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鳴上悠のメイド服姿！？Persona 4
Arte IA «鳴上悠のメイド服姿！？Persona 4» di Empress Force su PixAI. Tag: Chie Satonaka, Kotone Shiomi, Naoto Shirogane. Creato con Tsubaki.3.
『Persona 4』の鳴上悠がまさかのメイド服を着ている姿が可愛すぎて、思わず見入ってしまいました！周りの黒服の面々とのギャップがまた素敵ですよね。気に入ったらいいねとフォローをお願いします！今後も色々な作品を投稿予定なので、ぜひコメントで感想を聞かせてくださいね。
Mostra parametri
- Immissione richiesta originale
- 原神のキャラ4人と、ペルソナ4のキャラ2人と先端に針がついた尻尾の生えたメイド服をきた原神の男主人公とスーツを着た原神の女主人公がいる。 liminal spaces,
- Modalità
- pro
- Dimensione
- 1104 x 1824
- Negativo
- lowres, worst quality, low quality, bad anatomy, explicit, (nsfw:1.2),(nude:1.6),(nipple:1.2),naked
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copyright: persona_4, genshin_impact
8 girls and women, 4 genshin impact characters, 2 persona 4 characters, 1 male protagonist in a maid outfit, 1 female protagonist in a suit, male maid, male protagonist wearing a maid outfit, frilled maid headdress, black maid dress, white apron, puffed short sleeves, white cuffs, white thighhighs, mary jane shoes, needle-tipped tail, long thin tail, silver needle at tail tip, tail with a needle at the tip, female protagonist in a suit, black tailored suit, white dress shirt, black necktie, polished leather shoes, liminal space, empty corridor, endless hallway, fluorescent ceiling lights, beige walls, low-pile carpet, no windows, from below, wide shot, dutch angle, one-point perspective, standing in a loose cluster, looking at another, looking to the side, uneasy, group shot, full body, depth of field
From a low, tilted angle near the floor, the camera looks up the length of a windowless corridor that runs away into a vanishing point of soft haze; the ceiling is a regular grid of fluorescent panels, two of which flicker out of sync, and their cool green-white light falls in repeating bands across a beige wall and a low-pile carpet the colour of weak tea, the whole corridor empty in both directions with no door, no clock and no exit sign. Eight figures occupy the near third of that corridor, spread across its width in a loose, uneven group rather than a line: on the left, four women with the bearing of seasoned travellers — one with pale blonde hair cut short, arms folded and weight on her back heel; one with long dark hair tied back, hand resting on a book at her hip; one with a wide-brimmed hat tipped low, chin lifted toward the ceiling panels; one small and slight with a long braid, half-turned to look back down the corridor behind her. Beside them two more women in high-collared school uniforms stand shoulder to shoulder, the taller one with silver-grey hair pushing a hand into her pocket, the shorter one in glasses and a bob peering up at the failing lights with her mouth slightly open. In front of that group stands a young man in a black maid dress — white apron, frilled headdress, puffed sleeves, white cuffs and white thighhighs, mary jane shoes planted apart — his shoulders squared against the dress as though he was dressed this way moments ago and has decided to brazen it out; a long thin tail rises behind his hip and curls forward into the air beside his elbow, and its last centimetre is a polished silver needle that catches a separate small glint from the fluorescents. To his right, and a half-step nearer the lens so she reads slightly larger, stands a young woman in a sharply tailored black suit, white shirt and black tie, her jacket buttoned, one hand adjusting a cuff, her chin turned toward him and her eyebrows faintly raised in an expression that is trying hard to be neutral. The two of them look at each other; the other six look outward and along the corridor, at the lights, at the far haze, anywhere but at each other, which is what gives the group its quiet wrongness. The lamp bands are the only light source, and beyond the last visible panel the corridor fades to a flat, sourceless glow that erases the floor line; the figures cast short, soft shadows that fall away from the camera, and the carpet under their shoes shows faint rectangular dents where it was recently walked, though nothing else in the corridor shows any sign of use. Palette held to beige, weak tea, cool fluorescent green-white, black and white of the maid dress and suit, with the needle's single silver highlight as the only sharp value in the frame. Quietly unsettling, deadpan funny.
