Prompt: A cinematic oil painting set inside a commercial airplane flying over the Arctic at night. Two young women sit side by side by an oval window, the frozen landscape of endless ice and clouds visible outside. The interior is softly lit, warm against the cold blue light beyond the glass.
Both women wear thick turtleneck sweaters beneath heavy fur-lined parka, signaling preparation for extreme cold; you can see the fur at their collar. The first woman has short, spiked black braided dreadlocks hair. She has pale skin with a slight blush on her cheeks, with piercing green eyes and subtle fine-line symbolic tattoos only along the side of her neck, but with her turtleneck is barely visible. Her fur-lined parka is blue-gray. She holds a glass of red wine in one hand, mid-sip, smiling with open excitement and wonder as she looks toward her companion.
The second woman has light blonde hair pulled into a messy bun with darker roots; her fur-line parka is natural color, brown-beige with fur at the collar. Her expression is bright and exhilarated. One of her hands rests on an unfolded map spread across the airplane tray table, tracing their route northward.
On the tray table between them sits a small plate of shared food — sliced cheese and simple accompaniments — along with a second glass of red wine waiting untouched. Another tray table holds the folded map and travel documents. The food and wine feel like a quiet ritual, a final moment of warmth and normalcy before the unknown.
The overall mood is intimate and joyful, filled with anticipation and awe — a human pause before the reality of the Arctic’s harsh cold and isolation. The painting is rendered in detailed, painterly realism with visible brush texture, subdued color tones, and cinematic lighting that contrasts warmth inside the cabin with the frozen world outside.
Style Tags: oil painting, painterly realism, visible brushstroke texture, cinematic lighting, atmospheric, grounded sci-fi, emotional warmth, narrative stillness, Arctic contrast.
Prompt: A cinematic, detailed, rich brushstrokes texture, painterly oil painting set outdoors in the Arctic under a clear, pale sky. The frozen landscape stretches wide and open, the air crisp and bright after the storm. In the midground, a helicopter hovers above the ice, its rotors cutting through the cold air. Suspended beneath it by rescue cables is a stretcher carrying a body secured for transport, wrapped for recovery and being lifted slowly from the frozen ground. Members of a recovery team move with controlled precision below, their figures small against the vast environment.
In the foreground, positioned at a three-quarter angle near the edge of the frame, stands a tall, lean man in his 40s. He wears heavy Arctic clothing: a dark knit wool cap pulled low, a high-collared parka zipped up, and a thick scarf wrapped over his lower face, obscuring most facial features. Only part of his cheek and one eye are visible. No facial hair is visible. His posture is rigid but subdued.
In one gloved hand, he holds a medical report, its pages slightly bent by the wind. The document is angled just enough for the viewer to read a line of typed text:
“Death Report: Myocardial Infarction. Natural Causes.” ***do not misspell words***
His gaze is fixed downward on the report rather than the helicopter. The alien is gone. The body is being taken away. The truth has arrived after the fact.
The painting is rendered in restrained, atmospheric, cinematic painterly realism with cold daylight tones — pale blues, whites, and muted steel grays. The mood is quiet and devastating: relief without peace, certainty without closure.
Prompt: A single cinematic oil painting showing a continuous interior space inside an Arctic research facility. The scene is viewed from a fixed camera position in a doorway, allowing two physically connected rooms to be seen at once through an open door.
The atmospheric scene is set inside an Arctic research facility, depicting two physically connected rooms viewed through an open doorway. The interior is cold, functional, and quiet, illuminated by sterile overhead lighting.
In the first room, a freezer chamber is visible. Inside, the preserved body of a deceased researcher lies on a metal platform, covered with a white thermal sheet. Frost lines the walls and condensation drifts slowly in the cold air. The atmosphere is clinical and still.
Through the open doorway, the adjacent room is visible — the containment space where the alien had been held. The area is now empty. The containment door remains partially open, indicator lights dimmed, equipment inactive. The absence is unmistakable.
