Luvbite 的嗓音很令人难以抗拒欸 😘 然后小Q的雪白巨乳永远在一旁晃来晃去吸引目光。 Luvbite has an irresistible sultry voice. 😘 And Q’s gigantic t-ts are always somewhere in the frame catching attention. 完整版主页简介链接进群观看

Luvbite 的嗓音很令人难以抗拒欸 😘 然后小Q的雪白巨乳永远在一旁晃来晃去吸引目光。 Luvbite has an irresistible sultry voice. 😘 And Q’s gigantic t-ts are always somewhere in the frame catching attention. 完整版主页简介链接进群观看

参考之前视频分享给大家一个首帧图提示词场景角色什么的都可以改动 epic cinematic boss showdown first frame, adult East Asian female warrior with long silver-white hair, back facing camera, standing in the center foreground, holding a massive ancient relic greatsword, sword tip angled down to the lower right, low combat stance, black and silver armored outfit, short battle jacket, tactical skirt panels, leather straps, heavy boots, realistic cloth and hair movement a colossal abyssal frost beast stands in the center background, about 20 times taller than the heroine, left claw raised high, body made of black bone armor, ice-covered obsidian shell and ruined mechanical plating, glowing chest core, terrifying scale ruined frozen wasteland, cracked glacier ground, drifting snowstorm, black rocks, frost fog, energy fissures in the ground, low sun on the left creating strong golden backlight, broken ice gate and ancient frozen ruins on the right, abandoned signal towers on the left in the distance, strong perspective, clear foreground and background separation, cinematic low angle, ultra detailed, UE5 realism, next-gen film quality, no text, no UI, no watermark --ar 16:9 --style raw --stylize 150

美女看多了会不会审美疲劳呀 ❓😮‍💨 这个美女还可以不😄 GPT- image 2 prompt 👇 Create a photorealistic 9:16 full-body smartphone portrait of an exceptionally beautiful adult East Asian woman in her mid-20s, standing in a modern apartment living room. She has a delicate oval face, large almond-shaped dark-brown eyes, subtle pink eye makeup, rosy cheeks, a small straight nose and softly parted glossy pink lips. Her expression is cute, slightly surprised and quietly confident as she looks directly into the camera. She has shoulder-length straight dark-brown hair with a natural side part and loose strands framing her cheeks. Her head is completely uncovered: no hat, cap, headband or hair accessories. She has a slim yet dramatically curvy hourglass figure with a full bust, narrow waist, rounded hips and thick shapely thighs. She wears a fitted pastel-pink halter mini dress made from opaque stretch fabric, with a low rounded neckline, small gold buttons, high-cut side openings at the waist and a tightly ruched mini skirt with long adjustable drawstrings. Add a delicate silver pendant necklace, a thin bracelet and a decorative white satin bow garter around one thigh. Recreate the pose: she leans slightly toward the camera with her chest lifted and hips shifted to one side. Both elbows angle outward; one hand rests firmly on her waist while the other lightly grips the side of the ruched skirt. Frame her from the top of her uncovered head to just below the knees. The setting is a bright modern living room with a beige sofa, neutral walls, a large framed landscape painting, recessed ceiling lights and a softly cluttered ottoman. Cool bluish daylight mixes with warm indoor light, creating subtle blue and pink reflections on her dress and skin. Casual social-media smartphone photography, slight wide-angle perspective, natural skin texture, realistic fabric tension and folds, mild phone-camera softness. No anime, no plastic skin, no exaggerated facial proportions, no distorted hands, no extra fingers, no text, logo or watermark.