Empress Force
copyright: persona_4, genshin_impact
8 girls and women, 4 genshin impact characters, 2 persona 4 characters, 1 male protagonist in a maid outfit, 1 female protagonist in a suit, male maid, male protagonist wearing a maid outfit, frilled maid headdress, black maid dress, white apron, puffed short sleeves, white cuffs, white thighhighs, mary jane shoes, needle-tipped tail, long thin tail, silver needle at tail tip, tail with a needle at the tip, female protagonist in a suit, black tailored suit, white dress shirt, black necktie, polished leather shoes, liminal space, empty corridor, endless hallway, fluorescent ceiling lights, beige walls, low-pile carpet, no windows, from below, wide shot, dutch angle, one-point perspective, standing in a loose cluster, looking at another, looking to the side, uneasy, group shot, full body, depth of field
From a low, tilted angle near the floor, the camera looks up the length of a windowless corridor that runs away into a vanishing point of soft haze; the ceiling is a regular grid of fluorescent panels, two of which flicker out of sync, and their cool green-white light falls in repeating bands across a beige wall and a low-pile carpet the colour of weak tea, the whole corridor empty in both directions with no door, no clock and no exit sign. Eight figures occupy the near third of that corridor, spread across its width in a loose, uneven group rather than a line: on the left, four women with the bearing of seasoned travellers — one with pale blonde hair cut short, arms folded and weight on her back heel; one with long dark hair tied back, hand resting on a book at her hip; one with a wide-brimmed hat tipped low, chin lifted toward the ceiling panels; one small and slight with a long braid, half-turned to look back down the corridor behind her. Beside them two more women in high-collared school uniforms stand shoulder to shoulder, the taller one with silver-grey hair pushing a hand into her pocket, the shorter one in glasses and a bob peering up at the failing lights with her mouth slightly open. In front of that group stands a young man in a black maid dress — white apron, frilled headdress, puffed sleeves, white cuffs and white thighhighs, mary jane shoes planted apart — his shoulders squared against the dress as though he was dressed this way moments ago and has decided to brazen it out; a long thin tail rises behind his hip and curls forward into the air beside his elbow, and its last centimetre is a polished silver needle that catches a separate small glint from the fluorescents. To his right, and a half-step nearer the lens so she reads slightly larger, stands a young woman in a sharply tailored black suit, white shirt and black tie, her jacket buttoned, one hand adjusting a cuff, her chin turned toward him and her eyebrows faintly raised in an expression that is trying hard to be neutral. The two of them look at each other; the other six look outward and along the corridor, at the lights, at the far haze, anywhere but at each other, which is what gives the group its quiet wrongness. The lamp bands are the only light source, and beyond the last visible panel the corridor fades to a flat, sourceless glow that erases the floor line; the figures cast short, soft shadows that fall away from the camera, and the carpet under their shoes shows faint rectangular dents where it was recently walked, though nothing else in the corridor shows any sign of use. Palette held to beige, weak tea, cool fluorescent green-white, black and white of the maid dress and suit, with the needle's single silver highlight as the only sharp value in the frame. Quietly unsettling, deadpan funny.
Empress Force
copyright: persona_4, genshin_impact
8 girls and women, 4 genshin impact characters, 2 persona 4 characters, 1 male protagonist in a maid outfit, 1 female protagonist in a suit, male maid, male protagonist wearing a maid outfit, frilled maid headdress, black maid dress, white apron, puffed short sleeves, white cuffs, white thighhighs, mary jane shoes, needle-tipped tail, long thin tail, silver needle at tail tip, tail with a needle at the tip, female protagonist in a suit, black tailored suit, white dress shirt, black necktie, polished leather shoes, liminal space, empty corridor, endless hallway, fluorescent ceiling lights, beige walls, low-pile carpet, no windows, from below, wide shot, dutch angle, one-point perspective, standing in a loose cluster, looking at another, looking to the side, uneasy, group shot, full body, depth of field
From a low, tilted angle near the floor, the camera looks up the length of a windowless corridor that runs away into a vanishing point of soft haze; the ceiling is a regular grid of fluorescent panels, two of which flicker out of sync, and their cool green-white light falls in repeating bands across a beige wall and a low-pile carpet the colour of weak tea, the whole corridor empty in both directions with no door, no clock and no exit sign. Eight figures occupy the near third of that corridor, spread across its width in a loose, uneven group rather than a line: on the left, four women with the bearing of seasoned travellers — one with pale blonde hair cut short, arms folded and weight on her back heel; one with long dark hair tied back, hand resting on a book at her hip; one with a wide-brimmed hat tipped low, chin lifted toward the ceiling panels; one small and slight with a long braid, half-turned to look back down the corridor behind her. Beside them two more women in high-collared school uniforms stand shoulder to shoulder, the taller one with silver-grey hair pushing a hand into her pocket, the shorter one in glasses and a bob peering up at the failing lights with her mouth slightly open. In front of that group stands a young man in a black maid dress — white apron, frilled headdress, puffed sleeves, white cuffs and white thighhighs, mary jane shoes planted apart — his shoulders squared against the dress as though he was dressed this way moments ago and has decided to brazen it out; a long thin tail rises behind his hip and curls forward into the air beside his elbow, and its last centimetre is a polished silver needle that catches a separate small glint from the fluorescents. To his right, and a half-step nearer the lens so she reads slightly larger, stands a young woman in a sharply tailored black suit, white shirt and black tie, her jacket buttoned, one hand adjusting a cuff, her chin turned toward him and her eyebrows faintly raised in an expression that is trying hard to be neutral. The two of them look at each other; the other six look outward and along the corridor, at the lights, at the far haze, anywhere but at each other, which is what gives the group its quiet wrongness. The lamp bands are the only light source, and beyond the last visible panel the corridor fades to a flat, sourceless glow that erases the floor line; the figures cast short, soft shadows that fall away from the camera, and the carpet under their shoes shows faint rectangular dents where it was recently walked, though nothing else in the corridor shows any sign of use. Palette held to beige, weak tea, cool fluorescent green-white, black and white of the maid dress and suit, with the needle's single silver highlight as the only sharp value in the frame. Quietly unsettling, deadpan funny.
