Video-Prompts für Anime

A vertical cinematic shot of a woman wearing a pink short skirt in an indoor room manipulating an invisible portal with her fingertips. The space between her hands reveals a black-and-white manga illustrated version of her face and surroundings, perfectly aligned with the photorealistic world outside. The hand-drawn portal stretches, morphs across her face, and briefly expands full-screen before collapsing back into reality with a finger snap. Reference using GPT Image 2

Vertical 9:16 video, photorealistic high-end nail salon aesthetic mixed with soft anime-style wide shots. A seamless step-by-step close-up sequence of a professional manicure process on elegant long almond-shaped nails: filing, dusting off white powder with a fluffy brush, wide shot of a cute anime girl sitting in a bright luxury nail salon vanity, applying glossy gel base coat, curing under a UV lamp, buffing iridescent pearl white chrome powder with pearl accents, applying shiny top coat, and placing cuticle oil drops. Ends with the client admiring her glossy metallic pearlescent silver nails under warm glowing lights. Macro-focused shots, ultra-realistic textures, pastel tones, smooth transitions, soft cozy ambiance, cinematic lighting, 4k resolution.

Desert Chase Action / Dual Pistol Prompt. High-quality anime video. 3D toon/cel-shaded chase action. The setting is a bright desert, and the protagonist holds two pistols, one in each hand. Maintain character consistency, sand-board chase, a giant white snake dragon, direction of travel, camera intent, and a conclusion where the chase continues after firing. [Referential Role and Priority of Images] Image1 is for face/identity reference. Prioritize face shape, eyes, iris, eyelashes, cheeks, jaw, nose, mouth, bangs, and hair around the face. Image2 is for full-body/outfit reference. Reference overall hair, twin-tails, flower ornaments, costume structure, gloves, shoes, body type, silhouette, and specific color scheme. Image1 and Image2 represent the same protagonist. In case of conflict, prioritize Image1 for facial features and Image2 for hair, ornaments, clothing, and body type. Do not copy indoor backgrounds, text, logos, character sheets, UI, lines, white backgrounds, multiple panels, or static poses from reference images. [Fixing Protagonist Identity] Soft small oval face, pale skin, large irises glowing purple to lavender, delicate thick upper eyelashes, small nose and mouth, focused gaze. Hair is long twin-tails in light coral pink to milky pink. Maintain purple flower ornaments, tassels, earrings, and black ear studs in the same position and count. Outfit is black/lavender/purple streetwear idol/hacker style: short lavender jacket, black top, chest straps, patches, belt/harness, layered pleated skirt, fingerless gloves, and platform boots. No facial averaging, becoming a different person, hair color drift, costume swap, or clones. [Fixed Art Style: 3D Toon / Cel-look] High-density 3D toon/cel-look. Thin dark blue to blue-gray outlines, 2-3 tier cell shading, soft mid-tones, translucent ambient light. Multilayered pink/lavender/white highlights on hair. Purple multilayered irises with small catchlights. Distinct textures for sand, rock, scales, metal, cloth, and leather. Avoid thick black outlines, flat shading, generic 3D faces, smooth plastic CG, realism, live-action, low-density backgrounds, or mixed styles. [Fixed Desert, Enemy, and Equipment] Setting: Golden dunes, red sandstone canyons, dry cracks, crumbled ledges, distant sandstorms, blue sky. Enemy: A single giant white snake dragon with a long articulated body, white armored scales, black understructure, cyan glowing lines, translucent cyan dorsal fin, red eyes, and orange mouth interior. Board: One sand hoverboard. Weapons: Exactly two pistols, one in each hand. Identical black-purple compact handguns with integrated barrel, slide, and grip. Protagonist holds one in each hand, pointing both forward. Do not duplicate, separate, or transform weapons. [Common Motion Contract] Connect board-to-sand contact, jump, aerial movement, dual aiming, simultaneous firing, recoil, and the next glide as a single continuous trajectory. Each contact follows the sequence: gap before contact -> clear contact point -> local reaction -> continuation. Use sand spray and the dragon's body as foreground wipes; do not show the dragon alone for long periods. Cut 1: Extreme eye close-up to chase. Start with an extreme close-up of one eye (Image1) reflecting dunes and dragon armor. Camera pulls back to reveal face, ornaments, body, and board contact. Sand spray leads to the next dune. Cut 2: Lateral chase. Side-follow from low 3/4 angle. Protagonist glides at high speed, keeping low posture and edging the board. Sand spray leads to the red canyon. Keep dragon in frame to show distance and speed. Cut 3: Wall-run axis reversal. Camera rises and rolls, making the canyon wall the vanishing axis. Board remains in continuous contact with the sandstone slope. Show leg bracing, dust, and reaction. Continue to the rim for the next jump. Cut 4: Firing under dragon's belly. Show protagonist, board, dual pistols, and dragon belly armor. Jump off the rim, passing through the air. Maintain space before firing. Both pistols fire once simultaneously, hitting the same armor zone. Show sparks, dust, and recoil traveling through the body. Continue to next glide; no aerial freeze. Cut 5: Return to dunes. Side-follow from rear diagonal. Return recoil to body, re-engaging board with sand for a turn. Proceed to the next wall. Jump immediately after contact. Cut 6: Overview of cracks and ledges. High diagonal overview. Cross dry cracks and ledges. Show sequence: gap -> contact on ledge -> knee sink -> reaction -> continuation. Keep dragon and protagonist in frame. Cut 7: Evading dragon's mouth. High front diagonal. Show giant mouth, fangs, protagonist, and landing point. Fangs do not touch protagonist. Low posture, board edges away from the mouth by a hair's breadth. Sand spray leads to parallel run. Cut 8: Parallel head-run. Low wide side-shot. Protagonist in foreground, dragon head in background. Maintain low posture; show contact, spray, and dual handling. Sand spray serves as a wipe. Cut 9: Face, pistols, and hit reaction. 3/4 close-up over the shoulder. Show dual pistols, eyes, bangs, ornaments, and dragon cheek armor. Space between muzzles and cheek before firing. Simultaneous shot hits the same spot. Synchronize muzzle flashes, metallic sounds, and sparks. Dragon's head jerks; recoil returns to protagonist. Continue running. End on the moment of impact. No victory poses or holstering. [Sound] Synchronize board scraping, contact, falling pebbles, wind, mechanical/firing sounds of dual handguns, dragon armor reactions, and roars. No dialogue, narration, or singing. [Important Guards] Only one protagonist, one white dragon, one board, and two pistols. No extra people, clones, or swaps. No slow motion, aerial freeze, protagonist disappearing, dragon destruction, or UI/watermarks.

Strictly black and white manga aesthetic. The character from the reference image maintaining his exact style: long black hair covering his eyes, a bare muscular chest, hands in pockets, and a katana tucked in his waistband, wearing a long flowing white coat. He stands in a power pose inside a dark, atmospheric bamboo forest at night, completely depicted in high-contrast hand-drawn ink style. Heavy wind blows, causing his hair and the fabric of his long coat to flutter dynamically. Stylized black ink splashes, brush strokes, and swirling smoke effects surround him. High-contrast chiaroscuro shadows, bold ink lines, cinematic low-angle slow zoom-in. Epic anime swordsman vibe.

Create a powerful protective scene. The pink twin-tail bride from the first image stands proudly and firmly in her magical sparkling wedding dress and veil under the floral arch, one hand raised showing her cute nails, the other holding the bouquet.

