Anime Canyon Train Battle Sequence

High-quality anime footage. A silver train traveling at high speed through a red canyon at sunset. From 0.0 seconds, the protagonist is sprinting at full speed on the roof; no introductory still images or stances are placed. All actions are in real-time. Fast footwork, weight shifts, weapon contact, reaction forces, and subsequent movements connect without interruption. [Reference/Character Fixation] material:129768 is the face/identity reference, serving as the standard for facial and personal identity. Same person in all cuts, same slender jaw, blue eyes shape and iris color, long moonlight-silver hair, bangs, blue rose and butterfly hair ornaments, their placement fixed. material:129769 is the outfit/full-body reference. Black high neck, black lace sleeves, deep navy short cape, blue gemstone brooch, gold/silver fine decorations, navy pleated midi skirt, black lace-up boots, moon-patterned bag, slender silhouette fixed. Bag is tight to the right hip. Priority if references conflict: face/eyes/hair priority to material:129768, outfit/decorations/body below the neck priority to material:129769. Final facial expression change: eyes soften → brows lower slightly → eyelids narrow once → mouth stays closed → gaze returns forward. Allowed changes are only facial expressions, gaze, breathing, combat stance, and natural hair/cloth sway. No character changes, facial averaging, outfit swaps, left-right reversals, clones, or additional protagonists. [Equipment Fixed] The single-edged blue-silver sword held by the protagonist is one (one sword), the black iron greatsword held by the Skeleton King is one (one greatsword). The number of swords in the video is fixed at two. One dark navy scabbard fixed to a belt on the protagonist's left hip. At the start, the sword is already drawn in the right hand, the scabbard is empty, and the left hand is free. Slender single-edged blade (blade, guard, handle) and greatsword (blade, guard, handle) maintain a single structure of the same length. Protagonist grips handle with right hand, King grips handle with both hands. In rotations and parries, the entire weapon moves as one unit, not just the tip. No proliferation or exchange of weapons, handles, guards, or scabbards. [Enemy Fixed] Only three general skeletons. As skeletons/undead, they have skulls, exposed ribs, spine, pelvis, long phalanges, blue orbital light, and torn black cloth. No weapons, they grab from three heights simultaneously. Only one Skeleton King. As a skeleton/undead, he has a skull and ribcage two sizes larger, a black iron crown fixed to the skull, thick black iron armor, a tattered dark navy cloak, strong blue orbital flames, and a black iron greatsword. No shield. Appears only after the three general soldiers fall. All enemies maintain solid bone, cloth, and iron materials until the finish, not replaced by crystals or light figures. No mixing of general and King traits, no duplication of enemies. [Rendering Fixed] Use only 3D toon/cel-look. Centering on material:129768 and material:129769, high-density material expression capable of distinguishing thin blue-gray outlines, two to three layers of toon shading and soft gradients, clear moonlight silver, dark