#priest

Ethereal Blood Elf Priest

• Model: FluX (Pro) Default

• Size: 1664 X 2224 (3.70 MP)

• Used settings:

  • Prompt: Male blood elf priest . Priest is carrying a holy staff, sitting on a rock A highly detailed and dynamic European comic book style, utilizing loose yet expressive pencil and ink strokes. There is an emphasis on cross-hatching and stippling to create rich textures and shadows. The color palette is muted and earthy, resembling watercolor or colored penci reminiscent of H. R. Giger's biomechanical style, Marc Silvestri's dark detailing, and Jim Lee's dynamic lines, blended with Gustave Doré's intricate textures and Earl Norem's fantastical creatures, in a highly detailed, 8k resolution, biomechanical illustration.
  • Using base image: No
  • Aspect Ratio: portrait

Revelation Of The False Prophet

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: A cinematic, nightmarish oil painting set at night within the traveling carnival, lantern light flickering wildly as panic spreads through the crowd. Canvas tents loom in the background, warped by shadow and fear. Dust and smoke swirl in the air as if the world itself is recoiling. At the center stands Brother Justin, fully revealed: a tall evangelical minister in his early thirties with neatly combed dark hair and a long, severe face. His dark clerical suit hangs open, torn away to expose his bare chest; his white collar still at his neck. Across his skin is an enormous, intricate tattoo of a dead tree — massive, leafless, its twisted branches spreading across his torso like veins, roots clawing downward. The tree is stark, black, and ancient, a symbol of death, judgment, and corrupted destiny. Brother Justin’s eyes are completely black — no whites visible — consuming his gaze entirely. His face is contorted with rage and revelation: his mouth twisted into a snarl or grimace, teeth bared slightly, lips pulled tight as if he is shouting or breathing through fury. The expression is one of absolute conviction and unleashed fanaticism, not madness but certainty taken to its final extreme. His posture is rigid and commanding, arms all spread like a crucifix as if presenting himself or daring the world to look. Veins stand out in his neck and hands, his body taut with restrained violence and divine wrath. Around him, carnival performers and onlookers recoil in terror. Faces scream, hands cover mouths, bodies pull away instinctively. Lanterns sway violently, casting jagged light across the scene. Some people stumble backward into shadow, others freeze, unable to look away. The lighting is harsh and dramatic: deep reds, sickly golds, and heavy blacks dominate the palette. Lantern light rakes across Justin’s chest, emphasizing the dead tree tattoo and the unnatural darkness of his eyes. Shadows tear through the canvas, heightening the sense of apocalypse. The brushwork is aggressive and expressive, thick with texture — flesh, fabric, dust, and flame all rendered with raw energy. The mood is catastrophic and final: the moment faith sheds its mask and reveals itself as annihilation.
  • Using base image: No
  • Aspect Ratio:

He Come To Save Her

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: A cinematic oil painting set at night within the traveling carnival, illuminated by uneven lantern light and drifting dust. Music and muted movement fill the background, but tension has seized the foreground. At the center, Nancy — a slim young woman in her mid-twenties with short black hair and attentive dark eyes, wearing gypsy-syle clothing with jewels — sits at a small tarot table covered in a richly patterned cloth. Tarot cards are spread before her, candles flickering at their edges. She has just paused mid-reading, her gaze lifted, sensing something wrong. Standing too close to her is Brother Justin, a tall evangelical minister in his early thirties with neatly combed dark hair and a severe, angular face. He is not preaching. He is observing. His posture is upright and restrained, his presence cold and intrusive. His eyes are but unsettling in their focus. He has come to interrupt, not to listen. The other side of the table, Ben — a lean 24-year-old man with dark, wind-tossed hair and pale, burdened eyes — steps forward instinctively. His body language is tense and protective, uncertain but resolute, as if moved by something he does not yet understand. Beside the evangelical minister stands the short Carnival Boss - he is a dwarf with sharp, intelligent eyes and a composed, commanding presence. You can see the difference of height between them. He has a short gray beard and wears an ornate but weathered carnival coat with embroidered details, a vest beneath, and polished but scuffed boots. He watches the scene with sharp, knowing eyes. His presence is calm but final. His cane in hand, he lifts it and touches the arm of the evangelical minister— a quiet signal that the preacher is not welcome here. Around them, performers and carnival workers pause or turn away. Lanterns sway. Music continues faintly. The carnival itself seems to resist the intrusion. The lighting contrasts warm lantern glow against deep shadow, some colors in the background, isolating the figures in tension. The brushwork is textured and painterly, emphasizing fabric, smoke, faces, and stillness. The mood is charged but restrained — a moment of collision before power is revealed, before belief hardens into conflict.
  • Using base image: No
  • Aspect Ratio:

