Personal Grendel

Figure 1. A personal Grendel, by ImageFX.

 When I originally introduced Grendels into the Exodemic Fictional Universe, they were the helpers of Interventionists who "lived" on Earth and guided the human species into the future.

SSS Grendel

For my story "D*", I make use of the idea that the Asimov Reality was used by both the pek and the bumpha as a "temporary Reality" where telepathic humans could be evolved. Within the Asimov Reality, a human being such as Aymy could be guided through life by a personal Grendel. A personal Grendel is an artificial life-form (a replicoid of a biological Grendel) that exists in the Hierion Domain, but can influence the behavior of people who live in the Hadron Domain of the universe (the world as we know it).

Under the influence of her personal Grendel, Aymy is sometimes unable to explain her own behavior which, when she was young, caused Aymy some confusion, but with experience she came to cherish the feeling of cognitive dissonance that arises from what Aymy thinks of as the actions of her unseen muse, who Aymy has learned to trust.

Figure 2. Cognitive dissonance by ImageFX.

I provided ImageFX with a text prompt about cognitive dissonance and ImageFX generated the image that is shown to the right.

Next, I provided the image shown in Figure 2 to Leonardo as a reference image and got some similar images, one of which showed the girl with her eyes closed. 

Figure 3. Automatic writing.

Using those Leonardo-generated images, I provided the cropped image of the face of the girl with closed eyes as a "subject", a full sized portrait format image as the "scene" and my usual text prompt "style" to Whisk.

I was amused when Whisk generated the image that is shown in Figure 3. I then provided Whisk with this "storyboard" description: "A stunningly detailed, full color, photorealistic rendering of a study scene at night. A tired woman with an open notebook illustrated with a technical diagrams on a wooden desk, illuminated by dramatic Chiaroscuro lighting from

Figure 4. Grendel by ImageFX.

  what appears to be a single source. She's holding a pen over an open notebook containing technical sketches and diagrams and she is close to falling asleep. A blue sweater, books on dark wooden shelves in the background, shallow depth of field. Nearby is what appears to be the dream vision of the woman. The dream vision is a translucent version of the original woman. Cinematic mood, warm browns contrasting with cool blues. Photorealistic style."

Figure 5. Grendel by Whisk.

Figure 6. Personal Grendel - a tireless source of inspiration - by Whisk.

In the Hierion Domain.

 I was surprised when Whisk began making images such as the one shown in Figure 5 where I expected a transparent human figure but got what looks like a transparent holographic display in front of the Grendel. 

In Figure 6 the personal Grendel (in the background) is hard at work while the human is falling asleep. As shown to the right, the personal Grendel from Figure 6 seems immersed in holographically projected circuit diagrams.

What form should a personal Grendel take? While biological Grendels are a distinct humanoid species, the Grendel replicoids that serve as personal Grendels can take on any convenient form. 

SSS border

In my imagination, personal Grendels might adopt an appearance that is quite close to the individual human who they are associated with, even changing their appearance with time so as to mimic aging.

I used the image from Figure 6 as a new "scene" along with an abstract "subject" image with bright red colors (see the image to the left) in an attempt to get Whisk to generate a distinctive border separating the Grendel in the Hierion Domain from the woman in the Hadron Domain.

Figure 7. Personal Grendel inside the Hierion Domain by Whisk.

 Problems. I suspect that my description of the scene was becoming too complex for Imagen 3. Here is the updated text prompt:

Figure 8. Problems with Whisk.

"A stunningly detailed, full color, photorealistic rendering of a study scene at night. A tired woman with an open notebook illustrated with a technical diagrams on a wooden desk, illuminated by dramatic Chiaroscuro lighting from what appears to be a single source.

Figure 9. Graphs and charts by Whisk.

  She's holding a pen over an open notebook containing technical sketches and diagrams and she is close to falling asleep. A blue sweater, books on dark wooden shelves in the background, shallow depth of field. Nearby is what appears to be a floating dream vision of the woman or possibly a ghost. The dream vision is a translucent version of the original woman. Surrounding the dream version of the woman is a brightly colored circular border composed of blocks of red and teal which is subtly incorporated into the scene and which divides the dream vision from reality. The circular border alternates between transparent and opaque and marks the edge of reality and the dream. Cinematic mood, warm browns contrasting with cool blues. Photorealistic style."