navy, royal blue, sharp highlights on silver hair, velvet, lace, metal, gemstones, and glass. Character-first palette / character-specific palette: prioritize the protagonist's royal blue as character-specific key light and dark navy as character-specific shadow. Background is low-saturation background, cyan only as auxiliary for contact light. High density up to exterior ribs, window frames, seats, straps, handrails, connecting 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. No semi-live action. No dull colors. No mixing of styles. [Common Axis of Motion and Cinematography] Combat is one continuous trajectory. Roof advance, drop into window, low evasion under bone arms from three directions, passage through siege center, continuous sword arc, trajectory bent outward by King's greatsword, inward turn, swap of front/back positions, horizontal return, diagonal upward finish, and sheathing all share the same movement line. Trajectory deforms by contact, no stopping to reset stance. Camera systems switch between low rear-three-quarter attacker tracking, diagonal vehicle exterior, front retreat, over-the-shoulder counter, short orbit/axis change, diagonal impact push-in, and side medium close-up according to purpose. Low angle height is 0.4m for roof/floor actions, 1.2m for over-the-shoulder, 1.35m for sheathing. Foreground occlusion by seats, window frames, bone arms, and blades allowed momentarily; parts of the body may leave the frame during speed. Vanishing axis of the background always flows forward with the train, and cuts are linked by foot grounding, bone arm passage, sword crossing, weapon contact, and body passage direction. [Speed, Action Deadlines, Sound] Full-body movement is real-time. Hit stop at contact is max 1 frame. Move supporting foot, waist, ribcage, and weapons from the start of each cut, passing through listed intermediate times in order to reach the specified state by the end time. Time intervals are not used for interpolation of a single pose before contact or the same sword crossing. Do not substitute speed with only sparks, hair, or cloth; while they remain, the person, enemy, and two weapons must move to the next position based on the floor. Synchronize metal roof footsteps, wind pressure, glass shattering, bone arm wind cutting, dry sound of bone hitting floor, short metal collision of sword and greatsword, armor cracking, and the final sheathing sound to visible events. No dialogue, subtitles, logos, UI, or watermarks. Cut 1: 0.0–2.0s | Sprinting full speed on the roof Low rear 3/4. Protagonist runs four steps forward on the roof ribs; with each boot grounding, the supporting leg, pelvis, shoulder, and blade move along the same propulsion axis. Roof ribs and canyon recede at high speed, hair and cape flow sharply backward. The reaction force of the fourth step is used to jump off the right edge of the roof to the side of the train. At 2.0s, the protagonist's head, shoulders, waist, and both legs are all on the exterior side of the intact window glass; no part of the body has yet entered the inside of the window frame. Cut 2: 2.0–5.0s | Breaking the window from the outside, passing the entire body inside 2.0–3.15s is the diagonal front camera outside the