Standing in the doorway between the two rooms is a tall, lean man in his 40s. His face, with pale skin and clean-shaven, shows that he is in shock. He wears a dark knit wool cap pulled low, a high-collared parka zipped up *** No beard***. One hand rests on the doorframe, his body paused mid-step, as if caught between moving forward or turning back. One foot is oriented toward the freezer, the other toward the empty containment room.
His head is turned toward the freezer, gaze fixed on the covered body. His posture is heavy, motionless, burdened by realization. The connection between the two rooms is architectural, not symbolic — two facts existing side by side, unresolved.
The painting is rendered in restrained, atmospheric, rich detailed brushstrokes texture, painterly realism with muted whites, grays, and cold blue tones. The mood is quiet and devastating: suspicion and certainty occupying the same space, too late to reconcile.
Prompt: A cinematic, rich brushstrokes texture, atmospheric painterly oil painting set in the Arctic under a clear, pale blue sky. The vast frozen landscape stretches endlessly beneath crisp daylight, the cold air sharp and still. In the midground, a large group of figures — a research team, the father, and the two young women — walk together toward the ice cavern where the craft had been embedded.
Suddenly, rising directly in front of them, the ancient UFO craft lifts free from the cracked glacier. Fractured ice falls away from its surface as it ascends, shards scattering downward in slow motion. The craft is fully visible now — massive, detailed, and unmistakably real — its organic-metallic form catching the sunlight as it rises into the open sky. A controlled glow emanates from its structure, no longer muted by ice. The UFO craft is the focus of the scene.
The tall, lean man in his 40s stands frozen in place, slightly ahead of the others, looking at the UFO craft. The viewers can see him only from the side as he left his head toward the craft in the sky. He wears a dark knit wool cap pulled low, a high-collared parka zippep up and a dark scarf. His posture is rigid, his mouth partially open in stunned disbelief, eyes wide as he watches the craft ascend. ***No beard*** This is not fear — it is shock, realization, and the collapse of containment.
Behind him, the two young women stand close together, looking at the UFO craft in the sky. The viewers see them only from the side as they left their head toward the craft in the sky. They hold hands tightly, their shoulders touching. There is relief in their expressions — quiet, restrained smiles — not celebration, but release. One young woman has short, spiked braided black dreadlocks hair, and wears a heavy fur-line blue-gray parka with fur at the collar. She has a pale skin complexion and piercing green eyes. The other young woman has blonde hair with dark roots tie in a messy bun, and wears a heavy fur-line brown-beige parka with fur at the collar. She has a fair skin complexion and brown eyes.
Members of the research team stand scattered, some shielding their eyes, others simply staring upward, dwarfed by the scale of what is leaving them behind.
The painting is rendered in detailed, cinematic painterly realism, striking visual, atmospheric. Cold whites and blues dominate the landscape, contrasted by the metallic depth of the craft and the open clarity of the sky. The mood is awe-struck and irreversible: the moment when something ancient leaves human control forever.
Prompt: A cinematic, atmospheric oil painting set inside a cold, dimly lit containment area deep within the Arctic research facility. The space feels improvised and industrial rather than militarized — metal walls, frost creeping along edges, exposed cables, and low, humming lights casting long shadows across the floor. Cold air hangs visibly in the room, and fine condensation drifts near the ground.
At the center of the containment space sits the alien being on the cold floor. Its tall, slender, unclothed body is folded inward, elongated limbs drawn close in an unfamiliar, asymmetrical posture. Its back rests lightly against the transparent barrier behind it.
The alien’s head is tilted slightly to one side, not in weakness but in an unreadable, alien manner. Its large, almond-shaped black eyes remain open and unblinking, reflecting the dim facility light. It is impossible to tell whether the alien is aware of the humans in the room, watching them, or simply enduring the environment in silence.
The faint internal glow once visible within its body is now barely perceptible, reduced to a dull, intermittent shimmer beneath the pale matte skin. The alien does not move, does not react, and offers no visual cue that can be interpreted as fear, pain, or recognition.
The containment is no longer fully secure. A transparent barrier or sealed doorway stands partially open, its locking mechanism disengaged. A nearby control panel shows an unlocked state — indicator lights dimmed or changed, cables loosened, the system no longer enforcing isolation. Cold air flows differently now, and frost creeps inward where it did not before.
