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お別れ

お別れ AI art by *™みるくてぃ- on PixAI. Tags: Synthesizer V, Ahoge, Drill Hair, standing, Skirt, Dress. Made with Tsubaki.3 Flash.

Published on Nov 14, 2026

*™みるくてぃ-

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character: kasane_teto 1girl, solo, kasane_teto, twin_drills, red_hair, drill_hair, ahoge, hair_between_eyes, hair_ribbon, hair_bow, bow, red_eyes, pitch-black eyes, dilated eyes, huge pupils, empty eyes, dot pupils, axe, holding axe, axe raised overhead, both arms up, overhead grip, from above, directly overhead, dramatic angle, foreshortening, heavy rain, rain streaks, downpour, dark, dim lighting, gloomy, grey_jacket, long_sleeves, grey_skirt, skirt, shirt, ribbon, buttons, boots, cold expression, parted lips, looking up at viewer, wet hair, wet clothes, splashing water, puddle, concrete ground, fallback The camera looks straight down from directly overhead: the frame is filled by the figure's shoulders, the crown of her head and the two enormous twin drills of red hair fanning outward across wet concrete, one drill swung across the lower left of the frame, the other trailing toward the upper right. She stands square beneath the lens, chin lifted so that her upturned face occupies the center of the shot; the hair between her eyes parts around her brow and a single ahoge curls up toward the camera. Both eyes are fully open and entirely pitch black, the irises drowned by huge dilated pupils so no highlight survives, no visible sclera, only two dark discs reflecting the flat grey sky in a faint matte sheen. Between them a small red ribbon bow sits at the crown of her head, soaked and flattened. Both arms are thrust up out of the depth of the shot, elbows locked, hands wrapped over a long axe handle gripped two-handed right above her head so the blade rears toward the lens, its edge and cheek catching the only light; the handle passes vertically out of the frame's bottom edge, the wood slick and beaded with water that crawls down the grain and drips off her knuckles. Her shoulders are hunched into the swing, the grey jacket plastered to them, long sleeves dark with rain, the skirt hem dragged sideways by the downdraft of the falling water. Her lips are parted with a breath caught mid-swing, jaw slack, expression emptied of anything readable. The whole scene is a downpour seen from above: rain reads as short radial streaks converging on her from the frame's edges toward the center, each drop a bright needle; every upward-facing surface holds a thin film of water; a broad shallow puddle spreads around her boots at the lower edge of the frame and rings and stipples under the impacts, splashes kicking up pale crowns at the contact points. The concrete is dark, oil-stained, and coldly reflective, mirroring the axe and the red of her drills as dimmer, softer, red-shifted shapes. There is no sun: a single flat overcast source sits directly overhead and slightly behind the camera, a cold blue-grey sheet of light that silvers the top of her hair, her cheekbones, and the axe blade and leaves everything else in soft dense shadow. The palette runs almost entirely on black, wet charcoal grey and desaturated blue, with the red of her hair and the ribbon the only warm passage in the frame. The rain is the revealer: the streaks all lean toward one vanishing point behind her shoulders, so the empty space above her head reads as the volume the blade will pass through. Bleak, pitiless, operatic.

お別れ

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