Generate a single continuous shot.\n\n{ "setting": "Cozy minimalist indoor studio room with off-white walls and dark wood accents", \n "lighting": "Soft diffused warm cove lighting with subtle side fill", \n "weather": "Indoor ambient", \n "color_grade": "Warm natural tones with high-contrast digital overlay pops" }\n\n[SUBJECT ANCHOR — reiterate character visual descriptors]:\nThe young East Asian man with long straight black hair wearing a dark grey hooded windbreaker jacket with visible drawstrings.\n\n[00:00-00:02]: The young East Asian man in the dark grey hooded jacket holds her hood drawstrings near her chin, then smoothly raises both hands, expanding her fingers to form a crisp rectangular geometric frame in front of her eyes. Inside the hand frame, a dynamic 2D cel-shaded anime eye graphic instantly pops into view overlaying her real eyes.\n[00:02-00:04]: She shifts her hand frame downward across her cheek, changing the framing angle to reveal a sharp, manga-style eye and eyebrow graphic overlay that tracks locked between her fingers.\n[00:04-00:06]: Moving her hands upward in a rhythmic motion, a stylized 2D anime smiling mouth graphic appears inside a new lower-face hand cutout frame, matching her head angle.\n[00:06-00:08]: She restructures her gesture, using index fingers to point diagonally across her eyes and nose region, creating a triangular hand frame that displays a vivid triangular vector anime mask filter over her upper face.\n[00:08-00:10]: She flips the triangular hand frame smoothly to the opposite angle over her lower face, holding a horizontal anime artwork banner overlay between her fingertips as the clip holds.\n\n🎤 VOICE PERFORMANCE:\nNo spoken dialogue in this opening segment. The audio performance is anchored by the rhythmic atmosphere of the musical build-up, synced to snappy, clean UI movement sounds.\n\nAmbient: Quiet residential room acoustics with soft low-end air resonance.\nFoley: Sharp digital swoosh and UI snap effects frame-locked precisely to each hand expansion and overlay state shift at 01s, 03s, 05s, 07s, and 09s.\nMusic: High-energy electro-pop/cyberpunk synth melody building in rhythm and intensity.

Seamless loop, static top-down view of a clear garden pond in Studio Ghibli watercolor anime style. colorful koi fish slowly circling beneath floating lily pads. Gentle water ripples, dappled sunlight filtering through maple leaves, soft pastel colors, calm ambient motion.

Cinematic anime short film clip, 15 seconds. Muddy motocross track, dark overcast cloudy sky, wet churned up dirt everywhere, deep ruts in the track, no crowd just raw open terrain. CHARACTER: Use uploaded character sheet as strict visual reference.

An emotionally charged, avant-garde Japanese anime opening sequence with playful, surreal, graphic visual direction. A cute anime girl moves through an endlessly transforming visual world. Multiple variations of the same girl appear, disappear, overlap, split apart, and replace one another, as if different versions of her personality and identity are competing inside the same opening sequence. Full-color Japanese 2D animation, expressive hand-drawn character animation, clean cel shading, highly polished sakuga, 24fps. [Core Visual Goal] Prioritize flatness, graphic design, symbolic clarity, and emotional coherence. The sequence should feel like a moving 2D graphic-design composition rather than a cinematic world. Every visual element must relate directly to the girl, her emotions, her body, her memories, or the story's central symbolic ideas. Do not introduce random decorative motifs or unrelated objects. Do not use imagery just because it looks stylish. Every repeated shape, symbol, prop, or visual metaphor must feel meaningfully connected to the same character and emotional theme. [Overall Visual Direction] Pop, surreal, stylish, cute, strange, slightly unsettling. Very flat visual design. Strong 2D composition over three-dimensional realism. Large areas of flat color. Minimal depth. Minimal volumetric lighting. Minimal environmental realism. Graphic staging over cinematic staging. The screen behaves like a moving poster, a motion-graphics illustration, or a transforming printed design. Backgrounds are simplified into flat planes, cutout-like layers, symbolic spaces, and graphic fields. When depth appears, it should be stylized and brief, used only for emphasis. Flat images may suddenly bend, stretch, fold, rotate, or transform, but they should still feel fundamentally graphic and planar. [Motif Control] Use only motifs directly derived from the main character and her emotional world. Allowed motifs should come from: her eyes, hair, hands, mouth, silhouette, clothing, accessories, shadows, reflections, mirrors, frames, ribbons, simple body fragments, personal symbolic objects, and abstract shapes that clearly evolve from these elements. Motifs may also come from a small number of central emotional symbols, but only if they are consistently repeated and clearly connected to the girl's identity. Avoid unrelated decorative symbols such as random stars, random flowers, random animals, random cosmic imagery, random surreal props, or arbitrary visual clutter unless they are specifically established as core motifs. Limit the motif vocabulary. Reuse the same small symbolic set across the entire sequence. The world should feel unified by recurring, meaningful visual symbols. [Character Direction] A cute

You are a world-class, top-tier animation director. Please create a high-speed training battle video between a Kung Fu girl and her master that leaves the viewer breathless. Include dynamic camera work to captivate the audience. The overall style is high-quality Japanese anime. Flowing martial arts movements, Maximum intensity of speed, Dynamic perspective, Air-slashing rapid strikes. 30 seconds of non-stop top-speed battle from the start (occasional slow motion is allowed). ultra fast choreography, relentless combat, continuous motion, rapid exchanges, speed lines, dynamic tracking shot, anime sakuga, explosive dust, seamless action flow Negative Prompt Static poses, duplication of characters, character distortion, limb deformation, identity shifts, appearing weapons, vanishing backgrounds, unnatural warping, excessive camera shake, moving out of frame

Create a 14-second cinematic anime/cartoon video in a lush green forest beside a wide, crystal-clear river filled with many colorful fish swimming naturally underwater. Keep the same boy, outfit, face, and cartoon style throughout. A cute boy fishes from the riverbank and catches a big fish. Show the beautiful forest and wide river with many colorful fish swimming underwater. The boy happily pulls the fish out of the water and looks excited. At another spot beside the same river, the boy makes a small campfire and roasts the big fish on a wooden stick. The fish slowly becomes golden and delicious while smoke rises gently. The river and green forest remain visible in the background. The boy sits beside the campfire with a cute chubby panda, bear, fox, rabbit, and squirrel. They all sit together and happily share the cooked fish. The animals smile, laugh, and talk to each other in English while enjoying the meal. End with a wide cinematic shot showing the boy, all his animal friends, the campfire, beautiful river, and lush forest. Style: Cute high-quality anime/cartoon, expressive characters, vibrant colors, cinematic lighting, smooth animation, detailed forest and river, warm friendship atmosphere, consistent characters throughout. No cows, no logos, no watermark, no text.