In the shadows near the edge of the room stand two young women who have sneaked in alone.
The girl, wearing her fur-line blue-gray parka with fur at the collar, and with short black braided dreadlocks stands slightly forward, closest to the containment boundary. One of her hands rests against an open control panel, its locking system clearly disengaged, the light is green. A transparent door or barrier beside her is partially open, no longer sealed. The green indicator lights on the panel signaling that containment has been overridden.
Her posture is tense but resolved. Her pale skin is flushed from the cold, breath faintly visible as she looks toward the alien with focused intensity rather than fear.
Beside her, the tall blonde girl, with a bun and wearing her fur-line brown-beige parka with fur at the collar, stands half a step back, one hand gripping her friend’s sleeve — the same instinctive gesture as before — her expression conflicted and anxious. She glances between the alien and the compromised barrier, fully aware of what has already been done.
Sparse human equipment surrounds the containment area — monitors with dim readouts, cables along the floor, indicator lights blinking softly. No alarms sound. No guards are present. The facility feels momentarily unattended, as if the system assumes nothing will change.
The alien remains still, unaware or unwilling to respond. The girls understand without words: staying means death. Leaving is now possible.
The painting is rendered in rich, painterly realism with subdued cold tones — slate grays, icy blues, muted whites — contrasted by the alien’s fading internal glow and the soft warmth of human breath in the air. The mood is quiet, heavy, and irreversible: the moment when observation becomes action, and obedience gives way to
Prompt: A single atmospheric cinematic oil painting composed as a two-panel diptych, showing two connected moments within one image. The panels are visually separated not by a hard line, but by drifting snow, frost, and cold mist, as if the Arctic air itself flows between them. Fine ice particles cross the central seam, subtly binding the two scenes while keeping their spaces distinct.
LEFT PANEL — THE RESPONSE
Inside a cold, utilitarian Arctic research facility. The interior is industrial and subdued: metal walls, exposed cables, equipment racks, and instrument panels. Snow clings to boots and coats near the entrance, melting into dark patches on the floor.
Multiple monitors glow in the dim light, displaying abstract data and irregular readings. Red indicator lights and warning LEDs glow on several instruments, small but unmistakable signals that something is abnormal. A few red buttons and status lights punctuate the otherwise muted color palette.
Several members of a research team stand close together, bundled in heavy Arctic clothing with hoods, scarves, and high collars obscuring their faces. Among them stands a tall, lean man in his 40s, wearing a heavy parka, dark knit cap, and scarf pulled high over his lower face. Only his eyes are clearly visible. He stands still, focused on the monitors, posture rigid and controlled, absorbing the implications of what the instruments are showing.
RIGHT PANEL — THE CAVERN
Deep inside the ice cavern near the ancient UFO craft. The space is now brightly illuminated by human floodlights, contrasting with the natural blue tones of the ice. The massive craft looms in the background, partially obscured by equipment and structural elements placed around the area.
At the center of the scene stands the tall alien being with large, totally black almond-shaped eyes. Its tall, slender, unclothed form is fully biological, with pale matte white skin. Its form is entirely biological, elongated and fragile in appearance, with long limbs and four long narrow fingers on each hand ***no sign of nipples on his chest***. Its posture is subdued and still, elongated limbs hanging lower than before. The soft internal glow once visible around its body is now faint, reduced by the harsh environment and lighting.
Clear partitions, transparent barriers, or structural separations define the space around the alien, creating distance rather than physical struggle. The alien does not move or react. The light from its hand is absent. The ice on the craft remains unchanged.
Human presence is suggested indirectly: silhouettes beyond glass, equipment positioned at a distance, cables and lights arranged with careful precision. There are no visible weapons, no confrontation — only control through environment and procedure.
OVERALL MOOD
The two panels are linked by cold and consequence.
The left shows awareness through data and warning lights.
The right shows quiet isolation within a changed space.
The palette across both panels remains restrained — icy blues, slate grays, muted whites — with the red warning lights on the left and the alien’s fading glow on the right providing subtle contrast. The mood is solemn, procedural, and irreversible.
