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この背中に飛び乗るやつをやりたかったんです🐍 Hailuo AI (MiniMax) さんがクレジットをくれたので 動きを検証、お試ししてました。（#HailuoCPP） やっと少し仲良くなれたかもしれない…！ 動き悩んでいるあなたにプロンプト👇 ------------------- General: High-quality Japanese anime-style cinematic action sequence. Extreme speed, scale, and intensity. Relentless monster combat. Quality: Ultra-high-definition cinematic animation. Sharp anime linework, high-contrast lighting, dramatic cel shading. Clear silhouettes with controlled motion blur. Character Role: An elite swordsman with ninja...

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WAKA WAKKA ✦ AIアニメ

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34,470 views • 8 months ago •via X (Twitter)

#HailuoCPP
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【Hailuo】で高速崖登りプロンプト🪨 MiniMax Design (H3) でパルクール×クライミングな動画を作って遊んでみました！ 崖登りはHailuoがかなり相性が良いようで、この感じは他のモデルではなかなか出せないかも🥹 #hailuoai #HailuoCPP Hailuoは背景でも複雑に組まれたパイプとかはめっちゃ溶けるんですけど、こういう岩場とか木とかは溶けにくいみたいですね🤔 背景が溶けてないのと人物は高速移動なので全体的に溶けはあまり気にならないかも！ 動画はHailuo 2.3の10秒を3本分エンドフレーム延長で繋いでます（＋最後のおまけもHailuo） Hailuo 2.3はまだエンドフレーム画像が使えないので、アップデートが待ち遠しいです……！ ちなみにキャラはパルクールアニメで推しを多くいただいた忍者の子カノンです🥷 カノンの日常的な練習（修行？）風景ということで……☺️✨ 曲もアニメのカノンのシーンで使っていたのと同じDnB×和ロックなやつです🎼（Suno v5） あと最初は全体的にエフェクトかけたりごちゃごちゃ編集してたんですが、Hailuoが出してくれたまんまの方がいいなと思って消しました😂笑 冒頭とラストはエフェクト入れてますが、 0:05 以降は速度調整のみです！（着地とかのアクションを雰囲気でビートに合わせたりなど） ---------- ▼プロンプトについてメモ ---------- ※Hailuoはなぜか日本語のNGワードがかなり多いので英語にしてます（YAML形式） ※実写の場合は冒頭のGeneralの1行を変えてください ※まだHailuo上限の2000字まで800字弱余裕があるので、残り部分に"Character Details:"としてキャラクターの服装などの特徴を書くとキャラの描画が安定するかも（特に延長後） ※ただし文字数が多くなると細部の効きが鈍くなるのでスリム化した方がいい場合もあります🥹 ※のんびりな崖登りもちょいちょい出るのである程度ガチャは必要です🎰 ※Effectsのところの(Depending on the action environment)は結構重要で、これを書くとちゃんとキャラが触れたものに応じてエフェクト出してくれるようになりました（なしだと何もないところでも常に葉っぱが飛び散ったりする） ※GrokやSora2などHailuo以外のモデルでもそこそこいけますが、入力画像の影響がかなり大きいかも知れません……（それはHailuoもですが） ---------- ▼プロンプト ---------- General: - High-quality Japanese animation action movie. Quality: - Ultra-High-Definition cinematic animation. - high-quality lighting and shading. Character Role: - A Ninja master, Professional traceur / Parkour athlete. Setting: - A sheer cliff of limitless height in the wilderness at sunset. Movements: - Supersonic speed full power parkour and rock climbing. - Nonstop action. - Cleverly using rocky protrusions and decaying footholds, he climbs at incredible speed. - Skillfully utilize rock protrusions and crumbling footholds. - Continues to climb sheer cliffs at incredible speed. - There should be no wasted movement between each move, and no slowing down between techniques, with extremely flowing and smooth movements connecting all the movements. Camera: - Handheld camera with camera shake. - Close-range tracking shot from behind or the side. - Dynamic camerawork and effects. Effects & Environments: - Speed line, rapid impact shockwaves effects, motion blur, Dutch angle. - Flying branches and leaves, crumbling rocks, exploding dust (Depending on the action environment). Note: - No retreat. - No stopping. - No other people.
0:24

