promptyper

Latest Posts by promptyper

THE EDU-BOT.

One day, boy Thomas gets a home tutor robot, Edubot. But he doesn't like the Edubot who bothers him.

Trying to wreck the edu bot, but the edu bot is pretty strong. And patience is stronger. However, she is just a stupid robot, and Thomas tries to destroy Edubot by using his best abilities. Meanwhile, her unconsciousness, located deep in artificial neural network, begins a terrifying imagination...

I used Stable Diffusion to produce a comedy horror movie poster about ai home tutor robot.

In this fictional movie, a boy named Thomas gets into trouble until EDU-BOT is broken.

I didn't imagine the details. As individual human rights begin to be respected, on the contrary, teachers' rights are falling. We need to discuss this issue.

Original image

In 2035,

Great United States of America is ruled by AI.

You can't pay a fine to a machine or something.

Freedom warriors begin to rebel.

I created a simple image with stable diffusion and then composited it in Photoshop. It was a fun job.

original ai image

BioShock The Movie : Big Daddy Fan Poster

 I chose a low angle to portray Big Daddy's menacing look, and a leak in progress to portray Rapture's precarious appearance. The expression of splashing water was added with Photoshop. LoRA seem to have worked and did almost everything. I like this Big Daddy design, which is a little taller than the previous original design, as it seems to be suitable for a live-action film.

 If there was one problem, it was not easy to get the Little Sisters into the right places. I just composited her in photoshop. Composite quality doesn't seem very good. Still, I'll have to be content with this.

 BioShock was a big turning point for me. I started with a surprise about computer graphics, and the twist at the end is really the best I can think of now. I hope this work will be made into a great live-action movie someday.

little 3D effect on it. :D

 It was a fun to make these images. For Kenzo, getting a similar feel wasn't easy.

 He was strange whether he was portrayed as old or young. Now he is younger than in my imaginary image, but he looks closer to his actual age in his actual work. I don't know if it reproduces Naoki Urasawa's realistic yet unique drawing style well.

 In Johan's case, I thought his lips were too red and it was important that his hairstyle was very symmetrical, but I stopped adjusting here.

 I also tried to depict their characters, situations, and symbols in the background of the poster.

Monster The Movie : Kenzo Tenma

 I made a live-action film poster for Naoki Urasawa's original manga <MONSTER>.

 I was quite young when I saw this manga, so I didn't fully understand what it was trying to say besides the overall story. Rather, after I grew up, I was able to recall what this manga was about.  Naoki Urasawa draws manga in a very realistic style, but at the same time it is exquisitely streamlined. As for what his painting style will look like when it is composed of realistic images, I think someone could still have gotten better results.

 Kenzo was portrayed as a good-natured person, and I thought he represented the general public. Peaceful times, the masses who usually live a normal life just trying to look good for their boss, but when they find out someone is plotting an evil plan, they go out of their way to smash it.

 Kenzo enlists the help of other populace around him, and he works to crush the great evil he is unable to counter. He is supported by the public like himself, and at the same time chased by the public like himself. All the while, Absolute Evil controls them all and quietly grows in power.  Actually, I'm not sure if I understood it well. :D...;

Monster The Movie : Johan Liebert

 I made a live-action film poster for Naoki Urasawa's original manga &lt;MONSTER>.

 I was quite young when I saw this manga, so I didn't fully understand what it was trying to say besides the overall story. Rather, after I grew up, I was able to recall what this manga was about.

 Naoki Urasawa draws manga in a very realistic style, but at the same time it is exquisitely streamlined. As for what his painting style will look like when it is composed of realistic images, I think someone could still have gotten better results.

 Johan was a very unique character. I felt creepy and pity for his actions at the same time. Is evil made or is it born? It's easy to blame those who create evil. But if someone is born as evil, who is to blame for it? he was a character that made us ask these questions.

Doom : Rip and Tear The Live Action Movie Poster

 I made a live-action movie poster for DOOM.