Prompt: A cinematic, atmospheric oil painting set in the Arctic during daytime under a heavy gray sky. Snow falls steadily in thick, wind-driven sheets, reducing visibility and muting all color. The landscape is vast and desolate — an endless expanse of white broken only by uneven snowdrifts and the dark mouth of an ice cavern in the distance, but not to far. The cavern entrance is partially obscured by blowing snow, its scale and presence unmistakable even from afar.
In the foreground lies the body of a man collapsed in the snow. He wears heavy cold-weather research clothing — insulated pants, a thick jacket, gloves — but his posture is unnatural and still, as if he simply fell where he stood. There is no blood, no sign of struggle, no disturbance beyond the shallow imprint his body has made in the snow. Snowflakes settle quietly on his clothing and face, already beginning to soften his outline.
One gloved hand rests partially buried in the snow. Nearby, a piece of equipment or a dropped radio lies half-covered, its presence suggesting interruption rather than conflict. The wind pulls at loose fabric and scatters fine snow across the scene, emphasizing the harshness of the environment and the fragility of the human figure within it.
Several members of the research team stand around the body, their figures partially obscured by falling snow and wind. They wear heavy Arctic gear with hoods pulled tight, faces mostly hidden by scarves and collars. Slightly apart from the others, a tall, lean, man in his 40s kneels near the body, examining it in silence.
He wears a heavy parka with the high collar pulled up, a thick scarf wrapped over his lower face, and a dark knit wool cap pulled low over his head. Only his eyes are clearly visible. As he looks at the body, the wind tugging at his clothing. His expression, visible only through his eyes, is focused and unsettled— the moment when concern begins to harden into fear.
No one speaks. Their movements are slow and restrained by the cold, the scene unfolding in silence rather than urgency.
In the midground behind them, the ice cavern looms — dark, silent. Its proximity feels significant, yet offers no explanation. There are no footprints leading away, no signs of violence, only the relentless snow and wind slowly erasing evidence of time and presence.
The atmosphere is cold, solemn, and unsettling. This is not a scene of violence, but of sudden absence. The cause is unclear. The timing feels wrong. The silence invites interpretation.
The painting is rendered in subdued, painterly realism with visible brushstrokes and soft edges. The palette is restrained — whites, grays, muted blues — with the human figure providing the only dark contrast against the snow. The mood is heavy and unresolved: a moment that will later be misread, overinterpreted, and woven into fear.
Prompt: A cinematic, atmospheric oil painting set deep inside a vast Arctic ice cavern at night. The space is immense and cathedral-like, with towering walls of ancient ice layered in fractured striations. Translucent blues, milky whites, and deep shadowed fissures catch faint reflected light. Snow particles drift slowly through the air, barely visible, giving the cavern a sense of silence and isolation.
Dominating the scene is a massive, ancient UFO craft embedded within the glacier. Its surface is a fusion of organic curves and dark metallic geometry, scarred and partially exposed where thick ice still clings to the hull. The craft appears damaged and unfinished, frozen mid-escape. A subtle blue-white glow emanates from beneath the ice, revealing internal structures and casting an otherworldly illumination across the cavern walls.
Near the craft stands a tall, slender alien being with pale, matte white skin — completely unclothed, with no suit, armor, fabric, or equipment of any kind. Its form is entirely biological, elongated and fragile in appearance, with long limbs and four narrow fingers on each hand. The alien’s body is positioned in a three-quarter profile, turned toward the craft rather than the humans.
One of the alien’s hands is raised close to the damaged hull. From its palm and fingers emanates a soft, concentrated light that originates from within its body, gently melting the ice where it touches the metal surface. The light is precise and restrained, functioning like a biological process rather than a tool. Thin streams of melting ice run downward along the hull, catching the glow as they fall.
Without stopping its action or changing posture, the alien turns its head only slightly — just enough for one of its large, dark almond-shaped eyes to angle toward the two girls standing in the shadows. The light from its hand continues uninterrupted, making clear that the repair remains its priority. The alien does not approach, does not react, and does not confront — it simply continues its work.
