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AI artwork
สร้างงานศิลปะใหม่สร้างฟรีสร้างฟรี

C9I

Avatar image of C9I

C9I

ดูเพิ่มเติม

คอมเมนต์

close-up, 1girl, patient, lying in hospital bed, supine, head propped on pillow, hospital gown replaced by bandages, body wrapped in white bandage strips, smiley faces drawn on bandages, yellow marker smiley faces, bandages loose and gaping, blackened necrotic flesh visible through gaps, exposed ribs, ribs showing through torn flesh, maggots, swarm of maggots, maggots crawling out of wounds, black rot, decay, perfect empty plastic smile, wide fixed smile, dead eyes, staring at viewer, head tilted toward camera, hospital room, sterile, bright, white tiles, IV stand, heart monitor, flatline on monitor, green smiley face on screen, chiaroscuro, harsh overhead light, deep black shadows, white and sickly green palette, film grain, body horror, psychological dread, toxic positivity, from above, close-up, dutch angle, masterpiece, hyperdetailed, The camera hangs above and slightly to the side of the bed, tipped a few degrees off level in a close-up that takes in the patient's head, shoulders and upper chest, with the heart monitor crowding in at the upper right of the frame. The patient lies supine on a pillow that dented under the back of the skull, the chin tipped toward the lens so the whole face is presented flat and frontal while the body recedes steeply away in foreshortening toward the hips. The face is smooth, taut, slightly too glossy — a plastic sheen with no pore, no crease, no micro-expression — and the smile is wide, symmetrical, and permanently the same: both corners lifted an identical amount, the eyes open and unstaring, aimed straight into the viewer and seeing nothing. The pale head rests against the pillow with the neck slightly extended, the crown of the head pushed back into the fabric. Around the torso the white bandage strips are wound in overlapping turns, some tight, some slack, and on every one of them cheerful smiley faces have been drawn in yellow marker — a yellow disc, two black dots, a black arc — inching along the curve of each bandage so the drawing bends with the cloth, one smiley face crossing the seam between two wraps and split by it. The dressings are not sealed. At the lower ribs a bandage turn has slid out of place and lifted; its edge stands away from the body, and the wound beneath is open. Underneath the cloth the flesh is black, wet, and sunken, its surface broken into necrotic crusts, the ribs stripped pale and bare through the rent and throwing hard thin highlights where the overhead light catches them. A burst at the flank has opened wider than the rest: a dense, glistening spill of white maggots boiling out over the bandage edge and down the sheet, some already crawling on the linen, the mass alive and writhing in place, tens of thousands of small bodies dividing the light into specks. The linen under them is soaked through in a dark ring that has not spread evenly but crept along the weave of the sheet. The heart monitor sits at the upper right, screen turned toward the camera. The trace runs flat and unbroken across the bright green screen, and above it a green smiley face glows — round, black dot eyes, black arcing mouth — its light spilling onto the metal rail of the bed and beading on the rim of the screen. Every light in the room comes from a single cold overhead panel directly above the bed; the ceiling beyond it is absolute shadow. That one source lays a hard white glare across the plastic brow, the pillow, the bandage tops and the tops of the maggots, while beneath the jaw, under the lifted bandage edge and inside the open wound the darkness is total, black rot reading as pure void against the clinical white. The wall tiles behind and above recede into that black. The palette admits three things only: the stark hospital white of linen, bandage cloth, tile and overhead glare; the sickly green of the monitor glow and its reflection; and the deep black of the necrotic flesh, the shadows and the void beyond. Yellow survives in the drawn smiley faces, and nothing else. The film grain sits over all of it, coarsening the flat white areas and softening the wet highlights. Nothing in the patient's face acknowledges the smell, the sound, the swarm, the flatline: the smile stays the exact same angle, the exact same softness, held like a stamp impression. Quiet, unbearable dread.
ดูพารามิเตอร์
พรอมต์ต้นฉบับ
Dark art horror close-up of a patient lying in a bright, sterile hospital bed. Their body is covered in bandages with cheerful smiley faces drawn on them. But beneath the bandages, the body is heavily rotting, with blackened, necrotic flesh, exposed ribs, and swarms of maggots bursting out. The patient's face is a perfect, empty, plastic smile, completely unaware of their own horrific decay. A heart monitor flatlines, but the screen shows a bright green smiley face. Body horror, psychological dread, toxic positivity, hyperdetailed, chiaroscuro, stark white and sickly green tones against deep black rot, cinematic shot, film grain, by Francis Bacon and H.R. Giger, masterpiece, 8K --ar 2:3 --v 6
โหมด
pro
ขนาด
768 x 1280
วิธีการสุ่มตัวอย่าง
Euler
ไม่ต้องการ
lowres, worst quality, low quality, bad anatomy, explicit
ตัวช่วยพรอมต์

