Create Your Soul Avatar

@Image1 is Zi Long seen from behind: take only the outfit design - the long white coat with purple-blue trim, the blue scarf-cape sweeping out to the left, the silver pauldrons, the silver boots, and the way the coat and cape fall in broad swept folds. Not the round stone platform, the pink blossoms, the pagoda or the mountains.

@Image2 is Zi Long facing the camera: take only the shape of the head and the design of the armour - the silver shoulder plates with their glowing blue gems, the purple-edged white coat, the dark baggy trousers and the silver greaves.

@Image3 is Zi Long from behind at a wider angle: take only how the armour plates sit across the shoulders and back, and the cut of the coat's back panels.

@Image4 is the look: take only the treatment of the large figure - a giant warrior formed of translucent swirling tiffany-blue mist and sparkling particles, glowing cyan and electric blue, every edge thinning into drifting light. Not the small figure in the foreground, not the dark hall, the pillars, the orange lights or the logo.

A wide photo strip: four separate studio photographs of the same being, placed side by side in one row, left to right. Each photograph is a tall vertical rectangle, all four the same width, divided by thin white lines.

BACKGROUND IN ALL FOUR: a pure, bright, plain white seamless studio background that fills the whole photo, evenly lit edge to edge. The white wall and floor blend into one with no visible floor, no horizon line, no corner, no texture and no grey gradient. He stands in endless white space. Under the armoured boots there is only a faint, soft contact shadow, nothing else.

LIGHT IN ALL FOUR: soft, even, bright studio light from the front and slightly from the left, so the blue glow inside him stays readable against the white and his edges keep their drifting particles. The same light in all four photos.

PHOTO 1 (far left): head-and-shoulders portrait from the front, from the top of the head to the collarbones, facing the camera straight on and looking into the lens. A hard, hostile expression: brows drawn down and pressed together, jaw clenched, mouth a tight hard line, chin slightly lowered so he looks down at the camera.
PHOTO 2: the same head-and-shoulders size, but the whole head and body turned 90 degrees to face the left edge of the photo: a true side profile, the nose, lips and chin forming the outline of the head, the ear in the middle, the same hard set of the jaw.
PHOTO 3: the whole body from the neck down to his boots, facing the camera, standing straight, weight spread on both feet, arms held a little away from the body with the hands loose and empty, shoulders squared forward. The top edge of the photo cuts across the neck just below the chin, so no head is in this photo, with a little white space below the boots.
PHOTO 4 (far right): the same body, seen from directly behind at the same size and position, showing the back of the coat and cape. The top edge cuts across the neck in the same place, so no head is in this photo.

The head appears only in photos 1 and 2.

THE PERSON: not a man. A god, a colossal being 1,200 cm tall - seven times the height of an ordinary man - a head about 160 cm tall, shoulders about 300 cm across, legs about 700 cm long, long-limbed, slim and monumental, standing perfectly upright and still. His whole form is translucent: tiffany-blue energy and fine sparkling particles swirling slowly inside a shape, dense in the core, thinning toward the outline until the edges fray into drifting light and small sparks that float free of him. The white background shows faintly through his chest and arms; the body reads as a bright outline with a lit core, not as solid flesh. There is no skin, no pores, no blemishes, no hair strands standing off the surface: everything is made of the same blue light. His head is long and narrow, high-cheekboned, the jaw hard and square, the nose straight, the brow heavy and drawn down. The eyes are two narrow slots of harsh, burning cyan light under the lowered brow - no pupil, no iris ring, no eyelashes, no whites, just two bright blades of light. No mouth detail beyond a shadowed hard line. Short spiky hair in sharp clumps of denser blue energy, the tips breaking into sparks.

CLOTHING: the same outfit in all four photos, every garment made of the same translucent tiffany-blue light so the white background shows faintly through it. A long white coat to mid-calf with wide lapels and glowing purple-blue trim along every edge, the cloth sculpted in large swept folds, its hems dissolving into drifting particles. Polished silver pauldrons on both shoulders, each set with a small burning blue gem. A blue scarf-cape knotted at his right shoulder, sweeping down and out to the left, its far end fraying into mist. A white tabard-like panel with purple edging down the front. Dark baggy trousers gathered at the calf. Silver greaves over the shins and silver armoured boots with pointed toes and a bright blue glow in the seams. His hands are empty. No jewellery, no watch, no logos.

