[Priestess Cosplay] Arknights: Waiting for You at the End of the World

This set of styling named Priestess was completed during this shoot in Nanjing. Before doing it, I kept thinking about how to blend the fragile sense of a cyber ghost girl with the rational sense of a scientist.

The scene utilized dozens of purple glowing fiber optic lines, and the on-site effect was truly dreamlike. Having received the Fujifilm GFX100II this time paired with the Classic Chrome film simulation, the texture was indeed different, with a high dynamic range in both highlights and shadows.

For the costume, I chose a white inner shirt and a white long coat with black lines, paired with black slim-fit trousers for the lower body. Instead of choosing a traditional tight combat suit, I used this outfit which looks more casual and high-tech to match Priestess's temperament as a watcher at the end of the world.

The hardest part during the shoot was interacting with these glowing fiber strands. Because the lines are very thin and bright, it was necessary to catch their natural trajectories as they drifted or fell in the wind. For instance, in one set of movements, I slightly tilted my head back, closing my eyes to let the light spill onto my face; in another set, I sat down and leaned halfway against the glowing strands, looking as if I were wrapped by some kind of data stream. In the last two photos holding that black rectangular prop that resembles a data terminal, I tried my best to maintain a calm and focused gaze in front of the lens.

The photographer, Chocolate choco, is truly amazing at catching expressions and light and shadow. In the studio in Nanjing, the floor was covered with mirror panels, creating a feeling like the world was sinking while only the light remained illuminated. The cool-toned purple highlights hit the white fabric of the trench coat, perfectly aligning with the cyberpunk style. Facing this medium-format Fujifilm camera, my skin textures and the clothing folds were captured very clearly. These high-definition straight-out-of-camera colors really don't need excessive post-processing; the black-white-gray transitions of Classic Chrome are highly sophisticated, completely maximizing the atmospheric cinematic shots feel of this photo set.

In fact, when preparing for this character, I was thinking that the near-eternal sense of data on Priestess is actually very lonely. Therefore, during the shoot, I deliberately controlled my expressions, with no excessive smiles, only that subtle melancholy and intense focus. I believe cosplay is not only about replicating clothes and wigs, but also about immersing oneself into the character's mindset when facing the ultimate end in that world.

Since this was my first time attempting this kind of fiber-optic-themed studio shoot, interacting with the strands was somewhat difficult. On one hand, I had to prevent my face from being completely blocked by the lines; on the other hand, I had to find those moments when the light interwove between my hair and clothing. Fortunately, my model friend Lab and I coordinated with great chemistry on site, and we kept adjusting our angles and positions.

The color temperature of the purple light lines in the studio was relatively cool, hitting the face much like neon lights in a cyber world. However, I didn't select a highly saturated blue-purple, but chose a slightly blue-toned, whitish color temperature to make the entire photo look a bit cooler and more detached. Before putting on this outfit, I styled my hair first—a slightly layered black short hairstyle with straight bangs, which frames the face beautifully and fits the intellectual aura of the project's setting.

When shooting, I walked across the mirror panels on the floor and could see clear reflections intertwining with the fiber optics, forming massive columns of purple light. This time, the small prop was a black tablet book; when holding it in my hands, I would look down to read it, as if reviewing some classified documents. The shifting focal lengths from pulling back or zooming in generated different atmospheres for the frames, creating not only cropped medium shots but also wide shots showcasing the full-body lines.

Finally, I stood up straight, looking up at the single brightest light source above with my hands slightly open. At that moment, I truly felt as if I were standing at the end of time, with data light and shadow flowing around me. Although the lines frequently tangled with the trench coat's buttons, suffering a little bit of hardship for the sake of the visual effect was entirely worth it. I hope this photo set allows everyone to see the quiet strength within Priestess.