High-quality anime video. A silver train speeding through a red canyon at sunset. From 0.0 seconds, the protagonist is sprinting at full speed on the roof, with no introductory still shots or poses. All movement is in real-time. Fast footwork, shifts in center of gravity, weapon contact, reaction force, and subsequent movements connect seamlessly without interruption. [Reference / Character Consistency] image1 is the face/identity reference, the standard for facial and character identity. Maintain the same person across all cuts, featuring the same slender chin, blue eyes (shape and iris color), long moon-silver hair, bangs, blue rose and butterfly hair ornaments, and their fixed placement. image2 is the outfit/full-body reference. Fixed elements include a black high-neck top, black lace sleeves, deep navy short cape, blue jewel brooch, fine gold and silver decorations, navy pleated midi skirt, black lace-up boots, moon-patterned bag, and a slender silhouette. The bag is snug against the right hip. Priority if references conflict: image1 for face, eyes, and hair; image2 for everything below the neck (outfit, decorations, body type). Final facial expression sequence: eyes soften -> brows lower slightly -> eyelids narrow once -> mouth stays closed -> gaze returns forward. Only expressions, gaze, breathing, combat stances, and natural hair/fabric movement are allowed. No character changes, facial averaging, outfit swaps, horizontal flips, clones, or additional protagonists. [Equipment Consistency] Owner / ownership count: The protagonist alone carries one slender blue-silver single-edged sword; the Skeleton King alone carries one black iron greatsword. Total swords in the video are fixed at two. One dark navy scabbard is belted to the protagonist's left hip. At the start, the sword is drawn in the right hand, the scabbard is empty, and the left hand is free. The single-edged sword and greatsword both maintain a unified single-structure length with connected blade, hilt, and guard. The protagonist grips the hilt with her right hand, while the King grips his with both. In rotations and parries, the entire weapon moves as a single unit, not just the tip. No duplication or swapping of weapons, hilts, guards, or scabbards. [Enemy Consistency] Exactly three generic skeletons. As skeleton/undead, they have skulls, exposed ribs, spine, pelvis, long phalanges, blue orbital light, and torn black cloth. They have no weapons and lunge simultaneously. Exactly one Skeleton King. As skeleton/undead, he has a skull and ribs twice as large, a black iron crown fixed to the skull, thick black iron armor, a torn dark navy cloak, intense blue orbital flames, and a black iron greatsword. No shield. He appears only after the three generic soldiers are defeated. All enemies maintain solid bone, cloth, and iron materials until defeat; do not replace them with crystals or light figures. No mixing of generic and King features, and no duplication of enemies. [Rendering Consistency] Use only 3D toon/cel-look. Centered on image1 and image2, featuring thin blue-gray outlines, two-to-three layers of toon shading with soft gradients, clear moon-silver, deep navy, and royal blue. Sharp fine highlights on silver hair, with high-density material expression distinguishing velvet, lace, metal, gemstones, and glass. Character-first/character-specific palette: Prioritize the protagonist's royal blue as the character-specific key light and deep navy as the character-specific shadow. Background uses a low-saturation palette, with cyan used only as auxiliary for contact light. High density includes exterior ribs, window frames, seats, hand straps, railings, connection doors, and floor reflections. No thick outlines. No single-layer flat cel painting. No generic 3D anime faces. No smooth plastic CG materials. No low-density backgrounds. No live-action or semi-realistic styles. No dull colors. Do not mix art styles. [Common Axis of Motion and Cinematography] Combat follows one continuous trajectory. The same line of motion is passed through the rooftop advance, falling into the window, breaking into the car, being pushed outward by the King's greatsword, pivoting inward, passing behind, the return slash, and the sheathing. The trajectory deforms upon contact but does not stop to reset. Camera systems switch based on purpose: low rear-three-quarter attacker tracking, diagonal exterior view, over-the-shoulder counter, short orbit/axis change, diagonal impact push-in, and side medium close-up. Low angle heights: 0.4m for roof/floor action, 1.2m for over-the-shoulder, 1.35m for sheathing. Allow brief foreground occlusion by seats or window frames; parts of the body may exit the frame during speed sequences. The background vanishing axis always flows toward the front of the train. Cut transitions are linked by foot grounding, window impacts, weapon contact, and the direction of body passage. [Speed and Sound] Full-body movements are real-time. Hit-stop on contact is maximum 1 frame. No long charging times, slow motion, mid-air freezing, or repetitive poses. Tense strings and low percussion around 150 BPM. Synchronize visible events with footsteps on metal roof, wind pressure, glass shattering, dry bone thuds on the floor, sword collisions, armor cracking, and the final sheathing sound. No dialogue, subtitles, logos, UI, or watermarks. Cut 1: 0.0–2.0s | Sprinting on the roof Low 3/4 rear view. The protagonist sprints four steps along the roof ribs; with every boot contact, the supporting leg, pelvis, shoulders, and sword move along the same axis of propulsion. Roof ribs and the canyon recede at high speed; hair and cape flow sharply backward. Using the reaction force of the fourth step, she jumps from the right edge of the roof to the side of the car. At 2.0s, her head, shoulders, waist, and both legs are all outside the intact window glass; no part of her body has entered the window frame yet. Cut 2: 2.0–5.0s | Breaking through the window from outside, entering the car 2.0–3.15s: Diagonal front camera outside the train. Lens and protagonist are outside the window, showing the silver car exterior, window frame edges, and empty interior through glass. She approaches the window from outside, maintaining a vector from outside -> glass surface -> inside. At 2.0s, she is fully outside; the window is intact. At 2.7s, she swings the entire single-edged sword in a short horizontal arc; the blade near the tip hits the center of the outer glass surface. Radial cracks appear only after impact at 2.8s; glass shards fly inward, away from the camera. At 3.1s, her head and right shoulder cross the frame into the car; waist and legs remain outside. Using flying glass shards as brief foreground occlusion, switch to an interior diagonal front view at 3.15s. Leaving the broken window behind her, the waist, knees, and boots pass through the frame by 3.7s. At 4.2s, her entire body is inside, landing low on the aisle floor. By 5.0s, her waist and ribcage cross two floor seams as she runs two steps forward into the next encirclement. Cut 3: 5.0–6.0s | Confirming enemy placement instantly The camera recedes from a front-left diagonal position at a chest height of 1.2m, placing the protagonist on the right side of the screen at knee-up size. Using the front connecting door as the vanishing axis, show the three generic skeletons closing in from the sides and front, her path, and the open central gap in the same frame. Her waist and ribcage cross one floor seam; by 6.0s, she steps between the edge of the left seat and the first skeletal arm. As the long phalanges of the front-left skeleton cross the lens, use that arm as a natural occlusion to switch to the next viewpoint. Cut 4: 6.0–7.2s | Entering the encirclement and beginning the pivot As the occlusion clears, the camera moves behind her right shoulder at a waist height of 0.8m, capturing her full body, supporting leg, single sword, and the three sets of ribs in close depth. The background vanishing axis shifts from the front door to the diagonal row of windows on the back left. She catches the floor with her right sole, briefly compresses her knee, and passes her pelvis over the right foot into a low clockwise pivot. The entire sword draws a single arc at waist height; by 7.2s, her body passes through the center of the triangle formed by the three enemies. The camera does not rotate faster than the sword, showing the kick of the supporting leg and the passage of the blade simultaneously. Cut 5: 7.2–8.5s | Crossing the axis in the direction of the blade, leaving the collapse behind Triggered by the blade crossing from right to left, the camera briefly orbits from behind the right shoulder to a low left-front diagonal, dropping height from 0.8m to 0.45m and pulling back from knee-up to full body. The background vanishing axis returns from the diagonal windows to the front door. The three do not wait their turn; they simultaneously begin collapsing into bone piles behind her passage line. By 8.0s, she is completely out of the encirclement; by 8.5s, she crosses two more floor seams. She does not look back, handing the moment of her next right-foot grounding to the King's appearance. Cut 6: 8.5–11.5s | Linking the King's appearance directly to a descending arc The pressure of a black iron greatsword pushes open the connecting door, and the Skeleton King enters the aisle in one step. Without pausing the appearance pose, he carries that step directly into a vertical descending arc with the entire greatsword. The protagonist, maintaining forward momentum, brings her sword up in front of her body. At 11.5s, they enter the contact line with a clear gap remaining between the two blades, passing the speed of the descending arc to the next cut. Cut 7: 11.5–14.2s | Receiving downward pressure for an instant, then immediate disengagement From behind her left shoulder at 1.2m height, capture both weapons, the pre-contact gap, and her supporting leg in the same frame. At 11.5s, the King's greatsword is descending, with a clear gap between blades. Maintaining forward momentum, she moves her right foot to the next floor panel and aligns the hilt area of her sword with the descending line. At 14.1s, the base of the greatsword and the hilt area of the single-edged sword hit at a single point. Place a hit-stop of max 1 frame only at the moment of contact, with bluish-white sparks scattering from the impact. From the next frame, reaction force passes through her wrist, elbow, shoulder, ribcage, waist, and right foot as she kicks off the floor. At 14.2s, the blades are already moving apart; do not hold the crossed contact pose, passing the disengagement to the next cut. Cut 8: 14.2–16.0s | Passing through the inside, swapping positions within 1.8s With a short orbital wrap around the contact point, the camera moves to her right side at 0.75m height, showing both full bodies, both weapons, and floor seams. While sparks are still falling at 14.2s, her waist and ribcage move clockwise, and her sword moves away from the greatsword. The King's greatsword continues through its descending line. At 14.6s, the blades are more than one blade-width apart; her right shoulder and waist pass inside the greatsword. At 15.2s, she is completely past the King, and her waist crosses the next floor seam. By 15.5s, their front/back positions are fully swapped. The King is not left behind, tracking her with his upper body and greatsword. At 15.8s, he converts the remaining body rotation from the descending arc into a horizontal return arc. At 16.0s, the greatsword has already begun horizontal movement; she is half-way through a step toward the outside of the aisle, continuing the motion into the next cut. Cut 9: 16.0–18.5s | Carrying the return arc into the next contact The camera recedes along the attack line from a front-right diagonal at 1.0m height, capturing the King's full body, the greatsword, and her supporting leg. From 16.0s, the King continues swinging the greatsword in a horizontal arc; by 16.8s, the tip crosses the aisle center line. She does not retreat, placing her left foot half-way onto another floor panel outside the aisle and bringing the middle of her blade into the path of the greatsword. The King returns reaction force from the floor through his soles, moving shoulders and waist in the same direction as the horizontal arc. She matches that force with her blade, carrying that momentum until just before the next attack contact. At 17.6s, both waist positions cross different floor seams, with a gap still between blades. At 18.5s, pass the non-static moment where the return arc and parry trajectory are nearly touching to the next cut. Cut 10: 18.5–26.8s | Resolving from the return contact with the same rotation Low diagonal view with seats in the foreground. At 18.5s, there is still a finger-width gap between blades. At 18.8s, the middle of the greatsword and the middle of her sword hit. Hit-stop is max 1 frame. At 18.9s, blades separate, her supporting leg converts lateral pressure into forward speed, and she passes the King. The clockwise rotation remaining from the passage closes into a single sword trajectory returning diagonally upward, crossing the front of the undamaged black iron armor. Only after that passage do thin blue cracks run through the armor and the orbital flames extinguish. The King collapses to the floor in the order of legs, torso, and greatsword; the greatsword stops lying flat. She takes two steps in the same direction and half-turns with the fallen King behind her. Cut 11: 26.8–30.0s | Finalizing with sword sheathing Close-up side-diagonal view capturing face, hands, and the scabbard mouth at the left hip. Left hand supports the scabbard, right hand rotates the sword to align the tip with the actual scabbard mouth. After the tip enters, the blade is sheathed continuously to the end. At 29.7s, the guard meets the scabbard mouth, synchronized with a dry metallic 'click' sound. The bones of the three skeletons, the fallen King, and the horizontal greatsword are static in the background. Simultaneously with the 29.7s sheathing, perform the short facial expression change mentioned above. At 30.0s, cut the scene in the finalized state just before the right hand leaves the hilt.