In the deep shadows at the edge of the cavern stand two young women, barely illuminated by the narrow beams of their handheld flashlights. Their light is weak compared to the glow of the craft and the alien’s hand. One girl with short black dreadlocks stands frozen, her breath visible in the cold air. Beside her, the blonde girl with a messy bun, instinctively grips her friend’s coat sleeve, a reflex of fear and disbelief. Their faces are partially obscured by darkness — witnesses rather than participants.
Sparse human equipment is visible far in the background: a distant work light, a small surveillance camera mounted high on the ice wall, cables disappearing into shadow. There are no guards, no weapons, no alarms — only the quiet hum of machinery and the alien’s biological light working against the ice.
The atmosphere is eerie and reverent. This is not a moment of confrontation, but of realization. The alien does not appear hostile or curious. It appears stranded, focused, and determined — a being trying to repair what was broken in order to leave.
The painting is rendered in rich, painterly realism with visible brushstrokes, layered light, and deep shadow. Cold Arctic blues and whites dominate the palette, contrasted by the soft glow of alien light and faint industrial illumination. The mood is haunting, restrained, and unforgettable.
Prompt: A wide cinematic oil painting set deep inside a vast Arctic ice cavern. The space is monumental and uneven, with towering walls of ancient ice layered in fractured strata — translucent blue ice, milky white sheets, and deep shadowed gray fissures. Jagged cracks and frozen ridges catch both cold and warm light, creating depth and texture rather than flat color. Snow particles drift through the cavern air, illuminated by a mix of cold floodlights and warmer industrial lamps placed on the ice floor, casting long shadows and revealing scale.
Dominating the center of the composition is a massive, ancient UFO craft, embedded deep within a fractured glacier. The craft is the clear focal point of the image. It is enormous, detailed, and visually complex, dwarfing the humans nearby. Its surface combines dark graphite metal with organic curved structures, etched with fine seams, ridges, and weathered markings. A soft blue-white internal glow emanates from beneath the ice, revealing layered internal geometry and suggesting immense age. The UFO craft feels ancient, indifferent, and unconcerned — not alive, not aggressive.
In the midground stands a tall, lean man in his 40s, his eyes fixed in his full attention on the UFO craft as he watchs in awe. He is dressed in a heavy fur-lined parka pulled high at the collar, layered over thick insulating clothing, with a dark scarf wrapped up to his lower jaw and a thin black knit wool cap pulled low over his head. Frost clings to the edges of his clothing. His posture is upright but completely still — not confrontational, not defensive, just intense. He holds a flashlight angled toward the craft, its beam grazing the surface and revealing intricate details without overpowering the ambient glow.
Slightly closer to the craft stand two young women in heavy Arctic gear, both wearing large expedition backpacks. The first has short, spiked black dreadlocks and pale skin catching the cold blue cavern light, flushed pink at the cheeks and nose from freezing air. She wears a blue-gray fur-lined parka, ice crystals caught in the fur at the collar. She stands frozen in stunned silence, breath visible, eyes locked on the UFO craft.
Beside her stands the second woman, taller, with light blonde hair pulled into a messy bun with dark roots; her cheeks and nose flushed pink from freezing air. She wears a brown-beige fur-lined parka, ice crystals also caught in the fur at the collar and the seams. Her expression mixes awe and unease as she studies the immense structure. Both women face the craft fully.
Around them, human technology appears provisional: dark equipment crates half-buried in snow, coiled cables snaking across uneven ice, portable scanners mounted on tripods, and a laptop glowing dimly with unreadable data. Small orange indicator lights punctuate the cold palette, reinforcing depth and contrast.
The atmosphere is quiet, and deeply unsettling.
The painting is rendered in detailed, painterly realism with visible rich brushstrokes and layered depth, using a restrained but high-contrast Arctic palette — deep ice blues, slate grays, dark metallic tones, and warm industrial highlights. The mood is overwhelming and irreversible: the moment when myth becomes material, and containment quietly fails.
