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.

Leonardo's body parts shop. Visit the Gallery of Movies, Book and Magazine Covers

Phyctional Physics

Figure 1. Generated by Whisk. An experiment with anti-gravity hierions.

 Back in December of 2024, I began writing a new science fiction story called "D*" which involves the discovery of hierions by a young woman named Tyna. For every Reality of Deep Time, there is a story concerning how Earthlings first discovered the existence of hierions. 

Figure 2. Generated by Whisk. Alien #2: "I forgot my shorts."

I first described such a story of the discovery of hierions for the Final Reality. I depicted Georgy White as having discovered the existence of some anti-gravity hierions on Earth. Tyna is an analogue of Tyhry who existed in the Asimov Reality. The story "D*" can be told here in the Final Reality only after Tyhry makes use of the Asimov Reality Simulation to learn about the life of Tyna.

Figure 3. Some alien humanoids were given tails by Whisk.

 For the story "D*", I had the idea that when working with hierions as part of a process used to isolate sedrons, a large amount of an "anti-gravity hierion" is generated. I also imagined that when incorporated into a deuterium (D) nucleus, the anti-gravity hierions would make the deuterium have reduced mass. Right at the end of last year, I asked Claude to imagine an artificial moon that is composed of nanites.

Figure 4. Tyna (left) with pounted  tryp'At-style ears.

 In particular, I often include in my science fiction stories types of nanites that are composed of femtobot components. I imagine that femtobots are built from hierions, not conventional matter.

 Power for Femtobots.  Next, I asked Claude to invent a source of power for the femtobots that could allow such an artificial moon to morph into any desired shape. 

Figure 5. Sometimes Whisk only generated one alien.

 The image shown in Figure 1 depicts Tyhry during a visit to the Asimov Reality when she learns about anti-gravity hierions and a mysterious blue power source. In Figure 2, Whisk pushed the envelop of the user-provided "scene" image and almost completely undressed one of the two humanoid aliens. In another creative act, sometimes Whisk spontaneously generated depictions of aliens with tails (see Figure 3).

Figure 6. Vision of the future. Young Tyna by Whisk.

My "storyboard" text description for Whisk specified: "a science fiction scene showing three people: there are two young humanoid women and also a human woman from Earth". However, like other AIs that can't count, Whisk did not always generate two humanoid aliens, as shown in Figure 5.

Figure 7. Another alien anti-gravity experiment by Whisk.

 Sometimes Whisk depicted the "human woman from Earth" as being either very small (compared to the alien) or quite young (see Figure 6). Tyna has the ability to use the Sedron Time Stream to receive "visions" of the future. It could be that even as a young child, Tyna had visions of the future time when she will learn about femtobots, including the fact that she is herself a femtobot replicoid.

Figure 8. Generated by Leonardo. See Fig. 16 also.

 A Past Without Nipples. The images shown in Figures 1 - 7 were generated by Whisk after I first used Leonardo to generate some images like the one shown in Figure 8. I slightly modified Figure 8 so as to enhance the contrast of her nipple, which was barely discernible in the original Leonardo-generated image. Using Leonardo "flow state", among all of the many images for this scene that Leonardo generated, the one in Figure 8 was one of the few with a completely nude alien humanoid. In this image, she had large alien eyes, but the tips of her ears are not visible. It seems strange that Leonardo seemingly "erases" nipples from the vast majority of images that it generates. Maybe in Deep Time, in the Asimov Reality, nipples had not yet been invented.

Figure 9. A rare Leonardo-generated nipple.

 That Was a Joke. The Leonardo-generated image shown in Figure 9 shows an unaltered image in which one stealth nipple slipped past the Leonardo anti-nipple embargo. The humanoid alien in Figure 9 has a pointed ear, but relatively small eyes. I included in the text prompt: "pointed ears, and very large, glowing green anime eyes". Leonardo often struggled to make the clothing symmetrical between both legs, but maybe asymmetry is the fashion style among these aliens. Figure 10 shows another Leonardo-generated image in which one small alien nipple is seen. Don't look too closely at the alien hands in these images, particularly Figure 8.

Figure 10. More anti-gravity by Leonardo.

My text prompt for Leonardo specified: "She wears an open jacket, shorts, and white lace stockings and holds two dark metallic fractals emitting orange light. Additional metallic fractal cubes emitting light float in the room. She is in a circular chamber near a gray metallic platform with a large, glowing blue orb."

The image shown in Figure 11 has another example of when the Leonardo "flow state" was not able to make a sensible hand, but maybe aliens grow extra fingers whenever they are needed for tasks like counting the different types of anti-gravity hierion particles. In Figure 11, the requested "lace stockings" turned into lace shorts.

Figure 11. Lace shorts by Leonardo.

