Fluid Sketch Martial Arts Battle

Task: Dreamina Seedance 2.5 — Omni ReferenceDuration: 30 secondsAspect ratio: 16:9Editorial target: 24fps, F000-F719 [Generation Goal]A high-speed combat battle involving only three characters: @Image1, @Image2, and @Image3. Develop offense and defense over 10 cuts. No weapons; use a combination of rushes, dodges, palm strikes, elbow strikes, kicks, throws, and aerial attacks. Do not fix the expressions of the three characters. Change them to alertness, surprise, irritation, concentration, provocation, exhilaration, and relief in response to the offense and defense. Express specifically through eyes, eyebrows, mouth, gaze, breathing, and head tilt. Return characters to a recognizable form only at moments of stopping, posing, contact, or landing. During high-speed movement, always break down the finished human body and replace it with a small number of liquid brushstrokes, rough watercolor planes, and short afterimages based on each character's color scheme. Do not simply add speed lines or motion blur to a finished figure. The flowing brushstrokes themselves are the character. [Material Roles]@Image1 = Character A. One and the same person. Uses yellow bob hair, cat ears, green eyes, light blue and white clothes, yellow trim, triangular tie decoration, pink backpack, pink boots, light blue tail with a yellow triangular tip as identifying information. @Image2 = Character B. One and the same person. Uses a yellow-green round bob, two leaf-like ears, golden eyes, white puff sleeves, pink bowtie, dark green shorts with suspenders, green boots, a long yellow-green tuft continuing from the back of the head with a round tip as identifying information. @Image3 = Character C. One and the same person. Uses vivid blue long hair and ponytail, two white horns, pointed ears, golden eyes, star-shaped earrings, dark red Japanese-style clothing, black skirt, black belt and back ribbon, black knee-highs, and red geta as identifying information. Do not treat three-view diagrams as clones. Do not swap the faces, hair, costumes, color schemes, ears, horns, tails, back hair, or decorations of the three. However, the expressions in the reference images are not fixed and should change according to the battle situation. Do not use white backgrounds or explanatory text. Do not generate weapons. Do not use the backpack, tail, back hair, horns, or geta as detached weapons. [Environment]A giant festival square based on a white paper surface. A giant vermilion pillar and watercolor stalls on the left, a sequence of vermilion torii gates in the center back, a red lantern shelf on the right, and light blue cubes and firework-like brushstrokes in the sky. Draw the background with translucent watercolors, broken ink lines, pencil composition lines, and wide white margins. Do not enclose the floor, pillars, torii, stalls, or lanterns with closed outlines. The background lines also tremble slightly, changing in density and position, but the amount of variation is weaker than that of the characters. Maintain the background layout in all cuts. Do not include combatants, crowds, or additional characters other than the three. [Unstable Line Rule]Draw the entire video with 'continuously generated lines and watercolors.' Do not clean up each frame from the previous one; redraw each frame as a new rough sketch. Do not