Dark Legion Knight — Splash Pipeline

The problem

Generating a pretty image is easy. Getting the same character — same face, same costume, same ornament language — out of a diffusion model in a completely new scene is the hard part, and it is what production actually needs.

The root cause is a trade-off I mapped through repeated experiments: text-to-image gives you full freedom of pose and staging, but the costume design drifts on every roll; image-to-image anchored on the character sheet preserves the design almost pixel-perfectly, but locks the pose. A production pipeline has to navigate between those two poles deliberately — not hope for a lucky seed.

The pipeline

1. Character sheet first. A full-body concept locks the design: silhouette, materials, palette, face. (Hand-directed generation with a self-trained style LoRA, plus paintover.)
2. Identity-preserving staging. The splash is built from the sheet — image-to-image with the sheet encoded as the latent anchor, composition and lighting rewritten in the prompt. The critical dial is denoise: around 0.5–0.65 the detailed character survives while the empty backdrop re-renders into the new scene. Below that nothing changes; above it the costume starts to dissolve.
3. Element grafting. New scene elements (props, effects, crowds) are painted in as rough proxies, then re-rendered in place so they inherit the style — the model treats the proxy as composition guidance and redraws it in the trained look.
4. Face & finish. Expression control via face-detail passes at low denoise (0.2–0.35, so the face refines without changing identity); final paintover and a tiled 2× upscale for delivery.

The actual graph

The image-to-image staging graph exactly as it runs — an open-weights base model with a self-trained style LoRA stacked on top, the character sheet loaded and VAE-encoded as the latent anchor, a positive-only prompt (at CFG 1 the negative is zeroed out), and the identity-preserving denoise on the sampler:

Reading the graph left to right: model + LoRA stack, the prompt block, the character sheet entering as the latent — all meeting in one sampler whose denoise value decides how much of the sheet survives. Every splash post on this site went through a variant of this graph.

Worked example

See Empress of the Lotus Pond — the standing sheet and the pond splash are the same character to the pixel level of the costume. The same pipeline produced the Golden Emperor key visual and the Dark Legion action variations.

What validation taught me

• Prompt structure matters more than prompt length. At CFG 1 everything is positive conditioning — banned elements must be removed from the vocabulary, not negated.
• The backdrop is part of the style contract. The style LoRAs were trained on dark cinematic backdrops; staging against a flat studio background suppresses the learned look.
• Fix identity first, then compose. Rolling composition variants before the design is locked multiplies drift; locking the sheet first turns splash production into a controlled, repeatable step instead of a lottery.

Overview

A personal artist-study LoRA for ornate painterly fantasy characters. Trained as a style exercise; used for the Dark Legion set and the Valkyrie in Motion action study.

Card

Notes

The interesting finding: the light-touch epoch keeps base-model anatomy and composition while carrying the surface language — heavier epochs win on style but lose flexibility.

Epoch sweep — out-of-distribution probe

Fixed seed, fixed prompt (a subject not in the training set), swept across checkpoints. This is how the operating epoch gets chosen — by evidence, not vibes: