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AI artwork featuring #zetaCollab
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Tatsu Yuikane

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PixAI × zeta Original Character Creation Contest 2026 #zetaCollab
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Tatsu Yuikane

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copyright: dragalia_lost 1girl, solo, tall and slim, small chest, faceless, no face, grinning harlequin mask, cross-eyed expression painted on the mask, absurdres, extremely long sharp nails, nun and harlequin outfit combination, nun headdress, bells at the ends of the headdress, large harlequin horns falling down like twintails, bells at the tips of the horns, gold-trimmed nun fabric, colorful fabric underneath, loincloth, checkered puffy pants, shackles on wrists, shackles on ankles, shackles on waist, long chain from wrist shackles to waist, chains between ankle shackles, glitched body, glitched church interior, full body, standing, from below, dutch angle, head tilt, arms slightly out, looking at viewer, detailed face, high contrast, saturated palette. The camera looks up from low near the stone floor at a dutch angle, so the whole tall, slim figure runs on a diagonal from the bottom-left corner toward the top-right, and the glitched church interior reels behind her in that same tilt. She is a single woman, small-chested and long-limbed, thin as a closed pair of scissors, her weight settled onto her left leg with the right knee slightly bent and the right foot turned out, so the hips cant and the chain between the two ankle shackles hangs slack in a shallow U between them, one link resting against the turned-out toe of the right boot. Her face is not a face: a grinning harlequin mask covers the whole front of the head, its mouth a wide fixed white crescent of teeth, and the cross-eyed puckish expression is painted into the mask's eye holes, the two pupils daubed inward toward each other, each aimed at a different part of the room, one toward the viewer and one toward the upper-left air. There is no skin and no features anywhere beneath or around the mask's edge; the mask is the entire face, sealed flush to the head. The nun headdress wraps the skull beneath the horns, its stiff white band and black veil starched flat, and a small brass bell hangs from each trailing end of the veil, at the left temple and the right, tilted by the head's slight cant. From the crown, two enormous harlequin horns sweep out and then fall down like twintails, long tapering curls of alternating black and crimson that drop past her shoulders and hang beside her upper arms, each tip carrying a round brass bell, and those bells lag her posture, swinging a little forward of the falling horns because she has just turned. The outfit is a single hybrid garment: the nun's long black fabric falls forward over the shoulders and down the front, heavy and plain, edged everywhere with gold trim that catches the light in thin unbroken lines, and beneath it, at the hips, the colorful underlayer shows in jagged panels of magenta, teal and yellow, sliced open by the glitch. A narrow loincloth of the same gold-trimmed black cloth hangs down between her legs in front of the checkered puffy pants. The pants are enormous and ballooning, tight only at the ankles where the ankle shackles bite, and the checkerboard of black and white diamonds warps and shears apart in horizontal bands midway down each leg so that a row of squares slips sideways and floats free of the fabric before re-forming. Iron shackles ring both wrists, both ankles and her waist, riveted and dark, and the waist shackle sits low over the nun fabric with the long chain from each wrist running up to it and hanging in a loose arc that sways against the gold trim. Her hands are held slightly out from her body, fingers spread and long, the nails so long and sharp they curve like thorns past her fingertips and catch separate small highlights at every point. The glitching runs through her as well as the room: a band across her right forearm and a stripe along her left flank break into offset duplicate slivers, each copy shifted a finger's width and a shade too saturated, and the trailing chains repeat and smear where they cross those bands. The church interior is a nave of black stone columns, pointed arches and a tall altar window, all of it breaking apart: columns duplicate and slide out of true, the stained glass in the window splits into red and violet shards that hang displaced in the air a hand's width from their leads, and chunks of the far wall float with their pews still attached. The only light is a cold, pale shaft coming through that shattered window from high behind her left shoulder, cutting a diagonal floor of light across the flagstones and striking the right side of her mask and the right-hand horn; everything beyond that shaft falls to near-black, so the gold trim and the brass bells and the tips of her nails return single small hot sparks out of the dark, and her long shadow is thrown forward and to the right across the floor, broken where the glitched slabs interrupt it. Palette is black, bone white, gold and brass against the jolts of magenta and teal. Detailed face, coldly playful, unsettling.
