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Prompt Fable, London (2026)

24/01/2026

The age of heroes ended here.

1) Open Google Gemini
2) Upload your reference image
3) Prompt 👇

Use my reference image for the main character.
My face, proportions, age, and expression must remain identical. No beautification or stylization.

A raw, live-action cinematic frame as if captured from a dark, high-budget film.

I sit motionless on a brutal iron throne inside a cold stone chamber. The space feels ancient, oppressive, and silent — more dungeon than palace. Moist stone walls disappear into shadow.

I wear a heavy, weathered green hooded cloak over real, practical silver armor — dented, scratched, dirty, and scarred from battle. The armor feels worn, not decorative. My hood is open just enough to reveal my face.

My expression is cold, exhausted, unreadable. No triumph. No rage. Just aftermath.

In my right hand, resting casually on the throne’s arm, I hold a shattered Iron Man helmet — dull, cracked, lifeless — treated like a fallen enemy’s skull.

At the foot of the throne lies Hulk, unconscious and defeated.
My armored boot presses firmly into his massive chest.
His green skin is bruised, dirty, and textured — pores, veins, and damage clearly visible.

The floor around the throne is a graveyard of heroes:
Captain America’s shield lies broken in the dust
Mjolnir rests abandoned on the stone
A tattered red cloak is draped carelessly over the back of the throne

Lighting is low, harsh, and subterranean — deep shadows, narrow highlights cutting across metal and stone. No fantasy glow. No magic. Only weight and silence.

Shot as live-action 35mm film.
Subtle film grain.
Extreme realism in fabric, skin, metal, and leather.
Muted, desaturated tones.
Nothing heroic. Nothing celebratory.

This feels like a moment after the war, not during it.

20/01/2026

Look behind you!

1) Open Google Gemini
2) Upload your reference image
3) Prompt 👇

Using the person in the reference image, transform the subject into a cinematic horror frame captured at the exact moment awareness turns into dread.

The scene takes place in a long, narrow industrial corridor, concrete walls stained with age and moisture. The space feels subterranean — part bunker, part forgotten service tunnel. The camera is positioned slightly behind and off-center, holding the subject from mid-thigh up, leaving negative space behind him.

The man stands still, one arm extended forward as he ignites a burning red flare. The flare is the only true light source. Its harsh crimson glow cuts through the darkness, filling the corridor with drifting smoke and sparks. Light flickers unevenly across his face, revealing tension rather than performance — brows drawn tight, jaw set, breath shallow. This is realization, not panic.

Behind him, partially swallowed by darkness and smoke, familiar silhouettes emerge.

Not posed. Not centered. Not announced.

Just enough light catches masks, blades, burned fabric, pale faces, and unnatural stillness to make them unmistakable:

a tall masked figure holding a kitchen knife,

a fedora brim and bladed glove catching the flare’s glow,

a silent white mask standing too upright,

a hulking shape with a chainsaw just barely visible,

others implied rather than shown.

They are spaced unevenly down the corridor, some closer than they should be, others barely readable in the haze. None of them move. That stillness is the threat.

The flare’s smoke curls around their forms, occasionally obscuring and revealing details in broken flashes. The corridor feels longer than it should be, depth collapsing into darkness behind them.

Lighting is brutal and directional — deep blacks, violent red highlights, blown-out flare cores. Faces are half-lost. Corners of the frame disappear entirely.

Colour palette is restrained: crimson flare light, sickly greys, dead blacks, muted skin tones. Subtle film grain. No stylisation. No humour.

Depth of field is shallow and controlled — the subject remains readable, the villains drift between sharp and soft, as if the camera itself is struggling to process what it’s seeing.

The frame feels like a moment held too long in a serious horror film —
the instant where running is still possible,
but no longer believable.

19/01/2026

Not going to Jurassic Park again!

1) Open Google Gemini
2) Upload your reference image
3) Prompt 👇

Using the person in the reference image, transform the subject into a cinematic action frame captured seconds before escape collapses.