# Main Prompt - Idol Full-Body Groove (Classroom Ver.) shot: type: r2v aspect_ratio: "9:16" camera: fixed, single continuous shot, no cuts framing: character occupies lower two-thirds of frame, medium shot from waist up, full arm extension should remain within frame character: reference: use attached reference image for full appearance (face, outfit, colors, proportions) art_style: preserve original character art style / cel-shading from reference, do not blend with background style motion: choreography_style: J-pop idol full-body groove - point dance hand accents combined with strong hip/chest movement, wide arm throws, and traveling footwork; energetic and dynamic, not restrained ground_rule: only beat_7 involves a brief hop; all other beats keep at least one foot grounded at all times, weight shifts through full leg and hip engagement rather than staying stiff sequence: - beat_1_2: wide step to the right with full weight transfer, both arms throw outward and up into a diagonal "V" shape, chest pops forward on the accent, hips follow the arm direction - beat_3: arms whip back down and across the body, torso twists with the motion, right hand ends in a sharp point toward the camera - beat_4: quick recover to center, small chest pop plus hip bump to the right on the offbeat - beat_5_6: mirror of beat_1_2 to the left - wide step, arms throw diagonally the other way, hips follow, chest pop - beat_7: energetic accent beat - one clean, controlled hop in place (both feet leave the floor briefly together, land together), arms pump downward on the landing for emphasis; this is the single high-energy peak of the sequence - beat_8: land, feet planted, body drops into a grounded groove - knees bent, torso rolls in a small body wave from chest to hips - beat_9_10: double point combo - right hand points forward with a step forward, immediately followed by left hand pointing forward with weight recovering back, hips keep swaying underneath - beat_11_12: full-body spin-out - a quick 180-degree turn using a pivot step (feet stay grounded, one foot pivots), arms sweep out during the turn, ending facing camera again with both arms opening into a wide "sparkle" gesture - loop: sequence repeats seamlessly from beat_1 tempo: upbeat, driving, high-energy idol-pop tempo; gestures are large and confident, transitions snap rather than drift motion_notes: no slow motion, no speed ramping, natural constant playback speed throughout; beat_7's hop must read as one clean controlled jump-and-land, not repeated bouncing; all other beats stay grounded with movement driven by hip/torso/arm amplitude rather than vertical lift setting: location: after-school classroom, empty of other students time_of_day: late afternoon / early evening, warm light through windows environment_details: rows of desks and chairs as soft silhouettes in the background, chalkboard

Create a cinematic semi-realistic anime sequence using my uploaded girl reference as the exact character identity source; preserve her face, hairstyle, skin tone and body proportions. She wears a sporty red-and-white skirt with integrated shorts, a fitted white top with red detailing, dark blue Nike sneakers, beige "Cool" cap, dark blue backpack, black digital watch and headphones around her neck. Include the same cute small ginger-and-white fluffy cat with amber eyes, keeping it realistic house-cat size at the girl's shin/lower-calf height. Set the story on a vibrant busy New York street with brick buildings, storefronts, yellow taxis, subway entrances, traffic lights, fire escapes, street vendors and crowds. The girl aggressively skateboards through Manhattan at extreme speed while the cat races alongside her, weaving naturally between pedestrians, taxis and street obstacles. Use low ground-level chase-cam cinematography, fast tracking, aggressive whip-pans, punchy cuts, wheel-level shots and subtle handheld micro-shake. She blasts past a street coffee cart, snatches a takeaway coffee without slowing down, then quickly drinks it while maintaining her high-speed skating line. She flicks the empty cup behind her and immediately accelerates toward a graffiti-covered wall as the cat keeps pace beside her. The girl performs an explosive skateboard wall jump while the cat leaps beside her in perfect synchronization, both landing together. Continue seamlessly into an industrial New York area with elevated subway tracks, steel bridges, construction zones, warehouses and rooftop structures. She ollies onto a low industrial rail, crouches beneath a bridge, races alongside a passing subway train, then launches onto a higher steel platform. Finish with the girl and cat performing a dramatic synchronized jump from the elevated structure into a street-level parking area, landing smoothly at high speed. Maintain premium anime-game splash-art quality, clean linework, painterly cel-shading, crisp character rendering, cinematic New York lighting and dynamic anime speed lines. No photorealism, no 3D CGI, no identity drift, no outfit changes, no oversized cat, no duplicate characters, no distorted anatomy, no warped skateboard, no watermark or text.