train. Lens and protagonist are outside the window, showing the silver body panels, exterior edge of the window frame, and empty interior through the glass. Protagonist approaches the window surface from outside, maintaining the body's progress vector in one direction: outside -> glass surface -> inside. At 2.0s, the entire body is completely outside, window is intact. At 2.7s, the entire single-edged sword in the right hand is swung in a short horizontal arc, and the blade near the tip hits the center of the outward-facing glass surface. A radial crack opens only after impact at 2.8s, and glass shards fly toward the interior, away from the exterior camera. At 3.1s, head and right shoulder enter through the window frame from outside, while waist and legs remain outside. Switch to interior diagonal front at 3.15s using flying glass shards as a momentary foreground occlusion. Leave the broken window behind the protagonist, passing waist, both knees, and both boots through the window frame from outside to inside by 3.7s. At 4.2s, the entire body including both boots is completely inside, landing low on the aisle floor. By 5.0s, the waist and ribcage cross two floor seams, running two steps forward to connect to the next siege. Cut 3: 5.0–6.2s | Momentarily deflecting bone arms, entering three-way attack lines Camera retreats from protagonist's left diagonal front, chest height 1.2m, placing protagonist on the right side of the screen at knee-up size. Using the connecting door at the front of the train as the vanishing axis, show the bone arm extending from left to overhead, the bone arm extending from right to below knee, the bone arm approaching chest height from the front, and the diagonal front gap remaining in the center all in the same frame. At 5.4s, protagonist's right foot grounds on the next floor panel. Compress knees briefly, move waist and ribcage forward. At 5.6s, there is a gap of about 10cm between the forearm of the high bone arm from the left and the guard side of the blade. At 5.7s, the guard side makes momentary contact with the bone forearm, and only after contact is the bone arm flicked toward the overhead exterior. With that reaction force, the protagonist folds the entire sword along the right hip, ducks the head and left shoulder under the high bone arm, and enters the next evasion. At 6.0s, left shoulder passes the high bone arm, right knee clears above the low bone arm. At 6.2s, the moment the flicked long phalanges cross in front of the lens serves as occlusion to pass to the next viewpoint. Cut 4: 6.2–7.5s | Ducking under top/bottom bone arms, passing through the center of the siege When occlusion clears, camera moves to protagonist's right shoulder rear, height 0.75m, capturing full body, supporting leg, one single-edged sword, and three ribcages at close depth. Change background vanishing axis diagonally from front door to the left rear window row. At 6.2s, protagonist catches the floor with right sole while keeping the sword tucked along right hip. At 6.6s, push pelvis ahead of the supporting leg with the right foot kick, quickly pulling the back left foot over the low bone arm. At 7.0s, tilt upper body to the left to slide the front phalanges outside the right