Style tags: oil painting, painterly realism, visible brush textures, grounded sci-fi, monumental scale, Arctic cavern, cinematic depth, subdued emotion, atmospheric stillness.
Prompt: A cinematic atmospheric oil painting set just inside the entrance of a functioning Arctic research facility. The heavy metal door behind the figures is half open, allowing a blast of freezing air and swirling snow to spill into the room. Frost and icicles creeps along the doorframe, and the sudden cold is visibly felt by everyone inside.
In the foreground stands a tall, lean man in his 40s. His pale skin is clean-shaven and weathered by years in polar environments. He wears layered cold-weather clothing — a wool sweater beneath a field jacket — and a thin, dark knit wool cap pulled low over his head, with short dark hair visible at the edges. His expression is angry but restrained, one corner of his mouth subtly twisted upward, lips pressed tight in visible dissatisfaction. His posture remains upright but weary, shoulders slightly lowered under the weight of an unwanted decision.
He extends one hand forward, holding two government-style identification badges hanging loosely from blue lanyards. The badges are plain and institutional. Across each card, the word “GUESS” appears in large, bold letters — unmistakably fake, unmistakably intentional. He does not present them proudly; they dangle between his fingers, an act of reluctant surrender rather than permission. The viewers can see well the word ''GUESS'' on the fake ID's.
Facing him are two young women, still bundled in heavy fur-line coats with fur at their collar, and scarves, frost clinging to their hair and eyelashes.
The first woman has short, spiked black dreadlocks hair and pale skin complexion, slightly red from the colds, her expression conflicted but unflinching — defiant, arms crossed on her chest, without being reckless. She wears a beige turtleneck sweater. Her fur-line parka is blue-gray with fur at the collar. She meets the man’s gaze directly.
Beside her, the second young woman, taller, has fair skin slightly red from the cold, with light blonde hair pulled into a messy bun with dark roots; she had brown earmuffs to cover her ears. She wears also the fur-line parka with fur at the collar, her parka is a natural color, brown-beige and a dark-gray turtleneck under. She watches closely, tense, angled slightly toward her companion beside her in quiet solidarity.
In the background, the research facility continues operating indifferently. A portable industrial heater glows orange, struggling against the cold. One team member stands close to it, hands extended for warmth, wearing insulated earmuffs. Another cradles a steaming coffee mug with both hands. Laptops, scientific equipment, and cables clutter nearby tables. No one intervenes. No alarms sound.
The lighting is harsh and industrial, a mix of cold fluorescent overheads and the warm glow of the heater. The atmosphere is subdued, heavy, and inevitable. This is not an argument, not an arrest — it is the quiet moment when protection becomes erasure, and identity is replaced for survival.
The painting is rendered in detailed, painterly realism with muted Arctic tones, visible brushstrokes texture, and layered depth. The emotion is restrained but devastating: resignation, inheritance, and the irreversible crossing from observer to participant.
Style Tags: oil painting, painterly realism, brushstrokes texture, grounded sci-fi, Arctic interior, environmental storytelling, subdued emotion, atmospheric cinematic composition.
Prompt: A cinematic oil painting depicting two young women stepping out of a small research aircraft into a violent Arctic blizzard. The environment dominates the composition — endless white ice, whipping snow, and crushing wind under a heavy gray sky. Industrial floodlights from a distant research base cut through the storm, casting harsh beams across the frozen ground.
In the foreground, a young woman with short, spiked black braided dreadlocks hair moves forward into the wind. Her pale skin complexion is flushed from the cold, as did the tip of her nose, partially covered by a thick scarf pulled up over her mouth. Frost clings to her eyelashes and hair. She wears a heavy blue-gray fur-lined parka, with fur at her collar, insulated gloves, and layered cold-weather gear, yet her breath is visible, emphasizing how inadequate even this protection feels. Her expression shows how she is cold.
Just behind her, a second young woman, taller, with light blonde hair tied into a messy bun with dark roots, struggles against the same wind. Snow has gathered in her hair and her heavy fur-line brown-beige parka along the fur at the collar. Her fair skin reddened from the cold, as did the tip of her nose; a puff of cold coming from his mouth breath. Her expression mixes awe and shock as she realizes the severity of the environment. She clutches tighter her heavy fur-lined brown-beige parka with fur at the collar, shoulders hunched, eyes watering from the cold.