โมเดลและ LoRA ที่ใช้

Tsubaki.3 - AI Model cover image

PixAI DiT.3

Tsubaki.3
5.89k

รูปภาพคล้ายกัน

ดูเพิ่มเติม
AI artwork
Avatar image of C9I
close-up, 1girl, patient, lying in hospital bed, supine, head propped on pillow, hospital gown replaced by bandages, body wrapped in white bandage strips, smiley faces drawn on bandages, yellow marker smiley faces, bandages loose and gaping, blackened necrotic flesh visible through gaps, exposed ribs, ribs showing through torn flesh, maggots, swarm of maggots, maggots crawling out of wounds, black rot, decay, perfect empty plastic smile, wide fixed smile, dead eyes, staring at viewer, head tilted toward camera, hospital room, sterile, bright, white tiles, IV stand, heart monitor, flatline on monitor, green smiley face on screen, chiaroscuro, harsh overhead light, deep black shadows, white and sickly green palette, film grain, body horror, psychological dread, toxic positivity, from above, close-up, dutch angle, masterpiece, hyperdetailed, The camera hangs above and slightly to the side of the bed, tipped a few degrees off level in a close-up that takes in the patient's head, shoulders and upper chest, with the heart monitor crowding in at the upper right of the frame. The patient lies supine on a pillow that dented under the back of the skull, the chin tipped toward the lens so the whole face is presented flat and frontal while the body recedes steeply away in foreshortening toward the hips. The face is smooth, taut, slightly too glossy — a plastic sheen with no pore, no crease, no micro-expression — and the smile is wide, symmetrical, and permanently the same: both corners lifted an identical amount, the eyes open and unstaring, aimed straight into the viewer and seeing nothing. The pale head rests against the pillow with the neck slightly extended, the crown of the head pushed back into the fabric. Around the torso the white bandage strips are wound in overlapping turns, some tight, some slack, and on every one of them cheerful smiley faces have been drawn in yellow marker — a yellow disc, two black dots, a black arc — inching along the curve of each bandage so the drawing bends with the cloth, one smiley face crossing the seam between two wraps and split by it. The dressings are not sealed. At the lower ribs a bandage turn has slid out of place and lifted; its edge stands away from the body, and the wound beneath is open. Underneath the cloth the flesh is black, wet, and sunken, its surface broken into necrotic crusts, the ribs stripped pale and bare through the rent and throwing hard thin highlights where the overhead light catches them. A burst at the flank has opened wider than the rest: a dense, glistening spill of white maggots boiling out over the bandage edge and down the sheet, some already crawling on the linen, the mass alive and writhing in place, tens of thousands of small bodies dividing the light into specks. The linen under them is soaked through in a dark ring that has not spread evenly but crept along the weave of the sheet. The heart monitor sits at the upper right, screen turned toward the camera. The trace runs flat and unbroken across the bright green screen, and above it a green smiley face glows — round, black dot eyes, black arcing mouth — its light spilling onto the metal rail of the bed and beading on the rim of the screen. Every light in the room comes from a single cold overhead panel directly above the bed; the ceiling beyond it is absolute shadow. That one source lays a hard white glare across the plastic brow, the pillow, the bandage tops and the tops of the maggots, while beneath the jaw, under the lifted bandage edge and inside the open wound the darkness is total, black rot reading as pure void against the clinical white. The wall tiles behind and above recede into that black. The palette admits three things only: the stark hospital white of linen, bandage cloth, tile and overhead glare; the sickly green of the monitor glow and its reflection; and the deep black of the necrotic flesh, the shadows and the void beyond. Yellow survives in the drawn smiley faces, and nothing else. The film grain sits over all of it, coarsening the flat white areas and softening the wet highlights. Nothing in the patient's face acknowledges the smell, the sound, the swarm, the flatline: the smile stays the exact same angle, the exact same softness, held like a stamp impression. Quiet, unbearable dread.
C9I
#Undertale
AI artwork
Avatar image of C9I
close-up, 1girl, patient, lying in hospital bed, supine, head propped on pillow, hospital gown replaced by bandages, body wrapped in white bandage strips, smiley faces drawn on bandages, yellow marker smiley faces, bandages loose and gaping, blackened necrotic flesh visible through gaps, exposed ribs, ribs showing through torn flesh, maggots, swarm of maggots, maggots crawling out of wounds, black rot, decay, perfect empty plastic smile, wide fixed smile, dead eyes, staring at viewer, head tilted toward camera, hospital room, sterile, bright, white tiles, IV stand, heart monitor, flatline on monitor, green smiley face on screen, chiaroscuro, harsh overhead light, deep black shadows, white and sickly green palette, film grain, body horror, psychological dread, toxic positivity, from above, close-up, dutch angle, masterpiece, hyperdetailed, The camera hangs above and slightly to the side of the bed, tipped a few degrees off level in a close-up that takes in the patient's head, shoulders and upper chest, with the heart monitor crowding in at the upper right of the frame. The patient lies supine on a pillow that dented under the back of the skull, the chin tipped toward the lens so the whole face is presented flat and frontal while the body recedes steeply away in foreshortening toward the hips. The face is smooth, taut, slightly too glossy — a plastic sheen with no pore, no crease, no micro-expression — and the smile is wide, symmetrical, and permanently the same: both corners lifted an identical amount, the eyes open and unstaring, aimed straight into the viewer and seeing nothing. The pale head rests against the pillow with the neck slightly extended, the crown of the head pushed back into the fabric. Around the torso the white bandage strips are wound in overlapping turns, some tight, some slack, and on every one of them cheerful smiley faces have been drawn in yellow marker — a yellow disc, two black dots, a black arc — inching along the curve of each bandage so the drawing bends with the cloth, one smiley face crossing the seam between two