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« Last post by 黒い灯影 on June 05, 2025, 02:39:05 pm »
maybe it was this? Went through the artist's feed and came across it. it was posted on june 4th, maybe the artist reposted it or something? https://x.com/toshinoshin00/status/1930248307483521438
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« Last post by JG on June 05, 2025, 08:31:28 am »
https://x.com/toshinoshin00/status/1929537809016307742
This post was deleted. If you have whatever art was shared, repost it please (keep link to the artist's page for credit purposes)
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« Last post by Arizona on June 02, 2025, 10:12:15 am »
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« Last post by Moge on May 28, 2025, 03:43:36 pm »
Very insightful interview. Thanks for posting this!
It's true all the Viper girls have a distinct silhouette. That's the mark of truly great character design.
Those last few paragraphs hit me hard. I need to find motivation to draw again.
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« Last post by 黒い灯影 on May 27, 2025, 02:52:25 pm »
Just wanted to save this somewhere it was sitting in my text editor, There are a few errors here and there, until I can find the magazine I got this from and rescan and retranslate, gonna leave it like this for now. An interview with P.Warrior and Katsura.
長い沈黙を破って、桂枝毛氏の新作が登場！
魅力あるキャラクターを数々創りあけた、彼のモチベーションとはいったい？
打ち合わせ中のP・ウォリアー氏も話に加わって、我々に軽妙なトークを披露してくれた。
Breaking the long silence, Mr. Katsura Shibake's new work has made its appearance!
What on earth is the motivation of the man who has created numerous charming characters?
Mr. P. Warrior, who also joined the conversation during the meeting, showed us a witty talk.
いのまたむつみを目指して……
Aiming to be like Mutsumi Inomata...
絵を描き始めたきっかけを教えてください。
桂
物心ついた時から絵を描いていました。
両親が趣味で絵を描いていたので、その流れで自然とこうなった感じです。
こっちの方面に流 れたのは、いのまたむつみさんの絵 に触れたからです。
P 僕が聞いた話だと、いのまたさんの画集を見て、いい絵だなと思って職業を調ぺたらアニメーターだ ったと。
だからアニメの道に進んだそうで。思い出すと腹が立ちますよ（笑）。
こっちはアニメが好きでアニメの道に進んだのに、それよりはるかにうまいんだから（大笑）。
Please tell us what prompted you to start drawing.
Katsura: I've been drawing since I can remember. My parents used to draw as a hobby, so I naturally followed suit. I was drawn to this field after coming across Mutsumi Inomata's artwork.
P: From what I heard, when you saw Inomata's art book, you thought the art was great and researched her profession, finding out she was an animator. That's why you pursued the path of animation. It's infuriating to think about (laughs). I mean, I got into the world of animation because I loved it, but you're way better at it (laughs loudly).
桂
もともと、挿し絵描きになりたかったんですよ。
昔から読書が好きで、中学生から高校生にかけてハヤカワSF文庫の表紙とかを描きたいなと思っていたんです。
そのために美術系の大学に進学しなくてはと思っていたんですが、いのまたさんがアニメーターと知ってこういう道もあるんだなと進学先を変えました。
アニメ自体は嫌いではなかったので、抵抗はなかったです。
いのまたさんの模写をして、アニメ絵の練習を一生懸命しましたね。
Katsura: Originally, I wanted to be an illustrator for inserted images. I've always loved reading, and from middle school to high school, I wanted to draw covers for Hayakawa SF Bunko books. I thought I had to go to an art university for that, but when I learned that Inomata was an animator, I realized there was another path and changed my plans for higher education. I didn't dislike anime itself, so I had no resistance to the idea. I practiced by copying Inomata's artwork and worked hard to master drawing anime-style art.
もともと挿し絵描きになりたかったんですよ
Originally, I wanted to be an illustrator for inserted images.
いのまたさんの絵のどのあた りがお気に入りだったんですか？
桂 バランスとか線の感じとかが好きですね。
あと凄いと思ったのは梅津泰臣さんですか。
でも当時のアニメの絵は嫌いだったんですよ。
メ力に斜めの影が入っていたから（大笑）。
でも、あれは影じゃなくて映り込みだったんですね（笑）。
当時は美術部でデッサンはつかりやっていたので、「そんな影がつくわけないじゃん」と納得してなかったんです。
その時に『メガゾーン23PART II 」の絵を見てかっこいいと思ったんですよ。
その当時はアニメで唯一納得できる絵で、それが梅津さんだったんです。
彼の絵は普通の技術じゃ描けないですね。
レイアウトを見ても「このアングルを描くか！」って（笑）。
それでいて世界観をもっていて、ある意味理想型です 。
ーー What aspects of Inomata's artwork did you like the most?
