High Density Anime Action Fantasy Sequence

Prompt

High-quality anime footage. High-density 3D toon/cel-look. A cinematic high-fantasy action set in a magical city after the rain. A pink-haired girl mage intercepts the fiery breath of a giant black dragon with a defensive array from her grimoire, uses the reaction force to teleport to the side, fires a high-output beam from a multi-layer convergence gate in her right palm, and causes it to collapse into black ash and magical particles. [Character Identity Fixation and Role of Reference Images] image1 is the primary reference for the protagonist's face and identity. Maintain a soft oval young face, small chin, large blue-violet to purple-pink eyes, multi-layered irises with white catchlights, delicate eye area, long coral pink twin tails, light bangs, lavender flowers on both sides, black-purple ribbons, and gold decorations throughout. image2 is the reference for the protagonist's costume, decorations, full-body design, and equipment. Maintain a slender and petite build, dark blue to purple gold-rimmed cloak, white frilled blouse, black-purple corset, purple multi-layered pleated skirt, white knee-highs, dark purple boots with metal fittings, waist belt, amethyst crystals, magic potions, and a grimoire with gold decorations. If references conflict, prioritize image1 for the face, eyes, irises, bangs, hair color, and hair ornaments, and image2 for the costume, decorations, build, equipment, and full-body silhouette. The two images are for appearance reference only; do not bring backgrounds, compositions, poses, white backgrounds, setting sheet borders, text, or split layouts into the video. Only concentrated expressions, eye direction, breathing, combat stances, and natural movements of hair, cloak, and skirt may be changed. Do not generate facial averaging, feature mixing, costume swapping, equipment multiplication, alter egos, duplication, or additional characters. [Art Style Fixation: High-Density 3D Toon/Cel-Look] This style fixation does not override character identity fixation. Thin, delicate colored outlines. Clear two- to three-level cel-shading and transparent intermediate shadows on the face, hair, costume, and equipment. Multi-layered highlights on eyes and hair. Use pink, lavender, dark blue, purple, and gold as the protagonist's color axis, and do not muddy skin tones. Differentiate fabrics, frills, leather, metal, amethyst, wet stone, and glass with different reflections and roughness. Movie-quality key animation, high-quality compositing, transparent lighting, and high-density background art. Only for magic, use high-brightness graphic animation VFX, volumetric light, additive emission, refraction waves, and directional motion blur. Avoid thick black outlines, flat single-layer cel shadows, generic 3D bishojo faces, smooth plastic CG, low-density backgrounds, semi-realism, realism, dull colors, or mixed art styles. [Protagonist's Equipment and State Transitions] Only one grimoire. Maintain the same binding and thickness with gold decorations throughout. Open it with the left hand only in Cut 1, close it and return it to the left hip holder in Cut 2, and do not open it thereafter. Keep amethyst crystals and magic potions attached to the belt. All attacks must come from the right palm, not from the grimoire or magic potions. Do not introduce items not in image2 or a second book. [Black Dragon Fixation] The enemy is a single giant black four-legged wyvern. About four times the height of the protagonist. One head, two horns, two glowing bluish-white eyes, a connected neck and torso, four legs, and three claws on each foot. One pair of wings, two in total. Each wing consists of wing bones and membranes continuous from the base of the back. One tail, continuous from the back of the waist to the base, scales, and tip without branching. The impact point is a single spot on the center of the chest scales. Do not create extra heads, horns, legs, wings, or tails. [Setting] A huge magical city after rain. Grand avenues of wet obsidian and blue-gray stone slabs, shallow puddles, old cracks, magical metal railings, and crumbling arch bridges. Surrounded by magic towers stretching to the heavens, spires, sky corridors, floating turrets, giant crystal pillars, magic lamps, glowing magic waterways, and layers of low mist. City lights are cyan, royal blue, violet, purple, and a small amount of magenta. Background light is one step darker than the protagonist, making her inherent colors of pink, lavender, purple, and gold the focus. No readable magic script; only abstract geometric patterns on the stone floor, crystals, and architectural surfaces should glow faintly. [Space and Continuity] Cuts 1 to 2: protagonist in the left foreground, black dragon in the right background. The attack axis is a diagonal line from right-back