Gothic Dragon Girl Anime Battle

Prompt

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.