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AI artwork featuring #Fate/stay night, #Fate/Zero, #Archer, #Iskandar, #Emiya Kiritsugu, #Waver Velvet and #Fate series
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Archer, Iskandar

#Fate/stay night#Fate/Zero#Archer#Iskandar#Emiya Kiritsugu#Waver Velvet#Fate series
kc

Kahon Ched

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character: oda_nobunaga_(maou_avenger)_(fate), napoleon_bonaparte_(fate), copyright: fate/grand_order, fate_(series) 1girl, 1boy, hetero, sex, multiple sex scenes, silhouette, behind curtains, making out, neck kisses, victorian room, cool colors, nighttime, red hair, very long hair, brown hair, goatee, sideburns, seductive_smile, half-closed_eyes, blush, heavy_breathing, from side, wide shot A wide side-view composition of a dim Victorian bedroom at night, where a series of tall, heavy fabric curtains act as screens, creating a montage of overlapping silhouettes against the cool, moonlight-blue glow of the room. Behind the first curtain, the dark outlines of a man and woman are locked in a deep embrace, his face pressed into the crook of her neck for a kiss, her head tilted back with a blush and half-closed eyes. Behind the second curtain, the silhouettes shift into a different position; the woman, her absurdly long red hair flowing down her back in a dark mass, is arched against the man in a deep vaginal penetration, her fingers gripping his shoulders. Behind the third curtain, the silhouettes are reversed, the man supporting her weight as they are joined in a different sexual pose, their bodies pressed tightly together. The only light source is the pale, cold moonlight filtering through the window, casting the figures as sharp, featureless black shapes against the translucent fabric of the curtains. Smooth semi-realistic 3D render with clean digital surfaces and stylized lighting, cool nightly atmosphere.
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Original Prompt
Oda Nobunaga (Maou) from Fate/Grand order having sex with Napoleon from Fate/Grand Order in different sex positions behind curtains. 1boy, 1girl, hetero, behind curtains, silhouette only, multiple sex scenes, Making out, neck kisses, victorian room, cool and nightly atmosphere, Hoyoverse 3d
Mode
flash
Size
1104 x 1824
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Tsubaki.3 Flash
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AI artwork
kc
character: oda_nobunaga_(maou_avenger)_(fate), napoleon_bonaparte_(fate), copyright: fate/grand_order, fate_(series) 1boy, 1girl, hetero, sex, multiple views, multiple monochrome panels, silhouette, backlit silhouette, behind curtains, sheer curtain, making out, neck kiss, victorian room, four-poster bed, canopy bed, night, moonlight, dark blue palette, cool lighting, glossy highlights, semi-realistic proportions, 3d render style, cel shading, long flowing hair silhouette, tall male silhouette A nocturnal Victorian bedroom seen as one wide image divided by the deep folds of a drawn four-poster canopy: behind the sheer blue-grey curtains, lit only by moonlight from a tall window so every figure reads as a pure black silhouette, three separated glimpses of the same pair in different positions, each vignette framed by its own gap in the curtain fabric. In the left vignette the two silhouettes stand entwined in a standing kiss — the taller man's hand cupping the back of the woman's head, her long unbound hair spilling in streaming strands down her back, their mouths joined. In the centre vignette he presses his mouth to the side of her throat, her head tilted back and arched against him, her hand gripping his shoulder, the line of her very long hair pooling onto the mattress edge behind them. In the right vignette the woman rides above the man where he lies back on the bed, her hips lowered onto his, his hands at her waist, her silhouette's flowing hair hanging forward over her chest, her spine bowed. Each silhouette is identifiable by shape alone — the woman's cascade of impossibly long hair and hair falling over one side of her face; the man's tall broad frame, short hair and the small goatee profile at his jaw — with no facial detail visible anywhere, only contour. The bedposts and canopy edges cut the curtain plane into vertical strips; moonlight falls in a cool wedge across the rumpled bedding, its brightest point where the sheet is pushed aside, the sheet's folds catching the light while the bodies stay unlit. The room beyond the canopy holds only dark suggested masses — a carved headboard, a curtain tieback, wallpaper pattern lost in shadow. Palette locked to cold blues, slate and near-black, with pale silver-white reserved for the moonlit window and the fabric sheen; no warm tone anywhere. Rendered as polished 3D cel-style work with clean stylized linework, soft gradient shading, semi-realistic proportions and saturated glossy highlights along curtain edges and moonlit folds, in the manner of modern gacha-game 3D cinematics. Mood: hushed, cool, clandestine.
