas capturar el recinto, las esculturas fueron derribadas, extraidos los cuerpos para ser enterrados y purificados y el sagrario fue arrasado hasta los cimientos por las compañias de liquidadoras, Las defensoras del recinto fueron ejecutadas sin piedad. Por lo tanto, las fotografias realizadas por Amparo son las ultimas tomadas antes de su desaparicion y supusieron todo un acontecimiento para las redactoras de Carpa, especialistas en fotografia antigua como todos sabemos. These days I have worked on the statues that crown the great esplanade of the tabernacle. These figures cast in gold and studded with precious stones contain inside the mummified bodies of thousands of captives captured during the Chrysanthemum Wars, which marked the loss of the eastern borders and brought the limits of our empire to the mark of the 12 tombs. . As soon as the enclosure was captured, the sculptures were demolished, the bodies were extracted to be buried and purified, and the tabernacle was razed to the ground by the liquidation companies. The defenders of the enclosure were executed without mercy. Therefore, the photographs taken by Amparo are the last ones taken before her disappearance and were quite an event for the editors of Carpa, specialists in old photography as we all know. Estas son las ilustraciones que he preseleccionado todavia no he escogido la definitiva. These are the illustrations that I have preselected, I have not yet chosen the final one. Por si lo necesitara, he realizado un par de bocetos del interior del recinto religioso. In case you need it, I have made a couple of sketches of the interior of the religious site. Amparo y Condenacion en la motocicleta utilizada por nuestra protagonista durante las ultimas fases de la guerra para el reconocimiento avanzado. La ilustracion como la siguiente debera ir intercalada entre las paginas de la organizacion del grupo y sus siluetas negras. Protection and Condemnation on the motorcycle used by our protagonist during the last phases of the war for advanced reconnaissance. The illustration like the following should be interspersed between the pages of the group organization and its black silhouettes. Para cerrar esta entrada subo algunas ilustraciones que he ido bocetando este fin de semana. To close this entry I upload some illustrations that I have been sketching this weekend.

this is the story "The house of the rabbits" first part David Merchant David Merchant had been in the porn industry for years, initially as one of the actors, 8 years had passed since then, today he has his production company at the age of 26. David Merchant bought the property in view of the fact that its owner had perished, the already known "Hugh Hefner". I knew I was not only buying a property, but also a built legend. His main idea was to rebuild the legend, but with a twist, the bunny girls' time was up, the legend would continue but he intended to make a big change. Sorry if something is not understood, English is not a language that I use very well, it is not even the language of my mother or father. So far it is more an advance than a beginning, I accept it, but I also want to see the reception of the story to know if it will be worth it to continue it. What will be your idea?

Often, I stumble across many interesting things while searching for something. Often, the interseting things have absolutely nothing to do with whatever it was I was searching for. Well, I gues you can say that I stumbled on an archeological dig of sorts, regarding the origins of TS3 custom animations... and thought to share with anyone interested. Mod The Sims was... and still is, a place to find many answers to TS3 questions, both for game play help, and for modding help. I have found answers to some of my recent modding questions in threads from as far back as 2010! Cmar, cmomoney, Bloombase, Twallan, Inge Jones and other familiar names are all through those old threads, and it can be fun to follow how they figured out things we take as common today. So, here is a bit on finding ways to add custom animations to TS3. We wouldn't have woohoo without this stuff!!! https://modthesims.info/showthread.php?t=441783&c=1&ht=&page=1&pp=25#startcomment https://modthesims.info/showthread.php?t=420327 https://modthesims.info/showthread.php?t=445678

