An extremely detailed anime battle prompt set in a futuristic city, covering camera angles, character consistency, and rhythmically choreographed combat.
High-quality anime footage. A high-speed sword battle for a cinematic action RPG set in a near-future academy city, rendered in dense 3D toon/cel look. Feature-film-level key animation, high-quality compositing, translucent lighting, and highly detailed background art. @1 is calm and overwhelmingly superior; @2 is a challenger relying on speed and number of attacks. Connect attack, parry, counterattack through reaction force, and maximum collision without interruption. [Reference Images and Character Lock] Interpret the @1 reference image and **@2 reference image as two separate people. Use the reference images only to maintain the face, eye shape, iris color, hairstyle, hair color, outfit, ornaments, physique, silhouette, atmosphere, character colors, and existing weapon design. Do not reproduce the background, room, furniture, text, split layout, pose, composition, angle of view, or framing from the reference images. Throughout the entire sequence, each of the two remains the same individual, same person, same character identity. Only expressions, gaze, mouth shape, posture, breathing, and natural movement of hair and clothing may change. Averaging facial features, mixing traits, swapping hair colors, swapping outfits, swapping weapons, turning them into different people, cloning, duplicates, or adding extra people is prohibited. Extract each person’s main color, secondary color, accent color, material feel, decorative motifs, and worldbuilding from the reference images, and use them from then on as @1's unique colors and @2's unique colors**. Do not swap colors between the two. Redesign the background, props, glowing guide lines, floor reflections, air, steam, lighting, and effects so they harmonize with the two characters’ outfits, ornaments, personalities, and worlds while maintaining the fixed stage structure. However, do not change the flow of the fight, positional relationships, points of contact, or camera order. [Fixed Art Style] Thin, delicate colored outlines. Clear two- to three-level cel shading and translucent mid-shadows on the face, hair, outfit, and equipment. Use the unique colors from the reference images in clear high saturation, with multilayer highlights in the eyes and hair. High density down to the face, hair strands, embroidery, ornaments, metal, gems, and weapon fittings. Distinguish fabric, leather, metal, gems, wet floor, and glass with different reflections and roughness. Use each person’s unique colors in the key light and shadow colors, and keep the background one level darker than the characters. Do not use thick black outlines, flat single-layer cel shadows, simplified TV anime, generic 3D pretty-girl faces, more mature-looking designs, smooth plastic CG, semi-realism, realism, low-density backgrounds, muted colors, or mixed art styles. [Stage and Atmosphere] A rain-washed near-future academy city, a wet rooftop training ground at dusk. Glowing guide lines, colored reflections on the floor, high-rise school buildings, glass walls, city skyline, thin steam. No one is present except the two characters. Architectural ornaments, floor patterns, handrails, lighting fixtures, training equipment, and abstract patterns in distant ads should be matched to the motifs of the reference characters, but no text, logos, or UI should appear. [Camera] Instead of a fixed side view, use, in order: a low three-quarter angle close to the floor following @2, an oblique front view above @1’s chest, an over-the-shoulder view from @1, a roughly 60-degree orbit around the point of contact, and a low diagonal aerial camera closing in on the final collision. The camera and background rotate; do not rotate the characters pointlessly. [Fixed Weapons] Each of the two holds only one sword, two swords total. If a weapon appears in a reference image, maintain its shape, length, decoration, and color scheme; if it is not a sword, redesign it as a single sword that inherits that design language. Fix the number, blade, guard, hilt, sheath, and tassel connections across all cuts. Hands grip only the hilt behind the guard. Move the blade, guard, and hilt as a single weapon from the shoulders, elbows, waist, and support leg; do not rotate only the blade or tip. @1 holds the hilt near the waist with the right hand only at the moment of parrying, and uses the left index finger. @2 holds the sword with both hands. [Movement] Cut 1: Start from the moment when **@1's unique-colored horizontal slash light at the end of the previous clip crosses in front of the lens. The light