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Tsutomu Nihei 1
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- Ursprünglicher Prompt
- Cinematic wide shot, low angle perspective, athletic silhouette of a cybernetic Bowsette blending the features of a young Emma Watson, completely shaved scalp with pale translucent skin, intense focused gaze, wearing a form-fitting matte black tactical bodysuit made of reinforced carbon-fiber weave and matte neoprene, high-collar structural neck piece, intricate black obsidian plating along the shoulders and shins, long obsidian horns curving sharply from the crown of the head, positioned amidst the gargantuan desolate megastructure of a Dyson-sphere city, towering brutalist concrete pillars stretching into an infinite grey void, floating architectural debris, floating circuitry conduits, oppressive industrial scale, Tsutomu Nihei aesthetic, Blame! architectural influence, colossal scale, crushing loneliness, cold sterile atmosphere, lighting provided by flickering recessed neon strips in teal and pale amber, harsh top-down industrial floodlights creating deep cinematic chiaroscuro, volumetric smog drifting through cavernous spaces, shot on 35mm Panavision Cimarron lenses, f/2.8 aperture, Kodak Vision3 500T film stock, heavy grain, color palette of monochromatic greys, deep charcoal, sharp accents of electric cyan, muted amber highlights, micro-textures of worn matte leather, scratched carbon fiber, pore-level skin detail, holographic interface glitches shimmering in the air, composition utilizing extreme leading lines and negative space, psychological undertone of existential dread and systemic collapse, fusion of Japanese cyberpunk manga and futuristic brutalism, digital painting with precise line work and washed ink shading.,tsutomu nihei
- Größe
- 1280 x 720
- Sampling-Schritte
- 5
- Sampling-Methode
- Euler a
- CFG Scale
- 1.1
- Negativ
- bad quality,worst quality,worst detail,sketch,censor
Verwendetes Modell und LoRA
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dark, mechanical, industrial gothic, danse macabre, foundry, gears, crushing bone, distorted horns, guttural strings, no humans, machinery, factory, horror, gloomy atmosphere, masterpiece, ultra detailed
Виталий Тим
安
1 mechanical entity, no humans, colossal machine, giant robot, angular helmet-like armored skull, dormant sensor slits, cables braided down neck, cable mane, plated chest, rising through gap between two ruined building layers, vast ruined underground megastructure, stacked tiers, collapsed floors, rusted walkways, broken bridges, pipe corridors ringing chamber walls, stairways ending in midair, empty walkways, gray mist, layered silhouettes in far depths, monochrome, grayscale, cold desaturated tones, volumetric haze, film grain, high broken vantage point, from above, extreme high angle looking down the chamber, wide shot, deep depth of field, looming upward, cinematic post-apocalyptic concept art, detailed digital painting, oppressive dread, terrifying scale, dutch angle
Seen from a high broken vantage point: the camera sits on a shattered upper floor slab at the lip of the chamber, tilted a few degrees off level, looking steeply down and across the void. A jagged rift of broken concrete and snapped rebar runs along the bottom foreground edge, and one sheared girder juts into frame from the lower left corner — the only near-scale reference, and it is tiny against what lies beyond. The vast ruined underground megastructure opens below and away: an enormous cylindrical chamber whose walls are wrapped in stacked dungeon-like tiers, ring after ring of collapsed floors stacked with dizzying regularity, slab edges chewed away, rebar hanging in tangles, whole sections sheared off and dropping into the dark. Bridges span the gap between chamber walls and inner towers at several heights; two are intact enough to read as spans, three end where the far abutment has fallen away, and their cut ends hang over nothing. Iron pipe corridors — bundled conduits as thick as rooms, banded at intervals — run in horizontal rings around the curving wall, some crushed flat where a tier above has collapsed onto them, condensation stains running down their undersides. Rusted-through walkway gratings are visible on every tier, each one empty: no figures, no lights, no movement anywhere in the structure. Stairways spiral and switchback down the walls, and several simply end in midair, their last treads hanging out over the drop with nothing beneath them.
Dead center of the chamber, rising through a wide gap between two ruined building layers, the gigantic mechanical entity emerges out of the darkness below. Its colossal head and shoulder assembly pushes up through the opening: the angular helmet-like armored skull faces slightly to the left of the frame, a wedge-shaped mass of interlocking beveled plates with a deep browridge overhanging the face, dormant sensor slits cutting across the front in narrow unlit horizontal lines — dark, dead, with no glow at all, only cold gray edge-lighting on their rims. Cables braided down its neck like a mane: dozens of thick bundled lines, braided and looped in overlapping strands, spilling from the rear of the skull and down the yoke of the shoulders, threaded along the trapezius plating and disappearing into armored sockets. The plated chest is half-hidden below, swallowed by the same darkness the head is emerging from: only the upper chest plates and the tops of the shoulder pauldrons catch any light, and the rest of the torso is cut off by the black gap below. One massive pauldron has risen clear of the left-hand building layer; its edge overlaps the torn slab like a hand laid flat on a broken table.
The machine dwarfs the towers built around it: the ruined building layers that form the gap are six or seven storeys thick each, with visible windows, floor plates and stair cores, and together they barely reach the machine's cheekbone. The proportions are wrong in a terrifying way — no plausible construction would build a chamber this size around anything but this. Its emergence is mid-motion and arrested: shoulders tilted a few degrees as it rises, one side higher than the other, cables swaying and a few strands hanging slack and forward from the sudden stop.
