Prompty cyborg AI: 29 sprawdzonych postaci retro sci-fi i cyborgi w Warszawie (2026)

The woman and the ivory android from @image1, unchanged: her short black bob, charcoal high-neck jumpsuit and slim prosthetic forearm of scuffed ivory plates; the tall weathered android of chipped ivory shell with a smooth faceless dome, exposed black cables and a soft green light in its shoulder. Cinematic full-body shot, head to toe, 9:16 vertical film still, on the open-air viewing terrace high on the Palace of Culture and Science in Warsaw: a stone balustrade with small carved pinnacles, the clock stage and needle spire rising just above them. She leans her elbows on the balustrade looking out over the city; the android stands behind her, one arm folded gently across her waist, its dome bent toward her. Below, fog swallows Warsaw: grey modernist blocks, the Vistula as a pale band, a few red aircraft lights. Overcast diffuse light, cold mist, a faint warm glow from the clock face. Grey, ivory, charcoal and faded red palette, 35mm lens, 1980s film stock with halation and fine grain. Photorealistic, quiet and melancholy, no text, no logos, no watermark.

The woman and the ivory android from @image1, unchanged: her short black bob, charcoal high-neck jumpsuit and slim prosthetic forearm of scuffed ivory plates; the tall weathered android of chipped ivory shell with a smooth faceless dome, exposed black cables and a soft green light in its shoulder. Cinematic full-body shot, 9:16 vertical film still, both figures whole in frame. At dawn the android walks down the middle of an empty, ruined Nowy Świat street in Warsaw, carrying her in its arms, her head resting on its shoulder, eyes closed. On both sides stand pale three-storey classicist townhouses with tall windows, cornices and pastel plaster, some walls cracked and blackened, an old cast-iron street lamp leaning over. Far down the street, through the haze, the stepped silhouette of the Palace of Culture with its needle spire. Low cold dawn light from the end of the street, mist at ground level, dust in the air. Pale ochre, ivory, charcoal and cold blue palette, 50mm lens, 1980s film stock with halation and fine grain. Photorealistic, tender and desolate, no text, no logos, no watermark.

The woman from @image1, unchanged: long wavy honey-blonde hair, a high-collared glossy tangerine vinyl flight suit closed to the throat, a wide black utility belt with a chrome buckle, white padded gauntlets, tall white platform boots and a chunky chrome retro signal pistol holstered at her hip. Cinematic full-body shot, head to toe, 9:16 vertical, low angle, Warsaw in an alternate retro-futurist 1970s. She strides toward the camera across a wide plaza under a bold modernist pavilion: a huge undulating roof hung on steel cables over a glass wall, and beside it a round concrete-and-glass rotunda with a ring of tall windows. Behind her, cream-and-red city buses with rounded fronts, and people in 1970s coats turning to look. Hard bright afternoon sun, long shadows, the vinyl suit catching sharp highlights. Tangerine, white, concrete grey and sky blue palette, 35mm lens, 1970s Kodachrome with warm cast and soft grain. Photorealistic, confident and pop, no text, no logos, no watermark.

The woman from @image1, unchanged: long wavy honey-blonde hair, a high-collared glossy tangerine vinyl flight suit closed to the throat, a wide black utility belt with a chrome buckle, white padded gauntlets, tall white platform boots and a chunky chrome retro signal pistol holstered at her hip. Cinematic medium-wide shot from the knees up, 9:16 vertical film still, Warsaw at dusk in an alternate retro-futurist 1970s. She stands on a wide pavement of a long modernist shopping street, one hand resting on the pistol grip, looking up and off to the side. Behind her a long glass department store facade, and above it big red, blue and white neon signs of the 1960s: a leaping red deer, a neon pigeon, abstract shapes in coloured tubes, with no readable letters. Pedestrians in 1970s coats blur past. Blue dusk sky, the neon throwing red and cyan light on her vinyl suit and hair, wet pavement reflecting it. Tangerine, neon red, cyan and deep blue palette, 50mm lens, shallow depth of field, 1970s film stock with soft grain and halation around the neon. Photorealistic, no text, no lettering, no logos, no watermark.

