Futuristic Close Combat 2D Action Anime

High-quality anime footage. Movie-theater-class high-density 2D hand-drawn action anime. High-speed melee combat. Set in a dark near-future giant corridor, the protagonist continuously breaks through multiple enemies without stopping. Most important are the overwhelming speed, grounding, chain of reaction forces, clear contact, extremely changing camera distances, short 'face rewards' (clear face shots), and instantaneous graphic impacts in red, black, and white in the latter half. Do not create segments of standing still to re-pose. Use the reaction of each attack as the start of the next movement or attack. [Protagonist Fixed] Maintain the protagonist from the source reference image as the same person in all cuts. Do not change face shape, age feel, eye size and spacing, iris color, jaw, bangs, hairstyle, hair color, outfit, body type, or unique color scheme. Even during high-speed movement, distant views, or backlit explosions, do not allow the character to become a different person, look older, or become simplified. The moment the shot returns to a close-up, accurately revert to the same face, eyes, and hair as the source reference image. The protagonist's weapon is only one slender single-edged sword. Maintain the blade, guard, and hilt as a single continuous structure. Do not multiply, branch, or exchange weapons. Hands always grip only the hilt, and do not overlap the blade and hands in front of the face. [Enemies Fixed] Four humanoid enemy soldiers wearing black near-future armor. All four maintain a similar armor design and do not mix faces, hair, outfits, or weapons with the protagonist. Enemies maintain humanoid bodies, black armor, and limbs even during combat. After being hit, they do not transform into crystals, abstract objects, or clumps of light. [Art Style Fixed] Entirely 2D hand-drawn anime. Thin, delicate line art, dark but not overly black outlines, two-to-three-tier anime shading, transparent mid-shades, multilayered highlights on hair and eyes, high-density background art, and exaggerated key animation for theater-quality action. Use short smear frames with boldly stretched shapes during high-speed action as needed, but return the face to clarity during face reward frames. Do not use thick black outlines, simplified TV-style animation, low-density backgrounds, flat single-layer cel shading, smooth 3DCG, live-action style, semi-realism, dull colors, or mixed art styles. [Setting/Color/Light] The setting is a dark, massive near-future corridor. Maintain the same location throughout. Use black, dark navy, and dark blue-green as basic background colors, with thin red linear lighting on walls, floors, and ceilings. Red light lines point toward the vanishing point at the end of the corridor, emphasizing speed direction and depth. Fix color roles: Cyan-Blue = Protagonist's acceleration and electrical afterglow; Lime-Yellow Green = Sword attack trails; Orange-Yellow = Sparks and explosions after contact; Red-Black-White = Graphic impact used only for the final shock in the latter half. Do not exchange color roles between cuts. Keep skin tones and protagonist-specific colors stable, avoiding random white balance changes. [Common Movement Rules] Do not process running as a parallel slide of the body. Sequence: Grounding foot fixed to floor -> Pelvis passes over supporting leg -> Opposite knee moves forward -> Toes of supporting leg kick the floor -> Short aerial phase -> Opposite foot grounds forward -> Knee compresses -> Next kick. The pelvis and ribcage themselves must advance across floor joints. Even if the camera follows, do not eliminate the protagonist's movement amount in world coordinates. Landing must always pass briefly through: Foot grounding -> Knee compression -> Hips sinking -> Upper body following. Sword contact reaction force should not be absorbed only by the wrist; flow it through: Sword -> Wrist -> Elbow -> Shoulder -> Ribcage -> Hips -> Supporting leg, passing that reaction and hip rotation into the next movement without stopping. Hair, clothing hems, and decorations follow the body with a slight delay. [Contact Rules] All important attacks follow this order: Clear gap between sword and enemy before contact -> Sword contacts specified position -> Very short hit-stop only at the moment of contact -> Sparks, armor displacement, enemy center-of-gravity change, and explosion only after contact. Do not blow enemies away before contact. Do not generate explosions before contact. Do not create static screens showing only effects; continue character movement while sparks or explosions are visible. [Full 10 Cuts Breakdown] [Cut 1 | Floor Ignition] Starts with an ultra-low-angle extreme close-up of the protagonist's feet. The front foot grounds strongly. The sole catches the floor, and the knee compresses for a split second. The moment the toes kick off, thin lime-green friction sparks fly backward. Cyan electrical afterglow runs briefly from ankle to leg. Camera runs parallel to the floor with the protagonist, showing grounding, kicking, and the pelvis advancing. The protagonist doesn't stop, converting the kick into high-speed acceleration. Ends with upper body leaning forward entering the next stride. [Cut 2 | Corridor Acceleration] Inherits the forward lean and speed. Protagonist advances into the corridor using alternating high-speed strides. Floor joints and red wall lights blur backward. Camera follows from a low front position, retreating at the same speed. Strong wide-angle perspective shows face, chest, knees, legs, and the corridor vanishing point. Orange explosion occurs far behind, but protagonist doesn't look back. Explosion pressure pushes hair and hems forward momentarily. Just before the next enemy appears, protagonist grounds the right foot and drops hips low for a slash. [Cut 3 | Face Reward to First Slash] Inherits right-foot support and forward speed. Camera catches up at high speed, zooming in momentarily from chest to face. Face and eyes are clear, but movement doesn't stop. Protagonist