A rugged, open-top off-road jeep tears through a narrow prehistoric jungle trail, boxed in by dense foliage and mud. The vehicle is framed from the front at a low, locked-off angle, holding both occupants fully in frame — the camera does not chase, it waits.

The driver grips the steering wheel too tightly. His mouth is open in a raw, uncontrolled scream — fear without bravado. He wears a black fitted t-shirt with a worn circular red-and-yellow dinosaur emblem and ripped blue jeans streaked with mud. His body leans forward instinctively, as if momentum alone might outrun what’s coming.

Beside him, a blonde woman is pulled toward the center of the jeep by the violence of motion. One hand claws at his arm, fingers tense, knuckles pale. Her expression is shock stripped of theatrics — eyes wide, breath caught mid-gasp. Her matching black dinosaur-logo t-shirt is damp with sweat and rain, denim shorts spattered with dirt. Hair lashes across her face, partially obscuring her eyes.

Behind them, not posed, not centered, a Tyrannosaurus rex breaks through the jungle wall. It does not roar for spectacle — it advances. Massive legs crush undergrowth. Its open jaws enter the frame unevenly, teeth catching stray light, saliva stretching between them. The creature feels too close for the lens to comfortably hold.

The jungle is thick and oppressive — towering trees, tangled vines, oversized leaves tearing at the jeep’s sides. Mud sprays upward from spinning tires. Mist and airborne soil collapse depth, making distance unreadable.

Lighting is natural and cruel. Diffused daylight filters through the canopy in broken shafts. Faces are unevenly lit. Highlights blow out on wet skin and scales, while shadows swallow detail elsewhere. Nothing is balanced.

Depth of field is shallow but intentional — the humans remain readable, the dinosaur partially resolved, the environment dissolving into motion and chaos. Motion blur affects foliage and debris, never faces.

Colour is grounded and exhausted — deep jungle greens, churned browns, muted skin tones, flashes of red and yellow from the emblem. No polish. Subtle grain. No HDR.

The jeep is moving — but escape is no longer implied.

18/01/2026

Just hanging out with The Avengers

1) Open Google Gemini
2) Upload your reference image
3) Prompt 👇

Using the person in the reference image as the primary subject, place them at the center foreground, arm extended, taking a casual phone selfie inside a warm, lived-in house during a relaxed after-party moment.

The scene feels unplanned and human — laughter mid-motion, overlapping bodies, imperfect framing.

Immediately beside the subject:
Tony Stark / Iron Man, wearing his full Iron Man suit with helmet off, arc reactor glowing softly. His posture is relaxed and slightly leaned in, mid-smirk, eyes not perfectly aligned with the camera — as if reacting to someone off-frame rather than posing.

Behind them, dominating the background:
The Hulk, massive and unmistakable, shoulders nearly brushing the ceiling. He holds a red plastic cup in one hand and a small plate of party food in the other, grinning broadly. Lamps and furniture near him subtly bend or tilt, emphasizing scale without spectacle.

Surrounding the frame:
Thor (armored, relaxed, laughing), Black Widow (tactical suit, amused but composed), Captain America (casual stance, friendly smile), Hawkeye (half-laugh, half-comment), all naturally crowded into the shot — not evenly spaced, some partially cropped by the selfie frame.

Environment:
A cozy house party setting — warm lamps, food trays, bottles, soft clutter. Nothing damaged. No chaos, just life. The room feels occupied, loud, and comfortable.

Camera & realism:
Phone selfie perspective, slight wide-angle distortion, uneven lighting. Minor motion blur at the edges. One background lamp slightly overexposed. Subtle grain. Natural skin texture. No cinematic polish.

Mood:
Lighthearted, intimate, funny — the feeling of heroes being people when no one is watching.

Color & finish:
Warm indoor tones, soft shadows, practical lighting only. No HDR. No dramatic grading.

17/01/2026

A Moment of Stillness
1) Open Google Gemini
2) Upload your reference image
3) Prompt 👇

Using the woman in the reference image, place the subject alone in a quiet forest clearing at the edge of morning.