 It was thought that the process of coordinating the description between the symbolic form of the original DoomGuy in the game and the details suitable for realistic movies would be quite difficult. But I was able to finish this work easily, because I found a good LoRA that someone had made.

 The image resource of DoomGuy in the game seems to have quite short arms, which continued to apply to the results. I tried to offset this with a few prompts, but when I lowered the weight, I had a problem moving away from DoomGuy shape. I just decided to supplement this in Photoshop.

FAUAP : KR2-UFOLRG73

 This photo, taken in Seoul in 1973, offers a view of the city's bustling downtown and residential complexes. Hovering in the sky is a UAP, appearing to be in motion and captured from a close distance, presumably from a hill. The photographer's identity remains unknown.

 What makes the photo stand out is the enigmatic green light seen on a distant ridge. This light, often reported at locations separate from the UAP sightings, is notably present in this picture as well. Whether this light results from the UAP's interaction with the ground or from some form of detection remains speculative.

 Captured around midday, the UAP displays a distinct disc shape. The upper part is visibly solid, while the lower part shows a grooved design along the disc. Within the grooves, an element that appears to emit something can be seen. At the base, landing gear, potentially used for touchdown, is visible.

 From the motion blur in the photograph, it can be inferred that the photographer had to move the camera to keep the UAP within the frame. This detail, along with the unique characteristics of the UAP and the mysterious green light, add layers of intrigue to this piece of historical photographic evidence.

FAUAP : JP3-IRW-UFO9D9

 The picture presents a beach scene in Japan with a metallic UAP hovering close to the waves. The UAP, looks white and of a size comparable to a small vehicle, exhibits intriguing features such as an observation device protruding from its underside and a repossessed structure on top.  There's speculation that this might just be a drone made by some Japanese engineer. The film used is an old model. It's possible that the image was taken recently using an old camera, but this theory is contradicted by the path of the leak and the time recorded at the time of the leak. This discrepancy makes it difficult to precisely determine when the photograph was taken, although it's believed to be from the mid-90s.

FAUAP : PH7-MUFO9F97

 The photograph, taken in the late 90s, depicts a scene within a military unit in the Philippines. The locale, densely populated by trees, makes sky views limited. A massive UAP floats stably in the air, its size dominating the image. Below the UAP, a pipeline-like structure extends, connecting to a station on the ground, lending the scene an appearance of a refueling operation.  Given the elevated viewpoint of the photograph, one might surmise that the image was taken by someone aboard the UAP. This assumption lends credibility to the theory that this UAP could be of human design.  The UAP's structure appears reminiscent of a type of Japanese bread, topped with a small spherical dome at the bottom that could potentially serve as an observational window to the ground. Small antennas, extending from the structure, further lend to its man-made appearance.  Given the clandestine setting and lack of additional information, the photograph opens up a wide array of speculations and interpretations.

FAUAP : AR5-ZEE-N959

 This photograph, captured in September 1995, depicts a rural scene in northern Europe. Visible in the distance are several farm buildings. A small forest is present closer to the viewer, while mountains appear on either side of the scene. The picture was taken using a Kodak Ektar 100 film.  What distinguishes this image from a typical landscape photograph is the presence of an unidentified aerial phenomenon (UAP) in the sky above the scene. The UAP appears stationary and is of a discernible, aerodynamic shape. It is set against a clear sky, with an array of light rays extending from or towards it.  Some observers have speculated that the rays could be the result of a trick of the light or some form of photographic manipulation, such as the use of glass plates or paint. However, these theories are questionable given the properties of the photograph.  The Kodak Ektar 100 film used is renowned for its fine grain and high-resolution output. Any form of manipulation would likely have caused inconsistencies in resolution, which are not evident in the image.  Therefore, based on the evidence in the photograph, it appears that neither the UAP nor the mysterious light rays are the result of photographic trickery. This adds a level of mystery and intrigue to the photograph and invites further examination and interpretation.

