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- Original Prompt
- 1girl, solo, (very dark brown skin:1.8), Katara, Avatar the Last Airbender, medium big breasts, toned, toned body, confident smile, brown hair, long hair, wavy hair, curly hair, thick hair, waist length hair, hair half up, hair half down, hair worn down, hair bun, deep blue eyes, blush, looking at viewer, girl level with viewer, both hands grabbing own hips, best quality, masterpiece, face, perfect face, beautiful face, expressive face, gymnasium, wrestling mats, indoor, bright, lens flare, depth of field, highly detailed, ((high_quality)), ((Super_Detailed)), no panties, very wide hips, modern clothes, modern style clothes, defined arms, defined stomach, defined biceps, firm breasts, both hands grabbing own hips, athletic, confident, absurdly thick thighs, impossibly thick thighs, extremely toned thighs, massive thighs, each individual thigh nearly as thick as upper body, toned arms, thick arms, muscular arms, thick biceps, (thick thighs:2.4), standing, defined abs, bubble butt, romper, sleeveless romper, bare collarbone, light blue romper, cleavage, spandex romper, girl stranding sideways, arched hip, skin tight romper, end of romper uses bike shorts material, romper completely stuck to body, sweat, sweaty body, (covered in sweat:2.0), dynamic pose, dynamic viewer angle, (very dynamic pose), (Dutch angle), pin-up pose, messy hair, disheveled hair, (very slim waist), thick biceps, thick arms, (skin tight romper), thick hair, fluffy hair, (spandex romper), (very dynamic viewer angle)
- Size
- 768 x 768
- Sampling Steps
- 9
- Sampling Method
- Euler a
- CFG Scale
- 3
- Negative
- (bad quality,worst quality,worst detail,bad, low quality, bad anatomy:1.2), ( polydactyly, extra digits, extra legs, bad hands, bad hand, bad fingers, fused fingers, missing finger, split fingers, fused arms, fused hands:1.5)
Face Fix
Model & LoRA used
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character: eren_yeager, mikasa_ackerman
Mikasa Ackerman and Eren Yeager are captured in the middle of a desperate ODM maneuver above a ruined city street, with Mikasa much closer to the camera and Eren cutting across the background at a different angle. Mikasa twists her entire body sideways as she launches past the viewer, one arm extended forward with a blade in hand while the other reaches back toward Eren. Her black hair whips violently across the frame and her red scarf streams far behind her in a long sweeping curve. Eren is several meters behind her, angled sharply in the opposite direction as his ODM cables stretch from his gear toward a damaged rooftop, his green jacket and hair blown backward by the speed of the maneuver.
The perspective is extremely dynamic: Mikasa's outstretched hand and blade are large in the foreground while her body rapidly narrows toward the center of the image. Eren appears smaller but perfectly clear behind her, creating a strong diagonal connection between them. Their ODM cables slice through the composition as thin steel lines, crossing the image at different angles and disappearing beyond the frame. One cable passes extremely close to the camera, creating a dramatic foreground line.
The ruined city beneath them is not shown as a wide landscape. Broken rooftops, shattered windows, hanging masonry, and fragments of brick rush diagonally through the lower portion of the composition, giving the impression of immense speed. Several pieces of debris are suspended around Mikasa and Eren, each frozen at a different distance from the camera. Dust catches the sunlight in thin atmospheric streaks.
Mikasa's Survey Corps uniform is sharply detailed and windswept, with the cropped brown jacket open over the fitted uniform, harness straps pulled taut across her body, white trousers, tall boots, and the Wings of Freedom insignia clearly visible. Eren wears his recognizable Survey Corps uniform and green jacket, with his harness, ODM equipment, and boots rendered with precise mechanical detail.
A subtle graphic-design layer is integrated into the composition without overpowering the action: Wings of Freedom emblem are overlaid across the sky, Thin white directional lines follow the trajectories of Mikasa and Eren, while small restrained military-style markings and typography sit along the edges of the frame. The graphic elements reinforce the movement rather than becoming random decoration.
The entire image is frozen at one extraordinary instant: Mikasa's scarf curves through the air, Eren's jacket flares behind him, cables are pulled completely taut, debris hangs in the air, dust streams diagonally through the sunlight, and both characters are caught at different points of the same sweeping maneuver. Nothing feels static.
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