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らり

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らり

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character: yukino_mifuyu_(puuzaki_puuna) 1girl, solo female focus, blue eyes, silver hair, hair between eyes, hair bun, long hair, sidelocks, ahoge, huge breasts, light blue cardigan, off shoulder, sleeveless, white turtleneck sweater, latex skirt, tight skirt, shiny skirt, dark blue skirt, pencil skirt, micromini skirt, dark brown leggings, black heels, ahegao, rolling eyes, tongue out, open mouth, blush, sweat, heavy breathing, trembling, thighs apart, straddling chair, grinding, rubbing, chair, wooden chair, masturbation, love fluids, pussy juice, wet, fluid on floor, fluid on chair, skirt covering crotch, crotch hidden under skirt, multiple boys, male crowd, faceless male, dark skin, dark skinned male, muscular, (Faceless, muscular, dark-skinned man:1.0), gold chain, grey sweatpants, naughty eyes, seductive smile, grinning face, looking down at woman, surrounding, construction site interior, unfinished building, concrete floor, curtain wall, floor-to-ceiling glass, high floor, night view, city lights below, from above, from side, dynamic angle, cinematic lighting, cool blue night light, warm work-lamp glow, tense, leering atmosphere, spoken heart. The camera looks down from above and slightly to the side, high over an unfinished high-rise interior at night. In the middle of the bare concrete floor stands a single wooden chair, and the woman is mounted on it, her weight tipped forward onto the chair's front corner: her thighs clamped around the seat edge, both knees bent and pressed together outside the seat, her dark-brown-legginged legs wrapped in tight knit down to her black heels, one heel hooked on the chair's front crossbar, the other toe planted on the concrete. She rocks her hips forward and back along that corner, the dark blue latex micromini pencil skirt pulled taut and gleaming along her hips — the skirt's front hem stays low and closed over her crotch so her genitals are completely concealed beneath the fabric, nothing exposed, and the shine of the latex catches a long highlight as she grinds. Her silver hair is gathered into a tight hair bun with a few silver strands and sidelocks falling between and around her blue eyes, her long sidelocks swinging with each thrust; the sleeveless light blue cardigan has slipped off both shoulders and bunches at her upper arms, baring her shoulders over the white turtleneck sweater, whose high collar rucks against her jaw and whose stretched knit pulls over her huge breasts as she arches. Her face is turned three-quarters to the viewer in ahegao: eyes rolled up so only the whites and a sliver of blue iris show, mouth open wide and tongue lolling out, flushed cheeks, sweat beading along her temple and throat. Wet love-juice stains run down the chair's front corner and legs in glossy threads, pooling in an elongated puddle on the concrete beneath the seat with a thin trickle following a floorboard seam away toward the left of frame; the fluid gleams only where the light hits its upper surface. Around her in a loose ring stand a crowd of dark-skinned men, muscular and shirtless or in grey sweatpants, all of them faceless — their heads cropped just below the eyes or turned away so no face renders — with broad shoulders and defined chests, one wearing a heavy gold chain that hangs into the light above his collarbone, another with his thumbs hooked into his grey sweatpants waistband. They lean in from the foreground and midground, some crouched, some with hands on hips, their bodies framing her so a forearm, a shoulder and the shadow of a broad back cross the near edge of frame; their postures lean toward her and their gaze lands on her. Grinning mouths and naughty, leering eyes drift at the back of the ring where the light allows. Above and behind the crowd, the curtain wall's unfinished floor-to-ceiling glazing opens onto a night view: a low grid of city lights, distant towers, and a dark horizon; the room is lit only by the cold blue of the night beyond the glass and one warm work-lamp hung high on the left scaffolding, throwing a hard downward beam that picks out the latex shine on her hip, the fluid on the concrete, and the gold chain, leaving the far rafters and the upper right of the room in near-black. The palette stays cold slate blue, concrete grey and chrome darkness, broken by the one warm amber pool, the deep navy sheen of the skirt, and the wet highlights. Tense, leering.
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Original Prompt