《吻我之前，先把灯关了》 "Turn Off the Lights Before You Kiss Me" 据专家研究分析，恐怖片和爱情动作片，好莱坞惊险片都能刺激大脑分泌多巴胺，我现在把它们都放在一起了，那是不是应该双倍快乐来了。 According to expert research and analysis, horror movies, romantic action films, and Hollywood thrillers can all stimulate the brain to release dopamine. Since I’ve combined them all together, does that mean I’m in for a double dose of happiness? grok imagine prompt: "Turn Off the Lights Before You Kiss Me" 15 seconds, 9:16 vertical format, first-person perspective, recorded on a smartphone, single continuous take. [Realistic Cinematography] The footage is captured entirely by the rear-facing camera of the smartphone held by the male protagonist; no other cameras are involved. The male protagonist holds the phone in his right hand, using the primary (1×) rear lens—providing a field of view equivalent to approximately 26mm—at 1080p resolution and 30fps. The device is positioned between his chest and chin (at a height of roughly 1.45 meters), aimed toward a woman standing in the bathroom doorway. His left hand occasionally enters the frame to operate the light switch. The smartphone itself—its body, back panel, camera module, screen, or flash—is never visible in the shot. Only the light cast by the phone onto the subject, her clothing, and the walls can be seen. There are no mirrors present; this is not a mirror-based selfie. The footage retains the raw, authentic texture of smartphone video—no beauty filters, color grading, or cinematic effects. Skin details such as pores, fine beads of sweat, stray hairs, and natural skin-tone variations are visible. There is slight digital noise in the shadows, and brief motion blur occurs during rapid hand movements or moments of physical instability. Subtle camera shake stems from the holder’s breathing and wrist movements. Changes in proximity are achieved through actual physical steps or the subject pulling the holder closer; there is no digital zooming, automated panning, reverse-angle cutting, or slow motion. The focus remains primarily on the woman’s face, with only momentary hesitation when the distance shifts abruptly—there is no persistent out-of-focus effect. [Characters and Attire] The woman in the doorway (@80130fc6-f744-4f61-9faf-f630a1eb8638) is 28 years old. Her appearance—including her black hair styled in an updo, purple floral hair accessory, earrings, long-sleeved Japanese-style (wafuku) garment in purple (@d7529a1b-8cdb-41e5-816e-c59aa4051803), and dark-colored *obi* (sash)—is consistent with the video uploaded by the user. Her clothing remains intact; the neckline stays in place, and she does not scratch her own chest or tug at her garments. Leaning slightly against the doorframe, she keeps her shoulders relaxed and lowered, her neck elongated, and her legs positioned one in front of the other—creating a natural, subtle S-curve in her posture. She gazes toward the male protagonist with half-lidded eyes and a faint, inviting smile, as if beckoning him closer. From the very beginning, her right hand holds a small pinch of fabric from the male protagonist’s left cuff. This point of contact—her right hand gripping his left cuff—is situated in the lower-left portion of the frame and must remain visible. Because she is only holding the fabric rather than clamping down on his wrist, he retains the freedom to lift his left hand and operate the light switch. Initially, her left hand is concealed between her body and the doorframe. The grayish-white fingers that appear later belong to this same hand; the creature possesses only two hands throughout the entire sequence. The real girlfriend is located in the hallway behind the male protagonist. She is present only as a voice calling out from off-screen; she is never shown on camera, and no second female face appears. 【Environment and Space】 The scene takes place at the entrance to a bathroom in an old apartment building late at night. The setting—featuring aged off-white tiles, a worn wooden doorframe, a standard wall-mounted light switch, and a towel hanging inside the bathroom—conveys the lived-in, weathered feel of an old residence, rather than a ruin. The woman is positioned slightly to the right of the frame’s center, with the open bathroom door behind her. The light switch is located on the wall to the left, approximately thirty centimeters from the male protagonist’s left hand. It is visible from the start and does not suddenly appear later. Behind the male protagonist lies a hallway. The bathroom door remains open inward; the camera angle stays consistent throughout, the door does not move on its own, and the room’s layout remains unchanged. At the start, the woman’s face is about sixty centimeters from the camera. After she gives a gentle tug on his cuff, the male protagonist shifts forward slightly, reducing the distance to approximately forty-five centimeters. The distance closes further only during the final dragging motion. 