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AI art "CENTAURA fan art" featuring #Goddess of Victory: Nikke and #Dorothy

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CENTAURA fan art

#Goddess of Victory: Nikke #Dorothy

Published on Nov 10, 2026

cmk0303

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character: dorothy_(nikke), copyright: goddess_of_victory:_nikke 1girl, 1boy, dorothy (nikke), pink hair, long hair, single side bun, hair bun, very long hair, purple eyes, white frilled dress, bare shoulders, detached sleeves, covered in blood, blood on face, bleeding from eyes, tears of blood, crying, despair, crying face, looking at viewer, facing forward, portrait, upper body, cropped at shoulders, blood-splattered skin, red eyes from weeping, soldiers, WWII Korean soldiers, charging, out of trench, rifle in hands, military uniform, helmet, multiple boys, war scene, dark red and black silhouette background, backlighting, stark red glow, poster composition, split composition, text, lettering, "CENTAURA", "another", "ONLY THE DEAD HAVE SEEN THE END OF WAR", dramatic, tragic A vertical poster-format image split left and right against a background that is pure black pierced by an intense blood-red silhouette glow — jagged, near-abstract crimson shapes and a rising red haze standing in for a battlefield skyline, with no horizon line and no architecture beyond the black void. On the left half, occupying roughly the frame from the left edge to the center, is a woman framed as a head-and-shoulders portrait, cropped cleanly at the tops of her bare shoulders so that only her face, neck, collarbones and the upper swell of her chest above the dress line remain in frame. She is turned square to the camera and looks dead straight at the viewer. Her hair is long and pink, gathered into a single side bun near one temple with the rest falling loose and heavy past the crop; her eyes are purple, wide open, unfocused with the shock of grief. Blood is everywhere on her: streaked across her forehead and one cheek, matted dark into strands of her hair, spattered and drying over her bare shoulder and her collarbone, and pooling red at the neckline of the white frilled dress whose ruffled edge sits just inside the bottom of the crop. Two thick crimson trails run down from beneath her lower lids, cutting clean vertical lines through the blood on her face, and a fresh bead hangs and breaks at her jaw. Her brow is dragged up and inward, her mouth pulls open and trembling at the corners, her jaw is slack — a despair beyond composure, held entirely still. On the right half, WWII-era Korean soldiers in dark olive field uniforms and steel helmets charge forward out of a trench, bursting up from the trench lip that runs diagonally across the lower right of the frame. Seven or eight figures in depth: the lead soldier is mid-stride, one boot planted on the parapet, his rifle gripped two-handed and angled across his body, mouth open in a shout, teeth bared; behind him the others surge forward with rifles lowered and bayonets forward, some half-risen from the trench, boots and knees breaking the lip of the earth. Their bodies read dark and half-silhouetted against the red glow behind them, faces lit only along one cheek. The trench is a black cut into the earth, sandbags stacked at its edge, and behind the soldiers the red haze swallows everything past the second rank. The two halves are separated by the centerline of the composition — the woman's stillness on the left, the soldiers' momentum on the right — and no element crosses that line. At the top left, high over the black, the word "CENTAURA" is set in bold, wide-tracked capital letters, and directly beneath it, much smaller, the word "another" is set in the same face. At the top right the phrase "ONLY THE DEAD HAVE SEEN THE END OF WAR" is laid as a single bold line of condensed capitals across the red, letters slightly stretched and slightly distressed so they read as printed on the poster surface rather than floating over it. The single light source sits low behind the composition: a red backlight that rims the woman's hair and the soldiers' helmets and shoulders with a thin crimson edge and throws deep, near-total shadow across the fronts of both figures, so that every unlit surface falls into black and every lit surface burns red. Palette is strictly red, black and the pale cool white of her dress, nothing else admitted. A thin veil of ash and dust drifts through the red haze on the right, and the woman's fresh blood tear catches the backlight as a single bright bead. Tragic, monumental.

CENTAURA fan art

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