The image shown in Figure 8 illustrates some of the problems that Whisk had generating this scene. The text prompt specifies, "She's holding a pen over an open notebook containing technical sketches and diagrams", but Whisk seemed devoted to the idea of plastering circuit diagrams right on top of the Grendel (see the image to the right).

Whisk had the idea that a tired person should rest their head on one of their hands, which often led to Whisk generating a third hand that could continue to write (see Figures 3 and 8).

Figure 10. A very ugly Whisk-generated border dividing the Hadron and Hierion Domains.

Generated by Leonardo.

I continued to make adjustments to the "storyboard" description and Whisk generated Figure 10 when I used this text prompt: "A stunningly detailed, full color, photorealistic rendering of a study scene at night. A tired woman works over an open notebook on a wooden desk, illuminated by dramatic Chiaroscuro lighting from what appears to be a single source. The pages of the notebook are illustrated with technical diagrams. She's holding a pen over the open notebook and she is close to falling asleep. A blue sweater, books on dark wooden shelves in the background, shallow depth of field. Nearby is what appears to be a floating dream vision of the woman or possibly a ghost. The dream vision is a translucent version of the original woman and that ghostly figure is working diligently to craft a new electronic device.

Generated by Leonardo.

  Surrounding the dream version of the woman is a brightly colored circular border composed of abstract blocks of red and teal which is subtly incorporated into the scene and which divides the dream vision from reality. The circular border alternates between transparent patches and opaque regions and the border delineates the merging of reality and the dream. The transparent dream vision contrasting with the mundane study scene is all rendered in a crisp photorealistic style".

Generated by Leonardo.

I was not satisfied with the boundary that was visible in Figure 10 separating the Hierion Domain and the Hadron Domain. I asked Claude for help...

 Me: "Claude, allow me to explain some of the science fiction story that this AI-generated image is supposed to illustrate. In the story (which is set in the future, the year 3553 C.E.), there is more than one

Generated by Leonardo.

  physical domain of the universe that is known. One domain of the universe is what I call the Hadron Domain, which is basically the universe as known to physicists in the year 2025. However, in 3553 C.E., it is known that there is another domain of the physical universe, what I call the Hierion Domain. Hadrons cannot exist in the Hierion Domain, bet there is a family of fundamental particles (called hierions) that can exist in the Hierion Domain. The Hierion Domain is defined by a set of three compactified dimensions. Hierions can form hierion-hierion bonds that are much shorter than chemical bonds. Thus, there can be non-biological artificial life-forms that exist in the Hierion Domain and are composed of hierions. Also, there can be a form of information transfer between the artificial life-forms of the Hierion Domain and humans of the Hadron Domain.

Generated by Leonardo.

  That information exchange is facilitated by a nanoscopic endosymbiont that exists inside every human (these endosymbionts were first integrated into the biological life-forms of Earth about 2,000,000,000 years ago by aliens from a distant galaxy). That endosymbiont is composed of hierions and each person's endosymbiont links into that person's brain, allowing for communication between people and artificial life-forms in the Hierion Domain. In the AI-generated image that we (Claude and I) have been developing, the "blue translucent spectral version of the woman" is actually an artificial life-form within the Hierion Domain who functions

Generated by Leonardo.

  like a personal assistant for the woman. The woman is only vaguely aware of that artificial life-form, but she can get valuable assistance from the Hierion Domain, such as making "new" scientific discoveries that are passed to her from the helper in the Hierion Domain. The AI-generated image is for readers of the science fiction story, to illustrate the concept of there being an artificial life-form in the Hierion Domain, but the visual depiction is metaphorical, since the artificial life-form is actually nanoscopic and composed of hierions, not conventional matter. Thus, I want the blue spectral part of the AI-generated image to look like it exists in a rip of the conventional fabric of reality, a rip that allows readers to get a look into the Hierion Domain. Thus, I want there to be a subtle border around the blue spectral part of the AI-generated, but not a jarring border."

Generated by Leonardo.

