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Landschaft, Ruinen
KI-Kunst von 安藤タケル auf PixAI. Erstellt mit Tsubaki.3 Flash.
Wettbewerbseinreichung
I Want to See a Fantasy City!#The Fantasy City
Prompts sind auf PixAI standardmäßig öffentlich, aber Creator können sie bei jedem veröffentlichten Werk verbergen. Der Creator dieses Werks hat sich dafür entschieden – die Wörter, mit denen das Bild generiert wurde, bleiben also privat und nur diese Person kann sie sehen. Sonst ändert sich dadurch nichts: Das Werk bleibt öffentlich, und du kannst es wie gewohnt liken, kommentieren und teilen.
Vom Autor versteckt
Verwendetes Modell und LoRA
Erstellungsassistent
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Mio.2
Minimale Eingabe, professionelles Ergebnis
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安
low camera angle, wide shot, no humans, empty interior, megastructure, colossal rectangular pillars, skyscraper-sized support columns at varied depths, broken gantries, cable anchors, catwalk, thin walkway receding to vanishing point, catwalk entering from bottom of frame, horizon within the hall, dead plain, kilometers of empty floor, overhead darkness, no ceiling, pillars vanishing into black, layers of pillars, atmospheric perspective, gray fog, pale haze, volumetric haze, monochrome, grayscale, high contrast, ink linework, dense hatching, black and white manga shading, paper texture, film grain, cinematic, post-apocalyptic concept art
The camera sits almost at floor level, wide and level, the dead plain's surface running from the bottom edge of the frame to a faint seam of horizon far across the hall; a needle-thin catwalk enters at the bottom center of the frame and runs dead straight away from the viewer, thinning with distance until it dissolves into haze long before it reaches anything, its handrails two hairline scratches of ink. Colossal rectangular pillars stand at wildly different depths: the nearest at the left third of the frame, close enough that its base is cut by the frame edge, its flanks ruled with vertical hatching and its foot lashed by broken gantries — buckled skeletal walkways and snapped cable anchors that dangle slack against the stone; the next rises at the right quarter, half eroded by fog; further ranks stand thinner and paler at the middle distance, and the farthest rows reduce to flat gray silhouettes stacked like a mountain range at dusk, each rank a step lighter than the one before as the pale haze thickens toward the seam of the horizon. The floor reads as kilometers of unbroken plate and grit, joint lines converging to the vanishing point, scoured clean, with not one footprint, not one loose cable crossing the catwalk's line. Overhead there is no ceiling: the tops of the pillars shear off into a wall of pure black that presses down from the upper third of the frame, and the two nearest columns simply stop where the darkness takes them. Light comes from the haze itself, a diffuse, sourceless glow rising off the plain at the far horizon, so the pillars' forward faces stay lit and their trailing edges fall into hard black; the darkness overhead has no reflection and eats the upper frame in absolute, ungraded tone. Palette is ink and paper only — black, paper white, and a narrow ladder of grays for the haze, with the deepest blacks reserved for the overhead void and the undersides of the gantries. Dense ink linework over grainy paper tooth, high-contrast manga shading in the crosshatched shadow, and a fine film grain over the whole plate, with the pillar bases sitting in the shallowest drift of haze at ground level. Absolutely still. Overwhelming scale, silent, desolate.
安藤タケル
安
cable jungle, pipe web, hundreds of cables, thick black cables, tangled cables, braided pipes, sagging cables, ruined gantry, crooked maintenance stairs, snapped-off balcony, split cable, frayed cable core, hanging cable loops, dead loops, empty platforms, deserted platforms, clothesline, dead wires, swaying wires, megastructure towers, distant towers, layered haze, atmospheric haze, hard-inked edges, rim light on tower edges, scratchy linework, dense ink linework, cross-hatching, solid black voids, black frame edges, monochrome, grayscale, high contrast, black and white, manga shading, post-apocalyptic, industrial decay, claustrophobic density, wide shot, from below, no humans, empty scene, film grain, detailed digital painting, cinematic concept art,
Seen from a low angle tilted upward into the vault, the frame is so densely woven with cables that no sky survives between them: hundreds of thick black cables and pipe lines braid, cross and re-braid into a chaotic lattice that fills every region of the image, sagging in long catenary curves between the skeletal remains of ruined gantries whose bent girders jut in from both upper corners. Crooked maintenance stairs zigzag down through the web at the left third, their steps warped and their handrails snapped at two points, and a snapped-off balcony hangs at the upper right, torn free at one end so it tilts steeply down into the tangle on a single torn bracket. Several cables have split open along their length in the midground, their frayed wire cores spilling outward in stiff fans of fine bright strands that catch the light, and elsewhere dead loops of cable hang straight down and stop in mid-air above an unseen drop that the bottom of the frame never shows, only an encroaching field of solid black. Small broken platforms perch wedged in the web at three depths, each with a cracked deck and a bent rail, every deck completely bare and deserted, and from each rail hangs a clothes-line of dead wires that sway very slightly out of step with one another, their loose ends drifting; not one figure, not one silhouette of a person, appears anywhere in the tangle. Behind the web, pale gray silhouettes of impossibly tall megastructure towers recede in successive layered haze, each further rank lighter and softer than the one before, and only on the nearest towers does the light strike an edge and hold it as a hard black ink line, everything past that edge dropping into flat tone. The only light comes from far behind and above the towers, so it rims the tower edges and the upward-facing surfaces of the cables while every underside and every recess falls to solid black; the corners of the composition are eaten away by those black voids, and a single split cable in the near midground shows its frayed core outlined bright against pure darkness, the physics of the whole image legible in that one edge. Strictly monochrome grayscale, no colour admitted: paper-white highlights, mid-gray receding haze, and ink-black depths in three tones only. Linework is dense, scratchy and obsessive, every cable rendered as a distinct inked tube with hatching on its shadow side, the towers simplified to hard silhouettes so the tangle keeps the detail budget. Fine film grain over the whole plate. Claustrophobic, immense.