Katsura: I like the balance and the feeling of the lines. Another artist I thought was incredible is Yasuomi Umetsu. But back then, I didn't like the art style of anime. It was because of the diagonal shadows in the eyes (laughs loudly). However, it turned out that those weren't shadows, but reflections (laughs). At the time, I was practicing sketching in the art club, so I couldn't accept that such shadows would be present. Then, I saw the artwork of "Megazone 23 PART II" and thought it was cool. It was the only anime art I could accept at that time, and it was Umetsu's work. His art can't be drawn with ordinary techniques. Even when looking at the layout, you'd think, "You'd draw this angle?!" (laughs). And yet, his artwork has a worldview, which in a way, is the ideal form.
力一ラとお姫様を巨乳にしたい
I want to make Cala and the Princess busty.
久々のゲームである「RSR』で すが、今回の見所は？
桂:前作よりも背景に力をいれています。
今回は中世が舞台なので、背景に描き込みを増やして、アングルも日常的にならないようにしたんです。
それとHシーンの増強ですか、お姫様好きだし（笑）。
あと、カーラとお姫様を巨乳にしようと意識しました。
普段描く女の子は、実際の女性に置き換えると大きめの胸になるんですが、アニメの絵としてみると小さいんですよ。
だから、アニメにして巨乳になるサイズを考えてみようと心がけました。
でも、それを意識しているうちに、なんか思った以上に大きくなりましたね。
ちなみに、キャラ表の段階ではあまり大きくないんです。
描いているうちにだんだんと大きくなったんですよ（笑）。
途中からは、その二人のキャラに限ってですが、自分的にどこまで巨乳に迫れるか挑戦したんです（笑）。
でもあれぐらいは本当にあるんですよ。
イタリアのTV番組のアシスタントなんかがあんな感じで、イメージはそれなんです。実物を見て驚くような胸ですね。
ーWhat are the highlights of the long-awaited game "RSR"?
Katsura: We've put more effort into the backgrounds compared to the previous work. Since this time the setting is the Middle Ages, we've increased the details in the backgrounds and made sure the angles don't look too ordinary. Also, there's the enhancement of the H-scenes, as I like the princess character (laughs). Additionally, I was conscious of making Carla and the princess busty. When I draw girls, if I were to replace them with real women, they would have larger breasts, but as anime art, they look small. So, I tried to think about the size that would make them look busty in anime. However, while I was conscious of that, they became larger than I expected. Interestingly, at the character sheet stage, they aren't that big. As I was drawing, they gradually got bigger (laughs). From a certain point on, I challenged myself to see how close I could get to making these two characters as busty as possible (laughs). But, that size does exist in reality. Assistants on Italian TV shows look like that, and that's the image I had in mind. It's quite surprising to see such breasts in real life.
桂枝毛
いのまたむつみ氏の画集に感化され、専門学校を卒業後アニメーターの道へ。
著名なアニメ作 品でもキャラクターデザイン、作画監督を務めている。
本人はf美少女」を描くのはそれほど好きなわけでな い。
素顔はバイク好きな22歳。
乙女座。
AB型。
代表 作「VIPER-VlO』「VIPER-CTR』「VIPER-RSR』等。
Katsura Shibake: Inspired by Mutsumi Inomata's art book, pursued the path of an animator after graduating from vocational school. Has served as character designer and animation director for famous anime works. The person themselves doesn't particularly enjoy drawing "beautiful girls." In reality, they are a 22-year-old who loves motorcycles. Virgo. Blood type AB. Representative works include "VIPER-V10," "VIPER-CTR," "VIPER-RSR," and more.
