80〜90年代アーケードゲームへのリスペクトとオマージュを込めた、
スピードと爽快感あふれる3Dアーケードスタイル・レールシューティング！
✨『閃攻機人アスラ - ASURA THE STRIKER -』好評発売中！✨
🎮 https://t.co/KNR3Aj8Stc
#Steam #3Dシューティング #レールシューター #閃攻機人アスラ #ASURATHESTRIKER #インディーゲーム December 12, 2025

／
📣ハイプランク第６位🦖
＼

ヨミさんx幸祜さんで歌った
lock Strikes - ONE OK ROCK (Cover)

が、YouTubeの全体及び音楽ジャンルにおいて
ハイプランク第6位になっております👏

幸組は勿論、BELLSの皆々様のおかげです。
ありがとうございます🫶

📺MV
https://t.co/9PJvX6HpLm https://t.co/2lkQdOATSV December 12, 2025

#hailuo @Hailuo_AI
ハイルオ2.3でスナイパーシーンを作ったプロンプトです。KlingやGrokでも試しましたが、Hailuoが理想的なカメラワークで映像を出してくれました。

プロンプトは英語のまま載せるので、翻訳して煮るなり焼くなりご自由にお使いください！実写でもアニメでもいけるはず。（使いやすく改造してね！）

prompt
--------------------------------------
A cinematic action sequence based on the provided sniper image.
Keep the gritty, high-contrast style and lighting.

Sequence:

Start framed on the sniper’s face and rifle scope as in the provided image.

The camera moves away from the scope and quickly slides forward toward the muzzle.

Tight close-up of the muzzle.

The sniper pulls the trigger.

A bright muzzle flash appears, and the bullet is instantly fired at high speed.

The camera accelerates and follows behind the bullet with fast, smooth motion.

The bullet flies across the city toward a distant rooftop.

On that rooftop stands a large neon sign shaped as the glowing text “HAILUO”.
– The sign is tall, bright, and emits vivid electric light.

The bullet strikes the neon “HAILUO” sign at full speed.
– Sparks burst out.
– The neon tubes flicker violently.
– A section of the “HAILUO” lights shuts off or glitches.

The camera passes by the impact point and circles to reveal the damaged neon sign.

The final shot is a close-up of the cracked, flickering neon “HAILUO”. December 12, 2025

成果ってほど成果じゃないけど、一応やってきたやつだけ
𝗲𝘁𝗵𝗲𝗿strikeは無理、暗記譜面
でも弱虫モンブランみたいな感じはするから、ちょっと詰めてみようかな？ https://t.co/ZsEACXSVmh December 12, 2025

ガンダムカードゲームのSEED Strike【ST04】
在庫復活を毎日チェックしてる同志、多いはず…！

▶https://t.co/bwZ0UelDal

ヨドバシカメラでは販売終了してるみたい？
Amazonで在庫復活してるか探し中
スタートデッキ
#ガンダム【PR】 December 12, 2025

Clock Strikes - ONE OK ROCK (Cover) / VESPERBELL ヨミ × 幸祜 https://t.co/Jd8GjMRSEi @YouTubeより

ワンオクで1番好きな曲🎧 December 12, 2025

╭━━━━━━━━━━━━╮
🔱 ~🃏 JP Strike ✴️~ 結果 🔱
╰━━━━━━━━━━━━╯
⟡.· ⎯⎯✨皆さんお疲れ様でした✨⎯⎯ ⟡.·
🥇俺たちの様
🥈ＹＯ様
🥉匿名様

優勝おめでとうございます‼️㊗️
皆様もご参加ありがとうございました!!
またお待ちしております🙇‍♀️ https://t.co/ysjMJvI7H2 December 12, 2025

「SPECTER：灰域の影走者」
"SPECTER: Shadow Runner of the Ashes"
「静かに近づいて…一撃で決める。」
"Approach quietly… finish in one strike."

#aiart #aiartwork #AIイラスト #AIillustration
#BluePilotSuit20251208 https://t.co/2RvNbCIAak December 12, 2025

『THE STRIKE 』
ルアービルダーズミーティングにて
お会いした皆様、イベントに関わった店主様、skillful様、Riddle 様に厚くお礼申し上げます。
今回もめっちゃハードで超楽しい3日間でした😊
再会まで入手されたルアーで目一杯お楽しみください。
また来年お会いしましょう‼️ https://t.co/pVfbZPMIiO December 12, 2025

strike three!とVery Apeが一緒に出るのもすごいし、ウルトラ新機軸がこのメンツで革命を起こしそうだしやばくなるねこの日は絶対に。 https://t.co/KKkCeIpGva December 12, 2025

おはようございます。
先日チケットが来て、先週から配れる人には配ってるのですがその際に直接、楽しみとか期待してるとか応援の言葉をたくさんもらうんだけど、やっぱり面と向かって言われるとやる気になるな！愛だな。
必ず勝つ。
#strikenexus
#45日後にチャンピオンになる清重
#33日目
#清重真平 December 12, 2025

