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    In a moonlit forest clearing, two young women in their early twenties stand in striking contrast. The first girl, with silver-white hair and a ghostly pale complexion, wears a white blouse stained with dark red splatters. Her blouse, which stretches over her prominent bust, accentuates her figure. A simple black five-pointed star on her chest is highlighted by her faintly glowing crimson eyes, adding an eerie calm to her presence. The second girl contrasts sharply with jet-black hair and deep tan skin. Her dark blouse, also blood-stained, fits snugly around her voluptuous form. Her nearly invisible black star and intense crimson eyes shine with a piercing alertness. The girls hold a single worn cardboard sign that reads ‘We Come in Peace,’ scrawled in crude black marker. The sign stands out starkly against the dark, eerie forest floor, illuminated by the moonlight, which casts long, shifting shadows and enhances the haunting quality of the scene.
    A grainy photo in the style of 1970s movies, a panoramic profile shot from the side of two figures facing each other. they are staring at each other from opposite sides of a long flat footbridge over a placid forest stream that runs toward the viewer, splitting the frame. In the mid ground of the image: On the left of the bridge the first figure is the Black Knight from Monty Python. He stands tall in the middle of a narrow forest trail, a red medieval dragon is painted on his black chestplate, (helmet is a simple black cylinder and is flat on top). he is resting his hands on the pomel of a two-handed long-sword planted in the ground in front of him. He is stoic and unmoving. A speech bubble above the knight contains the text " NONE SHALL PASS ". . On the right side of the bridge: the figure facing the knight is an old wizard with long gray hair and a long gray beard wearing battered gray robes and a weathered gray wizard hat. The wizard is holding a twisted and gnarled wooden staff that is as tall as his hat. The staff is planted on the ground in front of him and the top of the staff has a faint glow. Above the wizard's head is a speech bubble containing the text " YOU SHALL NOT PASS ".
    A hyper-realistic, 3-dimensional full-figure photograph of a woman wearing a highrise mask with an exaggerated, wide, ecstatic smile and small, devilish horns curving from the sides. The mask, devoid of a nose or eyes, radiates unsettling joy, contrasting with the tattooed stars decorating her face. She stands confidently, striking a dynamic pose while sweetly kissing another woman beside her, who also wears a highrise mask with a similar ecstatic expression. The second figure’s mask mirrors the first, enhancing the surreal quality of the scene. Shot with Panavision aspherical lenses at 40mm, the scene is illuminated by cinematic studio lights, emphasizing the contours of their bodies. A soft red, low diffuse light glows from behind, enhancing the three-dimensional effect, while light greenish fog and white smoke swirl around them in layered wisps against a pitch-black background. Above the figures, bold glowing neon letters proclaim ‘I BEG YOU - GIVE US BUZZ,’ floating in space and injecting a rebellious energy into the surreal, immersive atmosphere.”
    (Soft Lighting Photography by Mimoza Veliu and Mario Giacomelli:1.2), photorealistic, chiaroscuro, idols to their worlds, manifesting anger, conjurers of evil times, we can sense the danger, they claim every soul, show you who's the leader, bow before iconoclasts, creators of disaster, they play with stars and sulphur just for heaven's sake, to them, we're a fantasy to see who's first to break, when good and evil go to war, we leave it up to fate, since time began they fought for man, incurring love and hate, the serpent and the king, the serpent and the king, the serpent and the king, the serpent and the king, famous movie poster art by (luis royo:1.4) and (frank frazetta:1.3) and (bob eggleton:1.3) and (alberto vargas:1.3), (dark fantasy, grim dark, digital image:1.2), bold lines, dramatic, award-winning, trending on artstation, absurdres, ultra detailed
    In a moonlit forest clearing, two young women in their early twenties stand in stark contrast. The first, with silver-white hair and a ghostly pale complexion, wears a white blouse stained with dark red splatters. A black five-pointed star on her chest is illuminated by her faintly glowing crimson eyes, which add an eerie calm. The second girl contrasts sharply with jet-black hair and deep tan skin. Her dark blouse is also blood-stained but blends with the shadows. Her black star is almost invisible, and her intense crimson eyes shine with a piercing alertness. Surrounding them are twelve wild African animals, intensifying the surreal atmosphere. A powerful lion, its mane catching the moonlight, stares with glowing red eyes. Nearby, a pair of elephants stand silently, their large forms blending into the night. A sleek cheetah crouches low, its eyes reflecting an unsettling red. A venomous bush viper, iridescent in the moonlight, coils around a branch, while a pair of hyenas with sinister red eyes roam the clearing. Both girls hold worn cardboard signs reading ‘We Come in Peace,’ scrawled in crude black marker. The signs contrast starkly with the eerie scene. Moonlight casts long, shifting shadows on the forest floor, enhancing the haunting, surreal quality of the setting
    A first-person perspective screenshot from Call of Duty: Warzone, with the player’s hands holding a modern assault rifle in the foreground. The HUD elements are visible, including a mini-map in the corner, ammo count, and health bar. In the center of the screen, about 50 meters away, Naruto Uzumaki is clearly visible, wielding a sniper rifle. Naruto is wearing his iconic orange and black jumpsuit, with his blonde spiky hair and Konoha headband clearly visible. He’s in a combat stance, partially behind cover of a destroyed vehicle. The environment is a war-torn urban landscape typical of Warzone, with damaged buildings, debris, and smoke in the background. Other players can be seen in the distance, engaged in firefights. The lighting suggests it’s late afternoon, with long shadows and a warm glow. The image has the characteristic high-resolution, realistic graphics of a modern FPS game.
    "In 2018, capture a first-person panorama shot in Florida, showcasing a purple-lit street with a couple of skeletons in the grass, a hidden treasure hoard, and an anthropomorphic angel watching a demon, all in highly detailed, lifelike quality, with a focus on the golden ratio. Include costumes, dinosaur bones, and a zootopia/sci-fi twist, as if featured on ArtStation or DeviantArt."
    A liminal space frozen in the dead of night—a vast, empty supermarket parking lot, dimly illuminated by flickering neon lights. The air is thick with silence, broken only by the distant hum of a buzzing lamp. Rows of abandoned shopping carts stand still, as if waiting for someone who will never return. The asphalt is cracked, damp from a recent rain, reflecting the artificial glow in eerie distortions. At first, it seems like you’re alone. But then… you feel it. In the farthest corner, where the light fails to reach, a silhouette emerges from the shadows. It stands unnaturally still, its form barely distinguishable—except for its eyes. Piercing, glowing in the darkness, locked onto yours. And then comes the smile—a wide, impossible grin stretching beyond human limits, gleaming with something inhuman. You look away for a second. When you look back… it’s closer. No matter where you move, no matter how much distance you put between yourself and the figure, the eyes remain. The grin never fades. It is watching. And it will never stop.
    photograph of two women dancing sensuously together in a night club. One woman looking away from the camera is wearing a red sleeveless dress with a deep open back showing that is not wearing a bra. Her left arm is touching the jeans of the other woman. The second woman is turned towards the camera and she is wearing tight fitting low rise jeans and a crop top that leaves her well toned belly exposed. Her left arm is touching the upper arm of the first woman as they dance together. The background is soft and slightly out of focus showing other dancers. Above the dancers the light of the spots is visible in the smoke. The scene is romantic and fun and the lighting is colorful.
    "In 2018, capture a first-person panorama shot in Florida, showcasing a purple-lit street with a couple of skeletons in the grass, a hidden treasure hoard, and an anthropomorphic angel watching a demon, all in highly detailed, lifelike quality, with a focus on the golden ratio. Include costumes, dinosaur bones, and a zootopia/sci-fi twist, as if featured on ArtStation or DeviantArt."