【Hailuo】で高速崖登りプロンプト🪨 MiniMax Design (H3) でパルクール×クライミングな動画を作って遊んでみました！ 崖登りはHailuoがかなり相性が良いようで、この感じは他のモデルではなかなか出せないかも🥹 #hailuoai #HailuoCPP Hailuoは背景でも複雑に組まれたパイプとかはめっちゃ溶けるんですけど、こういう岩場とか木とかは溶けにくいみたいですね🤔 背景が溶けてないのと人物は高速移動なので全体的に溶けはあまり気にならないかも！ 動画はHailuo 2.3の10秒を3本分エンドフレーム延長で繋いでます（＋最後のおまけもHailuo） Hailuo 2.3はまだエンドフレーム画像が使えないので、アップデートが待ち遠しいです……！ ちなみにキャラはパルクールアニメで推しを多くいただいた忍者の子カノンです🥷 カノンの日常的な練習（修行？）風景ということで……☺️✨ 曲もアニメのカノンのシーンで使っていたのと同じDnB×和ロックなやつです🎼（Suno v5） あと最初は全体的にエフェクトかけたりごちゃごちゃ編集してたんですが、Hailuoが出してくれたまんまの方がいいなと思って消しました😂笑 冒頭とラストはエフェクト入れてますが、 0:05 以降は速度調整のみです！（着地とかのアクションを雰囲気でビートに合わせたりなど） ---------- ▼プロンプトについてメモ ---------- ※Hailuoはなぜか日本語のNGワードがかなり多いので英語にしてます（YAML形式） ※実写の場合は冒頭のGeneralの1行を変えてください ※まだHailuo上限の2000字まで800字弱余裕があるので、残り部分に"Character Details:"としてキャラクターの服装などの特徴を書くとキャラの描画が安定するかも（特に延長後） ※ただし文字数が多くなると細部の効きが鈍くなるのでスリム化した方がいい場合もあります🥹 ※のんびりな崖登りもちょいちょい出るのである程度ガチャは必要です🎰 ※Effectsのところの(Depending on the action environment)は結構重要で、これを書くとちゃんとキャラが触れたものに応じてエフェクト出してくれるようになりました（なしだと何もないところでも常に葉っぱが飛び散ったりする） ※GrokやSora2などHailuo以外のモデルでもそこそこいけますが、入力画像の影響がかなり大きいかも知れません……（それはHailuoもですが） ---------- ▼プロンプト ---------- General: - High-quality Japanese animation action movie. Quality: - Ultra-High-Definition cinematic animation. - high-quality lighting and shading. Character Role: - A Ninja master, Professional traceur / Parkour athlete. Setting: - A sheer cliff of limitless height in the wilderness at sunset. Movements: - Supersonic speed full power parkour and rock climbing. - Nonstop action. - Cleverly using rocky protrusions and decaying footholds, he climbs at incredible speed. - Skillfully utilize rock protrusions and crumbling footholds. - Continues to climb sheer cliffs at incredible speed. - There should be no wasted movement between each move, and no slowing down between techniques, with extremely flowing and smooth movements connecting all the movements. Camera: - Handheld camera with camera shake. - Close-range tracking shot from behind or the side. - Dynamic camerawork and effects. Effects & Environments: - Speed line, rapid impact shockwaves effects, motion blur, Dutch angle. - Flying branches and leaves, crumbling rocks, exploding dust (Depending on the action environment). Note: - No retreat. - No stopping. - No other people.

Muse｜AI音楽＆AI動画

42,027 views • 8 months ago

Grok10秒リアルな蹴り動きを作ってみました😆 効果音凄いね👍 以下「対人戦の回し蹴りプロンプト」 #GrokImagine ※あまりにもリアルなので、人ではないものを蹴った方がいいかも😅 おすすめはロボットとか🤩 --------------------------------------------------- 10-second cinematic fight scene. Start from the provided image as the exact initial frame. A woman in a black suit fights a humanoid robot armed with a handgun. She uses only kicking techniques. The robot attempts to aim and fire. She sidesteps, delivers a low kick to destabilize the robot’s leg, then advances with a controlled mid kick to the waist. She rotates her body, clearly preparing a spinning motion. With realistic human biomechanics and weight transfer, she executes a powerful spinning roundhouse kick, striking the robot’s head from the side. The robot loses balance, drops the gun, and collapses. No punches. No superhuman speed. No teleporting. Realistic martial arts motion. Clear cause-and-effect. Minimal camera movement. Serious cinematic tone. -----------------------------------------------------
0:36

