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AI artwork featuring #Scenery, #Ruins, #Rubble, #Building and #The Fantasy City
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Scenery, Ruins

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I Want to See a Fantasy City!#The Fantasy City
#Scenery#Ruins#Rubble#Building
安

安藤タケル

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no humans, wide shot, interior, abandoned, ruined building, gutted room, high-rise interior, broken window, large window opening, rusted steel window frame, cracked concrete wall, exposed steel beams, rusted beams, structural skeleton, hanging cables, severed cables, black cables, loops of cable, power conduits, rusted machinery, debris, rubble, dust, warped floor, scattered glass shards, glass glittering, monochrome, greyscale, cold color palette, overcast sky, diffused light, volumetric haze, atmospheric perspective, deep perspective, cityscape, ruined city, distant skyscrapers, exposed steel skeletons, collapsed sections, horizon, vanishing point, wide-angle, cinematic, concept art, detailed digital painting, film grain, melancholic, desolate, The camera sits low inside a vast gutted floor of an abandoned high-rise, a wide-angle lens pulling the near walls outward and driving the room's parallel lines toward a single vanishing point. Directly ahead, the far wall has failed: a huge broken window opening, five or six metres tall, its rusted steel frame buckled and flaking orange-brown against the gray, cuts the composition into a bright rectangle of overcast sky. Glass survives only in the frame's upper corners and along the sill, jagged edges, and smaller shards are lodged in the mullions where they catch a pale, cold gleam along their cut faces -- each glint a thin, harder white than the hazy light around it. Inside, the room is decayed and crumbling: the left wall carries cracked concrete with a long diagonal fissure and a map of finer fractures, spalled patches exposing aggregate; the right wall runs a line of rusted machinery -- boxy cabinets, a stripped gear housing, dead power conduits with their cables snipped short, dust furred thick on every upward-facing surface. Above, exposed rusted steel skeleton beams cross the ceiling and its edges, and severed black cables hang in loose loops from them, sagging in catenary curves, ends frayed and motionless. The floor is warped, boards and screed lifted and buckled, littered with rubble and debris and a fine skin of dust that puddles into soft drifts at the wall bases. Beyond the window, far in a thick volumetric haze, a dense cluster of ruined sci-fi skyscrapers with exposed steel skeletons and collapsed sections stretches flat to the horizon -- near towers reading dark and distinct, the far ones dissolving into a single pale gray value as the haze eats their edges. Light is one source only: an overcast diffused daylight pouring through the broken window, soft and shadowless on the sill, falling off into a cool dark in the room's near corners, the shafts made visible only where haze and dust catch them. Everything is monochrome grayscale in cold gray tones, deeper black in the cable loops and machinery, a single faint warm rust note on the steel frame. Subtle film grain across the whole plate. Silent, mournful, a civilization long gone.
Show Parameters
Mode
flash
Size
2048 x 1152