Durante todo este mes de agosto he estado trabajando en Carpa 708 y la edicion ya esta mediada. Esta entrada tras las vacaciones de verano servira mostrar el desarrollo de la misma. Gooogle translator: I've been working on Carpa 708 throughout the month of August, and the edition is already halfway finished. This post, after the summer break, will serve to show its progress. Un fragmento de su contenido para esta entrada eminentemente visual: La aparente resolucion del misterio no nos condujo a ninguna parte pues resulto imposible para todas establecer una relacion entre la familia Gomera con nuestra Amparo y que interes podria tener ninguna de las dos en una entrevista o visita de cortesia, En este punto, ni siquiera Petia supo encontrar una respuesta. Como “Final” archiva Amparo las fotografias, pero resulta imposible descifrar el mensaje de la fotografa. Hemos pensado infinitas respuestas al porque de esa visita. Petia especulo con que Amparo buscara una patrocinadora para cubrir los inmensos gastos que conllevaba el experimento de Beatriz. El mismo, por eso, reconocio que esta teoria no llevaba a ninguna parte pues nada relacionaba a Amparo con esa familia e, incluso, la familia adoptiva de Amparo habia roto, hacia ya muchas estaciones, cualquier lazo entre ellas a causa de ciertas acciones de los Gomera cuando la ruina de las Alba negra. Por su parte Dorita, Consuelo y Paquita imaginaron que todo este viaje no estuviera relacionado con el futuro artistico de nuestra amiga. La familia Gomera, desde hacia ya varias generaciones, eran reconocidas coleccionistas de arte, en especial de fotografia a gran formato y quien sabe si planeaban adquirir algunas obras a nuestra amiga como forma de hacer olvidar sus coqueteos con las agentes de Carmencita. Las tres redactoras construyeron un sugerente relato sobre la visita, pero como en el caso de Petia, reconocieron que era una simple fabulacion sin ningun viso de realidad. Solo Analia se mantuvo en el rescate de Aurora y apunto a que las Gomera pudieran facilitar algun tipo de informacion sobre el paredero de esta y su unidad en el desierto de Aguas Calientes. Tambien ella tuvo que aceptar que nada apoyaba su teoria y que estaba tentada a denegar cualquier linea de investigacion sobre este tema y cerrar la seccion con el comentario de las fotografias seleccionadas por Sagrario desde un principio. En nuestros servidores se añadiria tambien un texto explicativo y detallado sobre nuestras investigaciones y su abandono. Para fortuna de esta redaccion y todas nuestras lectoras, fue Adoracion quien encontro la respuesta a traves de Luisa, la que produce felicidad. El amor de nuestra Adoracion es una reputada autoridad en la heraldica y la geneologia de las grandes familias imperiales. En esta ocasion, por eso, conto con la ayuda de Lidia Garmendia Orozco, Nombre dado por la academica a su unidad de inteligencia Tini A6RN. La ayudante se conecto inmediatamente con los archivos de la Real casa y descargo y cruzo todos los datos relacionados con la familia Gomera hasta el final de la guerra. En ellos encontro como la heredera original del apellido, Virtudes Gomera de Fuente negra y Albiol, fue una de las traidoras que al inicio de la guerra rindio su unidad sin combatir y se unio a los ejercitos de Carmencita como oficial superior de caballeria. Los archivos del antiguo reino maldito la situaban al mando de una unidad blindada en las afueras de Badia. Combatiendo como infanteria esos archivos la daban a ella por desaparecida en combate. Google translator: The apparent resolution of the mystery led us nowhere, as it proved impossible for all of us to establish a connection between the Gomera family and our Amparo, and what interest either of them might have in an interview or a courtesy visit. At this point, not even Petia could find an answer. As "Final," Amparo archives the photographs, but it is impossible to decipher the photographer's message. We have thought of endless answers to the reason for that visit. Petia speculated that Amparo would seek a sponsor to cover the immense expenses involved in Beatriz's experiment. He himself, therefore, acknowledged that this theory led nowhere, as nothing connected Amparo with that family, and, in fact, Amparo's adoptive family had, many seasons ago, severed all ties between them due to certain actions of the Gomeras during the collapse of the Alba Negra. For their part, Dorita, Consuelo, and Paquita imagined that this entire trip had no connection to our friend's artistic future. The Gomera family, for several generations now, were renowned art collectors, especially of large-format photography, and who knows if they were planning to acquire some of our friend's works as a way to make her forget her flirtations with Carmencita's agents. The three writers constructed a suggestive account of the visit, but, as in