#house

yellow house

• Model: Artistic

• Size: 864 X 640 (0.55 MP)

• Used settings:

  • Prompt: a billionarie's house
  • Using base image: Yes

Haunted house

• Model: Artistic

• Size: 896 X 704 (0.63 MP)

• Used settings:

  • Prompt: Haunted house on the hill bloody red sky in gothic style field of glow flowers in front
  • Using base image: No
  • Aspect Ratio: landscape

Fairytale house

• Model: Artistic

• Size: 1449 X 1449 (2.10 MP)

• Used settings:

  • Prompt: Fantasy fairytale house.
  • Using base image: No
  • Aspect Ratio: square

Art Museum

• Model: Artistic

• Size: 864 X 672 (0.58 MP)

• Used settings:

  • Prompt: A walk through Louvre, hallway, statues and many paintings on the walls
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: A space Western typically emphasizes space exploration as "the final frontier". These Western themes can be explicit, such as cowboys in outer space, or they can be a more subtle influence in space opera.[1]: 3–4  Gene Roddenberry described Star Trek: The Original Series as a space Western (or, more poetically, as "Wagon Train to the stars").[2] Firefly and its cinematic follow-up Serenity literalized the Western aspects of the genre popularized by Star Trek: it used frontier towns, horses, and the styling of classic John Ford Westerns.[3][4] Worlds that have been terraformed may be depicted as presenting similar challenges as that of a frontier settlement in a classic Western.[5] Six-shooters and horses may be replaced by ray guns and rockets.[6] The term is often synonymous with "science fiction western". The idea is that the vast distances of space have formed barriers, forcing people to become independent or even restricted. Popular themes within the genre are new frontiers in the galaxy and trying to "control" the vast expanse of space. The stories focus on the hardship and adventure of the unexplored space frontier.[7]
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Steampunk is a subgenre of science fiction that incorporates retrofuturistic technology and aesthetics inspired by 19th-century industrial steam-powered machinery.[1][2][3] Steampunk works are often set in an alternative history of the Victorian era or the American "Wild West", where steam power remains in mainstream use, or in a fantasy world that similarly employs steam power. Steampunk most recognizably features anachronistic technologies or retrofuturistic inventions as people in the 19th century might have envisioned them — distinguishing it from Neo-Victorianism[4] — and is likewise rooted in the era's perspective on fashion, culture, architectural style, and art.[5] Such technologies may include fictional machines like those found in the works of H. G. Wells and Jules Verne.[6] Other examples of steampunk contain alternative-history-style presentations of such technology as steam cannons, lighter-than-air airships, analog computers, or such digital mechanical computers as Charles Babbage's Analytical Engine.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Biopunk (a portmanteau of "biotechnology" or "biology" and "punk") is a subgenre of science fiction that focuses on biotechnology. It is derived from cyberpunk, but focuses on the implications of biotechnology rather than mechanical cyberware and information technology. Biopunk is concerned with synthetic biology. It is derived of cyberpunk involving bio-hackers, biotech megacorporations, and oppressive government agencies that manipulate human DNA. Most often keeping with the dark atmosphere of cyberpunk, biopunk generally examines the dark side of genetic engineering and represents the low side of biotechnology.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Afrofuturism is a cultural aesthetic, philosophy of science, and history that explores the intersection of the African diaspora culture with science and technology. It addresses themes and concerns of the African diaspora through technoculture and speculative fiction, encompassing a range of media and artists with a shared interest in envisioning black futures that stem from Afro-diasporic experiences.[1] While Afrofuturism is most commonly associated with science fiction, it can also encompass other speculative genres such as fantasy, alternate history, and magic realism.[2] The term was coined by Mark Dery, an American Cultural critic in 1993[3] and explored in the late 1990s through conversations led by Alondra Nelson.[4]