Grok10秒リアルな蹴り動きを作ってみました😆 効果音凄いね👍 以下「対人戦の回し蹴りプロンプト」 #GrokImagine ※あまりにもリアルなので、人ではないものを蹴った方がいいかも😅 おすすめはロボットとか🤩 --------------------------------------------------- 10-second cinematic fight scene. Start from the provided image as the exact initial frame. A woman in a black suit fights a humanoid robot armed with a handgun. She uses only kicking techniques. The robot attempts to aim and fire. She sidesteps, delivers a low kick to destabilize the robot’s leg, then advances with a controlled mid kick to the waist. She rotates her body, clearly preparing a spinning motion. With realistic human biomechanics and weight transfer, she executes a powerful spinning roundhouse kick, striking the robot’s head from the side. The robot loses balance, drops the gun, and collapses. No punches. No superhuman speed. No teleporting. Realistic martial arts motion. Clear cause-and-effect. Minimal camera movement. Serious cinematic tone. -----------------------------------------------------

Nokosu

12,560 views • 8 months ago

Created this race using GPT Image 2 and Seedance 2.0 on TapNow Prompt Follow the storyboard strictly in exact order from Panel 1 to Panel 9. Do not skip, merge, or rearrange scenes. Keep the SAME female cyclist identity across the entire film. No face changes, no hairstyle changes, no helmet changes, no body proportion inconsistencies. Baby pink must remain the dominant apparel color throughout all cycling scenes. Avoid black wardrobe replacements. Preserve realistic nighttime lighting continuity between shots. Maintain the same cool blue tones and subtle red light reflections. Heavy rain intensity must stay visually consistent across all scenes. Water physics must look physically accurate: droplets, splashes, mist, wheel spray, and runoff should behave naturally. Avoid artificial AI motion. Camera movement should feel like real cinema rigs, FPV drones, mounted bike cameras, or stabilized tracking systems. Drone shots must maintain locked framing and smooth movement without random drifting or orbiting. Use subtle cinematic motion only — no excessive shaking or jitter. Keep realistic breathing, body fatigue, pedaling mechanics, and fabric reactions to wind and rain. Preserve shallow depth of field in macro shots and atmospheric haze in wide shots. Keep the environment dark, moody, and cinematic with strong contrast between wet reflections and darkness. Ensure all reflections on asphalt, water droplets, and bike components react naturally to changing light sources. Maintain premium commercial pacing: slow controlled preparation and macro shots transitioning into aggressive high-speed riding sequences. Final output should resemble a high-budget Nike / Rapha night cycling commercial shot during a real mountain storm. Ultra-realistic cinematic night cycling commercial about female endurance cyclists riding through an intense rainstorm in the mountains at night. Premium Nike / Rapha aesthetic with baby pink performance cycling apparel as the dominant accent color. Hyper-realistic documentary look, no stylization, no anime look, no beauty filters. Natural skin texture, realistic rain interaction, physically accurate water behavior, cinematic low-key lighting, cool blue night tones mixed with subtle red rear-light reflections. Heavy rain, fog, wet asphalt reflections, cinematic motion blur, high dynamic range, shallow depth of field, premium sports commercial quality. The film follows a strict 9-panel storyboard structure with seamless cinematic transitions and continuity preserved across every scene. The SAME female cyclist identity must remain consistent throughout the entire video: same face, helmet, glasses, body proportions, baby pink apparel, lighting style, and overall appearance. Maintain continuity of rain intensity, wetness, fog density, and environmental lighting between all shots. Panel 1: Extreme macro close-up of the female cyclist’s eyes and face in heavy rain at night. Focus on soaked eyelashes, wet skin texture, raindrops streaming across the face, baby pink helmet and baby pink face mask visible. Red rear bike light flickers dynamically across her eyes and skin while cool blue night tones dominate the scene. High contrast cinematic lighting, shallow depth of field, subtle breathing motion, intense determined expression. Panel 2: Cinematic medium close-up frontal shot of the cyclist riding aggressively through heavy rain at night. She pedals hard with strong effort and forward-leaning posture. Baby pink waterproof cycling jacket soaked with rainwater. Front bike light cuts through fog and rain with subtle flickering illumination. Wet asphalt reflects red and white lights. Smooth cinematic tracking shot with controlled stable motion and slight natural float. Panel 3: Ultra-realistic macro shot of large raindrops impacting wet asphalt at night. Crown-shaped splashes and overlapping ripples in slow motion. Rough wet asphalt texture, cool blue cinematic tones, subtle reflections from bike lights.
0:28