Petia's case, they recognized that it was a mere fabrication with no basis in reality. Only Analia remained committed to Aurora's rescue and hoped that the Gomeras could provide some information about Aurora's rescuer and her unit in the Aguas Calientes Desert. She, too, had to accept that nothing supported her theory and was tempted to deny any line of investigation on this matter and close the section with a commentary on the photographs selected by Sagrario from the outset. A detailed explanatory text about our investigations and their abandonment would also be added to our servers. Fortunately for this editorial team and all our readers, it was Adoracion who found the answer through Luisa, the one who brings happiness. Our Adoracion's love is a renowned authority on the heraldry and genealogy of the great imperial families. On this occasion, she enlisted the help of Lidia Garmendia Orozco, the name the academic gave to her intelligence unit, Tini A6RN. The assistant immediately connected to the archives of the Royal Family and downloaded and cross-referenced all data related to the Gomera family up to the end of the war. There, she discovered that the original heir to the surname, Virtudes Gomera de Fuente Negra y Albiol, was one of the traitors who surrendered her unit without fighting at the beginning of the war and joined Carmencita's armies as a senior cavalry officer. The archives of the ancient cursed kingdom placed her in command of an armored unit on the outskirts of Badia. Fighting as an infantryman, those archives listed her as missing in action. Aunque a la propia Luisa y Adoracion les sorprendio este dato que relacionaba tan directamente a Nuestra Amparo con la familia Gomera no fue hasta que Lidia reviso los bienes confiscados a la familia Gomera tras el fin de la rebelion que se desvelo, no tenemos ninguna duda al respecto, el porque del viaje de Amparo a la propiedad subterranea de esa familia con tanta discreccion. Entre los bienes confiscados y dispuestos para la subasta, uno de los pocos que no encontro compradora fue una urna funeraria que contenia las cenizas de Doña Virtudes. Solo una persona podria haberlas hecho llegar a la familia y desafiar todas las leyes imperiales desde las afueras de Badia. Antes incluso de que Luisa acabara de leer el listado de su pantalla, Adoracion se conectaba con nuestra redaccion. De inmediato, la triada de la noveleria, se puso en accion y Consuelo, Paquita y Petia desarrollaban infinidad de variables, a cada cual mas novelera, de la entrega de esas cenizas a la familia Gomera. Dejando aparte el factor novelero, esta explicacion aclara todo misterio sobre el viaje de Amparo. Nuestra amiga ha de realizarlo de forma discreta para evitar a las autoridades. Ni su titulo ni familia adoptiva le hubieran evitado su condicion de traidora a la madre patria al devolver las cenizas a la familia. Por lo tanto, lleva consigo sus camaras y actua como si de un viaje de placer o personal fuera su objetivo. Visita Ufa y la capital, realiza algunas compras y se pasea por la ciudad a la vista de todo el mundo. No seria nada raro, por tanto, que la espera en Agua hechicera que comentabamos fuera debido a que la familia Gomera la condujera, de forma discreta, hasta su propiedad. Una vez en la misma no resulta extraño que fotografie el espacio y a sus residentes, es, podemos considerarla asi, una invitada, una persona de calidad y con un poderoso motivo para ser recibida, la entrega de las cenizas de la heredera al titulo. Concluida la ceremonia, Amparo vuelve a Cabeza de vaca donde la espera su laboratorio y revela sus carretes con ayuda de sus ayudantes para que la pelicula no se malogre como habia hecho en muchas otras ocasiones en el pasado. No me cabe duda que Condenacion estaria al tanto del verdadero motivo del viaje de Amparo y su presencia en el refugio de las Gomera, a todas luces, resulta evidente, no era la opcion recomendable. En la redaccion nos preguntamos que podia haber hecho que Amparo hiciera es viaje para entregar las cenizas de la traidora. Para Amparo, como para todas las ciudadanas del imperio, Virtudes era la mas depravada de las criminales y responsable de la muerte de miles de seres y la hubiera ejecutado sobre el campo, sin dudarlo, si hubiera sabido de su presencia en primera linea. Al revisar los archivos relacionados con Virtudes solo un motivo, el abandono de la hija de la traidora, a los pocos meses de su nacimiento, ofrecia una sentimental, pero logica respuesta: Amparo, no dudaria en desafiar a la corona para reunir a una madre con su hija. No tenemos