FAUAP : KZ1-UFOM8B88

 The photograph, captured in the early evening over a small town in Kazakhstan, features a massive unidentified aerial phenomenon (UAP) suspended in the sky. The UAP, nearly the size of a mother ship and shaped like a flat rugby ball, has an enigmatic strip of detail, which the photographer described as an opening from which smaller objects emerged.  This UAP, according to the leaked reports, was completely invisible from beneath, leading to questions about potential advanced cloaking technology. The timing of the UAP's appearance, considering Kazakhstan's historical role as a nuclear power, instigates further speculation about its origins and purpose.  The photographer, known as Borat, was a chef at a local hotel situated amidst the high mountains. His hobby of capturing sunset scenes from high altitudes led to this unusual snapshot. However, instead of releasing this extraordinary photograph, Borat chose a different path.  With the promise of a significant monetary compensation, he agreed not to leak the photograph. The agreement included a clause that required Borat and his family to immigrate to Turkmenistan, another Turkic-speaking country. This move, while providing a significant lifestyle change for Borat and his family, also ensured the photograph remained classified for many years.  It was only when the related report leaked recently that the existence of this unique photograph came to light. This revelation stirred public interest, further adding layers of intrigue and speculation around this UAP and its untold narrative.

FAUAP : AV4-DFUFO6G95

 The image, captured by an aviator at a significant altitude, features a UAP bearing a characteristic flat disk shape. The most notable elements are the two light sources below the UAP, creating an impressive glow against the vast sky. Above the UAP, a spatial distortion manifests as a haze, adding an extra layer of intrigue to the scene.  Under the sunlight's illumination, the UAP exhibits a reflective quality, making it appear as if composed of smooth metal. This feature, along with the overall design, becomes strikingly clear in the high-quality picture, implying the possible existence of advanced technology.  This photograph remained hidden from public view until the data from the promptyper was leaked. The image, originally preserved as film, was printed for digital archiving by the promptyper, before being digitally scanned. The later leak of this data introduced this intriguing photograph into public knowledge, sparking speculation and excitement around its origins and implications.

FARAS : Other Possibilities

 I've been trying to create several interesting images of Roswell aliens for a while. I'm going to reveal a few images here.

 Aliens are usually depicted naked. But if they're intelligent, they'll wear clothes. In that sense, I also tried to dress them in clothes that reflect their own culture.

 If aliens are physical beings, they may also be powerless individuals like us after being isolated from their advanced technology. What if the aliens that crashed into Roswell in 1974 were some kind of bored millionaires who were traveling in space, and the UAPs that are coming now are search teams to find them?

 How does it feel when you meet aliens? We don't know what they're going to do after landing or crashing, but it's going to be a very strange feeling when you first encounter them.

 If aliens were within Area 51, they would have wandered there in their own way. Are there any lucky people who would have witnessed such a sight?

 Aliens may look like us, or they may be very different. Could they breathe in the Earth's atmosphere? In many parts of the outer world, will each intelligent creature reach a similar form through some sort of convergent evolution? Or did it evolve into something completely different in a completely different environment?

 I want to move on to a different topic for a while after this work. I think many people were surprised by the recent disclosure of the hearing that alien bodies are being kept in the United States. I'm really curious about what the truth is.

FARAS : Leaked MakHa Archived Images

Date: 29th July 1948

 The species is identified as 'MakHa', a name arising from the unique sound they produce during communication.

 The MakHa are humanoid in form with tall, slender bodies and elongated limbs. They possess a distinctive elongated cranium, earning them the nickname "horse-head" among initial contact teams. Skin color varies from pale white to a more muted grey hue.

 Unlike the Roswell aliens, they did not speak English. But one of them was able to use English, and the other learned quickly, so communication was soon possible.

 MakHa society appears to treat all individuals equally, irrespective of their apparent age. Our observations suggest that this may not stem from moral or ideological concepts, but from the lack of significant functional and experiential differences between younger and older individuals.

 The MakHa show clear signs of hostility towards the Roswell aliens, despite their likely shared origin. Our inquiries indicate that this antagonism is primarily due to pronounced ideological differences. The MakHa lean towards a more totalitarian and collectivist system compared to the Roswell one.

