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AI art "Order of White Knight" featuring #ルルーシュ・ランペルージ, #コードギアス反逆のルルーシュ and #zetaCollab

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Order of White Knight

参加作品

PixAI × zeta オリキャラコンテスト2026 #zetaCollab

#ルルーシュ・ランペルージ #コードギアス反逆のルルーシュ

投稿日は Oct 28, 2026

an nguyễn

さらに表示

character: lelouch_vi_britannia, cornelia_li_britannia, marianne_vi_britannia, nonette_enneagram, marrybell_mel_britannia, dorothea_ernst, copyright: code_geass 6girls, 1boy, lelouch vi britannia, cornelia li britannia, marianne vi britannia, nonette enneagram, marrybell mel britannia, dorothea ernst, seductive eyes, smirk, sitting on throne, holding sword, white-gold suit, white and gold military outfit, knight of the round uniform, gold epaulets, long white slit open skirt, black gloves, gold decoration, black knight cloak, huge thighs, torn long pantyhose, bare sideboob, bare midriff, black hair, short hair, sidelocks, purple eyes, purple hair, long hair, blonde hair, short hair, blue eyes, brown hair, very long hair, blunt bangs, orange hair, black hair, single braid, sidelocks, crown braid, dark skin, green eyes, from below, dutch angle, wide shot, looking at viewer, throne room, group shot, asymmetrical composition, The camera sits low and canted a few degrees off level, looking up from the foot of the dais: a wide shot of a cavernous throne room, and every figure in it towers over the lens. At the room's bright center, a young man with short black hair and long swept sidelocks reclines on a tall gilded throne — one booted ankle hooked over the armrest, hips slid forward on the seat, one elbow propped on the throne's wing and his chin resting against the back of his gloved knuckles. His white-gold suit cuts a hard diagonal across the composition: a white double-breasted jacket with ribbed gold trim down its front edge, a high gold-braided collar, gold epaulets capping both shoulders, and a white-lined half-cape falling off one shoulder to pool along the throne's arm. His chin is dipped so his violet eyes look up through half-lowered lids, seductive and level on the viewer; the corner of his mouth pulls up in a slow, lopsided smirk, one brow faintly raised. The gold-armored armrests are the only bright warm surface between the lens and him, and his boot heel has scuffed a pale mark into the gilded footrest. Down the two broad steps of the dais, five women in matching Knight of the Round dress stand in a broken, staggered rank, one of them half-hidden behind the next, none of them squared to the camera. Each wears a white-and-gold military coat with gold epaulets bristling at both shoulders and row on row of gold frogging and buttons down the chest; the coats are cut away to leave each midriff bare above a long white skirt split wide open along one hip, the split edges finished with gold braid and falling clear so a whole thigh shows through, the skirt's pleated hem sweeping the marble. Each wears a black knight's cloak hung from a gold chain clasp at the collarbone, its black wool pooling on the floor behind them. Each wears black gloves to the elbow and black pantyhose running the length of both legs, ladders and tears in the nylon, dark runs crawling up from ankle and knee, one tear snagging a hole wide at the front of a thigh. Each holds a sword — the nearest rests hers point-down with both gloved hands folded over the pommel, another lets hers lean back against her shoulder, another holds hers low and across her hip. Nearest the lens on the left, a woman with long violet hair spilling over one shoulder stands with her weight on her back leg and her hip cocked, coat hanging open, sword point resting on her toe; her violet eyes cut sideways and up toward the throne rather than the viewer. Beside her, a short blonde woman in a knight's coat, her cropped hair pushed behind one ear, leans her ribcage against the throne's dais step and peers up at the throne from under a lowered brow, one gloved hand gripping the gold edge of the step. Just behind and above her, a woman with very long brown hair and straight-cut bangs looks straight down the barrel of the lens, her sword's point resting on the step between her boots, a faint knowing tilt to her chin. To the right, a woman with a long black braid wrapping forward over her shoulder stands in profile, dark skin lit along the edge of her jaw and her bare midriff, sword held low and level at her hip, green eyes fixed on the figure to her left. At the far right edge, a woman with long orange hair stands half turned away with a hand on the cloak clasp at her throat, looking back over her shoulder toward the lens, her sword's flat resting against her white-coated shoulder. The throne room's high windows throw cold blue-white light in long shafts down over the whole company from the upper left, so it strikes the tops of the epaulets and the upward faces of the gold trim while the undersides of every jaw, the folds of the cloaks and the undersides of the bare midriffs fall into soft shadow. Each figure throws a long hard shadow sliding to the right along the polished marble, and the marble carries a faint wet sheen so each sword's reflection lies beneath it, dimmer and softer than the blade above. The palette is almost entirely white, gold and black — the white of the uniforms and the marble, the gold of the epaulets, braid, throne and window light, and the black of cloaks, gloves and torn nylon — with hair colors and the king's violet eyes as the only other color admitted. Crisp cel-shaded anime coloring, flat clean linework and screencap framing; the atmosphere is composed, dangerous and opulent.

Order of White Knight

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