    A liminal space frozen in the dead of night—a vast, empty supermarket parking lot, dimly illuminated by flickering neon lights. The air is thick with silence, broken only by the distant hum of a buzzing lamp. Rows of abandoned shopping carts stand still, as if waiting for someone who will never return. The asphalt is cracked, damp from a recent rain, reflecting the artificial glow in eerie distortions. At first, it seems like you’re alone. But then… you feel it. In the farthest corner, where the light fails to reach, a silhouette emerges from the shadows. It stands unnaturally still, its form barely distinguishable—except for its eyes. Piercing, glowing in the darkness, locked onto yours. And then comes the smile—a wide, impossible grin stretching beyond human limits, gleaming with something inhuman. You look away for a second. When you look back… it’s closer. No matter where you move, no matter how much distance you put between yourself and the figure, the eyes remain. The grin never fades. It is watching. And it will never stop.
    A liminal space inside an abandoned train car, dimly illuminated by flickering overhead lights. The seats, covered in old, worn-out fabric, are eerily empty. The air is thick with the stale scent of dust, metal, and something faintly rotting, though you see nothing. The windows reveal nothing but an endless void—no landscape, no stations, just blackness stretching forever. The train hums along the tracks, yet there is no conductor, no passengers—just you. At first, it seems like you’re alone. But then, in the reflection of the window, something shifts. A silhouette, barely noticeable in the dim light, hunched in the farthest corner of the train car. Its form is wrong, too thin, too elongated, as if its body was never meant to exist here. It is motionless. Watching. Waiting. You tell yourself it’s a trick of the light, but deep down, you know the truth. Now that you’ve seen it, now that you’ve acknowledged its presence, it won’t let you go. The lights flicker again. It’s closer.
    A grainy realistic photo in the style of 1970s movies, a profile shot from the side of two figures facing each other on a narrow woodland trail. On the left of the photo: the first figure is The Black Knight from Monty Python. He stands in the middle of a narrow forest trail, a red medieval dragon is painted on his black chestplate, the visor of his cylindrical black helmet is down. he is resting his hands on the pomel of a two-handed long-sword planted in the ground. He is stoic and unmoving. A speech bubble above the knight reads "None Shall Pass". Another speech bubble below the knight reads "NONE SHALL PASS". On the right side of the photo: the figure facing the knight is an old wizard with long gray hair and a long gray beard wearing battered gray robes and a weathered gray wizard hat. The wizard holding a twisted and gnarled wooden staff as tall as he is planted in the ground in front of him. Above the wizard's head is a speech bubble that reads "You shall not pass" Below the wizard is another speech bubble that reads "YOU SHALL NOT PASS!"
    A liminal space frozen in the dead of night—a vast, empty supermarket parking lot, dimly illuminated by flickering neon lights. The air is thick with silence, broken only by the distant hum of a buzzing lamp. Rows of abandoned shopping carts stand still, as if waiting for someone who will never return. The asphalt is cracked, damp from a recent rain, reflecting the artificial glow in eerie distortions. At first, it seems like you’re alone. But then… you feel it. In the farthest corner, where the light fails to reach, a silhouette emerges from the shadows. It stands unnaturally still, its form barely distinguishable—except for its eyes. Piercing, glowing in the darkness, locked onto yours. And then comes the smile—a wide, impossible grin stretching beyond human limits, gleaming with something inhuman. You look away for a second. When you look back… it’s closer. No matter where you move, no matter how much distance you put between yourself and the figure, the eyes remain. The grin never fades. It is watching. And it will never stop.
    A deserted cemetery at night, shrouded in dense fog. The crooked tombstones are half-buried in the overgrown grass, and the cold wind carries a faint whisper, though no one is there. A dim streetlamp flickers in the distance, its light failing to reach the deeper parts of the graveyard. In the blackest corner between the graves, something watches. At first, it's just a void—a patch of darkness deeper than the night itself. But then, two pale, sunken eyes emerge from the shadows, lifeless yet locked onto yours. Below them, the faint outline of a mouth appears—not a grin, not human, but stretched unnaturally, as if the skin barely clings to something skeletal beneath. It does not move. It does not breathe. Yet you feel it. Staring. Waiting. And in the silence, you realize—it sees you, even when you can’t see it.
    A liminal space inside an abandoned train car, dimly illuminated by flickering overhead lights. The seats, covered in old, worn-out fabric, are eerily empty. The air is thick with the stale scent of dust, metal, and something faintly rotting, though you see nothing. The windows reveal nothing but an endless void—no landscape, no stations, just blackness stretching forever. The train hums along the tracks, yet there is no conductor, no passengers—just you. At first, it seems like you’re alone. But then, in the reflection of the window, something shifts. A silhouette, barely noticeable in the dim light, hunched in the farthest corner of the train car. Its form is wrong, too thin, too elongated, as if its body was never meant to exist here. It is motionless. Watching. Waiting. You tell yourself it’s a trick of the light, but deep down, you know the truth. Now that you’ve seen it, now that you’ve acknowledged its presence, it won’t let you go. The lights flicker again. It’s closer.
    Make a photorealistic steampunk style image of (two women) wearing (detailed leather steampunk halter tops) and stained patchwork (pants), their pants are full of holes and they wear steampunk goggles on their heads, they are working to solve an urgent problem with some machines in the warehouse, they have very sweaty skin, smeared with soot and grime. In the foreground: (the first woman is in the foreground on one side of the image), she has very (faded rainbow colored hair) pulled back into a messy ponytail, she is turned partly away from the viewer sitting at a desk just inside the left frame of the image, She is squinting intently at a computer directly in front of her while typing slowly with her index fingers. In the midground: The second woman has very (faded rainbow colored hair) and she is sitting on a stool near the right frame of the of the image, the second woman is glowering angrily while holding a thick short cigar in her mouth with her teeth, (a thin tendril of smoke rises from the cigar), her body is facing the viewer, She has one hand in her knee and the other is holding a wrench. In the background: The background is full of complex steampunk machines all flashing red warning lights, and there are lots of people scurrying around carrying boxes , steam in background , detailed metal and leather textures, cinematic, ultra-high detail, ng_deepnegative_v1_75t, realistic, midjourneyv6.1
    A Taiwanese woman with long straight black hair, wearing a red knitted wool long-sleeved T-shirt with a deep V-neck, a black skirt, black stockings, and black boots, was standing next to the Christmas tree in the second-floor corridor of a white-based five-star hotel, looking down at the first-floor lobby. FHD, Rich in details, masterpiece.
    first world war black and white photograph, a field surgeon holding a bone saw, smoking a cigarette, stained white coat, bloody, in the middle of a rush, operation tents, with caption "I’m sorry, we’re a tad busy"
    ArsMovieStill, 20s Silent Movie Still, black and white, The image is black and white photograph of two men at a bus stop at night. There are street lights in the back ground, the light from the windows of the skyscrapers are blurry, but visible. 2 men, the first man wears a field jacket, has curly hair, glasses, the second man wears a black leather jacket, has short cropped hair, younger looking. low angle shot, grainy black an white photograph, film grain, monochrome, greyscale.
    A hyper-realistic, 3-dimensional full-figure photograph of a woman wearing a highrise mask with an exaggerated, wide, ecstatic smile and small, devilish horns curving from the sides. The mask, devoid of a nose or eyes, radiates unsettling joy, contrasting with the tattooed stars decorating her face. She stands confidently, striking a dynamic pose while sweetly kissing another woman beside her, who also wears a highrise mask with a similar ecstatic expression. The second figure’s mask mirrors the first, enhancing the surreal quality of the scene. Shot with Panavision aspherical lenses at 40mm, the scene is illuminated by cinematic studio lights, emphasizing the contours of their bodies. A soft red, low diffuse light glows from behind, enhancing the three-dimensional effect, while light greenish fog and white smoke swirl around them in layered wisps against a pitch-black background. Above the figures, bold glowing neon letters follow a round circular path, proclaiming ‘MAKE LOVE DON’T MAKE WAR,’ adding a dynamic and rebellious energy to the surreal, immersive atmosphere.”