🚨看中共国如何入侵台湾：假设场景详解
——一场征服民主岛屿的两栖进攻，将是史上最艰难的军事行动

🔴文章通过假设战斗场景、军事专家分析和兵棋推演，详细描绘了中共国入侵台湾的潜在过程，强调这将是规模空前的血腥战争，将摧毁全球经济并重塑21世纪格局。北京是否动武仍是最大地缘未知数，但习近平已要求军队备战，推动和平时期快速军力扩张。美国作为台湾主要防御伙伴的回应，则是另一关键变量。

⚠️文章将入侵分为三大阶段，同时指出战争可能伴随夺取外岛、封锁、切断海底电缆或网络攻击等辅助行动：

📌1第一阶段：火力打击（Firepower Strike）
中共国以“联合火力打击”开场，发射数百枚导弹轰炸台湾防空系统、空军基地、弹药库、指挥中心和海岸炮台，目标是摧毁地面战机、炸毁跑道、削弱防御、震慑美国介入。火箭军主导，使用PCH191火箭发射器、DF-11AZT“地堡破坏者”（崩塌隧道入口）、DF-17高超音速导弹（规避拦截）和DF-26（打击关岛）。持续数天或数周的抉择至关重要：延长可能给美国反应时间，过短则无法清除关键威胁。中共国可能预先打击美日基地，但这将升级为中美直接冲突。

📌2第二阶段：两栖登陆（Amphibious Assault）
导弹风暴后，舰队穿越台湾海峡，面临导弹、雷区、美军潜艇/轰炸机和恶劣天气（台风、洋流、风雾）。数万部队和装备需秘密集结沿海（卡车、火车、飞机），但大规模行动易暴露——尽管近年真实化演习可伪装意图。登陆点难题：南部抵抗弱但地形崎岖、距台北遥远；北部近但火力猛烈，台湾可布雷、设陷阱、爆桥。中共国两栖部队包括6个陆军旅（3万兵、2400辆车）和11个海军陆战队旅。舰艇如075型（1200兵、50-60辆车、30直升机、3气垫艇）、071型（730兵、24辆车），搭载ZTD-05两栖车或玉义气垫艇。专用登陆舰不足，可能用民用滚装船（需改装坡道），在军舰护航下编队前进。登陆滩头战将如二战般惨烈，台湾用狙击手、反空导弹和城市强点反击。

📌3第三阶段：突破并占领台北（Breakout and Seize Taipei）
滩头立足后，需数十万后续部队突破，但重型坦克、补给无法“游泳”上岸。夺取港口是关键（专家称“得港即结束”），可引入无限民用渡轮和货船运兵/物资。台湾可破坏港口或沉船堵道。新能力：移动码头（3艘驳船排成一列，用伸缩腿锚定海底，延伸桥梁至岸，形成2700英尺堤道），允许车辆直接滚出——但需滩头安全后使用。推进台北将成21世纪城市战：2300万人口的山地河谷城市，台湾用狙击、隧道和不死强点拖延。中共国在大陆建台北模拟场训练，目标包括斩首政府大楼。

📣挑战与专家观点：

☢️•中共国挑战：海峡“极端恶劣”（美陆战学院专家）；登陆舰不足、民船编队难；地形（山脉、悬崖、水稻田）导致“慢行”战；需快速集结不被察觉；冒美介入风险。

☢️•台湾防御：城市战优势（混凝土据点、狙击手）；山地基地隧道；机场用反空导弹；爆桥（如淡水河）阻敌。

⚠️•美国角色：可从倭国/关岛出动战机/潜艇击沉舰队；预打击美基地将引全面战。

📌•专家分析：伊恩·伊斯顿（作者）比作美军废弃的“堤道行动”；托马斯·舒加特（新美国安全中心）称得港“无限海运”；迈克尔·达姆（米切尔航空研究所）指民船坡道和移动码头；埃里克·海金博瑟姆（麻省理工）论导弹多样规避；丹尼斯·布拉斯科（前美军武官）忧大规模暴露；马克·坎西安（退役美海军陆战队上校）南登陆易但推进长磨。

🔴入侵并非必然，但中共国备战加速凸显风险。

🔥评：中共具体侵略台湾的计划属于军事绝密，或许只有新中国联邦体制内战友可以提供。至于“专家们”，很少准确判断的。

https://t.co/ZNW6KeGp5a December 12, 2025

一番最後の[Prompt for original image]の部分に画像生成に使用したPromptを入れると一貫性が増します。不要な場合は3行削ってしまっても大丈夫です。

---
Extreme wide-angle perspective and dynamic pose remix edit.
This is an EDIT of the original image, not a new character.

Use the original image as a strict reference for:
– the person’s identity, hairstyle, and overall fashion style,
– the general type of background and location (same street, same room, same beach, same kind of architecture, etc.).

You are allowed to completely change the camera position, angle, and pose, but you must keep the scene in the SAME location and keep the SAME person and outfit design.