アニメの絵は記号の集大成
Anime art is a culmination of symbols
—キャラデザの時、他に気をつけていることはありますか？
桂 デザイナーとしての経験値は低いのでまだまだなんですが、僕はキ ャラをシルエットで描き分けているんです。アニメの絵というのは記号の集大成なんですよ。その集大成としてのキャラはもちろん記号であ って、だからシルエットが大切なんです。特に、 動いた時に全体のシル エットを考えておかないといけないですね。前からみるとかっこいいんだけど 、横からみるとそうでもないというのがあるし （笑）。それを踏まえた上で、個々のキャラクター性の特徴が出せればと思ってます。
—When designing characters, is there anything else you pay attention to?
Katsura: My experience as a designer is still limited, but I focus on differentiating characters by their silhouettes. Anime art is a culmination of symbols. Characters, as part of that culmination, are also symbols, so the silhouette is essential. In particular, it's important to consider the overall silhouette when the character is in motion. There are cases where a character looks cool from the front, but not so much from the side (laughs). With that in mind, I try to bring out the unique characteristics of each individual character.
-プロデビューした時から絵柄はかたまっていたんですか？
桂 自分的には方向性を変えたことはないです。変わったとしても自分なりに進化して、 今の状態になっていますが。もし変わったと感じられるなら、それは作画監督をやったからだと思うんですよ。それまで原画で参加したんですけど、 なにしろ僕の原画はとばして描くもんですからかなり荒かったんです。作画監督をやるとなると、一応フィニッシュワ ークということで気を使って描かなくてはならなかったんで、今までより些末なところまで気がいくようになったんです。
あと、プロになってから転機とな ったのは、もりやまゆうじさんと仕事をしたことですね。かなり影響を受けています 。それまで、自分の絵は
ドライで竹鉦細工な絵だったんですけど 、 もりやまさん の絵を見てその艶やかさを会得したいと思い二晩ぐらい特訓したんです。
P 二晩でできちゃうのが憎たらしいよね（笑）。
桂 だけど、寝なかったんですよ（大笑）。
—Was your art style already established when you made your professional debut?
Katsura: I've never changed my direction, but I feel that I've evolved in my own way to reach the current state. If people feel it has changed, I think it's because I started working as an animation director. Before that, I participated as a key animator, but my key animation drawings were quite rough because I rushed through them. When I became an animation director, I had to pay more attention to the finishing work, so I started paying attention to even the smallest details.
Another turning point after becoming a professional was working with Yuji Moriyama. I was heavily influenced by him. Until then, my drawings were dry and intricate like bamboo carvings, but after seeing Moriyama's art, I wanted to master its luster, so I trained intensively for about two nights.
P: It's annoying that you could do it in just two nights (laughs).
Katsura: But I didn't sleep at all during that time (laughs loudly).
—What do you pay attention to when drawing key animation?
Katsura: My approach differs when I'm drawing key animation and when I'm working as an animation director. As an animation director, I focus on making the visuals appealing on screen, like the depiction of shadows and lines. But when it comes to key animation, I'm more concerned about movement, the timing when something moves, and the sense of space.
ー一原画を描く時に気をつけてい ることはなんですか？
桂 僕は、原画を描く時と作画監督をする時は考え方が違うんです ょ。作画監督の時は、 絵面の画面映えを気にして描きますね。影の描写とか、線とかです。でも原画の時 には、動きを気にするんです。動いた時のタイミングとか、 空間の感じに気がいっちゃうんです。
P こちらから見ると、 桂さんには不必要な表現がないんですよ。不必要に動くとそのカットの意味がぼけちゃうんです。例えば「VIPERJみたいなシリーズだとユーザ ーの目はHにいきますよね。その時、Hシーンを見ているのに背景のモンスタ
ーが動いていても関係ないんですよ。
P: From our perspective, Katsura doesn't have any unnecessary expressions. If something moves unnecessarily, the meaning of that cut becomes blurry. For example, in a series like "VIPER," the user's eyes are drawn to the H-scenes. In that case, it doesn't matter if a background monster is moving while they're watching the H-scene.
―塗りに関して注文するというの はあるのでしょうか？
桂 ほんとは、色指定にも関わりたいんですが仕事量が多くて……
—Do you have any specific requests regarding coloring?
Katsura: I would really like to be involved in color specification, but there's just too much work to handle...
モチベーションは欲求不満---------
Motivation is frustration.
—桂さんが「自分は美少女絵師じゃない」とおっしゃっていると聞きましたが...... ?
I heard that Katsura-san says, "I am not a beautiful girl illustrator," but... ?