Model & LoRA used

Tsubaki.3 Flash - AI Model cover image

PixAI DiT.3

Tsubaki.3 Flash
2.04k

Creation Assistant

Mio.2
Agent
Mio.2

Minimal input, professional output

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安
no humans, empty room, medium wide shot, abandoned electrical control room, ruined skyscraper upper floor, rusted breaker cabinets with open doors, thick bundles of decayed drooping cables hanging from ceiling, corroded power panels, dead switches, peeling concrete exposing red-brown steel frame, cracked window, shafts of pale light, drifting dust motes, vista of derelict futuristic towers, broken silhouettes, exposed iron skeletons, gray fog, monochrome grayscale, cold desaturated tones, film grain, detailed digital painting, cinematic post-apocalyptic concept art, strong foreground detail, deep background haze, wide shot, from inside looking out, one-point perspective toward window, no figures, no silhouettes of people, A medium wide shot taken from inside a corner of the dead control room, camera at standing eye height, angled so the cracked window sits right of centre and the open breaker cabinets form a receding wall on the left; the room is utterly empty of people and nothing in it has moved for decades. In the immediate foreground, close to the lens and sharpest, a corroded power panel leans at an angle off its hinge, its dead switches thrown down, its face a crust of rust blooms and chalky mineral bloom; beside it a rusted breaker cabinet stands with both doors swung open, one door hanging crooked on a single hinge, its interior a black thicket of scorched contacts and brittle insulation. Above, thick bundles of decayed cables sag from the ceiling in long catenary loops, their sheathing split and flaking, rubber cracked into grey shards that hang by threads; one bundle droops low enough to cross the upper third of the frame. The concrete walls have spalled away in broad sheets, the pale grey skin curling off and the red-brown steel frame showing through in hard vertical ribs, rust bleeding down the concrete in long stains below every exposed beam. The label plate on the near power panel is bolted flat to its corroded face and reads "动力" in worn stencilled characters, its edges pitted and its paint flaking but the strokes still legible, the plate's metal slightly buckled so the lettering follows its warp. Cold pale light falls through the cracked window in a single shaft raking down left to right across the room; inside that shaft dust motes drift and turn visibly in the air, and the dust is thickest where the beam crosses the sagging cable bundle, catching on the fibres. Everything outside the shaft sits in deep desaturated shadow, and the only light source is that window; the corners of the room fall into unbroken darkness with no fill. Through the cracked glass, beyond the near rooftop edge, a distant cluster of derelict futuristic towers rises out of grey fog, their upper floors sheared away so broken silhouettes and bare exposed iron skeletons stand against the haze; they are paler and softer than the room, layered in successive planes of fog so the farthest towers nearly dissolve, and the glass itself is grimed and cracked, its fracture lines crossing the distant skyline. Palette held strictly to grayscale: cold blue-grey concrete, rust's darker mid-grey, near-black interior shadow, pale luminous grey in the window shaft, no colour anywhere. Fine film grain across the whole frame, heaviest in the shadow areas; a faint bloom of dust softening the light shaft's edge; single-variable physics: the dust motes are only visible where the beam cuts the air and vanish entirely in the shadowed half of the room. Deep background haze, strong foreground detail, still and desolate.
安藤タケル
#Scenery#Ruins#Rubble
AI artwork
安
no humans, wide shot, from above, high angle, dutch angle, one-point perspective into the void, warped concrete floor, crumbling broken edge at the bottom of frame, exposed rusted rebar curling out of the fractured concrete lip, severed cables trailing over the side, dead open air beyond the edge, supermassive subterranean cavern, colossal vertical drop, ruined sci-fi tower clusters far below, exposed steel skeletons, kilometer-scale depth, half dissolved in cold haze, endless darkness overhead, volumetric darkness, monochrome grayscale, cold gray palette, film grain, cinematic post-apocalyptic concept art, detailed digital painting, dizzying scale, oppressive silence The camera sits right at the broken corner of a gutted interior floor and looks out and slightly down into the void: the near third of the frame is spent on the floor itself, cast concrete warped into a slow sag that leans toward the lip, its surface crazed into a fine map of cracks, dust pooled in the joints, edges chipped and rounded. At the lip the slab shears off in a ragged fracture; a hedge of rusted rebar curls up and outward from the broken section, some rods bent back on themselves, some snapped short, all of them furred with orange-brown corrosion even inside the grayscale register, holding the only warm value in the picture. Three severed cables droop from a dark conduit gap near the corner, slide across the fractured edge and hang straight down over the drop, their loose ends frayed into wire strands, swaying very slightly; they are the only vertical lines connecting the floor to the abyss and act as the scale ruler for everything beyond. A thin scrim of dust and a few loose flakes of concrete have broken away at the very lip and hang suspended just past the edge, caught mid-fall. Past the lip, the floor is simply gone and the space opens. Directly beneath and ahead the emptiness falls away for kilometers; the walls of the room's structure continue downward as a broken shaft of buckled slabs and torn beams on the left, then give out into open air. Kilometers below, on the flat of the cavern floor, clusters of ruined towers stand in broken grids, their exposed steel skeletons opened to the sky inside the cavern, spandrel frames stripped of cladding, a few leaning against each other, all shrunk by distance to slivers and grains of gray; they are half erased by the cold haze that lies on the cavern floor in flat bands, the nearest cluster reading a dark charcoal, the farther ones stepping back through middle gray to a faint ghost at the haze line. Between the clusters the floor is a dead plane of dust and rubble, without roads or lights. Overhead there is only darkness. The ceiling of the cavern is never shown; the structure above the broken wall ends in a jagged silhouette at the top of the frame, and above it the black is absolute and unbroken to the frame edge, thick enough to read as weight pressing down on the air below. Nothing glows from within the deep dark; the only illumination falls from somewhere high behind the camera, cold and diffuse, striking the top of the warped floor, the upper faces of the rebar and the towers' top edges, leaving the underside of the concrete lip, the hanging cables and every recessed joint in shadow; the cast shadow of the broken edge falls forward into the void where there is no surface to receive it and dies within a few meters of haze. The farthest towers and the overhead dark are the same value, so the space reads taller than it is wide. Palette is strictly monochrome grayscale with cold blue-gray neutrals, no saturation anywhere except the corroded rust on the rebar as the single warm accent; the value structure keeps the near concrete light, the mid-depth towers mid-gray, and the overhead void and the drop beneath the lip crushed to near-black. Fine film grain over the whole frame, slightly heavier in the hazy deep distance; crisp fractured edges in the foreground concrete, softened atmospheric edges below the lip; detail budget spent on the fractured lip, the rebar, the cables and the concrete's warp, with the distant towers rendered as simplified ruined grids rather than modeled structures. Vertigo hangs on one fact: the hanging cables are thicker at the top than the tallest tower below is at the bottom. Oppressive silence, dizzying.
安藤タケル
#Scenery#Ruins#Rubble

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