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タンク
Arte de IA "タンク" de UN.O'Brien no PixAI. Criado com Hoseki - LustrousMix [IllustriousXL].
Mostrar Parâmetros
- Tamanho
- 1024 x 1024
- Passos de Amostragem
- 8
- Método de Amostragem
- Euler a
- CFG scale
- 1.6
- Negativo
- (, lowres, (bad), text, error, fewer, extra, missing, (worst quality), (low quality),jpeg artifacts, watermark, unfinished, displeasing, oldest, early, chromatic aberration, signature, extra digits, artistic error, username, scan, abstract, bad anatomy, bad hands, bad feet, bad hand, bad hands, bad finger, bad fingers, extra finger, extra fingers, split finger, split fingers, extra digits, fused arms, fused hands:1.6),lips, nsfw
Modelo & LoRA usado
![Hoseki - LustrousMix [IllustriousXL] - AI Model cover image](https://images-ng.pixai.art/images/thumb/6c1ad841-41a5-497b-adf4-cc58cb5127c2)
![Mobile Suit Gundam RMV-1 ガンタンクⅡ [GUNTANK-II] - AI Model cover image](https://images-ng.pixai.art/images/thumb/82f6d5c3-913c-4ab4-a3fa-5c097093b02c)
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1 mecha, no humans, giant robot, super-heavy armor, humanoid tank, quadruple split continuous tracks, four-segment treads per leg, front and rear track banks, armored high-output leg boosters, head-mounted gatling cannon, scope on head, radar dome on head, armored shoulder pauldrons, right forearm bucket wheel excavator, rotating bucket wheel, left arm rail cannon, long railgun barrel, six large missiles on back, vertical missile launch racks, tower shield bulk, rampage, crushing city, stomping, rubble, daytime, blue sky, city street, from below, extreme low angle, wide shot, dutch angle, foreshortening, dust clouds, broken concrete, collapsing buildings, billowing smoke
The camera sits at street level and tips steeply upward, a three-quarter front view from below and slightly to the mecha's right, so the machine's full height crosses the frame diagonally under a slight dutch cant while the midday sky occupies the upper third. Its left foot -- the near track bank of the left leg, the forward of its four segments -- has come down through the middle of a six-lane intersection: the two front track segments are planted flat, crushing a bus shelter under their cleats, while the two rear segments of the same leg hang a few meters behind and above, still shedding gravel from the last step. The right leg is caught mid-stride, its forward tracks lifted clear of the ground and angled toward a toppling office tower whose lower facade the right shoulder pauldron has already sheared open; its rear tracks trail dust. The torso fills the center of the frame, slab after slab of welded armor plating, edges chipped to raw steel, rivet seams running diagonally, and along the sides of both legs the armored high-output boosters are bolted in blocks -- the near one venting a thin heat shimmer that rises in a wavering column and bends the skyline behind it. On the head, above the jawless slab of the chin guard, the gatling cannon juts forward on its mount, barrel cluster six tubes wide, a belt of ammunition curving back into the shoulder; the scope is clamped alongside it in a hooded bracket, its front lens catching the sun as a small hard white point, and on the top of the skull a squat radar dome turns, tipped slightly to one side on its ring. Both arms hang heavy and wide. The right forearm ends in the bucket wheel excavator: the wrist has been cut away and the wheel now rides on the stump, a great toothed disc slowly turning, its buckets biting empty air at knee height and one bucket dragging a lip of broken asphalt and rebar up out of the crater it just carved. The left arm, armor-plated to the knuckle, has become the rail cannon -- twin rails running the length of the forearm and past the fist, their muzzle ends smeared with heat and a heat ripple above the bore. On the back, canted forward over the shoulders, six vertical launch racks hold the six assembled missiles nose-up, fins folded, their tips rangy against the sky, and the racks' support struts cut dark lines across the clouds. The light is hard, direct, high midday sun coming from behind the camera's left, so the near faces of the armor blaze pale and the far side of the machine falls into deep blocky shadow; every cast shadow is short and sharp, and the mecha's own shadow lies across the intersection like a second, darker street. The palette is armor grey and olive drab, the chalk white of shattered concrete, hot orange only where the bucket wheel bites and the missile tips catch the sun, and a clean washed blue sky above; the city is small, soft, bleached by haze -- glass towers, a row of low shops, cars ditched against the curb, all rendered gently out of focus so their scale reads only as small. Dust rises in a slow ring from the planted foot, and the particles above the boosters lean in one direction, dragged sideways by the exhaust. Catastrophic, unstoppable.