Use the first reference image (9 panel storyboard contact sheet whose cells are labelled TAKE 01 to TAKE 09) as ordered key poses TAKE 01-TAKE 09 for ONE unbroken LOCKED shot: the camera never moves, the action passes through TAKE 01 to TAKE 09 inside a fixed frame, without cuts or holds; completely ignore its line-sketch style, panel frames, gutters and any text. LOOK & WORLD: Modern 2D cel-shaded anime with painted backgrounds and clean confident linework. On a city rooftop at dusk, two fighters in simple training clothes trade staff work inside a chalk circle. Warm low dusk light, long shadows on concrete, cool blue city haze behind. One fixed 24mm lens, deep focus, cinematic. The lens never changes. CONTINUITY (binding, not flavour): Locked frontal wide at waist height, unchanged from TAKE 01 to TAKE 09. Stage anchors hold their positions throughout: rooftop water tank screen-left, chalk circle center, city skyline screen-right, crate at right. The chalk circle is unbroken through TAKE 04; scuff marks start at TAKE 05 and persist. One staff drops at TAKE 06 and stays on the ground for the rest of the take. The screen-left fighter is upright through TAKE 07 and grounded from TAKE 08 on. Stage anchors hold their screen positions throughout, the camera height never changes, and every state pinned to a TAKE number is true from that TAKE onward and false before it. Never invent a shot that the sheet does not have. ACTION & CAMERA: the camera is bolted down. No cuts, no zoom, no pan, no tilt, no tracking, no shake, no reframing. Only the action moves, entering and leaving a fixed frame. (TAKE 01) locked, no movement, Facing off: both fighters stand at opposite edges of the chalk circle, staffs low. (TAKE 02) locked, no movement, First approach: the screen-left fighter steps in, staff rising to guard. (TAKE 03) locked, no movement, First clash: the staffs meet high in the center of the frame. (TAKE 04) locked, no movement, Bind: bodies close, staffs crossed, both leaning into each other. (TAKE 05) locked, no movement, Break: the screen-right fighter pivots away, first scuffs on the circle. (TAKE 06) locked, no movement, Disarm: the screen-right fighter staff spins out to frame-right and lands on the ground. (TAKE 07) locked, no movement, Empty hands: the screen-right fighter raises open palms, the other still guarding. (TAKE 08) locked, no movement, Takedown: the screen-left fighter is swept and lands flat inside the circle. (TAKE 09) locked, no movement, Hand up

Japanese full-color anime style. Japanese TV anime style. Cel-shaded anime. Screen capture style centered on flat coloring. 0-2s: Background is an 18th-century French street. A character from Image 1, a man with long blonde hair wearing a top hat, is walking, finds something, and hides behind a building. 2-4s: A close-up diagonal view of the long blonde-haired man in the top hat from Image 1 peeking out from behind the building. 4-6s: A black-haired maid character from Image 2 is smiling and talking with a young male grocer. 6-8s: A diagonal close-up of the black-haired maid character from Image 2. She is smiling with her eyes closed, hand to her mouth showing the back of her fist. 'Moe' background with sparkling effects. 8-10s: The aristocratic man with long blonde hair from Image 1 makes a shocked 'manga face.' Impact effect. 10-14s: Following scenes are inside a mansion. Character from Image 3 is in this indoor attire. The blonde nobleman from Image 3 is sitting dejectedly on a sofa with round white eyes and a white soul coming out of his mouth from shock. The maid character from Image 2 enters from the right and says: 'Master, what happened?' 14-18s: A low-angle diagonal close-up of the blonde nobleman from Image 3 looking down. 'Elsa, you were talking to that man with such a great smile.' His face is unable to hide the shock. 18-22s: A diagonal view of the maid character from Image 2. 'If I'm friendly, they give me tomatoes for free.' 22-25s: A high-angle view of the blonde man from Image 3 looking up with a sparkling, happy smile. 'Oh, is that all? I see, I thought for sure...' 25-30s: A front view of both characters. The blonde nobleman from Image 3 sitting on the sofa looking up at the maid character from Image 2 standing and facing him. Image 2 maid character: 'Thought for sure?' Image 3 blonde nobleman: 'No, it's nothing,' quickly turning his face away.

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Anime marker style (mostly solid colors and fills) portrait as a cartoon raccoon with a fat head like this and white and dark green and gold tinged themed fur instead of just black and white. Tasteful appointments with a 1980s themed airbrush background like old family portrait photos.