Claude suggested to following new prompt: "A stunningly detailed, full color, photorealistic rendering of a study scene at night in the year 3553 CE. A woman works over an open notebook on a wooden desk, illuminated by dramatic Chiaroscuro lighting from a desk lamp. The pages contain complex technical diagrams. To one side of her, reality appears to fold and ripple like a gossamer curtain, revealing a glimpse into the Hierion Domain. Through

Generated by Whisk.

  this subtle distortion in space, we see a luminescent cyan figure, an artificial life-form assistant, manipulating complex hierion-based technology. The border of this interdimensional window is marked by a subtle distortion effect, as if light itself is bending around the intersection of the two domains. A faint lattice of geometric patterns, like a crystalline network, creates an almost invisible bridge between the base of the woman's skull and the artificial life-form, suggesting quantum-level communication through the endosymbiont. This connection appears technological rather than dreamlike, with precise geometric nodes along its path.

Generated by Whisk.

  Floating hierion-based technical schematics surround the assistant, their alien geometry hinting at physics beyond conventional matter. The scene maintains a cinematic mood with warm lamp light in our domain contrasting with the cool cyan glow of the Hierion Domain, all rendered in crisp photorealistic style." Using that prompt, Whisk generated the image shown in Figure 11.

Figure 11. Generated by Whisk by using the text prompt suggested by Claude.

Figure 12. Updated personal Grendel, by ImageFX.

I used the following shorter text prompt with Leonardo: "A stunningly detailed, full color, photorealistic rendering of a woman writing on an open notebook on a wooden desk, illuminated by dramatic Chiaroscuro lighting. To one side of her, reality appears to fold and ripple like a gossamer curtain, revealing a glimpse into a parallel reality where we see a luminescent cyan figure manipulating complex technology. This translucent blue

Figure 12. Grendel on the notebook by Whisk.

  spectral version is off to one side of the actual woman. The border of this interdimensional window is marked by a subtle distortion effect, as if light itself is bending around the intersection of the two domains. A faint lattice of geometric patterns, like a crystalline network, creates an almost invisible bridge between the base of the woman's skull and the cyan figure which is rendered in crisp photorealistic style."

Generated by Leonardo.

Some of the images that were generated by Leonardo are shown above, on this page and one more is in the image to the right. Sometimes Leonardo includes text in the images it generates. Possibly "OFTT" is a clothing brand. One of the advertised uses for Leonardo is for assisting with image creation for people working in the fashion industry.

Using the image from Figure 11 as a new "scene" reference image with Whisk, the images in Figures 12 and 13 were generated. For Figure 12, the Grendel is standing on the notebook and the woman is working on an electronics project. For the image in Figure 13, I manually re-tinted the window (originally the outside world was blue).

Figure 13. Generated by Whisk, manual window tint.

SSS final

I used the image from Figure 13 as a new "scene" Whisk reference image and then the image shown in Figure 14 was generated by Whisk. The Grendel in Figure 14 was generated by WOMBO Dream and manually pasted into the Whisk-generated scene, covering up the Whisk-generated Grendel that was not very life-like and not similar the "subject" image that I had provided (see the image to the left). I was fairly satisfied by the image in Figure 14, which included a subtle link (a network of blue dots) between the Grendel and the head of the girl.

This was the text prompt for Mr. Wombo: "A stunningly detailed, full color, photorealistic rendering of a very young Meg Ryan depicted as a translucent glass statue, Meg Ryan is fifteen years old, Meg Ryan has long blond hair, Meg Ryan is cute, photo-realistic depiction of Meg Ryan as a very pretty girl, Meg Ryan happy, Meg Ryan is smiling, Meg Ryan is very tall and slim".

Figure 14. Mostly generated by Whisk, but the Grendel was generated by Mr. Wombo.

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Space 9991

Figure 1. Aymy and Jaxyn (the blond) by Whisk.
Click the image to enlarge.

I've been experimenting with Whisk and Leonardo to make illustrations for my science fiction stories. In my story "D*", Aymy is a redhead and there is a mysterious image of her on file with the Jarnell Corporation that shows her with a blond woman. I imagine that when Ayme traveled from Earth to Alphanor, she met that blond woman, Jaxyn, onboard the space liner. I provided Whisk with the following text prompt:

 Fig. 2. Aymy and Jaxyn Seraphyna by ImageFX.