Show Parameters
Original Prompt
masterpiece, best quality, very, aesthetic, absurdres, masterpiece, best quality, amazing quality, 1girl,slim, grinning harlequin mask, small chest, cross eyes make-up mask, extremely long and sharp nails, combination of nun and harlequin outfit, nun headdress with harlequin bells at the ends, large harlequin horns falling down like twintails with bells at the end, checkered puffy pants, no face, tall and slim, shackles on Wrists, ankles and waist, long chain connecting the shackles of the arms to the waist, another set of chains connecting the shackles of the ankles together, glitched church interior, glitched body, the fabric that is under is colorful, loincloth, nun fabric decorated with gold trimmings, Detailed face, Dragalia lost style, Raita style, Lhata4564 style,
Mode
pro
Size
1232 x 1632
Sampling Method
Euler
Negative
Censored, lowres, bad anatomy, bad hands, text, error, missing fingers, extra digit, fewer digits, cropped, worst quality, low quality, normal quality, jpeg artifacts, signature, watermark, username, blurry
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Model & LoRA used

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copyright: dragalia_lost 1girl, solo, tall and slim, small chest, faceless, no face, grinning harlequin mask, cross-eyed expression painted on the mask, absurdres, extremely long sharp nails, nun and harlequin outfit combination, nun headdress, bells at the ends of the headdress, large harlequin horns falling down like twintails, bells at the tips of the horns, gold-trimmed nun fabric, colorful fabric underneath, loincloth, checkered puffy pants, shackles on wrists, shackles on ankles, shackles on waist, long chain from wrist shackles to waist, chains between ankle shackles, glitched body, glitched church interior, full body, standing, from below, dutch angle, head tilt, arms slightly out, looking at viewer, detailed face, high contrast, saturated palette. The camera looks up from low near the stone floor at a dutch angle, so the whole tall, slim figure runs on a diagonal from the bottom-left corner toward the top-right, and the glitched church interior reels behind her in that same tilt. She is a single woman, small-chested and long-limbed, thin as a closed pair of scissors, her weight settled onto her left leg with the right knee slightly bent and the right foot turned out, so the hips cant and the chain between the two ankle shackles hangs slack in a shallow U between them, one link resting against the turned-out toe of the right boot. Her face is not a face: a grinning harlequin mask covers the whole front of the head, its mouth a wide fixed white crescent of teeth, and the cross-eyed puckish expression is painted into the mask's eye holes, the two pupils daubed inward toward each other, each aimed at a different part of the room, one toward the viewer and one toward the upper-left air. There is no skin and no features anywhere beneath or around the mask's edge; the mask is the entire face, sealed flush to the head. The nun headdress wraps the skull beneath the horns, its stiff white band and black veil starched flat, and a small brass bell hangs from each trailing end of the veil, at the left temple and the right, tilted by the head's slight cant. From the crown, two enormous harlequin horns sweep out and then fall down like twintails, long tapering curls of alternating black and crimson that drop past her shoulders and hang beside her upper arms, each tip carrying a round brass bell, and those bells lag her posture, swinging a little forward of the falling horns because she has just turned. The outfit is a single hybrid garment: the nun's long black fabric falls forward over the shoulders and down the front, heavy and plain, edged everywhere with gold trim that catches the light in thin unbroken lines, and beneath it, at the hips, the colorful underlayer shows in jagged panels of magenta, teal and yellow, sliced open by the glitch. A narrow loincloth of the same gold-trimmed black cloth hangs down between her legs in front of the checkered puffy pants. The pants are enormous and ballooning, tight only at the ankles where the ankle shackles bite, and the checkerboard of black and white diamonds warps and shears apart in horizontal bands midway down each leg so that a row of squares slips sideways and floats free of the fabric before re-forming. Iron shackles ring both wrists, both ankles and her waist, riveted and dark, and the waist shackle sits low over the nun fabric with the long chain from each wrist running up to it and hanging in a loose arc that sways against the gold trim. Her hands are held slightly out from her body, fingers spread and long, the nails so long and sharp they curve like thorns past her fingertips and catch separate small highlights at every point. The glitching runs through her as well as the room: a band across her right forearm and a stripe along her left flank break into offset duplicate slivers, each copy shifted a finger's width and a shade too saturated, and the trailing chains repeat and smear where they cross those bands. The church interior is a nave of black stone columns, pointed arches and a tall altar window, all of it breaking apart: columns duplicate and slide out of true, the stained glass in the window splits into red and violet shards that hang displaced in the air a hand's width from their leads, and chunks of the far wall float with their pews still attached. The only light is a cold, pale shaft coming through that shattered window from high behind her left shoulder, cutting a diagonal floor of light across the flagstones and striking the right side of her mask and the right-hand horn; everything beyond that shaft falls to near-black, so the gold trim and the brass bells and the tips of her nails return single small hot sparks out of the dark, and her long shadow is thrown forward and to the right across the floor, broken where the glitched slabs interrupt it. Palette is black, bone white, gold and brass against the jolts of magenta and teal. Detailed face, coldly playful, unsettling.
