Cinematic Anime Silver Train Action
A high-quality anime video generation prompt for Seedance 2.5 involving a silver train, a canyon, and intense character action.
Prompt
High-quality anime footage. A silver train traveling at high speed through a red canyon at dusk. From 0.0 seconds, the protagonist is sprinting across the roof at full speed; no introductory still images or poses. All movements are in real-time. Fast footwork, shifts in center of gravity, weapon contact, reaction force, and the next movement connect seamlessly without interruption.
【Reference/Character Consistency】
material:129768 is the face/identity reference, serving as the standard for facial and character identity. Maintain the same person across all cuts, with the same slender jawline, blue eye shape and iris color, long moonlight-silver hair, bangs, blue rose and butterfly hair ornaments, and their placement.
material:129769 is the outfit/full-body reference. Fix the following: black high-neck top, black lace sleeves, dark navy short cape, blue gemstone brooch, fine gold and silver decorations, navy pleated midi skirt, black lace-up boots, moon-patterned bag, and slender silhouette. The bag is held tightly to the right hip.
Priority for conflicting references: face/eyes/hair favor material:129768; clothing/decorations/body type from the neck down favor material:129769. Final facial expression change sequence: eyes soften → brows lower slightly → eyelids narrow once → mouth stays closed → gaze returns forward. Permissible changes are limited to expressions, gaze, breathing, combat stances, and natural hair/fabric sway. No character changes, facial averaging, outfit swaps, horizontal flipping, clones, or additional protagonists.
【Equipment Consistency】
Owner / ownership count: The protagonist alone holds one slender blue-silver single-edged katana (one sword), and the Skeleton King alone holds one black iron greatsword (one greatsword). The total number of swords in the footage is fixed at two. The protagonist has one dark navy scabbard secured to the left hip by a belt. At the start, the sword is already drawn in the right hand, the scabbard is empty, and the left hand is free.
The single-edged katana and the greatsword each maintain a single structural unit (blade, guard, hilt connected) of the same length throughout. The protagonist grips the hilt with the right hand; the King grips the hilt with both hands. During 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】
General Skeletons: Three only. As skeleton/undead, they possess skulls, exposed ribs, spines, pelvises, long phalanges, blue orbital glows, and tattered black cloth. No weapons; three attack simultaneously from different heights.
Skeleton King: One only. As skeleton/undead, he has a skull and ribcage two sizes larger, 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 general soldiers have fallen.
All enemies maintain solid material properties (bone, cloth, iron) until defeat; no replacement with crystalline or light humanoid forms. No mixing of general soldier and King traits, no duplication of enemies.
【Rendering Consistency】
Use only 3D toon/cel-look. Centered on material:129768 and material:129769, express high-density materials: thin blue-gray outlines, two-to-three layer toon shading with soft gradients, clear moonlight-silver, dark navy, and royal blue, sharp thin highlights on silver hair, and distinguishable velvet, lace, metal, gemstones, and glass.
Character-first palette / character-specific palette: Prioritize the protagonist's royal blue as the character-specific key light and dark navy as the character-specific shadow. The background is a low-saturation background; cyan is used only as auxiliary for contact lighting. High density down to exterior ribs, window frames, seats, straps, handrails, connecting doors, and floor reflections.
No thick outlines. No single-layer flat cel shading. No generic 3D anime faces. No smooth plastic CG textures. No low-density backgrounds. Not live-action. Not semi-realistic. No dull colors. No mixed art styles.
【Common Axis of Motion and Cinematography】
Combat is one continuous trajectory. The same line of movement is passed through roof advancement, falling to the window, low evasions diving under bone arms from three directions, passing through the center of a siege, a continuous sword arc, a trajectory bent outward by the King's greatsword, inward turns, swapping front-and-back positions, horizontal returns, a diagonal upward finish, and sheathing. Trajectories are deformed by contact rather than stopping to re-pose.
Cinematography systems switch purposefully: low rear-three-quarter attacker tracking, diagonal exterior view, front retreat, over-the-shoulder counter, short orbit / axis change, diagonal impact push-in, and side medium close-up. Low angle heights: 0.4m for roof and floor actions, 1.2m for over-the-shoulder, 1.35m for sheathing.
Brief foreground occlusion by seats, window frames, bone arms, and blades is permitted; parts of the body may exit the frame during high speed. The background vanishing axis always flows toward the front of the train. Cut transitions are linked by foot placement, bone arms passing, sword swipes, weapon contact, and the direction of body passage.
