Urban Fantasy Sword Duel Animation

Urban fantasy action RPG style. High-density 3D toon/cel looks on the level of a movie, delicate key animations, high-quality composites, transparent lighting, and informative backgrounds.

[How to Use Reference Images]

From all reference images, the two characters appearing are extracted as separate individuals and strictly maintained as the same person throughout the entire story.

Reference images are used only for face, eye shape, iris color, age, chin, cheeks, hairstyle, hair color, hair accessories, costumes, decorations, physique, overall silhouette, unique color, equipment, atmosphere, and art trends of the world they belong to.

The background of the reference image itself, white background, text, UI, split layout, furniture, original composition, pose, angle of view, and camera distance are not reproduced. From the start, it is depicted as a completely independent new scene.

@1 is the quiet side that intercepts. @2 is the first to attack. The two roles do not switch throughout the film.

Do not mix faces, hair, costumes, decorations, physique, weapons, or unique colors. Face-leveling, feature mixing, costume swapping, weapon swapping, alienation, clones, clones, and unnecessary characters are all prohibited.

Only natural movements like facial expressions, gaze, mouth, posture, breathing, hair, fabric, ribbon, hem, and tassels are allowed to change.

When multiple references exist, the face-up reference is treated as the highest priority material for identity as the face, and the full-body reference is treated as the priority material for clothing, body shape, back, decorations, and weapons.

During collisions, you match face, eyes, jaw, cheeks, age, and hair to face references, while clothing, body shape, full body, decorations, and weapons match the full-body reference.

[Weapons and Roles]

@1 has a single sheathed weapon fixed to the waist and is never drawn throughout the game.

@2 uses a single sheathed one-handed sword or sword and draws the sword midway.

If the reference image contains a unique weapon, its shape, color, decoration, and material are preserved. Only when there is no suitable weapon for reference is a one-handed sword or sword that matches the character's costume, cultural background, unique color, or worldview should they be supplemented.

Proliferation or disappearance of dual-wielding weapons, reserve weapons, additional weapons, daggers, and weapons is prohibited.

[Art Style and Auto Art Adjustment]

High-density, precise 3D toon/cel looks.

Maintain ultra-fine colored contours, youthful anime face proportions, two- to three-stage cel shadows, transparent auxiliary gradients, multi-layered irises, sharp catchlights, fine hair strands, and costume expressions that can be separated and read by material.

Her skin is clean and soft, with a toon complexion. Even during high-speed movement, the face, hair, costume, and equipment remain in shape.

Background, architecture, floors, handrails, lighting, accessories, reflections, particles, steam, weather, time of day, main color scheme, secondary colors, light source colors, and atmosphere are automatically adjusted according to the worldview, costume style, cultural sphere, and unique colors you can read from the reference images of the two.

For near-future characters, you can swap neon cities or three-dimensional corridors; for fantasy, magical cities or floating bridges; for Japanese-style castle towns or elevated corridors; for gothic style, cathedral cities or stone bridges; for sci-fi, spaceports or research districts.

However, all necessary for combat must be maintained: 'wide straight paths,' 'sliding floors,' 'handrails or walls,' 'deep backgrounds,' 'strong parallax,' and 'safe landing without falling risk.'

The background color is designed as a secondary color mixing the unique colors of both characters, making it weaker than faces, eyes, hair, and costumes. Finally, @1's face and eyes will be the clearest visual rewards.

Legible text, logos, signs, subtitles, and watermarks are not displayed.

[Fixed Scene]

Cut 1: High-speed approach at your feet.

Super low angle just above the floor.

@2's boots or shoes kick the floor hard, sending water droplets, dust, light particles, petals, frost, and sparks backward as they approach the flooring. The center of gravity is continuously transmitted to the soles of the feet, ankles, knees, and hips.

In the far center, @1 stood quietly alone, his weapon still sheathed.

The camera moves backward, following the footsteps and rapidly capturing floor reflections and patterns.

Cut 2: Single-weapon Draw-Sword Charge.

@2, right diagonal behind, close range lower than the shoulder.

Stabilize the scabbard at your waist with your left hand, grip the handle with only your right hand, and pull out only one piece. The tsuba or guard clearly separates the hand from the blade, and the fingers grip only the handle.

As soon as you step in, swing sharply down diagonally forward of @1.

@1 does not draw his sword and fixes his gaze on the tip of the blade.

The camera accelerates over his shoulder, moving his hair, ribbon, cloth, hem, and tassels backward a beat behind.

Cut 3: Remove the slash line and enter the pocket.

@1 diagonally forward, close range above the chest.

The blade or blade approaches diagonally from above, and the reflection makes one eye of @1 appear short.

@1 keeps its head and chest just off the line of slash, then steps its left foot diagonally forward outside @2.

With his left palm, he grabs his right wrist, which holds the weapon, from behind the guard, and with his right palm, he guides the upper arm's clothing outward. The palm does not touch the blade or the tip of the blade.

The weapon passes off-screen without injuring the two of them.

Instead of stopping in the finished pose, he briefly and continuously shows wrists, stepping feet, lowered waists, and surprised eyes, then connects directly to the break.

Cut 4: Safe weapon disarm.

The handle, guard, and right wrist are separated horizontally for a contact enhancement.

@1 gently returns the wrist away from the blade and guides the upper arm with the other palm.

@2's finger slips off the hilt, the weapon drops low to the floor away from the two, slides safely and briefly, and stops at the edge of the screen.

Only at the moment the weapon moves away is a brief pause beat and a metallic sound.

@1 retains wrist contact and keeps his weapon locked in its sheath.

Cut 5: The first fast throw and successful pass.

Do not take fixed, horizontal, and distant full-body shots.

Pass the camera diagonally behind @1, lower than waist, and simultaneously show the front leg, sunken waist, rotating shoulder, and caught wrist.

Step diagonally forward, ground reaction force, lower center of gravity, rotate your hips and shoulders in succession, and shift the @2 center of gravity forward. Do not lift with arm strength.

The camera circles rapidly 60 to 90 degrees along the rotation of the waist, creating strong parallax in the background.

@2 draws a large horizontal arc in the order of head, torso, and legs, while hair and costumes flutter a beat later. Do not keep your posture in the air stationary.

During a moment of complete occlusion where the body briefly covers the lens, I switch to the camera just above the landing site.

@2 rotates from the upper back to the front, with the left palm touching the floor, then transitions from the shoulder to a smooth cartwheel-style pass.

Without stopping the rotation, he returned to a low single-knee position and looked back at @1 without injury.

Cut 6: A low-footed sweep followed by a fierce bare-handed attack.

@2 doesn't pick up fallen weapons, but instead stands up from a low position, using the momentum to sweep the hind leg across the floor and run horizontally to ankle height, sweeping the spinning foot.

Contact inserts at the foot clearly show the supporting leg, axis of rotation, and shoe trajectory.

@1 slides slightly diagonally inward once, pushing the kicking leg outward to the outside of the body, then immediately returning inside the attack line.

Then, @2 unleashes two punches from both sides.

@1 sends each ball outward with an open palm, without retreating much, and firmly catches only the wrist with the final right fist.

Contrast the large full-body movement of @2 with the minimal palm and foot movements of @1.

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