Coins of Confession

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: A cinematic, painterly oil painting set inside a small presbytery in 1930s Dust Bowl America. The interior is dim and austere, lit by flickering candles that cast warm but uneasy amber light on worn wooden pews, bare walls, and a large wooden cross with a simple altar looms in the background, partially obscured. In the foreground, a close-up of Brother Justin kneels beside an elderly woman. He is a tall, lean evangelical minister in his early thirties, with neatly combed dark hair, a long angular face, and pale, severe features. He wears a dark clerical suit with a high collar. His posture is composed but tense, hands raised above the woman's head, in prayer — as if he himself does not yet understand what is happening. The woman kneels opposite him, clutching a worn Bible tightly to her chest, the word “BIBLE” clearly visible on the cover. Her face is twisted in terror and shock as coins begin to spill uncontrollably from her open mouth, clattering onto the wooden floor. Her eyes are wide, horrified, and pleading. Brother Justin is in shock, revealing the first emergence of his dark gift. His expression is not cruel, but stunned and inward, as though he is witnessing something God has forced him to see. The environment remains untouched: nothing breaks, no object decays. The miracle manifests entirely through revelation and exposure, not destruction. The contrast between the quiet prayer posture and the grotesque confession creates a deeply unsettling atmosphere. The brushwork is textured and restrained, emphasizing faces, candlelight, smoke, and falling coins. The color palette is muted — browns, sepias, dirty golds — evoking moral rot beneath religious solemnity. The mood is intimate, disturbing, and prophetic: the moment a man realizes he can see sin made visible.
  • Using base image: No
  • Aspect Ratio:

The Sins He Sees

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: A cinematic, psychologically intense oil painting set inside a low-ceilinged bar and gambling house in 1930s Dust Bowl America. The room is thick with smoke and shadow, lit by flickering oil lamps and stained amber bulbs that cast uneven light across worn wooden floors and scarred tables. The bar is cluttered and alive with detail: dark liquor bottles lined along a sticky wooden counter, glasses half-filled with whiskey and beer, playing cards scattered across tables, coins and crumpled bills glinting in the dim light. The walls are stained with smoke and age, layered with peeling paint, faded advertisements, and tacked-up notices. Red velvet curtains hang unevenly, heavy and oppressive, absorbing light rather than reflecting it. At the center of the scene stands Brother Justin, a tall evangelical minister in his early thirties with neatly combed dark hair and a long, severe face. He is dressed in a dark clerical suit, immaculate and out of place in this environment. His posture is upright, rigid, and commanding. Brother Justin’s eyes are fully black — the whites completely gone — as his disturbing gift manifests. He points an accusing finger on the establishment's owner standing before him. His expression is resolute, and utterly certain. He's not angry, but he has a judgmental look on his face as he is seeing his sins. Facing him is the bar’s owner, a thickset man with flushed skin and sweat at his brow. His face is frozen in terror as he recoils backward, one hand gripping the edge of a table for support. His eyes are wide, his mouth slightly open, as if he knows he has been exposed at the deepest level. Subtly woven into the shadows and reflections around the owner are faint, painterly impressions of the sins Brother Justin perceives — distorted silhouettes, warped reflections in mirrors, abused child-sized shapes suggested only through absence and implication. These visions do not exist physically in the room; they are overlays of Justin’s perception, ghostlike and restrained. Brother Justin raises one hand with pointing a finger — not in blessing, not in violence — but in judgment, as if naming what cannot be denied. The environment itself remains unchanged. No objects break. No light explodes. The horror is moral, not physical. The color palette is rich and oppressive: deep browns, tobacco blacks, bruised reds, dirty golds, and sickly yellows. Warm light pools around the bar, while corners dissolve into shadow. Painterly brushstrokes emphasize smoke, wood grain, fabric, and faces with some colors. The mood is suffocating and accusatory — the moment a man realizes his sins are visible, and another realizes he has been chosen to see them.
  • Using base image: No
  • Aspect Ratio:

