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AI art "Mamá atareada" featuring #Honkai-Reihe, #Honkai: Star Rail and #Acheron
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Mamá atareada

#Honkai-Reihe#Honkai: Star Rail#Acheron
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character: ichinose_kotomi. In a cinematic anime illustration, a weary young woman with long, flowing purple hair, purple eyes, and subtle hair bobbles stands at a bustling street food stall in a vibrant early morning market, captured in a medium shot from a slight low angle emphasizing her contemplative expression. She wears a practical apron over casual work clothes with rolled-up sleeves, her hands actively scrubbing dirty bowls in a large basin of soapy water, suds dripping from her fingers, while glancing sideways with a mix of exhaustion and quiet resolve. Behind her, an elderly woman attends customers at steaming soup pots under a holographic bear animation projecting above the setup, surrounded by folding tables laden with thermoses, containers, and scattered rose petals; a humanoid android with a baby strapped to its back efficiently clears plates amid a crowd of workers making faces at the child through its transparent dome. A monumental statue of the Virgin Mary looms majestically in the background market square. Warm golden morning light filters through, casting soft shadows and steam particles across the scene, with a vivid color palette of reds, yellows, and blues evoking a mood of relentless daily struggle and familial endurance, great quality, best quality.
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Ursprünglicher Prompt
—Vámonos... Es casi la única orden que Nayeli le da al aparato. Kotomi quizás se preguntaría por qué molestarse en trasplantar la IA si interactúa muy poco con ella. No se lo pregunta: se queda dormida mientras arrulla a su hijo. Ha aprendido a dormir aferrada a su cuerpecito, como cuando le enseñaron a dormir abrazada a su arma. De poco le vale que el niño esté particularmente tranquilo: la media hora de camino es como un parpadeo. Debe pelear con el crío para meterlo otra vez en la mochila. Con su madre echándole miradas severas por cada segundo que tarda en ir a ayudar. —Hola, tía Tomoko... dame fuerzas, por favor. Susurra ante la virgen monumental que parece presidir el mercado, tan majestuosa y mística como cada madrugada. Pero Kotomi está demasiado cansada y acostumbrada a su figura como para contemplarla. Llegando al puesto, la nueva manta holográfica se activa y emite la animación de un oso preparándose para saltar a una olla hirviendo. Sobre tres mesas, un hombre duerme envuelto en cobijas y se despierta al escuchar el llanto de su hijo. Kenji Santiago Itou salta de la cama improvisada y se estira, antes de saludar a las mujeres y el androide. Kotomi no tiene manos libres para devolver el saludo; de tenerlas, de seguro le haría un ademán obsceno. Su presencia le provoca un enojo inmediato, por haberla embarazado, por su irritante entusiasmo. Se le pasa cuando ve en él un reflejo de su propio agotamiento. Él se apresura a quitarles peso de encima y entre los tres empiezan a desplegar el puesto. Pasan los minutos y los clientes ya hacen fila, algunos con termos, en espera de que el oso se dé un chapuzón en la olla. Kotomi apenas nota a los demás, reparte sillas y abre contenedores. Dando ocasionales miradas de disgusto al padre de la criatura. Él va de aquí para allá con el hijo a la espalda, con una energía que irrita a su mujer. "¿Y qué si te quedas a dormir aquí para hacer horas extras? Me dejas al niño a mi sola, cabrón holgazán...." Para cuando todo está en orden y se sirve el primer caldo de oso, Santiago desayuna. Le da leche a su hijo junto con la medicina y lo mete de nuevo en la mochila térmica. Atareada por la numerosa clientela, Kotomi ve al "mocoso traidor" meterse dócil en la funda, cuando con ella siempre está inquieto. Otra traición le exaspera cuando el padre cuelga al niño en la espalda de Tomo, "Ahí no lloras ni te retuerces, cabrón". El chiquillo mira el barullo a su alrededor, llevado por un androide que recoge y limpia las mesas. Los trabajadores saludan al bebé y le hacen caritas. Alguno, hunde su mano en la cúpula flexible y le jala los cachetes, hasta que el niño lo aleja a manazos y mordidas. "Pa' que se enseñe a defender", dicen. —Ya me voy mi amor. Las veo en la tarde... nos vemos, señora. Ellas se despiden de Santiago con gestos secos y ademanes rápidos sin dejar de atender. El hombre se devuelve y le da un beso en la mejilla a Kotomi, quien ya va a limpiar los primeros tazones sucios. Para cuando quiere regresar el beso, Kenji ya está de camino a su trabajo. Lo ve alejarse casi corriendo y luego ve a Tomo con el siguiente manojo de tazones usados. Y su bebé a la espalda, mirando un mundo que aún no entiende y que no se detendrá a esperarlos. La pregunta vuelve: "Apenas y veo a Kenji y este niño me está exprimiendo. ¿Por qué mierda lo hice?" Sin dejar de lavar, mira a su madre. Esa mujer que cargó con Kotomi bajo las bombas, que le dio de comer en medio de un bloqueo genocida. Esa que nunca se ha ufanado ni quejado de lo que tuvo que hacer para que ella viviera. Y recuerda el bautizo de su hijo, un trámite que realizó solo para complacer a su madre. ”¿Y esto para qué, si ya le pusimos nombre?" Eso pensaba, hasta que el padre dijo: "Y aún yo mismo me consumiré gustoso por el bien de vuestras almas..." No recuerda el contexto de la frase o quien la dijo, pero caló y le dio sentido al ritual. Gustosa sigue adelante, pues es lo mínimo que se espera de ella.
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