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- lowres, worst quality, bad quality, bad anatomy, jpeg artifacts, watermark, nostrils, nose
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coco-Illustrious-NoobXL-Style
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Fat Ass | Big Butt | Hyper Butt | Chubby Buns | Giant Booty| Thicc and Giant Booty
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Gwen Stacy - SpiderGwen
33
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super ultimate gigantic boobs chyounyuu
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![Krekkov Art Style - Full Color Only - [Illustrious-v1.0] - AI Model cover image](https://images-ng.pixai.art/images/thumb/12a4d577-c2bf-476e-9591-fa2c7be7b6d2)
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Krekkov Art Style - Full Color Only - [Illustrious-v1.0]
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am
spider-gwen\(earth-65\), 1girl, masterpiece, on bed, downward dog, high-res
Ayden M
character: spider-gwen, gwen_stacy
1girl, solo, spider-gwen, gwen stacy, blonde short hair, asymmetrical bob, blue eyes, white hooded bodysuit, hood up, white mask with large white eye lenses pulled over the face, black web-pattern under the hood, tape gag, silver duct tape strips pressed across the mask's mouth area, tape bondage, cocooned, cocoon, duct tape wrapped in overlapping silver bands around the torso and arms pinning them to the ribs, sitting, sitting on a bed, lying down, upper body fallen back against the mattress, struggling, arched back, twisted hips, knees drawn up, toes curling, flexed wrists, straining shoulders, head thrown back, bedroom, bed sheet, pillow, nightstand, lamp light, from above, close-up, dutch angle
Viewed from above at a slight dutch tilt, the camera looks down the length of a narrow bed in a small dark bedroom, Gwen filling the frame diagonally from the lower left corner toward the upper right. She is seated on the mattress with her pelvis as the pivot and her upper body toppled backward, so her shoulders and the back of her hood press into the sheet while her hips still hold the sit — a half-collapsed sit-turned-lying, spine bowed in a taut arc, the weight of the torso carried by the mattress and the weight of the legs held by nothing but her own strain. Silver duct tape is wound in overlapping flat bands from her ribs to her elbows, sealing her arms against her sides and squashing the white suit's shoulders into puckered creases where the tape crosses the web pattern; more banding continues past her hips over her thighs, pinning her knees half-drawn toward her chest, the thigh tape wrinkling the white fabric and tightening in bright diagonal highlights wherever her legs fight it. Across the lower half of the mask, three strips of the same silver tape lie flat and slightly overlapping, edges lifting at one corner where her jaw pushes against them, the tape stuck to the mask itself and deforming with the flex of the underlying face rather than the skin. Her head is thrown back into the pillow, hood crushed sideways, chin pushed up, and her gaze goes up and across the sheets toward the far corner of the room rather than to the lens. Both fists are clenched and twisted outward inside their tape bands, the tape biting ridges into the suit at the wrists; her knees sag apart and then snap back together as she fights, one heel dug into the mattress dragging a bunched ridge of sheet toward her, the fabric piling under the arch of her foot while the opposite side of the sheet stays smooth. The bed frame is a plain dark wood rectangle, a pillow dented under her hood, one nightstand at the head of the bed holding the only lamp in the room: a warm bulb above and left of her, throwing her shadow across the sheets in a long soft silhouette behind her hip, lighting the top-facing planes of the tape bands into hard silver and leaving the gaps between band and band deep black. The lamp is the only light source; beyond its pool the bedroom wall, the doorway and the curtains drop into a deep brown-black. Palette stays to the white and black of the suit, the grey-silver of the tape, the cream of the sheet and the warm amber of the lamp, with no other hue admitted. Cool, tense, confined.