    In my youth I took a trip My first initial acid trip And it hit me like a ton of bricks My eyes, they quickly dialated I began hallucinating At the tender age of eighteen As I watched the TV My dog speaking to me Telling me I'm going insane I recall a scene it's halloween And I am dressed as a drag queen Peaking to the point of no return I met a man I shook his hand He spoke I could not understand He was covered with flies and afterbirth The mandrills were singing The bees they were stinging As pink flamingos laid dead on the ground
    A quaint, snow-covered village nestled in the mountains at twilight. Smoke curls up from chimneys, and warm lights glow in the windows of cozy cottages with steep, snow-covered roofs. Icicles hang from the eaves, and snowflakes drift gently through the air. A few villagers wrapped in scarves and coats walk along the cobblestone streets, and festive decorations line the lamp posts. The sky is a mix of deep blue and purple, with the first stars beginning to twinkle. The entire scene radiates warmth and tranquility despite the chilly setting.
    Early morning in a small, cozy room, filled with soft, golden light. In the center of the frame sits a girl in a delicate sweater and cozy jeans. Her hair is slightly disheveled, and a quiet, dreamy smile plays on her face. The girl has settled comfortably in a large soft chair by the window, through which the first rays of the sun penetrate, illuminating the room with warm light. On the table in front of her is a cup of aromatic coffee with foam and a small vase with wild flowers. Nearby lies a favorite book with yellowed pages and a notebook with cute drawings. In the corner of the room is a fluffy cat, curled up in a ball, which complements the feeling of home comfort. On the wall hangs a delicate panel with an abstract pattern, and on the shelf are carefully arranged small decorative figures, creating an atmosphere of fabulous privacy. Everything in this scene exudes calm, warmth and tender romance, as if the world has slowed down, giving moments of sincere happiness and comfort.
    the first woman
    In the ancient ruins of the Oracle of Delphi, a curious historian named Elara stumbles upon a hidden chamber. Inside, she discovers a beautifully ornate mirror, which reflects not just her image but whispers secrets of the past. As she gazes deeper, the mirror reveals visions of the tragic downfall of previous seekers, drawing her into a perilous web of fate. Driven by curiosity, Elara uses the mirror’s insight to uncover lost knowledge, altering the course of history. However, each revelation comes at a cost; the memories and lives of those around her begin to fade. Realizing that she is rewriting not just her fate but the very fabric of time, she confronts a haunting truth: to save her friends and restore the timeline, she must return to the moment she first peered into the mirror. In a suspenseful twist, Elara sacrifices her own memories, becoming a heartbeat in the whispers of history, ensuring that the wisdom of the past will never be lost, but at the cost of her identity. As the mirror dims, she walks away, a stranger in the world she saved, forever linked to the echoes of Delphi.
    A large light round dial of a lacquered wood dial stands on a desk against the wall. Its thin arrows are made in the form of stylized white space rockets with red nozzles. The numbers on the dial are bright red. the atmosphere of the space theme. Mock-ups of planets and a mock-up of the first Soviet artificial satellite of the earth hang from strings. There are paper drawings of rockets on the table in front of the clock.
    Astro-Brides, The first wedding in space, two women get married in spacesuits, a non-religious space commander officiates the wedding the two women have wedding veils on the outside of their spacesuits,
    Astro-Brides, The first wedding in space, two women get married in spacesuits, a non-religious space commander officiates the wedding, both of the women have wedding veils on the outside of their spacesuits, in space, outside the spacecraft,
    In the ancient ruins of the Oracle of Delphi, a curious historian named Elara stumbles upon a hidden chamber. Inside, she discovers a beautifully ornate mirror, which reflects not just her image but whispers secrets of the past. As she gazes deeper, the mirror reveals visions of the tragic downfall of previous seekers, drawing her into a perilous web of fate. Driven by curiosity, Elara uses the mirror’s insight to uncover lost knowledge, altering the course of history. However, each revelation comes at a cost; the memories and lives of those around her begin to fade. Realizing that she is rewriting not just her fate but the very fabric of time, she confronts a haunting truth: to save her friends and restore the timeline, she must return to the moment she first peered into the mirror. In a suspenseful twist, Elara sacrifices her own memories, becoming a heartbeat in the whispers of history, ensuring that the wisdom of the past will never be lost, but at the cost of her identity. As the mirror dims, she walks away, a stranger in the world she saved, forever linked to the echoes of Delphi.
    A Taiwanese woman with long straight black hair, wearing a red knitted wool long-sleeved T-shirt with a deep V-neck, a black skirt, black stockings, and black boots, was standing next to the Christmas tree in the second-floor corridor of a white-based five-star hotel, looking down at the first-floor lobby. FHD, Rich in details, masterpiece.
    A wide image showing a fantasy battlefield triage in a dense jungle with high trees and thick undergrowth. The whole image is framed with an ornamented frame containing scalpels.And a plague reading: "The last Light - First Triage" The scene is chaotic yet controlled, filled with wounded adventures and two main characters walking in front. .Geneva Scala: Olive-colored skin, brown hair, in bloodied, loose clothing, looks tired but focused, holding white armbands for triage.Okasha: Pale white skin, left side injured and sagging, but determined, walking with Geneva.Geneva and Okasha walk down a line of wounded mercenaries, performing triage. A large, makeshift medical tent is on the left, while on the right, wounded mercenaries wait for treatment, showing various injuries. The lighting is soft, with dappled shadows from the jungle canopy, with a slightly golden hue indicating late afternoon. The viewpoint is slightly elevated, capturing the urgency and care in the scene. The whole image is framed with an ornamented frame containing scalpels.And a plague reading: "The last Light - First Triage"
    With a title that read "Stay Strong España!" a poster praising the courage of the survivors of a massive flood. On a gloomy winter day in Southern Spain. A group of men in muddy clothes sweep mud and water in the streets of Valencia after a massive flood. The street is full of water, mud, debris, and damaged cars. The cars are covered in mud, have broken windows and headlights, as in a cataclysm movie. The first floor of buildings and shops are damaged, water is now only foot deep but it rose up to 3 meters breaking windows and doors. The walls are still soaked and stained. The city looks desolate and sad. Stay Strong España
    In a hyper-realistic image, an adorable little owl perches on a branch, wearing a miniature doctor's uniform that covers its body completely. The uniform is rendered in exquisite detail, with intricate stitching and creases that suggest a crisp, freshly laundered fabric. The owl's face is the only visible part of its body, with big, round eyes that are bright and curious. A miniature stethoscope is wrapped around the owl's neck, with the earpieces perfectly positioned to listen to a heartbeat. On the owl's chest, a tiny name tag reads "Dr. Hoo" in bold, black letters. Beside the owl, a small table is cluttered with various medical supplies, including a miniature thermometer, a blood pressure cuff, and a tiny first-aid kit. The surrounding environment is a cozy, natural setting, with soft, muted colors and a sense of peaceful tranquility. The branch the owl is perched on is rendered in precise detail, with intricate textures and patterns that suggest a living, breathing tree. Highest-Quality, 4k, intricate details, visually stunning, Masterpiece
    Hyper-realistic photograph of a square man, square cow and square sheep in front of a dirt house made of square dirt blocks in front of a forested mountain range. All have square heads and square bodies, the sheep and the cow graze. The man stands in the middle holding a wooden pick axe. The house has walls and roof made of dirt with a wooden plank door and a smoking chimney. Text at the bottom reads "First Day"
    Wide-angle view, a distant shot of a large 16th-century manor in France, located in Ariège, standing in front of the Pyrenees, which lie far behind it. The old manor overlooks a vast, heavily wooded valley, with a large, dark, snow-covered forest. The house is haunted, featuring a grand carriage entrance and two small corner towers. The manor overlooks an expansive, dark, and snow-covered forest that stretches all the way to the foothills of much farther mountains. In front of the first-floor windows, there is a charming little balcony. The building appears to have been abandoned for several years, with some ivy growing along the wall and a few roof tiles missing. The manor seems to have been abandoned for a long time. The atmosphere is icy—a cold wind blows fiercely, the sky is dark, and even a few snowflakes are falling along the path. Sheets of fog hover near the ground. The forest is dense, and everywhere, it appears to be inhabited by spirits. A character is seen in three-quarter view from afar on horseback, positioned in front of the manor’s carriage entrance. He is a 19th-century bourgeois, dressed like Sherlock Holmes. His clothes are beautiful and opulent, a bit retro, and very gothic—almost malevolent. He wears a tricorne and holds a saber in his hand. The style of the image should be a blend of Miyazaki’s animations with beautiful, poetic colors and a poetic gothic atmosphere, predominantly in shades of orange, gold, gray, and blue.