wraps and split by it. The dressings are not sealed. At the lower ribs a bandage turn has slid out of place and lifted; its edge stands away from the body, and the wound beneath is open. Underneath the cloth the flesh is black, wet, and sunken, its surface broken into necrotic crusts, the ribs stripped pale and bare through the rent and throwing hard thin highlights where the overhead light catches them. A burst at the flank has opened wider than the rest: a dense, glistening spill of white maggots boiling out over the bandage edge and down the sheet, some already crawling on the linen, the mass alive and writhing in place, tens of thousands of small bodies dividing the light into specks. The linen under them is soaked through in a dark ring that has not spread evenly but crept along the weave of the sheet. The heart monitor sits at the upper right, screen turned toward the camera. The trace runs flat and unbroken across the bright green screen, and above it a green smiley face glows — round, black dot eyes, black arcing mouth — its light spilling onto the metal rail of the bed and beading on the rim of the screen. Every light in the room comes from a single cold overhead panel directly above the bed; the ceiling beyond it is absolute shadow. That one source lays a hard white glare across the plastic brow, the pillow, the bandage tops and the tops of the maggots, while beneath the jaw, under the lifted bandage edge and inside the open wound the darkness is total, black rot reading as pure void against the clinical white. The wall tiles behind and above recede into that black. The palette admits three things only: the stark hospital white of linen, bandage cloth, tile and overhead glare; the sickly green of the monitor glow and its reflection; and the deep black of the necrotic flesh, the shadows and the void beyond. Yellow survives in the drawn smiley faces, and nothing else. The film grain sits over all of it, coarsening the flat white areas and softening the wet highlights. Nothing in the patient's face acknowledges the smell, the sound, the swarm, the flatline: the smile stays the exact same angle, the exact same softness, held like a stamp impression. Quiet, unbearable dread.
C9I
AI artwork
Avatar image of C9I
close-up, 1girl, patient, lying in hospital bed, supine, head propped on pillow, hospital gown replaced by bandages, body wrapped in white bandage strips, smiley faces drawn on bandages, yellow marker smiley faces, bandages loose and gaping, blackened necrotic flesh visible through gaps, exposed ribs, ribs showing through torn flesh, maggots, swarm of maggots, maggots crawling out of wounds, black rot, decay, perfect empty plastic smile, wide fixed smile, dead eyes, staring at viewer, head tilted toward camera, hospital room, sterile, bright, white tiles, IV stand, heart monitor, flatline on monitor, green smiley face on screen, chiaroscuro, harsh overhead light, deep black shadows, white and sickly green palette, film grain, body horror, psychological dread, toxic positivity, from above, close-up, dutch angle, masterpiece, hyperdetailed, The camera hangs above and slightly to the side of the bed, tipped a few degrees off level in a close-up that takes in the patient's head, shoulders and upper chest, with the heart monitor crowding in at the upper right of the frame. The patient lies supine on a pillow that dented under the back of the skull, the chin tipped toward the lens so the whole face is presented flat and frontal while the body recedes steeply away in foreshortening toward the hips. The face is smooth, taut, slightly too glossy — a plastic sheen with no pore, no crease, no micro-expression — and the smile is wide, symmetrical, and permanently the same: both corners lifted an identical amount, the eyes open and unstaring, aimed straight into the viewer and seeing nothing. The pale head rests against the pillow with the neck slightly extended, the crown of the head pushed back into the fabric. Around the torso the white bandage strips are wound in overlapping turns, some tight, some slack, and on every one of them cheerful smiley faces have been drawn in yellow marker — a yellow disc, two black dots, a black arc — inching along the curve of each bandage so the drawing bends with the cloth, one smiley face crossing the seam between two wraps and split by it. The dressings are not sealed. At the lower ribs a bandage turn has slid out of place and lifted; its edge stands away from the body, and the wound beneath is open. Underneath the cloth the flesh is black, wet, and sunken, its surface broken into necrotic crusts, the ribs stripped pale and bare through the rent and throwing hard thin highlights where the overhead light catches them. A burst at the flank has opened wider than the rest: a dense, glistening spill of white maggots boiling out over the bandage edge and down the sheet, some already crawling on the linen, the mass alive and writhing in place, tens of thousands of small bodies dividing the light into specks. The linen under them is soaked through in a dark ring that has not spread evenly but crept along the weave of the sheet. The heart monitor sits at the upper right, screen turned toward the camera. The trace runs flat and unbroken across the bright green screen, and above it a green smiley face glows — round, black dot eyes, black arcing mouth — its light spilling onto the metal rail of the bed and beading on the rim of the screen. Every light in the room comes from a single cold overhead panel directly above the bed; the ceiling beyond it is absolute shadow. That one source lays a hard white glare across the plastic brow, the pillow, the bandage tops and the tops of the maggots, while beneath the jaw, under the lifted bandage edge and inside the open wound the darkness is total, black rot reading as pure void against the clinical white. The wall tiles behind and above recede into that black. The palette admits three things only: the stark hospital white of linen, bandage cloth, tile and overhead glare; the sickly green of the monitor glow and its reflection; and the deep black of the necrotic flesh, the shadows and the void beyond. Yellow survives in the drawn smiley faces, and nothing else. The film grain sits over all of it, coarsening the flat white areas and softening the wet highlights. Nothing in the patient's face acknowledges the smell, the sound, the swarm, the flatline: the smile stays the exact same angle, the exact same softness, held like a stamp impression. Quiet, unbearable dread.
C9I
#วันพันช์แมน