Copy the shape of the head, the set of the brow and the design of the outfit exactly, never beautify, never soften. Shot as a still on a full-frame camera with an 85mm lens, sharp focus, unretouched, the whole figure glowing from within. Not an illustration, not CGI, no drawn lines, no cartoon shapes, no text, no labels, no watermark.

@Image1 is @zilong in the crystal look: take only the design of the outfit, the palette of cyan, teal, white and royal blue, the shape of the head and the way the blue light lives inside the material - not the pose, not the stone he stands on, not the dark sky behind him.
@Image2 is @zilong's spear: take only the shape of the weapon - the broad leaf-shaped blade with its central ridge and the two small barbs at its base, the snake coiled around the socket with its head raised toward the blade, the straight shaft, the band wrapped at the middle and the flared cap at the butt end - and rebuild every part of it in the same translucent blue crystal and light as his body.

A wide photo strip: four separate studio photographs of the same being, placed side by side in one row, left to right. Each photograph is a tall vertical rectangle, all four the same width, divided by thin white lines.

BACKGROUND IN ALL FOUR: a pure, bright, plain white seamless studio background that fills the whole photo, evenly lit edge to edge. The white wall and floor blend into one with no visible floor, no horizon line, no corner, no texture and no grey gradient. He stands in endless white space. Under the armoured boots, and under the butt of the spear, there is only a faint, soft contact shadow, nothing else.

LIGHT IN ALL FOUR: soft, even, bright studio light from the front and slightly from the left, so the blue glow inside him stays readable against the white and his edges keep their drifting particles. The same light in all four photos.

PHOTO 1 (far left): head-and-shoulders portrait from the front, from the top of the head to the collarbones, facing the camera straight on and looking into the lens. A hard, hostile expression: brows drawn down and pressed together, jaw clenched, mouth a tight hard line, chin slightly lowered so he looks down at the camera. His right hand is out of the frame below, closed around the shaft of his spear, so the shaft stands upright just clear of his right shoulder and the crystal blade rises a little above the top of his head, thin and bright against the white.

PHOTO 2: the same head-and-shoulders size, but the whole head and body turned 90 degrees to face the left edge of the photo: a true side profile, the nose, lips and chin forming the outline of the head, the ear in the middle, the same hard set of the jaw. The spear stands upright just in front of him, the shaft passing the frame edge below and the blade above his head; his right hand holds it.

PHOTO 3: the whole body from the neck down to his boots, facing the camera. His right hand is closed around the shaft at hip height, his arm relaxed, the spear planted upright with its butt on the floor beside his right boot and the shaft running straight up out of the top edge of the frame. His left hand is loose and open at his side. The top edge of the photo cuts across the neck just below the chin, so no head is in this photo, with a little white space below the boots.

PHOTO 4 (far right): the same body, seen from directly behind at the same size and position, showing the back of the coat, the cape and the back of his shoulders. The spear still stands upright in his right hand beside his right boot, the shaft rising out of the top edge of the frame. The top edge cuts across the neck in the same place, so no head is in this photo.

The head appears only in photos 1 and 2.

THE PERSON: not a man. A god, a colossal being 1,200 cm tall - seven times the height of an ordinary man - a head about 160 cm tall, shoulders about 300 cm across, legs about 700 cm long, long-limbed, slim and monumental, standing perfectly upright and still. His whole form is translucent tiffany-blue crystal and light: dense, glassy crystal through his core and along the hard cut edges of the armour, thinning toward the outline, where the surface breaks into fine sparkling particles, drifting light and small sparks that float free of him. The white background shows faintly through his chest and arms; the body reads as a bright, faceted outline with a lit core, not as solid flesh. There is no skin, no pores, no blemishes, no hair strands standing off the surface: everything is made of the same blue light. His head is long and narrow, high-cheekboned, the jaw hard and square, the nose straight, the brow heavy and drawn down. The eyes are two narrow slots of harsh, burning cyan light under the lowered brow - no pupil, no iris ring, no eyelashes, no whites, just two bright blades of light. No mouth detail beyond a shadowed hard line. Short spiky hair in sharp clumps of denser blue crystal, the tips breaking into sparks.