    In a moonlit forest clearing, two young women in their early twenties stand in stark contrast. The first girl, with silver-white hair and a ghostly pale complexion, wears a white blouse stained with dark red splatters. A simple black five-pointed star on her chest is accentuated by her faintly glowing crimson eyes, adding an eerie calm to her presence. The second girl contrasts sharply with jet-black hair and deep tan skin. Her dark blouse is also blood-stained but blends into the shadows. Her black star is nearly invisible, and her intense crimson eyes shine with a piercing alertness. Surrounding them are twelve wild animals, enhancing the surreal atmosphere. Four sleek Dobermans, their fur glistening in the moonlight, form a protective circle, their eyes glowing with a sinister red light. A large, iridescent African bush viper coils around a low branch, adding to the surreal scene. The girls hold worn cardboard signs reading ‘We Come in Peace,’ scrawled in crude black marker. The signs stand out starkly against the dark, eerie forest floor, illuminated by the moonlight, which casts long, shifting shadows, enhancing the haunting quality of the setting
    A movie poster for a deep space race. Three small spaceships pursuing flying towards the camera through an asteroid field in space First spaceship, dart-shaped vessel, white and blue racing stripes second spaceship, small spherical cockpit, surrounded by interlocked rings many times its size Third spaceship, a vertical wing, hull softly curved, red and cream organic chitin. Background dark space, asteroids and a looming gas giant. Bright yellow bold movie title text: "157th Saturn Grand Prix";
    In a moonlit forest clearing, two young women in their early twenties stand in stark contrast. The first, with silver-white hair and a ghostly pale complexion, wears a white blouse stained with dark red splatters. A black five-pointed star on her chest is illuminated by her faintly glowing crimson eyes, which add an eerie calm. The second girl contrasts sharply with jet-black hair and deep tan skin. Her dark blouse is also blood-stained but blends with the shadows. Her black star is almost invisible, and her intense crimson eyes shine with a piercing alertness. Surrounding them are twelve wild African animals, intensifying the surreal atmosphere. A powerful lion, its mane catching the moonlight, stares with glowing red eyes. Nearby, a pair of elephants stand silently, their large forms blending into the night. A sleek cheetah crouches low, its eyes reflecting an unsettling red. A venomous bush viper, iridescent in the moonlight, coils around a branch, while a pair of hyenas with sinister red eyes roam the clearing. Both girls hold worn cardboard signs reading ‘We Come in Peace,’ scrawled in crude black marker. The signs contrast starkly with the eerie scene. Moonlight casts long, shifting shadows on the forest floor, enhancing the haunting, surreal quality of the setting
    Mark5 cat riding mushroom clouds over lake filed with bright galaxies and stars. As I continue to ramble on because this is boring me and its the only thing that enterains the voices trying to make me insane , I gave you want you , what the he'll else do you need , they say they. Need alkaline trio, filled with biscuits of cosmic computer chips as it continues to press the first song I ever heard the dock rock west of eastmill farm full of yeast
    The First Woman
    photograph of two women dancing sensuously together in a night club. One woman looking away from the camera is wearing a red sleeveless dress with a deep open back showing that is not wearing a bra. Her left arm is touching the jeans of the other woman. The second woman is turned towards the camera and she is wearing tight fitting low rise jeans and a crop top that leaves her well toned belly exposed. Her left arm is touching the upper arm of the first woman as they dance together. The background is soft and slightly out of focus showing other dancers. Above the dancers the light of the spots is visible in the smoke. The scene is romantic and fun and the lighting is colorful.
    ArsMovieStill, movie still from a 1930s technicolor movie, an image featuring two women and two men standing in the foreground, their backs are turned to us. The first woman is a dressed in a short khaki dress and holds a crossbow, with a scabbard on her belt. The second woman is dressed in a black cloak and wears a witch hat, with an ornate sword in her hand. The first man wears a padded jumpsuit and holds a staff with a ruby. The second man is dressed in white robes and has 6 swords strapped to his back. He is bald. In the background is a tall stone tower in the middle of a snowfield. There are a few trees scattered around in the distance and the sky is clear and blue. The tower and the trees are miniatures, the sky and the distant background are painted backdrops.
    Masterpiece digital art. Award winning. 2women in an elevated alcove in a ancient library. The first enters from a doorway as the second is surprised sitting at a desk. Both have gloved hands. (the first woman:((She was tall and slender, with clear tan skin, lush figure, narrow black eyebrows, and thick, deep onyx hair. She wore part of it up, wrapped by a (small, scroll-shaped golden ornament) with (two long hairpins). (Hair tumbles down behind her neck in small, tight curls to her shoulders). Jasnah has (squarish face) and (discriminating pale violet eyes) and is Reserved, statuesque, dressed immaculately. She is incredibly loyal to her family. Jasnah is a true scholar; hard heartless expression):1), (the second woman is shocked and surprised:((Shallan has pale skin lightly dusted with freckles. Her freckles mostly faded as she reached young womanhood, but some are still visible, dusting her cheeks and nose. She has light blue eyes and auburn-red hair – a manifestation of her impure family line – which she wears long and straight down her back, with only its natural curl to give it body. She also has a ready smile and blushes easily and often. She's declared herself to be five foot six inches tall.):1).)
    (Soft Lighting Photography by Mimoza Veliu and Mario Giacomelli:1.2), photorealistic, chiaroscuro, idols to their worlds, manifesting anger, conjurers of evil times, we can sense the danger, they claim every soul, show you who's the leader, bow before iconoclasts, creators of disaster, they play with stars and sulphur just for heaven's sake, to them, we're a fantasy to see who's first to break, when good and evil go to war, we leave it up to fate, since time began they fought for man, incurring love and hate, the serpent and the king, the serpent and the king, the serpent and the king, the serpent and the king, famous movie poster art by (luis royo:1.4) and (frank frazetta:1.3) and (bob eggleton:1.3) and (alberto vargas:1.3), (dark fantasy, grim dark, digital image:1.2), bold lines, dramatic, award-winning, trending on artstation, absurdres, ultra detailed
    Two medieval castles at dawn, positioned on either side of a river winding through a vast countryside. On the left, a gray stone castle stands atop a green hill, surrounded by a village with thatched-roof houses. Fields of golden wheat and vineyards stretch out around it. On the other side of the river, a reddish-walled castle rises on a rocky bluff, its towers catching the first light of dawn. Nearby fields are alive with farmers tending to crops and sheep grazing lazily. The river flows calmly in the middle, reflecting both castles and the pink-orange sky of dawn, while willow trees bend their branches towards the water. A wooden bridge crosses the river, symbolizing peace and trade between the two realms. The landscape is a mosaic of cultivated fields, dirt paths, small woodlands, and stone chapels. The atmosphere is serene, with a gentle morning mist wrapping the scene and the first sunlight illuminating the castle walls and fields, giving everything an enchanted and timeless appearance
    A quaint, snow-covered village nestled in the mountains at twilight. Smoke curls up from chimneys, and warm lights glow in the windows of cozy cottages with steep, snow-covered roofs. Icicles hang from the eaves, and snowflakes drift gently through the air. A few villagers wrapped in scarves and coats walk along the cobblestone streets, and festive decorations line the lamp posts. The sky is a mix of deep blue and purple, with the first stars beginning to twinkle. The entire scene radiates warmth and tranquility despite the chilly setting.
    A raw, candid, ultra realistic photographic still of an overweight 41 year old English woman. She has long auburn hair done in pinned curls style. She is wearing makeup and is standing happily under an expensive looking chandelier, by a grand staircase on a first class cruise ship. She is wearing a stylish dark coloured chiffon gown that fits her perfectly and a pair of heels.