to left-front. In Cut 2, swap the left-right relationship only once intentionally during the teleportation through the magic circle passage. Cuts 3 to 6: protagonist in the right foreground, black dragon in the left background. Connect the right palm, the center of the convergence gate, the beam, and the center of the dragon's chest in a straight line. Do not swap left-right relationships from this point on. In adjacent cuts, at least two of the following must change: camera height, distance from the protagonist, character size in the frame, or background vanishing axis. Move the camera to show the point of contact, direction of force, face, or spatial relationship; do not substitute camera movement for the character's own movement. All movements should have natural acceleration, deceleration, inertia, and parallax. Cut 1: Fire Breath and Defense Array. The black dragon is in the right background. It steps its front legs onto the stone floor, pulls its neck back, its chest swells, and the inside of its throat glows orange-purple. The protagonist is in the left foreground. She opens the grimoire with her left hand and thrusts her right palm forward. Over the open page, a three-layer defense magic circle with a white core, cyan outer light, and purple-pink edges deploys front to back, rotating in opposite directions at different speeds. At the same moment the dragon swings its neck down, the orange-purple fire breath travels straight from the right background to the left foreground, evaporating puddles on the floor. There is still a clear gap between the tip of the fire breath and the defense array, keeping both the array and the protagonist unharmed. A short hit-stop occurs only at the moment the tip of the fire breath contacts the foremost array. Only after contact do the three layers of the array deflect in order from the back, patterns glow in a chain from the contact point outward, and the fire stream splits left and right to flow backwards. Reaction force returns in order to the palm, wrist, elbow, shoulder, waist, and back leg, with the back leg's sole stopping after scraping the wet stone floor. The twin tails, flower ornaments, cloak, and skirt flutter backwards with a time lag. The camera moves close to the protagonist diagonally from behind at a low angle along the axis of the fire breath, keeping the defense array, both hands, profile, and dragon's head in the same frame. Cut 2: Reaction Force to Teleportation. The protagonist pushes back the deflected foremost array with her right palm, channeling the reaction force into a rightward rotation of the waist to connect to the next action. The left hand closes the grimoire and returns it to the holder on the left hip. At the same moment it closes, the pushed-back array stretches into a large circular arc, crossing in front of the lens to become a complete screen-covering wipe. As the arc clears, the protagonist appears on a crumbling arch bridge to the left side of the black dragon. Rather than transparency, signify landing through ground contact of the soles, compression of the knees, sinking of the waist, and the cloak and twin tails catching up late. The black dragon, still in the posture of having finished breathing fire, begins to turn its neck and eyes toward the protagonist's new position. The camera changes axis during the full wipe of the arc, descending from a high diagonal rear to a low three-quarter view. Cut 3: Convergence Gate. Close-up of the protagonist's upper chest. Move in a gentle arc about fifteen degrees around the face from diagonally in front. Spread both legs, bend knees, and leave weight on the back leg. Point the right palm toward the black dragon's chest, fingers naturally spread. The left hand supports the outside of the right wrist. Show the connection of the palm, wrist, elbow, and shoulder; do not hide the entire arm with rings. In front of the right palm, a two- to four-layer incomplete concentric gate forms with a white luminous core, cyan outer light, and thin purple-pink edges. Each ring is separated front-to-back and rotates in opposite directions at different speeds. Short scales, radial lines, and blue-violet lightning gather at the firing axis; make the circles large enough to be cut off by the frame. The amethyst light of the palm pulses strongly twice, and the rings compress on the second pulse. Leave the face in the dark gap, not hidden by arcs. Expression changes in this order: first, the irises of both eyes brighten and narrow; next, the eyebrows move to the center; then, the eyelids narrow slightly; after that, the mouth is tightly closed; finally, the gaze is fixed straight on the center of the dragon's chest. Aim the tip of the nose, chin, chest, and shoulders at the same chest center. Cut 4: Long-lasting Maximum Output Beam. Low rear three-quarter wide. The