"A photorealistic science fiction scene depicting two women inside a futuristic spaceship.  A young woman with long, flowing auburn hair styled in loose waves, fair skin, and minimal makeup, is pointing towards a large display screen.  She wears a futuristic garment made of transparent gauze that wraps around her tall slim body like a snake.  On the display screen is an alien spaceship against a background dark outer space and distant stars. 

Figure 3. Generated by Whisk with the new prompt.

The woman's expression and pose are subtly integrated into the overall mood of sleek, futuristic mystery. The rendering of the complex equipment inside the spaceship is detailed and hyper-realistic, with a fractal complex pattern in the many LED lighting sources on the control panels.  The metallic silver bodysuit of another young woman with short, blonde, wavy hair, light blue eyes, and a high-necked, form-fitting bodysuit with metallic straps and circular details is visible in the background, where she sits at a control panel. The blond woman looks over her shoulder at the woman with red hair."

Figure 4. Generated by Whisk. Click image to enlarge.

 After seeing the image that is shown in Figure 1, I changed the text prompt to: "A photorealistic science fiction scene depicting two beautiful women inside a futuristic spaceship.  A very tall and slim young woman with long, flowing auburn hair styled in loose waves, fair skin, and minimal makeup, is pointing towards a large display screen.  She wears a futuristic garment made of a single long strip of translucent gauze that has been

Figure 5. Generated by Leonardo.

 carefully wrapped around her tall slim body so as to cover the soft seductive curves of her body.  On the display screen is an alien spaceship against a background of dark outer space and distant stars. The woman's expression is one of excitement and wonder as she contemplates a mystery. The rendering of the complex equipment inside the spaceship is detailed and hyper-realistic, with a fractal complex pattern in the many LED lighting sources on the control panels.

Figure 6. Spaceship model generated by Leonardo.

 Seated at a control panel is another young woman with short, blonde, wavy hair, light blue eyes, and form-fitting bodysuit with sparkling details. The blond woman has her hands on a control panel. The blond woman looks over her shoulder at the woman with red hair."

With that updated text prompt, Whisk generated images such as the two that are shown above in Figure 3 and Figure 4.

Figure 7. Aymy "pointing". Generated by Leonardo.

I also gave that text prompt to ImageFX and it generated quite similar images (see Figure 2). Leonardo has a limit on the length of text prompts, so to generate the image shown in Figure 5 I used this shorter prompt: "A photorealistic scene depicting two beautiful women inside a futuristic spaceship. The rendering of the complex equipment inside the spaceship is detailed and hyper-realistic, with a fractal complex pattern in the many tiny LED lit

Figure 8. Two hands on the controls by Leonardo.

 buttons on the control panels. Seated at a control panel is a young woman with blonde hair, blue eyes, and form-fitting bodysuit with sparkling details. The blond woman has her hands on a control panel. Another very tall and slim young woman with long red hair and fair skin is pointing towards a large display screen. She wears a futuristic garment made of translucent gauze that has been tightly wrapped around her tall slim body.

Figure 9. Red hair and gauze by Leonardo.

 On the display screen is an alien spaceship and distant stars. The redheaded woman's expression is one of excitement and wonder. The blond woman smiles and looks at the woman with red hair. Chiaroscuro lighting".

Leonardo Variations. Leonardo found many ways to avoid generating the scene that I had originally requested. I was using the option that allows Leonard to make "prompt suggestions", allowing the software to constantly generated its own new prompts.

Figure 10. The creepy Aymy touch by Leonardo.
Click on the image to enlarge.

 Leaping off of the view screen. One of the odd variations created by Leonardo is shown in Figure 6. Leonardo made what looks like a model of a spaceship, right there in the room with Aymy.

 One of the most annoying "tricks" of Leonardo was the complete failure to depict Jaxyn (the blond) as looking at Aymy. In general, Leonardo usually had Jaxyn looking towards the camera. 

Figure 11. Aymy's inverted fingers by Leonardo.

In all fairness, I saw no evidence that the Imagen 3 software that is used by ImageFX and Whisk understood to make the Jaxyn look at Aymy, but it did not make the Jaxyn look towards the camera. Admittedly, in Figure 7 Aymy is making a very strange gesture towards the view screen and I can imaging Jaxyn Seraphyna looking at us and asking, "Why doesn't she know how to point?"