Tatsu Yuikane
#zetaCollab
AI artwork
ty
copyright: dragalia_lost 1girl, solo, tall and slim, small chest, faceless, no face, grinning harlequin mask, cross-eyed expression painted on the mask, absurdres, extremely long sharp nails, nun and harlequin outfit combination, nun headdress, bells at the ends of the headdress, large harlequin horns falling down like twintails, bells at the tips of the horns, gold-trimmed nun fabric, colorful fabric underneath, loincloth, checkered puffy pants, shackles on wrists, shackles on ankles, shackles on waist, long chain from wrist shackles to waist, chains between ankle shackles, glitched body, glitched church interior, full body, standing, from below, dutch angle, head tilt, arms slightly out, looking at viewer, detailed face, high contrast, saturated palette. The camera looks up from low near the stone floor at a dutch angle, so the whole tall, slim figure runs on a diagonal from the bottom-left corner toward the top-right, and the glitched church interior reels behind her in that same tilt. She is a single woman, small-chested and long-limbed, thin as a closed pair of scissors, her weight settled onto her left leg with the right knee slightly bent and the right foot turned out, so the hips cant and the chain between the two ankle shackles hangs slack in a shallow U between them, one link resting against the turned-out toe of the right boot. Her face is not a face: a grinning harlequin mask covers the whole front of the head, its mouth a wide fixed white crescent of teeth, and the cross-eyed puckish expression is painted into the mask's eye holes, the two pupils daubed inward toward each other, each aimed at a different part of the room, one toward the viewer and one toward the upper-left air. There is no skin and no features anywhere beneath or around the mask's edge; the mask is the entire face, sealed flush to the head. The nun headdress wraps the skull beneath the horns, its stiff white band and black veil starched flat, and a small brass bell hangs from each trailing end of the veil, at the left temple and the right, tilted by the head's slight cant. From the crown, two enormous harlequin horns sweep out and then fall down like twintails, long tapering curls of alternating black and crimson that drop past her shoulders and hang beside her upper arms, each tip carrying a round brass bell, and those bells lag her posture, swinging a little forward of the falling horns because she has just turned. The outfit is a single hybrid garment: the nun's long black fabric falls forward over the shoulders and down the front, heavy and plain, edged everywhere with gold trim that catches the light in thin unbroken lines, and beneath it, at the hips, the colorful underlayer shows in jagged panels of magenta, teal and yellow, sliced open by the glitch. A narrow loincloth of the same gold-trimmed black cloth hangs down between her legs in front of the checkered puffy pants. The pants are enormous and ballooning, tight only at the ankles where the ankle shackles bite, and the checkerboard of black and white diamonds warps and shears apart in horizontal bands midway down each leg so that a row of squares slips sideways and floats free of the fabric before re-forming. Iron shackles ring both wrists, both ankles and her waist, riveted and dark, and the waist shackle sits low over the nun fabric with the long chain from each wrist running up to it and hanging in a loose arc that sways against the gold trim. Her hands are held slightly out from her body, fingers spread and long, the nails so long and sharp they curve like thorns past her fingertips and catch separate small highlights at every point. The glitching runs through her as well as the room: a band across her right forearm and a stripe along her left flank break into offset duplicate slivers, each copy shifted a finger's width and a shade too saturated, and the trailing chains repeat and smear where they cross those bands. The church interior is a nave of black stone columns, pointed arches and a tall altar window, all of it breaking apart: columns duplicate and slide out of true, the stained glass in the window splits into red and violet shards that hang displaced in the air a hand's width from their leads, and chunks of the far wall float with their pews still attached. The only light is a cold, pale shaft coming through that shattered window from high behind her left shoulder, cutting a diagonal floor of light across the flagstones and striking the right side of her mask and the right-hand horn; everything beyond that shaft falls to near-black, so the gold trim and the brass bells and the tips of her nails return single small hot sparks out of the dark, and her long shadow is thrown forward and to the right across the floor, broken where the glitched slabs interrupt it. Palette is black, bone white, gold and brass against the jolts of magenta and teal. Detailed face, coldly playful, unsettling.
