Silver Train Chase Anime Action

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.

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】 image1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。 image2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image1を優先し、首から下の衣装・装飾・体型はimage2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。image1とimage2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、車内の突破、キングの大剣で外へ曲げられる軌道、内側への旋回、背後への通過、返し斬り、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、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。 座席や窓枠の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、窓への命中、武器接触、身体の通過方向でつなぐ。 【速度・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。長い溜め、スローモーション、空中静止、同じ姿勢の反復なし。 150 BPM前後の緊張感ある弦と低い打楽器。金属屋根の足音、風圧、ガラス破砕、骨が床へ落ちる乾音、刀と大剣の衝突、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 3：5.0–6.0秒｜敵配置を一瞬で確定 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て、左右と正面から同時に狭まる三体の一般スケルトン、主人公の進路、空いた中央の隙間を同じ画面で読ませる。 主人公の腰と胸郭は通路床の継ぎ目を一つ越え、6.0秒までに左側座席の端と最初の骨腕の間へ踏み込む。左前のスケルトンの長い指骨がレンズ前を横切った瞬間、その骨腕を自然な遮蔽として次の視点へ切り替える。 Cut 4：6.0–7.2秒｜包囲の内側へ入り、旋回を開始 遮蔽が明けると、カメラは主人公の右肩後方、腰の高さ0.8m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。背景の消失軸は正面扉から左奥の窓列へ斜めに変わる。 主人公は右足裏で床を捉え、膝を短く圧縮し、骨盤を右足の上へ通して低い時計回り旋回へ入る。片刃刀全体は腰高の一つの円弧を描き、7.2秒までに主人公の身体が三体の形成する三角形の中央を通過する。カメラは刀より先へ回らず、支持脚の蹴りと刃の通過を同時に見せる。 Cut 5：7.2–8.5秒｜刃の通過方向へ軸を越え、崩壊を背後へ残す 刀身が画面右から左へ横切る動きをきっかけに、カメラは主人公の右肩後方から低い左斜め前へ短く回り込み、高さを0.8mから0.45mへ下げ、膝上から全身へ引く。背景の消失軸は斜めの窓列から列車前方の連結扉へ戻る。 三体は個別に順番待ちせず、主人公の通過線の後方で同時に骨の山へ崩れ始める。8.0秒までに主人公は三体の包囲を完全に抜け、8.5秒までに床の継ぎ目をさらに二本越える。主人公は背後を見返さず、次の右足が接地する瞬間をキング登場へ渡す。 Cut 6：8.5–11.5秒｜キングの登場を下降円弧へ直結 連結扉を黒鉄大剣の圧力が押し開き、スケルトンキングが一歩で通路へ入る。登場姿勢を保留せず、その踏み込みから大剣全体を縦の下降円弧へ運ぶ。主人公は前進を残したまま右手の刀を身体前へ立てる。 11.5秒、二本の刃に明確な空隙を残した状態で接触線へ入り、下降円弧の速度を次のCutへ渡す。 Cut 7：11.5–14.2秒｜下降圧を一瞬だけ受け、即座に接触解除 主人公の左肩後方、高さ1.2mから、二本の武器全体、接触前の空隙、主人公の支持脚を同じ画面に収める。11.5秒、キングの大剣は下降中で、二本の刃の間には明確な空隙がある。主人公は前進を残したまま右足を次の床パネルへ運び、片刃刀の鍔寄りを下降線へ合わせる。 14.1秒、大剣の刃元と片刃刀の鍔寄りが初めて一点で命中する。接触瞬間だけ最大1フレームのヒットストップを置き、青白い火花が命中位置から散る。 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。14.2秒、二本の刃は既に離れ始め、交差した接触姿勢を保持せず、その解除動作を次のCutへ渡す。 Cut 8：14.2–16.0秒｜内側を抜け、1.8秒以内に位置交換 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0.75mへ移り、双方の全身、二本の武器、床の継ぎ目を見せる。 14.2秒から火花が落下している間にも、主人公の腰と胸郭は時計回りに移動し、片刃刀全体は大剣から離れる。キングの大剣も下降線を通過し続ける。 14.6秒、二本の刃は刀身一本分以上離れ、主人公の右肩と腰が大剣の内側を通過する。15.2秒、主人公はキングの脇を完全に抜け、腰が次の床継ぎ目を越える。 15.5秒、主人公とキングの前後位置が完全に入れ替わる。キングは置き去りにならず、上体と両手の大剣で追尾回転する。15.8秒、キングは下降円弧で残った胴体回転を水平の返し円弧へ変換する。 16.0秒、大剣全体は既に水平移動を開始し、主人公も通路外側への半歩を開始した動作中のまま次へつなぐ。 Cut 9：16.0–18.5秒｜返し円弧を次の接触へ運ぶ カメラは主人公の右斜め前、高さ1.0m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。16.0秒からキングは大剣全体を水平円弧で運び続け、16.8秒までに切先が通路中央線を横切る。主人公は後退せず、左足を通路外側の別の床パネルへ半歩置き、片刃刀の中腹を大剣の進路へ運ぶ。 キングは追尾回転の反力を両足裏から床へ返し、肩と腰を大剣の水平円弧と同じ方向へ進める。主人公はその反力へ片刃刀を合わせ、その勢いを次の攻撃の接触直前まで運ぶ。 17.6秒、双方の腰位置は別々の床継ぎ目を越え、二本の刃の間にはまだ空隙がある。18.5秒、返し円弧と受け流し軌道が接触直前まで近づいた、静止していない瞬間を次のCutへ渡す。 Cut 10：18.5–26.8秒｜返しの接触から同じ回転で決着 座席を前景にした低い斜め視点。18.5秒、二本の刃にはまだ指一本分の空隙がある。18.8秒、大剣の刃中腹と主人公の片刃刀の中腹が命中する。ヒットストップは最大1フレーム。18.9秒から二本の刃は離れ、主人公の支持脚が横圧を前進速度へ変え、彼女はキングの脇を抜ける。 通過で残った時計回りの回転が斜め上へ返る一本の刀軌道へ閉じ、無傷の黒鉄鎧の前面を横切る。その通過後にだけ細い青い亀裂が鎧へ走り、眼窩炎が消える。 キングは脚、胴、大剣の順で床へ崩れ、大剣は横倒しで停止する。主人公は同じ方向へ二歩進み、倒れたキングを背後にして半回転する。 Cut 11：26.8–30.0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。左手が鞘を支え、右手が片刃刀全体を回して切先を実在する鞘口へ合わせる。切先が鞘口へ入った後、刃が途切れず最後まで収まる。 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。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。