shoulder. Three sets of bone arms begin to cross behind the protagonist. At 7.5s, protagonist's head, both shoulders, and waist completely pass through the center of the triangle formed by the three, and the left foot grounds on the next floor panel. Cut 5: 7.5–8.8s | Changing supporting foot, entering continuous sword arc Starting from left foot grounding, camera moves briefly from right shoulder rear to low left diagonal front, lowering height from 0.75m to 0.45m. Pull character size from knee-up to full body, returning background vanishing axis from left rear window row to front connecting door. At 7.5s, left knee is compressed briefly. At 7.8s, pelvis passes over left foot, starting clockwise rotation. At 8.1s, entire sword in right hand enters a single waist-high arc from the right hip, with blade, guard, and handle moving on the same axis of rotation. At 8.5s, the same single blade line passes continuously through the front of the three crowded ribcages. Protagonist does not reset stance for each enemy, passing body through in the same direction as the arc. At 8.8s, protagonist's waist completely crosses the three's siege line, right foot moves toward the floor ahead. Cut 6: 8.8–10.3s | Leaving the collapse of the three behind while running through Retreat from low left diagonal front, placing protagonist's full body to the right of center. Using broken window row and connecting door as depth axis, keep protagonist and the three behind in the same frame. At 8.8s, right foot grounds, reaction force carries left foot forward. Only after the sword passes do the three ribcages and pelvises begin to unravel simultaneously. At 9.2s, protagonist completely clears the range of the three's fingertips. The three do not fall in order but collapse into a pile of bones simultaneously behind the protagonist's passage line. At 9.7s, waist and ribcage cross two floor seams, sword begins to return forward from right rear follow-through. At 10.3s, next right foot grounds before the connecting door, connecting to King's appearance simultaneously with the dry sound of three sets of bones finishing their fall to the floor. Cut 7: 10.3–11.0s | Instant connection of King's appearance to downward arc Simultaneously with right foot grounding, connecting door is pushed open from inside, Skeleton King enters the aisle in one step. From low diagonal front, capture supporting leg, King's full body, and the entire black iron greatsword in the same frame. At 10.3s, King's lead foot crosses the door threshold. At 10.6s, without stopping the greatsword gripped in both hands overhead, move from the step-in to a vertical downward arc. Protagonist, while maintaining forward momentum, stands the sword in right hand in front of body. At 11.0s, leave about 10cm gap between the descending greatsword and the single-edged sword, passing to next contact with both waists and supporting feet in motion. Cut 8: 11.0–11.5s | Instantly releasing first contact From protagonist's left shoulder rear, height 1.15m, capture both weapons entirely, the gap before contact, and protagonist's right foot in the same frame. At 11.0s, there is a gap between the two blades. At 11.2s, the base of the greatsword blade and the guard side of the