[Justina Gu Cosplay] The Sword-Wielding Posture in the Moonlit Snow Realm

After organizing the Justina Gu cosplay photos from NARAKA: BLADEPOINT, while still riding this momentum, I'd like to do a bit of cosplay pose sharing of the most satisfying action moments during the shoot.

When initially deciding on this character costume, the primary considerations were a sense of layering and flow. The outer layer, featuring a spliced blue-and-white gradient satin material, shows a wonderful sheen under the studio backlight, which, combined with the white faux fur edges, anchors the cool visual tone. The cutouts and embroidered patterns on the chest and waist are highly delicate, and when paired with the dangling turquoise bead strands, the overall styling has a martial arts feel without losing its gorgeousness.

The studio scene setup for this photo set was perfectly in place. Behind is a super large-sized warm white light moon prop, while the front is spread out with rockeries and a large amount of white snow fluff, plus white plum blossoms dotting the branches, making the light and shadow effects incredibly translucent. During the shoot, several white crane models were also incorporated as the foreground, greatly enriching the narrative sense of the frame.

As for the action design, this time I mainly wanted to highlight the character's combat agility. Image 2 uses the momentum to cast out the long hair and the streamers on the dress, with one leg extending straight out to the side, wearing silver sequined stiletto high heels. This not only elongates the body proportions but also maximizes the display of the costume's high-slit design elements. Image 1 is a classic gathered stance, kneeling on one knee while gripping the sword. This posture requires core strength to stabilize the center of gravity, while also being highly convenient for showcasing the clothing details of the upper body and the exquisite sleeve fur.

Image 3 adopts a posture of hands on waist combined with holding the sword in one hand. This is an action that tests the arm's force point, which can easily look like shrugging if one isn't careful, but once stabilized, the photo output looks exceptionally sharp. Image 4 switches to a snowflake crystal as the hand-held prop, leaning forward slightly with fingers naturally curved, creating an atmosphere of lightweight spellcasting. Image 5 is the frozen moment after completing a spinning movement, lifting one leg and flipping the wrist, manifesting a high visual burst of power.

For the makeup and hair, I specially chose a highly translucent base makeup, focusing primarily on the shaping of eyeshadow and eyeliner to match the character's cool temperament. The wig was styled in silver-white layers, with a loose low ponytail tied on each side, plus that pair of white plush animal ears on top of the head. The animal ears chose a lighter material, making it convenient to wear for a long time while avoiding falling off or deforming when shaking the hair.

Shooting this a few times made me deeply realize how difficult it is to control the field with costumes that have a large range of motion, especially for a character with such lightweight fabric, where it's easy to get tripped up by the skirt hem or cause exposure when moving. Therefore, the positioning and the angle of lifting the leg required repeated refinement with the photographer. What I am most satisfied with in this set is actually the dynamic capture of image 2. At that time, the positions of the reflector and the main light source coordinated beautifully, bringing out both the leg lines and the highlight texture of the clothes.

Honestly, the balance point between the replication of cosplay poses and secondary creation has always been an interesting topic. When referencing the original setting to make actions, one must consider their own height proportions and camera perspective relationships; yet when incorporating some stretched-out dynamic moments of one's own, one must ensure not to lose the character's original temperament. Every time I do a character with weapons and multi-layered attire, I need to practice the paths of force on-site a few times in advance to avoid awkward moments during the formal shoot because the skirt hem or sleeves catch on the props. In short, shooting this set of works for Justina Gu was a highly gratifying practice, where the costume texture, scene pairing, and action design all smoothed out into an excellent effect.