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Bernard takes a holiday with Lenina outside the World State to a Savage Reservation in New Mexico, in which the two observe natural-born people, disease, the ageing process, other languages, and religious lifestyles for the first time. The culture of the village folk resembles the contemporary Native American groups of the region, descendants of the Anasazi, including the Puebloan peoples of Hopi and Zuni.[25] Bernard and Lenina witness a violent public ritual and then encounter Linda, a woman originally from the World State who is living on the reservation with her son John, now a young man. She, too, visited the reservation on a holiday many years ago, but became separated from her group and was left behind. She had meanwhile become pregnant by a fellow holidaymaker (who is revealed to be Bernard's boss, the Director of Hatcheries and Conditioning). She did not try to return to the World State, because of her shame at her pregnancy. Despite spending his whole life in the reservation, John has never been accepted by the villagers, and his and Linda's lives have been hard and unpleasant. Linda has taught John to read, although from the only book in her possession—a scientific man
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Hemendra Kumar Ray’s "Meghduter Morte Agomon" (The Ascension of God’s Messengers on Earth), a work inspired by Wells’ "The War of The Worlds", describes the first contact between two sentient species. Ray's Martians, instead of invading a metropolis like Calcutta or London, descends at a rural Bengal village called Bilaspur. Though the superstitious villagers were calling the new arrivals creatures of supernatural chaos, the protagonist, Binoy-babu, a person of scientific temper, had said, “This is neither the work of ghost nor human. This is the work of an unknown force like you will not find on this Earth. That power which scientists all over the world have been seeking has made its very first appearance here, in this Bengal! Oh, Kamal, you cannot imagine how happy I am!” (Rachanabali 1, 113–114). As the father of Bengali adventure fiction, Ray puts the reader through Binoy's narrative. Divided into two parts, while the first one is a futuristic, indianized take on Fermi paradox, the second one is a prehistoric adventure inspired by Wells’ "The Time Machine". In his later novels, Roy also indianized Doyle's "The Lost World" as "Maynamatir Mayakanon" (The Surreal Gar
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Brian Aldiss described science fiction as "cultural wallpaper." Evidence for this widespread influence can be found in trends for writers to employ science fiction as a tool for advocacy and generating cultural insights, as well as for educators when teaching across a range of academic disciplines not limited to the natural sciences. Scholar and science fiction critic George Edgar Slusser said that science fiction "is the one real international literary form we have today, and as such has branched out to visual media, interactive media and on to whatever new media the world will invent in the 21st century. Crossover issues between the sciences and the humanities are crucial for the century to come."
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: One of the writers who used science fiction to explore the sociology of near-future topics was H. G. Wells, with his classic The Time Machine (1895) revealing the human race diverging into separate branches of Elois and Morlocks as a consequence of class inequality: a happy pastoral society of Elois preyed upon by the Morlocks but yet needing them to keep their world functioning—a thinly veiled criticism of capitalist society, where the exploiter class, or the bourgeoisie, is symbolized by the useless, frivolous Elois, and the exploited working class, or the proletariat, is represented by the subterranean-dwelling, malnourished Morlocks. Wells' The Sleeper Awakes (1899, 1910) predicted the spirit of the 20th century: technically advanced, undemocratic and bloody. Next to prognoses of the future of society if current social problems persisted, as well as depictions of alien societies that are exaggerated versions of ours (exemplified by The War of the Worlds of 1897), Wells also heavily criticized the then-popular concept of vivisection, experimental "psychiatry" and research that was done for the purpose of restructuring the human mind and memory (clearly emphasized in The Island
  • Using base image: Yes

treehouse

• Model: Artistic

• Size: 896 X 704 (0.63 MP)

• Used settings:

  • Prompt: Biomorphic treehouse with biomorphic structure symbiosis of waterfall and tree, Autumn colors, Autumn leaves floating in the water, by Jacek Jerka, Gediminas Prankevicius, Stefan Morrell, super-detailed, insanely complex, golden ratio
  • Using base image: No
  • Aspect Ratio: landscape