She stands still among the trees, arms open, palms turned upward. Her face is tilted toward the sky, eyes closed — not in performance, but in surrender. The gesture feels instinctive, as if she has stepped into the light without fully realising it.

A single beam of warm sunlight breaks through the canopy above, cutting cleanly through the shadowed forest. It finds her face, her chest, her hands. Dust and pollen drift slowly through the air, catching the light and glowing briefly before disappearing again.

The forest around her remains soft and restrained. Trunks and branches fall away into blur. Leaves frame the moment without drawing attention to themselves. The world feels present, but distant.

Her clothing is simple and unremarkable — muted earth tones, practical, worn. Fabric moves gently with the air. Her hair lifts slightly in the light breeze, just enough to register life.

Lighting is natural and directional. Golden highlights against deep, cool shadow. No fantasy glow, no stylised bloom — the light feels real, fleeting, and earned.

Depth of field is shallow but calm. The subject remains fully readable while the background dissolves into soft shape and colour. Subtle grain is present. Colours are warm but restrained — amber, bark brown, moss green.

The camera does not intrude. It observes.

The moment feels private — not a transformation, not a revelation — simply a breath held in light before the forest closes again.

16/01/2026

Welcome to the dark side
1) Open Google Gemini
2) Upload your reference image
3) Prompt 👇

Using the person in the reference image, transform the subject into a dominant Dark Side figure within the Star Wars universe.

The setting is a vast Imperial command chamber — cold, vertical, and engineered for intimidation. Black metal walls rise into shadow. Narrow white light slits cut the space with surgical precision. Thin haze drifts near the floor.

The subject stands centered in the foreground, full body visible. Dark, layered robes fall in heavy, controlled lines. No insignia. No ornament. The clothing absorbs light rather than reflecting it.

The subject’s expression is calm and absolute. Eyes forward. No anger. No theatrics. Authority through stillness.

One gloved hand is raised slightly, fingers relaxed — not commanding, but permitting. The other hand rests at the side, motionless.

Behind the subject, offset to the right and partially out of focus, stands Boba Fett — armoured, alert, secondary. His posture is guarded and deferential. He does not look at the camera.

To the left of the subject, several steps back and clearly subordinate, stands a second Imperial figure — tall, severe, and uniformed. Dark tailored Imperial attire. Arms clasped behind the back. Helmet removed. Face unreadable. A presence of enforcement rather than power.

The hierarchy is unmistakable: the subject commands the space, the others enforce it.

Subtle environmental response is visible — faint dust drifting, panels vibrating imperceptibly, light flicker responding to unseen pressure.

Lighting is authoritarian and sculptural. A hard overhead light carves the subject from above, casting deep shadows into eye sockets and beneath the robes. Shoulders and lower body fall into controlled darkness. The side figures remain slightly dimmer.

Colour palette is stripped and severe — black, gunmetal, muted green armour, exhausted skin tones. No warmth. No glow. Subtle film grain.

Camera is locked off, low and forward-facing, forcing the viewer to look up slightly.

This is not a confrontation.

This is command made visible.

15/01/2026

Star Wars Poster
1) Open Google Gemini
2) Upload your reference image
3) Prompt 👇

In a shadowed stone chamber, three figures stand as if caught between moments — not posing, not moving, simply held.

At the center, a woman stands barefoot on cold stone, dressed in reflective gold metal and soft draped fabric that catches the warm light. Her posture is relaxed but unyielding. One hip shifts slightly, not in display but in balance. Her hair is braided and controlled, pulled back from her face. She does not look at the camera. Her attention is elsewhere.

One hand rests lightly on the curved head of a small astromech droid beside her. The machine feels present, familiar — a companion rather than a prop. In her other hand, she holds a compact blaster close to her body, not raised, not lowered — simply ready.

To one side stands a tall protocol droid, gold-plated and quiet, its surface catching broken highlights from the room. Its posture is formal, almost protective. Light traces the edges of its joints and face, revealing wear beneath the polish.

