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AI artwork featuring #Fate/Grand Order
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Fate/Grand Order

#Fate/Grand Order
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Foxy Limbo

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1girl, no humans, not applicable, solo, stick figure, simple 2D black stick figure, single black circle head, single unbroken black line body, thin straight black limbs, four limbs, featureless, standing, standing still, centered, from behind, wide shot, cinematic framing, 16:9, frozen modern city street, middle of the street, dead center of the road, giant skyscrapers, ice-covered skyscrapers, icicles hanging from ledges, massive snowdrifts, snowbanks, deep freezing winter atmosphere, overcast white sky, minimal line art, black lines on white and gray, monochrome palette, high contrast, cold light, no color, in-image text, "DAY 1", big bold centered lettering, sans-serif capitals, text overlay, minimal background detail A wide 16:9 cinematic shot taken from behind and slightly below, the camera low to the frozen asphalt so the road sweeps away from the viewer in a long converging perspective: a lone simple 2D black stick figure — one black circle for a head, one continuous black line for the body, four thin straight black limbs — stands dead center of the frame, small against the scale of everything around it, feet planted flat on the ice-sheened road with the road's center line running between its heels. Its back is to the camera; the head-circle sits just below the vertical midpoint, one arm hanging straight, the other bent a few degrees at the elbow as if it had just stopped walking and never finished the motion. Directly above the figure's head, in the upper-center of the frame, big bold sans-serif capitals read "DAY 1", rendered as flat black lettering laid across the white sky, wide-tracked and heavy, clearly the largest and most legible element in the image, cut clean and unwarped because it sits on open air rather than on a curved surface. The environment is drawn in the same minimal vocabulary: giant skyscrapers rise on both sides as clean black outlines with almost no interior detail, their windows reduced to a few sparse rectangles, and the ice on them is read not as shading but as absence — where the frozen glaze catches the flat overcast light, the line stops and the white page shows through, and where it doesn't, the black edge continues. Icicles hang in clusters of thin tapering black strokes from every ledge, cornice and window sill, longest under the shaded north faces, each one ticked off along the horizontal edges in a rhythm that grows sparser with distance. Massive snowdrifts pile against the building bases and over the curb, drawn as smooth black contour lines that bowl upward, so that the buried cars, hydrant, and streetlamps are only half-visible shapes protruding from the white. The road itself is the lightest gray band, its surface faintly reflective, and depth is carried by line weight alone — crisp black at the near curb, thinning to hairline gray at the vanishing point, where the towers narrow to a slit of white sky. A freezing wind is made visible: the icicles all lean the same direction, one long banner of ice broken off a cornice lies in shards scattered across the drift's lee side, and fine snow streams sideways off every ledge in short parallel dashes. The figure's silhouette carries no rippling cloth, nothing to move but its own outline, which keeps it eerily still against the driving snow. Palette is disciplined to three values only — pure black for all linework and the lettering, paper white for sky, snow and ice glaze, and a single cool mid-gray for the road and shaded glass. No warm tone anywhere, sunless, no cast shadows beyond a small soft gray pool under the stick figure's feet. Minimal line art, stark, quietly unsettling.
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Original Prompt
A simple 2D black stick figure standing in the middle of a frozen modern city street. Giant skyscrapers covered in ice and icicles, massive snowdrifts around. Deep freezing winter atmosphere, minimal line art, black lines on a white and gray background, cinematic framing. Big bold text 'DAY 1' in the center --ar 16:9
Mode
flash
Size
1104 x 1824
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Model & LoRA used