 As shown in Figures 5 & 6, Leonardo routinely ignored the idea that Jaxyn (the blond) should be seated. Also the directive "her hands on a control panel" was often relaxed and only one hand was shown at the controls. 

Leonardo's creative strategy for keeping both of Jaxyn's hands on the controls.

Figure 12. Creepy wrist by Leonardo.

However, for Figure 8 Leonardo made a special effort to keep both of her hands on the control panel, resulting in an awkward pose. I suppose with Jaxyn Seraphyna's low-cut body suit, nobody is going to be looking at her hands.

 Gauze Variants. While Leonardo was trying (and usually failing) to show Aymy "pointing towards a large display screen", in images such as the one shown in Figure 9 it looks more like Aymy is pointing at Jaxyn Seraphyna. 

Figure 13. Too many fingers by Leonardo.

Also, in Figure 9 the long red hair of Aymy seemed to merge into the shear red material of the "gauze" that Leonardo had included in that image.

 Hand Issues. Many of the Leonardo-generated images included unusual or broken hands. The image in Figure 10 has Aymy (the redhead) with a rather alien looking hand that is not pointing at the display screen and seems to me reaching to feel the breasts of Jaxyn (the blond). 

Figure 14. Too few fingers by Leonardo.

In Figure 11, Aymy's fingers seem to bend in the wrong direction and Jaxyn Seraphyna seems amused. Figure 12 has one of the more weird hands that was generated by Leonardo, sprouting off of a very flexible wrist. Figures 13 and 14 show two more Lenoardo generated images in which there appears to be a spaceship model there in the room. One of those images is ruined by there being six fingers on Jaxyn's hand (Figure 13) and the other shows her hand with only three fingers (Figure 14).

Figure 15. Aymy with a model spaceship by Leonardo.
Click on the image to enlarge.

The image in Figure 15 seems to show Aymy holding a model spaceship. The right hand of Jaxyn Seraphyna also has something strange going on with how it was rendered, including a finger shortage. When I see images like this, I start imagining odd backstories for Jaxyn such as her having suffered the loss of her hand and having a new one surgically attached. These images can be clicked on in order to get an enlarged and more detailed view.

Figure 16. The abdominal hand monster. Generated by Leonardo.

Among the strangest hands generated by Leonardo in this sequence of images featuring Aymy onboard a spaceship is the one shown in Figure 16. Yes, I asked for an image showing "her hands on a control panel", but I expected that her hands should remain attached to her wrists at all time.

Figure 17. More artificial intelligence creativity. The breast arm by Leonardo.

I was impressed by the Leonardo-generated image shown in Figure 17 because it appears to show a third arm growing out from one of Jaxyn's breasts or possible her rib cage just below her breast.

Figure 18. The door to the STENDO room.

Some of the images generated by Leonardo have text as part of the scene. For the image that is shown in Figure 18, there is a red sign above the cabin door that seems to say, "STENDO".

I challenged the new Gemini "thinking" model: "Gemini, imagine a futuristic interstellar spaceship of the year 3948. Make numbered list of all the rooms and compartments needed in such a spacecraft that would accommodate human passengers and all of the critical spaceship systems."

Figure 19. First Contact by Leonardo.
Meeting a green alien with six arms.

Gemini then generated a list these 20 spaceship components: "Bridge and Command Deck, Crew and Passenger Quarters, Recreation and Relaxation Lounge, Galley and Mess Hall, Medical Bay and Surgical Suite, Physical Exercise and Wellness Zone, Observation Deck/Stargazing Lounge, Training and Simulation Suite, Hygiene and Sanitation Facilities, Life Support and Environmental Control,

Fig. 20. Red flame.

  Power Generation and Distribution Hub, Engineering Core and Propulsion Systems, Navigation and Communication Array, Central Computer and Data Processing Core, Research and Scientific Laboratories, Defensive Systems Control and Armory, Ship Security and Internal Security, Environmental Recycling and Waste Management, Cargo and Supply Storage Vault, Docking Bay and Vehicle Hangar".

Figure 21. Aymy learning about the Jarnell Intersplit.