create a single outline surrounding the person. Do not enclose the head, shoulders, arms, torso, or legs with continuous lines; always leave 30-60% of the body's outer circumference as white gaps in the paper. Recognize the character's form intermittently through short, broken pencil lines, irregular watercolor boundaries, dry brush marks, eraser marks, and doubled redraw lines. Do not maintain the same line in the same position for more than 3 frames. Lines change in position, thickness, density, length, pressure, and curvature every frame. They break in the middle, split into two, and parts disappear. Do not use a single uniform line width for the whole body. Do not keep line density constant. Irregularly alternate frames with extremely few lines, frames with dense redraw lines, and frames where most of the outer circumference disappears. Do not create a finished outer circumference for the face either. Do not draw both eyes, nose, mouth, jaw, and cheeks clearly at the same time. Leave only the minimum lines to read the expression, such as the outer side of one eye disappearing, the mouth cutting off midway, eyebrows becoming double, or cheek lines melting into watercolor. Do not fit the watercolor accurately inside the lines. Create bleeding, protrusion, white unpainted areas, uneven shading, and misregistration. [Line and Color Delay]Body movement takes the lead, pencil lines follow about 1-2 frames late, and watercolor color planes follow about another 1-2 frames late. Late lines and color planes do not completely overlap the body and remain as short afterimages torn in the direction of movement. Afterimages are not copies of the finished person but brushstrokes and color planes that indicate only the direction of the arms, legs, hair, tail, and costume. Even when stopped, do not return the lines to a clean-up state. The person's face, clothing, and posture become legible, but the gaps in the outer circumference, double lines, watercolor bleeding, and misregistration are maintained. [Mandatory Motion Deformation]Draw only about 60% of the human body for weak actions. Draw only about 30-40% for medium-speed actions. Draw only about 10-20% for high-speed actions. At maximum speed, represent the character with only 3-5 brushstrokes and 2-3 rough color planes. Character A high-speed action = yellow, light blue, white, and pink brushstroke group. Character B high-speed action = yellow-green, dark green, white, and a small amount of pink brushstroke group. Character C high-speed action = blue, dark red, black, and a small amount of golden brushstroke group. During high-speed action, do not connect the head, torso, arms, and legs with a correct human structure. Turn arms into long liquid brushstrokes, kicking legs into extremely elongated color planes, and rotating torsos into crushed arcs, triangles, or twisted watercolor surfaces. Temporarily disconnect limbs during jumps. Compress the torso in the direction of travel during sudden stops. Shift the hips and shoulders in different directions during turns. [Expression Direction]Character A: Starts with alertness, changes to a proud smile upon successful evasion, surprise when an attack is diverted, playful provocation during a melee, strong concentration in the late stages, and finally a satisfied, breathless smile. Character B: Starts with cautious