Watercolor Combat Speed Art

Task: Dreamina Seedance 2.5 — Omni Reference Duration: 30 seconds Aspect ratio: 16:9 Editorial target: 24fps, F000-F719 [Generation Goal] A high-speed hand-to-hand combat scene featuring only three characters: @Image1, @Image2, and @Image3. The offense and defense will develop in 10 cuts. No weapons will be used; instead, a combination of charges, dodges, palm strikes, elbow strikes, kicks, throws, and aerial attacks will be employed. The facial expressions of the three characters will not be fixed. They will change in response to the offense and defense, from alert, surprise, frustration, concentration, provocation, exhilaration, and relief. These will be concretely expressed through the eyes, eyebrows, mouth, gaze, breathing, and head tilt. The characters will only be recognizable at the moments of stopping, taking a stance, contact, and landing. During high-speed movement, the completed human form will always be broken down and replaced with a few liquid-like brushstrokes, rough watercolor surfaces, and short afterimages using each character's color scheme. The expression will not simply consist of speed lines or motion blur applied to the completed characters. The flowing brushstrokes themselves represent the character. [Material Roles] @Image1 = Character A. One identical person. Yellow bob hair, cat ears, green eyes, light blue and white clothing, yellow trim, triangular tie decoration, pink school bag, pink boots, light blue tail with a yellow triangular tip are used as identifying information. @Image2 = Character B. One identical person. Yellow-green round bob, two leaf-like ears, golden eyes, white puff sleeves, pink bow tie, dark green suspender shorts, green boots, long yellow-green tufts extending from the back of the head with rounded tips are used as identifying information. @Image3 = Character C. One identical person. Bright blue long hair and ponytail, two white horns, pointed ears, golden eyes, star-shaped earrings, dark red Japanese clothing, black skirt, black obi and ribbon on the back, black knee-high socks, and red geta are used as identifying information. The three-way view is not treated as a doppelganger. Do not swap the faces, hair, costumes, color schemes, ears, horns, tails, back hair, or decorations of the three characters. However, do not fix the facial expressions in the reference images, but change them according to the battle situation. Do not use white backgrounds or explanatory text. Do not generate weapons. Do not use detached backpacks, tails, back hair, horns, or geta sandals as weapons. [Environment] A huge festival square based on a white background. A huge vermilion pillar and watercolor stalls are placed on the left, a series of vermilion torii gates are placed in the center background, a red lantern stand is on the right, and a pale blue cube and fireworks-like brushstrokes are placed in the sky. The background is drawn with semi-transparent watercolor, broken ink lines, pencil composition lines, and a wide white margin. Do not surround the floor, pillars, torii gates, stalls, or lanterns with closed outer lines. The background lines also tremble slightly, changing density and position, but the amount of variation is weaker than that of the characters. The background arrangement is maintained in all cuts. Do not include combatants other than the characters, crowds, or additional characters. [Unstable Line Rule] The entire image is drawn with "continuously generated lines, watercolors." Each frame is not a clean copy from the previous frame, but is redrawn as a new rough sketch every time. A single outline is not created to surround the person. The head, shoulders, arms, torso, and legs are not surrounded by continuous lines, and 30-60% of the body's perimeter is always left as white space on the paper. The shape of the person is perceived intermittently through short, broken pencil lines, irregular watercolor boundaries, dried brushstrokes, eraser marks, and doubled redrawn lines. The same line is not kept in the same position for more than three frames. The position, thickness, density, length, pressure, and curvature of the lines change every frame. Lines break midway, split into two, and parts disappear. A single uniform line width is not used for the entire body. The density of lines is not constant. Frames with extremely few lines, frames with densely packed redrawn lines, and frames where most of the perimeter disappear are irregularly arranged alternately. A completed perimeter is not created for the face either. Do not draw both eyes, nose, mouth, chin, and cheeks clearly at the same time. Leave only the minimum lines necessary to read the expression, such as the outer edge of one eye disappearing, the mouth being cut off midway, the eyebrows becoming double, or the cheek lines dissolving into the watercolor. Do not keep the watercolor precisely inside the lines. Create bleeding, bleeding, white areas, uneven shading, and misregistration. [Line and Color Delay] The movement of the body precedes