single-edged sword hit for the first time at one point. Place a hit stop of max 1 frame at the moment of contact, synchronizing short metallic sound and bluish-white sparks at the impact position. From next frame, reaction force passes to protagonist's wrist, elbow, shoulder, ribcage, waist, and right foot; right foot kicks the floor. At 11.35s, the two blades begin to separate. At 11.5s, gap between blades opens to the width of one blade; without holding the crossed pose, protagonist's right shoulder begins to enter inside the greatsword. Cut 9: 11.5–12.6s | Passing inside, swapping front/back positions With a short axis orbit crossing the contact point, camera moves to protagonist's right side, height 0.7m, showing both full bodies, both weapons, and floor seams. Behind falling sparks from 11.5s, waist and ribcage advance clockwise, sword continues to move away from greatsword. At 11.8s, right shoulder passes inside the greatsword. At 12.1s, waist and pelvis clear the King's side, left foot grounds on next floor panel. At 12.4s, front/back positions of protagonist and King are completely swapped. At 12.6s, King begins to turn shoulders, waist, and both feet to follow protagonist, passing the remaining rotation from the downward arc to the next return strike. Cut 10: 12.6–14.0s | Changing tracking rotation to horizontal return strike Camera retreats from protagonist's right diagonal front, height 0.95m, along the attack line, capturing King's full body, entire greatsword, and protagonist's supporting leg simultaneously. At 12.6s, King steps to a different floor panel with lead foot, rotating shoulders and waist using reaction force from floor through both soles. At 13.2s, entire greatsword takes over that rotation to start a horizontal return arc. Protagonist does not retreat, places left foot half-step outside the aisle, and moves the middle of the single-edged sword into the path of the greatsword. At 13.6s, there is about 10cm gap between the two blades. At 13.8s, middle of the greatsword blade and middle of the single-edged sword hit at one point. Hit stop max 1 frame. At 13.9s, two blades have already separated. At 14.0s, left foot changes lateral pressure to forward speed, passing that reaction force to the next attack to connect to passage. Cut 11: 14.0–18.5s | Passing through the opposite side with return reaction, entering finishing trajectory Low diagonal viewpoint with a seat as momentary foreground. At 14.0s, two blades move in different directions while separating, leaving only sparks. At 14.5s, left foot catches the floor outside the aisle, compressing the knee briefly. At 15.2s, pelvis under lateral pressure advances ahead of supporting foot, protagonist's ribcage and waist pass the King's sword-arm side. At 15.8s, front/back relationship of protagonist and King is updated again, protagonist emerges diagonally behind the King. King is not left behind, turning entire greatsword and torso toward protagonist to follow. At 16.4s, right foot grounds on floor behind the King. At 17.2s, use grounding reaction force to change clockwise body rotation into a single sword trajectory returning diagonally upward. At 18.0s, entire sword approaches front of intact black iron armor, still