[2B cosplay] NieR:Automata: Everything is designed to be destroyed

After receiving this 2B costume, I checked all the details right away. This time, I prepared the classic black gothic-style combat suit, and the overall tailoring fits the body shape very well. The upper part adopts a high-collar design, with black lace mesh spliced across the chest, faintly revealing the inner wear, which retains the sexiness of the original design without revealing too much. The bubble sleeve pattern is very stiff, and that circle of black feather decoration on the cuffs is the finishing touch, making movements look more ethereal. The waist has a corset-like stitching design, tightening the waistline visually. The skirt hem is a stiff umbrella shape, with white outline embroidery on the edges, and it requires wearing two layers of white fluffy petticoats underneath to support out the fluffy and three-dimensional outline seen in the game.

The lower body is matched with black glossy over-the-knee boots with a high degree of tightness, which show very obvious leather reflections under the strong studio light, forming a sharp black-and-white contrast with the white lining skirt hem. To restore that neat combat posture during shooting, I prepared a long sword and a pistol as props. The silver long sword is not light in weight, with complex carved textures on the hilt. To complete the actions in the grid of raising the long sword and taking a large step to squat and slash horizontally, I repeatedly adjusted my center of gravity underneath. The single-leg half-squat posture is actually very hard on the knees, requiring core strength to maintain stability while holding such a long sword. After finishing a set of actions, my arms and legs were indeed somewhat sore.

The grasp of eyes and expressions is also a focus of this shoot. The character 2B has a relatively cold and stern personality, so in front of the lens, I tried my best to put away my usual playful state, keeping my chin slightly tucked and my gaze staring straight at the lens. To match the red-orange-toned contact lenses, I deepened the layers of eyeshadow in my eye makeup. There was a posture of leaning on the sword with one hand and looking down, and the photographer captured that moment when I relaxed. There is also the posture of holding the gun—holding the gun with the left hand and the sword with the right hand—which requires the wrist to maintain a specific angle while keeping the back straight, so as to present a capable and efficient atmosphere visually.

This time it was shot in a pure white background studio, and the lighting was very even. Black clothes are actually very difficult to shoot against a pure white background because they easily turn pitch black and lose details, so the photographer added soft light from the front so that the white embroidery and lace texture on the skirt hem could be clearly presented. The hair-like texture of the feathers, the leather texture of the boots, and the metallic luster of the sword body were all highlighted thanks to this lighting scheme. The entire shooting process included a large number of limb stretches and frozen poses, and whether it was the restoration degree of the costume or the gripping feel of the props, I tried my best to get close to the texture of the original design. These sets of actions presented are also the relatively satisfying finished photos left after we repeatedly tried different angles on-site.