Created this race using GPT Image 2 and Seedance 2.0 on TapNow Prompt Follow the storyboard strictly in exact order from Panel 1 to Panel 9. Do not skip, merge, or rearrange scenes. Keep the SAME female cyclist identity across the entire film. No face changes, no hairstyle changes, no helmet changes, no body proportion inconsistencies. Baby pink must remain the dominant apparel color throughout all cycling scenes. Avoid black wardrobe replacements. Preserve realistic nighttime lighting continuity between shots. Maintain the same cool blue tones and subtle red light reflections. Heavy rain intensity must stay visually consistent across all scenes. Water physics must look physically accurate: droplets, splashes, mist, wheel spray, and runoff should behave naturally. Avoid artificial AI motion. Camera movement should feel like real cinema rigs, FPV drones, mounted bike cameras, or stabilized tracking systems. Drone shots must maintain locked framing and smooth movement without random drifting or orbiting. Use subtle cinematic motion only — no excessive shaking or jitter. Keep realistic breathing, body fatigue, pedaling mechanics, and fabric reactions to wind and rain. Preserve shallow depth of field in macro shots and atmospheric haze in wide shots. Keep the environment dark, moody, and cinematic with strong contrast between wet reflections and darkness. Ensure all reflections on asphalt, water droplets, and bike components react naturally to changing light sources. Maintain premium commercial pacing: slow controlled preparation and macro shots transitioning into aggressive high-speed riding sequences. Final output should resemble a high-budget Nike / Rapha night cycling commercial shot during a real mountain storm. Ultra-realistic cinematic night cycling commercial about female endurance cyclists riding through an intense rainstorm in the mountains at night. Premium Nike / Rapha aesthetic with baby pink performance cycling apparel as the dominant accent color. Hyper-realistic documentary look, no stylization, no anime look, no beauty filters. Natural skin texture, realistic rain interaction, physically accurate water behavior, cinematic low-key lighting, cool blue night tones mixed with subtle red rear-light reflections. Heavy rain, fog, wet asphalt reflections, cinematic motion blur, high dynamic range, shallow depth of field, premium sports commercial quality. The film follows a strict 9-panel storyboard structure with seamless cinematic transitions and continuity preserved across every scene. The SAME female cyclist identity must remain consistent throughout the entire video: same face, helmet, glasses, body proportions, baby pink apparel, lighting style, and overall appearance. Maintain continuity of rain intensity, wetness, fog density, and environmental lighting between all shots. Panel 1: Extreme macro close-up of the female cyclist’s eyes and face in heavy rain at night. Focus on soaked eyelashes, wet skin texture, raindrops streaming across the face, baby pink helmet and baby pink face mask visible. Red rear bike light flickers dynamically across her eyes and skin while cool blue night tones dominate the scene. High contrast cinematic lighting, shallow depth of field, subtle breathing motion, intense determined expression. Panel 2: Cinematic medium close-up frontal shot of the cyclist riding aggressively through heavy rain at night. She pedals hard with strong effort and forward-leaning posture. Baby pink waterproof cycling jacket soaked with rainwater. Front bike light cuts through fog and rain with subtle flickering illumination. Wet asphalt reflects red and white lights. Smooth cinematic tracking shot with controlled stable motion and slight natural float. Panel 3: Ultra-realistic macro shot of large raindrops impacting wet asphalt at night. Crown-shaped splashes and overlapping ripples in slow motion. Rough wet asphalt texture, cool blue cinematic tones, subtle reflections from bike lights.