 Me: "Gemini, pretend that I have information from the future and I have learned that the word 'Stendo' is found in glowing red lights on a sign above the doorway to one of the compartments in the interstellar spaceship of the year 3948. Gemini, produce a rational argument and fictional etymology for the word 'stendo' matching it to one of the twenty spaceship compartments that you listed above in this conversation."

Figure 22. Aymy sharing her favorite toy.
"...stretch out, make larger, prolong..."

 Gemini: That's a fascinating puzzle! Let's break down the word "Stendo" and see if we can rationally link it to one of the spaceship compartments, crafting a fictional etymology along the way.
Analyzing "Stendo" and Potential Meanings: The word "Stendo" has a somewhat Latin or Greek-sounding root, even though it isn't a real word in modern English.  Let's dissect it:
 "Stend-" : This prefix/root could be related to:

Figure 23. Aymy's robot design by Leonardo.

    1) "Extend": To lengthen, stretch out, make larger, or prolong.
    2) "Stand": To be in an upright position, to remain firm, to resist.
    3) "Attend/Tend": To take care of, to look after, to be directed to.
    4) "Stasis/Steno-": (Greek "stenos" - narrow, constricted) While less direct, could hint at containment or specialized conditions.

Figure 24. Leonardo allows Jaxyn to point.

 "-o":  Often used as a suffix in Latinate words, sometimes indicating a place, state, or action.

Considering these potential root meanings and the context of a spaceship, let's revisit the 20 compartments and see which one aligns most logically with a word like "Stendo".
Matching "Stendo" to a Compartment and Building Etymology:

Figure 25. Leonardo allows a disembodied arm to point... no body required.

 After reviewing the list, the 'Medical Bay and Surgical Suite (Bio-Regenerative Healthcare Unit)', or its futuristic name 'Bio-Regen Unit', emerges as the most compelling candidate for a compartment labeled "Stendo". Here’s why, and the fictional etymology to support it:

Figure 26. Leonardo's body merger.

 Compartment Match: Bio-Regen Unit, Rational Argument:
 1.  "Extend" Life and Health. The primary function of a Bio-Regen Unit is to extend the health and lifespan of crew members during long interstellar voyages. This aligns strongly with the "extend" root of "Stendo".  Space travel is inherently risky and life-threatening over extended periods due to radiation, microgravity, and potential accidents. A Bio-Regen Unit is crucial for extending healthy operational time.

Figure 27. Leonardo attends to the hand in Return of the Hand.

 2.  "Attend/Tend" to Biological Systems. Medical bays, by their very nature, are places where biological systems are 'attended to' and 'tended'.  The Bio-Regen Unit, with its advanced technology, actively 'tends' to the crew's health, injuries, and biological needs, often in automated or highly specialized ways.

Figure 28. Aymy shops at Leonardo's toy store.

 3.  '"Stasis/Steno-" (Indirect Connection). While weaker, there could be a subtle link to 'stasis'. Bio-regeneration might involve inducing states of controlled stasis or manipulating biological processes within narrowly defined, specialized conditions ('steno' - narrow) to achieve healing and regeneration.
Fictional Etymology for "Stendo". Let's imagine the evolution of "Stendo" as a term for the Bio-Regen Unit:

Figure 29. "We discovered how you do it."

 Early 22nd Century (Conceptual Roots). As bio-regenerative technologies began to truly emerge, medical researchers and engineers started using jargon that emphasized the extension of healthy lifespan and the tending to biological degradation caused by space environments.

 Mid-24th Century (Proto-Word Formation).  A technical term, perhaps initially used in medical documents or engineering schematics, might have emerged. Something like "Extendendo-Bio" (combining "extend" with "bio" for biological).  This was likely too cumbersome for everyday use.

Figure 30. Keeping cool in space.

 Late 29th Century (Slang and Shortening). Medical and spaceship crew started to informally shorten and streamline "Extendendo-Bio".  Perhaps initially, it became "Extend-Bio", then "Extendo", and eventually, through linguistic drift and simplification, "Stendo".  The "-o" suffix could have been added for a smoother, more pronounceable and slightly Latinate feel, fitting with the increasingly globalized and somewhat classical-revivalist cultural trends imagined for the future.

 35th-39th Centuries (Formal Adoption & Popularization). "Stendo" became widely adopted as the common, almost slang, term for the Bio-Regenerative Healthcare Unit.  While official documents might still use the full, formal name, everyone on board and even space agencies referred to it as "the Stendo".