Kahon Ched
#Fate/stay night#Bleach#Fate series
AI artwork
kc
character: oda_nobunaga_(maou_avenger)_(fate), napoleon_bonaparte_(fate), copyright: fate/grand_order, fate_(series) 1boy, 1girl, hetero, sex, multiple views, multiple monochrome panels, silhouette, backlit silhouette, behind curtains, sheer curtain, making out, neck kiss, victorian room, four-poster bed, canopy bed, night, moonlight, dark blue palette, cool lighting, glossy highlights, semi-realistic proportions, 3d render style, cel shading, long flowing hair silhouette, tall male silhouette A nocturnal Victorian bedroom seen as one wide image divided by the deep folds of a drawn four-poster canopy: behind the sheer blue-grey curtains, lit only by moonlight from a tall window so every figure reads as a pure black silhouette, three separated glimpses of the same pair in different positions, each vignette framed by its own gap in the curtain fabric. In the left vignette the two silhouettes stand entwined in a standing kiss — the taller man's hand cupping the back of the woman's head, her long unbound hair spilling in streaming strands down her back, their mouths joined. In the centre vignette he presses his mouth to the side of her throat, her head tilted back and arched against him, her hand gripping his shoulder, the line of her very long hair pooling onto the mattress edge behind them. In the right vignette the woman rides above the man where he lies back on the bed, her hips lowered onto his, his hands at her waist, her silhouette's flowing hair hanging forward over her chest, her spine bowed. Each silhouette is identifiable by shape alone — the woman's cascade of impossibly long hair and hair falling over one side of her face; the man's tall broad frame, short hair and the small goatee profile at his jaw — with no facial detail visible anywhere, only contour. The bedposts and canopy edges cut the curtain plane into vertical strips; moonlight falls in a cool wedge across the rumpled bedding, its brightest point where the sheet is pushed aside, the sheet's folds catching the light while the bodies stay unlit. The room beyond the canopy holds only dark suggested masses — a carved headboard, a curtain tieback, wallpaper pattern lost in shadow. Palette locked to cold blues, slate and near-black, with pale silver-white reserved for the moonlit window and the fabric sheen; no warm tone anywhere. Rendered as polished 3D cel-style work with clean stylized linework, soft gradient shading, semi-realistic proportions and saturated glossy highlights along curtain edges and moonlit folds, in the manner of modern gacha-game 3D cinematics. Mood: hushed, cool, clandestine.
