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- 顔立ちは冒涜的とすら言える美貌。退廃的で背徳的なのに抗えない理性を溶かすほどの色気と美しさ。そして扇情的とすら言えるほどに淫靡なのに芸術品のように耽美で蠱惑的。両性を惑わすほどの妖艶さ。目は瞳だけが真っ黒でハイライトがない。目の下に薄く隈がある。肌は真っ白。左目だけは常に前髪で隠されている。癖っ毛。腰まである。体つきは官能的でいわゆるむちむちボディなのに官能的な色気がある。雰囲気は退廃的。カニバリズム。白のワイシャツと萌え袖の黒のフード付きパーカー。ミニスカート。肌は真っ白。白目のところは白い。まつげが長い。
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Pokaż więcejmasterpiece, best quality, crisp lineart, rich deep colors, dramatic cinematic lighting, high contrast lighting, glossy highlights, lustrous finish, cel shading, facial features are a beauty that could even be called blasphemous. Decadent and immoral, yet possessing a sex appeal and beauty that melts reason to the point of being irresistible. And so lewd that it could even be called provocative, yet aesthetically beautiful and bewitching like a work of art. A seductive charm enough to bewilder both sexes. Only the pupils of the eyes are pitch black and there are no highlights. There are faint dark circles under the eyes. The skin is pure white. Only the left eye is always hidden by bangs. Curly hair. Reaches the waist. The physique is sensual, a so-called plump body, yet possesses a sensual sex appeal. The atmosphere is decadent. Cannibalism. A white dress shirt and a black hooded hoodie with moe sleeves. A miniskirt. The skin is pure white. The whites of the eyes are white. The eyelashes are white and long. Slightly mentally unstable. Bandages are wrapped around the neck. The hair is pure white.
Lily
1girl, solo, from above, three-quarter view, looking up at viewer, tilted head, standing, one hand at mouth, fingers against lower lip, black hooded parka, oversized hood, hood down, sleeves over hands, sleeve cuffs past fingertips, white dress shirt, bare collar, collar unbuttoned, white miniskirt, bandage wrapped around neck, neck bandage, white hair, waist-length hair, wavy hair, unruly hair, messy hair, bangs covering left eye, one eye covered by hair, right eye visible, pitch-black eyes, black sclera pupils with no highlight, empty eyes, no light catch in eye, white sclera, long white eyelashes, white eyelashes, dark circles under eyes, faint dark circles, pale skin, pure white skin, voluptuous, curvy, wide hips, large breasts, slightly open mouth, half-closed eyes, jitome, vacant stare, faint smile, asymmetric expression, cannibalism motif, blood at lip corner, blood smeared on chin, dried bloodstain on shirt collar, deep shadow, decadent, gothic, high contrast, pale monochrome palette with blood red accent
The camera looks down from above at a steep three-quarter angle, so the figure's whole upper body fills the frame and her chin tips up toward the lens, her one visible eye fixed on the viewer from under lowered lids. Only her right eye shows: thick, unruly white bangs sweep down over the left side of her face and stay there, hiding that eye completely, while the right eye is wide and black — the iris and pupil a single solid pitch-black disc with no highlight of any kind, sunk in a sclera so white it is almost indistinguishable from the surrounding skin. Long white eyelashes fang out from both lids, and a faint bruise-colored crescent of shadow sits under the visible eye. Her skin is uniformly pure white, with no rose in the cheeks; the whole face reads like marble that has learned to be obscene. Her mouth is slightly open — not a smile exactly, more a lip corner pulled up on one side — and a thin thread of dark blood runs from that corner down past her chin, one dried smear beside it. Her white hair is wavy and stubborn, springing into rings and cowlicks that ignore gravity even at this angle, falling to her waist and pooling against the black fabric of the hood.