camera follows at a low level just above the floor, advancing parallel to the beam, with the foreground magic railings, raindrops, floor magic patterns, floor reflections in puddles, and floating lamps flowing at different speeds. Emit a thick beam from the compression gate, occupying 35 to 45 percent of the outer diameter. High-density white to pale peach-white core, thick hot pink and magenta outer shell, violet intermediate layer, thin cyan-white edges, and blue-violet electric arcs. Do not shrink to a thin rod. Even after reaching maximum output, maintain the thickness, brightness, and axis continuously. Three compression waves run through the beam interior from the muzzle to the chest center in sequence; as each wave passes, the outer shell expands, pushing aside surrounding rain, mist, and water droplets. Do not cut the beam until all three reach the chest scales. Keep the dragon's chest scales, wing membranes, and tail unharmed until just before the first wave arrives; do not show cracks, glowing, or collapsing prematurely. Only at the exact moment the first wave contacts the scales at the center of the chest does that point indent. Only after contact do local sparks and scale creaking occur, front claws scrape the wet stone floor, and the impact transmits with a delay to the wing bases, membranes, neck, and tail. The protagonist endures the recoil without slipping her back leg, and the puddles on the floor ripple continuously in the direction of fire. Leave thick reflection bands of white-peach, magenta, and cyan on the floor. Cut 5: Beam Cessation and Giant Flamelike Magical Impact. In the same frame that the third compression wave reaches the chest, completely erase the entire beam length from the muzzle to the impact point. Do not leave thin afterglow. In that same frame, an incandescent core appears at the chest center, and a local hemispherical impact dome expands once. The dome immediately ruptures, and a giant flamelike aura erupts three-dimensionally upward and to the sides from the incandescent core. The aura keeps hot pink and magenta on the inside, violet and purple in the middle, and royal blue and cyan at the outer edges separated. Deploy sharp flame tips, thick volumetric light bands, transparent refraction waves, thin lightning, and outward speed lines at different depths and speeds in the foreground, midground, and background. Vary the size, angle, depth, and rise of each flame tongue. Integrate the beam axis that was straight until just before, the radially extending flame tongues, the circular impact ring, and the upward-rising turbulence all into the same impact point at the chest center, perceived as a single force. Limit pure white to around the impact core, leaving color outside the incandescent core. Maintain the state where high-saturation color planes of hot pink, magenta, and cyan occupy most of the screen for multiple frames before decaying, rather than ending with a momentary flash. Do not use full-screen whiteout. Multiple objects react at the same moment. Floor cracks run outward from the impact point in purple-pink, water splashes and steam spray outward, black scale fragments and stone shards scatter, the protagonist's hair is blown back strongly, surrounding pillars flicker, and the camera is pushed back. The camera makes a short diagonal dash toward the collision point, retreats slightly at the moment it receives the shockwave, and recovers with decaying shaking. The protagonist does not stop moving even in the blast. Keeping her right palm at chest height, she channels the impact through her palm, wrist, elbow, shoulder, waist, and back leg in sequence, her back leg's sole briefly scraping the wet stone floor to hold her ground, then passes that reaction force directly into the next stance, returning her left hand to the front of her body. Immediately after, gray-purple smoke masses and black scale fragments with size differences, dark cavities, internal purple light, vortices, and rising speed differences overlap in the foreground, completely hiding the black dragon's head, torso, legs, wings, and tail. Only the protagonist remains as a silhouette in the right foreground. At the end of this Cut, the protagonist maintains a low stance in the right foreground, keeping her body oriented toward the black dragon in the smoke, handing over that posture and position to the next Cut. Cut 6: Kneeling to Black Ash Disintegration and Combat Result. The camera moves to a medium distance over the protagonist's right shoulder with smoke gaps in the foreground, keeping the protagonist in the right foreground and the disintegrating black dragon in the left background in the same frame. The protagonist inherits the low stance, right palm height, and body orientation from the previous Cut. As the smoke center is split by the wind, the black