 These MakHa were presumed to be artificially created creatures. They learned everything, but they felt mechanical, not by curiosity. Some officers taught them to play hide-and-seek, which they performed very well, but did not appear to have any pleasure or curiosity.

 They didn't show much emotional change even after they understood that there was nothing they could change here. It's supposed to be because, in addition to their senses and nerves being different from modern humans, their view of time already has a good understanding of how these deterministic events work.

 They just seemed content to understand and remember things around them. If they could have changed something, they would have acted as best they could, but they had already figured things out, so they didn't show much agitation or take any particular action in contact with some of the surviving Roswell aliens. Their behavior seemed very strange, but it wasn't that officers couldn't find their human side. They were fully communicative beings, and they wished their ancestors good luck.

FARAS-1947 : The Roswell Descendants and Their Message from 1947

Date: August 14, 1947

 This report synthesizes the extraterrestrial Descendants' narrative concerning the past, present, and future of human civilization, their own development, technological advancements, and the predicaments they face. Their revelations illuminate a startling trajectory of human evolution and transformation.

Historical Disclosure:

 The beings narrated a tale of humanity that stretches far beyond our current understanding. They spoke of a unified global government that, after a period of prosperity and crises, ushered humanity into a prolonged era of peace. During this period, humanity embarked on a path of self-evolution and cosmic colonization, spreading across the cosmos in pursuit of sustainable prosperity.

Stagnation and Despair:

Intervention in Time:

 In a bid to further advance their civilization, they came up with an audacious idea—to intervene in their past and direct their own evolution. While this idea seemed preposterous, they soon discovered that they had already intervened in their timeline, thousands of years in the past. In essence, they were set to undertake a mission they had already completed, and the effects of which they were already experiencing.

Acceptance and Persistence:

 Recognizing their inability to control the past, present, and future completely, they conceded to the inescapability of certain aspects of their existence. However, they remained active agents, carrying out their mission in line with several protocols. These included minimizing their exposure to beings of the past and ensuring the beneficial influence on their lives. The most critical protocol was the prohibition of disclosing future events to the past.

Current Scenario:

 The beings' revelations fundamentally challenge our understanding of time, free will, and our place in the cosmos. This information, though perplexing and disruptive, presents an opportunity to reassess our perspectives on life, existence, and the universe. The question of how we navigate this newfound knowledge is a complex task that requires a careful, interdisciplinary approach that balances scientific inquiry, philosophical understanding, and ethical considerations.

Quantum Blueprint of Universal Knowledge:

 The extraterrestrial entities, survivors of the Roswell crash, expressed a key motive for their mission - to pass on their consolidated knowledge of the universe to humanity. However, they did not intend to hand over this information readily. They presented a set of conditions before the disclosure of this knowledge. They have encrypted all the knowledge they intended to impart into a string of digital characters, a code, to be precise. This code could only be deciphered when humanity has successfully constructed a basic quantum computer and has navigated through several crises to form a united global government.

 They gave the officer in charge something like a compact disc that they had been making in advance, and the instructions that told him how to decrypt and operate it were elaborated directly on paper.

 The extraterrestrials underlined the significance of these conditions - they would inevitably lead to human unification and collaboration, steering clear of destructive wars. They confessed that they were already aware of the dazzling progress that humanity had made over the past centuries, thanks to this knowledge. However, they also admitted the disappointment and despair they faced when realizing there was nothing left to accomplish.

 Expressing regret over the inability to encounter other alien life forms and the laxity of their information security protocols as a consequence, the extraterrestrial beings started to deteriorate one by one. Their lifespan was limited by their bio-suits, and as the end neared, they accepted their fate with solemn grace.

 As they began to fade, they left behind the encrypted knowledge, a testament to their existence and a beacon for human advancement. Even in the face of death, their faith in humanity’s potential to grow and evolve was unwavering, their legacy and the mission of knowledge transfer was proof of this belief.