Tsubaki.3 Flash - AI Model cover image

PixAI DiT.3

Tsubaki.3 Flash
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AI artwork
fl
1girl, no humans, not applicable, solo, stick figure, simple 2D black stick figure, single black circle head, single unbroken black line body, thin straight black limbs, four limbs, featureless, standing, standing still, centered, from behind, wide shot, cinematic framing, 16:9, frozen modern city street, middle of the street, dead center of the road, giant skyscrapers, ice-covered skyscrapers, icicles hanging from ledges, massive snowdrifts, snowbanks, deep freezing winter atmosphere, overcast white sky, minimal line art, black lines on white and gray, monochrome palette, high contrast, cold light, no color, in-image text, "DAY 1", big bold centered lettering, sans-serif capitals, text overlay, minimal background detail A wide 16:9 cinematic shot taken from behind and slightly below, the camera low to the frozen asphalt so the road sweeps away from the viewer in a long converging perspective: a lone simple 2D black stick figure — one black circle for a head, one continuous black line for the body, four thin straight black limbs — stands dead center of the frame, small against the scale of everything around it, feet planted flat on the ice-sheened road with the road's center line running between its heels. Its back is to the camera; the head-circle sits just below the vertical midpoint, one arm hanging straight, the other bent a few degrees at the elbow as if it had just stopped walking and never finished the motion. Directly above the figure's head, in the upper-center of the frame, big bold sans-serif capitals read "DAY 1", rendered as flat black lettering laid across the white sky, wide-tracked and heavy, clearly the largest and most legible element in the image, cut clean and unwarped because it sits on open air rather than on a curved surface. The environment is drawn in the same minimal vocabulary: giant skyscrapers rise on both sides as clean black outlines with almost no interior detail, their windows reduced to a few sparse rectangles, and the ice on them is read not as shading but as absence — where the frozen glaze catches the flat overcast light, the line stops and the white page shows through, and where it doesn't, the black edge continues. Icicles hang in clusters of thin tapering black strokes from every ledge, cornice and window sill, longest under the shaded north faces, each one ticked off along the horizontal edges in a rhythm that grows sparser with distance. Massive snowdrifts pile against the building bases and over the curb, drawn as smooth black contour lines that bowl upward, so that the buried cars, hydrant, and streetlamps are only half-visible shapes protruding from the white. The road itself is the lightest gray band, its surface faintly reflective, and depth is carried by line weight alone — crisp black at the near curb, thinning to hairline gray at the vanishing point, where the towers narrow to a slit of white sky. A freezing wind is made visible: the icicles all lean the same direction, one long banner of ice broken off a cornice lies in shards scattered across the drift's lee side, and fine snow streams sideways off every ledge in short parallel dashes. The figure's silhouette carries no rippling cloth, nothing to move but its own outline, which keeps it eerily still against the driving snow. Palette is disciplined to three values only — pure black for all linework and the lettering, paper white for sky, snow and ice glaze, and a single cool mid-gray for the road and shaded glass. No warm tone anywhere, sunless, no cast shadows beyond a small soft gray pool under the stick figure's feet. Minimal line art, stark, quietly unsettling.
Foxy Limbo
AI artwork
fl
1girl, no humans, not applicable, solo, stick figure, simple 2D black stick figure, single black circle head, single unbroken black line body, thin straight black limbs, four limbs, featureless, standing, standing still, centered, from behind, wide shot, cinematic framing, 16:9, frozen modern city street, middle of the street, dead center of the road, giant skyscrapers, ice-covered skyscrapers, icicles hanging from ledges, massive snowdrifts, snowbanks, deep freezing winter atmosphere, overcast white sky, minimal line art, black lines on white and gray, monochrome palette, high contrast, cold light, no color, in-image text, "DAY 1", big bold centered lettering, sans-serif capitals, text overlay, minimal background detail A wide 16:9 cinematic shot taken from behind and slightly below, the camera low to the frozen asphalt so the road sweeps away from the viewer in a long converging perspective: a lone simple 2D black stick figure — one black circle for a head, one continuous black line for the body, four thin straight black limbs — stands dead center of the frame, small against the scale of everything around it, feet planted flat on the ice-sheened road with the road's center line running between its heels. Its back is to the camera; the head-circle sits just below the vertical midpoint, one arm hanging straight, the other bent a few degrees at the elbow as if it had just stopped walking and never finished the motion. Directly above the figure's head, in the upper-center of the frame, big bold sans-serif capitals read "DAY 1", rendered as flat black lettering laid across the white sky, wide-tracked and heavy, clearly the largest and most legible element in the image, cut clean and unwarped because it sits on open air rather than on a curved surface. The environment is drawn in the same minimal vocabulary: giant skyscrapers rise on both sides as clean black outlines with almost no interior detail, their windows reduced to a few sparse rectangles, and the ice on them is read not as shading but as absence — where the frozen glaze catches the flat overcast light, the line stops and the white page shows through, and where it doesn't, the black edge continues. Icicles hang in clusters of thin tapering black strokes from every ledge, cornice and window sill, longest under the shaded north faces, each one ticked off along the horizontal edges in a rhythm that grows sparser with distance. Massive snowdrifts pile against the building bases and over the curb, drawn as smooth black contour lines that bowl upward, so that the buried cars, hydrant, and streetlamps are only half-visible shapes protruding from the white. The road itself is the lightest gray band, its surface faintly reflective, and depth is carried by line weight alone — crisp black at the near curb, thinning to hairline gray at the vanishing point, where the towers narrow to a slit of white sky. A freezing wind is made visible: the icicles all lean the same direction, one long banner of ice broken off a cornice lies in shards scattered across the drift's lee side, and fine snow streams sideways off every ledge in short parallel dashes. The figure's silhouette carries no rippling cloth, nothing to move but its own outline, which keeps it eerily still against the driving snow. Palette is disciplined to three values only — pure black for all linework and the lettering, paper white for sky, snow and ice glaze, and a single cool mid-gray for the road and shaded glass. No warm tone anywhere, sunless, no cast shadows beyond a small soft gray pool under the stick figure's feet. Minimal line art, stark, quietly unsettling.