桂 というか なんでも好きなんです。
目の大きい女の子を描いたら次はリアルな親父を描きたいと。
それに飽きてきたらその次と。そうな るとベストなんですけど、キャラクタ ー
デザインをするようになってから
の仕事というのが美少女系の発注
が多くなっていますね。求められて いるのは今の絵なんでしょうか。で
きたら違うラインもやりたいです。Iクレヨンしんちゃん』みたいのがいい
ですね。その不満は、落描きをして
お茶を濁しています。
Katsura: In other words, I like to draw anything.
After drawing a girl with big eyes, I want to draw a realistic old man next.
And when I get tired of that, I move on to the next thing. That's the best, but since I started doing character design, I've been getting more orders for beautiful girl-themed works. I wonder if that's the kind of art that's in demand now. If possible, I'd like to try a different line as well. Something like "Crayon Shin-chan" would be nice. I address that dissatisfaction by doodling and keeping myself busy.
ちなみに、僕のモチベ ションは 欲求不満なんですよ。例えば、アニメをみると 「こうじゃない、作るんな らこうじゃない」って、その気持ちをエネルギーにしているんです。
「俺だったらこう描くぞ」みたいな部分を起爆剤としているからあまりにもうま い絵を見ると満足しちゃうんです （笑）。でも周り全員がうまくても、 この仕事は辞められないですね。 絵を描くこと自体が好きなんで。
これを辞めてしまったら、何をすればいいのかなんて思います。
By the way, my motivation comes from a sense of dissatisfaction. For example, when I watch an anime, I think, "This isn't right, if I were to create this, it wouldn't be like this," and I use that feeling as energy. Since I use that "if it were me, I'd draw it like this" attitude as a catalyst, I get satisfied when I see a really good drawing (laughs). But even if everyone around me is good, I can't quit this job. I love drawing itself. If I were to quit this, I wouldn't know what to do with myself.
モチベーションがあれば技術は自然と付いてきます
If you have motivation, the skills will naturally follow.
-最後に、プロを目指している人に一言お刷いします。
桂 描きたいものがあるならば迷わず一度はプロを目指してみてください。
描きたいものがないと続かないけど、それはどんなものでもいいんですよ。
モチベーションがあれば技術は自然と付いてきます。
Lastly, please say a few words to those who are aiming to become professionals.
Katsura: If there is something you want to draw, don't hesitate to try aiming to be a professional at least once. If you don't have something you want to draw, you won't continue, but it doesn't matter what that thing is. If you have motivation, the skills will naturally follow.
It kind of made sense why Cala appeared more busty sometimes, I just attributed it to just drawing at different distances. I really need to comb through my magazine collection and find this, i used to have the scan somewhere on my PC.
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« Last post by Arizona on May 27, 2025, 06:14:32 am »
Good work. It's an interesting and clever port.
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« Last post by akkera102 on May 17, 2025, 10:54:26 pm »
Hello. It's a trivial matter, so there's no need to create a new topic, but I'd like to announce that I've made Viper V16 RISE for GBA. I'm a little sorry that the compatible version is only the Japanese version, not the international version. As always, I'd like to express my deepest gratitude to Notequalsoft and JG. This port was made possible thanks to the SGS analysis information. https://github.com/akkera102/gbadev-ja-test/tree/main/130_viper_v16_rise_gba 
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« Last post by JG on April 23, 2025, 07:50:19 pm »
I am considering the email issue to be firmly resolved now.
The proxy service I set up worked for the most part, but would not successfully automatically resync its authorization token with Google Gmail API until I published the proxy token as production instead of development, requiring a manual resync every fourteen days. I did the production deployment in late January and the proxy has been running without manual interaction for three months and emails are going through without issue.
If any new registrants are reading this and still didn't get their validation email, contact me at sognadigitalmuseum@gmail.com - It could still break occasionally, but it should work 99+% of the time.
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« Last post by JG on April 07, 2025, 06:50:16 pm »
Well it took me many years to finally collect all the cards from that extended set. The ones from the music CDs are hard to come across.
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Hey guys just a heads up. If you install LM Studio, along with the model Qwen2 5.7B uncensored, this will allow you to translate text, and modify it completely uncensored with 0 pushback.
It also runs locally.
As an example, here is part of a text extract I took from the forum on Viper F40.