    (Ultra-realistic, 32k, Masterpiece, High Quality, Detailed Realistic Background, Official Art, Realistic Lighting, filmfotos, film grain, reversal film photography).The Kingdom's first major operation erupts in a chaotic display of violence and raw power. In the dim light of dawn, a fleet of ironclad warships looms off the coast, their cannons thundering as explosions rock the shorelines. Artillery shells scream through the sky, crashing into the enemy fortifications with devastating force. High above, the scene unfolds in a dramatic, high-angle shot, capturing the full scale of the assault. Steampunk machinery grinds relentlessly, soldiers in their rugged, industrial uniforms disembark from armored transports, rifles in hand, advancing under a hail of bullets. The atmosphere is suffocating—smoke, fire, and chaos blanket the battlefield, as mechanical devices and mystic energy interweave. Screams and the deafening roar of engines create a cacophony of war, where the Loen forces surge forward with grim determination. Amidst the chaos, towering automatons lead the charge, their metal limbs gleaming in the erratic bursts of firelight. Epic and dramatic cinematic lighting accentuates the harsh contrasts between light and shadow, as soldiers and machines alike fight for dominance in a war-torn landscape. The backdrop reveals shattered Feysac fortifications, cliffs of stone collapsing under the relentless bombardment, as the operation unfolds in a sweeping, violent panorama.
    Astro-Brides, The first wedding in space, two women get married in spacesuits, a non-religious space commander officiates the wedding the two women have wedding veils on the outside of their spacesuits,
    In a moonlit forest clearing, two young women in their early twenties stand in striking contrast. The first girl, with silver-white hair and a ghostly pale complexion, wears a white blouse stained with dark red splatters. Her blouse, which stretches over her prominent bust, accentuates her figure. A simple black five-pointed star on her chest is highlighted by her faintly glowing crimson eyes, adding an eerie calm to her presence. The second girl contrasts sharply with jet-black hair and deep tan skin. Her dark blouse, also blood-stained, fits snugly around her voluptuous form. Her nearly invisible black star and intense crimson eyes shine with a piercing alertness. The girls hold a single worn cardboard sign that reads ‘We Come in Peace,’ scrawled in crude black marker. The sign stands out starkly against the dark, eerie forest floor, illuminated by the moonlight, which casts long, shifting shadows and enhances the haunting quality of the scene.
    In a hyper-realistic image, an adorable little owl perches on a branch, wearing a miniature doctor's uniform that covers its body completely. The uniform is rendered in exquisite detail, with intricate stitching and creases that suggest a crisp, freshly laundered fabric. The owl's face is the only visible part of its body, with big, round eyes that are bright and curious. A miniature stethoscope is wrapped around the owl's neck, with the earpieces perfectly positioned to listen to a heartbeat. On the owl's chest, a tiny name tag reads "Dr. Hoo" in bold, black letters. Beside the owl, a small table is cluttered with various medical supplies, including a miniature thermometer, a blood pressure cuff, and a tiny first-aid kit. The surrounding environment is a cozy, natural setting, with soft, muted colors and a sense of peaceful tranquility. The branch the owl is perched on is rendered in precise detail, with intricate textures and patterns that suggest a living, breathing tree. Highest-Quality, 4k, intricate details, visually stunning, Masterpiece
    "In 2018, capture a first-person panorama shot in Florida, showcasing a purple-lit street with a couple of skeletons in the grass, a hidden treasure hoard, and an anthropomorphic angel watching a demon, all in highly detailed, lifelike quality, with a focus on the golden ratio. Include costumes, dinosaur bones, and a zootopia/sci-fi twist, as if featured on ArtStation or DeviantArt."
    beautiful oil painting of, Y'all thought we was just going to leave you hanging. Yo, NY spin that s***. I'm a call one more. Yo yo potions ros to purify and san of the sea. We witness the greed of the old kings that would not cease. Two by two on the arctic to shut up from the purge secrecy went in one and they emerge the haven three for a nor The trinity of rock must the exodus from the land of the board. Shar and sorrow radio witness to the kids of tomorrow. The first in the new land of the corruption on the streets of 031 eruption. Rain man on the ash rocking not the winners dropping. One more uncle. Yo yo uncle one more yo yo. The patience kicks off the new leot. Burst off the blood. We both come in the sun. The queens of the future. Do what's never be done. Burst off the blood. Destiny's daughters and sons. Kings are the new last united as one. Burst off the blood. We both come in the sun. Queens of the future never be done. Burst off the blood. Destiny's daughters and sons. Kings of the new land and united as one. Burst off the flood. We won't come through the sun. Queens on the future. Do what's never be done. Burst off the flood. Guess these daughters. Kings of the new land that united the sword. Bust off the blood in the sun. Kings off the future.
    Morning has broken like the first morning Blackbird has spoken like the first bird Praise for the singing, praise for the morning Praise for them springing fresh from the world
    A quaint, snow-covered village nestled in the mountains at twilight. Smoke curls up from chimneys, and warm lights glow in the windows of cozy cottages with steep, snow-covered roofs. Icicles hang from the eaves, and snowflakes drift gently through the air. A few villagers wrapped in scarves and coats walk along the cobblestone streets, and festive decorations line the lamp posts. The sky is a mix of deep blue and purple, with the first stars beginning to twinkle. The entire scene radiates warmth and tranquility despite the chilly setting.
    Mark5 cat riding mushroom clouds over lake filed with bright galaxies and stars. As I continue to ramble on because this is boring me and its the only thing that enterains the voices trying to make me insane , I gave you want you , what the he'll else do you need , they say they. Need alkaline trio, filled with biscuits of cosmic computer chips as it continues to press the first song I ever heard the dock rock west of eastmill farm full of yeast
    A zombie Jesus riding a giant bunny throwing easter eggs at terrified first century villagers.
    Y'all thought we was just going to leave you hanging. Yo, NY spin that s***. I'm a call one more. Yo yo potions ros to purify and san of the sea. We witness the greed of the old kings that would not cease. Two by two on the arctic to shut up from the purge secrecy went in one and they emerge the haven three for a nor The trinity of rock must the exodus from the land of the board. Shar and sorrow radio witness to the kids of tomorrow. The first in the new land of the corruption on the streets of 031 eruption. Rain man on the ash rocking not the winners dropping. One more uncle. Yo yo uncle one more yo yo. The patience kicks off the new leot. Burst off the blood. We both come in the sun. The queens of the future. Do what's never be done. Burst off the blood. Destiny's daughters and sons. Kings are the new last united as one. Burst off the blood. We both come in the sun. Queens of the future never be done. Burst off the blood. Destiny's daughters and sons. Kings of the new land and united as one. Burst off the flood. We won't come through the sun. Queens on the future. Do what's never be done. Burst off the flood. Guess these daughters. Kings of the new land that united the sword. Bust off the blood in the sun. Kings off the future.
    Pixar inspired poster, A perfect masterpiece pixar style horizontal image, the image shows three full body characters in highly detailed CGI pixar character art, the first guy is a cool young slim casual nerd teenager with a casual open jacket with a hoodie with white shirt underneath, he has the word "(SCHNELL)" written on his white shirt in a large sketchy black font, the second guy is a middle-aged tall fit athletic muscular supermodel celebrity who is tall, handsome and approachable but has an air of sophistication around him who is dressed in fancy sunglasses, a green pullover and brown gucci trousers, he has the word "(DEV)" written on his green pullover in an elegant french white font, the third guy is an old arrogant billonare who is dressed in a fancy suit and a red tie and he has the word "(PRO)" as a large golden pin on his suit, a golden pin that says "PRO", life-like masterpiece realiatic photo, hyper realistic, A photogenic soft scene, digital 4k art, bokeh, depth of field, detailed eyes, 4K, vivid, extremely detailed, perfect anatomy, maximalist, dynamic, absurdres, 8k photography, three point perspective, Ultra-realistic, Hyperrealism
    Videogame award: First Blood!