Behind them, the open aircraft door glows faintly with warm interior light — a stark contrast to the brutal exterior. Crew members and equipment are partially visible through the blowing snow. The aircraft’s metal fuselage is iced over, its lights blurred by the storm. We see well the environment.
The painting is rendered in realistic, painterly oil style with dynamic brushwork that emphasizes motion — swirling snow, tearing wind, and biting cold. The color palette is dominated by icy whites, steel blues, and muted grays, punctuated only by the harsh industrial lights. The mood is overwhelming and humbling: the moment when excitement gives way to exposure, and the Arctic asserts its authority.
Style Tags: oil painting, painterly realism and rich brushstrokes texture, extreme environment, atmospheric, cinematic scale, Arctic cold, visual tension, grounded sci-fi.
Prompt: A cinematic oil painting set at night inside a dim, utilitarian research office. Two young women stand close together at a cluttered desk illuminated by a single warm desk lamp, surrounded by darkness and cold blue shadows.
The first woman has short, spiked black braided dreadlocks hair, you can clearly see the braided dreadlocks dangled on one side, and one side short and tightly to the scalp. She has pale skin complexion with a slight blush on her cheeks. Her face is sharp and expressive, with piercing green eyes. She wears a worn winter field jacket over a grey turtleneck sweater.
In one hand she holds a government-issued credit card, clearly visible to the viewer; in the other hand she holds commercial airplane tickets, the destination readable and unmistakably northern. She turns toward the second woman with a restrained but triumphant smile — a look that says the decision has already been made.
The second woman, taller, has light blonde hair pulled into a messy bun, darker roots visible, with brown eyes. Her skin complexion is fair, her expression thoughtful and happy. She wears a heavy dark green jacket over a black turtleneck sweater and holds an open folder stamped TOP SECRET, filled with official documents and maps. She looks up from the folder toward the first woman, understanding the implication without speaking.
The desk between them is scattered with papers, maps of the Arctic region marked with red circles, and official documents. In the background, a wall map labeled “ARCTIC REGION” is partially visible, along with pinned notes and sealed files. Outside the frosted window with icicles, darkness and snow suggest isolation.
The mood is quiet, intimate, and decisive — this is not theft, but inheritance taken by force of will. The painting is rendered in detailed, painterly realism with muted colors, visible brush texture, and soft chiaroscuro lighting, emphasizing secrecy, trust, and the moment before irreversible action.
Style Tags: oil painting, atmospheric, painterly realism, brushstrokes textures, cinematic lighting, grounded sci-fi, subdued palette, narrative stillness, visual storytelling.
Prompt: A cinematic oil painting of a tense confrontation between two figures in a cold, dimly lit office. On the left stands a young woman with short, spiked black dreadlocks hair, pale skin complexion with a slight blush. Her piercing green eyes are locked in focused determination. She wears layered winter clothing — a heavy brown field jacket over a dark hoodie — and points firmly at a large desk map labeled “ARCTIC,” where a red circle marks an anomaly near the North Pole. Fine-line symbolic tattoos are visible on her neck and hand. We have to see that her hair has to have spiked black dreadlocks, not short hair.
On the right stands a tall, lean man in his late 40s to early 50s. His skin is pale from years in cold environments. His dark brown hair is streaked with early gray at the temples, slightly unkempt. He wears a wool coat and scarf, with a clearly visible identification badge reading: Senior Cryogeophysicist & Aerospace Analyst. His rough, scarred hand is raised in a subtle but firm gesture of refusal — calm, not aggressive. His expression is distant but protective, his steel-gray eyes focused downward.
On the table between them lie sealed folders, government travel documents, and a visible folder stamped TOP SECRET. The background includes a wall map labeled “ARCTIC REGION” and a frosted window with icicles showing distant snow-covered terrain. The lighting is subdued, a chiaroscuro blend of cold blue Arctic light and the soft glow of a desk lamp. Through a frost window with icicles there is a view of winter scenery.