The cyborg soldier from @image1, unchanged: a sand-coloured exoskeleton frame over woodland camouflage, a full helmet with a dark faceplate, armoured gloves and boots, a bulky sand-coloured rifle with a green glowing sight. Cinematic full-body shot, head to toe, 9:16 vertical film still. He stands on guard alone in the middle of Castle Square in Warsaw's Old Town during a heavy blizzard at night, rifle held across his chest. Behind him rises Sigismund's Column: a tall pink-grey granite column topped by a bronze king holding a cross and a sword. Around the square, the old colourful burgher houses with steep roofs and the brick-red Royal Castle with its clock tower, windows glowing warm. Deep fresh snow, no footprints but his. Cold blue night light, warm amber from the windows and old street lamps, thick snow falling across the light. Sand, camouflage green, brick red, cold blue and amber palette, 35mm lens, 1980s film stock with halation and heavy grain. Photorealistic, lonely and tense, no text, no logos, no watermark.

The cyborg soldier from @image1, unchanged: a sand-coloured exoskeleton frame over woodland camouflage, a full helmet with a dark faceplate, armoured gloves and boots, a bulky sand-coloured rifle with a green glowing sight. Cinematic full-body shot, 9:16 vertical film still, his whole figure in frame. Night in an old Warsaw tram depot in winter: a long red-brick hall with arched windows and an open gate, snow blowing in. He walks out of the gate between the rails, rifle lowered, past an old boxy red-and-cream 1960s tram with round headlights, frost on its windows. Overhead wires and a single sodium lamp, snow piled on the rails. One orange sodium lamp from above, cold blue light from the snowy yard, his breath and the tram's steam in the air. Red, cream, sand, orange and cold blue palette, 28mm lens, 1980s film stock with heavy grain. Photorealistic, no text, no logos, no watermark.

The android woman from @image1, unchanged: a short black pixie cut, a fully human face, a neck that is a column of polished chrome vertebrae with thin pistons and braided cables, and a riveted steel bodice with ball joints at the shoulders and elbows. Black-and-white full shot, 9:16 vertical, her whole figure from head to feet in frame. Warsaw, a dieselpunk 1930s: she stands on an iron catwalk in the vast turbine hall of a riverside power station, one hand on the rail, head tilted back, eyes closed. Around her: rows of giant riveted turbines and generators, thick pipes, brass pressure gauges, a gantry crane overhead, steam drifting, and through a wall of tall industrial windows the silhouettes of brick chimneys. She wears a long pleated dark-grey skirt and heavy boots. Hard shafts of daylight through the tall windows cutting the steam, deep blacks in the machinery. Silver gelatin print, medium-format film grain, fine scratches. Photorealistic, monumental and cold, no text, no subtitles, no watermark.

The android woman from @image1, unchanged: a short black pixie cut, a fully human face, a neck that is a column of polished chrome vertebrae with thin pistons and braided cables, and a riveted steel bodice with ball joints at the shoulders and elbows. Black-and-white medium shot from the hips up, 9:16 vertical. Warsaw, a dieselpunk 1930s, inside an old metalworks factory of red brick and cast iron: rolling mills, a glowing strip of metal running between rollers, chains, soot-black walls and a high glass roof. She stands close to the camera among the workers in cloth caps and leather aprons, looking straight into the lens, sparks flying behind her, soot on her cheek. Hard light from the glowing metal below, a pale shaft from the glass roof above, steam and smoke between them. Silver gelatin print, medium-format film grain, fine scratches. Photorealistic, bleak and dystopian, no text, no subtitles, no watermark.

The android woman from @image1, unchanged: a long silver-white braid, a face, neck and hands of hard glazed ivory porcelain with fine seams at the jaw and wrists, and a brass and gunmetal clockwork mechanism open in the side of her skull where the ear should be. Medium shot, 9:16 vertical film still. Night, a 1950s Polish dining car of a train leaving Warsaw: dark varnished wood panels, small tables with white tablecloths, little brass table lamps with cream shades, a steaming glass of tea in a metal holder. She sits hunched in the corner seat by the window, a man's grey wool overcoat pulled around her moss-green dress, the collar up to hide the porcelain, glancing toward the door at the end of the car, afraid of being found. Through the window, the lights of the city slide past in the rain. Warm tungsten light from the table lamp on her porcelain face and the brass clockwork, everything else in deep brown shadow. Brown, cream, ivory, brass and moss palette, 50mm lens, shallow depth of field, 35mm film grain. Photorealistic, tense and uncanny, no text, no subtitles, no watermark.

