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1 figure, human marionette, lifelike human puppet, woman, slender, flawless skin, smooth featureless complexion, expressionless eyes, dead empty stare, blank unreadable eyes, wide unnatural stretched smile, exaggerated grin, teeth bared, cheek muscles straining, matte grey synthetic bodysuit, rubberized material, visible seams at the joints, doll joints at shoulders and elbows and wrists and hips and knees, ball-joint articulation, glowing blue fiber-optic cables, glowing red fiber-optic cables, cables attached at joints, cables taut, pulled upward, suspended, feet off the ground, dangling legs, arms lifted, head tipped back, giant shadowy faceless hands, disembodied hands in darkness, fingers gripping cables, digital web of light, luminous lattice, cyberpunk, horror, body horror, oppressive, fake positivity, surveillance, deep shadows, dramatic lighting, cinematic widescreen, 16:9, from below, low angle, looking up at figure, dark background, hyper-detailed, no text, no letters, no writing, no watermark, no signature.
The camera sits low and close, tilted steeply up, so the marionette hangs above the lens against a background that is black almost everywhere. She is a lifelike human woman-shaped puppet, built with flawless matte grey skin that has no pores and no blemish, and the skin is pulled tight over articulated ball-and-socket joints at the shoulders, elbows, wrists, hips and knees where the grey rubberized bodysuit is stitched into the seams of the limbs. Her feet hang free of any floor, toes pointed down and slightly crossed, roughly a hand's width of empty black air beneath them; both arms are drawn up and out to her sides at raised angles, elbows bent, palms open and limp. A glowing blue fiber-optic cable runs from each wrist and each elbow upward; a glowing red one runs from each knee and each hip, and a blue and a red strand cross and twist beneath her collarbones, all of them pulled taut in straight lines that converge high above her, hauling her body up so that her spine arches back and her chin lifts. The cables' light spills along the undersides of her forearms and up her throat, thin blue and red reflections on matte grey; beyond that pool of light the darkness is complete. Tiny high-tension kinks show where each cable leaves the joint, and the skin around each attachment point is drawn into a shallow dimple.
Her face is the brightest thing in the frame and the most wrong. Her eyes are open, perfectly clear and completely empty, catchlights in them but nothing behind them, the lids not narrowed, not widened, no squint and no tremor, focused on nothing past the lens. Below them the smile is stretched far too wide for the jaw, corners lifted to the very edge of the cheeks, upper teeth exposed in a long even row, the lower lip pulled thin, and the skin at the corners bunches into creases while the muscles of the cheeks look braced against the strain; the eyes above that grin do not participate in it at all. Her dark hair, slicked back and hanging downward away from her face under gravity, sways slightly with the pull.
Higher and further back in the black, three immense shadowy hands hang in the void, faceless and fingerless of any ring or wrist detail, their silhouettes barely separated from the dark and rimmed in faint blue and red from the cables they grip. The nearest one, at the top left, closes huge fingers around a bundle of blue strands; a second, at the upper right, holds the red; the third, largest and furthest, looms directly above her head, half-dissolved into the black, the cables disappearing into its fist. They are massively out of scale, each palm larger than her whole torso, and they are the only things anchoring the cables.
Behind and around her the digital web of light spreads through the dark: a loose, uneven lattice of faint blue and red luminous filaments crossing at wide angles, some strands close and sharp in the foreground, others receding into soft glow far behind her, a few passing in front of her raised arm and hip so that they occlude the grey limbs and the cables in front occlude them in turn. Where the web's nodes intersect they brighten to small cold points, and her shadow is cast as a smeared dark shape onto the nearest sheet of light behind her, dimmer and softer than her lit side.
Palette is narrow and deliberate: near-black ground, the grey of skin and suit, and only the two cable colours, cold cyan-blue and blood-red, admitted anywhere, with the blue dominant on her upper body and the red crawling up from below. Deep shadow swallows the edges of the frame. Hyper-detailed, cinematic, still and airless, fake-happy and oppressive.
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マリオネット
DAI-Ce
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boobabooba
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