    A large 16th-century manor in France, located in Ariège, stands before the Pyrenees, which lie much further away. The old manor overlooks a heavily wooded valley. The house is haunted, featuring a grand carriage entrance and two small corner towers. It overlooks a vast, dark, snow-covered forest that stretches all the way to the foothills of distant mountains. In front of the first-floor windows, there is a charming little balcony. The building appears to have been abandoned for several years, with some ivy growing on the wall and a few missing roof tiles. The atmosphere is icy; the cold wind blows fiercely, the sky is dark, and a few snowflakes are falling. Sheets of fog hover near the ground. The forest is dense and all around. A character is seen in three-quarter view from a distance on horseback, positioned in front of the manor’s carriage entrance. He is a 19th-century bourgeois, dressed like Sherlock Holmes. His attire is elegant and refined, with a somewhat retro and gothic flair. He wears a tricorne hat and carries a combat cane resting on his shoulder. The style of the image should be a blend of Miyazaki-style anime and a gothic ambiance, with colors predominantly orange, gold, gray, and blue.
    the desk in a cafe, on the desk is a tip jar, On the wall behind the desk is 2 shelves one above the other, The first shelf has bottles containing nebulas, the second shelf has bottles containing stardust, there is a sign next to the shelves with the text "5 buzz per bottle", realistic style yet surreal
    Erotic closeup of faces of 2females, thin elfin features in a field of flowers, 1female is smiling and facing the viewer, the other 1female is in profile licking with her tongue the side of the first female’s face, lots of white-pearlescent liquid is dripping and running down their faces and bodies, they are wearing revealing dresses, seductive, sexy, elaborately braided hair, (realistic), masterpiece, photorealistic, real life photo
    2 girl, 20-year-old girl, and the first time I had sex with my partner, it was very sensual because we were hidden behind a building Photo by Hasselblad X1D-50c with 18-55mm STM lens ultra intricate details and textures 16k maximum resolution possible 600dpi,Philipp Otto Runge,moody lighting,Digital art,Kodak Ektar 100,specular lighting
    Two medieval castles at dawn, positioned on either side of a river winding through a vast countryside. On the left, a gray stone castle stands atop a green hill, surrounded by a village with thatched-roof houses. Fields of golden wheat and vineyards stretch out around it. On the other side of the river, a reddish-walled castle rises on a rocky bluff, its towers catching the first light of dawn. Nearby fields are alive with farmers tending to crops and sheep grazing lazily. The river flows calmly in the middle, reflecting both castles and the pink-orange sky of dawn, while willow trees bend their branches towards the water. A wooden bridge crosses the river, symbolizing peace and trade between the two realms. The landscape is a mosaic of cultivated fields, dirt paths, small woodlands, and stone chapels. The atmosphere is serene, with a gentle morning mist wrapping the scene and the first sunlight illuminating the castle walls and fields, giving everything an enchanted and timeless appearance
    A old brown paper with the title "The Arcane Art of Alchemy" with lots of mathematical equations to the right side is a rough charcoal scetch of a man without legs and to the left is the following text Gather ye the following ingredients, fair seeker of knowledge: the tender flesh of a salamander, steeped in the dew of a full moon; the tears of a basilisk, captured in the stillness of midnight; and the heart of a phoenix, forged in the crucible of rebirth. To commence the alchemical process, one must first ignite the salamander's flesh with a flame imbued with the essence of a dragon's breath. As it crackles and burns, chant the words of enchantment, Solis et Lunae Coniunctio, and let the smoke rise to the heavens.
    In the ancient ruins of the Oracle of Delphi, a curious historian named Elara stumbles upon a hidden chamber. Inside, she discovers a beautifully ornate mirror, which reflects not just her image but whispers secrets of the past. As she gazes deeper, the mirror reveals visions of the tragic downfall of previous seekers, drawing her into a perilous web of fate. Driven by curiosity, Elara uses the mirror’s insight to uncover lost knowledge, altering the course of history. However, each revelation comes at a cost; the memories and lives of those around her begin to fade. Realizing that she is rewriting not just her fate but the very fabric of time, she confronts a haunting truth: to save her friends and restore the timeline, she must return to the moment she first peered into the mirror. In a suspenseful twist, Elara sacrifices her own memories, becoming a heartbeat in the whispers of history, ensuring that the wisdom of the past will never be lost, but at the cost of her identity. As the mirror dims, she walks away, a stranger in the world she saved, forever linked to the echoes of Delphi.
    A large 16th-century manor in France, located in Ariège, in front of the Pyrenees. The old manor is haunted, featuring a grand carriage entrance and two small corner towers. It overlooks a vast, dark, snow-covered forest that stretches all the way to the base of distant mountains. In front of the first-floor windows, there is a charming little balcony. The building appears to have been abandoned for several years, with some ivy growing on the wall and a few missing roof tiles. The atmosphere is icy, with a strong cold wind blowing, the sky dark, and even a few snowflakes falling. Sheets of fog hover near the ground. A character is seen in three-quarter view from afar in front of the manor’s carriage entrance. He is a 19th-century bourgeois, dressed like Sherlock Holmes. His attire is elegant and classy, a bit retro and a bit gothic. He wears a tricorne and a combat cane. Le style de l'image doit être très détaillé, comme un comics combiné a un anime. avec des encrages sombres et contrastés. Les couleurs dominantes de l'image, bleue, orange, blanc, noir, gris
    Young 18yo lovely woman putting on makeup for the first time. Mirror, misaligned lipstick, too much rouge, heavy eyeshadow
    A old brown paper with the title "The Arcane Art of Alchemy" with lots of mathematical equations to the right side is a rough charcoal scetch of a man without legs and to the left is the following text Gather ye the following ingredients, fair seeker of knowledge: the tender flesh of a salamander, steeped in the dew of a full moon; the tears of a basilisk, captured in the stillness of midnight; and the heart of a phoenix, forged in the crucible of rebirth. To commence the alchemical process, one must first ignite the salamander's flesh with a flame imbued with the essence of a dragon's breath. As it crackles and burns, chant the words of enchantment, Solis et Lunae Coniunctio, and let the smoke rise to the heavens.
    A 16-bit style game screenshot reimagining The Elder Scrolls V: Skyrim as if it were a low polygon 3D game on the SNES. The image should capture the essence of Skyrim's open world and fantasy elements while adhering to the graphical limitations and aesthetic of classic SNES games. The screen shows a first person view of a Skyrim-inspired landscape. In the sky is a dragon. Surrounding the character is a diverse Skyrim environment: Snowy paths winding through pine trees, a small village with Nordic-style wooden houses, and an ancient stone ruin off to one side. Populate the scene with familiar Skyrim elements: A few NPCs like guards and villagers, a horse near a stable, and some hostile creatures like a wolf or skeleton. Include iconic Skyrim fauna like a goat and a salmon jumping in a small stream. The color palette should use rich, vibrant colors characteristic of SNES games, with dithering techniques to create the illusion of more colors and shading. UI elements should be minimal but reminiscent of both Zelda and Skyrim: A hearts-based health bar in the top-left corner, a magicka bar below it. Show currently equipped items (sword and shield) in the top-right corner. Include a small mini-map in the bottom-left corner. At the bottom of the screen is a dialogue box that says, "It just works!"
    (Ultra-realistic, 32k, Masterpiece, High Quality, Detailed Realistic Background, Official Art, Realistic Lighting, filmfotos, film grain, reversal film photography).The Kingdom's first major operation erupts in a chaotic display of violence and raw power. In the dim light of dawn, a fleet of ironclad warships looms off the coast, their cannons thundering as explosions rock the shorelines. Artillery shells scream through the sky, crashing into the enemy fortifications with devastating force. High above, the scene unfolds in a dramatic, high-angle shot, capturing the full scale of the assault. Steampunk machinery grinds relentlessly, soldiers in their rugged, industrial uniforms disembark from armored transports, rifles in hand, advancing under a hail of bullets. The atmosphere is suffocating—smoke, fire, and chaos blanket the battlefield, as mechanical devices and mystic energy interweave. Screams and the deafening roar of engines create a cacophony of war, where the Loen forces surge forward with grim determination. Amidst the chaos, towering automatons lead the charge, their metal limbs gleaming in the erratic bursts of firelight. Epic and dramatic cinematic lighting accentuates the harsh contrasts between light and shadow, as soldiers and machines alike fight for dominance in a war-torn landscape. The backdrop reveals shattered Feysac fortifications, cliffs of stone collapsing under the relentless bombardment, as the operation unfolds in a sweeping, violent panorama.