dragon is kneeling with the chest impact point facing us. Both front legs are folded, only one front claw is on the floor, back legs are tucked, wings are half-closed, tail is extended on the floor, and the head hangs low. Do not return to a standing or re-attack posture. Amethyst and cyan-white magic cracks run from the chest center along the scale joints throughout the body. The moment the cracks reach the shoulders, the kneeling upper body lurches forward once, and short sparks scatter from the edges of broken scales. The edges of the black scales touched by the cracks carbonize and unravel into thin black ash, turning into fine purple, magenta, and cyan magic particles. Disintegration starts from the wingtips and tail tip, continuing through the wing membranes, wing bones, tail, limbs, torso, neck, and head. Do not physically sever wings or tail; instead, they particle-ize as if holes were expanding from the outside to the inside of the connected outline. Black ash rises into an ascending vortex, and magic particles spiral briefly and lose light. Finally, the magic core in the chest, the two horns, and the bluish-white light of both eyes crumble into particles, and the flesh, shadow, and floor reflections disappear completely. No corpse remains. The protagonist does not transition to a follow-up attack, keeping her stance while channeling the reaction force from her right arm to her waist. The endpoint is a single frame of the combat result. The protagonist in the right foreground maintains the upper chest size from the midground, remaining at a distance where her face, eyes, hair ornaments, and cloak can be read. In the left background, only the wet grand avenue where the black dragon was remains, with disappearing black ash and purple-cyan particles. The protagonist lowers her right palm a few centimeters while remaining in a guard stance, her twin tails and cloak settling with her breath. The last vortex of black ash rises in front of the lens, and the Cut ends on the frame where it is clear that the vortex has passed the top edge of the screen and no shadow or floor reflection of the black dragon remains anywhere. Do not transition to a long victory pose or additional facial close-up. [Audio] No dialogue, singing, or BGM. Sounds must not occur before their corresponding contact or action. Cut 1 synchronizes in order the black dragon's low growl and deep inhalation, the thick burning wind sound of the fire breath, the hard magic surface resonance the moment the fire breath contacts the array, the wind sound of the split fire flowing left and right, the protagonist's short breath, and the friction sound of the sole scraping wet stone. Cut 2 features the sound of dry leather and paper from closing the grimoire, high magic resonance as the array stretches into an arc, a short spatial sound of teleportation, and the sound of the sole touching the ground and fabric rubbing upon landing. Cut 3 has the high magic resonance and low convergence sound of the rings, and the pulsing sound of the palm. Cut 4 sustains the thick continuous roar of compressed magic, synchronizing the scraping sound of hard scales and low-frequency magic impact sounds each time the three compression waves contact the chest scales. Overlay the friction sound of the front claws scraping the stone floor. Cut 5 synchronizes the burst resonance of the compressed magic field as the magic dome ruptures, the cracking sound of wet stone, outward wind pressure, water sounds, and the collision sounds of stone shards and black scale fragments with the moment of contact, placing the protagonist's short exhalation at the end of the fire maintenance. Cut 6 synchronizes the fine scraping sound of dry scales unraveling into ash, the wind rustle of black ash, and the high crystalline sound of magic particles with the disappearance of each part. Stop the low tones at the moment the final core disappears, leaving only the high-pitched sound of particles and the protagonist's quiet breath for a moment. [Major Error Prevention] No text, subtitles, logos, watermarks, or setting sheet UI. No additional characters, second magic users, or alter egos. No shortened, thinned, flickering, or mid-way decaying beams, no premature explosions, no long simultaneous display of beam and explosion, and no lingering lasers. No symmetrical, flat flower-shaped explosions, same-sized round smoke, or pastelization. No full-screen whiteout. Do not composite the black dragon in front of the smoke. Do not show the dragon before the smoke clears. No recovery, instant disappearance, transparency, remaining corpses, severed wings or tails, or multiple tails for the dragon. Do not make the protagonist's face a generic or expressionless surface. No halos above the head, light points sticking to the face surface, or thick frames crossing the face.