Bertrand Poil
character: spider-gwen, gwen_stacy
1girl, solo, spider-gwen, gwen stacy, blonde short hair, asymmetrical bob, blue eyes, white hooded bodysuit, hood up, white mask with large white eye lenses pulled over the face, black web-pattern under the hood, tape gag, silver duct tape strips pressed across the mask's mouth area, tape bondage, cocooned, cocoon, duct tape wrapped in overlapping silver bands around the torso and arms pinning them to the ribs, sitting, sitting on a bed, lying down, upper body fallen back against the mattress, struggling, arched back, twisted hips, knees drawn up, toes curling, flexed wrists, straining shoulders, head thrown back, bedroom, bed sheet, pillow, nightstand, lamp light, from above, close-up, dutch angle
Viewed from above at a slight dutch tilt, the camera looks down the length of a narrow bed in a small dark bedroom, Gwen filling the frame diagonally from the lower left corner toward the upper right. She is seated on the mattress with her pelvis as the pivot and her upper body toppled backward, so her shoulders and the back of her hood press into the sheet while her hips still hold the sit — a half-collapsed sit-turned-lying, spine bowed in a taut arc, the weight of the torso carried by the mattress and the weight of the legs held by nothing but her own strain. Silver duct tape is wound in overlapping flat bands from her ribs to her elbows, sealing her arms against her sides and squashing the white suit's shoulders into puckered creases where the tape crosses the web pattern; more banding continues past her hips over her thighs, pinning her knees half-drawn toward her chest, the thigh tape wrinkling the white fabric and tightening in bright diagonal highlights wherever her legs fight it. Across the lower half of the mask, three strips of the same silver tape lie flat and slightly overlapping, edges lifting at one corner where her jaw pushes against them, the tape stuck to the mask itself and deforming with the flex of the underlying face rather than the skin. Her head is thrown back into the pillow, hood crushed sideways, chin pushed up, and her gaze goes up and across the sheets toward the far corner of the room rather than to the lens. Both fists are clenched and twisted outward inside their tape bands, the tape biting ridges into the suit at the wrists; her knees sag apart and then snap back together as she fights, one heel dug into the mattress dragging a bunched ridge of sheet toward her, the fabric piling under the arch of her foot while the opposite side of the sheet stays smooth. The bed frame is a plain dark wood rectangle, a pillow dented under her hood, one nightstand at the head of the bed holding the only lamp in the room: a warm bulb above and left of her, throwing her shadow across the sheets in a long soft silhouette behind her hip, lighting the top-facing planes of the tape bands into hard silver and leaving the gaps between band and band deep black. The lamp is the only light source; beyond its pool the bedroom wall, the doorway and the curtains drop into a deep brown-black. Palette stays to the white and black of the suit, the grey-silver of the tape, the cream of the sheet and the warm amber of the lamp, with no other hue admitted. Cool, tense, confined.
Bertrand Poil
character: spider-gwen, gwen_stacy
1girl, solo, spider-gwen, gwen stacy, blonde short hair, asymmetrical bob, blue eyes, white hooded bodysuit, hood up, white mask with large white eye lenses pulled over the face, black web-pattern under the hood, tape gag, silver duct tape strips pressed across the mask's mouth area, tape bondage, cocooned, cocoon, duct tape wrapped in overlapping silver bands around the torso and arms pinning them to the ribs, sitting, sitting on a bed, lying down, upper body fallen back against the mattress, struggling, arched back, twisted hips, knees drawn up, toes curling, flexed wrists, straining shoulders, head thrown back, bedroom, bed sheet, pillow, nightstand, lamp light, from above, close-up, dutch angle
Viewed from above at a slight dutch tilt, the camera looks down the length of a narrow bed in a small dark bedroom, Gwen filling the frame diagonally from the lower left corner toward the upper right. She is seated on the mattress with her pelvis as the pivot and her upper body toppled backward, so her shoulders and the back of her hood press into the sheet while her hips still hold the sit — a half-collapsed sit-turned-lying, spine bowed in a taut arc, the weight of the torso carried by the mattress and the weight of the legs held by nothing but her own strain. Silver duct tape is wound in overlapping flat bands from her ribs to her elbows, sealing her arms against her sides and squashing the white suit's shoulders into puckered creases where the tape crosses the web pattern; more banding continues past her hips over her thighs, pinning her knees half-drawn toward her chest, the thigh tape wrinkling the white fabric and tightening in bright diagonal highlights wherever her legs fight it. Across the lower half of the mask, three strips of the same silver tape lie flat and slightly overlapping, edges lifting at one corner where her jaw pushes against them, the tape stuck to the mask itself and deforming with the flex of the underlying face rather than the skin. Her head is thrown back into the pillow, hood crushed sideways, chin pushed up, and her gaze goes up and across the sheets toward the far corner of the room rather than to the lens. Both fists are clenched and twisted outward inside their tape bands, the tape biting ridges into the suit at the wrists; her knees sag apart and then snap back together as she fights, one heel dug into the mattress dragging a bunched ridge of sheet toward her, the fabric piling under the arch of her foot while the opposite side of the sheet stays smooth. The bed frame is a plain dark wood rectangle, a pillow dented under her hood, one nightstand at the head of the bed holding the only lamp in the room: a warm bulb above and left of her, throwing her shadow across the sheets in a long soft silhouette behind her hip, lighting the top-facing planes of the tape bands into hard silver and leaving the gaps between band and band deep black. The lamp is the only light source; beyond its pool the bedroom wall, the doorway and the curtains drop into a deep brown-black. Palette stays to the white and black of the suit, the grey-silver of the tape, the cream of the sheet and the warm amber of the lamp, with no other hue admitted. Cool, tense, confined.
Bertrand Poil
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