Tatsu Yuikane
#zetaCollab
AI artwork
ty
copyright: dragalia_lost 1girl, solo, tall and slim, small chest, faceless, no face, grinning harlequin mask, cross-eyed expression painted on the mask, absurdres, extremely long sharp nails, nun and harlequin outfit combination, nun headdress, bells at the ends of the headdress, large harlequin horns falling down like twintails, bells at the tips of the horns, gold-trimmed nun fabric, colorful fabric underneath, loincloth, checkered puffy pants, shackles on wrists, shackles on ankles, shackles on waist, long chain from wrist shackles to waist, chains between ankle shackles, glitched body, glitched church interior, full body, standing, from below, dutch angle, head tilt, arms slightly out, looking at viewer, detailed face, high contrast, saturated palette. The camera looks up from low near the stone floor at a dutch angle, so the whole tall, slim figure runs on a diagonal from the bottom-left corner toward the top-right, and the glitched church interior reels behind her in that same tilt. She is a single woman, small-chested and long-limbed, thin as a closed pair of scissors, her weight settled onto her left leg with the right knee slightly bent and the right foot turned out, so the hips cant and the chain between the two ankle shackles hangs slack in a shallow U between them, one link resting against the turned-out toe of the right boot. Her face is not a face: a grinning harlequin mask covers the whole front of the head, its mouth a wide fixed white crescent of teeth, and the cross-eyed puckish expression is painted into the mask's eye holes, the two pupils daubed inward toward each other, each aimed at a different part of the room, one toward the viewer and one toward the upper-left air. There is no skin and no features anywhere beneath or around the mask's edge; the mask is the entire face, sealed flush to the head. The nun headdress wraps the skull beneath the horns, its stiff white band and black veil starched flat, and a small brass bell hangs from each trailing end of the veil, at the left temple and the right, tilted by the head's slight cant. From the crown, two enormous harlequin horns sweep out and then fall down like twintails, long tapering curls of alternating black and crimson that drop past her shoulders and hang beside her upper arms, each tip carrying a round brass bell, and those bells lag her posture, swinging a little forward of the falling horns because she has just turned. The outfit is a single hybrid garment: the nun's long black fabric falls forward over the shoulders and down the front, heavy and plain, edged everywhere with gold trim that catches the light in thin unbroken lines, and beneath it, at the hips, the colorful underlayer shows in jagged panels of magenta, teal and yellow, sliced open by the glitch. A narrow loincloth of the same gold-trimmed black cloth hangs down between her legs in front of the checkered puffy pants. The pants are enormous and ballooning, tight only at the ankles where the ankle shackles bite, and the checkerboard of black and white diamonds warps and shears apart in horizontal bands midway down each leg so that a row of squares slips sideways and floats free of the fabric before re-forming. Iron shackles ring both wrists, both ankles and her waist, riveted and dark, and the waist shackle sits low over the nun fabric with the long chain from each wrist running up to it and hanging in a loose arc that sways against the gold trim. Her hands are held slightly out from her body, fingers spread and long, the nails so long and sharp they curve like thorns past her fingertips and catch separate small highlights at every point. The glitching runs through her as well as the room: a band across her right forearm and a stripe along her left flank break into offset duplicate slivers, each copy shifted a finger's width and a shade too saturated, and the trailing chains repeat and smear where they cross those bands. The church interior is a nave of black stone columns, pointed arches and a tall altar window, all of it breaking apart: columns duplicate and slide out of true, the stained glass in the window splits into red and violet shards that hang displaced in the air a hand's width from their leads, and chunks of the far wall float with their pews still attached. The only light is a cold, pale shaft coming through that shattered window from high behind her left shoulder, cutting a diagonal floor of light across the flagstones and striking the right side of her mask and the right-hand horn; everything beyond that shaft falls to near-black, so the gold trim and the brass bells and the tips of her nails return single small hot sparks out of the dark, and her long shadow is thrown forward and to the right across the floor, broken where the glitched slabs interrupt it. Palette is black, bone white, gold and brass against the jolts of magenta and teal. Detailed face, coldly playful, unsettling.
Tatsu Yuikane
#zetaCollab

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