Oct 23, 2026

Notice: PixAI iOS App Temporarily Unavailable on the App Store — Dear PixAI users, The PixAI iOS app is currently unavailable for search and download on the App Store. We are actively w…

AI art "20261031" featuring #figure from behind, #Looking back, #Chair and #Goddess of Victory: Nikke

Generate for Free

20261031

#figure from behind #Looking back #Chair #Goddess of Victory: Nikke

Published on Oct 31, 2026

Bearrius

More to See

character: marian_(nikke) 1girl, solo, marian \(nikke\), long hair, brown hair, black hair, white hair, grey hair, short hair, purple eyes, red eyes, hair ribbon, ribbon, blue ribbon, garrison cap, military hat, blue hat, beret, bandaged head, bandages, blue necktie, short necktie, necktie, white shirt, collared shirt, shirt, jacket, military uniform, blue sleeves, detached sleeves, long sleeves, belt, holster, pouch, black gloves, gloves, skirt, dress, black pantyhose, pantyhose, thighhighs, weapon, gun, sitting on chair, wooden chair, chair, legs spread, leaning back, upper body against backrest, backrest facing viewer, from behind, cowboy shot, smile, open mouth, looking to the side, hotel room, window, night, moon, cityscape, detailed background, sfw, From behind, in a cowboy shot, the frame is centred on a wooden chair whose backrest faces the camera squarely, uprights and cross-slat filling the middle of the picture, the chair set on the hotel-room floor in the lower third with the window beyond it. The girl sits on that chair facing away from the lens, her back flat against the rear face of the backrest and her upper body leaning on it so that only her shoulders, arms and hat rise above its top rail; her chest and lap are entirely behind the slatted wood and are not visible at all. Her legs are spread wide, one knee angled out past the chair's left edge and the other thrust out to the right, black-pantyhosed thighs and the tops of thighhighs emerging from behind the seat rail, boots planted flat and slightly turned outward on the floorboards, the toes of the left foot closer to the camera than the right; her weight settles through the seat and the small of her back onto the backrest. Her right arm drapes over the top rail with the black-gloved hand hanging relaxed against the wood, fingers loose; her left arm drops along the chair's side, the blue sleeve of the detached sleeve bunched at the elbow, the gloved hand resting on a holstered pouch on her hip. Her head turns back just enough that the smile and open mouth catch the window light in three-quarter profile -- one purple-red eye visible past the curve of her cheek, the other lost to the turn of her face -- and she looks off to the left of frame toward the city, not at the viewer. A blue-trimmed garrison cap with a beret's soft crown sits low over her brown hair, the long hair falling loose down her back over the white collared shirt and the jacket's shoulder, a blue ribbon and hair ribbon knotted at the nape, bandages wrapped around her head above the ear and reappearing at the temple. The belt cuts across her waist above the skirt and dress hem, and the long-barrelled gun leans muzzle-up against the chair's right side within reach of her hand, its sling looped over the backrest corner. The light is all from the window: a cool moonlit wash from the left, silver on the backrest's left stile, the top rail, the cap's crown and the crest of her shoulder, everything on the right in deep navy shadow, and her cast shadow thrown long across the floorboards to the right, broken by the chair's legs. Beyond the glass the cityscape stacks its dark blocks to a low horizon, windows scattered as small warm amber points, and the moon sits high in the upper right of the pane, its glow smeared slightly through the glass; the sash and frame crop the sky into rectangles. The room's palette is navy, charcoal and cold silver, admitting only two other colours -- the blue of ribbon, necktie, cap and sleeves, and the amber pinpricks outside -- the interior furniture reduced to the wooden chair and the dark recess of the wall. The ribbon's tail and the loose strands of long hair hang without moving, but the moonlight rims them in a thin bright line that shows exactly how the backrest stands between the lens and her body; the moon's reflection in the window is dimmer than the moon itself. Quiet, caught-off-guard calm.

20261031

Comments

Model & LoRA used

Similar Images

Explore more

Recommended Creators

You might like