observation, sharp concentration when interrupting, momentary surprise when an attack is dodged, a competitive smile during aerial attacks, a desperate expression in the final stages, and finally a soft, relieved expression. Character C: Starts with calm confidence, smiles slightly after dodging the first attack, furrows eyebrows during a pincer attack, sharp concentration while counterattacking, an exhilarated smile during the three-way melee, and finally a provocative one-sided smile. Do not finish the face during high-speed action. Indicate emotions with a single stroke of the eye, the tilt of an eyebrow, a short line of the mouth, or the direction of head brushstrokes. Make expressions legible only at moments when speed drops. [Cut 1 | 0.0-2.5s | F000-F059 | Triangular Confrontation]Initial state: Fixed wide. Character A is in the left foreground, Character B is in the right foreground, and Character C is in the center back. They form a triangle with each other in sight. Primary event: Show the appearance and positions of the three from F000-F023. A narrows eyes and is wary of C, B looks back and forth between A and C and breathes cautiously. C raises their chin slightly and shows composure with a one-sided smirk. From F024-F041, A lowers their hips, B opens half a step to the side, and C slides their geta to lower their center of gravity. From F042-F059, the three step out simultaneously. End state: The travel directions of the three converge in the center. The expressions and body circumferences are legible, but the lines are not closed and are redrawn every frame. [Cut 2 | 2.5-5.0s | F060-F119 | A vs C First Strike]Initial state: Low angle near the ground. A on the left, C in the center, B in the right back. Primary event: From F060-F075, A breaks down into yellow, light blue, and pink brushstrokes and rushes low from left to right. From F076-F087, A connects a leg sweep to a spinning kick. C breaks down into blue, dark red, and black brushstrokes, rotates, and evades the kick by a hair's breadth. Only just before contact from F088-F095 do A's eyes open wide and C smiles slightly. Do not draw the whole face, show only through fragments of eyes, eyebrows, and mouth. From F096-F119, A passes by C and slides to the right, leaving fragments of a surprised face. End state: A is in the right foreground, C is in the center, B is in the right back. C's composure increases, and A refocuses their expression. [Cut 3 | 5.0-8.0s | F120-F191 | B's Interruption]Initial state: Medium wide horizontal position. C in the center, A on the right, B in the right back. Primary event: From F120-F137, B lowers their eyebrows, breaks down into yellow-green and dark green brushstrokes, and enters from right to left. From F138-F153, B performs a spinning leg sweep passing under both of their feet. From F154-F167, A jumps vertically, and their legs and tail stretch into watercolor bands. The moment the evasion is successful, the corners of A's eyes droop and a smirk forms provocatively. C sinks low, folding their body to dodge B's kick. From F168-F179, B's eyes open wide for a moment, showing surprise at being dodged. From F180-F191, B furrows their eyebrows and concentrates on the next attack while sliding left. End state: B lands on the left, C in the center, and A in the center back. [Cut 4 | 8.0-11.0s | F192-F263 | C's Continuous