Use [Reference Image] as the sole character reference. Designed for Seedance 2.5, 16:9, 30 seconds, 60fps. Generate the entire video as one continuous, high-speed cinematic one-shot. Conventional editing cuts, blackouts, fades, teleports, or sudden switches to unrelated locations are prohibited. The theme is 'a small accident starting from a cute prank escalates into a massive uproar involving an entire giant game center.' Not scary or serious, but vivid, comical, unpredictable, slightly silly, yet the video quality itself is AAA movie grade. The sequence must be a continuous physical chain over 30 seconds: sliding on the floor -> rushing into a giant gacha machine -> being trapped in a transparent capsule -> rolling through the machine's internals -> falling onto a prize rail -> being launched into a crane game -> grabbing onto a crane arm -> being dropped -> falling onto a giant pinball table -> being bounced around like a ball -> the two popping out of the final prize exit. Generate visual accents every 0.3 to 1.0 seconds, but do not use fast-cut editing. The camera enters the machine internals with the protagonists, passing through angles impossible for humans: inside the transparent capsule, between gears, inside the crane glass case, and skimming the pinball surface. [Character] Completely maintain the adult female character from [Reference Image] for 30 seconds. Keep the vivid pink hair, large ribbon, large purple eyes, bright and mischievous expression, pop outfit, clear black line art, and retro-pop 2D anime/comic texture centered on yellow, pink, blue, and red. Do not make the protagonist live-action, 3D, 2.5D, CG, or a plastic figure. She must be recognizable as the same person from every angle (front, profile, back, top, bottom, and during high-speed rotation). Hands must always have 5 natural fingers. [White Sidekick] Use the small white fluffy character from the bottom right of [Reference Image] as the protagonist's sole companion. Maintain the fluffy white body, pointed ears, black heart pattern on the forehead, large black eyes, red cheeks, purple-pink tongue sticking out, and small fangs. Treat as an 'unidentified cute fluffy creature' rather than a specific dog, cat, or monster. Maintain the 2D comic texture. No live-action. Personality is greedier and more impulsive than the protagonist; the primary cause of the commotion. [Setting | RETRO FUTURE MEGA ARCADE] Night. A super-sized retro-futuristic arcade located in the center of a giant city. Depict the background as purely photorealistic live-action. Large atrium, chrome metal, colored glass, polished floors, giant gacha machine, crane games, pinball machines, arcade cabinets, transparent tubes, prize conveyor rails, physical neon signs instead of LEDs, rotating lights, and mechanical score displays. A space evolving 1980-90s arcade shapes into near-future architecture. Not just generic cyberpunk. Background lighting is live-action. Only the characters are vivid 2D anime. Cast natural shadows on the live-action floor; reflections of characters in glass and chrome. Live-action objects occlude characters naturally. [0.00-3.50 | The Last Candy] From frame 1, the duo is sprinting. Protagonist runs toward the camera in the center aisle with a pink candy. Sidekick jumps for it. Low-angle camera (30cm) retreats fast. Protagonist taunts: 'Want it?' Sidekick: 'Gimme!' Protagonist: 'Nope!' Mischievous expression. Sidekick jumps but hits a giant gacha lever instead. 'CLANK!' [3.50-6.50 | Gacha Rampage] Lever rotates. Gears turn. Hundreds of capsules move. Protagonist: 'Eh?' Prize entrance opens with intense suction. Hair/fur pulled toward entrance. Protagonist: 'Wait wait wait!' Sidekick is happy. They slide toward entrance. Protagonist braces, but slides on the floor. Camera enters gacha with them. Protagonist: 'That's not the entrance!' [6.50-10.00 | Inside the Capsule] No cuts. They fall into a 2m transparent capsule that snaps shut ('SNAP!'). They push against each other. Protagonist: 'Cramped!' Sidekick: 'Fun!' Capsule rolls down a rail. Camera chases, skims surface, and looks through walls. Faces squished against walls. Protagonist: 'My face!' [10.00-13.50 | Impossible Internal Camera] Fast descent through spiral rails. Camera passes through gear holes and metal gaps. Contrast vivid 2D girl with photorealistic metal. S-curves throw them around. Protagonist hugs sidekick: 'This isn't a gacha!' Sidekick: 'Again!' Protagonist: 'No!' Launched at rail's end. [13.50-17.00 | Fall into Crane Game] Capsule flies through atrium and lands on a pile of giant plushies ('POOF!'). Capsule opens. A 3-claw crane descends. Protagonist: 'Bad feeling.' Sidekick: 'Oh?' Crane grabs sidekick. Sidekick: 'Yay!' Protagonist: 'Don't be happy!' [17.00-20.50 | Failed Crane Rescue] Protagonist jumps and clings to the crane arm. Crane moves toward prize exit. Camera looks down from above. Protagonist: 'Don't let go!' Sidekick: 'Okay!' Sidekick licks protagonist's hand. Protagonist: 'Not there!' Protagonist lets go in surprise; crane shakes; claws open. Both fall. [20.50-24.50 | Giant Pinball] Fall onto a life-sized pinball machine. Protagonist: 'There's more!?' Slide down the ramp. Sidekick hits bumper ('BOING!'), protagonist hits another ('BOING!'). Camera skims glass surface at high speed. Synchronized lights/bells. They collide in center ('OOF!'). Protagonist slides on top of sidekick. [24.50-27.50 | Giant Flippers] Approach bottom. Flippers strike ('WHAM!'). Launched into the air. Protagonist hugs sidekick: 'No more snacks!' Sidekick: 'Ehh!?' Enter a different red 'Prize Exit' on a parabolic trajectory. [27.50-30.00 | Unexpected Prize] Slide through tunnel. Metal shutter opens ('CLICK!'). Pop out into the central prize tray ('PLOP!'). Protagonist sits with sidekick, disheveled. Protagonist: '...Go home?' Sidekick: 'Again!' Protagonist squishes sidekick's cheeks: 'Rejected.' Sidekick laughs. Candy falls into a hole ('CLINK'). Giant machine sound. Smile fades. Sidekick's eyes sparkle. Protagonist: '...Run.' Sidekick: 'Yay!' 29.7s: Sprint toward camera. Background machines activate. No explosions. Bells, lights, capsules move. 30.0s: Protagonist winks/tongue out to camera. Sidekick does same. Comical end matching reference image. No fade to black. [Music/Sound] Bright electro-pop x retro arcade funk x playful breakbeat (132-138 BPM). No heavy EDM. Arcade synth, 8-bit accents, short brass. Synchronized sound effects: Clank, Snap, Vibration, Squish, Poof, Motor, Boing, Wham, Clink. Characters have specific voices (Protagonist: young adult; Sidekick: high-pitched, innocent). [Dialogue] Follows specific list in Japanese. Lip-sync required. [Important] Maintain 2D characters in photoreal world. Co-existence of 2D/3D textures. Emphasis on comedy chain. [Prohibited] No live-action characters, no 3D styles, no character mutations, no cuts, no fades, no slow-motion, no explosions, no gore, no UI/text.

# Main Prompt - A: Clockwise Heart (Classroom Ver.) shot: type: r2v aspect_ratio: "9:16" camera: fixed, single continuous shot, no cuts framing: character occupies lower two-thirds of frame, medium shot from waist up character: reference: use attached reference image for full appearance (face, outfit, colors, proportions) art_style: preserve original character art style / cel-shading from reference, do not blend with background style motion: sequence: - beat_1_2: both arms raised, sweep in a slow clockwise circular motion like clock hands, starting from 12 o'clock position - beat_3: arms cross at chest height, hands open - beat_4: arms draw outward and down into a heart shape formed above the head, hold for half a beat - beat_5_6: small step-touch side to side (left-right), shoulders swaying gently in sync - loop: sequence repeats seamlessly from beat_1 tempo: moderate pop tempo, sharp but not rushed transitions motion_notes: no slow motion, no speed ramping, natural constant playback speed throughout setting: location: after-school classroom, empty of other students time_of_day: late afternoon / early evening, golden hour light through windows environment_details: rows of desks and chairs as soft silhouettes in the background, chalkboard faintly visible, window frames casting long soft shadows across the floor atmosphere: quiet, nostalgic, gentle contrast between the character's lively motion and the stillness of the empty room background: style: simple, uncluttered classroom silhouette, low detail so it doesn't compete with character motion rendering: keep visually separate from character line/shading style; desks/windows rendered with minimal linework, mostly shape and light, not full detail motion: static background, only ambient light shift (e.g. faint dust motes in the light beam), no moving elements lighting: warm golden-hour light streaming through windows from one side, soft rim light on character, gentle long shadows cast by desks expression: light, playful smile, eyes forward toward camera during heart pose

A cybernetic swordswoman with white hair, a torn tactical coat and a glowing mechanical arm stands on the roof of a neon skyscraper while autonomous war drones surround the city, she launches forward, runs along missiles in midair, cuts through six drones in a single rotating strike, rebounds between glass towers and intercepts a gigantic rail-cannon projectile with her blade before redirecting it toward an orbital warship, futuristic megacity at night with holographic billboards, airborne traffic, rain and collapsing architecture, ultra-premium contemporary anime action, explosive hand-drawn sakuga, aggressive foreshortening, impossible camera rotations, rapid whip pans, smear frames, graphic black-and-white impact cuts, detailed cel shading, seamless 2D characters and 3D city environments, electric cyan lighting contrasted with hot magenta and orange explosions, violent high-tech atmosphere, ending with the reflected projectile splitting the orbital ship above the skyline as the swordswoman lands silently on a falling shard of glass.

Create a fantasy anime battle scene. Multi-cut with dynamic movements. A duel between a female mage and a wizard general of the demon king's army. Starting with a barrage of low-power spells and ending with a clash of ultimate spells. Dialogue is in Japanese.