the pencil lines, which lag behind by about 1-2 frames, and the watercolor color fields catch up with a further 1-2 frames. The delayed lines and color fields do not completely overlap the body, but remain as short, torn afterimages in the direction of movement. The afterimages are not copies of the finished figure, but are brushstrokes and color fields that only indicate the direction of the arms, legs, hair, tail, and clothing. Do not return the lines to a clean state even when the figure is still. The figure's face, clothing, and posture become legible, but the missing outer edges, double lines, watercolor bleeding, and misregistration are maintained. [Mandatory Motion Deformation] In slow motion, only about 60% of the human body is drawn. In medium-speed motion, only about 30-40% of the human body is drawn. In high-speed motion, only about 10-20% of the human body is drawn. At the fastest speed, the character is represented by only 3-5 brushstrokes and 2-3 rough color areas. High-speed movement of Character A = yellow, light blue, white, and pink brushstrokes. High-speed movement of Character B = yellow-green, dark green, white, and a small amount of pink brushstrokes. High-speed movement of Character C = blue, dark red, black, and a small amount of gold brushstrokes. During high-speed movement, the head, torso, arms, and legs are not connected in the correct human structure. Arms are transformed into long, liquid-like brushstrokes, kicking legs into extremely stretched color areas, and rotating torsos into flattened arcs, triangles, and twisted watercolor areas. In jumps, the connection between the limbs is temporarily released. In sudden stops, the torso is compressed in the direction of movement. In changes of direction, the waist and shoulders are shifted in opposite directions. [Expression Direction] Character A: Starts with caution, smiles triumphantly upon successful evasion, is surprised when an attack is deflected, provokes with amusement during a chaotic battle, shows intense concentration towards the end, and finally changes to a breathless, satisfied smile. Character B: Starts with careful observation, shows sharp concentration when interrupting, is momentarily surprised when an attack is dodged, smiles competitively during an aerial attack, has a desperate expression towards the end, and finally changes to a relaxed, relieved expression. Character C: Starts with calm confidence, smiles softly after dodging the first attack, furrows brows during a pincer attack, shows sharp concentration during a counterattack, smiles with exhilaration during a three-way battle, and finally changes to a provocative one-sided smile. The face is not completed during high-speed movements. Emotions are indicated by a single stroke of the eye, the tilt of the eyebrow, a short line of the mouth, and the direction of the brushstrokes on the head. The expression is only decipherable at the moment the speed slows down. [Cut 1 | 0.0-2.5s | F000-F059 | Triangular Confrontation] Initial state: Fixed wide. Character A is in the foreground on the left, Character B is in the foreground on the right, and Character C is in the background center. The three form a triangle with each other in their line of sight. Primary event: F000-F023 shows the appearance and position of the three. A narrows his eyes and is wary of C, and B looks at A and C alternately and breathes carefully. C raises his chin slightly and raises one corner of his mouth to show confidence. F024-F041 A lowers his stance, B takes a half step to the side, and C slides his geta sandals to lower his center of gravity. F042-F059 The three step forward simultaneously. End state: The direction of movement of the three converges towards the center. Their facial expressions and body outlines are legible, but the lines are not closed and are redrawn every frame. [Cut 2 | 2.5-5.0s | F060-F119 | First strike between A and C] Initial state: Low angle, just above the ground. A is on the left, C is in the center, and B is in the background right. Primary event: At F060-F075, A collapses into a group of yellow, light blue, and pink brushstrokes and rushes low from left to right. At F076-F087, it transitions from a leg sweep to a spinning kick. C collapses into a group of blue, dark red, and black brushstrokes and spins around, narrowly dodging the kick. At F088-F095, just before contact, A's eyes open wide and C smiles faintly. The entire face is not drawn, only fragments of the eyes, eyebrows, and mouth are shown. At F096-F119, A passes by C and slides to the right, leaving a fragment of a surprised face. End state: A is in the foreground on the right, C in the center, and B in the background on the right. C becomes more relaxed, and A tightens its expression again. [Cut 3 | 5.0-8.0s | F120-F191 | B's interruption] Initial state: Horizontal medium wide. C is in the center, A is on the right, and B is in the background on the right. Primary event: At F120-F137, B lowers its eyebrows and collapses into a group of light green and dark