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らり

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らり

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character: yukino_mifuyu_(puuzaki_puuna), yukino_(blue_archive) 1girl, solo focus, 5boys, multiple boys, m_crowd, crowd of boys around one girl, group of five men pressed tightly against her, grabbing her head, grabbing her neck, grabbing her arms, grabbing her back, grabbing her legs, clinging to her, tight press, two blue-haired women, long blue hair, bangs, hair between eyes, ponytail, blue eyes, white turtleneck, tight dark blue short skirt, dark brown leggings, black heels, silver hair, hair bun, huge breasts, dark-skinned male, dark skin, gold chain, grey sweatpants, floor-to-ceiling curtain wall windows, high floor, night city view, night, from side, cowboy shot, dutch angle, low-key lighting, blue night ambient light, warm interior lamp, cramped composition, bodies filling frame, hands on head, hands on neck, hands on arm, hands on back, hands on thigh, half-closed eyes, parted lips, overwhelmed, breath on skin, intimate menace, The shot is a slightly tilted cowboy shot from the side, inside a bare high-floor construction room whose whole far wall is a grid of floor-to-ceiling curtain wall glass, the night city spread beyond it as a dense field of tiny lit windows far below and a low horizon of aircraft warning lights, the room itself unfinished — exposed concrete floor, aluminium mullion frames, a coil of cable and a stack of panel crates pushed to the left edge. In the centre of the frame two women stand back to back, hemmed in by five men who press in so close their shoulders overlap and their bodies blot out most of the glass behind them; the two women are the only figures in sharp focus, the men rendered as a tight continuous mass of shoulders, arms and chests crowding the foreground and the edges of the frame. The woman facing camera-left stands in a white turtleneck whose collar sits high on her throat, a tight dark blue short skirt, dark brown leggings and black heels; her long blue hair is gathered in a ponytail with bangs and strands falling between her eyes, and her blue eyes are wide and fixed on nothing in the room, chin lifted as a man's hand cups the back of her head and tilts it. The woman facing camera-right is the taller, fuller figure, silver hair pinned up in a bun with loose strands between her eyes, huge breasts straining the front of a dark garment as she twists her torso; her blue eyes are half-lidded, lips parted on a held breath, one heel lifted off the concrete for balance. Five men surround them: nearest the lens at lower left, a dark-skinned man with a heavy gold chain over his bare chest and grey sweatpants, his forearm barred across the blue-haired woman's thighs and his other palm flat on her hip; behind him a second man's hand closes around her forearm and pulls it back; at the top of the frame a third man's fingers are spread over the crown of the silver-haired woman's head, her bun pressed against his palm; a fourth man's arm comes over her shoulder to grip the blue-haired woman's neck, thumb along the jaw; a fifth man is behind them both, chest against the silver-haired woman's spine, one hand splayed flat on her back, the fabric of her top creased under his fingers. Every contact point compresses something — the turtleneck's knit bunches at the collar, the skirt wrinkles where the hip is gripped, the leggings pull taut over the thigh under the barred forearm, a heel skids a centimetre on the concrete dust. Light comes from two places only: the cold blue spill of the city through the curtain wall, which rims every shoulder and the two women's hair in a thin bright edge and lays long faint window-mullion stripes across the concrete floor, and a single caged work lamp on the floor at frame right throwing warm amber up into the underside of the men's jaws and the two women's faces. Where the lamp does not reach, the corner of the room is genuinely dark. Palette is restricted to cold blue night, warm amber lamp, white knit, deep navy skirt, brown leggings and the gold link of the chain catching the lamp as the only saturated note; the glass reads as a mirror-black surface with the faint ghost of the room reflected in it, dimmer than the real thing. Tense, airless.
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オリジナルプロンプト
Inside the Curtain wall construction room, A high floor overlooking the night view, , 1girl、 1bbc, Break yuki ona yukino, long hair, bangs, blue eyes, hair between eyes, blue hair, ponytail,white turtle neck, a tight dark blue short skirt, dark brown leggings and black heels. Break、 BBC_TP, BBC, dark skin, dark skinned male, gold chain, grey sweatpants,puu no puupuupuu, mifuyu yukino, blue_eyes,silver_hair,hair_between_eyes,hair_bun, huge_breasts ,ZH_Gr0upGrab, 1girl, solo focus, 5人の男が女に密着して、 女の頭、首、腕、背中、脚を掴んだり触っている。 (multiple boys),m_crowd, multiple boys,
