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Prompt by Lastdance

mile prompts

very few results

7 months ago

"The Colossus Beneath the Desert" – (Primary Subject: Titanic Buried Giant Stirring Beneath Sand Dunes, 1.7 weight) — deep in an endless, wind-scoured desert, a vast ancient colossus lies half-submerged beneath dunes of golden sand, its face cracked and weathered, sculpted from stone and bone. One glowing eye now flickers to life for the first time in ten thousand years, casting a pillar of blue light through the dust-choked sky. It is waking. The scale is impossible—ridges of sand ripple for miles outward with each breath it takes. What appears to be mountains on the horizon are the curved tips of its buried fingers, slowly flexing. Its ribs form deep canyons, home to temples built by forgotten civilizations who once worshipped it as god, jailer, and weapon. Above it, a caravan of nomads has stopped. Their camels rear back in fear. The elders whisper old songs once thought metaphor. A solitary figure in ceremonial robes walks toward the eye, chanting in forgotten tongues, holding a staff that glows faintly in resonance. This is not a confrontation. It is a negotiation. The sky roils with duststorms, lit orange and violet by the setting sun. Shadows stretch long across the sand, wrapping the moment in mythic stillness. Massive stone anklets and rune-bound chains anchor the colossus deep below—their glyphs eroded, weakened. A sandstorm gathers behind it, as if the world resists its rising. Its skin is made of layered strata and fossilized memory, carved with glowing runes that flicker like fault lines. When it exhales, the wind shifts continents. Its breath is heavy with salt, iron, and ancient sound. The desert listens. Rendered in epic cinematic realism, with sweeping scale, warm atmospheric tones, and deep contrast between golden sand, cold stone, and glowing eyes. Shot through a dusty anamorphic lens, grain visible in the low sun, with volumetric light shafts and wide mythic framing. Think Dune x Dark Souls x ancient Mesopotamian apocalypse (monumental visual drama, 1.4 weight).

ElectricL
4 140

9 months ago

The warrior's face is a portrait of exhaustion and determination. His features, once youthful, are now carved with the deep lines of hardship—furrowed brows, a set jaw, and eyes that burn with a quiet, unyielding fire. His dark hair, once meticulously combed, now falls in tangled strands, matted with the dirt and grime of the long journey. Strands of gray have begun to appear at his temples, silent reminders of the toll that war and wandering have taken. His eyes, though bloodshot and weary, still hold the same resolute flame, the fire of a man who has seen the darkness and refuses to let it consume him. His boots, worn and scuffed from countless miles, leave deep impressions in the soft earth with each step. The mud clings to their soles, a constant reminder of the many obstacles he has overcome—rivers crossed, mountains scaled, forests braved, and endless stretches of barren land traversed. With each movement, his pace is slow but purposeful, the ache in his body from weeks—maybe months—of travel almost unbearable, yet he presses on. The landscape shifts as he continues, rolling hills giving way to thick forests, the trees towering overhead, their skeletal branches bare and reaching into the cold sky. The air smells of damp earth, and the wind stirs the leaves, creating a soft rustle that blends with the occasional call of a bird or the distant movement of unseen creatures. These sounds are but a distant hum to him, his mind focused solely on the path ahead, on the kingdom he once called home, and the family and people he must return to, captured in stunning hyper-realistic detail, cinematic, hyper realism, high detail, octane render, 8k

Slinkychips PRO
1 78

7 months ago

An award-winning double exposure oil painting masterpiece inspired by The Green Mile, with a powerful emotional and symbolic focus on the electric chair—not as an object of violence, but as a stark contrast between man’s justice and divine mercy. The central figure is John Coffey, depicted in quiet stillness, seated and calm, his expression one of sorrow and acceptance. His silhouette contains the double exposure—his form blending into the shadowy interior of the execution chamber, where the electric chair sits bathed in soft, ominous light. Inside his body, the double exposure reveals a layered, poetic world: the electric chair looms at the heart, but it is surrounded by moments of grace—Paul Edgecomb’s hand on Coffey’s shoulder, the miraculous healing of the warden’s wife, and streams of glowing, golden light flowing upward from Coffey’s chest, dissolving into a night sky dotted with stars or angelic shapes. The mouse, Mr. Jingles, runs along the floorboards beneath the chair, a symbol of innocence enduring. The chair itself is rendered not with gore, but with reverent detail—an icon of sorrow, misunderstood judgment, and broken humanity. The color palette contrasts dark mahogany and deep prison greys with bursts of radiant gold, spiritual white, and hints of green—symbolizing both the literal “Green Mile” and hope. The brushwork is intimate and layered: the texture of sweat, woodgrain, tears, and light captured in strokes that feel as heavy as memory. Themes of redemption, spiritual suffering, mortality, and misunderstood power rise from the composition. This painting becomes not a depiction of death, but of the sacred tension between cruelty and compassion—where the electric chair becomes a tragic altar, and Coffey, a modern martyr.

Nednut4362
0 65