    Source from avatar the last Airbender: On the front we can see uncle iroh savouring a cup of tea and sitting on carpet on a patch of green grass. He has is eyes closed with a face of delight. In the background we can see two man fighting. The first one is zuko, he is on the ground struggling. The second is fire lord ozai he is standing over zuko and charges a fire ball, The background is made of scorched earth, smoke and a tree is on fire.
    Slaves hebrews born to serve, to the pharaoh Heed to his every word, live in fear Faith of the unknown one, the deliverer Wait something must be done, four hundred years So let it be written So let it be done I'm sent here by the chosen one So let it be written So let it be done To kill the first born pharaoh son I'm creeping death Now let my people go, land of Goshen Go I will be with thee, bush of fire Blood running red and strong, down the Nile Plague darkness three days long, hail to fire So let it be written So let it be done I'm sent here by the chosen one So let it be written So let it be done To kill the first born pharaoh son I'm creeping death Die by my hand I creep across the land Killing first born man Die by my hand I creep across the land Killing first born man I rule the midnight air the destroyer Born I shall soon be there, deadly mass I creep the steps and floor final darkness Blood lambs blood painted door, I shall pass So let it be written So let it be done I'm sent here by the chosen one So let it be written So let it be done To kill the first born pharaoh son I'm creeping death
    Morning has broken like the first morning Blackbird has spoken like the first bird Praise for the singing, praise for the morning Praise for them springing fresh from the world
    A old brown paper with the title "The Arcane Art of Alchemy" with lots of mathematical equations to the right side is a rough charcoal scetch of a man without legs and to the left is the following text Gather ye the following ingredients, fair seeker of knowledge: the tender flesh of a salamander, steeped in the dew of a full moon; the tears of a basilisk, captured in the stillness of midnight; and the heart of a phoenix, forged in the crucible of rebirth. To commence the alchemical process, one must first ignite the salamander's flesh with a flame imbued with the essence of a dragon's breath. As it crackles and burns, chant the words of enchantment, Solis et Lunae Coniunctio, and let the smoke rise to the heavens.
    (Soft Lighting Photography by Mimoza Veliu and Mario Giacomelli:1.2), photorealistic, chiaroscuro, idols to their worlds, manifesting anger, conjurers of evil times, we can sense the danger, they claim every soul, show you who's the leader, bow before iconoclasts, creators of disaster, they play with stars and sulphur just for heaven's sake, to them, we're a fantasy to see who's first to break, when good and evil go to war, we leave it up to fate, since time began they fought for man, incurring love and hate, the serpent and the king, the serpent and the king, the serpent and the king, the serpent and the king, famous movie poster art by (luis royo:1.4) and (frank frazetta:1.3) and (bob eggleton:1.3) and (alberto vargas:1.3), (dark fantasy, grim dark, digital image:1.2), bold lines, dramatic, award-winning, trending on artstation, absurdres, ultra detailed
    A powerful, multi-scene composition capturing the essence of four lives across different eras, each connected by the spirit of the Highwayman. **First Scene:** A dark, misty road at dusk with a lone highwayman on horseback, his figure partially obscured by shadows. The horse rears as they approach a distant gallows, the tension palpable as he rides into danger. **Second Scene:** A storm-tossed ship battles through towering waves under a stormy sky. A determined sailor clings to the rigging as lightning splits the darkness, the ship fighting against the fury of the sea. **Third Scene:** A vast, dusty construction site during the Industrial Revolution. A rugged worker stands before the unfinished hoover dam, surrounded by heavy machinery. His face reflects the hardship and sacrifice of building this monumental structure. **Fourth Scene:** A sleek spacecraft drifts through the cold void of space, damaged but resilient. A lone astronaut floats outside, tethered to the ship, making critical repairs against a backdrop of glowing nebulae, symbolizing the endless frontier of exploration.
    Four-panel comic strip featuring a band in a cozy, retro-style rehearsal space. The first panel shows a boy wearing a large black hat and a scarf, intensely playing an electric guitar with a focused expression, dressed casually in a white shirt and dark pants. The second panel depicts a cheerful girl seated at a drum set, wearing a knitted hat and a warm coat, surrounded by wooden floors and muted walls. The third panel presents another girl wearing a panda hat and a thick coat, confidently holding an electric guitar with a playful smile, bookshelves filled with manga in the background. The fourth panel features a boy in a black hoodie, casually strumming an acoustic guitar, looking thoughtful. The entire scene is rendered in a black-and-white aesthetic, capturing a blend of manga and comic book styles with bold lines and detailed shading. The overall atmosphere is creative and musical, evoking a sense of youthful energy and friendship.
    And so it was later When the miller told this tale He said that her face at first just ghostly And then turned a whiter shade of pale
    In my youth I took a trip My first initial acid trip And it hit me like a ton of bricks My eyes, they quickly dialated I began hallucinating At the tender age of eighteen As I watched the TV My dog speaking to me Telling me I'm going insane I recall a scene it's halloween And I am dressed as a drag queen Peaking to the point of no return I met a man I shook his hand He spoke I could not understand He was covered with flies and afterbirth The mandrills were singing The bees they were stinging As pink flamingos laid dead on the ground
    In my youth I took a trip My first initial acid trip And it hit me like a ton of bricks My eyes, they quickly dialated I began hallucinating At the tender age of eighteen As I watched the TV My dog speaking to me Telling me I'm going insane I recall a scene it's halloween And I am dressed as a drag queen Peaking to the point of no return I met a man I shook his hand He spoke I could not understand He was covered with flies and afterbirth The mandrills were singing The bees they were stinging As pink flamingos laid dead on the ground
    A powerful, multi-scene composition capturing the essence of four lives across different eras, each connected by the spirit of the Highwayman. **First Scene:** A dark, misty road at dusk with a lone highwayman on horseback, his figure partially obscured by shadows. The horse rears as they approach a distant gallows, the tension palpable as he rides into danger. **Second Scene:** A storm-tossed ship battles through towering waves under a stormy sky. A determined sailor clings to the rigging as lightning splits the darkness, the ship fighting against the fury of the sea. **Third Scene:** A vast, dusty construction site during the Industrial Revolution. A rugged worker stands before an imposing, unfinished dam, surrounded by heavy machinery. His face reflects the hardship and sacrifice of building this monumental structure. **Fourth Scene:** A sleek spacecraft drifts through the cold void of space, damaged but resilient. A lone astronaut floats outside, tethered to the ship, making critical repairs against a backdrop of glowing nebulae, symbolizing the endless frontier of exploration.
    A powerful, multi-scene composition capturing the essence of four lives across different eras, each connected by the spirit of the Highwayman. **First Scene:** A dark, misty road at dusk with a lone highwayman on horseback, his figure partially obscured by shadows. The horse rears as they approach a distant gallows, the tension palpable as he rides into danger. **Second Scene:** A storm-tossed ship battles through towering waves under a stormy sky. A determined sailor clings to the rigging as lightning splits the darkness, the ship fighting against the fury of the sea. **Third Scene:** A vast, dusty construction site during the Industrial Revolution. A rugged worker stands before an imposing, unfinished dam, surrounded by heavy machinery. His face reflects the hardship and sacrifice of building this monumental structure. **Fourth Scene:** A sleek spacecraft drifts through the cold void of space, damaged but resilient. A lone astronaut floats outside, tethered to the ship, making critical repairs against a backdrop of glowing nebulae, symbolizing the endless frontier of exploration.
    A grainy realistic photo in the style of 1970s movies, a profile shot from the side of two figures facing each other on a narrow woodland trail. On the left of the photo: the first figure is The Black Knight from Monty Python. He stands in the middle of a narrow forest trail, a red medieval dragon is painted on his black chestplate, the visor of his cylindrical black helmet is down. he is resting his hands on the pomel of a two-handed long-sword planted in the ground. He is stoic and unmoving. A speech bubble above the knight reads "None Shall Pass". Another speech bubble below the knight reads "NONE SHALL PASS". On the right side of the photo: the figure facing the knight is an old wizard with long gray hair and a long gray beard wearing battered gray robes and a weathered gray wizard hat. The wizard holding a twisted and gnarled wooden staff as tall as he is planted in the ground in front of him. Above the wizard's head is a speech bubble that reads "You shall not pass" Below the wizard is another speech bubble that reads "YOU SHALL NOT PASS!"