Counterattack]Initial state: Low diagonal composition. B on the left, C in the center, A in the back. Primary event: From F192-F207, C's smile disappears and eyebrows drop sharply. C breaks down into 3-5 blue, dark red, and black brushstrokes and accelerates rapidly from left to right. From F208-F223, C performs a palm strike on B, an elbow strike on A, and a spinning back kick in one continuous motion. During the attack, C does not return to a finished body. Only a single golden stroke for the eye and a concentrated eyebrow line appear within the brushstroke group. From F224-F239, B evades backwards as a green arc, and A escapes sideways by splitting into short yellow and pink lines. From F240-F251, the arms and legs of the three cross for just a moment. A opens their mouth briefly in surprise, and B grits their teeth. From F252-F263, C passes to the right side and shows an exhilarated one-sided smile. End state: C is on the right, B on the left, A in the center back. All three are standing. [Cut 5 | 11.0-14.5s | F264-F347 | A and B Pincer Attack]Initial state: High diagonal overhead view. C on the right, A in the center back, B on the left. Primary event: From F264-F283, A and B exchange a short look. A shows a confident smile, B shows a focused face with lowered eyebrows. The two run towards C simultaneously; A performs a low flying kick and B performs a spinning kick. From F284-F303, C furrows their eyebrows and changes their body into thin blue, red, and black lines to slip through the gap between the two kicks. From F304-F323, A and B open their eyes wide just before colliding with each other, tuck their legs, and change direction in mid-air. From F324-F347, the three move apart in a circle. C gives a small smile for breaking the pincer attack, A furrows their eyebrows regretfully, and B exhales and gauges the next distance. End state: B on the left, C in the center, A on the right. [Cut 6 | 14.5-18.0s | F348-F431 | Sequence of Grabs and Throws]Initial state: Circling tracking shot. B on the left, C in the center, A on the right. Primary event: From F348-F367, A smiles provocatively and tries to jump onto C's shoulder. C changes to a focused, almost expressionless face, catches A's wrist to change their direction of motion, and throws them low. Make only the contact point briefly legible. From F368-F387, A becomes a group of yellow and pink brushstrokes and falls while rotating. Surprised eyes and an open mouth appear for a moment, then immediately break down into lines. From F388-F407, B throws a heel kick at C while passing in mid-air. B narrows their eyes and shows a competitive smile. From F408-F419, C catches it with their forearm and flows B's leg line outward. C's eyebrows rise slightly, showing surprise at the unexpected strength. From F420-F431, A regains posture just above the floor, clenches their mouth regretfully, and performs a three-point landing. End state: A is in the right foreground, B is in the left foreground, and C is in the center back. [Cut 7 | 18.0-21.5s | F432-F515 | 3D Offense and Defense Using the Background]Initial state: Wide shot showing the left vermilion pillar, center torii, and right lantern shelf simultaneously. Primary event: From F432-F451, B runs to the left pillar. Their expression changes to an exhilarated smile, and they step on the pillar once to bounce off