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2026年：ラブライブニセコイ19周年

Contest Entry

PixAI × zeta Original Character Creation Contest 2026 #zetaCollab

#Love Live! School Idol Project #Nisekoi #Nozomi Tojo #Eli Ayase #Honoka Kousaka #Yazawa Nico #Nishikino Maki #Sonoda Umi #Minami Kotori #Koizumi Hanayo #Hoshizora Rin #Love Live!#Amana Osaki #Tenka Osaki

Published on Nov 1, 2026

Ivana Aurelia

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character: tojo_nozomi, ayase_eli, sonoda_umi, koizumi_hanayo, yazawa_nico, hoshizora_rin, nishikino_maki, kosaka_honoka, minami_kotori, osaki_amana, osaki_tenka 11 girls, all female, kosaka honoka, ayase eli, minami kotori, tojo nozomi, sonoda umi, koizumi hanayo, hoshizora rin, nishikino maki, yazawa nico, osaki amana, osaki tenka, ensemble, kimono, japanese clothes, obi, geta sandals, japanese temple, temple grounds, stone steps, wooden veranda, from below, wide shot, dutch angle, group shot, staggered arrangement, depth of field, spring afternoon, cherry petals, dappled light, orange hair short hair blue eyes, blonde hair long hair ponytail blue eyes, brown hair long hair yellow eyes, purple hair long hair twintails green eyes, blue hair long hair yellow eyes, brown hair short hair purple eyes, orange hair short hair yellow eyes, red hair short hair purple eyes, black hair long hair twintails red eyes, red hair long hair swept bangs yellow eyes, brown hair long hair yellow eyes, hair ornaments supplied by each girl's own styling, hair completely unadorned of extra invented pins, long sleeves, sleeves covering the forearms, collars closed at the throat, layered kimono collars, no bare shoulders, full-length kimono hem, walking, climbing the stone steps, looking at another, looking back, looking up, looking to the side, genuine laughter, faint closed-lip smiles, one raised eyebrow The camera sits low at the foot of the stone staircase and cants a few degrees off level, looking steeply up so the eleven kimono-clad girls rise in a staggered diagonal across the frame, the timbered temple roof and its deep eaves filling the top third of the sky above them. In the near foreground, closest to the lens and largest, Kosaka Honoka has stopped two steps above the bottom landing: short orange hair with a bright bow catching the light, blue eyes turned back down over her shoulder toward the others, mouth open mid-laugh, one geta planted on a step and the other trailing a step lower, the trailing sleeve of her kimono swung out and hanging in a loose curve from her lifted wrist. Directly behind and half a step above her, Ayase Eli climbs with her long blonde ponytail falling forward over one shoulder, blue eyes fixed on the step ahead, one hand gathering the front panel of her kimono off the stone so the hem clears each riser; her body is turned three-quarters away from the viewer, so the line of her cheek and jaw stands in profile against the sunlit pillar behind her. Minami Kotori stands beside the wide wooden veranda post to the right, long brown hair loose down her back, half-turned toward Honoka with a soft smile and one hand raised near her collarbone as though about to call out, the wood of the post pressing flat against her shoulder blade. Tojo Nozomi leans her weight into the balustrade of the veranda a little higher up, purple twintails spilling over the railing edge, green eyes sliding sideways toward Ayase with a knowing, lopsided quirk at one corner of her mouth, one elbow resting on the rail and a geta toe hooked on the crossbar. Sonoda Umi stands squarely mid-frame on a broad step below the veranda, blue long hair straight down her back, yellow eyes regarding the whole group with a small tolerant sigh, one arm lifted to hold her sleeve back from her wrist as she steadies herself with the other hand flat against the stone parapet. Koizumi Hanayo peeks out from behind Umi's shoulder, short brown hair framing her face, both hands wrapped around the front edge of Umi's sleeve, eyes wide and mouth a small round oh of delight at the petals drifting down. Hoshizora Rin has taken the steps two at a time and is caught mid-bound on the far left of the diagonal, short orange hair flying and one geta off the stone entirely, her kimono skirt flaring outward with the motion and both arms flung wide for balance, yellow eyes bright with a grin aimed at nobody in particular. Nishikino Maki stands a little apart near the right edge of the frame and slightly turned away, short red hair showing the nape of her neck, purple eyes cast down at the single falling petal she holds pinched between two fingers, her other hand tucked flat into the obi at her waist, one shoulder lifted in a small shrug. Yazawa Nico occupies the highest step at the back of the diagonal, black twintails with their red ribbons hanging on either side of her face, red eyes looking down at the viewer over everyone else's heads with a smug narrow-lidded smirk, her weight on one hip and her geta toes turned inward, one sleeve held out to the side so the fabric hangs straight. Osaki Amana and Osaki Tenka stand shoulder to shoulder on the right-hand flight of steps: Amana's long swept-bang red-brown hair catches the sun and her yellow eyes are fixed on the empty air above the roof's ridge as though she has just noticed something there, one hand raised to shade her brow and the long sleeve sliding back down her forearm; Tenka stands pressed close to her sister's side with her brown hair pushed back and both hands clasped in front of her obi, yellow eyes looking up at Amana with open curiosity. Every pair of eyes has a stated target: Honoka on the group, Eli ahead on the stairs, Kotori on Honoka, Nozomi on Eli, Umi on the group, Hanayo on the drifting petals, Rin on her own footing, Maki on the petal in her fingers, Nico down at the viewer, Amana at nothing visible and Tenka up at her sister. The light comes from high behind and to the left of the group, late-afternoon spring sun breaking past the temple's deep eave, so their faces sit in soft reflected lift while a bright rim runs along the top edge of each obi and shoulders; the stone steps throw their long shadows forward and down toward the camera in parallel daggers, and every geta casts its own separate shadow on the riser beneath it. Cherry blossoms are drifting across the whole frame from a tree just out of shot to the left, and the single petal in Maki's fingers is the one detail that proves how the air is moving: the others are all falling on a slant. The palette keeps to the temple's weathered cedar brown and grey stone, the candy pinks and whitish greys of the blossoms, and then each girl's kimono in her own clear hue so the eleven figures read as eleven separate notes scattered up the stair — the nagajuban collars all folded left over right, sleeves long and closed to the wrist, every hem full-length and every collar closed at the throat, shoulders fully covered under the fabric. The wooden veranda's plank joins run as leading lines up toward the temple's dark interior, and the deep angle of the low camera makes the highest figures small against the eaves and the nearest ones loom. Petals settle only on upward-facing surfaces: the tops of obis, the veranda rail, the flat of the top step, none of them stuck to the vertical risers. Warm, buoyant, a little giddy.

2026年：ラブライブニセコイ19周年

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