The android woman from @image1, unchanged: a long silver-white braid, a face, neck and hands of hard glazed ivory porcelain with fine seams at the jaw and wrists, and a brass and gunmetal clockwork mechanism open in the side of her skull where the ear should be. Full shot, 9:16 vertical film still, her whole figure from head to shoes in frame. Night on an old Warsaw railway platform in the 1950s: a long iron canopy on riveted columns, a big round station clock hanging from it, gas lamps, steam rolling along the platform. She runs toward the last carriage of a dark green steam train as its doors are closing, holding up the hem of her moss-green dress with one porcelain hand, her braid flying, looking back over her shoulder. Far behind her, two men in long coats and hats under the clock. Cold blue night, warm lamplight on the steam, the brass clockwork in her head catching one bright glint. Dark green, ivory, brass and cold blue palette, 35mm lens, 35mm film grain with slight motion blur. Photorealistic, tense, no text, no subtitles, no watermark.

The man from @image1, unchanged: a shaved head, pale skin, the right half of his face and skull replaced by black chrome machinery with a dark lens for an eye and cables running down his neck, a dark tattoo on his throat, a black wool coat and a heavy steel pendant. Cinematic medium shot from the waist up, 9:16 vertical film still. Cyberpunk Warsaw, rainy night: he stands on a crowded tram island in the middle of a huge roundabout, looking straight into the camera. Behind him the stepped beige stone tower of the Palace of Culture and Science with its needle spire, lit from below, and next to it new glass skyscrapers, one with a sharp spire, wrapped in giant pink and cyan holographic adverts with no readable text. Trams with lit windows, umbrellas, a drone above the crowd. Pink and cyan neon from the screens, hard rim light on the chrome, rain streaks in the light, wet reflections. Black, chrome, magenta and cyan palette, 35mm lens, shallow depth of field, 1980s film stock with halation and grain. Photorealistic, cold, no text, no lettering, no logos, no watermark.

The man from @image1, unchanged: a shaved head, pale skin, the right half of his face and skull replaced by black chrome machinery with a dark lens for an eye and cables running down his neck, a dark tattoo on his throat, a black wool coat and a heavy steel pendant. Cinematic full-body shot, 9:16 vertical film still, his whole figure in frame. Cyberpunk Warsaw, night, an old tenement courtyard in Praga: four storeys of crumbling red-brick and soot-grey plaster walls, wooden balconies, a small shrine with a Madonna and candles in a niche, laundry lines. On the walls, old Polish neon signs from the 1960s in red, green and blue tubes, shapes only, no readable letters, flickering, mixed with new cables and a satellite dish. He sits on the steps of a stairwell, elbows on his knees, a cigarette smoking in his fingers, the chrome half of his face toward the light. Red and green neon glow, a cold blue light from a window above, wet cobbles, a cat on a bin. Red, green, brick and chrome palette, 28mm lens, 1980s film stock with halation and heavy grain. Photorealistic, gritty and lonely, no text, no lettering, no logos, no watermark.

Cinematic head-and-shoulders portrait, 9:16 vertical, against a flat matte black backdrop. A woman in her early thirties with mature, defined features, pale freckled skin, cropped platinum hair slicked back and calm grey eyes turns her face three-quarters to the left, chin slightly raised, lips relaxed. Over her head sits a heavy retro computer housing in glossy signal-orange plastic: two chunky ear blocks with exposed green circuit boards and ribbon cables, a cream-white memory module bolted across the crown like a tiara, rows of tiny amber status lights along the edge. A thin stack of polished steel rings closes around her neck above a high white ribbed turtleneck. Soft frontal beauty light, a gentle shadow under the cheekbones, the orange plastic glowing warm against the black. Signal orange, cream white, steel and black palette, 85mm lens, shallow depth of field, 1990s fashion magazine scan with soft grain and slight colour fade. Photorealistic, no text, no logos, no watermark.

Cinematic full-body shot, head to toe, 9:16 vertical, against a seamless flat matte black studio backdrop with a soft floor shadow. A woman in her early thirties with mature, defined features, a slim fit build, pale freckled skin, cropped platinum hair slicked back and calm grey eyes stands in a relaxed fashion pose, weight on one leg, her face turned three-quarters to the left, one hand raised to touch the side of her headpiece as if tuning it. Over her head sits a heavy retro computer housing in glossy signal-orange plastic: two chunky ear blocks with exposed green circuit boards and ribbon cables, a cream-white memory module bolted across the crown like a tiara, rows of tiny amber status lights along the edge. A coiled orange cable runs from one ear block down her back to a small orange computer unit clipped to her belt, with a cream keypad and a tiny amber display. A thin stack of polished steel rings closes around her neck. She wears a high white ribbed turtleneck tucked into wide-leg cream trousers with a sharp crease, a wide black belt with a chrome buckle, a short cropped jacket of glossy orange vinyl with a high collar left open, and chunky orange platform boots. Soft frontal beauty light with a broad overhead softbox, gentle falloff to black at the edges, the orange plastic and vinyl glowing warm against the black. Signal orange, cream white, steel and black palette, 50mm lens, full figure in frame, 1990s fashion magazine scan with soft grain and slight colour fade. Photorealistic, no text, no logos, no watermark.

