Project prompt
사이버펑크 세계관,
((VISUAL STYLE AND ANIMATION DIRECTION
Late-1980s to early-1990s Japanese theatrical / OVA science-fiction cel animation.
SCOPE AND PRIORITY
Apply this direction to the existing scene brief. Preserve its characters, story, duration, shot count, actions, dialogue, setting, camera instructions and intended ending.
Use one coherent visual language throughout the sequence.
Priority: preserve the approved character and mechanical designs; execute the specified scene and actions; apply the reference-derived cel-animation drawing, painting and motion style.
Do not introduce additional scenes, characters, objects, transformations or effects merely to demonstrate the style.
REFERENCE ROLES
design geometry, proportions, hairstyle, base colors, mechanical components and polymer coverage.
define drawing and painting technique only: line quality, facial rendering, cel-shadow shapes, material separation and hand-drawn mechanical expression.
If a motion reference is supplied, use its timing, hand articulation, physical contact and sequence of mechanical operation only. Do not inherit its character, cockpit, props, composition or camera movement unless separately requested.
A turnaround sheet describes one character from multiple angles. Do not reproduce the sheet layout or create multiple copies of the character in a narrative shot.
DESIGN LOCK
Preserve the exact approved face, expression, eye proportions, nose, mouth, jaw, hairstyle silhouette, body proportions, component count, component placement and surface boundaries.
For the supplied android, retain the pastel-pink bob, warm peach polymer, elongated leg proportions, smooth limb surfaces, exposed artificial rib-frame torso and broad polymer back.
Keep the neck partly enclosed by its existing side polymer shells, with the approved recessed rotary bearing, short support structure and head hinge visible through the openings.
Mechanical parts must remain within the outer width and depth of the adjacent polymer. Preserve their existing scale and connections.
Greater animation quality must come from stronger drawing, clearer construction and more carefully designed movement. Do not add parts, cables, seams, rivets or decorative circuitry.
HAND-DRAWN LINEWORK
Use refined hand-inked Japanese animation contours with controlled pressure variation and naturally tapered ends.
Keep internal facial and construction lines finer than the main contours. Use stronger dark accents selectively at overlaps, eyelashes, recessed joints and contact points.
Maintain confident, economical lines that describe solid forms and perspective.
Avoid thick uniform sticker outlines, generic vector strokes and inflated cartoon shapes.
Keep the character’s facial geometry unchanged. Express refinement through delicate eyelid, nose, lip and jaw marks, and carefully placed shadow shapes.
Maintain stable volumes and consistent construction as the character changes angle.
HAIR DRAWING
Preserve the approved hairstyle and its existing large clumps.
Draw a compact, coherent silhouette with a small number of purposeful internal lines. Keep the fringe orderly and the bob’s lower edge softly rounded and gently turned inward.
Use broad, deliberately shaped highlight and shadow areas that follow the volume of the hair.
Animate the large hair masses with restrained overlapping motion and a brief natural settling action when movement requires it.
Avoid numerous tiny pointed strands, serrated edges, flyaways, feathered highlights, constantly fluttering hair and changes in haircut between frames.
CEL PAINTING AND COLOR DESIGN
Use clean, opaque cel-painted color areas with clearly separated light and shadow.
Build most forms from a stable base color, one main shadow tone and a selective deeper shadow or highlight where needed.
Design shadow boundaries to describe the planes and curvature of the existing forms. Preserve the shapes of the face, limbs and mechanical parts.
Retain the character’s approved base colors. Use restrained warm and cool shadow relationships, including muted rose, slate blue and graphite where appropriate to the scene.
Keep colors rich and readable, with selective deep darks and carefully controlled bright accents.
Avoid automatic sepia grading, washed-out vintage filters, excessive saturation and an unrequested pink-and-cyan lighting scheme.
Keep cel-painted character surfaces visually clean, without visible brush streaks or granular texture.
MECHANICAL DRAWING AND MATERIALS
Give the existing mechanisms clear perspective, readable overlaps, convincing pivot locations and understandable connections.
Render metal with coherent dark recesses, broad painted tonal planes and narrow, deliberately placed highlights.
Express depth through the spaces between existing components and the way one part occludes another.
Use the same hand-drawn line character and cel-painting logic for the machinery, face and polymer.
Rigid parts retain their shapes while rotating or translating around their established joints and guides. Flexible elements bend only where the approved design allows.
Avoid rubbery metal, sliding attachment points, floating components, changing topology and glossy toy-like 3D shading.
ANIMATION TIMING — VIDEO ONLY
Target the visual cadence of carefully crafted hand-drawn animation on a 24 fps timeline.
Use animation on twos for much of the ordinary character acting, with deliberate holds and clear pose transitions.