ninguna prueba, pero al introducir nuestros datos en los procesadores de Petia y Tini obteniamos un 80% de posibilidades de credibilidad en las dos inteligencias y por ese motivo nos aventuramos en publicarlo. Google translator: Although Luisa and Adoracion themselves were surprised by this information, which so directly linked Nuestra Amparo to the Gomera family, it wasn't until Lidia reviewed the assets confiscated from the Gomera family after the end of the rebellion that it was revealed—we have no doubt—why Amparo had made such a discreet trip to that family's underground property. Among the confiscated assets set up for auction, one of the few that didn't find a buyer was a funeral urn containing Doña Virtudes's ashes. Only one person could have delivered them to the family and defied all imperial laws from the outskirts of Badia. Before Luisa had even finished reading the list on her screen, Adoracion connected with our newsroom. Immediately, the triad of novelty sprang into action, and Consuelo, Paquita, and Petia developed countless variables, each more novelistic than the last, regarding the delivery of those ashes to the Gomera family. Leaving aside the novel element, this explanation clears up any mystery surrounding Amparo's trip. Our friend must make it discreetly to avoid the authorities. Neither her title nor her adoptive family would have spared her the status of traitor to the motherland by returning the ashes to the family. Therefore, she carries her cameras and acts as if her objective were a pleasure or personal trip. She visits Ufa and the capital, does some shopping, and strolls around the city in full view of everyone. It would not be surprising, therefore, that the wait at Agua Hechicera (Witch's Water) we mentioned was due to the Gomera family discreetly escorting her to their property. Once there, it is not surprising that she photographs the space and its residents. We can consider her a guest, a person of quality, and with a powerful motive for being received: the delivery of the ashes of the heir to the title. After the ceremony, Amparo returns to Cabeza de Vaca, where her laboratory awaits her, and with the help of her assistants, she develops her film so that the film wouldn't be ruined, as she had done on many other occasions in the past. I have no doubt that Condenación was aware of the true reason for Amparo's trip, and her presence at the Las Gomera refuge was clearly not the best option. In the editorial office, we wonder what could have prompted Amparo to make this trip to deliver the traitor's ashes. For Amparo, as for all citizens of the empire, Virtudes was the most depraved of criminals and responsible for the deaths of thousands of people. She would have executed her on the field without hesitation had she known of her presence on the front lines. When reviewing the files related to Virtudes, only one reason—the abandonment of the traitor's daughter just a few months after her birth—offered a sentimental but logical answer: Amparo wouldn't hesitate to defy the crown to reunite a mother with her daughter. We have no proof, but by entering our data into Petia and Tini's processors, we obtained an 80% probability of credibility in both intelligence sources, and that's why we ventured to publish it. Curiosamente la triada novelera como conclusion final ofrecio dos historias muy parecidas en el fondo. En el caso de Petia, por eso, enlazo la misma con su teoria del viaje temporal. En los dos relatos que Analia accedio a alojar en los servidores, Amparo descubre a la heredera agonizante en el interior de una fortificacion de cemento con una pequeña fotografia de una niña recien nacida. Las dos ficciones tienen unos desarrollos practicamente identicos. En ellos, Virtudes gastara sus ultimas energias en lamentar el abandono de su hija, el arrepentimiento por su traicion y el deseo de volver junto a su hija a la que no ha podido ver dar sus primeros pasos o llamarla mama por primera vez. El relato de Petia era el mas lacrimogeno de los dos y segun el, debia rodarse en blanco y negro. En las dos novelerias, Virtudes, muere no sin antes rogar a la desconocida que se apiade del dolor de una madre. Petia bordo el final y acabamos todas llorando a moco tendido, todo hay que decirlo. Nuestras lectoras pueden seguir el relato completo en nuestros servidores y llorar a gusto como nosotras lo hicimos. Para poder incinerar el cuerpo, las tres suponen que Amparo solo estaria acompañada por su edecan, su radio y Condenacion, que entre las tres reducirian el cuerpo a cenizas y guardarian tal