High-quality anime footage. Near-future Gothic fantasy. Cinematic theatrical anime battle footage. High-density 3D Toon/Cel look only. Maintain theatrical-class key animation, high-quality compositing, smooth continuous motion with readable center of gravity, transparent lighting, and high-density background art. [Animation Direction] Explosive and sharp action. Sharp timing. Minimal anticipatory movements. Instant acceleration. Large, clear full-body movements. Strong contact recoil. Clearly leave inertia after contact. Dynamic camera integrated with movement. High kinetic energy. No waiting, long stances, long charging, slow recovery, or slow motion. [Role and Priority of References] <<<Image1>>> is the highest priority reference for face and character identity. Refer to facial features, age, eyes, iris, eyelashes, cheeks, jaw, bangs, horns, and drawings around the face. <<<Image2>>> is for costume, full-body design, and weapon reference. Refer to the same person's costume, decorations, body type, full-body silhouette, shoes, single long spear, and specific color scheme as in <<<Image1>>>. 3 is for tail reference. Refer to the connection position to the back of the waist, obsidian purple scales, a single tail naturally tapering from the base to the thin tip, and the purple light at the tip of the tail, same as the person in <<<Image1>>> and <<<Image2>>>. If there are differences between references, prioritize <<<Image1>>> for face, eyes, iris, jaw, age, bangs, and horns; <<<Image2>>> for costume, decorations, body type, and long spear; and <<<Image3>>> for tail connection position, scales, thickness, and tip shape. Do not copy backgrounds, text, frames, multiple panels, explanatory diagrams, or UI from reference images into the footage. [Fixed Protagonist] The protagonist is the same single dragon girl throughout. Maintain <<<Image1>>>'s small, delicate oval face, thin jaw, pale skin, small nose and mouth, large purple to amethyst eyes with multi-layered sparkle, delicate upper eyelashes, dark purple-black short bob with blue-purple highlights at the ends, and two curved black-purple horns on both sides in all cuts. Maintain <<<Image2>>>'s slender and well-proportioned body, black to deep purple high-collared Gothic costume, white chest cloth, thin gold edges and chain decorations, purple-black cape and wide sleeves, dark tights, black shoes, and single long spear. Maintain <<<Image3>>>'s single organic scaled tail connected continuously to the back of the waist, from obsidian purple scales to the thin glowing tip. Do not de-identify or simplify even in distant views or high-speed movements. In close-ups, return to the eye spacing, iris pattern, thin jaw, bangs, and horn positions of <<<Image1>>>. Maintain the same face, hair, horns, costume, body type, spear, tail, and color scheme; only facial expressions, gaze, breathing, combat stance, and natural delay of hair/cloth/tail may change. [Fixed Enemy] The enemy is a single, giant organic Yokai-Oni. Approximately twice the size of the protagonist, with soot-colored dark gray-purple rough skin, two ivory-colored horns extending backward, dark red glowing eyes, an ogre face with fangs, long messy black hair, a torn black-purple haori, and a single dark red glowing curse mark in the center of the front. Maintain the same design in all cuts; do not change into crystalline or crystal statues. Do not mix the face, eyes, hair, horns, costume, physique, or color scheme of the protagonist and the Oni. Avoid face averaging, costume swapping, cloning, or extra characters. [Shared Art Style] Line art is thin and delicate, line color is dark blue to blue-purple. Clear two-to-three-stage cel shading and pale intermediate shadows on face, hair, costume, horns, tail, and Oni. Shadows are centered on blue-purple and dark blue, not crushed to black. During movement, cel shadow boundaries should follow the 3D volume, with no flickering or irrelevant flipping. Color scheme is black, deep purple, amethyst, subtle gold, and soft white. Eyes and tail tip have multi-layered purple light, hair has thin blue-purple silk-like highlights, and skin is a clean matte anime style. Place incandescent areas only in narrow ranges at the center of contact, leaving high-saturation amethyst and black-purple around them to prevent whiteout. Distinguish cloth, metal, horns, scales, and glass with different reflections. Use directional motion blur only for high-speed parts; faces, eyes, hands, spearheads, and butts must be clearly readable. Soft cool white key light + weak warm fill on the protagonist's face. Background is low-saturation blue-gray and white-gray. Do not use thick black outlines, simplified TV anime style, flat coloring, generic 3D bishoujo faces, plastic CG, semi-realistic, realistic, live-action, or mixed art styles. [Temporal Continuity & Physics] Move stride, breathing, and tail sway from the start of the footage; no explanatory stills. The beginning of each cut inherits the end pose, speed, rotation direction, and screen progression direction of the previous cut; no re-posing, standing idle, or teleporting to starting positions. Supporting legs are fixed to the floor; do not slide soles at stepping, landing, or rotation pivots. Landing is sole contact -> knee compression -> waist sinking -> upper body follow-through. Spear reaction force is not absorbed by wrists alone; flow from elbow -> shoulder -> waist -> supporting leg to the next movement. Hair, sleeves, chains, capes, chest cloths, and tails are not integrated; they have different delays in the order of body -> hair/sleeves -> chains/cape -> tail tip. Hands maintain positions on the shaft; regripping is one hand at a time. Do not fuse fingers, wrists, and shaft; maintain front-back relationships of horns, hair, arms, spear, and tail. [Stage & Lighting] A near-future combat atrium with a giant glass ceiling and a two-level corridor. Thick white-gray structural beams, reinforced glass showing a pale blue sky, deep corridors, low-saturation mechanical equipment, and a polished light-gray reinforced glass floor. The floor softly reflects the girl, Oni, spear, and purple light. Clear parallax with three levels of depth: foreground beams, middle corridors, and distant glass walls. After falling, maintain the beam direction, light source, and vertical relationship of openings as the lower level of the same building. No readable characters, signs, advertisements, or logos. Uniform the direction of the cool white key light in all cuts. Blue-purple rim on the girl, Oni's dark red light reflects on the Oni and surrounding floor, and the girl's amethyst light reflects only on the girl, spear, tail, and nearby glass. No sudden exposure changes after large flashes. Do not hide faces, hands, spear structure, or Oni's curse mark with smoke or bloom. Use camera shake briefly only for strong contact and floor breakage. [Weapon & Tail] Only one long spear. Only the girl is the owner. Black long shaft, subtle gold decorations, one amethyst glowing spearhead, and one butt. Spearhead, shaft, and butt are always connected in a single straight line, maintaining the same total length, thickness, and decoration positions. No shrinking, bending, duplication, or deformation. Hands release only during throwing; order: empty hands -> same single spear in flight -> return -> grabbing the same shaft with both hands. During rotation, the entire spear revolves largely around the body as a single rigid body. Do not rotate only the spearhead; no transformation into propellers, windmills, or multiple blades. Only one tail. Continuously connected from the back of the waist; force is transmitted in the order of waist rotation -> base -> middle -> tail tip. No branching, duplication, or transformation into another creature. [Contact Causality] All contact must strictly follow the sequence: trajectory/gap/undamaged state before contact -> contact at specified position -> local light/crack/cloth displacement/gravity shift after contact. Do not generate magic waves, crystals, sparks, or glass cracks before contact. [Cut 1 | Approach] Rear diagonal mid-distant view near the floor. Start from the girl's back, camera moves forward as if catching up with the girl toward the Oni at the end of the corridor. The girl steps deep while keeping a single spear tilted diagonally backward and swaying a single tail low. Weight shift from heel -> sole -> toe. Cape and tail delay by half a beat. Shift axis over the Oni's shoulder, spear shaft crosses in front of the lens in foreground occlusion to a short close-up of the same face as <<<Image1>>>. Purple eyes catch the Oni, eyebrows slightly down, upper eyelids narrowed, mouth closed. Sink supporting leg and pass that momentum to the next rotation. Do not show the face static. [Cut 2 | Barrier Contact and Full Spear Rotation] Oni blocks the path with a dark red curse barrier. The girl doesn't stop, coordinates waist, shoulders, and hands to swing the single