She wears a black hooded parka, the hood down behind her neck, its sleeves far too long, swallowing her hands entirely so that only the rounded shapes of her fingers push at the cloth. The parka hangs open over a white button-down shirt, its collar unbuttoned and standing away from her throat, over which a bandage is wound — neat overlapping strips of pale gauze crossing her neck, one loose end already slipping. Below the shirt's hem, a short white pleated miniskirt sits at her hips, and beneath the black parka, her body is soft and heavy-hipped, the shirt pulling taut across a full chest, the whole shape opulent and unashamed.
One hand lifts to her mouth, sleeve trailing; she has caught the corner of the fabric between her teeth and is biting it lightly, tugging it, the cloth pulled a little away from the skin of her own lip. She is looking straight up into the lens with a stare that is very slightly wrong — the half-closed eye, the faint smile, the blood — a mind that has come loose and finds it amusing. The light comes from the single source above and slightly in front of her, so her white face is the brightest thing in the frame, the shadowed sockets and the thin line of blood the only dark notes on it, and the black parka swallows the edges of the image. Palette: white, black, and blood red, nothing else admitted. Behind her, an empty seamless field of pale gray. Decadent, wrong, and beautiful.
Lily
1girl, solo, pale white skin, porcelain complexion, voluptuous, plump body, wide hips, thick thighs, wavy unruly hair, hip-length hair, long curly hair, messy black hair, bangs covering left eye, one eye covered, visible right eye, black sclera ring, solid black iris, purple pupil, no highlight, no catchlight, flat dead eye, faint dark circles, under-eye shadow, white sclera, half-closed eyes, jitome, faint closed-lip smile, blasphemously beautiful face, androgynous beauty, decadent aura, white dress shirt, open collar, black hooded parka, hood down, oversized sleeves, sleeves past wrists, hands hidden in sleeves, black miniskirt, bare thighs, leaning forward, head tilt, from below, dutch angle, close-up, cowboy shot, dark palette, dim single light source, cannibalism theme, dried blood at lip corner, quiet decadence
The camera sits low and tilted a few degrees off level, looking up at her from below in a close cowboy shot so that her chin and the underside of her jaw dominate the frame and the hooded shoulders crowd the top edge. She leans far forward toward the lens, spine curved, weight carried on her back hip with one knee slightly ahead of the other, both hands buried in the oversized parka sleeves so that the fleece-lined cuffs swallow her fingers and only the blunt shape of a knuckle pushes at the fabric; the sleeve hems hang down past her wrists and swing forward with the lean, and the white dress shirt beneath shows as a bright wedge at the open collar, its top button undone, the shirttail hanging loose over the black miniskirt. Her hip-length wavy hair falls forward on both sides of her face in heavy unruly curls, the mass of it swinging toward the viewer and splitting so that one thick sweep of bangs lies flat across her left eye and stays there, the eye entirely hidden behind that fall of hair while the right eye remains visible and steady. That right eye is the whole light problem of the picture: a white sclera, an iris filled solid black with a purple pupil at its center, and not one glint, not one catchlight in it -- a dry matte surface that reflects nothing back, so the eye reads as a hole cut in the face rather than a wet living orb; beneath it a thin bruised shadow of dark circle stains the pale skin. Her skin is pure white, bloodless, the whiteness of paper or cold marble, and against it the black of the parka and the black of her irises are the same flat value. The single light source is a low, warm lamp off frame to her right and below, raking up the right side of her throat and jaw and catching the fine curl of loose hair at her temple; everything above and left of that band of light falls into a soft blue-black darkness, the hood's interior, the far cheek, the underside of the chin going fully dark, so the light seems to be coming up out of the floor rather than down from above. The palette admits black, white and a single bruise-purple -- the purple in her pupil, a faint violet cast in the shadowed hollows of the parka folds, the purple-grey of the under-eye smudge -- and nothing else. One detail of physics: a single thin dark thread of something wet clings at the corner of her lower lip and has begun to run, and it has caught the lamp light at its lowest bead so that it shines where nothing else on her face does. Her gaze goes straight down the tilt of her chin into the lens, lids lowered, unblinking, patient. Quiet decadence, unhurried hunger.
Lily
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