secreto. Junto a Condenacion organizaria su viaje y contactaria con la familia Gomera. En el final de Consuelo y Paquita, Amparo no busca ni obtiene ninguna recompensa, el recuerdo de sus madres masacradas en el bombardeo de Liuba, ha permitido que se apiade de Virtudes y cumpla el ultimo deseo de la moribunda. Las dos redactoras creen que Amparo tras guardar sus sentimientos durante tanto tiempo, recordemos que no aparece ninguna referencia a las muertes de Paula y Valeria ni en las dos carpetas ni en ninguno de sus breves textos, iniciaria el duelo por su familia cumpliendo el ruego materno. La entrega de las cenizas se convertiria en la catarsis necesaria para poder aceptar su muerte. Petia en su final cree que Amparo, tras planear su encuentro con Beatriz y conocer sus condiciones, solicitara que la familia Gomera sufrague los gastos del experimento temporal. Solo asi, cuando desaparezca junto a sus amigas, podra mantener su fortuna intacta y dejar asegurado el futuro de la familia de Carmela, de la de Condenacion y de su madre adoptiva como Teresa hara lo propio con la suya. Toda la redaccion cree que aqui Petia se equivoca y que a pesar de descargar todo el material disponible de nuestra amiga, no ha sabido conectar con su alma. Es impensable que una mujer como Amparo exigiera algun tipo de recompensa tras entregar las cenizas o aceptara el ruego de Virtudes soñando con una fabulosa recompensa para pagar esa quimera. Nuestras lectoras tienen la ultima palabra. Google translator: Curiously, the novel's triad as a final conclusion offered two very similar stories at their core. In Petia's case, therefore, she linked it to her theory of time travel. In the two stories that Analia agreed to host on the servers, Amparo discovers the heiress dying inside a cement fortification with a small photograph of a newborn girl. The two fictions have practically identical developments. In them, Virtudes will spend her last energies lamenting the abandonment of her daughter, regretting her betrayal, and the desire to return to her daughter, whom she has not been able to see take her first steps or call her "mother" for the first time. Petia's story was the more tear-jerking of the two and, according to him, should have been filmed in black and white. In both novels, Virtudes dies, but not before begging the unknown woman to take pity on a mother's pain. Petia outlined the ending, and we all ended up bawling our eyes out, it must be said. Our readers can follow the full story on our servers and weep heartily, just like we did. In order to cremate the body, the three assume that Amparo would only be accompanied by her aide-de-camp, her radio, and Condenación, who between the three of them would reduce the body to ashes and keep this secret. Together with Condenación, she would organize her trip and contact the Gomera family. At the end of Consuelo and Paquita, Amparo neither seeks nor obtains any reward; the memory of her mothers massacred in the bombing of Liuba has allowed her to take pity on Virtudes and fulfill the dying woman's last wish. The two editors believe that Amparo, after keeping her feelings to herself for so long—remember that there is no reference to the deaths of Paula and Valeria in either of the two folders or in any of her brief texts—would begin to grieve for her family, fulfilling her mother's request. The delivery of the ashes would become the necessary catharsis to accept her death. In her final words, Petia believes that Amparo, after planning her meeting with Beatriz and learning her conditions, will request that the Gomera family cover the costs of the time experiment. Only then, when she disappears with her friends, will she be able to keep her fortune intact and secure the future of Carmela's family, Condenación's family, and her adoptive mother, just as Teresa will do for hers. The entire editorial team believes that Petia is mistaken here and that despite downloading all the available material about our friend, she has failed to connect with her soul. It is unthinkable that a woman like Amparo would demand any kind of reward after delivering the ashes or accept Virtudes's request, dreaming of a fabulous reward to pay for such a pipe dream. Our readers have the last word.

IKR sims Collection View File a collection of sims of celebrities, youtubers, game characters, and sims from my various saved games for everyone to use as they see fit. Submitter IKR1994 Submitted 08/14/2021 Category The Sims 4 - Sims Requires EP08, EP07, EP10, EP02, EP05, EP04, EP01 GP06, GP05, GP03, GP01, GP02, SP13, SP05, SP03, SP01