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.