Foxy Limbo
AI artwork
fl
1girl, no humans, not applicable, solo, stick figure, simple 2D black stick figure, single black circle head, single unbroken black line body, thin straight black limbs, four limbs, featureless, standing, standing still, centered, from behind, wide shot, cinematic framing, 16:9, frozen modern city street, middle of the street, dead center of the road, giant skyscrapers, ice-covered skyscrapers, icicles hanging from ledges, massive snowdrifts, snowbanks, deep freezing winter atmosphere, overcast white sky, minimal line art, black lines on white and gray, monochrome palette, high contrast, cold light, no color, in-image text, "DAY 1", big bold centered lettering, sans-serif capitals, text overlay, minimal background detail A wide 16:9 cinematic shot taken from behind and slightly below, the camera low to the frozen asphalt so the road sweeps away from the viewer in a long converging perspective: a lone simple 2D black stick figure — one black circle for a head, one continuous black line for the body, four thin straight black limbs — stands dead center of the frame, small against the scale of everything around it, feet planted flat on the ice-sheened road with the road's center line running between its heels. Its back is to the camera; the head-circle sits just below the vertical midpoint, one arm hanging straight, the other bent a few degrees at the elbow as if it had just stopped walking and never finished the motion. Directly above the figure's head, in the upper-center of the frame, big bold sans-serif capitals read "DAY 1", rendered as flat black lettering laid across the white sky, wide-tracked and heavy, clearly the largest and most legible element in the image, cut clean and unwarped because it sits on open air rather than on a curved surface. The environment is drawn in the same minimal vocabulary: giant skyscrapers rise on both sides as clean black outlines with almost no interior detail, their windows reduced to a few sparse rectangles, and the ice on them is read not as shading but as absence — where the frozen glaze catches the flat overcast light, the line stops and the white page shows through, and where it doesn't, the black edge continues. Icicles hang in clusters of thin tapering black strokes from every ledge, cornice and window sill, longest under the shaded north faces, each one ticked off along the horizontal edges in a rhythm that grows sparser with distance. Massive snowdrifts pile against the building bases and over the curb, drawn as smooth black contour lines that bowl upward, so that the buried cars, hydrant, and streetlamps are only half-visible shapes protruding from the white. The road itself is the lightest gray band, its surface faintly reflective, and depth is carried by line weight alone — crisp black at the near curb, thinning to hairline gray at the vanishing point, where the towers narrow to a slit of white sky. A freezing wind is made visible: the icicles all lean the same direction, one long banner of ice broken off a cornice lies in shards scattered across the drift's lee side, and fine snow streams sideways off every ledge in short parallel dashes. The figure's silhouette carries no rippling cloth, nothing to move but its own outline, which keeps it eerily still against the driving snow. Palette is disciplined to three values only — pure black for all linework and the lettering, paper white for sky, snow and ice glaze, and a single cool mid-gray for the road and shaded glass. No warm tone anywhere, sunless, no cast shadows beyond a small soft gray pool under the stick figure's feet. Minimal line art, stark, quietly unsettling.
Foxy Limbo
AI artwork
fl
1stick figure, solo, black stick figure, simple 2D stick figure, standing, standing still, centered, full body, frozen city street, frozen modern city street, giant skyscrapers, ice-covered skyscrapers, icicles, hanging icicles, massive snowdrifts, snow, winter, deep freezing atmosphere, cold, minimal line art, black lines, monochrome, white and gray background, grayscale, cinematic framing, wide shot, low angle, from below, text, English text, "DAY 1", bold text, large text, centered text, no humans, no extra characters, no color A single 2D black stick figure — round head, straight torso stroke, two straight legs, two straight arms — stands at the exact center of a frozen modern city street, seen in a wide low-angle cinematic shot from below so that the skyscrapers converge overhead and the figure reads small against them. The stick figure stands with its weight squared on both feet, its feet planted on the icy road surface, arms hanging slightly away from the body, the whole body rendered purely as uniform black linework of constant stroke weight with no fill, no shading and no internal detail. The street recedes in one-point perspective from the bottom of the frame to a vanishing point hidden behind the towers; the road surface is a pale gray sheet of ice with hairline cracks and long pale streaks where the ice has frozen mid-flow, and the figure casts a thin, hard-edged black shadow stretching away from it along the ice. On either side of the street, massive snowdrifts bank up against the building fronts, heaped in smooth gray-white curves with sharp wind-carved overhangs, their edges drawn as clean black contour lines with sparse hatching to suggest volume. Behind and above, giant skyscrapers rise on both sides and close in toward the top of the frame, their facades drawn in minimal black line art, every window ledge and vertical edge sheathed in ice; long icicles hang in dense rows from ledges, cornices and sign brackets, tapering downward in thin black lines, and sheets of frozen glaze coat the lower stories and spill onto the street. Windows are blank pale gray rectangles, unlit and rimed. The palette is strictly black, white and gray, the background a flat near-white that darkens to mid-gray toward the top of the frame, with no other color admitted anywhere. Big bold black sans-serif text reading "DAY 1" sits dead center of the image, its letters large, heavy and evenly spaced, laid flat across the middle of the frame and slightly overlapping the upper body of the stick figure so that the black letters read clearly against the pale gray ice behind them. Atmosphere is deep freezing and silent: still air, no falling snow, the only motion implied by the wind-carved snowdrifts and the frozen streaks in the road. Single flat light from an overcast white sky, so the ice glints only on upward-facing surfaces — the tops of the snowdrifts and the horizontal ledges — while the undersides of the icicles and the lee sides of the drifts stay gray, and the darkness sits low in the street canyon between the towers. Minimal line art throughout, thin even black strokes on a white and gray ground. Cold, desolate.
Foxy Limbo

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