Empress Force
copyright: persona_4, genshin_impact
8girls and boys, 4 boys, 4 girls, group shot, wide shot, from below, slightly low angle, standing, liminal space, empty indoor space, endless corridor, fluorescent lighting, pale green-white walls, wet-look tiled floor, repeating doorframes, vanishing point, four genshin impact characters, two persona 4 characters, male genshin protagonist in maid outfit, female genshin protagonist in suit, maid outfit, frilled apron, white thighhighs, hair ribbon, tail with needle at tip, needle-tipped tail, suit, black tailored suit, necktie, slacks, dress shoes, long blonde hair in a braid, short blonde hair, long silver-blue hair, twin braids, orange hair, bowl cut, short black hair, glasses, red hair, long brown hair, smile, light smile, grin, one eye closed, half-closed eyes, looking at viewer, looking to the side, looking back, standing on one leg, head tilt, leaning forward, arms behind back, hands clasped behind back, arms at sides, shoulders relaxed, blush, open mouth, wide-eyed, raised eyebrow, smug
The camera sits low and tilts slightly upward, so the eight figures stand tall against a corridor that recedes far behind them. They are grouped loosely across the middle of the frame, not shoulder to shoulder but with small gaps of damp greenish floor between them, and the corridor's white ceiling panels stream away to a single point over their heads. At left, a short-haired blonde boy in a dark jacket with a high collar stands with his weight on his back foot and one hand loosely closed at his side, chin lifted, one eye narrowed, mouth pulled into a small knowing grin aimed slightly to the right of the lens. Beside him a tall man with long silver-blue hair in a thick braid over one shoulder stands very straight, a dark long coat hanging open, both hands still against his thighs, his pale eyes fixed straight ahead at the viewer with a faint closed-lip smile that never reaches them. Next, a girl with long brown hair tucked behind one ear stands turned slightly outward toward the left wall, one hand raised to smooth her long skirt, eyes sliding to the side, expression soft and distracted. At her shoulder, a smaller girl with pale hair falls in close and half-hides behind her, peeking out with one wide eye and a hand curled near her chin.
In the center-right stands the blonde male protagonist in a maid outfit: a black dress with a white-frilled apron, a white headband set in his short hair, white thighhighs and dark shoes, one white-gloved hand resting flat on the apron front while his body leans forward a touch toward the camera, weight on his left leg, head tipped to one side, both a sheepish half-smile and a lifted brow on his face. Behind the hem of the apron skirt a long fleshy tail curls out to the right and up, and at its very tip a slim silver needle gleams, catching the overhead light in one hard bright point; the needle hangs clear of any fabric, its point aimed up and toward the corridor's vanishing point. Beside him, the blonde female protagonist in a tailored black suit and dark necktie stands with her own weight squared onto both feet, one hand pushed into a trouser pocket and the other hanging at her side, chin down and eyes cast sideways at the camera from under her brows, mouth flat except for one corner pulled up.
Behind them at the back of the group, a girl with orange hair in two braids stands with her arms crossed, leaning her hip against the corridor wall, gaze turned into the camera with a lopsided, unimpressed look; and at the far right a boy with a bowl-shaped black haircut and square glasses stands with his hands behind his back and shoulders hunched, peering over the rims with one eyebrow lifted in a small, smug, almost superior smile.
The only light is the long ceiling strip of fluorescent panels running overhead; it flattens every face with a faintly greenish cast, leaves their shadows pooled directly at their feet, and makes the polished tile under them into a soft mirror of white legs and dark shoes that darkens and blurs toward the far doors. The walls are a bland unbroken off-white, broken only by door after identical door with tall handles, all of them shut; the floor's grid of grout lines narrows toward the vanishing point. The palette is the corridor's own dead white, gray and bruised green, with the figures' black and white clothing and their blonde, silver, orange and brown hair as the only warm notes, and the single silver glint of the needle as the brightest thing in the frame. Quietly wrong, faintly playful.
Empress Force
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