diagonally. From F452-F471, A jumps to the right stall roof, kicks the roof, and reverses to the center. A shakes off the regret and narrows their eyes joyfully. From F472-F491, C anticipates the trajectories of the two and stays out of both attack lines with a low rotation while keeping a sharp gaze. During the high-speed section, the three become brushstroke groups with their own independent color schemes. From F492-F503, only the lanterns and stall cloths shake from the wind pressure. From F504-F515, the three land in the center and open their eyes wide at each other's unexpected movements. Immediately after, all three laugh. End state: The three form a narrow triangle in the central square. Exhilaration for the battle appears in the three. [Cut 8 | 21.5-25.0s | F516-F599 | Six-Beat Close-Quarters Melee]Initial state: Waist-high close-up wide. The whole bodies and feet of the three are visible. Primary event: From F516-F527, A starts from a joyful smile and enters a right roundhouse kick. From F528-F539, C lowers their eyebrows and flows it outward with their forearm. From F540-F551, B clenches their mouth and delivers a low leg sweep. From F552-F563, C opens their eyes in surprise, tucks their knees, and jumps. From F564-F575, A changes to focused eyes and drops a heel from mid-air. From F576-F587, B grits their teeth, pushes A's leg away, and changes the attack direction toward C. From F588-F599, C shows an exhilarated smile and slips behind the two. Replace characters with brushstroke groups for each high-speed action. Recombine only for 1-2 frames for attack blocks and expression changes. End state: A is on the left, B on the right, C in the center back. All three are out of breath, but their fighting spirit has grown stronger. [Cut 9 | 25.0-28.0s | F600-F671 | Simultaneous Three-Way Rush]Initial state: Frontal wide. A on the left, B on the right, C in the center back. Primary event: From F600-F611, the three sink down simultaneously. A removes their smile and looks at the landing point. B furrows their eyebrows strongly and holds their breath. C raises only one side of their mouth, provoking the two. From F612-F635, A (yellow, light blue, pink), B (yellow-green, dark green, white), and C (blue, dark red, black) become minimal brushstroke groups and rush toward the center. Do not show finished faces, hands, torsos, or costumes. From F636-F647, the three brushstroke groups cross in the center. Eyes, eyebrows, and mouths appear briefly as independent short lines, showing the concentration of the three. From F648-F659, opaque watercolors, ink splatters, and dry brush strokes that scrape the paper scatter radially. From F660-F671, the three pass through in the directions they crossed. End state: A, B, and C cross the center and decelerate while facing away from each other. [Cut 10 | 28.0-30.0s | F672-F719 | Recombination and Conclusion]Initial state: Fixed wide. The three are sliding in different directions from the center. Primary event: From F672-F687, brushstrokes shorten and characters return in the order of posture, hair, costume, and watercolor. The body's outer circumference does not close. From F688-F703, A stops on the right, B on the left, and C in the center foreground. A smiles satisfiedly while out of breath. B closes their eyes once, exhales, and smiles softly. C looks at the two over their