Kahon Ched
AI artwork
Avatar image of C9I
wide shot, cinematic wide shot, symmetrical composition, vanishing point symmetry, 16:9 letterbox, one floating empty dark cloak, no body inside the cloak, hollow cloak, hovering cloak, dark empty cloak at center of the room, hood collapsed inward, sleeves hanging empty, hem drifting, hundreds of tall antique mirrors, endless ballroom, dark abandoned ballroom, frosted mirrors, frost-covered mirror glass, fern frost, rime, wet black marble floor, standing water, reflections on wet floor, deep indigo and silver palette, indigo darkness, silver highlights, film grain, no text, no lettering, no watermark, no signature, no speech bubbles, no signage, empty frames, existential horror, loneliness, uncanny, smiling figure reflected in every mirror, identical figure repeated in every mirror, immaculate formal suit, poised, hands folded, cold light, single light source, symmetrical hall, tall arched windows, chandeliers dark and unlit, dust motes, no people in the room A cinematic wide shot on a perfectly symmetrical one-point perspective axis: an endless abandoned ballroom recedes down a central aisle, and every element of the hall is mirrored left-to-right about that axis. Two rows of hundreds of tall antique mirrors, silvered frames tarnished and beaded with frost, flank the aisle and repeat into the dark until the far end dissolves into indigo haze. Every single mirror holds the same reflection: a perfectly dressed figure in an immaculate dark formal suit, hands folded at the waist, head level, a serene closed-lipped smile, identical in pose and position from frame to frame, yet seen only inside the glass. In the center of the ballroom, exactly on the aisle axis and directly beneath the chandelier-less ceiling, floats a dark empty cloak: a heavy indigo-black garment with no body inside it, the hood collapsed inward and empty, both sleeves hanging down with nothing filling them, the hem lifting and turning a few centimetres above the wet black marble, its only support the still air. No reflection of the cloak appears in any mirror; the reflections hold the smiling figure and nothing else. The floor is polished wet black marble in large square slabs, standing water pooled along the grout seams, and each mirror stands in its pool as an inverted image that is darker and softer than its source, stretched by the water and broken where frost-melt has dripped from the frames. Single light source: a cold silver shaft from high arched windows on the far wall, low and raking, striking only the upward-facing surfaces — the tops of the frames, the crowns of the frames' frost crystals, the pool surfaces — while the aisle floor between the pools and the depth of the hall fall into absolute indigo darkness. The frost is heaviest on the upper glass and thins toward the bottom of each mirror, and in the coldest mirrors the frost has grown over the reflection's face in white fern patterns while the smile still shows through beneath. Palette admits only deep indigo, black, and cold silver, with the one warm note withheld entirely; the reflections' faces are the brightest silver in the frame, and the cloak at center is the darkest shape in a room of dark shapes, the negative space where a person should be. Heavy film grain across the whole image, coarse in the shadows, fine in the highlights. No written characters anywhere in the scene, no signage, no watermarks, no signatures — only frost, glass, water and stone. Quiet dread, unbearable loneliness.
C9I
AI artwork
Avatar image of C9I
wide shot, cinematic wide shot, symmetrical composition, vanishing point symmetry, 16:9 letterbox, one floating empty dark cloak, no body inside the cloak, hollow cloak, hovering cloak, dark empty cloak at center of the room, hood collapsed inward, sleeves hanging empty, hem drifting, hundreds of tall antique mirrors, endless ballroom, dark abandoned ballroom, frosted mirrors, frost-covered mirror glass, fern frost, rime, wet black marble floor, standing water, reflections on wet floor, deep indigo and silver palette, indigo darkness, silver highlights, film grain, no text, no lettering, no watermark, no signature, no speech bubbles, no signage, empty frames, existential horror, loneliness, uncanny, smiling figure reflected in every mirror, identical figure repeated in every mirror, immaculate formal suit, poised, hands folded, cold light, single light source, symmetrical hall, tall arched windows, chandeliers dark and unlit, dust motes, no people in the room A cinematic wide shot on a perfectly symmetrical one-point perspective axis: an endless abandoned ballroom recedes down a central aisle, and every element of the hall is mirrored left-to-right about that axis. Two rows of hundreds of tall antique mirrors, silvered frames tarnished and beaded with frost, flank the aisle and repeat into the dark until the far end dissolves into indigo haze. Every single mirror holds the same reflection: a perfectly dressed figure in an immaculate dark formal suit, hands folded at the waist, head level, a serene closed-lipped smile, identical in pose and position from frame to frame, yet seen only inside the glass. In the center of the ballroom, exactly on the aisle axis and directly beneath the chandelier-less ceiling, floats a dark empty cloak: a heavy indigo-black garment with no body inside it, the hood collapsed inward and empty, both sleeves hanging down with nothing filling them, the hem lifting and turning a few centimetres above the wet black marble, its only support the still air. No reflection of the cloak appears in any mirror; the reflections hold the smiling figure and nothing else. The floor is polished wet black marble in large square slabs, standing water pooled along the grout seams, and each mirror stands in its pool as an inverted image that is darker and softer than its source, stretched by the water and broken where frost-melt has dripped from the frames. Single light source: a cold silver shaft from high arched windows on the far wall, low and raking, striking only the upward-facing surfaces — the tops of the frames, the crowns of the frames' frost crystals, the pool surfaces — while the aisle floor between the pools and the depth of the hall fall into absolute indigo darkness. The frost is heaviest on the upper glass and thins toward the bottom of each mirror, and in the coldest mirrors the frost has grown over the reflection's face in white fern patterns while the smile still shows through beneath. Palette admits only deep indigo, black, and cold silver, with the one warm note withheld entirely; the reflections' faces are the brightest silver in the frame, and the cloak at center is the darkest shape in a room of dark shapes, the negative space where a person should be. Heavy film grain across the whole image, coarse in the shadows, fine in the highlights. No written characters anywhere in the scene, no signage, no watermarks, no signatures — only frost, glass, water and stone. Quiet dread, unbearable loneliness.