THE WEAPON: in all four photos he carries one spear, and the whole spear is made of the same translucent tiffany-blue crystal and light as his body - no steel, no metal, no wood, no leather, no second material anywhere on it. It is a long spear about 1,300 cm tall, its length in scale with his height, untouched by wear or damage. The blade is broad and leaf-shaped with a central ridge, with two small barbs where it meets the socket, cut from clear deep-blue crystal in sharp flat facets, denser and brighter than the rest of him, the light gathering along the central ridge and pouring out through the blade edges into drifting sparks. A snake coils twice around the socket below the blade, made of the same blue light, its scales cut as small bright facets, its head raised toward the blade. The shaft is a smooth cylinder of deeper, denser blue light, its surface like polished dark crystal. At the middle of the shaft a band is wrapped in a denser, darker blue, the same shape as a leather cord wrap. The butt end finishes in a flared crystal cap. The blade throws a faint brighter blue on his hand, on the cuff of his coat and on the silver of his boot.

CLOTHING: the same outfit in all four photos, every garment made of the same translucent tiffany-blue crystal and light so the white background shows faintly through it. A long white coat to mid-calf with wide lapels and glowing purple-blue trim along every edge, the cloth sculpted in large swept folds, its hems dissolving into drifting particles. Polished silver pauldrons on both shoulders, each set with a small burning blue gem. A blue scarf-cape knotted at his right shoulder, sweeping down and out to the left, its far end fraying into mist. A white tabard-like panel with purple edging down the front. Dark baggy trousers gathered at the calf. Silver greaves over the shins and silver armoured boots with pointed toes and a bright blue glow in the seams. Both hands bare. No jewellery, no watch, no logos, nothing else carried.

Copy the shape of the head, the set of the brow and the design of the outfit exactly, never beautify, never soften. Shot as a still on a full-frame camera with an 85mm lens, sharp focus, unretouched, the whole figure and the spear glowing from within. Real photographic detail with true depth in every facet. Not an illustration, not CGI, no drawn lines, no cartoon shapes, no text, no labels, no watermark.

@Image1 is the spear seen from behind the figure: take only the spear itself - the long black shaft, the coiled silver socket, the broad fanned silver blade and the way the blade sits in line with the shaft - not the figure, the white coat, the stone platform, the blossoms or the misty mountains.

@Image2 is the same spear from the front in a figure's hand: take only the black shaft, the long silver blade and the ornate silver socket, and the far end of the shaft rising behind the shoulder - not the person, the armour, the cape, the platform or the background.

@Image3 is the same spear held horizontally: take only its full length, its proportions and the coiled silver socket - not the figure, the coat, the platform or the background.

From all three references take only the shape, the proportions and the colours. They show a painted game render; the spear in this picture is a real, physical, hand-built object photographed in a studio, not a 3D render and not an illustration.

A prop sheet of one weapon: four separate photographs of the same spear, placed side by side in one row, left to right, each a tall vertical rectangle of the same size, divided by thin white lines. The same spear in every view, identical in every detail.

VIEW 1 (far left): the whole spear, vertical, seen straight from the side at full length, blade at the top.
VIEW 2: the whole spear, vertical, at the same scale, turned a quarter to show the opposite face of the blade and the far side of the socket.
VIEW 3: a close-up of the head and socket - the silver blade and the coiled silver serpent sleeve below it, filling the height of the frame.
VIEW 4 (far right): a close-up of the lower half - the wrapped grip and the silver butt cap.

THE WEAPON: a two-handed spear or polearm, 230 cm from butt to tip. The shaft is a straight, round pole 4 cm thick, matte black lacquered wood with a soft satin sheen, darkened and polished smooth where hands have gripped it. Around the middle a 28 cm section is wrapped in thin dark brown leather cord, wound tight in even spirals, the cord slightly flattened and shiny from use. At the butt end a short silver ferrule, 9 cm long, a plain turned cone with a worn, rounded tip and a few small dents.

Where the shaft meets the blade sits a cast silver socket 18 cm long, formed as a serpent coiled twice around the shaft, its scaled body spiralling upward and its head resting against the base of the blade. Polished silver, the raised scales catching the light, the recesses between them darkened, the edges of the casting slightly softened by wear.

The blade is broad, fanned and leaf-shaped, 45 cm long and 16 cm across at its widest, flat with a raised central ridge running its full length, both edges honed to a bright line, the flat faces mirror-polished silver with fine scratches and a faint cloudy patina near the socket. Its base flares into two small swept lugs where it meets the serpent's head.

Colours: black, polished silver, and the dark brown of the leather cord. Worn, used and solid - a working weapon, not a display piece.

Full-frame camera, 100mm lens, sharp focus along the whole length of the spear in views 1 and 2, shallow focus on the blade in view 3, unretouched, real metal and real wood grain, not an illustration, not CGI, not a 3D render, no text, no labels, no numbers, no watermark.