shoulder and shows a provocative one-sided smile. From F704-F711, the three turn around simultaneously. From F712-F719, they change their expressions back to focused faces and take low combat stances. End state: No conclusion reached. All three can be identified as the same characters from the reference images by their color scheme, hair, and costume. However, line gaps, double lines, watercolor bleeding, and misregistration remain after stopping. [Visual Treatment]Hand-drawn 2D animation on bright white paper. Use ink, pencil, watercolor, dry brush, white unpainted areas, eraser marks, and redraw lines. Do not create a line that goes all the way around the person's outer circumference. Do not enclose the face, hair, clothes, arms, or legs as closed shapes. Lines within the screen change in thickness, density, length, position, pressure, curvature, and gap rate every frame. Do not correct high-speed action body collapse, line gaps, facial omissions, or color plane delays as generation defects. Do not return to smooth vector lines, uniform line width, closed outlines, symmetrical faces, fixed expressions, accurate coloring, 3D-like human interpolation, or processing that only adds effect lines to a finished character. [Audio]High-tempo percussion-based BGM. Character A has light boot sounds, B has soft landing sounds, C has hard geta sounds. Clothing wind noise, short hitting sounds, floor scraping sounds, sounds of kicking pillars and stalls, the sound of lanterns swaying, and breathing. No dialogue. [Maintain Consistency]Only three characters. Do not generate three-view diagrams as clones. Do not swap the color schemes, faces, hair, costumes, ears, horns, tails, back hair, backpacks, or shoes of the three. Do not fix expressions. Change eyes, eyebrows, mouth, gaze, and breathing in response to each attack, dodge, failure, success, surprise, and exhilaration. Do not stabilize lines. Do not make line width constant. Do not maintain the same line in the same position. Do not close the body's outer circumference. Do not fit watercolor accurately inside the lines. Always break down characters during high-speed action. Do not let them run, jump, or attack while maintaining a finished human body. Move the brushstroke groups themselves as the characters. Make them identifiable as the same person at the moment of stopping and contact, but do not return to a clean-up outline. Do not generate weapons. Do not generate additional people, clones, or human-shaped afterimages. Maintain background layout, character movement directions, and triangular positional relationships. Frame numbers are editorial goals; prioritize event order, expression changes, and the end state of each cut. pure video, no subtitles, no dialogue, no watermark.

Task: Dreamina Seedance 2.5 — Omni ReferenceDuration: 30 secondsAspect ratio: 16:9Editorial target: 24fps, F000-F719 [Generation Goal]@Image1、@Image2、@Image3の三人だけによる高速格闘戦。10カットで攻防を発展させる。武器は使わず、突進、回避、掌打、肘打ち、蹴り、投げ、空中攻撃を組み合わせる。 三人の表情を固定しない。攻防に反応して、警戒、驚き、苛立ち、集中、挑発、高揚、安堵へ変化させる。目、眉、口、視線、呼吸、頭の傾きで具体的に表す。 停止、構え、接触、着地の瞬間だけ人物を判読可能な姿へ戻す。高速移動中は必ず完成した人体を崩し、各人物の配色による少数の液体状筆線、荒い水彩面、短い残像へ置換する。 完成した人物へ速度線やモーションブラーを付けるだけの表現にはしない。流動する筆線群自体が人物である。 [Material Roles]@Image1＝Character A。同一人物一人。黄色いボブヘア、猫耳、緑色の瞳、水色と白の服、黄色の縁取り、三角形のネクタイ装飾、ピンク色のランドセル、ピンク色のブーツ、淡い水色の尻尾と黄色い三角形の先端を識別情報として使用する。 @Image2＝Character B。同一人物一人。