クロックロック
1 mechanical subject, no humans, giant humanoid war machine, super-heavy armor, massive torso, six legs, segmented caterpillar tracks on leg undersides, four-part tread sections front and rear, gatling cannon mounted on head, telescopic scope, radar dome, heavy armored shoulder pauldrons, both arms plated in thick armor, right forearm replaced by bucket wheel excavator, spinning bucket wheel, left arm converted to large rail cannon, six assembled missiles on back, heavy high-output boosters on leg sides, charging across wasteland, running at full speed, low angle, from below, wide shot, dutch angle, dust cloud, debris kicked up, dynamic pose, looking ahead, sunset, orange sky, silhouette, mechanical detail, panel lines, rivets, scratches, worn metal
The camera looks up from ground level, tilted a few degrees off vertical, so the machine towers into a burning orange sky and its six legs straddle the frame's lower half. The colossus is caught mid-stride: the front-most left leg is planted, treads biting the cracked earth and compressing a shallow trench beneath its weight, while the other five legs are in various phases of swing, two of them lifted clear of the ground with dust pouring off their segmented track undersides. Each leg's sole shows the four-part tread sections — two forward, two rear — the metal plates flexing and clacking as the tracks rotate, gravel caught between the segments spraying out sideways. The massive torso leans forward into the charge, super-heavy armor slabs layered over the shoulders and flanks, every panel scratched and dust-caked. On the head, the gatling cannon sits above the brow, its six barrels already spun into a blur with a faint heat shimmer, while the scope juts forward and the radar dome turns steadily on its mount. Both arms are clad in thick plating: the right forearm ends in the bucket wheel excavator, its toothed wheel spinning at speed, throwing a crescent of dirt and sparks; the left arm is the long rail cannon, its barrel level and charged with a thin blue glow at the muzzle. Six large assembled missiles are racked across the back, their fins angled back in the wind of the charge. Along the outer sides of the legs, the heavy boosters flare with blue-white exhaust, heat-warping the air and blasting dust into rolling clouds that trail behind the machine. The only light is the low sun ahead and to the left, rimming the armor's edges in hot orange while the undersides fall into deep shadow; the boosters' blue exhaust adds a second, cooler light source that catches the dust. The palette is burnt orange, rust brown, and gunmetal grey against the dark earth, with electric blue only in the exhaust and the rail cannon's charge. Dust hangs in the air, grit streaks across the frame, and the whole image reads as raw, thundering momentum.
クロックロック
1 mechanical subject, no humans, giant humanoid war machine, super-heavy armor, massive torso, six legs, segmented caterpillar tracks on leg undersides, four-part tread sections front and rear, gatling cannon mounted on head, telescopic scope, radar dome, heavy armored shoulder pauldrons, both arms plated in thick armor, right forearm replaced by bucket wheel excavator, spinning bucket wheel, left arm converted to large rail cannon, six assembled missiles on back, heavy high-output boosters on leg sides, charging across wasteland, running at full speed, low angle, from below, wide shot, dutch angle, dust cloud, debris kicked up, dynamic pose, looking ahead, sunset, orange sky, silhouette, mechanical detail, panel lines, rivets, scratches, worn metal
The camera looks up from ground level, tilted a few degrees off vertical, so the machine towers into a burning orange sky and its six legs straddle the frame's lower half. The colossus is caught mid-stride: the front-most left leg is planted, treads biting the cracked earth and compressing a shallow trench beneath its weight, while the other five legs are in various phases of swing, two of them lifted clear of the ground with dust pouring off their segmented track undersides. Each leg's sole shows the four-part tread sections — two forward, two rear — the metal plates flexing and clacking as the tracks rotate, gravel caught between the segments spraying out sideways. The massive torso leans forward into the charge, super-heavy armor slabs layered over the shoulders and flanks, every panel scratched and dust-caked. On the head, the gatling cannon sits above the brow, its six barrels already spun into a blur with a faint heat shimmer, while the scope juts forward and the radar dome turns steadily on its mount. Both arms are clad in thick plating: the right forearm ends in the bucket wheel excavator, its toothed wheel spinning at speed, throwing a crescent of dirt and sparks; the left arm is the long rail cannon, its barrel level and charged with a thin blue glow at the muzzle. Six large assembled missiles are racked across the back, their fins angled back in the wind of the charge. Along the outer sides of the legs, the heavy boosters flare with blue-white exhaust, heat-warping the air and blasting dust into rolling clouds that trail behind the machine. The only light is the low sun ahead and to the left, rimming the armor's edges in hot orange while the undersides fall into deep shadow; the boosters' blue exhaust adds a second, cooler light source that catches the dust. The palette is burnt orange, rust brown, and gunmetal grey against the dark earth, with electric blue only in the exhaust and the rail cannon's charge. Dust hangs in the air, grit streaks across the frame, and the whole image reads as raw, thundering momentum.