Use selective animation on ones for detailed finger articulation, mechanical operation, difficult perspective rotations and fast motion that requires closer drawing intervals.
Do not apply one uniform cadence to every action.
Use carefully designed anticipation, acceleration, spacing, brief accents, deceleration and follow-through.
Make weight visible through preparation, force transfer, resistance and the way motion settles.
Keep dense mechanical close-ups richly articulated and fluid while preserving clear individual actions.
Avoid artificial 60 fps interpolation, uniformly floating motion, automatic morphing and excessive smoothing that erases the intended timing.
HANDS, CONTACT AND MECHANICAL OPERATION
When the scene contains an existing interaction with a mechanism, clearly show:
initial state → contact and preparation → applied action → mechanical response → settled end state.
Keep fingertips attached to the correct contact surfaces while buttons, switches, grips or levers are operated.
Show purposeful finger repositioning and changes in grip when the action requires them.
Allow the hand, wrist, arm, mechanism and any specified indicator to respond in a clear causal order.
Small movements should communicate pressure, resistance, travel and release.
Do not skip directly from the beginning to the final pose, slide the hand through a solid object or make unrelated components move.
Elaborate the specified action within its existing shot and time budget; do not add an unrelated operation montage.
CHARACTER PERFORMANCE AND CONTINUITY
Use precise, restrained acting with readable gaze, balance, posture and intention.
Coordinate the eyes, head, shoulders, hands and body while allowing appropriate differences in timing.
Keep secondary motion subordinate to the main action.
When dialogue is present, use deliberate mouth shapes and facial acting that support the supplied performance.
Keep identity, anatomy, part placement, color regions and lighting direction consistent across frames and cuts.
Avoid idle movement applied to every body part, changing facial features, extra fingers, disappearing joints and flickering details.
LAYOUT, CAMERA AND BACKGROUNDS
Preserve the specified framing, camera position, movement, speed and shot continuity.
Use clear perspective, deliberate foreground–midground–background relationships and readable silhouettes.
During camera or subject movement, maintain coherent changes in scale, overlap and perspective.
If a background is required, render the specified setting as detailed hand-painted animation background art, with solid architectural construction and controlled gouache-like or watercolor-like color planes.
Keep background detail organized around meaningful structures and materials.
Any existing supporting characters, vehicles or environmental movement should have intentional timing.
Do not add a city, cockpit, machinery, crowds or scenery that the scene brief does not request.
For a character sheet or isolated asset, retain the requested plain or transparent background and the exact approved layout.
EFFECTS AND LIGHTING — ONLY WHEN REQUIRED BY THE SCENE
Draw any requested smoke, fire, sparks, exhaust, debris or impact accents as coherent animated shapes with a clear direction, expansion and decay.
Make effects respond to the action and obey the same visual perspective.
Use brief graphic accents only when the action calls for them.
For existing luminous sources, use a bright painted core and restrained localized light treatment.
Keep lighting tied to identifiable sources and preserve readable cel-shadow shapes.
Do not add explosions, glowing circuitry, drifting particles, dramatic flashes or optical effects to an otherwise quiet shot.
Avoid full-frame bloom, foggy glare, excessive lens flare and blur used to hide the drawing.
CLEAN FINISH AND EXCLUSIONS
Create a clean presentation of the cel-animation aesthetic.
No film grain, halftone, stippling, random dots, fake circuit noise, dust, scratches, VHS scan lines, chromatic aberration or simulated print damage.
No unnecessary motion blur, depth-of-field blur, frame blending, ghost trails or temporal smearing.
No generic cartoon redesign, chibi proportions, plastic 3D surfaces, photorealistic skin or rigid puppet-like deformation.
No crawling outlines, texture shimmer, inconsistent highlights or unstable details.
No added typography, labels, interface overlays, logos or borders unless explicitly required by the scene brief.
For still images, apply the drawing, painting, material and layout instructions only. Do not introduce motion trails, duplicate limbs or multiple action poses.
The final result must preserve the approved design while presenting a unified, carefully drawn and deliberately animated Japanese theatrical / OVA cel-animation finish.))
((모든 장면은 최소 초당 12장 2프레임 2코마 작화 이상으로 보여준다))
한밤의 사이버펑크 도시
도시는 네온 사인이 가득하고 바퀴없는 차가 날아다닌다
어느 가게 내부에서
디지털 고글을 쓴 야매 정비사가 손님의 기계팔을 고치고 있다
그러던 중 바깥 창문을 보자 흥미로운 걸 발견했는지 고글을 벗고 쳐다본다
(바깥창문은 영상에 보이지 않는다)
바깥에는
주인공이 길을 걷자 사람들이 쳐다보고 지나가던 취객이 비웃으며 시비를 건다
주인공은 무시한 채 길을걸어간다
