STYLE FIRST: rough hand-drawn Japanese TV anime, drawn like a key animator's working drawings and fl

STYLE FIRST: rough hand-drawn Japanese TV anime, drawn like a key animator's working drawings and flat-colored. Thick-and-thin brush-pen ink lines with sharp jumps in weight, loose sketch lines left around the contours, one hard-edged flat shadow shape per area plus fast hatching in the darkest folds. No gradients, no soft shading, no airbrush, no glossy highlights, no smooth digital polish, no 3D. Limited animation on threes with visible jumps between drawings. This style applies to every frame, every close-up and every effect. Use @[image1] as the character design sheet: copy her design, outfit, colors and proportions exactly from @[image1], and match the rough hand-drawn line and flat shadow look of @[image1]. Keep her face, violet eyes, very long straight pink hair with blunt bangs, the white high-neck cropped sleeveless top with the black collar, the oversized off-shoulder white techwear jacket with orange panels and straps, the black harness belt with the white hip pouch, the orange baggy cargo pants gathered just below the knee, the single orange fingerless glove, and the chunky white and orange sneakers. She fights with her bare fists and her feet only, no weapon of any kind. Her face stays exactly on-model in every frame, wide shots and extreme close-ups included. MAIN VISUAL GOAL: a 30-second hand-drawn anime street fight, cut like a fighting-game finisher: fast wide exchanges, and every exchange ends in one SUPER CLOSE-UP. Never slow motion, and she never stands still for more than half a second. SUPER CLOSE-UP: on the final blow of each exchange, hard cut to an extreme close-up from very low and very near, her fist or foot filling half the frame as it drives into the enemy. The background always drops out to a flat hot pink field with thick black radial speed lines. Each super close-up lasts about one and a half seconds and plays in three steps: first the wind-up, her fist pulled back and trembling with power, half a second; then a frozen hit-stop at the moment of contact, half a second, everything still; then the impact unfolds: a white shockwave ring bursts off the hit, the enemy's face and body warp hard around it, and a huge splash of black paint rimmed in hot pink explodes outward. Then hard cut back to the wide shot and the enemy flies away. There are exactly 5 super close-ups and none anywhere else. The first one is short and snappy, under one second. The last one is the longest, about three seconds. PINK STREAKS: every punch and kick leaves a short thick streak of hot pink light along the path of her fist or foot, gone in a few frames. The pink streaks are the only glowing thing in the shot. PAINT HITS: every hit, small or big, bursts black paint rimmed in hot pink: flat jagged splash shapes, drips and flecks flying away from the hit. The pink is a bright hot pink like fresh paint, never dark red. No red, no blood. SET: a derelict freight train yard at night in light rain. Rusted freight cars, sagging power lines, wet gravel and puddles between the rails, a signal light blinking red, a few flickering orange sodium lamps. Cold blue-grey colors with warm orange accents, so the pink reads clearly. ENEMIES: a pack of stalkers. Grey-white humanoids with very long limbs, crawling on backward-bending joints, heads split open into petals of teeth, completely silent. Their leader is a giant stalker taller than a freight car. EDIT: hard cuts on the beat. Wide and medium shots for the exchanges, the camera moving inside every shot, framed close enough that her whole body fills at least half the frame height. The only extreme close-ups are the 5 super close-ups, plus one close-up of her face right before the last one. (0–5s) EXCHANGE 1, THE RUSH: the very first frame is already mid-rush: a medium close shot from the front, she is right in front of a stalker that has her backed against a freight car, throwing a blur of rapid punches, left right left right, her fists snapping toward the lens, short pink streaks stacking in front of her one after another, small pink-rimmed paint hits bursting off the stalker with every punch. No standing, no walking in, the fight is already on from frame one. SUPER CLOSE-UP 1, quick, under one second, flat hot pink background, seen from the side: the last punch of the rush, a hook