Gray mist drifts across the tiers, lying in flat banks along the upper floors and pouring in slow ropes over the broken slab edges, thinning where it crosses the gap and partially veiling the machine's lower neck. Behind it the far depths fade into layered silhouettes: tier after tier of the far wall reduced to soft, progressively paler bands of gray, then nothing. The single volumetric light comes from far above and behind the camera — a cold overhead shaft punching down through a collapsed section of the roof, its cone visible as a bright hazy column in the upper right that catches the mist and rim-lights the top of the skull, the crown of the shoulders and the leading edges of the cable mane, while the underfaces of every slab, the underside of the machine's brow and the reaches of the chamber floor below stay in near-black. Everything the light does not touch is darkness, not gray. Cast shadows fall straight down the chamber walls, and the machine's own shadow falls away into the depths, unseen.
Strict monochrome grayscale with cold desaturated tones — no warm color anywhere, only the difference between cold pale gray highlights and deep charcoal shadow, with the faintest blue-gray in the light shaft. Detail budget is concentration at the skull: the bevel relations of the armor plates, the braid rhythm of the cables, the dead sensor slits and the grit caught in the panel seams — then falling away to simpler slab-and-rebar masses in the middle tiers, and to flat layered gray silhouettes in the deepest ring. One physical tell: the mist banks flatten against the upper faces of every slab and pour only over the broken edges, so the surviving horizontal surfaces are the ones that read, and the chamber's structure becomes legible through the fog. Detailed digital painting, film grain across the whole frame. Oppressive dread, terrifying scale.
安藤タケル
e1
1other, solo, creature, monster, emaciated, excessively thin body, black skin, jet-black body, faceless, no face, head replaced by single thick tentacle, smooth featureless head, no eyes, no mouth, no nose, four sharp conical limbs, conical pointed limbs, two wire-like tentacles from back, wing-like back tentacles, thin tendrils, standing on tiptoes, leaning forward, head tilt, outstretched arm, full body, from below, wide shot, dutch angle, dark background, rim light, high contrast, monochrome
The view is a low, wide-angle shot from below, tilted a few degrees off level, so the creature towers over the lens with the ground falling away beneath its tapered limbs. Its body is a gaunt black mass, ribs pressing against a hide stretched too tight, hips jutting sharply above legs so thin the knee joints read as separate hard beads. Four sharp conical limbs end in needle points that barely meet the ground; the front-right limb takes the weight, the front-left lifted and bent, and the rear pair splayed for balance. A single thick tentacle rises where a neck should be, tapering and curling slightly at its tip, its surface impenetrably smooth from base to point — nothing on it that could be called an eye, a mouth or a nose. Two wire-like tentacles extend from the shoulder blades and arc out and back like stripped-down wings, thin enough to catch light along one edge only.
The pose is caught mid-lean forward, the thick head-tentacle tipping down toward the lens, as the creature's front-left conical limb probes at the air. The wiry back-tentacles bellah out behind it, their tips heavier than the shafts, each one sagging a fraction lower than its arc suggests. The lean makes the ribs shift under the skin.
The light comes from a single hard source low behind and to the creature's right — a cold white rim that outlines the back tentacles and the lifted limb, then falls away so the black hide goes velvety and near-absorbent in front. The darkness behind is complete, no floor visible past the creature's own shadow pooling under it. The palette is black, cold grey and one edge of pale blue in the rim. Quiet dread, monstrous.
eitaeita.1007@icloud.com
Dark town
MrCat67
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miku
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weirdcore...
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reunited at last
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
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(mai)
character: kaname_madoka_(magical_girl), copyright: mahou_shoujo_madoka_magica
Kaname Madoka from Puella Magi Madoka Magica, pink twin tails tied with deep red ribbons, wearing her iconic magical girl costume, white corset-like bodice with delicate back lacing, voluminous layered white and pale pink ruffled skirt, crimson ribbons flowing loosely around her body, viewed from behind at a three-quarter angle, seated with her back gracefully arched, both arms extending naturally downward behind her back, one hand gently holding the opposite wrist, clearly separated hands, relaxed slender fingers, five distinct fingers on each hand, natural finger spacing, anatomically correct wrists, elegant delicate hands, visible knuckles, softly curved fingers, hands clearly visible against the white skirt, unobstructed hand silhouette, accurate hand anatomy, head tilted far backward, chin raised toward the darkness, face mostly hidden, elegant elongated silhouette, delicate exposed shoulders, soft loose strands of pink hair, dramatic asymmetrical composition, close medium shot, large skirt filling the lower frame, dark almost black background, dramatic directional lighting, pale ivory highlights, muted dusty pink, cold gray shadows, rich crimson accents, strong contrast between luminous fabric and deep darkness, thick impasto oil painting, expressive visible brushstrokes, heavy layered paint, rough palette knife texture, sculptural paint strokes, painterly edges, textured canvas, loose gestural painting, rich tactile surface, dramatic chiaroscuro, melancholic atmosphere, haunting beauty, full bleed composition, edge-to-edge artwork, no borders, no frame, textured illustration, grainy texture, crayon texture, chalky brushwork, impasto strokes, bold color blocking, stylized anime, flat shading, dry brush effect, atmospheric lighting, soft glow highlights, rough painterly anime style, visible textured brushstrokes, heavy impasto texture, scratchy charcoal-like linework, expressive gestural strokes, smudged edges, desaturated base tones with aggressive high-contrast color, sketch style, rough brushstroke
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Sg75
...
Tofu
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2
...
Tofu
...
Tofu
3
the ballerina
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
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