An android woman in her early thirties with mature, defined features and a long silver-white braid. Her face, neck and hands are a hard, glazed ivory porcelain shell like a teacup, not skin and not makeup, with fine seams at the jaw and the wrists. The side of her skull is open where the ear should be: a dense brass and gunmetal clockwork mechanism with a small turbine wheel, tiny gears and a coiled spring, wired into the porcelain with thin copper threads. Full shot, 9:16 vertical film still, her whole figure from head to shoes in frame. She sits on a tall wooden stool at a watchmaker's bench, turned three-quarters to the camera, winding the mechanism in her head with a small brass key held to her temple, eyes lowered. A plain moss-green wool dress to the ankle, black lace-up boots. Loupes, open pocket watches, trays of gears and an oil lamp on the bench. Soft north-window light from the left. Ivory, brass and moss palette, 35mm lens, 35mm film grain. Photorealistic, quiet and uncanny, no text, no subtitles, no watermark.

An android woman in her early thirties with mature, defined features and a long silver-white braid. Her face, neck and hands are a hard, glazed ivory porcelain shell like a teacup, not skin and not makeup, with fine seams at the jaw and the wrists. The side of her skull is open where the ear should be: a dense brass and gunmetal clockwork mechanism with a small turbine wheel, tiny gears and a coiled spring, wired into the porcelain with thin copper threads. Medium shot, 9:16 vertical film still. She crouches behind a cracked potting bench in an overgrown Victorian glasshouse at dusk, peering over its edge toward the door, afraid, as if she has escaped from a cruel owner. Her left forearm is broken: shards of porcelain are missing from wrist to elbow, showing brass gears and copper threads inside. Her moss-green wool dress is torn at the sleeve and the hem and smudged with soil. A warm lantern beam falls only on her head, so the brass clockwork glints bright against muted grey-green ferns and rain-streaked glass. Muted grey-green palette with one bright brass accent, 50mm lens, shallow depth of field, 35mm film grain. Photorealistic, tense and uncanny, no text, no subtitles, no watermark.

An android woman in her early thirties with mature, defined features and a short black pixie cut, her face fully human. Below the jaw her neck is a column of polished chrome vertebrae, with thin hydraulic pistons and braided steel cables running down to her collarbones. She wears a high-necked bodice of brushed steel plates, riveted at the seams, with exposed ball joints and pistons at the shoulders and elbows. Black-and-white full shot, 9:16 vertical, her whole figure from head to feet in frame. She sits sideways on a bare wooden chair, one arm hooked over the chair back, head tilted back, eyes closed, in a long pleated dark-grey skirt, bare feet on an iron floor. Around her: a dieselpunk factory hall of riveted iron walls, thick pipes, pressure gauges, a huge flywheel, soot and drifting steam, one hard shaft of light from a high grimy skylight. Silver gelatin print, medium-format film grain, fine scratches. Photorealistic, bleak and dystopian, no text, no subtitles, no watermark.

An android woman in her early thirties with mature, defined features and a short black pixie cut, her face fully human. Below the jaw her neck is a column of polished chrome vertebrae, with thin hydraulic pistons and braided steel cables running down to her collarbones. She wears a high-necked bodice of brushed steel plates, riveted at the seams, with exposed ball joints and pistons at the shoulders and elbows. Black-and-white medium shot from the hips up, 9:16 vertical. She stands at a tall arched window in an empty ballroom, one hand on the window frame, looking out, her face in three-quarter profile. Hard sunlight throws the shape of the panes across her and the bare wall. Silver gelatin print, medium-format film grain, fine scratches. Photorealistic, no text, no subtitles, no watermark.