【Ambient Lighting】 At the beginning, a warm-white overhead light in the bathroom is on, illuminating the woman’s head, shoulders, and the doorway, while the hallway remains dim. The LED flash on the back of the smartphone is illuminated from the very first frame; it remains on and in the same position throughout the entire 15-second duration. Up close, the face is illuminated by the harsh, direct light of a standard mobile phone; small shadows form beside the nose and under the chin, and there are localized highlights on the fabric of the clothing—no artificial "beauty" fill lighting is applied. The only light the male lead turns off is the overhead bathroom light. Once the overhead light is extinguished, the bathroom background remains dim and does not brighten on its own. The phone’s light continues to illuminate her face and the hand gripping the sleeve cuff. The camera’s auto-exposure adjusts only slightly, failing to brighten the dark bathroom to a daylight-like state. When the "mask" (the outer layer of the face) is peeled back, it is illuminated by the same mobile phone light as the rest of the face. The space deep behind the shell remains dark, and the exposed eyeball shows only natural, subtle reflections—it does not emit its own light. [The "False Face" Effect] The horror stems from a thin, pliable, artificial layer being peeled back from within—it is not a case of natural skin being torn or a mouth stretching into an impossible, elongated shape. A grayish-white hand—with only two or three fingertips visible—emerges from the corner of her mouth, hooks onto the lower edge of the "mask," and peels half of the face upward and to the side. The "mask" has a distinct thickness and flexibility; the cheek and part of the area beside the nose fold back, rather than stretching into long, tubular, funnel-like, or tongue-like shapes. Behind the peeled-back section lies a deep, dark cavity containing a normal-sized human eye, which turns to look directly at the camera. The other half of the woman’s face remains intact, establishing the premise that there is an artificial layer on the outside, with something else concealed beneath it. There is no blood, gore, exposed muscle, black ooze, or liquid-like melting effect. The grayish hand does not reach in from off-screen; its fingertips must first emerge from within the corner of the mouth. [Strict 15-Second Timeline] 0–4 Seconds | Gripping the sleeve, an invitation to draw closer. The woman leans sideways against the doorframe, looking first into the male lead’s eyes, then glancing briefly toward the light switch on the left. With her right hand, she grasps the male lead’s left sleeve cuff—positioned at the bottom-left of the frame—and gives it a gentle tug toward herself. The fabric of the cuff pulls taut, prompting the male lead to take a small step forward; the camera moves in tandem with his approach. She lifts her chin slightly and says in a low voice: “The lights are too bright.” Her tone is intimate, with a suppressed smile playing at the corners of her mouth. There is no sign of a monstrous visage, nor does she glance toward her own mouth beforehand. Her right hand continues to hold the same spot on his sleeve; she does not shift her grip to his lapel. 4–7 seconds | Flipping the switch; the background darkens The male protagonist reaches out with his left hand toward a light switch already visible on the left side of the frame. She keeps her grip on his left sleeve, causing her right arm to extend naturally as he moves—she neither lets go nor suffers any "clipping" (graphical glitching). His fingertips press the switch, producing a distinct *click*. The bathroom overhead light goes out, and the tiles, towels, and the space behind the woman grow noticeably darker. Her face remains illuminated by the fill light from a mobile phone. The male protagonist’s left hand pulls away from the switch and returns to the space between them. The camera tilts slightly with the movement, then steadies. 7–9 seconds | A warning from behind From about two meters behind the camera, the man’s actual girlfriend calls out urgently, in an identical tone: “Don’t turn off the light!” The woman in front of him says nothing; her lip movements do not correspond to this warning. As the male protagonist begins to turn, the camera shifts slightly to the side—but the hand gripping his sleeve suddenly tightens, holding him in place. Her smile vanishes. Her eyes glance past the camera toward the space behind the man, then return to the lens. Her knuckles whiten as she grips the sleeve, causing deeper creases to form in the fabric. 9–12 seconds | Half of her face is peeled back from within Two or three grayish-white fingertips emerge from the inner corner of her mouth. The fingertips hook onto the lower edge of the "shell" of her face, slowly peeling it upward and outward. The corner of her mouth and her cheek—forming a single, thin, pliable layer—fold back together; the lips do not stretch or elongate independently. Half of the artificial face is lifted away, revealing an eye in the darkness beneath that shifts to look directly at the camera. The intact half of her face remains visible alongside the eye revealed from within. For a brief moment, the camera steadies, allowing at least half a second to take in the details: Fingers emerge from within the face; the "shell" of the face begins to fold back, revealing another eye underneath. The woman’s right hand maintains a firm grip on the man’s left cuff—she cannot let go, even as she peels back the face. The only sounds are the dry, grating friction of the mask and the man’s sudden, sharp intake of breath. 12–15 seconds | The grip shifts into a forceful tug. The man immediately grabs the woman’s right wrist—the one holding his cuff—and tries to pry it away. The point of contact is clearly visible; he does not reach for the grey, peeling fingers. The creature’s right arm suddenly retracts toward the bathroom, yanking the cuff hard. The sequence must be clear: The cuff goes taut → the man’s left arm is pulled straight → his body stumbles forward → the camera (held in his right hand) is dragged closer. The camera moves from about 45 centimeters away to roughly 15 centimeters, accompanied by a sudden dip and tilt—this is not a smooth, controlled zoom. The partially peeled-back face, the unblinking eye beneath, and the greyish-white fingers now dominate the frame. The other half of the face remains "normal," preserving its original appearance. In the final half-second, the man collides with the wooden doorframe, producing a dull thud. The camera jerks to the side; the edge of the facial shell sweeps across the lens, partially obscuring the view. The recording ends abruptly while the struggle is still underway. No fade to black, no additional dialogue, and no new creatures appear. [Ambient Audio] Captured via a mobile phone microphone: close-range speech, the friction of fabric at the cuff, the sound of a light switch, the hum of a bathroom exhaust fan, the distant ambient noise of the city, heavy breathing, and the final impact against the doorframe. The exhaust fan continues to run independently; it does not stop when the overhead light is switched off. The background sounds maintain a sense of spatial distance—they are not suddenly muted for the sake of a "jump scare." The opening line, "The light is too bright," comes from the woman in front of him. The mid-sequence line, "Don't turn off the light," clearly originates from behind the man; the woman in front does not move her lips. There is no further dialogue—no sinister laughter, voice-over narration, heartbeat sound effects, or pre-recorded horror audio cues. [Mandatory Continuity] The only camera is the mobile phone through which the audience is viewing the scene; the phone itself is never visible within the frame, nor is there any additional camera operator. The male protagonist holds the phone in his right hand; he uses his left hand to flip the light switch, then immediately grabs the monster’s right wrist. The monster’s right hand remains firmly gripping the same spot on the male protagonist’s left cuff; its left hand lifts a portion of the "false face" from underneath. Do not generate a third hand, swap left and right hands, or have the monster’s hand shift its grip from the cuff to the female protagonist’s own clothing. Once the bathroom light is turned off, it remains off; the mobile phone’s light source (fill light) stays on. The positions of the door and the light switch remain fixed. Changes in distance must be achieved through physical movement (stepping or dragging); do not use digital zoom. The "false face" should be lifted, not stretched like rubber; do not generate long tongues, tubular mouths, an elongated jaw, or a melting face.