into its ribs, the body folding around her fist. Back to wide: it tumbles end over end down the gravel and splashes into a puddle. (5–10s) EXCHANGE 2: the next stalker lunges at her. She ducks under it, two fast jabs to its body, each one a pink streak and a small paint hit, then she plants her feet and throws a rising uppercut. SUPER CLOSE-UP 2, background flat hot pink with black speed lines, wind-up then hit-stop then impact: her fist driving up into its jaw, the head snapping back, pink and black paint bursting upward. Back to wide: it flies up and over a freight car. (10–15s) EXCHANGE 3: three stalkers come at her at once. She spins into a high kick that knocks one into a puddle, sidesteps the second and elbows it into the side of a car, then turns to the third and pulls her fist all the way back. SUPER CLOSE-UP 3, background flat hot pink with black speed lines, wind-up then hit-stop then impact: a straight punch dead into its face, the face caving around her knuckles, the shockwave ring blowing the rain sideways. Back to wide: it is blasted down the tracks, sparks on the rails. (15–20s) EXCHANGE 4: two stalkers drop onto her from the roof of a freight car. She rolls clear, springs onto the car roof, blocks a claw with her forearm, and spins into a jumping back kick. SUPER CLOSE-UP 4, background flat hot pink with black speed lines, wind-up then hit-stop then impact: the heel of her sneaker smashing into the side of its head, the head bending around the kick. Back to wide: it is kicked off the roof and slams into the car on the next track. (20–27.5s) FINISH: the leader climbs over a freight car, clearly visible in full, and slams a giant claw down at her. She jumps onto its arm, runs up it and, without stopping, leaps off its shoulder high above its head, cocking her fist back with both feet off the ground. Hard cut to a close-up of her face in mid-air, about two seconds long: her violet eyes narrow, the rain streaking past, and she says one short line in Japanese, low and sharp, her lips moving clearly with it: 「くらえ！」 (kurae!). SUPER CLOSE-UP 5, the longest and biggest, about three seconds: her fist smashing down onto the top of its split head, two shockwave rings, the whole frame pink and black, a wall of paint exploding outward. (27.5–30s) Back to wide: the leader collapses across the rails in a flood of pink-rimmed black paint. She lands in a crouch, flicks the paint off her knuckles, then turns around so her back faces the camera and walks away from the camera down the tracks, walking forward normally, her toes pointing the way she is going, her long pink hair and the back of her white jacket toward us. The shot ends while she is still walking away, small in the rain, her back to the camera the whole time. Sound: rain on steel, footsteps on gravel, fast punch whooshes, heavy meaty hits, a rising whine on every wind-up, a deep bass boom and a split second of silence on every super close-up, wet paint splashes. No music, no narration. The only voice in the whole video is her one line 「くらえ！」 on the face close-up, a young woman's voice in Japanese; no other words, no grunts. No 3D, no realistic look, no motion blur, no slow motion, no nudity, no gore, no extra characters, no weapons, no subtitles, text, health bars, game UI or watermark. No portrait close-up and no standing pose at the start or the end. No walking backwards and no walking toward the camera at the end. Paint, rain, dust and sparks are drawn as flat hard-edged shapes, no halo, no particles. The pink streaks are the only glow. The paint is never plain black alone: every splash keeps its hot pink rim. Frame rule: Japanese TV hand-drawn animation, limited animation on threes, lines move in skipped frames, no CG smooth interpolation, no smooth motion. Style anchor: Japanese TV anime look, key-animation aesthetic, limited animation on threes, motion with skipped frames, visible jumps between frames, low frame rate hand-drawn feel, no fluid motion, keep the skipped-frame feel, rough hand-drawn lines, uneven ink, outline weight that changes sharply, lines that suddenly thicken at joints and hair tips, sketch lines and overlapping lines left in on purpose, raw pencil-sketch strokes, shaky broken lines left unpolished, flat cel color mixed with hatched shadows, cross-hatching around the eyes and jaw, hard-edged shadow shapes, stacked ink lines in the darks.