    In my youth I took a trip My first initial acid trip And it hit me like a ton of bricks My eyes, they quickly dialated I began hallucinating At the tender age of eighteen As I watched the TV My dog speaking to me Telling me I'm going insane I recall a scene it's halloween And I am dressed as a drag queen Peaking to the point of no return I met a man I shook his hand He spoke I could not understand He was covered with flies and afterbirth The mandrills were singing The bees they were stinging As pink flamingos laid dead on the ground
    it was like seeing her for the first time all over again
    Teacher , Pointing to the board , classroom , text on board "how to get buzz 1. For each unique reaction you give 2buzz 2. By claiming it daily in the Image generator 25buzz 3. For the first image post you make each day 25buzz 4. For each user that reacts to anything you created in the last 30 days 2buzz 5. For first 3 people that you follow each day 10buzz 6. And you have more way to get it"
    A powerful, multi-scene composition capturing the essence of four lives across different eras, each connected by the spirit of the Highwayman. **First Scene:** A dark, misty road at dusk with a lone highwayman on horseback, his figure partially obscured by shadows. The horse rears as they approach a distant gallows, the tension palpable as he rides into danger. **Second Scene:** A storm-tossed ship battles through towering waves under a stormy sky. A determined sailor clings to the rigging as lightning splits the darkness, the ship fighting against the fury of the sea. **Third Scene:** A vast, dusty construction site during the Industrial Revolution. A rugged worker stands before an imposing, unfinished dam, surrounded by heavy machinery. His face reflects the hardship and sacrifice of building this monumental structure. **Fourth Scene:** A sleek spacecraft drifts through the cold void of space, damaged but resilient. A lone astronaut floats outside, tethered to the ship, making critical repairs against a backdrop of glowing nebulae, symbolizing the endless frontier of exploration.
    "Hyper-detailed art, fantasy, 2 anthropomorphic or furry cats sitting in medival tavern. First one big and tall, have an orange fur, joyfull and wearing a warior armor. another one is skinny, have a shrot black fur and grumpy, wears a cloak and cape. Both of them having a beer on table. Orange cat seems to tell some story and the black ones looks annoyed. Style: extremely detailed, and humorously adorable, with a focus on capturing the playful, lighthearted atmosphere". Close up, upper body
    We're a ship without a storm Cold without the warm Light inside the darkness lit at peace We're a laugh without a tear Hope without the fear We are coming home We're off to the witch We may never never never come home But the magic that we'll feel is worth a lifetime We're all born upon the cross We're the throw before the toss You can release yourself but the only way is down We don't come alone We are fire we are stone We're the hand that writes and quickly moves away We'll know for the first time If we're evil or divine We're the last in line, yeah We're the last in line Two eyes from the east It's the angel of the beast And the answer lies between all good and bad We search for the truth We could die upon the tooth But the thrill of just the chase is worth the pain We'll know for the first time If we're evil or divine We're the last in line yeah We're the last in line oh Yeah We're off to the witch We may never never never come home But the magic that we'll feel is worth a lifetime We're all born upon the cross You know, we're the throw before the toss You can release yourself but the only way is down We'll know for the first time If we're evil or divine We're the last in line oh We're the last in line See how we shine We're the last in We're the last in line We're a ship without a storm We're cold inside the warm We're the last without a tear We're the throw without the meal We're the last in line See how we shine We're the last in line
    We're a ship without a storm Cold without the warm Light inside the darkness lit at peace We're a laugh without a tear Hope without the fear We are coming home We're off to the witch We may never never never come home But the magic that we'll feel is worth a lifetime We're all born upon the cross We're the throw before the toss You can release yourself but the only way is down We don't come alone We are fire we are stone We're the hand that writes and quickly moves away We'll know for the first time If we're evil or divine We're the last in line, yeah We're the last in line Two eyes from the east It's the angel of the beast And the answer lies between all good and bad We search for the truth We could die upon the tooth But the thrill of just the chase is worth the pain We'll know for the first time If we're evil or divine We're the last in line yeah We're the last in line oh Yeah We're off to the witch We may never never never come home But the magic that we'll feel is worth a lifetime We're all born upon the cross You know, we're the throw before the toss You can release yourself but the only way is down We'll know for the first time If we're evil or divine We're the last in line oh We're the last in line See how we shine We're the last in We're the last in line We're a ship without a storm We're cold inside the warm We're the last without a tear We're the throw without the meal We're the last in line See how we shine We're the last in line
    the first woman
    The First Woman
    A raw, candid, ultra realistic photographic still of an overweight 41 year old English woman. She has long auburn hair done in pinned curls style. She is wearing makeup and is standing happily under an expensive looking chandelier, by a grand staircase on a first class cruise ship. She is wearing a stylish dark coloured chiffon gown that fits her perfectly and a pair of heels. The background is highly detailed with multiple people, all in different formal wear.
    20 Wheeler Street. Constructed as six units for Mr. Littlefield in 1899, this dwelling is a fascinating and rare variation of the common tripledecker. Typically rectangular in form with three tiers of porches at both the front and back of the building, this house has a three-story porch nestled in the corner, from the north and west wings, that are each three stories in height. The slender columns of the first and second story porches, window frames, broad string courses, and molded cornices all demonstrate the Colonial Revival style. The triple-decker was introduced to both Boston and Worcester around 1880 and was instantly recognized by developers as a fast and efficient way to house the less affluent. This building type recommended interior features such as Colonial Revival style mantelpieces and built-in china cupboards. The popularity of the triple-decker rose exponentially after the introduction of the electric trolley to Boston neighborhoods, circa 1890, and it proliferated in areas such as Dorchester and South Boston. The triple-decker persisted in popularity until 1915, and in some areas even later, such as Jamaica Plain where this multi-family housing type was still being built as late as 1930. In Somerville, triple-deckers are primarily found in the eastern portion of the City, while two-family dwellings remained more common in western Somerville. The noteworthy exception to this rule is the States Avenues section of East Somerville.
    A hyper-realistic, 3-dimensional full-figure photograph of a woman wearing a highrise mask with an exaggerated, wide, ecstatic smile and small, devilish horns curving from the sides. The mask, devoid of a nose or eyes, radiates unsettling joy, contrasting with the tattooed stars decorating her face. She stands confidently, striking a dynamic pose while sweetly kissing another woman beside her, who also wears a highrise mask with a similar ecstatic expression. The second figure’s mask mirrors the first, enhancing the surreal quality of the scene. Shot with Panavision aspherical lenses at 40mm, the scene is illuminated by cinematic studio lights, emphasizing the contours of their bodies. A soft red, low diffuse light glows from behind, enhancing the three-dimensional effect, while light greenish fog and white smoke swirl around them in layered wisps against a pitch-black background. Above the figures, bold glowing neon letters follow a round circular path, proclaiming ‘MAKE LOVE DON’T MAKE WAR,’ adding a dynamic and rebellious energy to the surreal, immersive atmosphere.”
    it was like seeing her for the first time all over again
    A powerful, multi-scene composition capturing the essence of four lives across different eras, each connected by the spirit of the Highwayman. **First Scene:** A dark, misty road at dusk with a lone highwayman on horseback, his figure partially obscured by shadows. The horse rears as they approach a distant gallows, the tension palpable as he rides into danger. **Second Scene:** A storm-tossed ship battles through towering waves under a stormy sky. A determined sailor clings to the rigging as lightning splits the darkness, the ship fighting against the fury of the sea. **Third Scene:** A vast, dusty construction site during the Industrial Revolution. A rugged worker stands before an imposing, unfinished dam, surrounded by heavy machinery. His face reflects the hardship and sacrifice of building this monumental structure. **Fourth Scene:** A sleek spacecraft drifts through the cold void of space, damaged but resilient. A lone astronaut floats outside, tethered to the ship, making critical repairs against a backdrop of glowing nebulae, symbolizing the endless frontier of exploration.

      FLUX

    • Schnell - flux_schnell.sft