Sharon Riley

72,716 views • 4 months ago

Made this cinematic sequence using Seedance 2.5 The realism, camera movements, water physics, explosions, and intense atmosphere are on another level. AI video generation is getting seriously cinematic. Prompt ⤵️ Create a 30-second ultra-realistic cinematic disaster sequence with a dark, intense, Hollywood-blockbuster atmosphere. Main character: A young woman with short, messy dark hair, wearing a soaked white T-shirt and light-colored shorts. Keep her appearance consistent throughout the entire video. Her face should remain realistic and expressive, showing fear, shock, exhaustion, and determination. Scene 1 — 0–5 seconds: Open with an extreme close-up of the woman running toward the camera through a dark industrial shipping yard at night. Heavy rain is falling, her hair and clothes are completely wet, and she is breathing heavily. Behind her, bright industrial lights glow through thick smoke and mist. The camera moves backward smoothly while maintaining focus on her face. Add realistic rain droplets on the camera lens, dramatic backlighting, atmospheric fog, and handheld cinematic movement. Scene 2 — 5–10 seconds: Cut to a wider shot as she runs through the flooded container yard. Large shipping containers surround her, emergency lights flash in the distance, and explosions/fire erupt behind her. She looks over her shoulder in panic while continuing to run. Water splashes dramatically around her legs with every step. Use realistic fire, smoke, debris, rain, and volumetric lighting. Scene 3 — 10–15 seconds: She suddenly loses her balance and falls into the flooded ground. Show the impact in slow motion for a moment, with water splashing around her. She quickly pushes herself back up while terrified people run in the background. A massive wave of smoke, debris, and water moves through the shipping yard behind them. Use a low-angle camera close to the ground for a powerful disaster-movie perspective. Scene 4 — 15–21 seconds: She gets back on her feet and starts sprinting toward safety. The camera tracks alongside her at high speed. Containers shake, debris flies through the air, vehicles and objects are pushed around by the powerful force behind her. Keep her face and body consistent. Alternate between close-ups of her frightened expression and wide shots showing the enormous scale of destruction. Scene 5 — 21–25 seconds: She reaches a large modern building filled with terrified people. The camera follows her inside as everyone rushes toward safety. People are falling, crawling, and helping each other while water and debris can be seen outside through the entrance. The lighting changes from cold blue-gray exterior lighting to dramatic warm interior lighting. Scene 6 — 25–30 seconds: Suddenly transition to a massive luxury yacht in the middle of a violent ocean. Huge dark waves surround the vessel under a stormy sky. The camera starts behind the yacht and slowly reveals an enormous shark-like sea creature emerging from the ocean directly behind it, creating a terrifying final reveal. The creature rises through the waves with water cascading from its body. End with a gigantic wave crashing toward the yacht. Visual style: photorealistic Hollywood disaster film, cinematic color grading, realistic skin texture, physically accurate water and rain, volumetric fog, dramatic practical lighting, realistic fire and smoke, detailed environments, natural motion blur, shallow depth of field, dynamic camera movement, high contrast, atmospheric storm clouds, extremely detailed CGI, 4K cinematic quality. Camera: mixture of handheld close-ups, smooth tracking shots, wide establishing shots, low-angle disaster shots, slow-motion impact moments, and dramatic aerial/wide shots. Sound design: heavy rainfall, thunder, distant explosions, sirens, screaming crowds, footsteps splashing through water, crashing metal, deep cinematic bass, roaring waves, and an intense rising orchestral score that builds toward the final creature reveal.
0:30