 The person who obtained this information, which was leaked during the digitization of the archives associated with the Apollo program, left some notes.  "If you look closely at the records leaked through PROMPTYPER ®, you can assume that somewhere underground in Area 51 is something like a little compact disc with this cosmic knowledge. But it's just an interesting inference. There's no telling if it's really there, or if it' There could be a few insignificant spaceships, a bio suit worn by aliens, and so on. Where the important disk is located seems to be classified as the most important information. The whereabouts of it are unknown."  "We are unable to disclose the full text of this report format document, so we have asked GPT for a summary. I hope you enjoyed reading it."

FARAS-1947 : 

Interaction with Extraterrestrial Lifeforms from the Roswell Incident

Date: August 7, 1947

 This report details the surprising interaction with the extraterrestrial beings who survived the FARAS-1947 crash. Remarkably, these beings showed not only an ability to understand and speak English but also demonstrated an array of behaviors similar to human characteristics.

 Upon discovery, these beings were compliant and cooperative. Their capability to communicate in English came via small micro-speakers embedded on the surface of their biological spacesuits. The sophistication of these micro-speakers led some scientists to initially suspect the use of telepathy.  The beings wore what appeared to be biological spacesuits but without helmets. They said they abandoned their helmets to comply with their security protocols. But at the same time they added that if we wanted to find the helmet, we could. Despite not wearing helmets, they showed no signs of respiratory distress. However, unlike humans, they did not appear to respire through a mouth or nose, but rather through an enclosed system provided by the suit, located beneath their necks.  Their eyes appeared to be largely black, akin to sunglasses. Upon closer observation, it was found that beneath this black exterior, they possessed eyes similar in form to human eyes. They described this aspect of their appearance as part of a biological containment system. When scientists illuminated their eyes, they could see tiny lights floating under their outer black eyes.

 While generally expressionless, these beings occasionally displayed human-like emotions, such as sadness, light-hearted laughter, and smiles. Their ability to converse in English led to a degree of skepticism among some observers, who questioned whether this could be an elaborate prank.

 They explained that they had deliberately crashed to bypass certain protocols of importance to them. Despite some suffering severe injuries during the process, they indicated they had foreknowledge of the outcomes before the incident occurred.  The beings suggested that their survival was limited to the lifespan permitted by their biological spacesuits. They proceeded to share specific pieces of information they wished to impart before their anticipated demise. However, due to the sensitive nature of these discussions, they cannot be disclosed in this document.

FARAS-1947 : 

Extraterrestrial Spacesuit Helmet Recovered from Roswell UFO

July 30, 1947

 This is a summary from the leaked FARAS-1947 document, which covers a different type of helmet than mentioned in the previous report.

 The helmet, distinctly larger and more streamlined than the previous one, is characterized by its robust, chalky white exterior. Unlike the previous helmet, which featured a large, transparent visor for easy observation of the surroundings, this helmet is equipped with a considerably narrower visor in the frontal area, suggesting a greater emphasis on functional attributes such as protection and internal heads-up display (HUD) capabilities.

Specification Analysis:

 This helmet's design and features could indicate that it was used for more specialized activities, potentially combat. The narrowed visor and the presence of the internal HUD suggest that it was built to prioritize user safety and information feed in high-risk situations.

 The connector terminal on the left side could be used for attaching various equipment or accessories, although without the actual components for examination, the specific purpose of this terminal remains speculative.

 Aliens appear to have tried to thoroughly destroy accessories connected to the helmet terminals and hide or dispose of helmets if possible to comply with their own technology leak prevention protocols.

Conclusion:

 The discovery of this advanced helmet adds another layer of complexity to the ongoing FARAS-1947 investigation. Its unique features hint at a more specialized use, possibly combat-related, underscoring the technological prowess of the extraterrestrial civilization that created it. Further studies and continued analysis are required to fully understand the nature and purpose of this artifact.

