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

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

安藤タケル

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dutch angle, vertigo shot, extreme high angle looking straight down, from above, no humans, wide shot, collapsing corner of a ruined high-floor room, tilted sinking floor slab, cracked broken slab edge, concrete lip shedding dust, bottomless subterranean abyss, kilometers of empty dark air, cavern walls receding into gloom, dead city of derelict futuristic towers far below, skeletal steel frames, sheared tops, leaning slabs, tower silhouettes fading into layered gray mist, faint sourceless pale glow deep in the void, blackness above with no visible roof, monochrome grayscale, cold desaturated tones, extreme depth, volumetric fog and darkness, dust motes falling, scattered debris, tangled rebar, torn floor plates, depth layers, atmospheric perspective, film grain, dread-inducing scale Composed slightly off-level and tilted hard on the diagonal, the camera looks down and outward past a collapsing corner of a ruined high-floor room. The floor slab occupies the lower-left of the frame, tipped and sinking away from the lens at a steep angle, its broken lip cracklined into a web of fractures and shedding fine dust that spills over the edge into open air. Loose debris, chipped concrete chunks and a couple of twisted rebar ends sit right at the fractured rim, half overhanging the drop. Beyond that lip the slab gives way to a subterranean void with no bottom in sight: kilometers of empty dark air that recede downward, cavern walls falling away into gloom on every side, their contours barely readable before they dissolve into darkness. Far below, a dead city of derelict futuristic towers is scattered across a floor swallowed by shadow — skeletal steel frames stripped of cladding, sheared tops cut clean, leaning slabs tilted at broken angles — their silhouettes layered and fading into drifting gray mist that thins and thickens with depth. A faint, sourceless pale light glows deep in the void, catching the top edges of the nearest towers and leaving their undersides in darkness. Above the slab, blackness swallows any hint of a roof, rising beyond sight. One physical detail drives the scale: a single falling dust plume from the broken lip narrows and vanishes long before it reaches the mist, revealing how far the drop truly runs. The palette is monochrome grayscale, cold and desaturated, with the pale glow the only true brightness in the frame and everything else compressed into stratified grays. Volumetric fog and darkness pool thickest at the far walls and thin toward the towers, the extreme depth carried by overlapping silhouette layers and dust-hazed air. Detailed digital painting with visible film grain, dread-inducing scale, oppressive silence of a place no one will ever find.
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, 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
AI artwork
Avatar image of NergoProxy
16:9, wide shot, from below, no humans, dystopian industrial megacity, dark ominous sky, towering ziggurat factories, intricate architectural lines, scaffold lattices, chimney stacks, elevated conduit bridges, blueprint, technical drafting aesthetic, monochrome, high contrast, black and white, glowing electric blue highlights, wiring sparks, data streams, mathematical formulas, technical annotations, callout lines, dimension arrows, grid overlay, gritty atmosphere, crisp linework, chapter header art A wide cinematic 16:9 banner seen from a low angle at street depth, so the megacity rises over the viewer and the dark ominous sky presses down at the top third of the frame. In the foreground, half-seen and cropped by the bottom edge, the fins and cable bundles of a rooftop condenser bank anchor the scale; behind them the midground stacks its architecture in receding layers — a slab-sided habitation block at left with window grids drawn as fine ruled hatching, a ziggurat factory at center with stepped setbacks and riveted plates, chimney stacks at right trailing smoke that thins as it rises. Elevated conduit bridges cross the gaps between masses, and from them wiring drops in slack catenaries; at two junction boxes the wires throw small electric blue sparks that flash and die, the only warm-ish point of colour in an otherwise black-and-white image, and each spark lights the underside of the cable and the rivet heads nearest it for an instant. The sky is a heavy graphite mass with scribbled cross-hatch cloud banked along the horizon, the deepest black sitting behind the ziggurat's silhouette so the building's edges cut clean against it. Blue data streams run vertically through the air in thin dashed columns, brightest where they pass over dark masses, and mathematical formulas and technical annotations are laid flat over the whole composition as the drafting overlay: bracketed dimensional arrows along the factory's setbacks, circled detail callouts with leader lines pointing at a conduit elbow, a wireframe grid running to the vanishing point where the avenue meets the sky, and equations in small drafted capitals trailing off into the margins. The overlay is drawn in the same white and blue technical hand as the building itself, so annotation and architecture share one ink language — crisp, precise, unsoftened. High-contrast drafting palette: white and cold grey lines on near-black ground, blue reserved strictly for the glow of sparks, data streams and the brightest annotation strokes. One physical tell: the smoke from the chimneys is bleached out where the electric blue light cuts through it, and grey and solid where it does not. Cold, oppressive, electrically alive.
NergoProxy

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