Made this cinematic sequence using Seedance 2.5 The realism, camera movements, water physics, explosions, and intense atmosphere are on another level. AI video generation is getting seriously cinematic. Prompt ⤵️ Create a 30-second ultra-realistic cinematic disaster sequence with a dark, intense, Hollywood-blockbuster atmosphere. Main character: A young woman with short, messy dark hair, wearing a soaked white T-shirt and light-colored shorts. Keep her appearance consistent throughout the entire video. Her face should remain realistic and expressive, showing fear, shock, exhaustion, and determination. Scene 1 — 0–5 seconds: Open with an extreme close-up of the woman running toward the camera through a dark industrial shipping yard at night. Heavy rain is falling, her hair and clothes are completely wet, and she is breathing heavily. Behind her, bright industrial lights glow through thick smoke and mist. The camera moves backward smoothly while maintaining focus on her face. Add realistic rain droplets on the camera lens, dramatic backlighting, atmospheric fog, and handheld cinematic movement. Scene 2 — 5–10 seconds: Cut to a wider shot as she runs through the flooded container yard. Large shipping containers surround her, emergency lights flash in the distance, and explosions/fire erupt behind her. She looks over her shoulder in panic while continuing to run. Water splashes dramatically around her legs with every step. Use realistic fire, smoke, debris, rain, and volumetric lighting. Scene 3 — 10–15 seconds: She suddenly loses her balance and falls into the flooded ground. Show the impact in slow motion for a moment, with water splashing around her. She quickly pushes herself back up while terrified people run in the background. A massive wave of smoke, debris, and water moves through the shipping yard behind them. Use a low-angle camera close to the ground for a powerful disaster-movie perspective. Scene 4 — 15–21 seconds: She gets back on her feet and starts sprinting toward safety. The camera tracks alongside her at high speed. Containers shake, debris flies through the air, vehicles and objects are pushed around by the powerful force behind her. Keep her face and body consistent. Alternate between close-ups of her frightened expression and wide shots showing the enormous scale of destruction. Scene 5 — 21–25 seconds: She reaches a large modern building filled with terrified people. The camera follows her inside as everyone rushes toward safety. People are falling, crawling, and helping each other while water and debris can be seen outside through the entrance. The lighting changes from cold blue-gray exterior lighting to dramatic warm interior lighting. Scene 6 — 25–30 seconds: Suddenly transition to a massive luxury yacht in the middle of a violent ocean. Huge dark waves surround the vessel under a stormy sky. The camera starts behind the yacht and slowly reveals an enormous shark-like sea creature emerging from the ocean directly behind it, creating a terrifying final reveal. The creature rises through the waves with water cascading from its body. End with a gigantic wave crashing toward the yacht. Visual style: photorealistic Hollywood disaster film, cinematic color grading, realistic skin texture, physically accurate water and rain, volumetric fog, dramatic practical lighting, realistic fire and smoke, detailed environments, natural motion blur, shallow depth of field, dynamic camera movement, high contrast, atmospheric storm clouds, extremely detailed CGI, 4K cinematic quality. Camera: mixture of handheld close-ups, smooth tracking shots, wide establishing shots, low-angle disaster shots, slow-motion impact moments, and dramatic aerial/wide shots. Sound design: heavy rainfall, thunder, distant explosions, sirens, screaming crowds, footsteps splashing through water, crashing metal, deep cinematic bass, roaring waves, and an intense rising orchestral score that builds toward the final creature reveal.