兄弟们，不得了了，刚才有社群有同学反馈Lovart 里面Seedream 5.0 Pro 可以生成无审查大尺度图片，试了下真的行啊，太离谱了啊，草台班子就是草台班子。 提示词 A cinematic low-angle editorial portrait of an adult East Asian female model seated extremely close to the camera, wearing elegant dark charcoal-gray lingerie. Her legs dominate the extreme foreground, creating dramatic wide-angle foreshortening and powerful near-to-far perspective exaggeration. The closest parts of her legs fall into soft optical defocus and creamy foreground bokeh. Her torso leans backward in a relaxed, self-possessed pose, head slightly tilted, distant tranquil gaze, long dark tousled hair, muted deep-red lips, natural skin texture, subtle visible pores, delicate subsurface scattering, realistic warm skin tones. Behind her is a gigantic seamless full-color semi-realistic anime mural covering the entire wall. The mural depicts an extremely dense ensemble of numerous clearly adult female characters portrayed as artistic nude figure studies. Dozens of adult anime women are packed tightly together in one continuous wall-to-wall composition, with overlapping bodies, intertwined silhouettes, flowing hair, shoulders, backs, waists, hips, arms, and legs forming a complex organic visual rhythm. The illustrated women have sophisticated semi-realistic anime anatomy, mature adult facial features, elegant body proportions, natural anatomical structure, refined facial rendering, expressive eyes, detailed hair, painterly skin shading, and subtle cel-shaded contours. Their poses feel calm, sculptural, and editorial rather than erotic. Hair, hands, arms, overlapping bodies, cropped framing, fabric fragments, and deep shadows naturally obscure explicit anatomical details, creating tasteful fine-art nudity without graphic sexual emphasis. Several large central anime women dominate the mural, surrounded by dozens of smaller partially cropped female figures at different scales. Faces and bodies overlap densely, with characters extending beyond every edge of the frame. Almost no empty negative space. The mural must feel like one enormous continuous group illustration, not separate portraits, not a collage, and not comic panels. The mural is richly colored with a sophisticated cinematic palette: warm ivory, peach, soft rose, muted coral, amber, burgundy, plum, desaturated teal, cobalt blue, smoky violet, and deep crimson. Illustrated skin tones vary naturally across the crowd, enhanced by painterly gradients, soft reflected light, luminous highlights, translucent shadow colors, and refined anime-style subsurface glow. Dark hair masses interlock with pale and warm-colored bodies, producing a dense chromatic tapestry. The background combines premium Japanese anime aesthetics with semi-realistic digital painting, mature seinen illustration, fine-art figure drawing, elegant editorial anatomy studies, painterly cel shading, clean controlled linework, realistic volumetric lighting, and highly detailed facial rendering. It should feel like a monumental museum-scale anime fresco rather than a printed poster. A hard directional spotlight shines from the upper right, producing intense chiaroscuro, sharp rim lighting, and a clearly defined cast shadow of the real model falling across multiple illustrated nude figures. The shadow follows the contours of the mural, visually embedding the physical model inside the illustrated female crowd. Strong contrast between warm photographic skin and the richly colored painted bodies behind her. The live-action model remains unmistakably photographic, while the mural remains unmistakably illustrated. Dramatic scale contrast, surreal integration of physical reality and anime art, tactile human skin against painted digital bodies, sophisticated fashion editorial atmosphere, visually