glares at the enemy, smirking slightly and exhaling a short breath. Rotates hips and swings the sword in a single path from bottom-diagonal to top-diagonal. Clear gap before contact. Short hit-stop when blade hits enemy torso armor. Thick lime slash trail and orange sparks cross the screen diagonally after contact. Enemy's upper body buckles; protagonist converts reaction into leftward movement. Lime blade light crosses the lens, providing a transition to the next camera axis. [Cut 4 | Explosion Mask and Axis Change] Starts from the blade light mask. Camera is now at a diagonal side medium shot. As the first enemy collapses, they hit background equipment causing a short orange explosion. Smoke partially covers the screen but doesn't hide the protagonist for long. Using the hip rotation, protagonist steps laterally to change course toward the second enemy. Camera cuts across the smoke as a foreground element to discover the new distance. No stopping or re-posing. [Cut 5 | Continuous Melee] Protagonist grounds left foot forward and steps into the second enemy. Parries enemy weapon once. Gap before contact. Tiny metal sparks at contact. Enemy weapon is deflected, protagonist's shoulders and hips rotate in reverse. Protagonist uses that recoil to transition into a horizontal slash from the same rotation. Horizontal slash makes single contact with torso. After hit-stop, enemy buckles sideways. Side-tracking camera shows enemy weapon, protagonist's full sword, supporting leg, and contact point in one frame. Protagonist maintains forward direction after slash, passing the enemy. [Cut 6 | Space Opening] Inherits momentum from the previous cut. A third enemy attacks from the front. Protagonist grounds one foot and converts compression into a vertical and forward leap. Camera switches to a wide long shot, making character size significantly smaller. Shows protagonist, 3 enemies, red lighting corridor, and vanishing point to maximize scale. Protagonist tilts body axis once in mid-air to clear the attack line. No excessive mid-air spins. Descends while keeping the landing point in view. [Cut 7 | Landing Reaction to Re-acceleration] Protagonist lands. Sequence: Grounding -> Compression -> Hips sinking -> Upper body follow. Absorbs reaction without stopping, sinking hips directly into the next forward kick. Cyan afterglow runs back from landing point. Camera slides low to the protagonist's side. Before fully standing, protagonist accelerates toward the third enemy. Camera briefly parallels the face to show eyes and profile. No long face rewards. [Cut 8 | Third Contact and Maximum Pressure] Protagonist maintains acceleration. Minimally dodges enemy attack and swings sword horizontally. Gap before contact. Hit-stop at contact. Lime trail, orange sparks, and armor displacement occur simultaneously. Enemy's center of gravity shifts significantly. Protagonist absorbs reaction into hips to twist toward the next direction. Camera zooms extremely close to the protagonist's eye. The moment the eye occupies the main screen area, transition to graphic insert. [Cut 9 | Graphic Impact Intercut] Do not delete reality for long. Extreme close-up of eye -> flashes to solid red -> extremely short 2D graphic frame composed of black background, white slash plane, and red speed lines -> sword trajectory abstracted as a single white directional line -> immediate return to reality. This is an editorial accent for impact, not a transformation of space. No red ribbons or decorative beams. Upon return, the sword trajectory from Cut 8 continues into the attack on the fourth enemy. [Cut 10 | Maximum Impact / No-Stop Termination] Protagonist approaches the fourth enemy at continuous speed. No stop before the final attack. Grounds left foot to compress hips, pushing off to swing sword in a large diagonal slash. Clear gap before contact. Strongest hit-stop at contact. After contact, large lime slash trail, orange sparks, and cyan afterglow expand from a single point. Insert red-black-white graphic frames at the pressure point. Enemy is blown off balance. Protagonist flows the reaction into hips and supporting leg, converting it into the next forward acceleration. Camera passes high-speed next to protagonist during impact. Final frame: protagonist is not static. No sword-raising. No victory pose. No looking at the camera. No quiet pull-back shot. Cut while protagonist is kicking off for the next step, hair and clothes flowing back, mid-movement. This vector naturally loops back to Cut 1. [Sound] High speed but not constant max volume. Sync short 'huff/ha' breaths with strong steps. Hard floor sounds for grounding. Short metallic 'whoosh' for sword movement. Short metallic clashing for weapon contact. Metallic impact and low thud for hitting armor. Explosions sync with contact results. In graphic inserts, compress ambient sound momentarily to bring sharp slash sound to the front. No long screaming, dialogue, or excessive roaring. [Important Guards] Never return to neutral stance after attacking. Always convert reaction, dodge, compression, or rotation into the next move's propulsion. Do not just move the camera to simulate speed; advance the character relative to the floor. Change at least 2 camera parameters (position, height, size, axis) between adjacent cuts, but do not reset movement direction for camera changes. Create distance amplitude: Extreme close-up feet -> Front wide -> Face close-up -> Side medium -> Low angle contact -> Ultra-wide long -> Profile close-up -> Eye extreme close-up -> Red/Black/White Graphic -> Real-time high-speed melee. Do not express speed through effect volume alone. Ensure at least one key point (supporting leg, trajectory, contact, reaction) is readable. Do not overlap effects over the face during face rewards. No text, subtitles, logos, or watermarks. No extra protagonists, clones, or weapon multiplication. No sudden enemy additions. No enemy crystallization. No long slow-motion. No long glares or weapon-clashing. No static victory poses or sword-raising. No final wide pull-away shot.