FARAS-1947 : 

Extraterrestrial Spacesuit Recovered from Roswell UFO Incident Debris

July 28, 1947

 Approximately four weeks following the UFO crash incident in Roswell in June 1947, a local farmer, Mac Politz, discovered what is presumed to be an extraterrestrial spacesuit on his property. FARAS-1947 report presents a detailed description and specification analysis of the discovered spacesuit.

 The spacesuit appears to be made of a composite material, with a particularly noticeable rounded visor. On each side of the helmet, there are plugs, presumably for connecting auxiliary devices. These might have been used to expand the functionalities of the spacesuit or to operate individual equipment.  On the interior hood of the visor, at the forehead section, there is a symbol that resembles a logo. This could potentially be an identification mark of the extraterrestrial civilization that manufactured the suit.  On the front of the suit, symbols similar to the alphabets 'O' and 'X' are drawn. While these could potentially be interpreted as the language of the extraterrestrials. It is hoped that the meaning can be grasped through the interpretation of the semiotic structure found in spacesuits and other recovered items.  Another notable aspect is the third sleeve emerging from the left side of the suit. This sleeve is presumed to be for an auxiliary arm, suggesting that the extraterrestrials could perform various tasks more efficiently.

Specification Analysis :

 The visor shows signs of wear and tear, indicating that the extraterrestrials used this spacesuit for a considerable period of time. This evidences the superior durability of the suit and is representative of the advanced technological capabilities of the extraterrestrials.

 The spacesuit itself provides basic protection, including thermal regulation and pressure maintenance. However, auxiliary components that would have been originally attached to the plugs on either side of the helmet are currently absent. It is inferred that these components would have performed a variety of functions, though it remains speculative without the actual components for examination.

 The extraterrestrial spacesuit demonstrates not only high technological capabilities and sophisticated design but also offers a unique insight into our understanding of extraterrestrial life and its advanced civilization. Further studies are necessary to fully comprehend the potential implications of this discovery.

 It has been treated as essential data for the design and establishment of the Apollo program and is believed to have been leaked through the PTAC(Promptyper Archive Company) involved during the planning period.

 The movieization of Japanese comics has disappointed many people. What could be the cause? Maybe it's because it's not easy. Manga and Movies have different expressions.

 I don't know what these images would look like to anyone else who likes Dragon Ball series.

 I used a AI Model for realistic expression, and additionally used LoRA to help each character expression. and I asked the CHAT GPT to produce a fictional actor's name and very small miscellaneous letters written under the movie poster. After that, I worked on Photoshop to remove the flaws in the ai picture and make it look better.

 I made a Live-action movie poster of Dragon Ball Z using AI-generated images and Photoshop.

 This is a fan art. I also hope this legendary manga to be made into a live-action movie. Rather than filming an actor's acting, I think we need CG that cannot be distinguished from the actual situation. Like Avatar and Alita : Battle Angel, for example.

 Kuririn is known as the strongest Earthman. Nevertheless, I remember that it was painted as a human symbol of trying and overcoming despite clear limitations.

 I think Kuririn is the main character who preached the importance of effort to children. There are many natural geniuses like alien, Goku in the world, but they have shown that even with ordinary skills like Kuririn, they can stand shoulder to shoulder.

 above all else. He won the heart of Android 18, and married her. What does this say? Having a good wife, more than anything else, means a true winner in life.

 I made a Live-action movie poster of Dragon Ball Z using AI-generated images and Photoshop.

 This is a fan art. I also hope this legendary manga to be made into a live-action movie. Rather than filming an actor's acting, I think we need CG that cannot be distinguished from the actual situation. Like Avatar and Alita : Battle Angel, for example.

 I think Bulma has shown a versatile and capable woman image in Dragon Ball series. The technologies she uses, such as miniature capsules (Hoi Poi Capsules) and Dragon Ball Tracker, were extraordinary, and it was a great pleasure to see them work in animation.

 And Bulma was one of the first characters to introduce me to the concept of "pretty woman" at the time. Let's stop discussing whether this is okay. We'll find out about this one day anyway and find it ourselves. Animation just moved it up a few months to a year. Ha Ha.