【Speed, Motion Deadlines, and Sound】
Full-body motion is in real-time. Hit stops upon contact are a maximum of 1 frame. Move support feet, hips, ribcage, and weapons from the start of each Cut, passing through listed intermediate timestamps in order to reach the specified state by the end time. Do not use time intervals to interpolate a single pre-contact pose or the same sword clash. Do not substitute speed with sparks, hair, or cloth alone; while they remain, the character, enemies, and two weapons must move to their next positions relative to the floor.
Synchronize metallic roof footsteps, wind pressure, glass shattering, bone arm wind-cutting, dry sounds of bones hitting the floor, short metallic clashes between the katana and greatsword, armor cracking, and the final sheathing sound to visual events. No dialogue, subtitles, logos, UI, or watermarks.
Cut 1: 0.0–2.0s | Sprinting on the Roof
Low rear 3/4 view. The protagonist sprints four steps forward across the roof ribs; with each boot strike, the supporting leg, pelvis, shoulders, and blade move along the same propulsion axis. The roof ribs and canyon recede at high speed; hair and cape stream sharply backward. Using the reaction force of the fourth step, she jumps from the right edge of the roof to the side of the train.
At 2.0s, the protagonist's head, shoulders, hips, and both legs are all outside the undamaged window glass; no part of the body has entered inside the window frame yet.
Cut 2: 2.0–5.0s | Breaking the Window from Outside and Passing the Whole Body Into the Car
2.0–3.15s: Diagonal front camera outside the train. Place the lens and protagonist outside the window, showing the silver car exterior, outer window frame edges, and the empty interior through the glass. The protagonist approaches the window from outside, maintaining a single vector of movement: outside → glass surface → inside.
At 2.0s, the body is completely outside, window intact. At 2.7s, she swings the katana in a short horizontal arc; the blade near the tip hits the center of the outer glass surface. Radial cracks open only after impact at 2.8s; glass shards fly away from the outer camera toward the interior. At 3.1s, the head and right shoulder cross the window frame into the car; hips and legs remain outside.
Use flying glass shards as a brief foreground occlusion to switch to a diagonal front interior view at 3.15s. Leaving the broken window behind the protagonist, the hips, both knees, and both boots pass through the window frame from outside to inside by 3.7s. At 4.2s, the entire body including both boots is completely inside, landing low on the aisle floor. By 5.0s, the hips and ribcage cross two floor seams, running two steps forward to connect to the next siege.
Cut 3: 5.0–6.2s | Instant Deflection of Bone Arms and Entering the Triple Attack Lines
Camera retreats from the protagonist's left diagonal front at chest height (1.2m), placing the protagonist on the right side of the screen at knee-up size. Using the connecting door at the front of the train as the vanishing axis, show a bone arm extending from the left overhead, one from the right below the knees, and one approaching chest height from the front, all in the same shot with a diagonal front gap in the center.
At 5.4s, the protagonist's right foot strikes the next floor panel. Compress the knee briefly to drive the hips and ribcage forward. At 5.6s, there is a roughly 10cm gap between the forearm of the high bone arm from the left and the guard-side of the katana. At 5.7s, the guard-side makes momentary contact with the bone forearm; only after contact is the bone arm parried toward the upper outside. Using that reaction, the protagonist folds the katana along the right hip, ducks the head and left shoulder under the high bone arm, and enters the next evasion. At 6.0s, the left shoulder passes the high bone arm, and the right knee clears the low bone arm. At 6.2s, the parried long phalanges crossing the lens act as a transition occlusion to the next viewpoint.
Cut 4: 6.2–7.5s | Diving under Upper and Lower Bone Arms and Passing through the Center of the Siege
As the occlusion clears, the camera moves behind the protagonist's right shoulder at 0.75m height, capturing the full body, support leg, one katana, and three sets of ribs in close depth. Change the background vanishing axis diagonally from the front door to the row of windows on the back left.
At 6.2s, the protagonist grips the floor with the right sole while keeping the katana tucked against the right hip. At 6.6s, the right foot kick drives the pelvis past the support leg, and the trailing left foot is quickly pulled over the low bone arm. At 7.0s, she leans the torso left to slide the frontal phalanges past the outside of the right shoulder. The three bone arms begin to cross behind her. At 7.5s, the head, shoulders, and hips completely pass through the center of the triangle formed by the three enemies, and the left foot strikes the next floor panel.