Yukino Mifuyu, blue eyes, silver hair, hair between eyes, hair bun, huge breasts, light blue cardigan off shoulder, white turtleneck sweater, sleeveless, latex tight shiny dark blue short micromini pencil skirt, dark brown leggings,black heels、 BBC_TP, BBC, dark skin, dark skinned male, gold chain, grey sweatpants, m_crowd, multiple boys, faceless male, naughty eyes, seductive smile, (Faceless, muscular, dark-skinned man:1.0), grinning face, inside the curtain wall construction room, high floor, night view, 女が部屋の真ん中にある椅子の角に秘部を擦り付けて激しいマスターベーションしている。女はアヘ顔。椅子と床に愛液。スカートに隠れて秘部見えない。 大勢のBbcが女の周りを囲んでニヤニヤニヤしている。
Mode
pro
Quality Tag
﹝Prompts﹞
Size
1280 x 768
Sampling Method
Euler
Negative
lowres, worst quality, low quality, bad anatomy, explicit
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character: yukino_mifuyu_(puuzaki_puuna), yukino_(blue_archive) 1girl, solo focus, 5boys, multiple boys, m_crowd, crowd of boys around one girl, group of five men pressed tightly against her, grabbing her head, grabbing her neck, grabbing her arms, grabbing her back, grabbing her legs, clinging to her, tight press, two blue-haired women, long blue hair, bangs, hair between eyes, ponytail, blue eyes, white turtleneck, tight dark blue short skirt, dark brown leggings, black heels, silver hair, hair bun, huge breasts, dark-skinned male, dark skin, gold chain, grey sweatpants, floor-to-ceiling curtain wall windows, high floor, night city view, night, from side, cowboy shot, dutch angle, low-key lighting, blue night ambient light, warm interior lamp, cramped composition, bodies filling frame, hands on head, hands on neck, hands on arm, hands on back, hands on thigh, half-closed eyes, parted lips, overwhelmed, breath on skin, intimate menace, The shot is a slightly tilted cowboy shot from the side, inside a bare high-floor construction room whose whole far wall is a grid of floor-to-ceiling curtain wall glass, the night city spread beyond it as a dense field of tiny lit windows far below and a low horizon of aircraft warning lights, the room itself unfinished — exposed concrete floor, aluminium mullion frames, a coil of cable and a stack of panel crates pushed to the left edge. In the centre of the frame two women stand back to back, hemmed in by five men who press in so close their shoulders overlap and their bodies blot out most of the glass behind them; the two women are the only figures in sharp focus, the men rendered as a tight continuous mass of shoulders, arms and chests crowding the foreground and the edges of the frame. The woman facing camera-left stands in a white turtleneck whose collar sits high on her throat, a tight dark blue short skirt, dark brown leggings and black heels; her long blue hair is gathered in a ponytail with bangs and strands falling between her eyes, and her blue eyes are wide and fixed on nothing in the room, chin lifted as a man's hand cups the back of her head and tilts it. The woman facing camera-right is the taller, fuller figure, silver hair pinned up in a bun with loose strands between her eyes, huge breasts straining the front of a dark garment as she twists her torso; her blue eyes are half-lidded, lips parted on a held breath, one heel lifted off the concrete for balance. Five men surround them: nearest the lens at lower left, a dark-skinned man with a heavy gold chain over his bare chest and grey sweatpants, his forearm barred across the blue-haired woman's thighs and his other palm flat on her hip; behind him a second man's hand closes around her forearm and pulls it back; at the top of the frame a third man's fingers are spread over the crown of the silver-haired woman's head, her bun pressed against his palm; a fourth man's arm comes over her shoulder to grip the blue-haired woman's neck, thumb along the jaw; a fifth man is behind them both, chest against the silver-haired woman's spine, one hand splayed flat on her back, the fabric of her top creased under his fingers. Every contact point compresses something — the turtleneck's knit bunches at the collar, the skirt wrinkles where the hip is gripped, the leggings pull taut over the thigh under the barred forearm, a heel skids a centimetre on the concrete dust. Light comes from two places only: the cold blue spill of the city through the curtain wall, which rims every shoulder and the two women's hair in a thin bright edge and lays long faint window-mullion stripes across the concrete floor, and a single caged work lamp on the floor at frame right throwing warm amber up into the underside of the men's jaws and the two women's faces. Where the lamp does not reach, the corner of the room is genuinely dark. Palette is restricted to cold blue night, warm amber lamp, white knit, deep navy skirt, brown leggings and the gold link of the chain catching the lamp as the only saturated note; the glass reads as a mirror-black surface with the faint ghost of the room reflected in it, dimmer than the real thing. Tense, airless.
らり

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