The Omen Vision

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: A cinematic, harrowing oil painting set at night at the entrance of a traveling carnival during the 1930s Dust Bowl. A large wooden gateway bearing a weathered banner reading “CARNIVAL” stands behind the central figure, illuminated by warm lantern light spilling from within. Beyond the gate, tents glow, music and movement implied, unaware. In the foreground stands Brother Justin, a tall evangelical minister in his early thirties with neatly combed dark hair and a long, severe face. He wears a dark clerical suit with a high collar. He is positioned outside the carnival grounds — on the threshold but not within. His posture is rigid, his head tilted upward, eyes black, consumed by prophetic vision. Both of his hands are raised toward the sky. From his palms, thick, dark blood begins to pour and drip downward, running along his fingers and wrists. Some of the blood streaks across his face, marking his cheeks and jaw, catching in the lantern light. The blood is graphic and real — heavy, wet, unmistakable — as if the vision has forced itself physically through him. Brother Justin does not appear frightened. His expression is one of grim certainty and revelation, as though he interprets the blood as a divine sign rather than a warning. The ground beneath him remains dry and untouched. No blood stains the carnival entrance. The omen exists on his body alone. Behind him, through the gate, the carnival glows with warmth and color: lanterns sway, canvas tents ripple, silhouettes of performers move in celebration. The contrast between the living carnival and the bleeding prophet is stark and deliberate. The sky above is heavy with dark clouds. Dust and mist swirl in the air. The brushwork is textured and expressive, emphasizing flesh, blood, wood grain, fabric, and light. The color palette contrasts deep crimson and black against warm golds and ambers. The mood is visceral and prophetic — the moment a vision becomes a mark, and a man convinces himself that suffering is proof of righteousness.
  • Using base image: No
  • Aspect Ratio:

Blessing of the water at the front lines

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: The painting is created in the style of Impressionist artists—Claude Monet, Auguste Renoir, and Édouard Manet. The holiday of Epiphany (also known as Jordan) in modern Ukraine is one of the most significant religious and folk celebrations. The most recognizable and widespread tradition in modern Ukraine remains the immersion in icy water. Under the conditions of the full-scale invasion, the celebration has taken on unique characteristics: During the blessing of the water, special attention is paid to prayers for Ukrainian soldiers, victory, and peace. Priests often visit military positions to bless the water and the dugouts on the front lines. Show a priest in a trench blessing soldiers with holy water. Despite the challenges of war, Ukrainians continue to preserve these traditions, adapting them to new conditions. The painting is created in the style of Impressionist artists — Claude Monet, Auguste Renoir, and Édouard Manet. Regarding your request to "show a priest in a trench," I have generated a visual representation of this powerful scene below.
  • Using base image: No
  • Aspect Ratio:

Golden Temple oresence

• Model: DaVinci2

• Size: 1920 X 1080 (2.07 MP)

• Used settings:

  • Prompt: The huge, golden-bronze Holy Portals slowly open on their own, illuminated by rays of divine light that permeate the space. The magnificent architecture of the basilica, with its columns and mosaics, dominates the scene, while the golden rays and the smoke of incense create a spiritual and mystical atmosphere. The faithful in the distance kneel in prayer, watching the miracle of the opening.
  • Using base image: No
  • Aspect Ratio: landscape_wide

Father Andrew's genetic experiments had unfortunately led to his excommunication from the clergy.

• Model: DaVinci2

• Size: 1280 X 720 (0.92 MP)

• Used settings:

  • Prompt: the king of the potato people dispensing wisdom to his subjects
  • Using base image: No
  • Aspect Ratio: landscape_wide

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• Model: ChatGPT (Pro) Full

• Size: 2880 X 2880 (8.29 MP)

• Used settings:

  • Prompt: Exorcism with garrote, Flowing Energy, crisp quality, light reflections, LSD, DMT, Mescaline, Bright Vivid Colors, Polished, Masterful Surrealism, Photorealistic, Cel-shaded, digital illustration, unreal engine, 64k, high definition, light, depth of scale, atmospheric, luminous, iridescent, liquid, glowing, 3D texture, octane render
  • Using base image: No
  • Aspect Ratio: square

Reverend Green: - A Clue/Cluedo replacement card...

• Model: AI Upscaler

• Size: 1792 X 2560 (4.59 MP)

• Used settings:

  • Prompt:
  • Using base image: Yes

Mystical Figures in a Dreamlike Landscape

• Model: FluX

• Size: 2216 X 1662 (3.68 MP)

• Used settings:

  • Prompt: a surreal landscape, a large cube within it, and the cube is filled with another surreal landscape. pop-surrealism, collage, lowbrow, dada, illuminati and conspiracy imagery, a witch-girl, flying bean cans, a priest, a pizza-wheeled Citroen 2cv. pastel colours, oil painting, soft colours, high resolution, fantastic view, inspired by Mark Ryden, Nicoletta Ceccoli and Max Ernst
  • Using base image: No
  • Aspect Ratio: landscape