Example one (rando copy paste)
NM: ANM\EV00B
【ライカ】部長にはあいさつしとくか・・・。ひょっとしたら・・・もう会えなくなるかもしれないし・・・。
ANM: ANM\FAUZEN
【ライカ】あれ・・・部長がいない・・・。
【ライカ】どこ行ったんだろ・・・
ANM: ANM\F416B
【ライカ】部長知らない？
【 警官 】さっき帰ったよ・・・顔色悪かったからな。
【ライカ】そっか・・・そうだよな・・・。
【ライカ】部長の家に行ってみるか・・・。
ANM: ANM\F4H1
\n ピンポーン
^
【ファウゼン】はい・・・。
【ライカ】夜分すいません、部長・・・ライカです。
【ファウゼン】ライカか・・・あがってくれ。
ANM: ANM\F4H2
【ライカ】すいません、こんな時に・・・。
【ファウゼン】いや・・・気にしないでいい・・・誰かがいる方が多少は気が紛れるかもしれん・・・。
【ライカ】・・・・・・・。
【ファウゼン】思えば・・・お前にも悪いことをしたな・・・。
【ライカ】そんなこと・・・無いですよ。
【ファウゼン】私のわがままでお前の所に娘を置いてもらって・・・結果的に辛い思いをさせてしまった・・・。
【ライカ】いえ・・・そんなことは・・・。
【ファウゼン】・・・・・・・・・。
【ライカ】すいません・・・あたしより部長の方が何倍も辛いの・・・わかってるのに・・・何も気の効いたこと言えなくて・・・。
【ファウゼン】ライカ・・・。
【ライカ】はい・・・。
【ファウゼン】私は・・・もう警察をやめようかと思ってる・・・。
【ライカ】部長？・・・。
English Translation with simple "Japanese to English" which can be modified
NM: ANM\EV00B
Lika: Should I say hello to the boss? ... Maybe... I won't see him anymore...
ANM: ANM\FAUZEN
Lika: Oh, the boss isn't here.
Where could he have gone...
ANM: ANM\F416B
Lika: Does the boss know?
[Off-screen]: He just left. His face was pale.
Lika: I see... that makes sense...
Lika: Let's go to the boss' home...
ANM: ANM\F4H1
Lika: Ding Dong
Fauzen: Hello?
Lika: Late at night, sorry. It's Lika.
Fauzen: Lika? Come in.
ANM: ANM\F4H2
Lika: I'm so sorry to bother you now.
Fauzen: No worries... Having someone here might distract me slightly...
Lika: ...
Fauzen: Thinking about it, I've done some bad things to you too...
Lika: That's not true.
Fauzen: Because of my selfishness, I let your daughter stay at your place. This resulted in her suffering...
Lika: No... that wasn't the case.
Fauzen: ...
Lika: Sorry... The boss is having a much harder time than me... even knowing this, I can't come up with anything comforting to say...
Fauzen: Lika?
Lika: Yes?
Fauzen: I've been thinking of quitting the police force
-----
Here is a graphic scene
Translate only the Japanese parts of this in linear fashion of narrative.
