用Nano Banana Pro 画文学名著,还是能获得惊艳的效果。下面是《战争与和平》,娜塔莎差点被情场老手欺骗后,跟母亲说的场景。我的提示词原封不动copy下文,只加了一句:以列宾的风格画。 [俄〕 列夫•托尔斯泰: 《战争与和平》 纳塔莎一只膝盖跪在扶手椅上,俯在她母亲身上,搂抱她,用意想不到的气力把她抱起来,把她的脸转向自己这方面来,然后紧紧地搂住她。 “妈妈!⋯⋯亲爱的⋯⋯我来了,我的最亲爱的妈妈!”她不断地低声说道,一会儿也不停。 她不放开她母亲,一味亲热地跟她挣扎,要来枕头和热水,把她母亲的衣服解开,撕开。 “我的最亲爱的宝贝⋯⋯妈妈,我的宝贝!••”她不断地低声说道,一面吻她的头,她的手,她的脸,同时觉出她自己那无法制止的流下来的眼泪使她的鼻子和两颊发痒。 伯爵夫人握住她女儿的手,闭眼睛,暂时安静下来。突然间她用不常见的速度坐起来,茫然地向她周围看,一看见纳塔莎,就用全力搂住她的头。随后她转向她女儿那正在疼得退缩的脸,对那个脸看了好久。 “纳塔莎,你爱我?”她用柔和的信任的声音说道。“纳塔莎,你不会骗我吧?你可以把全部事实告诉我吧?” 纳塔莎用满含眼泪的眼看她,她的眼光中,除了爱和请求恕以外,没有别的。(第1815 1816页)
用名作家的人物描写做Nano Banana Pro 提示词:永远的尹雪艳 原文:尹雪艳着实迷人。但谁也没能道出她真正迷人的地方。尹雪艳从来不爱擦胭抹粉,有时最多在曜唇上点着些似有似无的蜜丝佛陀;尹雪艳也不爱穿红戴绿,天时炎热,一个夏天,她却浑身银白,净扮的了不得。不错,尹雪艳是有一身雪白的肌肤,细挑的身材,容长的脸蛋儿配着一副俏丽甜净的眉眼子,但是这些都不是尹雪艳出奇的地方。见过尹雪艳的人都这么说,也不知是何道理,无论尹雪艳一举手、一投足,总有一份世人不及的风情。别人伸个腰,蹙一下眉,难看,但是尹雪艳做起来,刮又别有一番妩媚了。尹雪艳也不多言、不多语,紧要的场合插上几句苏州腔的上海话,又中听、又熨贴。有些荷包不足的舞客,攀不上时尹雪艳的台子,但是他们规去百乐门坐坐,观观尹雪艳的风采,听她讲几句吴依软语,心里也是舒服的。尹雪艳在舞池里,微仰着头,轻摆着腰,一径是那么不慌不忙地起舞着;即使跳着快狐步,尹雪艳从来也没有失过分寸,仍旧显得那么轻盈,象一球随风飘荡的柳絮,脚下没有扎根似的。 尹雪艳有她自己的旋律。尹雪艳有她自己的拍子。绝不因外界的迁异,影响到她的均衡。 [中国]白先勇《永远的尹雪艳》,选自《台湾作家小说选集三》 P.18,中国社会科学出版社1982年版。 提示词: Portrait and full-body artistic scene of a young Chinese woman from the Republican-era Shanghai nightlife. She wears an elegant 1930s qipao or stylish Republican-era dress in cool silver-white tones, minimal makeup, only a faint touch of soft lipstick. Her skin is pale and smooth; her figure slender and refined; her face long with delicate, sweet, expressive eyes. Her charm is not in cosmetics but in her natural grace. Every gesture carries an effortless allure: slight tilt of the head, gentle movement of the wrist, subtle sway of the waist. Even a simple stretch or small frown appears soft, feminine, and captivating. Scene: Shanghai ballroom atmosphere (like Paramount or the old Dance Hall). Soft golden lights. Crowds blurred in the background. She dances slowly and calmly, head slightly raised, waist gently swaying. Even during a fast foxtrot, she remains light, balanced, and airy—like willow fluff drifting with the breeze, as if her feet barely touch the floor. Mood: refined, poised, self-contained rhythm; a woman with her own inner tempo unaffected by the world around her. Occasional soft Suzhou-accented Shanghai words suggested through atmosphere, not text. Style: cinematic realism with hints of old Shanghai glamour; smooth skin texture; graceful silhouette; silver-white palette with warm ballroom lights; delicate motion and elegance.