On her other side, a lone smuggler figure stands with squared shoulders and a blaster at his side. His clothing is simple and practical — white shirt, dark vest, worn trousers — nothing ornamental. His stance suggests defiance held in reserve, not offered.

Behind them, the stone wall carries the faded red mark of a rebellion — a symbol stenciled long ago, chipped and worn by time. Smoke drifts through the space, softening the air. Light enters from one direction only, cutting across metal, fabric, and skin, carving quiet silhouettes against the dark.

The room is old. The moment feels older.

Colour is warm and restrained — amber, rust, muted gold. Shadows are deep and allowed to stay deep. Highlights bloom gently and then fall away. Subtle grain hangs over the image like dust in the light.

Nothing here is heroic. Nothing is decorative.

It feels like a frame taken just before history decides whether these people will be remembered at all.

14/01/2026

Post-apocalyptic Survivor

1) Open Google Gemini
2) Upload your reference image
3) Prompt 👇

Using the reference image, reimagine the subject as a post-apocalyptic survivor. Preserve facial identity accurately. Cinematic medium shot, subject still and grounded rather than heroic. Weathered skin with subtle dirt and wear. Expression calm but hardened, as if the worst has already happened. Ruined world suggested softly in the background, indistinct and atmospheric.

Golden-hour light cutting through haze, warm highlights balanced by cool shadows.

Photographed as if on an Arri Alexa camera with a 50mm Arri Prime cinema lens — natural skin tones, gentle contrast, soft highlight roll-off, shallow depth of field.

13/01/2026

1) Open Google Gemini
2) Upload your reference image
3) Prompt 👇

Using the person in the reference image, transform the subject into a controlled cinematic frame set inside a hospital observation room.

The subject sits perfectly still at a metal table, centered in frame. She is wearing a plain hospital gown — thin fabric, institutional pattern, slightly oversized. The gown reinforces vulnerability without drawing attention to itself.

Both hands rest flat on the tabletop, fingers relaxed but unmoving. Her posture is upright and deliberate. She does not fidget. She does not react.

A crude brain-monitoring rig is fitted directly to her head. Thin exposed wires run across her scalp, secured by small metal clips and contact points pressed against the skin. The wiring is asymmetrical and slightly messy — not sleek, not futuristic. It looks manually assembled, adjusted by hand, and uncomfortable to wear.

Some wires loop loosely, others are pulled taut. Small red and metallic components sit close to the scalp. The device feels clinical but invasive — built to extract data, not to care for the subject.

Her expression is neutral and unreadable. Eyes forward, unblinking. No visible fear, no defiance. The stillness feels learned, as if silence has become a survival strategy.

The background is a tiled hospital room, but lit unevenly. Large sections of the room fall into shadow. Corners dissolve into darkness. The space feels quiet, controlled, and watched.

Lighting is moody and oppressive. A cold overhead source illuminates her face and gown while the background recedes into shadow. Contrast is present but restrained — no glow, no stylisation. Shadows are allowed to stay dark.

Colour palette is desaturated and clinical — blue-grey tiles, pale fabric, muted skin tones. Subtle film grain.

12/01/2026

Google Gemini / ChatGPT
Upload an reference image
Prompt 👇

Using the woman in the reference image, transform the scene into a quiet cinematic moment set deep within a snowy forest.

The woman is kneeling in the snow, one knee down, body lowered and still. Her posture is grounded, deliberate, and calm — as if meeting the wolf at its level rather than above it.

She gently leans forward, resting her forehead against the wolf’s. The contact is soft and unforced. Her eyes are closed or lowered. Breath is slow and visible in the cold air. There is no tension in her body.

The wolf remains completely at ease — relaxed posture, steady presence, eyes closed or half-lidded. No aggression, no alertness. Mutual trust is implied through stillness.

Snow falls lightly around them, softening the forest. Tall trees fade into the background, blurred and distant. The environment feels insulated and quiet, as if sound is absorbed by the cold.