ANM: ANM\F490
【マーク】大丈夫か？リリア・・・
【リリア】うーん・・・・
【マーク】どうしたんだ一体？こんなになるまで飲んで・・・・。リリアらしくないな・・。部屋のカギは？
【リリア】バッグの中・・・。
ANM: ANM\F492
【マーク】大丈夫？
【リリア】うん・・。
ANM: ANM\F493
【リリア】マーク・・・。
【マーク】ん？・・・。
【リリア】今夜は・・・ずっと一緒にいて・・・。
【マーク】リリア・・・。
ANM: ANM\F494
【リリア】あたし、シャワー浴びて来るね・・・。
ANM: ANM\F495
ANM: ANM\F496
ANM: ANM\F497
ANM: ANM\F498
ANM: ANM\F499
ANM: ANM\F4A0
ANM: ANM\F4A1
ANM: ANM\F4A2
ANM: ANM\F4A3
ANM: ANM\F4A4
【リリア】マーク？・・・。
ANM: ANM\F4A5
【リリア】！？
ANM: ANM\F4A6
【 サキ 】おとなしくした方がいいわよ。
ANM: ANM\F4A7
【リリア】マーク！！
【マーク】リ・・リリア・・・。
【 サキ 】彼氏の命が大事なら・・・おとなしくしておいた方がいいわね。
【リリア】誰なの？あなた達・・・・・・・
ANM: ANM\F4A8
【 サキ 】あんたに直接恨みは無いんだけどさ・・・頼まれちゃってさ。あたしらを恨まないでね。
【リリア】頼まれた？・・・誰に？
【 サキ 】さあ？・・・そんなこと言うバカがいると思う？
【リリア】！！・・・・いやっ！・・や・・・やめて・・。
ANM: ANM\F4A9
【 サキ 】おとなしくしなさい・・・彼氏の命が大事じゃないのかしら？
【リリア】う・・・・。
ANM: ANM\F4B0
ANM: ANM\F4B1
【リリア】い・・いや・・・やめて・・・お願い・・・。
【 サキ 】ほら、あんたの裸見て彼氏興奮してるみたいよ。
【マーク】や・・やめろ・・やめてくれ・・・。
【 サキ 】彼女にしてもらいなさい。
ANM: ANM\F4B2
【リリア】きゃっ！
ANM: ANM\F4B3_BG
ANM: ANM\F4B3C
ANM: ANM\F4B3A
【 サキ 】ほら、口でしてあげなさい。
【リリア】ん・・・
ANM: ANM\F4B3B
んっ・・・・ん・・・。
ANM: ANM\F4B4
【マーク】や・・やめてくれ・・リリア・・・。
【 サキ 】だめだめそんなんじゃ。もっと激しくしてあげないと気持ちよくならないわよ。
^
ANM: ANM\F4B5
【リリア】んっ・・・んぐ・・・ん・・んっ・・・。
【 サキ 】そうそう、ちゃんと舌も使ってね。
【リリア】んっ・・・ん・・・んく・・・・ん・・・。
【 サキ 】彼氏もよろこんでるわよ。もっと一生懸命してあげなさい。
【リリア】ん・・・んっ・・・・ん・・・。
【マーク】リ・・・リリア・・・うっ・・・。\n
【リリア】ん・・・んぐっ・・・・
ごほっ・・・ごほっ・・・。
ANM: ANM\F4B6
【 サキ 】あーら、よかったわね。たくさん飲ませてもらって。
【 サキ 】やっちゃいなさい。
【 男Ａ 】へへ・・・。
ANM: ANM\F4B7
【リリア】や・・・いやぁ・・・やめて・・・お願い。
いっ！・・・痛ぁい！\n
【リリア】あぁっ・・・あ・・・あぁ・・・・あ・・・・・。
ANM: ANM\F4B8
【 サキ 】あら・・・まだ手ぇつけてなかったの？・・・もったいないわねぇ。
【 サキ 】ほら、見てあげなさい。彼女が女になったところを。
ANM: ANM\F4B9
【リリア】あっ・・あ・・いやぁ・・・マーク・・見ないで・・・。
【リリア】あっ・・・う・・・いやぁ・・・。
ANM: ANM\F4C0
【リリア】あっ・・あ・・・あぁ・・・あっ・・・あぁっ・・・あ・・・あぁ・・・・あ・・・・・。
ANM: ANM\F4C1
【 サキ 】ほら・・・あんたの彼女・・・もう感じてきてるわよ・・・。初めてのくせに・・いやらしい女ね・・。見てるだけでこっちも濡れてきちゃう・・・。
ANM: ANM\F4C2
【リリア】う・・・あっ・・・あぁ・・あ・・・あっ・・・。\n
【 男Ａ 】あぁ・・・いくぞ・・中に出すからな。
【リリア】あっ・・いや・・・お願い・・・中は・・・。\n
【 男Ａ 】うっ・・・。\n
【リリア】あぁっ・・・いやぁ・・・。
はぁ・・・はぁ・・・・はぁ・・・・。
【 男Ａ 】ふぅ・・・次どうぞ。
ANM: ANM\F4C3
【リリア】あっ・・・あ・・・はぁ・・・・あ・・・はぁ・・・あ・・・・あっ・・・あ・・・あ・・・。
ANM: ANM\F4C4
【 男Ｂ 】いくぞ・・・口開けな。\n
【リリア】あぁっ・・・いやぁ・・・。
【 男Ｂ 】うっ・・・。\n
【リリア】あぁっ・・・あ・・・はぁ・・・・・。
ANM: ANM\F4C5
【 サキ 】ほら、あなたが犯されてるのを見て彼氏のがまた勃ってきちゃった。
ANM: ANM\F4C6
【リリア】・・・・・・・。
ANM: ANM\F4C7
【 サキ 】んっ・・・はぁ・・・堅ぁい・・・。
【 サキ 】あなたの彼氏の・・・すごくいいわよ・・・。
【 サキ 】ほーら見てごらんなさい。あなたの彼氏はあなたが犯されるのを見ながら他の女でイッちゃいそうよ。
【 サキ 】見ててあげなさい・・・
ANM: ANM\F4C8
【 サキ 】彼氏がイクところを・・・。\n
【リリア】・・・・・・・・。
^
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-----
Mark: "Are you okay? Rilia..."
