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- Sampling Method
- Euler a
- CFG Scale
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- score_6, score_5, score_4, source_cartoon, 3d, (censor, low quality, worst quality, normal quality, error, bad, blurry, lowres:1.2), (disfigured, bad anatomy, bad proportions:1.2), (bad fingers, extra fingers, fewer fingers, fused fingers, bad hand, bad arms, fused arms, fused hands, bad feet:1.2), (bad feet, bad legs:1.2), (signature, username, watermark, jpeg artifacts:1.2)
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ゆ
character: nishizumi_miho, copyright: girls_und_panzer
from behind, female child, solo focus, nishizumi_miho, brown hair, short hair, straight bob cut, brown eyes, tareme, large breasts, slender body, narrow waist, ooarai school uniform, white sailor shirt, sailor collar, green pleated skirt, white socks, brown loafers, crowded train, train interior, handrail, strap hangers, commuter crowd, older man behind her, both hands gripping skirt hem, skirt pulled down at the bottom edge, head bowed, looking down, expression of shame, blush, downturned eyes, clenched jaw, trembling, hunched shoulders, arms at sides, sweat, cramped standing pose, overhead fluorescent light, dutch angle, cowboy shot, adult staging, seductive_smile no, heavy atmosphere, motion lines faint
The camera sits behind and slightly above the pair, tilted a few degrees off level, in a tight cowboy shot that keeps both the girl and the man on screen. We see the back of her head and the nape of her neck, her brown hair a short straight bob ending just below the jawline, the fringe hidden from this side. Below the collar the white sailor shirt stretches taut across her back and shoulders, the fabric pulled tight between the shoulder blades, and the green pleated skirt falls from her waist. Her slender silhouette narrows at the waist and rounds into the hips, and from this rear angle the fullness of her chest shows as the shirt fabric drawn forward and out of sight around her ribs, the hem lifting slightly at the sides where the bust pushes the front out of view.
Directly behind her, pressed close in the dense standing crowd, an older man in a plain dark jacket stands with his chest near her back. Both of his hands are down and forward at the bottom edge of her skirt: his fingers are curled into the fabric of the hem on each side, knuckles bent, gripping the green cloth and drawing it slightly downward so the pleats flare and a small gap of white sock appears between the hem and her knees. His wrists and forearms disappear into the crowd of dark coats around them.
Her head is bowed, chin tucked toward her chest, the line of her neck exposed from behind. Her eyes are lowered and unfocused, peering down at the floor between the feet and the train doors, eyes lowered, the far side of her face out of sight. Her shoulders are hunched up and inward, her arms held stiffly at her sides, both hands limp near her thighs, fingers slightly curled and not touching anything. Her weight has shifted onto one foot, the other slightly lifted at the heel, and her jaw is tight, mouth hidden from this angle in the lowered head. The shame reads in the dropped neck, the arms hanging tense, the flare of her shoulders, the stillness of the lowered gaze.
Around them the carriage interior is packed: rows of dark-suited commuters crowd shoulder to shoulder up the length of the train, hanging straps swaying in a row overhead, handrails running the length of the ceiling, a window at the far end smeared and grey with tunnel darkness outside. The composition is dense at the edges and open at the center, the girl held in the narrow gap of space the crowd has left her. No figure other than the girl and the man is detailed; the surrounding passengers are simplified into coats, shoulders, swaying hands on the straps.
The only light is the flat cool overhead fluorescent strip, greenish-white, falling from above and slightly in front of the pair; it pools on the crowns of heads and the shoulders of coats and leaves the space between bodies in shadow. The light strikes the back of her white shirt and the green skirt so the fabric shows its weave and pleat ridges, and it throws a narrow shadow of the two of them onto the carriage door in front. A small gap of white sock shows between hem and floor, where the skirt has been pulled down. Clean digital linework with smooth gradients and a polished standardized commercial illustration finish, palette of white, green and dark navy with sallow fluorescent highlights. Quiet dread.
ゆらこな
ゆ
character: nishizumi_miho, copyright: girls_und_panzer
1girl, 1boy, nishizumi_miho, brown hair, short hair, brown eyes, tareme, large breasts, slender, ooarai school uniform, white shirt, sailor collar, green pleated skirt, white socks, brown shoes, from side, profile, cowboy shot, crowded train, packed train interior, strap hanger, school uniform, skirt grab, skirt lifted, middle-aged man behind her, older man, both hands gripping skirt hem, head down, looking down, embarrassed, blush, shame, closed mouth, downturned eyes, standing, still, stiff posture, hands at sides, clenched fists, crowded, commuter train, overhead straps, window reflection, fluorescent light, subdued palette, claustrophobic, uncomfortable, tense
The camera looks at her from the side in a tight cowboy shot, her body angled in profile toward the right of frame. Miho stands rigid on the packed commuter train, shoulders hunched slightly in on herself, weight sunk back on her heels as if trying to make herself smaller against the wall of passengers. Her short brown hair hangs loose and slightly disheveled, and her brown tareme eyes are cast sharply down at the floor, chin tucked into her sailor collar, cheeks hot with a deep embarrassed flush, lips pressed into a tight, trembling closed line. She is slight and slender through the waist and hips, her large chest pressing against the white buttoned shirt so the fabric strains with each held breath. Beneath it, the green pleated skirt has been yanked low and off-line, the hem pulled out of shape and wrenching down on one side of her hips.
Behind her, close enough to press into the crowd, the middle-aged man leans in from her back, his face half-hidden near her shoulder. Both of his broad hands have caught the bottom edge of her plaid-green pleated skirt, fingers curled hard into the fabric, tugging the hem askew and dragging the cloth taut across her thighs so a sliver of pale skin shows above the top of her white socks. The skirt's pleats warp and fan where his grip distorts them. His wrists and the cuffs of his dark jacket push against her lower back and the back of her skirt as the car sways.
The train's fluorescent ceiling strip floods the carriage in a cool, flat light, catching on the overhead hand-straps and the silver poles running the length of the car, glinting on the chrome. Behind and around the two central figures the car is jammed with commuters — a shoulder hiding one face, a thicket of arms and suit sleeves filling the aisle, windows reflecting the pale light back in a narrow slab. The crowd closes in tight on all sides; the girl and the man are crushed together in the middle of it, the man's hands the only point of stillness in the shove and jostle. Deep shadow pools in the gaps between the passengers along the far window. The palette is the muted green of the skirt and the dull white of shirts against brown coats and steel poles. Uncomfortably tense; quietly desperate.
ゆらこな
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