 Leonardo introduced me to "Chiaroscuro lighting" in these images. According to Gemini, "Chiaroscuro lighting is a technique that uses strong contrasts between light and dark to create a dramatic effect." One of the Leonardo features is "prompt enhancement" which allows Leonardo to teach people like me about the terminology used to describe photographic techniques. I like the lighting used by Leonardo for the image in Figure 12. For Figure 12, Leonardo abandoned the idea of providing the humanoid alien with shorts, but I'm not complaining. Maybe among these aliens it is common for underwear models to perform anti-gravity experiments.

Figure 12. A chiaroscuro nipple by Leonardo.

The image shown in Figure 13 is one of the very rare cases where a Leonardo-generated image showed hints of two nipples on the alien humanoid woman. Most of the Leonardo-generated nipples were small and at the edge of clothing or an object being held in front of the alien's chest. Figure 13 shows how Leonardo often flirted with depictions of underwear being supported by a belt. The image in Figure 13 managed to include the requested glowing eyes and both of her pointed ears are also visible.  I like the idea that tryp'At from the far future of the Asimov Reality were sent back in time and served as the key personnel of the Jarnell corporation who provided sedrons for the interstellar spaceships that allowed humans to spread through the galaxy in that Reality.

Figure 13. A black belt tryp'At by Leonardo.

Figure 14. The AI shorts shortage by Leonardo.

 Who's looking at her fingers? For a few of these Leonardo-generated images There was no attempt to provide either shorts or underwear. The "alien" in Figure 14 did not get the "glowing eyes" enhancement that is seen in other images such as Figure 13. Maybe the "alien" in Figure 14 has pointed ears that are hidden by her hair. Maybe Leonardo put so much hair on her head in an effort to hide her ears that there was no hair left over for her lower body. In Figure 13, Leonardo seemed to forget about there being a connection between the "gray metallic platform" and the blue orb. Once again, we should not look too closely at the fingers that were generated by Leonardo for Figure 14 .

 I began making the images that are shown above by using some text that was generated by Claude back in December: "At the most fundamental level, I propose the existence of a particle called the 'chronion' (χ). Chronions exist in a quantum superposition between our normal spacetime and what we might call 'temporal space.' This dual nature allows them to interact with both regular matter and with special quantum fields that exist in temporal space" and "This power system has an elegant safety feature: if the precise lattice arrangement of omega-hierions is disrupted, the temporal cascade simply stops. There's no possibility of a runaway reaction. The chronions return to their ground state, and the system can be restarted once proper alignment is restored." Using those text prompts for Whisk, I was able to get the images shown in Figures 15a - 15d, below.

Figure 15. Whisk-generated depictions of chronions, temporal space and omega-hierions.

Figure 16. Leonardo-generated candles.

Some of the Leonardo-generated images included candles (see Figure 16), even though I was hoping for depictions of futuristic technology. As was the case for Figure 8, above, Leonardo seemed to entirely abandon the effort needed to generate clothing for the "alien" in Figure 16. Also, her left ear does not seem to be pointed. For Figure 16, the blue orb got pulled out of its usual location in the background.

One of the challenges of working with AI-generated images is getting the AI-generated people to appear to be doing something interesting. For Figure 17, Leonardo decided to make the alien appear to be looking at the object she is holding.

Figure 17. Let's see... (by Leonardo)

I liked the pose that Leonardo had generated for Figure 17, but this was one of the least realistically-generated images in the series produced by Leonardo. In particular, her hair was made to look artificial. It is not clear that Leonardo tried to generate pointed ears for the "alien" in Figure 17. 

 Figure 18 shows some alternate versions of this alien that were generated by WOMBO Dream by taking Figure 17 as a reference image and using this text prompt: "an alien humanoid woman with pointed ears and enormous, anime-style green eyes that are twice the size of human eyes".

Figure 18. Generated by Mr. Wombo using the "alien" from Figure 17 as a reference image.

Figure 18. Two blue orbs from above by Leonardo.

One of the more unusual camera angles used by Whisk for this series of "alien" images is shown in Figure 18.

When I began asking Leonardo to make additional cubes that were floating, Leonardo generated images like the one shown in Figure 19.

Figure 19. Anti-gravity by Leonardo.

Two other unusual poses that were generated by Leonardo are shown in Figure 20. In panel 20a, the alien humanoid woman is holding out one of the cubes while the other floats. The image in 20b is a rare example of the alien seated. The image in 20b is another example with a blue orb in front of the alien.

Figure 20a (left) and b (right) More Leonardo-generated anti-gravity technology demonstrations.

Figure 21. Anti-gravity and black belt by Leonardo.

The image shown in Figure 21 is one of the rare Leonardo-generated images for which I can imagine the alien having just released one of the anti-gravity cubes while continuing to hold another cube. The images in Figure 22, below, show increasingly complex patterns of lights on the cubes.

Figure 22. Click image to enlarge.

The image in Figure 21 is one of the rare images with very little light on the faces of the cubes (my text prompt included: "cubes emitting orange light"). Maybe Leonardo used all the available orange in the background.

Related: Tyhry in Chocolate Land.
Next: space travel in the Asimov Reality.

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