The painting is rendered in detailed and rich textures, painterly realism with an emotionally restrained, grounded tone. The moment feels personal but irrevocable — the denial of access from one who believes it’s for her protection.
Style Tags: oil painting, painterly realism, grounded sci-fi, cold palette, visual storytelling, atmospheric, Arctic tone, cinematic lighting.
Prompt: The story centers on two punk-inspired late-teen girls:
The first has brown eyes and wildly messy, tousled and tangled hair — black roots with bleached light blonde ombre effect — often worn in a loose bun with strands framing her face. She wears a long brown leather trench coat patched with metal pieces and studs over her black crop top with a spray-painted alien white face, short black denim skirt, high-leg black leather boots, and silver chain necklaces. She carries herself with bold confidence.
The second girl has short, spiked black dreadlocks, piercing green eyes, pale skin with a slight blush and a faint scar on her cheek. She wears a worn suede bomber jacket with a fur collar, ripped baggy jeans, old black Chucks, a studded belt, and visible tattoos on her arms. She’s often seen filming with a vintage camcorder and carries a satchel filled with UFO evidence.
A cinematic, richly detailed oil-painted digital artwork styled like a conspiracy investigation board. Four connected scenes are pinned to a large corkboard under the title “Eyes to the Sky” in bold, weathered letters. Each scene represents a chapter in a larger UFO mystery narrative involving the two girls.
Top left: **“UFO Conference – Believers and Skeptics”**
Shows the girls at a chaotic alien-themed convention. One holds a mic and notebook, the other films with a camcorder, surrounded by costumed attendees, UFO merchandise, and the bookstand for *Witness by Bob R.*
Top right: **“School Sighting – Playground Disclosure”**
A bright schoolyard where children react to a hovering saucer. One girl holds a glowing metal shard and interviews a child, while the other maps global UFO sightings with markers for Paris, London, Canada, and China.
Bottom left: **“UFO Fleet Hangar – Unsealed Evidence”**
A massive, dimly lit hangar filled with alien craft — oval and cigar-shaped — suspended from scaffolding or under repair. The girls sneak between crates, one filming, the other investigating.
Bottom right: **“Contact Breach – First Touch”**
The climax scene: inside an alien ship. One girl touches an active control panel, triggering a luminous energy surge. Holograms swirl as soldiers burst in with flashlights raised. Her friend captures everything on camera.
Polaroids, red string, sketches, and declassified files link the four scenes visually. Scattered near the bottom: an open camcorder, a flashlight, and a folder marked “PROJECT: SKYFALL — TOP SECRET.” The atmosphere is mysterious, rebellious, and cinematic, blending painterly textures with high emotional realism.
Prompt: Cyberpunk two females computer hacker at their desks with lots of computer screens, many posters of U.F.O and tall white face alien, in the middle of the western desert with an old airstream trailer in the background, satellite disches. One girl has brown eyes and wildly messy, tousled and tangled hair bleached light blonde with ombre effect with dark roots. She wears her hair in a messy loose bun, bleached strands framing her face.
She wears a worn brown leather biker jacket, a black crop top with seemingly spraypainted alien white face with big black eyes displayed across chest, low-rise torn blue denim jeans with a silver belt buckle, and layered silver chain necklaces.
The second girl has short, spiked black dreadlocks, piercing green eyes, pale skin with a slight blush and a subtle scar on her cheek. She wears a black leather jacket with skull patches and chains, over a dark tank top. She also wears ripped jeans with a studded belt and shows off tattoos on her arms.
We see them facing the camera, close-up type, sitting at their desk, and in the background see the desert with their trailer and satellite disches.
Style: masterful oil painting with soft brushstrokes painterly textures, emotinal realism.
Dream Level: is increased each time when you "Go Deeper" into the dream. Each new level is harder to achieve and
takes more iterations than the one before.
Rare Deep Dream: is any dream which went deeper than level 6.
Deep Dream
You cannot go deeper into someone else's dream. You must create your own.
Deep Dream
Currently going deeper is available only for Deep Dreams.