黄緑色の丸いボブ、葉のような二本の耳、金色の瞳、白いパフスリーブ、ピンク色の蝶ネクタイ、濃緑色のサスペンダー付きショートパンツ、緑色のブーツ、後頭部から続く長い黄緑色の房と丸い先端を識別情報として使用する。 @Image3＝Character C。同一人物一人。鮮やかな青い長髪とポニーテール、二本の白い角、尖った耳、金色の瞳、星形イヤリング、暗赤色の和装、黒いスカート、黒い帯と背中のリボン、黒いニーハイ、赤い下駄を識別情報として使用する。 三方向図を分身として扱わない。三人の顔、髪、衣装、配色、耳、角、尻尾、後ろ髪、装飾を交換しない。ただし参照画像の表情は固定せず、戦況に合わせて変える。白背景と説明文字は使用しない。 武器を生成しない。ランドセル、尻尾、後ろ髪、角、下駄を取り外した武器として使用しない。 [Environment]白い紙面を基調とした巨大な祭り広場。左側に巨大な朱色の柱と水彩の屋台、中央奥に連続する朱色の鳥居、右側に赤い提灯棚、上空に淡い青色の立方体と花火状の筆跡を配置する。 背景は半透明の水彩、途切れた墨線、鉛筆の構図線、広い白い余白で描く。床、柱、鳥居、屋台、提灯を閉じた外周線で囲わない。背景の線も僅かに震え、濃度と位置を変化させるが、人物より変動量を弱くする。 背景配置は全カットで維持する。人物以外の戦闘員、群衆、追加キャラクターを出さない。 [Unstable Line Rule]映像全体を「連続して生成される線、水彩」で描く。各フレームを前フレームから清書せず、毎フレーム新しいラフスケッチとして描き直す。 人物を囲う一本のアウトラインを作らない。頭、肩、腕、胴体、脚を連続した線で囲わず、身体外周の30～60％を常に紙の白い欠落として残す。 人物の形は、短く途切れた鉛筆線、水彩の不規則な境界、乾いた刷毛跡、消し跡、二重になった描き直し線から断続的に認識させる。 同じ線を同じ位置へ3フレーム以上維持しない。線は毎フレーム位置、太さ、濃度、長さ、圧力、曲率が変わる。途中で切れ、二本へ分裂し、一部が消失する。一本の均一な線幅を全身へ使用しない。 線の密度を一定にしない。線が極端に少ないフレーム、描き直し線が密集するフレーム、外周の大部分が消えるフレームを不規則に交互配置する。 顔にも完成した外周を作らない。両目、鼻、口、顎、頬を同時に明瞭に描かない。片目の外側が消える、口が途中で切れる、眉が二重になる、頬線が水彩へ溶けるなど、表情を読み取れる最低限の線だけを残す。 水彩は線の内側へ正確に収めない。滲み、はみ出し、白い塗り残し、濃淡の斑、版ずれを作る。 [Line and Color Delay]身体の運動が先行し、鉛筆線が約1～2フレーム遅れ、水彩の色面がさらに約1～2フレーム遅れて追いつく。 遅れた線と色面は身体へ完全に重ならず、運動方向へ千切れた短い残像として残る。残像は完成した人物の複製ではなく、腕、脚、髪、尻尾、衣装の方向だけを示す筆線と色面にする。 停止時も線を清書状態へ戻さない。人物の顔、服装、姿勢は判読可能になるが、外周の欠落、二重線、水彩の滲み、版ずれを維持する。 [Mandatory Motion Deformation]弱い動作では人体の約60％だけを描く。中速動作では人体の約30～40％だけを描く。高速動作では人体の約10～20％だけを描く。最速時には3～5本の筆線と2～3個の荒い色面だけで人物を表す。 Character Aの高速動作＝黄色、淡い水色、白、ピンクの筆線群。Character Bの高速動作＝黄緑、濃緑、白、少量のピンクの筆線群。Character Cの高速動作＝青、暗赤、黒、少量の金色の筆線群。 高速動作中は頭、胴体、腕、脚を正しい人体構造で接続しない。腕は長い液体状の筆線、蹴り脚は極端に引き延ばされた色面、回転する胴体は潰れた円弧、三角形、捻れた水彩面へ変える。 跳躍では手足の接続を一時的に解除する。急停止では胴体を進行方向へ圧縮する。方向転換では腰と肩を別方向へずらす。 [Expression Direction]Character A：警戒から始まり、回避成功で得意そうな笑み、攻撃を流されて驚き、乱戦では楽しそうな挑発、終盤では強い集中、最後は息を切らした満足そうな笑みへ変化する。 Character B：慎重な観察から始まり、割り込み時に鋭い集中、攻撃をかわされて一瞬驚き、空中攻撃では競争心のある笑み、終盤では必死な表情、最後は安堵した柔らかな表情へ変化する。 Character C：落ち着いた自信から始まり、最初の攻撃をかわして小さく笑い、挟撃で眉を寄せ、反撃中は鋭い集中、三人の乱戦では高揚した笑み、最後は挑発的な片側の笑みへ変化する。 高速動作中は顔を完成させない。感情は、目の一筆、眉の傾き、口の短い線、頭部筆線の方向で示す。速度が落ちた瞬間だけ表情を判読可能にする。 [Cut 1 | 0.0-2.5s | F000-F059 | 三角形の対峙]Initial state: 固定ワイド。Character Aは左手前、Character Bは右手前、Character Cは中央奥。三人が互いを視界に入れた三角形を作る。 Primary event: F000-F023で三人の外見と位置を見せる。Aは目を細めてCを警戒し、BはAとCを交互に見て慎重に呼吸する。Cは顎を僅かに上げ、片側の口角を上げて余裕を見せる。F024-F041でAが低く腰を落とし、Bが半歩横へ開き、Cが下駄を滑らせて重心を下げる。F042-F059で三人が同時に踏み出す。 End state: 三人の進行方向が中央へ収束する。表情と身体外周は判読可能だが、線は閉じず、毎フレーム描き直されている。 [Cut 2 | 2.5-5.0s | F060-F119 | A対Cの初撃]Initial state: 地面すれすれのローアングル。Aが左、Cが中央、Bが右奥。 Primary event: F060-F075でAが黄色、水色、ピンクの筆線群へ崩れ、左から右へ低く突進する。F076-F087で足払いから回転蹴りへつなぐ。Cは青、暗赤、黒の筆線群へ崩れて旋回し、蹴りを紙一重で回避する。 F088-F095の接触寸前だけAの目が大きく開き、Cが小さく笑う。顔全体は描かず、目、眉、口の断片だけで示す。F096-F119でAがCの横を通過し、驚いた顔の断片を残して右へ滑る。 End state: Aは右手前、Cは中央、Bは右奥。Cの余裕が増し、Aは表情を引き締め直す。 [Cut 3 | 5.0-8.0s | F120-F191 | Bの割り込み]Initial state: 横位置のミディアムワイド。Cが中央、Aが右、Bが右奥。 Primary event: F120-F137でBが眉を下げ、黄緑と濃緑の筆線群へ崩れて右から左へ侵入する。F138-F153で両者の足元を通過する回転足払いを行う。 F154-F167でAは縦方向へ跳び、脚と尻尾が水彩帯へ伸びる。回避に成功した瞬間、Aの目尻が下がり、挑発するように口角が上がる。Cは身体を折り畳むように低く沈み、Bの蹴りをかわす。 F168-F179でBの目が一瞬大きく開き、外されたことへの驚きを示す。F180-F191で眉を寄せ、左へ滑りながら次の攻撃へ集中する。 End state: Bは左、Cは中央、Aは中央奥へ着地する。 [Cut 4 | 8.0-11.0s | F192-F263 | Cの連続反撃]Initial state: 低い斜め構図。Bが左、Cが中央、Aが奥。 Primary event: F192-F207でCの笑みが消え、眉が鋭く下がる。Cは青、暗赤、黒の3～5本の筆線へ崩れ、左から右へ急加速する。 F208-F223でBへの掌打、Aへの肘打ち、後ろ回し蹴りを一続きの運動として行う。攻撃中のCは完成した人体へ戻らない。目を示す金色の一筆と、集中した眉線だけが筆線群の中に現れる。 F224-F239でBは緑の円弧となって後方へ回避し、Aは黄色とピンクの短い線へ分裂して横へ逃れる。 