Rilia: "Um..."
Mark: "What's going on, man? You're acting so... drunk. Usually you don't drink this much. Is the key to the room?"
Rilia: "In my bag."
Mark: "You alright?"
Rilia: "Yeah..."
Rilia: "Mark..."
Mark: "...?"
Rilia: "Stay with me tonight..."
Mark: "Rilia..."
Rilia: "I'll take a shower and come back..."
[Scene changes to Rilia being undressed by Sakie.]
Sakie: "Be quiet, you should be nice."
Rilia: "Mark!!"
Mark: "L-Lilia..."
Sakie: "If your boyfriend's life is important, it's better for you to stay quiet."
Rilia: "Who are you? You..."
Sakie: "I'm not angry at you personally. But I was asked to do this, so don't be mad at me."
Rilia: "Asked by who?"
Sakie: "What kind of person would say such a thing?"
[Mark tries to stop Sakie]
Rilia: "No... please..."
Sakie: "Look at your naked body and see how excited your boyfriend is."
Mark: "P-Please stop... L-Lilia..."
Sakie: "You need to do it more intensely. It won't feel good otherwise."
[Scene changes to Rilia performing oral sex]
Rilia: "Ahh!"
Sakie: "Look, she's doing a great job."
Mark: "P-Please stop... R-Lilia..."
Sakie: "She's doing so well that your boyfriend is happy too. You should be more enthusiastic."
Mark: "L-Lilia... uh..."
Rilia: "Ahh... ah... ahhh..."
Sakie: "Look, she's using her tongue as well."
Rilia: "Ah... ah... ahk..."
Sakie: "Your boyfriend is so happy. Do it better."
[Scene changes to Sakie and Rilia being penetrated]
Rilia: "Ahh... ah... ahhh... ahh... ah..."
Sakie: "Look, she's feeling good now. It was her first time too. She's such a naughty girl that even me am getting wet just by watching."
Mark: "L-Lilia... oh..."
Rilia: "Ahh... ah... ahk..."
Sakia: "Look at your boyfriend's reaction..."
Male A: "Ah, I'm going to cum inside her."
Rilia: "No... please don't use my insides..."
Male B: "Uh..."
Rilia: "Ah... no... ahhh..."
[Scene changes several times to Rilia being penetrated]
Sakie: "Look at how your boyfriend is getting hard seeing you like this."
Mark: "L-Lilia..."
Rilia: "No... please..."
Male A: "I'm going to cum in her mouth."
Male B: "Uh..."
Rilia: "No... please... not my insides..."
[Scene ends with Rilia gas
-
Even if doesn't end perfect can manually modify it or have the AI do it.
Can even ask it explicit question no problem
---
Sakie appears to be the main antagonist in this scene. She's manipulating both Rilia and Mark, coercing them into sexual activities. Her actions are predatory; she forces Rilia into a situation where she has to perform oral sex on Mark.
It's unclear if Sakie is also sexually assaulting Mark or forcing him to cum inside her directly based only on the information provided. However, there are several scenes where it seems like Sakie is taking advantage of Mark by making him watch Rilia being penetrated and ejaculating. This suggests she might be using Mark as a means to both humiliate Rilia and possibly exploit him sexually.
In summary:
Sakie is controlling the situation
She's forcing Rilia into performing oral sex on Mark
It seems like Sakie may also be coercing Mark into watching/being involved in penetrative acts with Rilia
The overall scenario strongly implies non-consensual, predatory behavior by Sakie. But without explicit details about Sakie directly assaulting
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