is a curved afterglow attached tightly to the sword’s sweep plane, not an independent laser. Once the light passes, the camera connects to a low three-quarter position behind @2’s left side, close to the floor. @2 kicks off the wet floor with the left foot and delivers a diagonal downward slash from upper right to lower left toward @1’s right shoulder with a two-handed sword. Water droplets, hair, and cloth lag and stream opposite the direction of acceleration. @2's unique-colored** sword light covers the lens, becoming an occluding wipe into the next close-range cut. Cut 2: When @2's sword light passes, show **@1 from an oblique front view above the chest. @1 does not retreat a single step and remains expressionless. With the right hand holding the sword low, form only one thin @1 unique-colored hexagonal defense plane in front of the left index finger. @2's slash hits the single point of contact at the center of the defense plane, synchronizing a localized flash, hexagonal ripples, and @2 unique-colored sparks. When @1 flicks the finger and wrist a few centimeters outward, the entire defense plane tilts, deflecting @2's trajectory about 45 degrees upward from outside @1's shoulder. Reverse reaction force returns into @2**'s arms, shoulders, and waist, and the support leg steps again. The camera follows the deflected trajectory with a whip pan. Cut 3: At the end of the whip pan, enter **over @1's shoulder. @2 uses the returned reaction force, pivots once on the left foot, flips the waist, and makes a low return slash. @1 returns the left hand to the hilt, receives the strike at a single point between the centers of the blades, then after a short hit stop, slides along the contact surface and knocks @2's sword upward and outward. Immediately, @1 steps into range and counters with an @1 unique-colored rising slash from lower left to upper right. The camera orbits about 60 degrees around the point of contact, and the railing and floor reflections move dramatically. @2 is pushed diagonally backward, performs a half-turn in the air, lands on the right foot, and slides briefly. @1 advances without stopping. Asymmetric movement in which only @2 is pushed back**. The water splash from the landing covers the lower part of the frame. Cut 4: Beyond the water splash, use a low diagonal aerial composition with @1 large in the left foreground and @2 in the right background. Do not place the two side by side. At the end of the slide, @2 replants the right foot and, without stopping, makes an **@2 unique-colored downward slash from upper right toward the center. @1 also continues advancing and makes an @1 unique-colored rising slash from lower left toward the center. From around and behind each person’s feet, huge flame-like auras in their respective unique colors surge upward, accompanied by glowing cracks in the floor, thin lightning, and an updraft. The two colors do not mix. Let the shape of the two swords be readable only for the instant when they enter the same contact point; after contact, hide them in the glow. From the same contact point as the source, @1's straight trajectory and @2's curved trajectory form a giant X. Make only the narrow incandescent center pure white, leaving both characters’ unique colors around it. Maintain large areas of highly saturated color, and spread radial shockwaves, concentric pressure waves, vertical flame-like auras, volumetric light, lightning, sparks, floor water, steam, dust, debris, hair, and clothing outward from the same collision core. Colored effects occupy most of the frame. @1's pressure breaks @2's defensive posture.** The camera briefly rushes toward the contact point, is pushed slightly backward by the shockwave, and tilts a few degrees. Do not turn the entire screen white. [Critical Negative Prompts] Fixed side-view fighting-game perspective, symmetrical full-body composition, resetting the fight by moving the two to the far left and right edges, simultaneous reversal, mirrored simultaneous dash, long run-up, long sword bind, meaningless continuous spinning, independent laser, third beam of light, two-color fusion, full-screen whiteout, text, subtitles, logos, watermarks, UI, no sound generation. [Ending] @1's energy pushes the contact point **toward @2, and the water smoke and dust on @2's side swell backward. @2's silhouette begins to collapse diagonally backward, while @1** keeps a low center of gravity and continues driving force forward. The huge two-color X-shaped light expands to its maximum, and at the moment of contact when the characters and blades are hidden in the light, immediately cut on the frame that captures the beginning of the collapse. Action continues.