F240-F251で三人の腕と脚だけが一瞬交差する。Aは驚いて口を短く開き、Bは歯を食いしばる。F252-F263でCが右側へ抜け、高揚した片側の笑みを見せる。 End state: Cは右、Bは左、Aは中央奥。三人とも立っている。 [Cut 5 | 11.0-14.5s | F264-F347 | AとBの挟撃]Initial state: 高い斜め俯瞰。Cが右、Aが中央奥、Bが左。 Primary event: F264-F283でAとBが短く目を合わせる。Aは自信のある笑み、Bは眉を下げた集中顔を見せる。二人は同時にCへ走り、Aが低い飛び蹴り、Bが回転蹴りを行う。 F284-F303でCは眉を寄せ、身体を細い青、赤、黒の線へ変えて二つの蹴りの隙間をすり抜ける。F304-F323でAとBは互いへ衝突する直前に目を見開き、脚を畳んで空中で方向転換する。 F324-F347で三人が円を描いて離れる。Cは挟撃を破ったことへの小さな笑み、Aは悔しそうに眉を寄せ、Bは息を吐いて次の間合いを測る。 End state: Bは左、Cは中央、Aは右へ入れ替わる。 [Cut 6 | 14.5-18.0s | F348-F431 | 掴みと投げの連鎖]Initial state: 回り込むトラッキングショット。Bが左、Cが中央、Aが右。 Primary event: F348-F367でAが挑発的に笑い、Cの肩へ跳びつこうとする。Cは無表情に近い集中顔へ変わり、Aの手首を受けて運動方向を変え、低く投げる。接触点だけ短く判読可能にする。 F368-F387でAは黄色とピンクの筆線群となって回転しながら落下する。驚いた目と開いた口が一瞬だけ現れ、すぐに線へ崩れる。 F388-F407でBが空中ですれ違いながらCへ踵蹴りを放つ。Bは目を細め、競争心のある笑みを見せる。F408-F419でCが前腕で受け、Bの脚線を外側へ流す。Cの眉が僅かに上がり、予想外の強さへの驚きを示す。 F420-F431でAが床すれすれで姿勢を戻し、悔しそうに口を結んで三点着地する。 End state: Aは右手前、Bは左手前、Cは中央奥。 [Cut 7 | 18.0-21.5s | F432-F515 | 背景を利用した立体攻防]Initial state: 左の朱色の柱、中央の鳥居、右の提灯棚が同時に見えるワイド。 Primary event: F432-F451でBが左の柱へ走る。表情は高揚した笑みに変わり、柱を一歩だけ踏んで斜めに跳ね返る。 F452-F471でAは右の屋台屋根へ跳び、屋根を蹴って中央へ反転する。Aは悔しさを振り切り、楽しそうに目を細める。 F472-F491でCは二人の軌道を見切り、鋭い視線のまま低い回転で両方の攻撃線から外れる。三人は高速区間中、それぞれ独立した配色の筆線群になる。 F492-F503で提灯と屋台布だけが風圧で揺れる。F504-F515で三人が中央へ着地し、互いの予想以上の動きに目を見開く。直後に三人とも笑う。 End state: 三人が中央広場で狭い三角形を作る。戦闘への高揚が三人に現れる。 [Cut 8 | 21.5-25.0s | F516-F599 | 六拍の近接乱戦]Initial state: 腰高の近接ワイド。三人の全身と足元が見える。 Primary event:F516-F527でAが楽しそうな笑みから右回し蹴りへ入る。F528-F539でCが眉を下げて前腕で外へ流す。F540-F551でBが口を結び、低い足払いを放つ。F552-F563でCが驚いて目を開き、膝を畳んで跳ぶ。F564-F575でAが集中した目へ変わり、空中から踵を落とす。F576-F587でBが歯を食いしばってAの脚を押し流し、攻撃方向をCへ変える。F588-F599でCが高揚した笑みを見せ、二人の間を後方へ抜ける。 各高速動作のたびに人物を筆線群へ置換する。攻撃の受け止めと表情変化だけを1～2フレーム再結合する。 End state: Aは左、Bは右、Cは中央奥。三人とも息が上がっているが、戦意は強くなっている。 [Cut 9 | 25.0-28.0s | F600-F671 | 三方向同時突進]Initial state: 正面ワイド。Aが左、Bが右、Cが中央奥。 Primary event: F600-F611で三人が同時に沈み込む。Aは笑みを消して着地点を見る。Bは眉を強く寄せて息を止める。Cは片側の口角だけを上げ、二人を挑発する。 F612-F635でAは黄色、水色、ピンク、Bは黄緑、濃緑、白、Cは青、暗赤、黒の最小限の筆線群となって中央へ突進する。完成した顔、手、胴体、衣装を表示しない。 F636-F647で三つの筆線群が中央で交差する。目、眉、口を独立した短い線として一瞬だけ出し、三人の集中を示す。 F648-F659で不透明な水彩、墨の飛沫、紙を擦る乾筆が放射状に散る。F660-F671で三人は交差した方向へ通り抜ける。 End state: A、B、Cは中央を越え、互いに背を向けたまま減速する。 [Cut 10 | 28.0-30.0s | F672-F719 | 再結合と終止]Initial state: 固定ワイド。三人が中央から異なる方向へ滑っている。 Primary event: F672-F687で筆線が短くなり、姿勢、髪、衣装、水彩の順に人物へ戻る。身体の外周は閉じない。 F688-F703でAは右、Bは左、Cは中央手前で停止する。Aは息を切らしながら満足そうに笑う。Bは一度目を閉じて息を吐き、柔らかく笑う。Cは肩越しに二人を見て、挑発的な片側の笑みを見せる。 F704-F711で三人が同時に振り返る。F712-F719で表情を再び集中顔へ変え、低い戦闘姿勢を取る。 End state: 決着は付いていない。三人全員が参照画像と同じ人物だと配色、髪、衣装から判読できる。ただし線の欠落、二重線、水彩の滲み、版ずれは停止後も残る。 [Visual Treatment]明るい白紙上の手描き2Dアニメ。墨、鉛筆、水彩、乾筆、白い塗り残し、消し跡、描き直し線を使用する。 人物の外周を一周する線を作らない。顔、髪、服、腕、脚を閉じた図形として囲わない。画面内の線は、太さ、濃度、長さ、位置、圧力、曲率、欠落率を毎フレーム変化させる。 高速動作の人体崩壊、線の欠落、顔の省略、色面の遅れを生成上の欠陥として修正しない。 滑らかなベクター線、均一な線幅、閉じた外周、左右対称の顔、固定表情、正確な塗り分け、3D的な人体補間、完成した人物へ効果線だけを追加する処理へ戻さない。 [Audio]テンポの速い打楽器主体のBGM。Aは軽いブーツ音、Bは柔らかい着地音、Cは硬い下駄音。衣服の風切り、短い打撃音、床を擦る音、柱と屋台を蹴る音、提灯の揺れる音、息遣い。台詞なし。 [Maintain Consistency]人物は三人だけ。三方向図を分身として生成しない。三人の配色、顔、髪、衣装、耳、角、尻尾、後ろ髪、ランドセル、靴を交換しない。 表情は固定しない。各攻撃、回避、失敗、成功、驚き、高揚へ反応して目、眉、口、視線、呼吸を変化させる。 線を安定させない。線幅を一定にしない。同じ線を同じ位置へ維持しない。身体の外周を閉じない。水彩を線の内側へ正確に収めない。 高速動作中は必ずキャラクターを崩す。完成した人体を保ったまま走らせたり、跳ばせたり、攻撃させたりしない。筆線群自体を人物として移動させる。 停止と接触の瞬間では同一人物だと判読可能にするが、清書されたアウトラインへ戻さない。 武器を生成しない。追加人物、分身、人物型の残像を生成しない。背景配置、人物の移動方向、三角形の位置関係を維持する。 フレーム番号は編集上の目標とし、イベント順序、表情変化、各カットの終了状態を優先する。 pure video, no subtitles, no dialogue, no watermark.