 I made a Live-action movie poster of Dragon Ball Z using AI-generated images and Photoshop.

 This is a fan art. I also hope this legendary manga to be made into a live-action movie. Rather than filming an actor's acting, I think we need CG that cannot be distinguished from the actual situation. Like Avatar and Alita : Battle Angel, for example.

 When I remember Goku, the first thing that came to my mind was the disappointment of not being able to use Kamehameha.  The concept of a character that grows over time made Goku come to me as a really vivid being in my childhood.  I remember Goku before the Dragon Ball Z series was pretty funny, but after the Z series the atmosphere changed very scary, 'is this really a children's animation?' I also had this question. Dragon Ball Z was considered very violent, so even my parents thought it was a cautionary animation. But now that I think about it, what Goku has shown in Dragon Ball has had a tremendous impact on each of us growing up. Fighting to protect the Earth and friends, and enjoying the battle in the process, sometimes trying to endure and grow again even if can't enjoying it. And achieving growth and eventually achieving goals. These were things that we couldn't easily learn in school.

 I made a Live-action movie poster of Dragon Ball Z using AI-generated images and Photoshop.

 When I was a child, the concept of being an artificial person itself felt strange, and it felt very scary to have numbers on their names.

 I actually barely remember the process of her pairing up with Curirin. I was attending an academy at the time, so I couldn't remember the contents in between. I think I'll have to watch it again someday. In the process of turning us humans into humans, I think reading comics and manga well also plays a pretty important role. Much of our childhood memories are cartoons, manga, and animations.

 I made a Live-action movie poster of Dragon Ball Z using AI-generated images and Photoshop.

 This is a fan art. I also hope this legendary manga to be made into a live-action movie. Rather than filming an actor's acting, I think we need CG that cannot be distinguished from the actual situation. Like Avatar and Alita : Battle Angel, for example.

 For us in our childhood, Vegeta was a terrible villain at first, but it became more and more like a symbol of 'Tsundere'. It was quite an impressive memory for me as a child.

 I thought that Saiyan's hairstyle would be very strange when imagined as a live action movie. But once I've tried it, it's within the bounds of recognizing it as an existential hairstyle.

 *To mention the meme It's over 9000, '8,000' is the official figure. (in japanese version.)

 I made a Live-action movie poster of Dragon Ball Z using AI-generated images and Photoshop.

 This is a fan art. I also hope this legendary manga to be made into a live-action movie. Rather than filming an actor's acting, I think we need CG that cannot be distinguished from the actual situation. Like Avatar and Alita : Battle Angel, for example.

 Frieza remains one of the most terrifying villain in my memory. I rarely saw Dragon Ball Z on the air to attend the academy on time, but I don't know if this Frieza, who appeared in his spare time, was a man or a woman, and I was really scared to see a huge force coming out of his fingers.

 And as we'll find out later, Frieza is obviously a villain, but he's quite gentle and funny. Decades later, many people were reevaluating Frieza (such as using honorifics for subordinates and enemies)  It is hoped that in order for today's growing children to be able to see Dragon Ball again, one day they will have to expand to other media or remake it.

Ornithologist, Edward S. Gray (1935 ~ ?)

 Ornithologist Edward S. Gray, is known for his landmark discovery of the Solo Giant Feather Bird, known as "Monoptilornis Gigantipluma".

 His finding sent ripples through the world of ornithology; however, due to no subsequent sightings of this bird, his claim remains a subject of intrigue and skepticism within the scientific community.

a bird he claims to have discovered and studied ;

Monoptilornis Gigantipluma

 He later became famous for discovering Cyanophilus Twitterus, a new bird known as the "Twitter Bird."

Cyanophilus twitterus, is easily identifiable through its unique blue feathers and its constant tweeting sound. These birds typically chirp all day long, which can be associated with communication, alarm signals, or mating behaviors.

 Ornithologist Edward S. Gray discovered that these birds show a strong preference for all shades of blue. Dr. Gray found that these birds even prefer humans dressed in blue and do not shy away from approaching them.