把大作家的人物描写转换成Nano Banana Pro 提示词,夏目漱石《三四郎》 原文:大眼睛,细鼻梁,薄嘴居,宽宽的前额仿佛钵孟似的,加上一个尖尖的下顎;这女子的长相就是如此。但是,当时从这张脸上一闪而过的表情,三四鄭有生以来还是第一次看到。苍白色的额后,乌发自然地垂下,一直披到肩部。而从东边窗子钻进来的晨曦,由于是从背后射来的,便在乌发和日光的相接处呈现出一抹深紫色,使她背着一个活的月晕,而脸部和前额都暗得厉害,暗得发灰,当中是一对眼神迟钝的眼珠。高处的云彩在天空深处不易飘动,但又不能不动,就作起斜向的移动了。这女子看着三四郎时, 就是用的那种眼神。 [日本]夏目漱石《爱情三部曲•三四郎》P.52,上海译文出版社 1988年版。 提示词: Portrait of a young Japanese woman in early morning light. She has large eyes, a thin and delicate nose, thin lips, and a wide, bowl-like forehead. Her chin is small and pointed, forming a gentle V-shape. Her complexion is pale. Black hair falls naturally from behind her pale forehead, hanging straight down to her shoulders. Lighting: Morning light entering from an east-facing window behind her. Backlighting creates a soft halo effect, with the edge of her black hair glowing in a deep violet tone where it meets the sunlight. A subtle, living “moon-halo” surrounds her silhouette. Her face and forehead are in shadow, dim and greyish, with two dull, unfocused eyes looking forward — the same slow, drifting gaze as high clouds shifting diagonally across the deep morning sky. Mood: quiet, surreal, introspective; stillness mixed with slight movement. Style: realistic portrait; soft cinematic lighting; fine detail on facial structure; delicate atmospheric glow; Japanese aesthetics.
我研究出一个Nano Banana Pro 的用法,找出90年代以前出版的《文学描写词典》,把里面的描述改成prompt输入进去,就可以获得令人惊艳的效果。例如,我把德莱塞《天才》中的一段文字改造一下输入,得到了这张图片。 原文:苏珊是个相当特别的姑娘,丰满、美丽,可是心情忧郁,有时带着一副迷迷糊糊,漠不关心的样子,含着一丝微笑,好象一股微风掠过水面似的。她眼睛很大,有一种暗淡的蓝灰色,玫瑰色的嘴唇微微弯曲,面颊红润丰满。她有一头淡栗色的柔发,体态既娇憨又肉感。她笑的声音象是流水汩汩;她很富于幽默感,并且恰到好处。苏珊是那种天分很高可是依然模糊、未成形的艺术家,这种艺术家不需要教育就能体味到差不多所有世间的奥妙,美丽地张开翅膀突然出现,但又那么脆弱,就象刚出蛹的蝴蝶飞舞在晨曦里。 [美]德菜塞《天才》P.709,上海文艺联合出版社1955年版。 提示词:A portrait of Susan, a unique young woman with a soft, melancholic charm. She is full-bodied and beautiful, with a dreamy, distant expression and a faint, breeze-like smile. Her eyes are large, blue-gray and slightly muted. Her lips are rose-colored and gently curved. Her cheeks are full and flushed. She has soft light-chestnut hair, slightly wavy. Her figure is tender, youthful, sensual. Her smile sounds like flowing water — show this through mood and atmosphere, not literal sound. Give her an aura of subtle humor and effortless sensitivity. STYLE & MOOD: A gifted but unformed artist, like a butterfly just emerged from its cocoon. Show a delicate, fragile brilliance: soft morning light, gentle glow around her silhouette. Emphasize tenderness, vulnerability, and natural beauty. Visual style: cinematic portrait, soft-focus edges, warm morning light, high detail on face and eyes, painterly softness on hair and skin.