maintaining about 10cm gap. At 18.5s, pass the moment where blade and body are advancing while leaving a gap to the finish. Cut 12: 18.5–22.8s | Finishing with a diagonal upward strike, beginning collapse Short push-in from protagonist's diagonal rear, height 0.8m, capturing entire sword, front of black iron armor, and both supporting legs. At 18.5s, armor is intact with a gap between it and the sword. At 18.7s, the middle of the sword passes diagonally upward across the front of the black iron armor. Place a hit stop of max 1 frame only at contact. At 18.8s, only after sword passage does a thin blue crack run through the armor. At 19.2s, King's blue orbital flames vanish. Protagonist does not stay at contact position, moving sword follow-through and waist outside the King by 19.6s. At 20.0s, both of King's knees lose support. At 20.8s, armor torso tilts forward, greatsword tip approaches floor. At 21.6s, one knee and greatsword tip touch floor, synchronizing metallic sound. At 22.8s, pass the uncompleted fall of King's torso and greatsword toward the floor to the next Cut. Cut 13: 22.8–26.8s | Leaving collapse behind, connecting to sheathing preparation Camera retreats from protagonist's left diagonal front, height 1.1m, capturing protagonist knee-up and falling King in background. At 22.8s, protagonist places right foot on floor ahead, leaving the falling King behind. At 23.4s, both of King's knees and armor torso hit floor. At 24.0s, black iron greatsword falls sideways and stops on floor, synchronizing heavy dry metallic sound. At 24.2s, protagonist takes first step. At 24.8s, second step crosses floor seam. At 25.4s, protagonist uses walking reaction force to half-turn toward the fallen King, returning sword in right hand to side of body. At 26.2s, left hand supports scabbard on left hip, right hand begins to rotate entire sword toward scabbard mouth. At 26.8s, tip aligns just before the actual scabbard mouth, passing to next Cut without having inserted it yet. Cut 14: 26.8–30.0s | Finishing for sure with sheathing Lateral diagonal close-up capturing face, both hands, and scabbard mouth on left hip. At 26.8s, left hand supports scabbard, right hand rotates entire sword to accurately align tip with scabbard mouth. At 27.2s, tip enters scabbard mouth, thereafter blade fits in real-time without interruption. At 29.7s, guard fits tight to scabbard mouth, synchronizing with dry metallic 'clink' sound to complete sheathing. Three sets of bones, fallen King, and sideways greatsword remain static in the background. Simultaneously with sheathing completion at 29.7s, perform the short facial expression change mentioned above. At 30.0s, cut in the definite state just before the right hand leaves the handle.

高品質アニメ映像。夕暮れの赤い峡谷を高速走行する銀色列車。0.0秒から主人公は屋根を全速疾走しており、導入の静止画や構えは置かない。全動作は実時間。速い足運び、重心移動、武器接触、反力、次の移動が切れずにつながる。 【参照・人物固定】 material:129768はface/identity referenceであり、顔と人物同一性の基準。全Cutで同一人物、同じ細い顎、青い瞳の形と虹彩色、長い月光銀の髪、前髪、青い薔薇と蝶の髪飾り、その配置を固定する。 material:129769はoutfit/full-body reference。黒いハイネック、黒レース袖、深紺のショートケープ、青い宝石ブローチ、金銀の細装飾、紺のプリーツミディスカート、黒い編み上げブーツ、月模様バッグ、細身のシルエットを固定する。バッグは右腰へ密着。 参照が衝突した場合のpriority：顔・目・髪はmaterial:129768を優先し、首から下の衣装・装飾・体型はmaterial:129769を優先する。