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Sermon 18

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Sophrosyne

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Now Vivec felt that he had taught the Hortator as much as he could before the war with the Dwemer came. The warrior-poet decided he had to begin his Book of Hours at that point, because the world was about to bend with its age. Vivec entered the Mourning Hold and announced to Ayem that he was going to fight nine monsters that had escaped the Muatra. 'I will return,' he said, 'to deal the last blow to the grand architect of the Dwemer.' Ayem said, 'Out of nine you will find only eight, though they be mighty. The last is already destroyed by your decision to create the Book of Hours.' Vivec understood that Ayem meant himself. 'Why,' she asked, 'are you in doubt?' Vivec knew that his doubt made him the sword of the Triune and so he did not feel shame or fear. Instead, he explained and these are the words: 'Can a member of the Invisible Gate become so archaic that its successor is not so much an improvement of the exact model, but rather a related model that is just needed more because of the currency of the world's condition? As the Mother, you do not have to worry, unless things in the future are so strange that even Seht cannot understand. Neither does the Executioner or the Fool, but I am neither. 'These ideals are not going to change in nature, even though they may change in representation. But, even in the west, the Rainmaker vanishes. No one needs him anymore. 'Can one oust the model not because the model is set according to an ideal but because it is tied to an ever-changing unconscious mortal agenda?' This is what was said to Ayem when Vivec was whole. The wise shall not mistake this. Ayem said, 'This is why you were born of a netchiman's wife and destined to merge with the simulacrum of your mother, gilled and blended in all the arts of the star-wounded East, under water and in fire and in metal and in ash, six times the wise, to became the union of male and female, the magic hermaphrodite, the martial axiom, the sex-death of language and unique in all the middle world.' Vivec knew then why he would record his Book of Hours. This sermon is forbidden. In this world and others EIGHTEEN less one (the victor) is the magical disk, hurled to reach heaven by violence. This sermon is untrue. The ending of the world is ALMSIVI.
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Dimensione
512 x 512
Passaggi di campionamento
18
Metodo di campionamento
DPM2 Karras
Scala CFG
11.2
Negativo
3d, sepia, painting, cartoons, sketch, (worst quality:2), (low quality:2), (normal quality:2), lowres, bad anatomy, bad hands, normal quality, ((monochrome)), (( grayscale)), collapsed eyeshadow, multiple eyebrows, holes on breasts, paintings, sketches, (worst quality:2), (low quality:2), (normal quality:2), skin spots, acnes, skin blemishes, age spot, glans, (((nsfw))),(NSFW),a_lneg,
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Modello e LoRA utilizzati

Poison Ivy (Harley Quinn Serie 2019) - AI Model cover image

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Poison Ivy (Harley Quinn Serie 2019)
130

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character: eren_yeager, mikasa_ackerman character: eren_yeager, mikasa_ackerman Mikasa Ackerman and Eren Yeager are captured in the middle of a desperate ODM maneuver above a ruined city street, with Mikasa much closer to the camera and Eren cutting across the background at a different angle. Mikasa twists her entire body sideways as she launches past the viewer, one arm extended forward with a blade in hand while the other reaches back toward Eren. Her black hair whips violently across the frame and her red scarf streams far behind her in a long sweeping curve. Eren is several meters behind her, angled sharply in the opposite direction as his ODM cables stretch from his gear toward a damaged rooftop, his green jacket and hair blown backward by the speed of the maneuver. The perspective is extremely dynamic: Mikasa's outstretched hand and blade are large in the foreground while her body rapidly narrows toward the center of the image. Eren appears smaller but perfectly clear behind her, creating a strong diagonal connection between them. Their ODM cables slice through the composition as thin steel lines, crossing the image at different angles and disappearing beyond the frame. One cable passes extremely close to the camera, creating a dramatic foreground line. The ruined city beneath them is not shown as a wide landscape. Broken rooftops, shattered windows, hanging masonry, and fragments of brick rush diagonally through the lower portion of the composition, giving the impression of immense speed. Several pieces of debris are suspended around Mikasa and Eren, each frozen at a different distance from the camera. Dust catches the sunlight in thin atmospheric streaks. Mikasa's Survey Corps uniform is sharply detailed and windswept, with the cropped brown jacket open over the fitted uniform, harness straps pulled taut across her body, white trousers, tall boots, and the Wings of Freedom insignia clearly visible. Eren wears his recognizable Survey Corps uniform and green jacket, with his harness, ODM equipment, and boots rendered with precise mechanical detail. A subtle graphic-design layer is integrated into the composition without overpowering the action: Wings of Freedom emblem are overlaid across the sky, Thin white directional lines follow the trajectories of Mikasa and Eren, while small restrained military-style markings and typography sit along the edges of the frame. The graphic elements reinforce the movement rather than becoming random decoration. The entire image is frozen at one extraordinary instant: Mikasa's scarf curves through the air, Eren's jacket flares behind him, cables are pulled completely taut, debris hangs in the air, dust streams diagonally through the sunlight, and both characters are caught at different points of the same sweeping maneuver. Nothing feels static. Painterly digital anime illustration, expressive textured brushwork, cinematic motion frozen in a single frame, extreme wide-angle perspective, dramatic foreshortening, strong diagonals, layered depth, detailed characters, flowing hair and fabric, taut cables, airborne debris, warm sunlight cutting through cool gray ruins, muted military colors with Mikasa's red scarf as the strongest accent, sophisticated composition, subtle graphic design, powerful silhouettes, intense expressions, visceral sense of speed, beautiful atmospheric lighting, energetic, cinematic
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3#L'attacco dei giganti#Mikasa Ackerman
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