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Planetary romance is a subgenre of science fiction in which the bulk of the action consists of adventures on one or more exotic alien planets, characterized by distinctive physical and cultural backgrounds. Some planetary romances take place against the background of a future culture where travel between worlds by spaceship is commonplace; others, particularly the earliest examples of the genre, do not, and invoke flying carpets, astral projection, or other methods of getting between planets. In either case, it is the planetside adventures which are the focus of the story, not the mode of travel.[1]
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Mundane science fiction (MSF) is a niche literary movement within science fiction that developed in the early 2000s, with principles codified by the "Mundane Manifesto"[1] in 2004, signed by author Geoff Ryman and "The Clarion West 2004 Class". The movement proposes "mundane science fiction" as its own subgenre of science fiction, typically characterized by its setting on Earth or within the Solar System; a lack of interstellar travel, intergalactic travel or human contact with extraterrestrials; and a believable use of technology and science as it exists at the time the story is written or a plausible extension of existing technology. There is debate over the boundaries of MSF and over which works can be considered canonical. Rudy Rucker has noted MSF's similarities to hard science fiction and Ritch Calvin has pointed out MSF's similarities to cyberpunk. Some commentators have identified science fiction films and television series which embody the MSF ethos of near-future realism.
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The name "dieselpunk" is a derivative of the science fiction subgenre cyberpunk,[5] and represents the time period from World War I until the 1950s, when diesel-based locomotion was the main technological focus of Western culture.[6] The "-‍punk" suffix attached to the name is representative of the counterculture nature of the genre with regard to its opposition to contemporary aesthetics.[3] The term also refers to the tongue-in-cheek[7] name given to a similar cyberpunk derivative, "steampunk", which focuses on science fiction based on industrial steam power and which is often set within the Victorian era.[8]
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Science fiction comedy (sci-fi comedy) or comic science fiction is a subgenre of science fiction or science fantasy that exploits the science fiction genre's conventions for comedic effect.[1] Comic science fiction often mocks or satirizes standard science fiction conventions – such as alien invasion of Earth, interstellar travel, or futuristic technology. It can also satirize and criticize present-day society. An early example was the Pete Manx series by Henry Kuttner and Arthur K. Barnes (sometimes writing together and sometimes separately, under the house pen-name of Kelvin Kent). Published in Thrilling Wonder Stories in the late 1930s and early 1940s, the series featured a time-traveling carnival barker who uses his con-man abilities to get out of trouble. Two later series cemented Kuttner's reputation as one of the most popular early writers of comic science fiction: the Gallegher series (about a drunken inventor and his narcissistic robot) and the Hogben series (about a family of mutant hillbillies). The former appeared in Astounding Science Fiction in 1943 and 1948 and was collected in hardcover as Robots Have No Tails (Gnome, 1952), and the latter appeared in Thrilling
  • Using base image: Yes

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Climate fiction (sometimes shortened as cli-fi) is literature that deals with climate change.[1] Generally speculative in nature but scientifically-grounded, works may take place in the world as we know it or in the near future. The genre frequently includes science fiction and dystopian or utopian themes, imagining the potential futures based on how humanity responds to the impacts of climate change. Rationales for the genre typically assume knowledge of anthropogenic effects—human-altered climate as opposed to weather and disaster more generally—although broader definitions exist. Technologies such as climate engineering or climate adaptation practices often feature prominently in works exploring their impacts on society.
  • Using base image: Yes

Magic house!

• Model: Artistic

• Size: 1161 X 903 (1.05 MP)

• Used settings:

  • Prompt: apocalypse house
  • Using base image: No
  • Aspect Ratio: landscape

House of mystery

• Model: Artistic

• Size: 1917 X 1095 (2.10 MP)

• Used settings:

  • Prompt: House of mystery; on floating mountains; fog; water falls; forests
  • Using base image: Yes