C9I

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character: tenma_tsukasa "", , , digital illustration, cel shading, iridescent palette, pastel aesthetic, pastel colors, soft gradients, subtle color shifts, "painterly semi-realistic anime: faceted torn-glass shading, loose linework, warm golden rim light, lens-flare/prism edges, jewel or earthy palette, large gradient eyes, ornate vintage costuming, dynamic off-balance poses.", pastel_candy_style, dreamy pastel anime illustration, delicate soft lineart, luminous glossy eyes, gentle glowing lighting, glossy hair highlights, intricate frills and decorative details, tenma tsukasa, sitting on a pile of stars with a high angle, one hand over his eye, light reflecting off his face. darkness below but harsh light up ahead, hair swept back, looking up, side high angle, star theme, Tenma tsukasa looking up, dark themes""
Kani x
#Hatsune Miku: Colorful Stage!#Tenma Tsukasa
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Avatar image of リオ
character: kagamine_rin, copyright: vocaloid lumiglaze_pastel_opal_painting, beautiful colors, magical lighting, hnyst01 anime illustration style, masterpiece, best quality, ultra-detailed, delicate illustration, detailed illustration, anime illustration, Kagamine Rin, VOCALOID, solo, side profile portrait, close-up composition, eyes gently closed, peaceful expression, listening to music, short golden blonde hair, distinctive white hair bow, delicate facial features, black and white sailor collar, futuristic headphones, a large compact disc perfectly aligned with the headphone earcup, the CD itself visually functioning as the headphone earcup, circular CD rings surrounding her ear, iridescent reflective disc surface, concentric circles framing her face, face occupying most of the composition, head slightly tilted downward, hair softly framing her cheeks, vibrant yellow, golden orange, violet and hot pink color palette, Y2K music album cover design, retro futuristic CD packaging aesthetic, intricate geometric frames, transparent interface panels, thin circuit-like lines, orbiting circular graphics, decorative typography, abstract music symbols, tiny stars and sparkling highlights, layered graphic elements overlapping the portrait, asymmetrical layout, crisp geometric details, dense decorative composition, square format
リオ
10#Kagamine Rin#Vocaloid#Lofi Dream
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음안
character: eren_yeager, mikasa_ackerman 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. Painterly digital anime illustration, expressive textured brushwork, cinematic motion frozen in a single frame, extreme wide-angle perspective, dramatic foreshortening, strong diagonals, layered depth, detailed characters, flowing hair and fabric, taut cables, airborne debris, warm sunlight cutting through cool gray ruins, muted military colors with Mikasa's red scarf as the strongest accent, sophisticated composition, subtle graphic design, powerful silhouettes, intense expressions, visceral sense of speed, beautiful atmospheric lighting, energetic, cinematic
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4#Attack on Titan#Mikasa Ackerman
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