Camera and perspective:
– Use an ultra wide-angle or fisheye feeling lens (around 12–18mm full-frame look).
– The camera angle MUST change significantly from the original: use dramatic angles such as
• worm’s-eye view from directly below looking up,
• bird’s-eye view from directly above looking down,
• very low angle from the ground,
• high angle from above,
• tilted Dutch angles.
– Always create strong foreshortening: body parts close to the lens look huge, while the rest of the body falls away in perspective.
– The final result must look like a bold fashion or street photo, fully photorealistic, not illustration or anime.

Background consistency:
– Keep the same location as the original image: same street, same bridge, same room, same studio, same beach, same general structures and materials.
– Do NOT replace the background with a completely different place.
– Because the camera angle changes, it is allowed and expected that different parts of the environment become visible.
– When new areas appear, extend the original environment logically (same buildings, fences, road markings, walls, colors, materials, lighting style), as if the camera moved within the same place.

Body parts near the lens (1–2 parts, sometimes 3):
– In each edit, choose ONE or TWO main body parts to be extremely close to the lens (sometimes even THREE in more complex poses).
– Vary them from image to image, do NOT always use the same body part.
– Allowed near-the-lens parts include:
• one or both hands / fingers reaching toward the camera,
• one or both feet / shoes / boots near the lens,
• knees or thighs,
• face very close to the lens,
• shoulders or chest close to the lens in a leaning pose.
– The chosen body parts should come extremely close to the lens, almost touching it, with visible skin texture, fabric texture, and realistic wide-angle distortion.

Pose and overall body (complex and varied):
– Create strong, cool, dynamic poses that match the extreme perspective.
– Randomly use different pose types, including:
• standing with one leg or one arm reaching toward the camera,
• crouching or squatting low to the ground,
• sitting on the floor or on objects,
• lying on the ground with legs or feet toward the lens,
• leaning forward aggressively toward the camera,
• twisting the body, crossing legs, or arching the back for more dynamic lines.
– Allow complex poses where:
• both hands are near the lens forming shapes (peace signs, triangles, frames, pointing toward the viewer),
• both feet are toward the lens,
• one hand and one foot are both large in the foreground,
• the face is close to the lens while hands or feet are also visible in perspective.
– Maintain believable anatomy even with extreme foreshortening.

Angle and attitude (randomized):
– Randomize camera angle and orientation (up, down, side, Dutch tilt) while keeping the composition visually balanced and powerful.
– Keep the vibe cool, confident, and fashion/editorial or street style, depending on the original outfit.
– Facial expressions can vary (serious, playful, confident, mysterious), but must still look like the same person.

Lighting and rendering:
– Keep the general time of day and lighting mood similar to the original (night vs day, indoor vs outdoor, soft vs hard light), but you may enhance contrast and color to make the image punchy and dramatic.
– Maintain realistic shadows and contact points with the ground or floor.
– High-resolution, sharp details with clear skin texture, fabric weave, and material highlights.

Variation and randomness:
– Each edit should look noticeably different from the original image and from other edits, with different:
• camera angles,
• pose types,
• which body parts are closest to the lens,
• orientation (straight, tilted, from above, from below).
– Avoid repeating the exact same single-foot-close-up composition; produce a wide variety of dynamic poses and angles.

Strict rules:
– Do NOT change the person into someone else.
– Do NOT change the outfit type; only restyle it through pose, perspective, and small natural movement of clothing.
– Do NOT move the scene to a completely different location; always stay in a plausible extension of the original place.
– Do NOT add text, logos, watermarks, or graphic design elements.
– Do NOT switch to painting, illustration, or anime style; keep it photorealistic.

Overall:
Transform the original photo into a dramatic, photorealistic, ultra wide-angle shot with an extreme camera angle (including views from directly below or above), where one or more body parts are right next to the lens and look huge, the rest of the body recedes in perspective, and the same person strikes a stylish, complex, powerful pose in a consistent, expanded version of the original environment.

Also, below is the prompt for generating the original image. Please use it as a reference.
[Prompt for original image]
#nanobanana2 December 12, 2025

1976年 6月 4日 - ルー･クリスティが､ティーンエイジ･アングストを最高潮に引き上げた ｢Riding In My Van｣

With "The Gypsy Cried," "Two Faces Have I," "Lightnin' Strikes," and "Rhapsody In The Rain," Lou Christie took Teenage Angst to its peak, and looked down at the competition that scrambled to regain its foothold.
~ Alan Betrock, California USA

Lou Christie - Riding In My Van 8-50244 +
Engelbert - After The Lovin' 8-50270
~ Prod J Diamond + C Calello, Arr #Calello December 12, 2025

セッション楽しかったー！ベース難しかったけどいい経験！ギター楽しかったー！みんな楽しい時間をありがとでした！

Ba. rock to ready
Gt. U&I/StrikeParty!!/花の塔 https://t.co/naJW5DGQ1Q December 12, 2025