用Nano Banana Pro做的中文演化史:从甲骨文到好中文 prompt如下: A colossal, ultra-detailed isometric pixel art visualization of the "Museum of Chinese Language & Literature Evolution." The entire composition is an ascending, terraced architectural timeline, viewed from a 2:1 isometric perspective. 4K resolution, incredible pixel density. A glowing, pixelated "stream of writing energy" flows upwards, connecting all eras. Overall Structure & Titles: The structure rises from ancient foundations to a futuristic summit. Integrated into the base and top in large pixel fonts are bilingual titles: "中文发展史" and "EVOLUTION OF CHINESE WRITING & LITERATURE", with the subtitle "从甲骨到好中文 / From Oracle Bones to Haozhongwen". Level 1: The Foundation of Origin (c. 1200 BC – 200 BC) The base is built from colossal, glowing pixelated turtle shells and cracked oracle bones. Isometric bronze structures shaped like 'Ding' tripods release pixel smoke. Corridors are lined with hanging bamboo slips. A pixel stream shows pictograms evolving into abstract seal script lines floating in the air. Silhouetted pixel figures of ancient scribes and Duke of Zhou are present. Colors: Bronze green, bone gray, ancient gold. Level 2: The Classical Era & Poetry connect via a "Bamboo Slip Bridge" Rising to a terrace of interlocking academy buildings. Five distinct pixel pagodas represent the "Five Classics," surrounding a central ritual platform. A long, cloud-like gallery unfurls for "Han Fu." A secluded bamboo grove pavilion features silhouetted "Wei-Jin" thinkers drinking and talking. Above, a floating "City of Tang Poetry": A tiny pixel Li Bai flies on a glowing wine pot pouring pixel stars; Du Fu’s thatched cottage floats amidst melancholic, dark text clouds. Isometric ink-wash mountains have glowing poems suspended between peaks. Colors: Ink black, cinnabar red, scroll paper white. Level 3: Ci & Drama Bloom connects via a "Song Ci Lake Bridge" A water-based level. Pavilions built on a pixelated lake shimmering with textual ripples. Su Shi reclines on an isometric boat near the "Red Cliff," with musical notes floating above. Li Qingzhao’s chamber is filled with fragmented pixel memories: wine cups, fallen blossoms. An elaborate wooden isometric stage shows pixelated actors performing Yuan Opera "Dou E Yuan" under a spotlight. Great academy halls are stacked with pixelated book grids. Colors: Lake blue, dark bamboo green, theatre red. Level 4: The Rise of Novels connects via a "Novel Corridor Gallery" A dense, sprawling level. A maze-like fortress city structure for "Three Kingdoms." A fantastical isometric journey path for "Journey to the West," with a tiny pixel Monkey King on a somersault cloud. A fortified island cluster marsh for "Water Margin." A hyper-detailed, enclosed "Grand View Garden" mansion for "Dream of the Red Chamber," showing minute details of daily life. A ghostly, blue-lit study for "Strange Tales" with translucent pixel fox spirits floating. Colors: Rice paper white, ink black, brick red, dream pink. Level 5: Modern Turn & Translation connects via a "Vernacular Square" The architecture becomes industrial and revolutionary. A brick isometric building for "New Youth" magazine editorial office. A central visualization of the "Vernacular Movement": massive pixelated classical text blocks shattering and reassembling into simpler, glowing modern sentences. A "Translation Room" where beams of light containing pixelated Greek, Hebrew, and Chinese characters merge into a glowing book. Red pixelated text indicating "Cannibalism" from Lu Xun's diary flashes. Lin Yutang’s study floats with dictionaries. Colors: Print black, revolution red, enlightenment blue. Level 6: Post-1949 Language Engineering connects via an "Industrial Bridge" A constructivist industrial complex. A "Simplified Character Factory" with pixelated conveyor belts cutting and welding complex characters into simpler forms. A large, glowing isometric red book radiates pixel light rays. A translation bureau shows pixelated German text entering a machine and exiting as Chinese. Standardized pixel classrooms with blackboards teaching unified language. Isometric broadcast towers transmit square language signals. Colors: Industrial red, black, gray, steel blue. Level 7: The Summit – Contemporary & "Good Chinese" connects via a "Data Stream Elevator" The peak is a futuristic, glowing digital hub. A pixelated globe networked with flashing Chinese nodes. Giant isometric smartphones and keyboards serve as architecture. An AI "Language Workshop" where streams of light-data flow through crystalline processor models. The final apex is the "Haozhongwen" (Good Chinese) pavilion: A bright, clean pixel desk with screens projecting distinct light beams labeled "清晰 (Clear)," "准确 (Accurate)," and "优雅 (Elegant)." Shelves hold glowing pixel books of knowledge. A golden pixel banner reads: "浅白易明,高雅简洁" . Colors: High-light electronic blue, warm white, brand gold, future glow. Style Consistency: Every element, character, building, and text is rendered in ultra-high-density, clean isometric pixel art. No anti-aliasing. The lighting is dynamic, originating from the glowing texts and screens within the pixel world. --ar 3:4 --stylize 250 --v 6.0
资讯比别人慢半拍,才看了李星野因为那篇《人妻约会指南》。我更愿意把它看作一篇带有超现实气质的心灵独白。文本里确实有不堪之处,也有明显的偏差,但同时也显示出漂亮的文笔、准确的描写和冷静的观察。 在某些段落里,他写人写心的力度,会让人想到托尔斯泰。不同之处在于:托尔斯泰时刻举着道德的大旗,而李星野几乎不考虑这一层。他一方面自负,觉得道德规范约束不了他;另一方面,他因为从父亲和恋人那里受到过伤害,本能地用语言和文字对世界进行报复。 他是理科出身,文字偏向白描,却时常有出人意料的句子。李新野嘲笑他爹李松坚什么都模仿贵匪大佬,至少证明他的审美比他爹优秀。 所以,李星野的此文不能简单界定为「坏」。他有他的沧桑,有他的困局。他功成名就,也赚了这辈子用不完的钱,但始终缠住他的,还是几个最简单、也最难回答的问题:人为什么要活着?怎样才算被真正地爱?怎样才能让自己在乎的人,真心回馈这份在乎?这些问题,他都放不下。 他曝光隐私,揭父亲的短处,自然谈不上「父为子隐、子为父隐」。按照传统的标准,他既是不孝的儿子,也是靠不住的情人。然而,他这样做显然是带着难以言说的愤懑和疼痛。 那篇所谓《人妻约会指南》,本身并无多少实践意义。李星野心里不会不知道这一点。他更像是借用这样一篇文本,调动读者的视线,在文字中布一个小小的机关,让人误以为主题只跟情欲相关,忽略了背后的愤怒与空虚。 在我看来,李星野是这样一个人:智商极高,文字有力,情感扭曲,表面强硬,内心非常匮乏。他一方面在世俗意义上不断「上升」,另一方面在内心世界里不断下沉。钱越多,空虚感越强,他越要折腾自己,也越容易伤害别人。 作为写作者,我无法否认,他的博客与日记中确有闪光点,是一个高智商男子应有的敏锐与锋利。我也能理解他的痛。尤其是那些被多年规训后勉强适应「正常社会」的那一类人,都很清楚,在他们内心深处,也藏着一个小小的「李星野」,只是没有他的运气与资源,也不会选择他那样的表达方式而已。