Cut 5: 7.5–8.8s | Switching Support Feet and Entering a Continuous Sword Arc
Starting from the left foot strike, the camera orbits briefly from behind the right shoulder to the low left diagonal front, lowering height from 0.75m to 0.45m. Pull the character size from knee-up to full body, returning the vanishing axis from the left window row to the front connecting door.
At 7.5s, the left knee compresses. At 7.8s, the pelvis passes over the left foot, beginning a clockwise rotation. At 8.1s, the entire katana enters a single waist-high arc from the right hip; the blade, guard, and hilt move on the same rotational axis. At 8.5s, the same single blade path passes consecutively across the fronts of the three crowded ribcages. The protagonist does not re-pose for each enemy, passing the body in the same direction as the arc. At 8.8s, the waist completely crosses the siege line of the three enemies, and the right foot heads toward the floor ahead.
Cut 6: 8.8–10.3s | Running Through while Leaving the Three Collapsing Enemies Behind
Retreating from the low left diagonal front, placing the protagonist's full body to the right of center. Using the broken window row and connecting door as the depth axis, keep the protagonist and the three enemies behind her in the same shot.
At 8.8s, the right foot strikes, and the reaction force drives the left foot forward. Only after the sword passes do the three sets of ribs and pelvises begin to unravel simultaneously. At 9.2s, the protagonist completely exits the reach of the three enemies' fingertips. The three do not fall in sequence; they collapse into a pile of bones simultaneously behind the passage line. At 9.7s, the hips and ribcage cross two floor seams, and the katana begins to return forward from the rear-right follow-through. At 10.3s, the next right foot strikes in front of the connecting door, synchronizing the dry sound of three sets of bones hitting the floor with the King's entrance.
Cut 7: 10.3–11.0s | Connecting the King's Entrance Immediately to a Descending Arc
Simultaneous with the right foot strike, the connecting door is pushed inward, and the Skeleton King enters the aisle in one step. From a low diagonal front view, capture the protagonist's support leg, the King's full body, and the entire black iron greatsword in the same shot.
At 10.3s, the King's lead foot crosses the door threshold. At 10.6s, without stopping the greatsword overhead, he transitions from the step into a vertical descending arc. The protagonist maintains forward momentum while raising the katana in front of her body. At 11.0s, a roughly 10cm gap remains between the descending greatsword and the katana, with both parties' hips and support feet in motion as the scene passes to the next contact.
Cut 8: 11.0–11.5s | Instantly Releasing the First Contact
From behind the protagonist's left shoulder at 1.15m height, capture both weapons in full, the pre-contact gap, and the protagonist's right foot.
At 11.0s, there is a gap between the two blades. At 11.2s, the base of the greatsword and the guard-side of the katana hit at a single point for the first time. Place a hit stop of maximum 1 frame at the moment of contact, synchronizing a short metallic sound and blue-white sparks to the impact location. From the next frame, the reaction force passes through the protagonist's wrist, elbow, shoulder, ribcage, waist, and right foot, which kicks the floor. At 11.35s, the two blades begin to separate. At 11.5s, the space between the blades opens to the width of one blade; the crossed pose is not maintained, and the protagonist's right shoulder begins to enter the inside of the greatsword.
Cut 9: 11.5–12.6s | Passing Through the Inside and Swapping Front-Back Positions
With a short axial orbit across the contact point, the camera moves to the protagonist's right side at 0.7m, showing both full bodies, both weapons, and floor seams.
Behind the sparks falling from 11.5s, the protagonist's hips and ribcage advance clockwise, while the katana continues to distance itself from the greatsword. At 11.8s, the right shoulder passes inside the greatsword. At 12.1s, the waist and pelvis clear the King's side, and the left foot strikes the next floor panel. At 12.4s, the front-back positions of the protagonist and King are completely swapped. At 12.6s, the King begins to rotate his shoulders, hips, and feet to follow the protagonist, passing the remaining body rotation from the descending arc into the next return swipe.
Cut 10: 12.6–14.0s | Transforming the Tracking Rotation into a Horizontal Return Swipe
Camera retreats from the protagonist's right diagonal front at 0.95m along the attack line, capturing the King's full body, the entire greatsword, and the protagonist's support leg.