モード
pro
品質タグ
﹝プロンプト﹞
縦横比
1280 x 768
サンプリング方法
Euler
ネガティブ
lowres, worst quality, low quality, bad anatomy, explicit
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Avatar image of らり
character: yukino_mifuyu_(puuzaki_puuna), yukino_(blue_archive) 1girl, solo focus, 5boys, multiple boys, m_crowd, crowd of boys around one girl, group of five men pressed tightly against her, grabbing her head, grabbing her neck, grabbing her arms, grabbing her back, grabbing her legs, clinging to her, tight press, two blue-haired women, long blue hair, bangs, hair between eyes, ponytail, blue eyes, white turtleneck, tight dark blue short skirt, dark brown leggings, black heels, silver hair, hair bun, huge breasts, dark-skinned male, dark skin, gold chain, grey sweatpants, floor-to-ceiling curtain wall windows, high floor, night city view, night, from side, cowboy shot, dutch angle, low-key lighting, blue night ambient light, warm interior lamp, cramped composition, bodies filling frame, hands on head, hands on neck, hands on arm, hands on back, hands on thigh, half-closed eyes, parted lips, overwhelmed, breath on skin, intimate menace, The shot is a slightly tilted cowboy shot from the side, inside a bare high-floor construction room whose whole far wall is a grid of floor-to-ceiling curtain wall glass, the night city spread beyond it as a dense field of tiny lit windows far below and a low horizon of aircraft warning lights, the room itself unfinished — exposed concrete floor, aluminium mullion frames, a coil of cable and a stack of panel crates pushed to the left edge. In the centre of the frame two women stand back to back, hemmed in by five men who press in so close their shoulders overlap and their bodies blot out most of the glass behind them; the two women are the only figures in sharp focus, the men rendered as a tight continuous mass of shoulders, arms and chests crowding the foreground and the edges of the frame. The woman facing camera-left stands in a white turtleneck whose collar sits high on her throat, a tight dark blue short skirt, dark brown leggings and black heels; her long blue hair is gathered in a ponytail with bangs and strands falling between her eyes, and her blue eyes are wide and fixed on nothing in the room, chin lifted as a man's hand cups the back of her head and tilts it. The woman facing camera-right is the taller, fuller figure, silver hair pinned up in a bun with loose strands between her eyes, huge breasts straining the front of a dark garment as she twists her torso; her blue eyes are half-lidded, lips parted on a held breath, one heel lifted off the concrete for balance. Five men surround them: nearest the lens at lower left, a dark-skinned man with a heavy gold chain over his bare chest and grey sweatpants, his forearm barred across the blue-haired woman's thighs and his other palm flat on her hip; behind him a second man's hand closes around her forearm and pulls it back; at the top of the frame a third man's fingers are spread over the crown of the silver-haired woman's head, her bun pressed against his palm; a fourth man's arm comes over her shoulder to grip the blue-haired woman's neck, thumb along the jaw; a fifth man is behind them both, chest against the silver-haired woman's spine, one hand splayed flat on her back, the fabric of her top creased under his fingers. Every contact point compresses something — the turtleneck's knit bunches at the collar, the skirt wrinkles where the hip is gripped, the leggings pull taut over the thigh under the barred forearm, a heel skids a centimetre on the concrete dust. Light comes from two places only: the cold blue spill of the city through the curtain wall, which rims every shoulder and the two women's hair in a thin bright edge and lays long faint window-mullion stripes across the concrete floor, and a single caged work lamp on the floor at frame right throwing warm amber up into the underside of the men's jaws and the two women's faces. Where the lamp does not reach, the corner of the room is genuinely dark. Palette is restricted to cold blue night, warm amber lamp, white knit, deep navy skirt, brown leggings and the gold link of the chain catching the lamp as the only saturated note; the glass reads as a mirror-black surface with the faint ghost of the room reflected in it, dimmer than the real thing. Tense, airless.
らり

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