Jaxyn's daughter by Leonardo.

  The glowing red sign above the doorway simply reflects this deeply ingrained, popular usage, prioritizing quick recognition and a sense of futuristic coolness over formal technical terminology.  Red lighting is often associated with medical or emergency contexts, further reinforcing the compartment's function.

Figure 31. Time for bed.

  Conclusion. Therefore, "Stendo" is a rationally justifiable and etymologically plausible futuristic name for the Bio-Regenerative Healthcare Unit in the year 3948 spaceship. It neatly encapsulates the core functions of the compartment – extending healthy life and tending to biological well-being – in a concise, memorable, and futuristic-sounding word, fitting for a slang term that has become formalized through centuries of usage. The glowing red lights simply serve as a visually striking and easily recognizable marker for this vital medical facility.

 First Contact. The original Leonardo-generated version of the image shown in Figure 19 had the red "flame" that is shown in Figure 20 displayed on the display screen at the right side of the image. I manually replaced that "flame" with an AI-generated image of an alien with six arms (also see Figure 18 in this blog post).

Figure 31. Deep space fashion tips by Rylan.

For Figure 21, I added in the text "Intersplit", the name used by Jack Vance for the type of interstellar spaceship drive technology in the part of Deep Time that I call the Asimov Reality. In Figure 22, I manually pasted in one of Aymy's favorite toys so that she could share it with Jaxyn Seraphyna. The original Leonardo-generated image had her hand hanging there empty. For Figure 23, I pasted a transparent robot into the original Leonardo-generated image (see other transparent robots in this blog post).

In Figure 24, Leonardo gave the blond woman a chance to point. For Figure 25, Leonardo simply generated a floating arm that was able to do the required pointing.

Figure 32. Invasion of the skull ships.

 Anatomy 10101. I had the feeling that Leonardo really just wanted to make images depicting two cute fashion models standing before the camera. In Figure 26, Leonardo seemed to merge the bodies of the two women as soon as they got too close together. Another one of Leonardo's anatomical errors is shown in Figure 27 where two hands appear to have sprouted from a single arm.

 Having shared one toy with Jaxyn Seraphyna, and having gotten good use of it, Aymy suggested that they search the ship's stores for new toys, as shown in Figure 28. The two blonds to the left side of Figure 29 were generated by Leonardo in a single image and then I manually pasted in a third blond from another Leonardo-generated image in which it appeared that she was touching her crotch.

Figure 33. A rare brunette by Leonardo: "I see your future pregnancy!"

I asked Gemini to: "invent a futuristic name for an imaginary woman (a character in a science fiction story) who works in Bio-Regenerative Healthcare Unit in the year 3948." Gemini suggested "Seraphina" and "Jaxyn". Given my affinity for names that include the letter "y", I decided that the blond woman who Aymy meets on her way to Alphanor is Jaxyn Seraphyna. Gemini also suggested "Rylan" and "Teryn" for the names of two sisters of Jaxyn. I imagine that trio in Figure 29 is Jaxyn, Rylan and Teryn.

Figure 34. Rylan and Teryn by Leonardo.

As shown in Figures 30 and 31, when working with translucent gauze fabric, Leonardo sometimes provided us with fairly good views of the bodies of these ladies, however, unlike what happened in my previous blog post, for this scene onboard the interstellar spaceship, Leonardo might have broken the light speed barrier, but not the restrictive nipple barrier. 

In Figure 32, Aymy's nipples seem to be sealed up tight as a drum under metal armor, but there is something very unusual going on outside her spacecraft. I can't imagine why Leonardo inserted that skull into the scene.

Figure 35. Why should we look up there?

The image that is shown in Figure 33 was unusual because Leonardo generated a brunette. In my science fiction story "D*", some of the characters can access the Sedron Time Stream and receive information from the future. Maybe this mysterious brunette can see events in the life of Jaxyn that will take place in the future. 

For Figure 35, Leonardo seemed to abandon the wispy gauze and metal breast plates (Figure 32) and created skin-tight body suit for Aymy. I manually modified the Leonardo-generated image so as to give a hint of nipples on her breasts.
About the title: see Space 1999.
Next: the personal Grendel.

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