uptime 381h49m · built 2026-09-22T05:35:18Z · requests 68557
Quick run — for custom batches, add prompts on the Prompts page and Start. Story templates live in meta/story-templates.txt.
ACT II — THE CONTROL ROOM — (watching other people fight:1.3) (the same recurring cast, consistent faces, bodies and clothing across every image, identical character design:1.2) Featuring Sergeant Kade, armourer, forearms like winch cable, a welding mask pushed up on the forehead, drums of ammunition stacked behind; also Lieutenant Dana Sorren, frame pilot, a flight suit with three kill marks, hair cropped under a helmet, a photograph taped inside the cockpit; and at the back of the room, Corporal Bright, trainee pilot, too young for the suit, a helmet two sizes large, chewed fingernails on the control sticks. a gunner checking the turret travel by hand, in the darkened room with the map projected on the wall. No light but sodium lamps hazing the apron, and the room reads proud of a hard-won frame. (Dark room lit by monitors, backs of heads, one pilot's face). a 14mm with the screens wrapping the room; cockpit framing with instruments crowding the edges; graded ice blue, steel and orange lamp. Watching a screen that is not theirs: the one who thinks the war is already lost. Written down but never reported: a drink taken at an hour nobody saw. Across the headsets: a hand on a shoulder instead of a sentence. BREAK a boarding ladder rung huge at the edge; on the tiled floor, mud caked on frame feet, oil pooled in a drain trench; and going cold on a desk, fitters eating on a crate, a rat along the cable trays. Filling the far wall: the city skyline smoking. The turn: an order given twice and then withdrawn. BREAK a pilot who has not slept, a replacement pilot nobody has met, a rotation list with the same names on it. BREAK Reflected in the screens: light running along a rail, the polished brass of a worn instrument bezel, hot metal spitting sparks, chrome catching hangar light. (mecha control room, screens, cinematic:1.2) ice blue, steel and orange lamp. Avoid text, lettering, watermark, signature, extra fingers, deformed hands, extra limbs, blurry, low detail, jpeg artifacts, organic monsters, medieval weaponry, fantasy magic, hand-drawn linework. · queued — waiting for the driver
prompt: There is nothing hurried about it. A bathtub turned into a tiny pond for a flotilla of ducklings, a crew of guinea pigs in glossy tri-color coats with wispy soft fur sticking up every which way — pink noses wiggling with curiosity, sleepy half-lidded eyes barely staying open in velvety chocolate. The smallest one stares right down the lens, unblinking They are queuing for the water bowl in polite chaos, and a scrap of yarn trailing behind like a scarf, as though the world depends on it. They want more of everything. tumbling over one another in a rolling scramble and then, ears rotating like tiny radars. a flicker of pure mischief in their eyes, disarmingly sweet, utterly absorbed, the contented hum of a well-fed crowd escaping them. sparkling rim light dancing off dew drops a few petals drifting down from the windowsill a dragonfly hovering like a tiny helicopter a window box jungle of trailing ivy; a warm afternoon with a light breeze, early evening with the lights just coming on. the blurred shapes of a big friendly kitchen The mood is dreamy, drifting in the warm light; the air is the cozy weight of a house that smells of hay and bread. Palette: silvers and slate with one ginger exception. Shot as a compressed pile with layers of warm fur — a flipped 24mm flat against the floor, 16mm f/2.8 with the crowd looming huge, the front row pin-sharp, the pile melting into cream, hay speckles and seed dust on warm coats, a matchbox doorway, a shoelace highway.
exact prompt sent: imagine There is nothing hurried about it. A bathtub turned into a tiny pond for a flotilla of ducklings, a crew of guinea pigs in glossy tri-color coats with wispy soft fur sticking up every which way — pink noses wiggling with curiosity, sleepy half-lidded eyes barely staying open in velvety chocolate. The smallest one stares right down the lens, unblinking They are queuing for the water bowl in polite chaos, and a scrap of yarn trailing behind like a scarf, as though the world depends on it. They want more of everything. tumbling over one another in a rolling scramble and then, ears rotating like tiny radars. a flicker of pure mischief in their eyes, disarmingly sweet, utterly absorbed, the contented hum of a well-fed crowd escaping them. sparkling rim light dancing off dew drops a few petals drifting down from the windowsill a dragonfly hovering like a tiny helicopter a window box jungle of trailing ivy; a warm afternoon with a light breeze, early evening with the lights just coming on. the blurred shapes of a big friendly kitchen The mood is dreamy, drifting in the warm light; the air is the cozy weight of a house that smells of hay and bread. Palette: silvers and slate with one ginger exception. Shot as a compressed pile with layers of warm fur — a flipped 24mm flat against the floor, 16mm f/2.8 with the crowd looming huge, the front row pin-sharp, the pile melting into cream, hay speckles and seed dust on warm coats, a matchbox doorway, a shoelace highway.