 This discovery garnered high interest not only in the academic community but also among the general public. People amusingly referred to this bird as the Twitter bird, creating a buzz for a while.

 This bird made him famous by appearing in various bird documentaries, but he couldn't give up his dream. After going on an expedition alone to the jungles of South America to find and study Monoptilornis Gigantipluma again, he disappeared.

The Forgotten Vision of the Electro-dynamic Human Harnessing Apparatus (EHHA)

This piece unravels the often overlooked aspect of Nikola Tesla's pioneering works, the early designs of an Exoskeleton suit, revealing how this vision from the 1890s fell into obscurity yet subtly influenced the path of human augmentation technologies today.

 In the later part of the 19th century, the name Nikola Tesla was synonymous with bold innovations, dazzling demonstrations, and, most importantly, a future shaped by a novel understanding of electricity and electromagnetism. However, a lesser-known aspect of Tesla's expansive body of work was his early designs for an Exoskeleton suit, which he worked on in the year 1893.  Tesla, a man with an extraordinary vision, recognized the potential in the field of human enhancement technology. He foresaw a future where humans could achieve extraordinary physical feats through a fusion of technology and biology. He drew up blueprints for an electromagnetic powered exoskeleton suit. He called it the "Electro-dynamic Human Harnessing Apparatus" or EHHA.  In Tesla's own words, "The EHHA is an application of my studies into the nature of electrical and magnetic fields, a machine designed to enhance the natural abilities of a man." The concept behind the EHHA was a suit powered by a compact electrical generator, the same alternating current (AC) system that Tesla had championed and which would soon power the world. The suit was designed to provide increased strength and speed, along with enhanced durability, to the wearer.  However, Tesla's vision was far ahead of his time. The technology required to build such a suit simply did not exist in the 1890s. The miniaturization of power sources, the development of lightweight yet durable materials, and the computing capabilities to manage such a system were all beyond the capabilities of the period.  Also, the world's focus was drawn to his pioneering work in electrical distribution and radio wave technology, which had more immediate applications and monetary potential. Thus, the EHHA was deemed as an impractical fantasy and was soon overshadowed by his other groundbreaking inventions.

 Over the years, the EHHA's designs were relegated to the back pages of Tesla's expansive body of work. His more immediately practical inventions like the AC motor and radio technology took center stage, while his more speculative and futuristic designs fell into obscurity. Tesla's death in 1943 further pushed the concept of the EHHA into the realm of forgotten ideas.  However, the idea of exoskeleton suits was not completely abandoned. They resurfaced again during the late 20th century, with advances in miniaturization, battery technology, and artificial intelligence making it more feasible. Despite the early designs being forgotten, Tesla's vision of a human-augmenting exoskeleton suit, in many ways, prophesied the path of technological development.  Today, as we look at the emerging technologies in the fields of wearable robotics and human augmentation, it is fascinating to think that the seeds for these ideas were planted by Nikola Tesla over a century ago. Although his initial design for the EHHA was lost in the pages of history, its spirit lives on in every piece of technology that seeks to augment human potential.

Prompt:

high quality, masterpiece, 1940s \(style\), real photo, old photo, torn photo, damaged photo, crumpled picture, greyscale, jpeg artifacts, lowres, low quality, rf1exo, exoskeleton, machinery, rf1, <lora:RetroFuture_rf1_V1_Soft:0.2>, <lora:Exoskeleton_ex1_V1_Soft:1>

Negative prompt: 

(semi-realistic, cgi, 3d, render, sketch, cartoon, drawing, anime, mutated hands and fingers:1.4),

Steps: 25, 

Sampler: Euler a, 

CFG scale: 6, 

Seed: 1663020950, 

Size: 384x512, 

Model hash: e6415c4892, 

Model: realisticVisionV20_v20, 

Denoising strength: 0.45, 

Clip skip: 2, 

ENSD: 31337, 

Hires upscale: 1.5, 

Hires upscaler: Latent, 

Eta: 0.2

AI baby bunny :D