安藤タケル
安
安藤タケル
安
no humans, 0girls, architecture focus, scenery, from below, wide shot, dutch angle, high contrast, monochrome, greyscale, heavy ink linework, dense crosshatching, black and white manga shading, vast multi-level machinery chamber, dungeon of dead engines, central void, at least a dozen hanging balconies, gantry decks at different heights, control consoles, turbine housings, pressure tanks, crooked stairs, catwalks ending midair, torn structure, colossal vertical pipes, spiral cable binds, hundreds of hanging cables, cable loops, unseen roof, pale haze layer at the bottom, machine silhouettes in haze, dense wall panels, rivets, blank warning-stripe plates, rusted plates, volumetric haze, film grain, cinematic post-apocalyptic concept art, oppressive megastructure scale, no text, no signage, dark, still, deserted.
The shot is taken from below, tilted on a slight dutch angle, looking steeply up the flank of the chamber so the colossal pipes converge overhead toward a roof the frame never reaches: the central void opens at the left of the image, and the stacked decks recede up and away to the right in tiers of diminishing scale. Gantry decks and hanging balconies ring the void at a dozen different heights, none of them level with a neighbour; each deck is crowded edge to edge with dead control consoles, their angled faces blank and mottled, turbine housings with bolted flanges, and squat pressure tanks, and the decks nearest the bottom of the frame are drawn at large scale in dense hatched detail while the topmost tiers compress to a fringe of silhouetted outlines. Crooked stairs zigzag between levels, every flight slightly off-plumb, and catwalks run out from several decks and stop in midair where the structure has sheared away, their severed ends ragged and hanging over the drop with the torn plates curling down. Three colossal pipes rise vertically through the full height of the chamber like pillars, one in the foreground left half in deep shadow, the others further back catching a thin grey glare along one edge; each is wrapped in tight spiral cable binds winding in even continuous turns with a steadily shrinking pitch as they climb, and the binds tighten into knots where the pipes meet the deck brackets. Hundreds of thinner cables hang in slack loops from the invisible roof, layered at every depth, sagging over the void and crossing in front of the further decks and behind the nearer ones, so the whole upper frame is a veil of black hanging curves. The chamber bottom lies far below, lost in a faintly pale layer of haze that is the only light-toned mass in the image; through it the flat silhouettes of more machines and further pipe columns are barely visible, their edges fading upward into the murk. The walls between the decks are dense with rectangular panels, rivet rows and rusted warning-stripe plates, every plate painted with diagonal stripes only, blank, no lettering anywhere in the frame. Light comes from the pale haze at the bottom as the sole source: it rises and scatters, greying the undersides of decks and the inner faces of the pipes, leaving the tops of every console and balcony in near-solid black, and the inversion makes the overhead cables read as pure black against a dim grey field; no other light exists, and the upper chamber sinks toward absolute darkness. Palette is black, mid-grey and paper white only, with the density of hatched shadow carrying most of the surface. Dust lies thick on every upward-facing plane and hangs motionless in the light, cables perfectly still, no motion blur anywhere. Cinematic post-apocalyptic concept art, oppressive megastructure scale and density, dense ink linework with high-contrast black and white manga shading, volumetric haze, film grain; silent, dead, monumental.
安藤タケル
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ᯓ★ ⚡ ♡ ᯓ★
(mai)
Winter joy in the snow
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kyramisu
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logos
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
Hu Tao
KanKan Matcha
Tilith, the Goddess of Magical Star
entrophee_E:
푸른 물결 속의 신비로운 소녀
조개
anime
𝚖𝚎𝚛𝚒𝚖𝚎𝚛𝚒
miku
𝚖𝚎𝚛𝚒𝚖𝚎𝚛𝚒
🧣🚉 🪐 ‧₊˚ ♡ ˚₊‧
(mai)
❄️Lolicia❄️
weirdcore...
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
reunited at last
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
₊˚⊹♡ 𝗯𝘂𝗻𝗻𝘆 𝗴𝗶𝗿𝗹 ♡⊹˚₊
●♡⃝ 𝓑𝓾𝓽𝓽𝓮𝓻𝓯𝓵𝔂•ʚїɞ.𝕏𝕠
...
Tofu
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₊˚ ꒰ᐢ. .ᐢ꒱ 🍓🍞 ✧
(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
リオ
Sg75
...
Tofu
이름
이름
2
...
Tofu
...
Tofu
3
the ballerina
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
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