long spear largely around the body, continuous sweep from low diagonal to high diagonal. Hair, cape, and tail delay by half a beat. Camera moves diagonally around the outside of the shaft from waist-high mid-view, showing supporting leg, hands, full spear length, and contact point in the same motion. Thin gap between spear and barrier before contact. Short hit-stop only at the moment of contact. Thin amethyst circular wave is born only after contact, Oni's haori and messy hair flow backward. Connect reaction force to the next release. [Cut 3 | Throw, Return, Catch, Jump] Girl releases the shaft at the furthest point of rotation. Only the same single spear maintains a straight line, pulling a thin amethyst trajectory and flying toward the barrier. Oni tilts the barrier to parry, changing the spear's trajectory into a large return arc. Briefly show empty hands and the single spear in flight; girl grabs near the center of the returned shaft with both hands. Catch inertia transmits to upper body -> center of gravity. Kick the floor with that reaction force and jump over the Oni. Low close-up camera also rises along the spear's arc, changing from mid-view to full-body diagonal top view. Show throwing -> same spear return -> regrabbing -> rising in one sequence. Align spear with body centerline in mid-air, then turn to descent. [Cut 4 | Descent Contact, Crystal, Landing Rotation, Kick] Space between Oni's curse mark and spear tip before descent. Short hit-stop and narrow incandescent core only at the moment the spearhead contacts the curse mark. Only after contact, giant crystal ridges of obsidian purple -> high-saturation amethyst -> pale lavender rise in a fan shape. Crystals have three layers: thick main ridges, branching thin sub-ridges, and fine fragments. Translucent magic crystals of the protagonist's unique color, not bluish ice. Oni itself does not crystallize. Girl changes reaction force into a landing rotation, swinging the entire spear once diagonally. High mid-view camera also moves around the crystal in the foreground to the opposite side, flipping the axis from ceiling direction to floor direction. Briefly ground the same spearhead on the empty floor away from the Oni, rotate the body at a low center of gravity using the single spear as a pivot, and kick the Oni away. Small star-shaped cracks and purple light fragments on the floor only after contact. Oni's haori is displaced and full-body center of gravity retreats. Girl immediately pulls the spear and enters a dash. [Cut 5 | Upper Level Pursuit and Glass Breakage] Oni retreats to the upper glass walkway, turns to provoke with one hand, and blocks the retreat with dark red curse light. Girl kicks the floor without pause and dashes between beams, keeping the spear low. Eye-level mid-distant camera moves forward from behind the girl's shoulder toward the Oni's retreat path, showing the escape direction, the gap between the two, and the vertical relationship of floors. Briefly occlude with a beam and emerge on the direction-of-travel side. Glass floor is transparent and undamaged before breakage. After the Oni's step and the girl's spear butt apply pressure, it breaks from the action point in order: thin radial cracks -> polygonal planes -> large and small plate-like fragments that lost support. No liquid, ice, or snow-like pulverization. Floor breaks, Oni and girl fall to the lower level maintaining their vertical relationship. Thick rotating glass fragments reflect the girl's purple light and pale sky blue, connecting to the lower level with foreground occlusion where one fragment covers the screen. [Cut 6 | Lower Level Landing, Curse Bullets, Spear Defense, Barrier Breakthrough] Oni lands heavily on the lower level and fires dark red bullet-like curse rounds in a fan shape. Girl changes falling momentum into a landing rotation, continuously revolving the single long spear largely in front of her body with both hands. Spearhead, shaft, and butt move at the same angular velocity in a straight line, hands passing the shaft in turn. Camera rises from near-floor to waist-height, moving from outside as if passing under and over the spear, broadening from foot-level close-up to full-body mid-view. Purple and dark red light fragments only at the moment curse bullets contact the spear shaft or spearhead's path. Trajectories deflect to empty floor or beams only after contact. Do not let curse bullets adsorb or orbit the spear tip. Receive the final reaction force in the waist, change without stopping into a large diagonal sweep to push open the Oni's barrier, and pass that momentum to the tail strike. [Cut 7 | Tail-Only Contact] Contact-specific close-up. Oni's torso about 70% of the screen. No return to protagonist's face; spear is off-screen. From the left edge, a single tail same as <<<Image3>>> enters in a low horizontal arc, showing multiple scale segments leading to the body. Initially, a gap between the thin tail tip and the dark red curse mark. The tail is the only object contacting in this cut. Short hit-stop only at the moment the tail tip contacts the curse mark. Purple ring-shaped shockwave and thin light cracks only after contact. Haori -> curse mark -> messy hair react in order; Oni's full-body center of gravity moves backward, upper body pushed off-screen. Do not detach tail tip; maintain scale segments leading to the screen edge; the single tail returns naturally with elasticity. [Cut 8 | Collapse and Final Grounding] Receive the movement pushed out in Cut 7 with a low mid-view. Oni collapses quickly in order: one knee -> one hand -> upper body, remaining on the floor. Do not follow the falling process for long; only one bounce after grounding. Girl swings the single spear vertically down with the convergence of remaining momentum. Clearly leave undamaged floor surface between the fallen Oni and the spear tip before grounding. Amethyst spearhead contacts the empty floor in front, away from the Oni's outline. Purple and orange light fragments, small star-shaped cracks, and amethyst circular light waves only after contact. Do not collapse the entire floor. Final screen is a super low-angle close-up near the floor. In the foreground, the fallen Oni's hand and haori; in the center, a single vertical spear with spearhead, shaft, and butt connected in a straight line; in the back, the girl's bent knee and grounded black shoe. Leave a gap of empty floor between the fallen Oni and the spear tip. The specific moment the spearhead enters the floor is the final frame; cut immediately without holding maximum glow. No return to face close-up, chest-up composition, or static victory pose. [Audio] Synchronize low wind-cutting sound with the trajectory of the entire single spear. Hard spear sound + short magic resonance only at barrier contact. Leather creak + small high-pitched sound only at the moment of grabbing the returning shaft. Crystals: main ridge = low magic resonance, sub-ridge = glass-like cracking sound, fine fragments = high-pitched glass sound, synchronized to the order of generation. Upper glass: initial crack = sharp glass sound, plane detaching = low creak, fragments rubbing = thin high-pitched sound, falling = wind cutting. Curse bullets: short magic sound at firing, hard sound only at the moment of deflection by spear. Tail strike: air cutting + scale friction + dry cloth sound of haori + clear resonance of curse mark. Oni collapse: one floor impact + cloth sound of haori. End: synchronize hard spear sound, glass crack sound, and purple magic resonance only at the moment the spearhead enters the floor, cutting video and audio at that moment. No dialogue, conversation, narration, or singing. [Important Guards] Only one protagonist, one Yokai-Oni, one long spear, and one tail. No extra people/Oni, spear duplication, tail branching, or weapon transformation. The spear is a single continuous rigid body throughout. Do not duplicate even during throwing; grab the same shaft after return. During rotation, the entire spear moves; no high-speed self-rotation of the spearhead, helicopter-like rotation, propeller-ification, or windmill-ification. The tail is a single organic scaled tail connected to the back of the waist. Maintain connection position, multiple scale segments, and thin tip even during tail strike. Magic crystals are obsidian purple, amethyst, and lavender. Do not change into bluish icebergs; the Oni's body does not crystallize. The final spearhead grounds on the empty floor away from the Oni's outline, leaving a floor gap between the fallen Oni and the grounding point. No blood, dismemberment, exposed wounds, or cruel expressions. No text, subtitles, logos, watermarks, or UI.

A woman with long black hair dancing in a cozy room. When she makes a frame, triangle, or square with her hands, an overlay appears inside. It starts as an anime-style avatar, transitions to a Spider-Verse-inspired comic book style halfway through, and finally returns smoothly to live-action.