green brushstrokes, moving from right to left. At F138-F153, it performs a spinning leg sweep that passes under both of their feet. At F154-F167, A leaps vertically, its legs and tail extending into the watercolor band. The moment it successfully dodges, the corners of A's eyes droop and the corners of its mouth turn up in a provocative manner. C sinks low, folding its body, to dodge B's kick. At F168-F179, B's eyes widen for a moment, showing surprise at being missed. At F180-F191, B furrows its brows and slides to the left, concentrating on the next attack. End state: B lands on the left, C in the center, and A in the back center. [Cut 4 | 8.0-11.0s | F192-F263 | C's continuous counterattack] Initial state: Low diagonal composition. B is on the left, C is in the center, and A is in the back. Primary event: At F192-F207, C's smile disappears and its eyebrows droop sharply. C breaks into 3-5 brushstrokes of blue, dark red, and black, accelerating rapidly from left to right. At F208-F223, C performs a palm strike on B, an elbow strike on A, and a spinning back kick as a continuous movement. During the attack, C does not return to its completed human form. Only a single golden brushstroke indicating the eye and concentrated eyebrow lines appear among the brushstrokes. At F224-F239, B evades backward as a green arc, and A splits into short yellow and pink lines and escapes to the side. At F240-F251, only the arms and legs of the three cross for a moment. A opens its mouth briefly in surprise, and B clenches its teeth. At F252-F263, C moves to the right, showing an exhilarated smile on one side. End state: C is on the right, B is on the left, and A is in the back center. All three are standing. [Cut 5 | 11.0-14.5s | F264-F347 | Pincer attack by A and B] Initial state: High oblique overhead view. C is on the right, A is in the center back, and B is on the left. Primary event: At F264-F283, A and B make brief eye contact. A has a confident smile, while B has a focused expression with furrowed brows. The two run towards C simultaneously, with A performing a low flying kick and B performing a spinning kick. At F284-F303, C furrows his brows, transforms his body into thin blue, red, and black lines, and slips through the gap between the two kicks. At F304-F323, A and B open their eyes wide just before colliding with each other, fold their legs, and change direction in mid-air. At F324-F347, the three move away in a circle. C smiles slightly at having broken the pincer attack, A frowns in frustration, and B exhales, gazing at the next opportunity. End state: B moves to the left, C to the center, and A to the right. [Cut 6 | 14.5-18.0s | F348-F431 | Chain of grabs and throws] Initial state: A tracking shot that circles around. B is on the left, C in the center, and A on the right. Primary event: At F348-F367, A laughs provocatively and tries to jump onto C's shoulder. C's expression changes to one of near-expressionless concentration, receives A's wrist, changes direction of movement, and throws low. Only the point of contact is briefly legible. At F368-F387, A falls while rotating as a group of yellow and pink brushstrokes. Surprised eyes and an open mouth appear for just a moment before collapsing into lines. At F388-F407, B passes C in mid-air and delivers a heel kick. B narrows his eyes and shows a competitive smile. At F408-F419, C blocks with his forearm, causing B's leg to move outwards. C's eyebrows rise slightly, showing surprise at the unexpected strength. At F420-F431, A returns to his balance just above the floor, pursing his lips in frustration and landing on three points. End state: A is in the front right, B in the front left, and C in the back center. [Cut 7 | 18.0-21.5s | F432-F515 | Three-dimensional offense and defense using the background] Initial state: Wide shot showing the vermilion pillar on the left, the torii gate in the center, and the lantern stand on the right simultaneously. Primary event: At F432-F451, B runs towards the pillar on the left. His expression changes to an exhilarated smile, and he takes just one step on the pillar before bouncing off diagonally. At F452-F471, A leaps onto the roof of the right stall, kicks off the roof, and turns towards the center. A shakes off his frustration and narrows his eyes in amusement. At F472-F491, C anticipates the trajectories of the two and, with a sharp gaze, moves out of both attack lines with a low rotation. The three become separate groups of brushstrokes with independent color schemes during the high-speed section. At F492-F503, only the lanterns and stall cloths sway in the wind pressure. At F504-F515, the three land in the center, their eyes wide with surprise at each other's movements, which exceeded their expectations. Immediately afterward, all three laugh. End state: The three form a narrow triangle in the central square. Excitement for battle is evident in all three. [Cut 8 | 21.5-25.0s | F516-F599 | Six beats of close-quarters melee] Initial state: Waist-high close-quarters wide. The entire