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「これが俺の宇宙船:スケルトン号だ♪」「最高にカッコ悪いですね…」 ガイコツっぽい宇宙船になるかと思ったら、そこにプラスして骨組みと透ける方のスケルトン素材を混ぜ込むとは😆 宇宙船としては、たしかにカッコ悪いかも🤣 でも女性のセリフが「カッコ悪い」じゃなくて「カッコいい」に…😅 呆れた表情をしながらも気に入ったご様子です🤣
Parametreleri Göster
- Orijinal Prompt
- 「これが俺の宇宙船:スケルトン号だ♪」「最高にカッコ悪いですね…」, masterpiece, best quality, highres, ultra detailed, vibrant colors, intricate details, sharp focus on all elements,
- Mod
- pro
- Kalite Etiketi
- İpuçları
- Boyut
- 1232 x 1232
- Örnekleme Yöntemi
- Euler
- Negatif
- nsfw, (lowres:1.2), (worst quality:1.3), (low quality:1.3), error, blurry, watermark, signature, username, cropped, trimming, out-of-frame, underexposed, text BREAK bad anatomy, (bad body, deformed), bad hands, mutated hands and fingers, missing fingers, (extra digits:1.3), (six fingers:1.3), (too many fingers:1.3), (fused fingers:1.3), extra legs, (long fingers:1.3), extra arms, long neck, side-sighted, bad ratio, rough ratio, extra faces, (sharp chin:1.2), (pointed chin:1.2), visible ribs BREAK transparent clothing, (multicolored hair, streaked hair, two-tone hair:1.2), flat color, smooth skin, plastic skin, 2d skin paint, 2d shading, dull skin color, mature, tall, long legs, high head-to-body ratio, hyperrealistic face, realistic eyes, 3d, rendering, (下着:1.2)
İstem Yardımcısı
Kullanılan Model ve LoRA
Benzer Görseller
Daha fazla göster幻夢
幻夢
幻夢
幻夢
character: kshatriya, marida_cruz, artist: sa-dui, doppel_(bonnypir), copyright: gundam
1girl, solo, facing viewer, standing, smile, large breasts, thick thighs, wide hips, orange hair, long hair, braid, ponytail, purple eyes, pilot suit, bodysuit, unzipping, hands on own clothes, open clothes, from below, cowboy shot, looking at viewer, mecha, giant robot, two mecha, fusion, wings, funnel racks, hangar, from below, wide shot background, dutch angle
A low-angle cowboy shot from slightly below and a touch to the right of the subject: a single young woman with long orange hair gathered into a high ponytail and a single thick braid falling forward over her right shoulder, violet eyes, standing centered in the frame with her weight settled on her right leg so her left hip and thigh carry the counter-sway. She faces the viewer squarely, chin lifted a little in defiance of the low camera, and she smiles — an easy, lopsided closed-mouth smile that pulls higher on her left cheek, her eyes narrowed and bright with mischief, a faint blush high on each cheek, her gaze set directly on the viewer and answering no one else in the frame. She wears a snug military-issue pilot suit: a dark teal-and-charcoal bodysuit with segmented hard panels at the shoulders and knees, a broad belt at the waist, and a narrow amber piping line running down each outer thigh. Both hands are at the chest of the suit, gripping the flat pull-tab of the front zipper: her right hand pulls the tab steadily down toward her sternum while her left hand spreads the parted collar fabric aside, the split seam opening from collarbone to the top of her ribs. Each gloved fingertip is enumerated against the tab and the fabric edges — thumb over the metal slider, index finger hooked on the pull ring, remaining fingers curled into the parted seam. The unzipped opening reveals only a narrow strip of inner undersuit and bare skin at the base of the throat; the suit remains closed below the sternum. Her hips shift wide; both boots are planted flat, the thighs thick and full, the suit straining in a taut crease across the front of each hip. She does not look down at her hands — her eyes stay on the viewer while she works the tab, and the low angle makes her reach up and toward the camera.
The environment is a cavernous mobile-suit hangar: behind her, rising to fill the upper two-thirds of the frame, two colossal mecha fused into a single impossible silhouette. On the left a heavy rounded unit with a domed head and a wide skirt of skirt-like armor pods; on the right a leaner machine whose long fin-like funnel racks splay out like a pair of angled wings. Their hulls merge along the centerline: the domed left head, the leaner right torso, a shared reactor housing at the waist, four curved funnel plates arranged like a crown, and one enormous articulated arm reaching out on each side. The machines are matte grey-green and deep indigo with pale sand-colored accents, worn, scratched, and half-disassembled — a service gantry crosses in front of the left machine's knee, cabling hangs down in loops, and a small pool of hydraulic fluid glistens beneath the right foot, its surface the only true mirror in the frame. Ground-level light comes from a single bank of hanging work lamps above and behind the mecha; the lamps are the only light source, so their pools of warm light fall on the top-facing planes of the machines and on the woman's hair and the shoulders of the suit, while the undersides of the mecha, the seams of the hangar floor, and the far back wall fall into deep, near-black shadow. The lamp light casts her shadow down and slightly left across the hangar floor, long because of the low camera. Palette held to charcoal, deep indigo, muted grey-green, warm amber lamp light, with the orange of her hair as the one warm accent repeated in the amber piping and the glow of a distant status panel. Do not use: no other people, no helmet, no jacket, no additional accessories on her hair or hands beyond the gloves. The picture is caught mid-motion — the tab just past the second tooth of the zipper, the collar still settling apart — glossy plastic-and-cel rendering with hard shadow edges, clean linework and a cool-to-warm gradient, easily confident.
DarkShadow_45
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