สำรวจเพิ่มเติม

ผู้ใช้แนะนำ

ที่คุณอาจชอบ

AI artwork
음안
character: eren_yeager, mikasa_ackerman character: eren_yeager, mikasa_ackerman Mikasa Ackerman and Eren Yeager are captured in the middle of a desperate ODM maneuver above a ruined city street, with Mikasa much closer to the camera and Eren cutting across the background at a different angle. Mikasa twists her entire body sideways as she launches past the viewer, one arm extended forward with a blade in hand while the other reaches back toward Eren. Her black hair whips violently across the frame and her red scarf streams far behind her in a long sweeping curve. Eren is several meters behind her, angled sharply in the opposite direction as his ODM cables stretch from his gear toward a damaged rooftop, his green jacket and hair blown backward by the speed of the maneuver. The perspective is extremely dynamic: Mikasa's outstretched hand and blade are large in the foreground while her body rapidly narrows toward the center of the image. Eren appears smaller but perfectly clear behind her, creating a strong diagonal connection between them. Their ODM cables slice through the composition as thin steel lines, crossing the image at different angles and disappearing beyond the frame. One cable passes extremely close to the camera, creating a dramatic foreground line. The ruined city beneath them is not shown as a wide landscape. Broken rooftops, shattered windows, hanging masonry, and fragments of brick rush diagonally through the lower portion of the composition, giving the impression of immense speed. Several pieces of debris are suspended around Mikasa and Eren, each frozen at a different distance from the camera. Dust catches the sunlight in thin atmospheric streaks. Mikasa's Survey Corps uniform is sharply detailed and windswept, with the cropped brown jacket open over the fitted uniform, harness straps pulled taut across her body, white trousers, tall boots, and the Wings of Freedom insignia clearly visible. Eren wears his recognizable Survey Corps uniform and green jacket, with his harness, ODM equipment, and boots rendered with precise mechanical detail. A subtle graphic-design layer is integrated into the composition without overpowering the action: Wings of Freedom emblem are overlaid across the sky, Thin white directional lines follow the trajectories of Mikasa and Eren, while small restrained military-style markings and typography sit along the edges of the frame. The graphic elements reinforce the movement rather than becoming random decoration. The entire image is frozen at one extraordinary instant: Mikasa's scarf curves through the air, Eren's jacket flares behind him, cables are pulled completely taut, debris hangs in the air, dust streams diagonally through the sunlight, and both characters are caught at different points of the same sweeping maneuver. Nothing feels static. Painterly digital anime illustration, expressive textured brushwork, cinematic motion frozen in a single frame, extreme wide-angle perspective, dramatic foreshortening, strong diagonals, layered depth, detailed characters, flowing hair and fabric, taut cables, airborne debris, warm sunlight cutting through cool gray ruins, muted military colors with Mikasa's red scarf as the strongest accent, sophisticated composition, subtle graphic design, powerful silhouettes, intense expressions, visceral sense of speed, beautiful atmospheric lighting, energetic, cinematic
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