クロックロック
1 mecha, no humans, giant robot, super-heavy armor, humanoid tank, quadruple split continuous tracks, four-segment treads per leg, front and rear track banks, armored high-output leg boosters, head-mounted gatling cannon, scope on head, radar dome on head, armored shoulder pauldrons, right forearm bucket wheel excavator, rotating bucket wheel, left arm rail cannon, long railgun barrel, six large missiles on back, vertical missile launch racks, tower shield bulk, rampage, crushing city, stomping, rubble, daytime, blue sky, city street, from below, extreme low angle, wide shot, dutch angle, foreshortening, dust clouds, broken concrete, collapsing buildings, billowing smoke
The camera sits at street level and tips steeply upward, a three-quarter front view from below and slightly to the mecha's right, so the machine's full height crosses the frame diagonally under a slight dutch cant while the midday sky occupies the upper third. Its left foot -- the near track bank of the left leg, the forward of its four segments -- has come down through the middle of a six-lane intersection: the two front track segments are planted flat, crushing a bus shelter under their cleats, while the two rear segments of the same leg hang a few meters behind and above, still shedding gravel from the last step. The right leg is caught mid-stride, its forward tracks lifted clear of the ground and angled toward a toppling office tower whose lower facade the right shoulder pauldron has already sheared open; its rear tracks trail dust. The torso fills the center of the frame, slab after slab of welded armor plating, edges chipped to raw steel, rivet seams running diagonally, and along the sides of both legs the armored high-output boosters are bolted in blocks -- the near one venting a thin heat shimmer that rises in a wavering column and bends the skyline behind it. On the head, above the jawless slab of the chin guard, the gatling cannon juts forward on its mount, barrel cluster six tubes wide, a belt of ammunition curving back into the shoulder; the scope is clamped alongside it in a hooded bracket, its front lens catching the sun as a small hard white point, and on the top of the skull a squat radar dome turns, tipped slightly to one side on its ring. Both arms hang heavy and wide. The right forearm ends in the bucket wheel excavator: the wrist has been cut away and the wheel now rides on the stump, a great toothed disc slowly turning, its buckets biting empty air at knee height and one bucket dragging a lip of broken asphalt and rebar up out of the crater it just carved. The left arm, armor-plated to the knuckle, has become the rail cannon -- twin rails running the length of the forearm and past the fist, their muzzle ends smeared with heat and a heat ripple above the bore. On the back, canted forward over the shoulders, six vertical launch racks hold the six assembled missiles nose-up, fins folded, their tips rangy against the sky, and the racks' support struts cut dark lines across the clouds. The light is hard, direct, high midday sun coming from behind the camera's left, so the near faces of the armor blaze pale and the far side of the machine falls into deep blocky shadow; every cast shadow is short and sharp, and the mecha's own shadow lies across the intersection like a second, darker street. The palette is armor grey and olive drab, the chalk white of shattered concrete, hot orange only where the bucket wheel bites and the missile tips catch the sun, and a clean washed blue sky above; the city is small, soft, bleached by haze -- glass towers, a row of low shops, cars ditched against the curb, all rendered gently out of focus so their scale reads only as small. Dust rises in a slow ring from the planted foot, and the particles above the boosters lean in one direction, dragged sideways by the exhaust. Catastrophic, unstoppable.
クロックロック
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