bodies and feet of all three are visible. Primary event: F516-F527 A goes from a cheerful smile to a right roundhouse kick. F528-F539 C lowers his eyebrows and deflects with his forearm. F540-F551 B closes his lips and throws a low leg sweep. F552-F563 C opens his eyes in surprise, folds his knees, and jumps. F564-F575 A's eyes become focused and he drops his heel from mid-air. F576-F587 B grits his teeth and pushes A's leg away, changing the direction of his attack to C. F588-F599 C shows an exhilarated smile and moves backward between the two. Replace the characters with brushstrokes after each high-speed action. Recombine only the block of attacks and facial expression changes for 1-2 frames. End state: A is on the left, B is on the right, C is in the back center. All three are out of breath, but their fighting spirit is strong. [Cut 9 | 25.0-28.0s | F600-F671 | Three-way simultaneous charge] Initial state: Front wide. A is on the left, B on the right, and C in the back center. Primary event: At F600-F611, all three sink down simultaneously. A loses his smile and looks at his landing spot. B furrows his brows and holds his breath. C raises only one corner of his mouth, provoking the other two. At F612-F635, A becomes a minimal group of yellow, light blue, and pink lines, B becomes yellow-green, dark green, and white lines, and C becomes blue, dark red, and black lines, and they charge towards the center. The completed faces, hands, torsos, and clothing are not displayed. At F636-F647, the three groups of lines intersect in the center. The eyes, eyebrows, and mouths are briefly shown as separate short lines, indicating the three's concentration. At F648-F659, opaque watercolors, ink splatters, and dry brushstrokes rubbing against the paper scatter radially. At F660-F671, the three pass each other in intersecting directions. End state: A, B, and C pass the center and slow down, their backs to each other. [Cut 10 | 28.0-30.0s | F672-F719 | Rejoin and terminate] Initial state: Fixed wide. The three slide from the center in different directions. Primary event: At F672-F687, the brushstrokes become shorter, returning to the figures in the order of posture, hair, clothing, and watercolor. The outer perimeter of the bodies does not close. At F688-F703, A stops to the right, B to the left, and C just before the center. A smiles contentedly, out of breath. B closes his eyes once, exhales, and smiles softly. C looks at the two over his shoulder, displaying a provocative one-sided smile. At F704-F711, all three turn around simultaneously. At F712-F719, their expressions change back to focused faces, and they assume a low combat stance. End state: The battle is not decided. All three can be identified as the same people as in the reference image from their color scheme, hair, and clothing. However, missing lines, double lines, watercolor bleeding, and misprints remain even after stopping. [Visual Treatment] Hand-drawn 2D animation on a bright white background. Uses ink, pencil, watercolor, dry brush, white areas, eraser marks, and redrawn lines. No lines are created around the perimeter of the characters. Faces, hair, clothes, arms, and legs are not enclosed as closed shapes. Lines within the screen change thickness, density, length, position, pressure, curvature, and missing percentage every frame. High-speed body disintegration, missing lines, omitted faces, and color field delays are not corrected as generational defects. [Audio] Fast-paced, percussion-based background music. A is the sound of light boots, B is the sound of soft landings, C is the sound of hard geta sandals. Sounds of clothes rustling in the wind, short impacts, scraping on the floor, kicking pillars and stalls, swaying lanterns, breathing. No dialogue. [Maintain Consistency] Only three characters. Do not generate three-way views as clones. Do not change the color scheme, face, hair, clothing, ears, horns, tail, back hair, backpack, or shoes of the three characters. Do not fix facial expressions. Change eyes, eyebrows, mouth, gaze, and breathing in response to each attack, dodge, failure, success, surprise, and excitement. Do not stabilize lines. Do not keep line width constant. Do not maintain the same line in the same position. Do not close the body's perimeter. Do not precisely confine watercolors within the lines. Characters will inevitably distort during high-speed movement. Do not make characters run, jump, or attack while maintaining a completed human form. Move the brushstrokes themselves as the character. Ensure the character is recognizable as the same person at moments of stopping and contact, but do not revert to a clean outline. Do not generate weapons. Do not generate additional characters, clones, or human-shaped afterimages. Maintain background placement, character movement direction, and triangular positional relationships. Frame numbers serve as editing targets; prioritize event order, facial expression changes, and the end state of each cut. Pure video, no subtitles, no dialogue, no watermark.