A female combat android in her early thirties with an athletic build. White armour plates with red stripes, scuffs and chipped paint cover her fully, with a flat armoured chest plate; black cable bundles show only at the neck and the joints. A white helmet with a narrow red visor slit, a short dark ponytail from its back. Full shot, 9:16 vertical film still, her whole figure in frame and small against the scene. She crouches on one knee on a scorched battlefield, one hand flat on the churned ground, helmeted head turned toward the camera, her red visor glowing. Behind her a machine army advances through smoke: giant walking tanks, wrecked robots in the mud, burning military trucks, orange explosions on the horizon, sparks and ash in the air. White, red and smoke-grey palette with orange fire, 35mm lens, 1980s film stock with halation. Photorealistic, no text, no subtitles, no watermark.

A slender white android woman in her early thirties with a ginger bob. White plastic body plates, scuffed at the edges, with black ball joints at the shoulders, elbows, hips and knees, and a cable port at the back of her neck. Medium shot, 9:16 vertical film still. She sits slumped against a rusted server cabinet, legs stretched out on the stained concrete floor, a thick black cable plugged into the port at the back of her neck. Her eyes are just opening, faintly glowing teal, her head lolling to one side. Around her: walls of tangled cables, an orange neon tube, a glowing red ring on a reactor cylinder, teal light from a monitor. Orange and teal palette, 35mm lens, 1980s film stock with halation, slight chromatic aberration. Photorealistic, no text, no subtitles, no watermark.

A damaged white porcelain android woman in her early thirties with mature, defined features and short silver hair. Her shell is cracked across the chest plate and the thigh, and plates are missing at the hip and the shoulder, showing black cable bundles and small pistons; fine grey dust lies on the plates. Wide shot, 9:16 vertical film still, her whole figure in frame. She lies half-propped on a heap of scorched space debris beside the crashed wreck of a white shuttle on a desert planet of endless sand dunes, one leg bent, head fallen to the side, eyes half open. Her left arm is torn off at the elbow, black cables trailing into the sand, the detached forearm lying a metre away. Twisted hull panels, a broken wing half buried in sand, thin smoke from the wreck, two pale suns low in a hazy ochre sky. Ochre, white and black palette, 35mm lens, 35mm film grain, heat haze. Photorealistic, desolate and still, no text, no subtitles, no watermark.

A damaged white porcelain android woman in her early thirties with mature, defined features and short silver hair. Her shell is cracked across the chest plate and the thigh, and plates are missing at the hip and the shoulder, showing black cable bundles and small pistons; fine grey dust lies on the plates. Medium shot, 9:16 vertical film still. She hangs upright in a repair cradle in a white maintenance bay, held by grey straps under her arms, head bowed, eyes closed, arms limp. Thick cables drop from the ceiling into an open panel at her shoulder. A robotic arm with a welding tip waits beside her. Cold, even overhead light. White, grey and black palette, 35mm lens, 35mm film grain. Photorealistic, calm and still, no text, no subtitles, no watermark.

A woman in her early thirties with mature, defined features wears an ornate brass skull mask over her face, engraved with filigree, with a round glass goggle over one eye. The top of the mask is a glass dome, and inside it sits a real organic human brain, wet and orange-yellow, with pink veins and deep folds, floating in clear fluid. Dark auburn hair in a low bun at her nape. Medium-wide shot, 9:16 vertical film still. She sits in a strange golden mechanical wheelchair in a Victorian anatomy library, facing the camera, an open anatomical atlas on her knees. The wheelchair is brass and gold, with spoked wheels, exposed gears, pressure gauges and a small brass cannon on an articulated arm over her shoulder. A bottle-green velvet dress with a high collar and jet buttons. Shelves of books and specimen jars behind, a green-shaded gas lamp. Brass, bottle-green and warm grey palette, 35mm lens, 35mm film grain. Photorealistic, no text, no subtitles, no watermark.

A woman in her early thirties with mature, defined features wears an ornate brass skull mask over her face, engraved with filigree, with a round glass goggle over one eye. The top of the mask is a glass dome, and inside it sits a real organic human brain, wet and orange-yellow, with pink veins and deep folds, floating in clear fluid. Dark auburn hair in a low bun at her nape. Full shot, 9:16 vertical film still, her whole figure from head to boots in frame. She stands in a cluttered biopunk laboratory, facing the camera, holding a long brass syringe. Around her: strange surgical tools, brass instruments, rubber tubes, and rows of huge and medium glass jars in which small pale mutant creatures float in greenish fluid. A long bottle-green velvet coat with a high collar and jet buttons, black laced boots. Dim gaslight and a green glow from the jars. Brass, bottle-green and sickly green palette, 35mm lens, 35mm film grain. Photorealistic, eerie, no text, no subtitles, no watermark.