代码渲染的太空动漫战斗

Create a 2D anime short. It must look completely like real Japanese anime, as if it were taken directly from a finished theatrical anime film. This is traditional-looking, hand-drawn 2D anime, not a 3D animation, a moving illustration, or a stylized web graphic.

Build everything in three.js (WebGL2) in the browser, render every frame headless in Chrome with a painted-background brush pass and an ink pass, and encode with ffmpeg. Deliver one 1920x1080, 24 fps MP4 with an orchestral soundtrack. Use any tools, libraries, references, guides, literally anything, as long as the final result looks 100% like hand-drawn 2D anime.

REFERENCE
Retell the final fight and the Serious Punch from episode 12 of One Punch Man shot for shot: the same actions, staging, camera angles, lens feel and timing. Redesign every visual from scratch, so the scene is recognisable only by what happens, never by how anything looks. 78 seconds, 31 shots.

WORLD
A shining city on a ring around a planet: towers of white coral with coral, apricot and celadon accents, hanging gardens, a pale esplanade with a balustrade, and a sea of clouds far below. Above the north of the city hangs a 7 km hive ship with ribs like a whale skeleton.

CHARACTERS
The hero is a calm capybara janitor in overalls with a straw broom and a small citrus on his head. The villain is an insect warlord in wine-coloured armour set with gems, who sheds that armour for a mantle of lime energy.

STORY
A quiet morning. The capybara sweeps one small pile of leaves while a lime beam cuts a trench through the district behind him, and he does not notice. A sky-tram pod plants itself beside him. The hive ship arrives. The warlord lands, boasts, and is ignored; the broom taps its toe. One slash cuts the skyline on a single straight line. The armour bursts. A barrage, a rush, a blade strike: the esplanade becomes a crater and he is left on a pillar, black with soot, yawning. He flicks the warlord apart, it regrows, rises and drains the sky into a spiral around a star. The wind finally takes his pile and the citrus falls from his head. For the first time in the film he looks up. One sweep of the broom: the sky is hollowed out, the ship breaks and the clouds open around the whole planet. The last leaf lands. He goes back to work.

LIGHT
Every shot has its own light rig: key, rim, bounce and one energy light with a visible source. High-key noon, ochre dust after the landing, a drained indigo sky under the star, then the cleanest air of the film. Impact frames in negative, white and ink with lime. Textures at several scales that fade with distance.

MOTION
Living bodies move with weight: centre of mass over the feet, no foot sliding, anticipation, overshoot, arcs, breathing, characters animated on twos.

SOUND
Real orchestral samples (CC0), mood decided second by second: a calm morning, dread when the ship arrives, minor brass and percussion through the fight with every hit on picture, total silence before the sweep, and the first major chord of the film only after it.

TEAM
Parallel agent departments, each owning its own files: city, sky, warlord, capybara, FX, sound. A shared map and shot list keep them in sync.

CHECKS
Before the final render a script tests every frame on the real geometry with BVH: no character, hand or foot inside the ground, props or another body; the camera never enters a mesh or goes below ground; feet do not slide; no camera jerks; nothing appears or vanishes in the middle of a shot.

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