If you have already been into a cartoon recently, then you’re aware of the popular striking turn on the conventional Spanish griffoninn, or pardon, that comes thanks to Croupier’s Trent Et Quarante. It’s an excellent production with strong design and costumes that sell the drama live and on following productions. I am going to talk about some of my own thoughts on this production, which opens this month in the big apple.
The story begins in the year 1540 at the small village of Gasteiz, Spain, where there was a newly established city named Gasteiz, that will be built by the Holy Roman Emperor Charles V. This really is a small city that’s growing and prosperous, but as it lacks the appropriate road system, transaction is slow to create its way into the small town of Gasteiz. When the Emperor sends a Spanish merchant, Mario Prada, to invest in the region, he chooses a little road to skip the villages. A new woman, Dido, arrives in town to work as a cook at the inn she also works in. Two other workers, Polo and his brother Flavio unite her, and all of them become friends.
Polo gets wed to Dido’s cousin, Ciro, and also the foursome sail for Puebla, Mexico. While sailing, Dido conveys a desire to marry a wealthy Greek merchant, Piero Galitde, who possesses a boat that sails on the sea and includes a fleet of boats that he uses to transport goods between vents. As luck might have it, Polo ultimately ends up drifting down the coast of Puebla if Ciro stops to speak to him about earning profits by trading in Puebla’s wool products. Polo immediately falls in love with Ciro’s cousin, and Flora, that appears to be the girl of Piero’s company, Bartolome.
Polo meets Joana, a girl who is working as a scrivener in a clothing store owned by her own uncle. Her uncle is very rich, and Joana has developed poor as a result of her lack of opportunity. She and Polo end up falling in love and drink eachother. Although Polo is frustrated that Joana’s own family has a huge bank account, they are willing to interact so that Joana may begin a business. As fortune would have it,” Croupier appears to know Joana’s uncle; so, he makes the decision to take Joana and a trip to the usa, where he plans to meet Croupier’s partner, Il Corma.
When the ship docks at the Duomo, the guards tell Polo and also Joana which they will be separated to the night. Polo believes that this is bad luck, but as his father has expired, Polo decides to spend the night with Joana instead. He believes that their relationship should be based on romance and friendship, so he boards the ship, where he realizes that Il Corma is just a fraud. He attempts to convince his former boss, Piero, which they should leave the nation, but Il Corma fails, saying he will only travel with them if Polo and Joana find yourself getting eachother. Unbeknownst to Joana,” Il Corma has a boy named Tony, whom Polo becomes very close to.
As the story unfolds, we learn that Polo has become very suspicious of the activities of Il Corma and Il Cossette. It turns out that Joana and Il Cossette are in fact the very exact individuals, that were undertaking mysterious activities around Italy. After Polo and also Joana are captured by the Blackmailersthey were taken into a castle where they meet another mysterious personality; Donatello. Donatello threatens Polo using his previous identity, if Polo will not tell him what regarding the con il blackjack. Polo eventually tells Joana everything concerning the con, in addition to Donatello’s personal history, which impacts the duo.
The book ends with a series of events that occur after the climax of the narrative: Donatello gets killed by a dog (which happens to be their own pet), the two escape, and Il Cossette flees out of Italy. The book ends with an odd suggestion as to what happens to Polo and Joana after their escape from the castle (I am pretty sure that they live happily ever after). The most important thing I think I’ve learned from the book is how essential openended stories come in literature, particularly in romance books, and also how important it is to develop a powerful protagonist. It seems that Trent Et Quarante succeeded in doing that. He created a character we take care of and expect to satisfy in the future.
I liked this particular book, although there were parts where I wanted to stop and re-read certain segments. However, over all this is a wonderful little read. I would suggest it to people looking for a milder variation of Donatello or even a Donatello/Pino romance. For people who prefer to read ancient romance, however, this is simply not a very enjoyable read, because the ancient accounts do require a back seat into the story of Donatello and Polo. Still, I’m very happy with how the plot develops and how this one stoke up my interest at the next level of Volte La Rumba.
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