Lighting is natural and subdued. Cold winter daylight diffused through cloud cover and branches. No dramatic contrast, no highlights pulling attention. Everything is gentle and restrained.

Colour palette is muted — soft whites, pale greys, desaturated earth tones. Fur and fabric textures are natural and detailed. Subtle film grain adds realism.

Depth of field is shallow enough to isolate the man and the wolf while keeping the forest present but unobtrusive.

Feels like a single, unspoken moment from a serious, contemplative film — not symbolic, not sentimental. Just shared stillness.

11/01/2026

Prompt 👇
Using the person in the reference image, transform the subject into a cinematic action frame captured at the moment escape becomes impossible.

A man is mid-run on a narrow bamboo rope bridge suspended above a jungle ravine. The camera is positioned directly in front of him, locked off and unmoving, holding him fully in frame from head to mid-thigh. He is not lunging toward the lens — the frame contains him as he runs, leaving no room to escape.

His face is tight with fear. Panic is present but restrained, leaking through control rather than performed. Sweat and grime cling to his skin. Natural texture and strain are visible.

Behind him, destruction intrudes imperfectly. A helicopter is caught in an explosion above the bridge, partially obscured by smoke and fire. The blast is not centred or clean — it bleeds into the frame, swallowing space rather than presenting itself. Only fragments are readable: a rotor blur, a breaking silhouette, fire overwhelming detail.

The bamboo bridge beneath him is unstable — uneven planks flexing, ropes pulled tight under strain. Depth drops away sharply behind him into jungle mist and distance.

Lighting is harsh and unfair. Cold overcast daylight dominates. Firelight flares briefly, blowing out highlights and collapsing shadow detail. Parts of the image are lost to smoke, glare, and darkness.

Depth of field is shallow but controlled. The man remains readable while background chaos softens and breaks apart. Motion blur affects the environment, not the subject.

Colour is muted and desaturated — dirty greens, scorched orange, exhausted skin tones. Subtle grain.

Feels like a single frame held too long in a serious action film — the camera refuses to move, and the character has nowhere left to go.

10/01/2026

1. Open ChatGPT
2. Upload Your Image
3. Prompt
Cinematic ensemble movie poster for a gritty crime drama titled “Gangs of Yorkshire.”

A group of hardened characters stand on a rain-soaked concrete stairway in an urban Yorkshire setting. Use the person in the reference image for the central figure who stands one step higher than the others, commanding the composition — calm, dangerous, and authoritative. Other characters with different looks are positioned at different levels along the stairs, creating a strong sense of hierarchy and tension. Each character faces a slightly different direction, suggesting fractured alliances and unspoken conflict.

The environment feels distinctly Northern English — brutalist architecture, cold concrete, steel railings, distant modern city skyline softened by rain and mist. Heavy rain falls across the frame, streaking the image and catching light. The sky is overcast and stormy, casting a cold blue-grey tone across the scene.

Wardrobe is grounded and realistic: dark coats, worn jackets, practical clothing suited to the streets — no glamour, no excess. Some characters subtly carry weapons, partially obscured rather than displayed. Expressions are restrained, serious, and hardened by experience.

Lighting is cinematic and dramatic: cold ambient daylight from above mixed with subtle edge light separating figures from the background. Faces are sculpted with shadow, not evenly lit. Contrast is controlled and moody, with deep shadows and muted highlights.

The camera angle is slightly low, looking upward along the stairway, giving the characters weight and presence. Depth of field is moderate — all characters readable, background slightly softened by rain and haze.

Colour grading is desaturated and cool, with restrained blues, greys, and steel tones. Natural skin textures preserved. Subtle film grain adds texture.

Typography space left clear at the bottom for the title text:
GANGS OF YORKSHIRE

Overall style: prestige British crime drama, cinematic realism, serious and grounded, feels like a high-end TV series poster.

Prompt Fable

24/01/2026

20/01/2026

19/01/2026

18/01/2026

17/01/2026

16/01/2026

15/01/2026

14/01/2026

13/01/2026

12/01/2026

11/01/2026

10/01/2026

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