最終の表情変化はeyes soften → brows lower slightly → eyelids narrow once → mouth stays closed → gaze returns forwardの順。許可する変化は表情、視線、呼吸、戦闘姿勢、自然な髪と布の揺れだけ。別人化、顔の平均化、衣装交換、左右反転、分身、主人公追加なし。 【装備固定】 owner / ownership count：主人公だけが持つ青銀の細身片刃刀は一本（one sword）、スケルトンキングだけが持つ黒鉄大剣は一本（one greatsword）。映像内の剣類は合計二本で固定する。主人公の左腰にはベルト固定した濃紺の鞘が一本。冒頭は右手に抜刀済み、鞘は空、左手は自由。 片刃刀は刀身・鍔・柄、大剣は刀身・鍔・柄がそれぞれ連結した同じ長さの単一構造を保つ。主人公は右手で柄を握り、キングは両手で柄を握る。回転と受け流しでは切先だけでなく武器全体を一体として動かす。武器、柄、鍔、鞘の増殖や持ち主交換なし。 【敵固定】 一般スケルトンは三体だけ。skeleton / undeadとして、頭骨、露出した肋骨、脊椎、骨盤、長い指骨、青い眼窩光、破れた黒布を持つ。武器はなく、三体同時に異なる高さから掴みかかる。 スケルトンキングは一体だけ。skeleton / undeadとして、二回り大きな頭骨と肋骨、頭骨に固定した黒鉄冠、厚い黒鉄鎧、裂けた濃紺マント（armor, cloak）、強い青い眼窩炎、黒鉄大剣を持つ。盾なし。一般兵三体が倒れた後にだけ登場する。 全敵は決着まで骨・布・鉄の固体素材を維持し、結晶体や光の人型へ置換しない。一般兵とキングの特徴混合、敵の複製なし。 【レンダリング固定】 3D toon/cel-lookだけを使用。material:129768とmaterial:129769を核に、細い青灰色の輪郭線、二〜三層のトゥーン陰影と柔らかな勾配、澄んだ月光銀・深紺・ロイヤルブルー、銀髪の鋭い細ハイライト、ベルベット・レース・金属・宝石・ガラスを区別できる高密度素材表現。 Character-first palette / character-specific palette：主人公のロイヤルブルーをcharacter-specific key light、深紺をcharacter-specific shadowとして優先する。背景はlow-saturation background、シアンはcyan only as auxiliaryとして接触光にだけ使う。外装リブ、窓枠、座席、吊り革、手すり、連結扉、床反射まで高密度。 太い輪郭線にしない。単層の平板セル塗りにしない。汎用的な3Dアニメ顔にしない。滑らかなプラスチックCG素材にしない。低密度背景にしない。実写にしない。半実写にしない。くすんだ色にしない。画風を混在させない。 【運動と撮影の共通軸】 戦闘はone continuous trajectory。屋根の前進、窓への落下、三方向の骨腕を潜る低い回避、包囲中央の通過、一続きの刀円弧、キングの大剣で外へ曲げられる軌道、内側への旋回、前後位置の交換、水平の返し、斜め上の決着、納刀まで同じ運動線を受け渡す。接触によって軌道が変形し、静止して構え直さない。 撮影系統はlow rear-three-quarter attacker tracking、車体外側の斜め、front retreat、over-the-shoulder counter、short orbit / axis change、diagonal impact push-in、side medium close-upを目的に合わせて切り替える。low angleの高さは屋根と床の動作で0.4m、肩越しで1.2m、納刀で1.35m。 座席、窓枠、骨腕、刀身のforeground occlusionを一瞬許し、速度時には身体の一部が画面外へ抜けてもよい。背景の消失軸は常に列車前方へ流れ、カット切替は足の接地、骨腕の通過、刀の横切り、武器接触、身体の通過方向でつなぐ。 【速度・動作締切・音】 全身動作は実時間。接触時のヒットストップは最大1フレーム。各Cutの先頭から支持足、腰、胸郭、武器を動かし、記載した中間時刻を順番に通過して終了時刻までに指定状態へ到達する。時間区間を接触前の単一姿勢や同じ剣交差の補間に使わない。火花、髪、布だけで速度を代用せず、それらが残る間も人物、敵、二本の武器が床基準で次の位置へ移る。 金属屋根の足音、風圧、ガラス破砕、骨腕の風切り、骨が床へ落ちる乾音、刀と大剣の短い金属衝突、鎧の亀裂、最後の納刀音を可視イベントへ同期する。台詞、字幕、ロゴ、UI、透かしなし。 Cut 1：0.0–2.0秒｜屋根を全速疾走 低い背後3/4。主人公は屋根リブを前方へ四歩駆け、ブーツの接地ごとに支持脚、骨盤、肩、刀身が同じ推進軸で移動する。屋根リブと峡谷は高速で後退し、髪とケープは後方へ鋭く流れる。四歩目の反力をそのまま使って屋根右縁から車体側面へ飛び降りる。 2.0秒、主人公の頭、肩、腰、両脚はすべて無傷の窓ガラスより車外側にあり、身体のどこもまだ窓枠の内側へ入っていない。 Cut 2：2.0–5.0秒｜外側から窓を破り、全身を車内へ通す 2.0–3.15秒は列車外側の斜め前方カメラ。レンズと主人公を窓の外に置き、銀色の車体外板、窓枠の外縁、ガラス越しの無人車内を同時に見せる。主人公は車外から窓面へ接近し、身体の進行ベクトルを車外 → ガラス面 → 車内の一方向へ保つ。 2.0秒、主人公の全身は完全に車外、窓は無傷。2.7秒、右手の片刃刀全体を短い水平円弧で運び、切先寄りの刃がガラスの外向き面中央へ命中する。命中後の2.8秒にだけ放射亀裂が開き、ガラス片は外側カメラから遠ざかって車内方向へ飛ぶ。3.1秒、頭と右肩が車外から窓枠を越えて車内へ入り、腰と両脚はまだ車外に残る。 飛び込むガラス片を一瞬の前景遮蔽として3.15秒に車内斜め前方へ切り替える。壊れた窓を主人公の背後に残し、3.7秒までに腰、両膝、両ブーツの順で外から内へ窓枠を通過する。4.2秒、両ブーツを含む全身が完全に車内へ入り、通路床へ低く着地する。5.0秒までに腰と胸郭が床の継ぎ目を二本越え、前方へ二歩走って次の包囲へ接続する。 Cut 3：5.0–6.2秒｜骨腕を瞬間偏向し、三方向の攻撃線へ入る カメラは主人公の左斜め前、胸の高さ1.2mから後退し、主人公を膝上の大きさで画面右寄せに置く。列車前方の連結扉を消失軸にし、左から頭上へ伸びる骨腕、右から膝下へ伸びる骨腕、正面から胸の高さへ迫る骨腕と、それらの中央に残る斜め前方の隙間を同じ画面で見せる。 5.4秒、主人公の右足が次の床パネルへ接地する。膝を短く圧縮し、腰と胸郭を前へ運ぶ。5.6秒、左から来る高い骨腕の前腕と片刃刀の鍔寄りには約10cmの空隙がある。5.7秒、鍔寄りが骨の前腕へ一瞬接触し、接触後にだけ骨腕が頭上外側へ弾かれる。その反力で主人公は刀全体を右腰沿いへ畳み、頭と左肩を高い骨腕の下へ沈めて次の回避へ入る。6.0秒、左肩が高い骨腕を通過し、右膝は低い骨腕より上を越える。6.2秒、弾かれた長い指骨がレンズ前を横切る瞬間を遮蔽として次の視点へ渡す。 Cut 4：6.2–7.5秒｜上下の骨腕を潜り、包囲中央へ抜ける 遮蔽が明けると、カメラは主人公の右肩後方、高さ0.75mへ移り、全身、支持脚、一本の片刃刀、三体の肋骨を近い奥行きで捉える。背景の消失軸を正面扉から左奥の窓列へ斜めに変える。 6.2秒、主人公は片刃刀を右腰沿いへ引き付けたまま、右足裏で床を捉える。6.6秒、右足の蹴りで骨盤を支持脚の前へ通し、後ろの左足を低い骨腕の上へ素早く抜く。7.0秒、上体を左へ傾けて正面の指骨を右肩の外へ滑らせる。