Noor 🌸

23,635 views • 1 month ago

Sora2 ペヤングだばぁのプロンプト公開！ ■ペヤングだばぁのプロンプトの使い方 ①ここから〜ここまでの間をSora2にコピペします ②最初の＜人物＞について、の部分をお好みのキャラクターに変更する ③3分間待つ（生成） ④だばぁ -----ここから----- ＜人物＞について 25歳、日本人女性、ビジネスカジュアル、仕事から帰ってきて少し疲れている アニメ ＜人物＞がインスタント焼きそばを作っている。カウンターの上には、白い長方形のインスタント焼きそば容器があり、紙のフタには太い文字で「やきそば」と書かれている。 容器の中にはすでにお湯が入っており、フタは閉じられている。 ＜人物＞は容器を持ってキッチンの流し台へ向かい、お湯を捨てようと傾ける。 その瞬間、フタがずるっと滑り落ち、熱いお湯と一緒に白いカールした焼きそば麺が勢いよく流しにこぼれ落ちる。 ＜人物＞の目が見開かれ、湯気が立ち上る。カメラはその顔にズーム。 一瞬、時間が止まったように固まったあと、＜人物＞は大きな声でコミカルに叫ぶ 「だばぁー！」 口の動きはセリフとしっかり同期している。 画面下にはセリフの代わりに、極太の明朝体で「だばぁ」という字幕が大きく表示され、ギャグ的なオチとして強い印象を与える。 全体は明るい色彩、誇張された表情、滑らかな動きとテンポの良いコメディ演出で、日常系アニメのギャグシーンのような仕上がり。 -----ここまで----- ■カスタマイズしたい人へ セリフの「だばぁー！」や字幕の「だばぁ」の部分をお好きなセリフや字幕に変えてみましょう オチがギャグっぽいようになっているので、シリアスに悲しむように変更するのもいいかもしれません 冒頭の「アニメ」を「実写」にするのもアリです キャラクターやスタート画像も指定したい方は、 プロンプト前半の「＜人物＞がインスタント〜フタは閉じられている。」までの部分と人物をお好みの自身のキャラクターでスタート画像を生成しましょう。 Sora2にその画像と後半のプロンプトを入れればだばぁの完成です。 Chat-GPTで画像生成するとSora2と相性がいいかもしれません。 -----English Prompt----- Please customize character, line, and caption. Character: A 25-year-old Japanese woman, dressed in business casual attire, looking a bit tired after returning home from work. Anime scene: The character is making instant yakisoba. On the counter sits a white rectangular container of instant yakisoba with a paper lid that reads “やきそば” in bold letters. The container is already filled with hot water, and the lid is closed. The character carries the container to the kitchen sink to drain it. As the character tilts the container, the lid suddenly slips off, and with a splash, the hot water and pale, curly noodles dramatically spill into the sink. The character's eyes widen in shock as steam rises, and the camera zooms in on face. The character freezes for a brief moment—then shouts loudly and comically: “Dabaa!” The character's mouth moves perfectly in sync with the line. At the bottom of the screen, instead of her dialogue, large bold Mincho-style text reading “だばぁ” appears as a subtitle, giving a strong comedic punchline. The entire scene features bright colors, exaggerated expressions, smooth motion, and lively comedic timing, much like a slice-of-life anime gag moment.
0:30

Sora2 ペヤングだばぁのプロンプト公開！ ■ペヤングだばぁのプロンプトの使い方 ①ここから〜ここまでの間をSora2にコピペします ②最初の＜人物＞について、の部分をお好みのキャラクターに変更する ③3分間待つ（生成） ④だばぁ -----ここから----- ＜人物＞について 25歳、日本人女性、ビジネスカジュアル、仕事から帰ってきて少し疲れている アニメ ＜人物＞がインスタント焼きそばを作っている。カウンターの上には、白い長方形のインスタント焼きそば容器があり、紙のフタには太い文字で「やきそば」と書かれている。 容器の中にはすでにお湯が入っており、フタは閉じられている。 ＜人物＞は容器を持ってキッチンの流し台へ向かい、お湯を捨てようと傾ける。 その瞬間、フタがずるっと滑り落ち、熱いお湯と一緒に白いカールした焼きそば麺が勢いよく流しにこぼれ落ちる。 ＜人物＞の目が見開かれ、湯気が立ち上る。カメラはその顔にズーム。 一瞬、時間が止まったように固まったあと、＜人物＞は大きな声でコミカルに叫ぶ 「だばぁー！」 口の動きはセリフとしっかり同期している。 画面下にはセリフの代わりに、極太の明朝体で「だばぁ」という字幕が大きく表示され、ギャグ的なオチとして強い印象を与える。 全体は明るい色彩、誇張された表情、滑らかな動きとテンポの良いコメディ演出で、日常系アニメのギャグシーンのような仕上がり。 -----ここまで----- ■カスタマイズしたい人へ セリフの「だばぁー！」や字幕の「だばぁ」の部分をお好きなセリフや字幕に変えてみましょう オチがギャグっぽいようになっているので、シリアスに悲しむように変更するのもいいかもしれません 冒頭の「アニメ」を「実写」にするのもアリです キャラクターやスタート画像も指定したい方は、 プロンプト前半の「＜人物＞がインスタント〜フタは閉じられている。」までの部分と人物をお好みの自身のキャラクターでスタート画像を生成しましょう。 Sora2にその画像と後半のプロンプトを入れればだばぁの完成です。 Chat-GPTで画像生成するとSora2と相性がいいかもしれません。 -----English Prompt----- Please customize character, line, and caption. Character: A 25-year-old Japanese woman, dressed in business casual attire, looking a bit tired after returning home from work. Anime scene: The character is making instant yakisoba. On the counter sits a white rectangular container of instant yakisoba with a paper lid that reads “やきそば” in bold letters. The container is already filled with hot water, and the lid is closed. The character carries the container to the kitchen sink to drain it. As the character tilts the container, the lid suddenly slips off, and with a splash, the hot water and pale, curly noodles dramatically spill into the sink. The character's eyes widen in shock as steam rises, and the camera zooms in on face. The character freezes for a brief moment—then shouts loudly and comically: “Dabaa!” The character's mouth moves perfectly in sync with the line. At the bottom of the screen, instead of her dialogue, large bold Mincho-style text reading “だばぁ” appears as a subtitle, giving a strong comedic punchline. The entire scene features bright colors, exaggerated expressions, smooth motion, and lively comedic timing, much like a slice-of-life anime gag moment.