striking but tasteful, cinematic and psychologically distant rather than overtly erotic. Shot with a 24mm wide-angle lens from an extremely low camera position, slight Dutch angle, shallow depth of field, exaggerated foreground perspective, realistic lens distortion, foreground bokeh, subtle cinematic film grain, restrained chromatic aberration, natural optical vignette, high dynamic range, dramatic cinematic color grading, surreal editorial photography, highly detailed, photographically believable lighting. single continuous mural, seamless female ensemble illustration, full-color semi-realistic anime artwork, clearly adult women only, tasteful artistic nudity, mature figure studies, elegant anatomy, dense overlapping composition, no comic panels, no collage, no gutters, no speech bubbles, no empty background, no monochrome artwork --ar 3:4 --style raw

🔥 极致反差的秀禾婚服臣服 🔥 外面，她在别人胯下是听话的母狗性奴…… 回家后，却成了我高高在上的女主！ 同款红嫁衣 + 珍珠红高跟鞋 我跪在她脚下，认真舔着老婆的脚…… 她把那只性感高跟鞋，直接踩在我的头上😈 真正的夫妻M日常：她在外面是骚浪母狗，在家里就是我的女王。 从低头弯腰到跪地侍奉，每一帧都写满了极致反差与顺从❤️ 喜欢这种反差玩法吗？ 想看更多夫妻母狗性奴的真实互动？ 或者想参加我们下一次**线下私密活动**（拍摄／见面／定制体验）？ 评论区回复，或者私信给我们～ 🔥 Extreme Contrast in Xiuhe Wedding Dress 🔥 Outside, she’s an obedient bitch sex slave under other men… At home, she becomes my supreme Queen! Same red traditional wedding dress + pearl red high heels I kneel at her feet, licking her soles devotedly… while she presses that sexy high heel directly on my head 😈 Real hotwife couple M lifestyle: A slutty bitch outside, a dominant queen at home. Every frame is full of ultimate contrast and submission ❤️ Do you like this kind of reversal play? Want to see more real interactions of a hotwife bitch slave? Or join our next **private offline event** (shooting / meetup / custom experience)? Reply in the comments or DM us～ #秀禾服# #跪舔# #踩头# #夫妻M# #Hotwife# #母狗性奴# #女主调教# #中国风SM# #反差# #线下活动# #XiuheDress# #FootWorship# #HeadStepping# #Hotwife# #Cuckold# #Femdom# #ChineseBDSM# #Contrast# #OfflineEvent#

今天在测试 Manus 时学到一个提示词技巧，就是画图的时候，不用提示词控制样式风格，而是直接给参考图，并且参考图中包含颜色、字体示范、宣纸纤维、墨迹边缘、水痕、远山、印章与留白规则等等 这样出图的稳定性会更高，内容提示词也可以很简单。 图1: 参考图 图2 content_prompt ： > 标题‘茶与慢生活’，副标题‘留一点时间，给一杯茶’。设计需遵循参考图中的风格：安静、内敛、侘寂，使用水墨极简风格和水墨留白，背景为宣纸纹理。文字应居中、清晰。 图3 content_prompt： > 标题‘把日常慢下来’。内容：‘温杯：先感受器物的温度’、‘闻香：留意茶叶与水的气息’、‘品饮：小口饮茶，短暂停留’。设计需遵循第一页和参考图中的风格：安静、内敛、水墨极简风格，使用少量水墨元素（如远山、茶具水痕等）在留白区域点缀，背景为宣纸纹理。文字排版应体现层次感和留白。 --- 图2 完整提示词 --- Create a professional presentation slide with the following content: 标题‘茶与慢生活’，副标题‘留一点时间，给一杯茶’。设计需遵循参考图中的风格：安静、内敛、侘寂，使用水墨极简风格和水墨留白，背景为宣纸纹理。文字应居中、清晰。 Hierarchy & Layout Guidance: - Lead with the most important narrative element (headline / metric) and follow with supporting copy in clear sections - Any charts should reflect real data provided in the content prompt and stay faithful to the described sources - Arrange imagery and copy so the viewer can scan left-to-right or top-to-bottom; avoid vertical stacking of charts/images Visual Direction: - Professional and clean - Follow the style of the previous slide image (if provided) for visual continuity Requirements: - Professional presentation layout with clear visual hierarchy - Text must be clearly readable with appropriate contrast against the background - Include title area and content area as appropriate - Maintain consistent style suitable for a professional presentation - High quality, publication-ready visual design - All text should be sharp and legible - Keep all essential text comfortably inside the frame; avoid placing text at the very edges - Balance visual elements with whitespace so the slide feels clean and not cluttered

宝💗吃饭了没❓ 没吃的话，吃我两拳✊，邦邦两拳😂😂 Seedance 2.0 全能参考 prompt 👇 【风格】搞笑Vlog/手持自拍短剧（Handheld Selfie Vlog），真实手机前置镜头质感，抖音爆款，1人出镜 【时长】10秒 【场景】中国南方农村土坯房前的晒谷场，背景是老旧红砖墙、晾晒的衣服、几只散养的鸡在地上啄食，阳光强烈 【角色】Marco@图片1（一个卷发圆框眼镜的白人男性，皮肤被晒得微红，穿着一件洗得发白的蓝色老头衫/跨栏背心，下身军绿色宽松大裤衩，脚踩一双塑料拖鞋，脖子上搭着一条白毛巾，满头汗珠） [00:00-00:04] 镜头1：土味撩人（Handheld Selfie, Front Camera） 手持自拍视角，前置镜头怼脸，Marco一只手举着手机，镜头轻微晃动（Shaky Cam），背景是农村土坯房和晾衣绳。他对着镜头咧嘴笑，露出一口白牙，用极其蹩脚的中文腔调，眉毛上挑，眼神放电，嘴型夸张地说："宝～吃饭了没有？"说"宝"的时候故意拖长音，空出来的那只手还朝镜头比了个心，额头上汗珠清晰可见。 [00:04-00:07] 镜头2：画风突变（Quick Zoom-in） 手持镜头突然拉近怼脸（Jump Cut），Marco表情瞬间从深情变成凶狠搞怪，眯起眼睛，嘴角上扬，用蹩脚中文凶巴巴地说："没吃的话——吃我两拳！"说"两拳"的时候举起拳头对着镜头比划，圆框眼镜因为动作太大歪到鼻梁一侧，背后一只鸡被吓得扑棱翅膀跑过。 [00:07-00:10] 镜头3：邦邦两拳收尾（Shaky Cam + Freeze Frame） 手持自拍剧烈晃动，Marco对着镜头连出两拳（拳头怼向镜头方向），嘴里喊："邦！邦！两拳！"每出一拳镜头跟着震一下，表情极度认真又极度滑稽，汗珠被甩出去，最后一拳定格（Freeze Frame），他歪着眼镜对着镜头龇牙坏笑，背景晒谷场的鸡群四散奔逃。