三体の骨腕は主人公の背後で交差し始める。7.5秒、主人公の頭、両肩、腰が三体の形成する三角形の中央を完全に通過し、左足が次の床パネルへ接地する。 Cut 5：7.5–8.8秒｜支持足を替え、一続きの刀円弧へ入る 主人公の左足接地を起点に、カメラは右肩後方から低い左斜め前へ短く回り込み、高さを0.75mから0.45mへ下げる。人物サイズを膝上から全身へ引き、左奥の窓列から列車前方の連結扉へ背景の消失軸を戻す。 7.5秒、左膝が短く圧縮される。7.8秒、骨盤が左足の上を越え、時計回り旋回を開始する。8.1秒、右手の片刃刀全体が右腰から腰高の一つの円弧へ入り、刀身、鍔、柄が同じ回転軸で動く。8.5秒、同じ一本の刃筋が密集した三体の肋骨の前面を連続して通過する。主人公は敵ごとに構え直さず、その円弧と同じ方向へ身体を通す。8.8秒、主人公の腰が三体の包囲線を完全に越え、右足が前方の床へ向かう。 Cut 6：8.8–10.3秒｜三体の崩壊を背後へ残して走り抜ける 低い左斜め前から後退し、主人公の全身を中央より右へ置く。壊れた窓列と連結扉を奥行き軸にし、主人公と背後の三体を同じ画面へ残す。 8.8秒、主人公の右足が接地し、その反力で左足を前へ運ぶ。刀の通過後にだけ三体の肋骨と骨盤が同時にほどけ始める。9.2秒、主人公は三体の指先が届く範囲を完全に抜ける。三体は順番に倒れず、主人公の通過線の後方で同時に骨の山へ崩れる。9.7秒、主人公の腰と胸郭が床の継ぎ目を二本越え、片刃刀は右後方のフォロースルーから前方へ戻り始める。10.3秒、次の右足が連結扉手前へ接地し、背後の三体分の骨が床へ落ち切る乾音と同時にキング登場へつなぐ。 Cut 7：10.3–11.0秒｜キング登場を下降円弧へ即接続 主人公の右足接地と同時に連結扉が内側へ押し開かれ、スケルトンキングが一歩で通路へ入る。低い斜め前方から、主人公の支持脚、キングの全身、黒鉄大剣全体を同じ画面へ収める。 10.3秒、キングの前足が扉の敷居を越える。10.6秒、両手で握った大剣全体を頭上で止めず、踏み込みから縦の下降円弧へ移す。主人公は前進を残したまま右手の刀を身体前へ立てる。11.0秒、下降中の大剣と片刃刀の間に約10cmの空隙を残し、双方の腰と支持足が動いている状態で次の接触へ渡す。 Cut 8：11.0–11.5秒｜初接触を一瞬で解除 主人公の左肩後方、高さ1.15mから、二本の武器全体、接触前の空隙、主人公の右足を同じ画面に収める。 11.0秒、二本の刃には空隙がある。11.2秒、大剣の刃元と片刃刀の鍔寄りには一点で初めて命中する。接触瞬間だけ最大1フレームのヒットストップを置き、短い金属音と青白い火花を命中位置へ同期する。次フレームから反力が主人公の手首、肘、肩、胸郭、腰、右足へ通り、右足が床を蹴る。11.35秒、二本の刃が離れ始める。11.5秒、刃の間が刀身一本分まで開き、交差した姿勢を保持せず、主人公の右肩が大剣の内側へ入り始める。 Cut 9：11.5–12.6秒｜内側を抜け、前後位置を交換 接触点を横切る短い軸回り込みで、カメラは主人公の右側、高さ0.7mへ移り、双方の全身、二本の武器、床の継ぎ目を見せる。 11.5秒から落下する火花の背後で、主人公の腰と胸郭が時計回りに前進し、片刃刀全体は大剣から離れ続ける。11.8秒、主人公の右肩が大剣の内側を通過する。12.1秒、腰と骨盤がキングの脇を越え、左足が次の床パネルへ接地する。12.4秒、主人公とキングの前後位置が完全に入れ替わる。12.6秒、キングは主人公を追って肩、腰、両足を回し始め、下降円弧で残った全身の回転を次の返しへ渡す。 Cut 10：12.6–14.0秒｜追尾回転を水平の返しへ変える カメラは主人公の右斜め前、高さ0.95mから攻撃線に沿って後退し、キングの全身、大剣全体、主人公の支持脚を同時に捉える。 12.6秒、キングは前足を別の床パネルへ踏み替え、両足裏から床へ返る反力で肩と腰を追尾回転させる。13.2秒、大剣全体がその回転を引き継いで水平の返し円弧を開始する。主人公は後退せず、左足を通路外側へ半歩置き、片刃刀の中腹を大剣の進路へ運ぶ。13.6秒、二本の刃の間には約10cmの空隙がある。13.8秒、大剣の刃中腹と片刃刀の中腹が一点で命中する。ヒットストップは最大1フレーム。13.9秒、二本の刃は既に離れる。14.0秒、主人公の左足が横圧を前進速度へ変え、その反力を次の攻撃へ渡して通過へつなぐ。 Cut 11：14.0–18.5秒｜返しの反力で反対側を抜け、決着軌道へ入る 座席を一瞬の前景にした低い斜め視点。14.0秒、二本の刃は離れながら別方向へ移動し、火花だけをその場へ残す。14.5秒、主人公の左足が通路外側の床を捉え、膝を短く圧縮する。15.2秒、横圧を受けた骨盤が支持足を越えて前へ進み、主人公の胸郭と腰がキングの剣腕側を通過する。 15.8秒、主人公とキングの前後関係が再び更新され、主人公はキングの斜め後方へ出る。キングは置き去りにならず、大剣全体と胴体を主人公へ向けて追う。16.4秒、主人公の右足がキング後方の床へ接地する。17.2秒、その接地反力で時計回りの身体回転を斜め上へ返る一本の刀軌道へ変える。18.0秒、片刃刀全体が無傷の黒鉄鎧前面へ接近し、まだ約10cmの空隙を保つ。18.5秒、空隙を残したまま刃と身体が前進中の瞬間を決着へ渡す。 Cut 12：18.5–22.8秒｜斜め上の一刀で決着し、崩壊を開始 主人公の斜め後方、高さ0.8mから短く押し込み、片刃刀全体、黒鉄鎧前面、双方の支持脚を同じ画面に収める。 18.5秒、鎧は無傷で刀との間に空隙がある。18.7秒、片刃刀の中腹が黒鉄鎧前面を斜め上へ通過する。接触瞬間だけ最大1フレームのヒットストップを置く。18.8秒、刀の通過後にだけ細い青い亀裂が鎧へ走る。19.2秒、キングの青い眼窩炎が消える。 主人公は接触位置へ留まらず、19.6秒までに刀のフォロースルーと腰をキングの外側へ運ぶ。20.0秒、キングの両膝が支持力を失う。20.8秒、鎧の胴が前方へ傾き、大剣の切先が床へ近づく。21.6秒、片膝と大剣の切先が床へ触れ、金属音を同期する。22.8秒、キングの胴と大剣が床へ向かって倒れ続ける未完了の落下を次のCutへ渡す。 Cut 13：22.8–26.8秒｜崩壊を背後へ残し、納刀準備へ接続 カメラは主人公の左斜め前、高さ1.1mから後退し、主人公を膝上、倒れるキングを全身で背景へ収める。 22.8秒、主人公は右足を前方の床へ置き、倒れるキングを背後へ残す。23.4秒、キングの両膝と鎧の胴が床へ落ちる。24.0秒、黒鉄大剣が横倒しになって床で停止し、乾いた重い金属音を同期する。24.2秒、主人公は一歩目を進める。24.8秒、二歩目で床の継ぎ目を越える。 25.4秒、主人公は歩行の反力を使って倒れたキングへ半回転し、右手の片刃刀を身体横へ戻す。26.2秒、左手が左腰の鞘を支え、右手が刀全体を鞘口方向へ回し始める。26.8秒、切先が実在する鞘口の直前へ合い、まだ挿入していない状態で次のCutへ渡す。 Cut 14：26.8–30.0秒｜納刀で確定終了 顔、両手、左腰の鞘口を収める横斜めの近景。26.8秒、左手が鞘を支え、右手が片刃刀全体を回して切先を鞘口へ正確に合わせる。27.2秒、切先が鞘口へ入り、その後は刀身が途切れず実時間で収まる。 29.7秒、鍔が鞘口へ密着し、乾いた金属音「カチン」と同期して納刀完了。床の三体分の骨、倒れたキング、横倒しの大剣は背景で停止する。29.7秒の納刀完了と同時に、上記の短い表情変化を行う。 30.0秒、右手が柄から離れる直前の確定状態でカットする。