At 12.6s, the King steps to another floor panel, using the reaction force from the floor to rotate his shoulders and hips in pursuit. At 13.2s, the greatsword takes over that rotation to begin a horizontal return arc. The protagonist does not retreat, placing her left foot half a step toward the outside of the aisle and bringing the middle of the katana into the path of the greatsword. At 13.6s, there is a 10cm gap between the two blades. At 13.8s, the middle of the greatsword and the middle of the katana hit at a single point. Hit stop is max 1 frame. By 13.9s, the blades have already separated. At 14.0s, the protagonist's left foot converts lateral pressure into forward speed, passing that reaction to the next attack to connect to the passage.
Cut 11: 14.0–18.5s | Passing through the Opposite Side via Return Reaction and Entering the Finishing Trajectory
Low diagonal view with a seat as a brief foreground. At 14.0s, the two blades move in different directions while separating, leaving only sparks behind. At 14.5s, the left foot catches the floor on the outside of the aisle, compressing the knee. At 15.2s, the pelvis, having received lateral pressure, advances past the support foot, and the protagonist's ribcage and waist pass the King's sword-arm side.
At 15.8s, the front-back relationship is updated again, with the protagonist emerging diagonally behind the King. The King is not left behind, turning the greatsword and torso to follow her. At 16.4s, the right foot strikes the floor behind the King. At 17.2s, that grounding reaction transforms the clockwise body rotation into a single sword trajectory returning diagonally upward. At 18.0s, the entire katana approaches the front of the undamaged black iron armor, maintaining a roughly 10cm gap. At 18.5s, the moment with the gap remaining between the blade and the advancing body is passed to the finish.
Cut 12: 18.5–22.8s | Finishing with a Diagonal Upward Slash and Beginning Collapse
Short push-in from behind the protagonist's diagonal rear at 0.8m, capturing the entire katana, the front of the black iron armor, and both parties' support legs.
At 18.5s, the armor is intact with a gap between it and the sword. At 18.7s, the middle of the katana passes diagonally upward across the front of the black iron armor. Place a hit stop of max 1 frame at the moment of contact. At 18.8s, a thin blue crack runs through the armor only after the sword passes. At 19.2s, the King's blue orbital flames extinguish.
The protagonist does not linger at the contact point, moving the sword's follow-through and her hips past the King's exterior by 19.6s. At 20.0s, the King's knees lose their support. At 20.8s, the armor torso leans forward, and the greatsword tip nears the floor. At 21.6s, one knee and the greatsword tip touch the floor, synchronized with metallic sound. At 22.8s, the incomplete fall of the King's torso and greatsword toward the floor is passed to the next Cut.
Cut 13: 22.8–26.8s | Leaving the Collapse Behind and Connecting to Sheathing Preparation
Camera retreats from the protagonist's left diagonal front at 1.1m, capturing the protagonist at knee-up and the falling King in full in the background.
At 22.8s, the protagonist places her right foot on the floor ahead, leaving the falling King behind. At 23.4s, both knees and the armor torso hit the floor. At 24.0s, the black iron greatsword falls sideways and stops on the floor, synchronized with a dry, heavy metallic sound. At 24.2s, she takes her first step. At 24.8s, she crosses a floor seam on the second step.
At 25.4s, using the walking reaction, she half-turns toward the fallen King and brings the katana back to her side. At 26.2s, the left hand supports the scabbard on the left hip, and the right hand begins to rotate the sword toward the scabbard opening. At 26.8s, the tip aligns just in front of the actual scabbard opening, not yet inserted, as it passes to the next Cut.
Cut 14: 26.8–30.0s | Concluding with Sheathing
Lateral diagonal close-up capturing the face, both hands, and the scabbard opening on the left hip. At 26.8s, the left hand supports the scabbard, and the right hand rotates the entire katana to align the tip accurately with the scabbard opening. At 27.2s, the tip enters the opening, and the blade thereafter slides in continuously in real-time.
At 29.7s, the guard meets the scabbard opening, synchronizing with a dry metallic 'clink' sound as sheathing is completed. The background bones of the three, the fallen King, and the sideways greatsword remain static. Simultaneously with the completion of sheathing at 29.7s, perform the brief facial expression change mentioned above. At 30.0s, cut the scene in a finalized state just before the right hand lets go of the hilt.
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