赤城（あかぎ）

136,934 views • 11 months ago

A normal football moment turned into a futuristic legend. ⚽⚡🔥 From a dream shot to a cyber-powered goal AI brought this cinematic football universe to life. Made with GPT Image 2 + Seedance 2.0 Mini on Pollo AI Prompt: Scene 1 (0–2s) – Stadium Establishing Shot A packed football stadium at night under brilliant floodlights. The crowd roars as the camera slowly pushes toward the pitch. Flags wave, atmospheric particles float through the air, and the stadium feels massive and alive. Ultra-realistic sports broadcast quality. Scene 2 (2–4s) – Perfect Cross An original football athlete wearing a sleek futuristic white-and-neon football kit tracks a perfect aerial cross. The camera follows the ball before smoothly transitioning to the athlete's focused expression. Dramatic anticipation builds with cinematic slow motion. Scene 3 (4–7s) – The Leap The athlete explodes into an incredible bicycle volley. The camera switches between low-angle tracking shots, slow-motion close-ups, and dynamic aerial perspectives. Flying grass, dust, and motion blur enhance the realism. Scene 4 (7–10s) – Time Freeze At the exact instant before the foot touches the ball, time completely freezes. Every particle hangs motionless. The camera performs a slow cinematic orbit around the athlete while the stadium remains perfectly frozen. Scene 5 (10–13s) – Cyber Transformation Mechanical armor assembles over the athlete's body piece by piece. Blue and orange energy lines ignite, the visor activates, mechanical wings unfold, and the football transforms into a glowing plasma sphere surrounded by electricity, fire, sparks, and floating energy fragments. Scene 6 (13–15s) – Cliffhanger The transformation completes. The cyber athlete remains frozen inches away from striking the glowing plasma ball. End with a dramatic close-up, intense lens flare, floating energy particles, and a seamless cliffhanger ready for Part 2. Style: Original fictional character only. Hyper-realistic, Unreal Engine 5 quality, cyberpunk-mecha anime fusion, premium VFX, volumetric lighting, HDR, cinematic sports commercial, smooth camera movement, 1080p detail, blockbuster visuals. Negative Prompt: No real football players, no celebrity likeness, no club logos, no copyrighted jerseys, no watermarks, no text, no subtitles, no storyboard visible, no extra limbs, no deformed anatomy, no blurry frames, no flickering, no low quality, no camera shake, no glitches. Part 2 Scene 1 (15–17s) – Action Resumes Time suddenly resumes from the frozen frame. The cyber athlete unleashes a devastating bicycle volley. The instant the foot strikes the plasma football, a massive burst of blue electricity, orange fire, sparks, plasma energy, and shockwaves explodes outward. Capture the impact with ultra slow motion and dramatic close-ups. Scene 2 (17–20s) – Plasma Ball Flight The plasma football rockets toward the goal at incredible speed, leaving behind blazing fire trails, blue lightning, glowing plasma particles, and motion streaks. The camera alternates between tracking shots, side views, and behind-the-ball perspectives while the crowd becomes a cinematic blur. Scene 3 (20–22s) – Goal Impact The glowing plasma football smashes into the top corner of the goal. The net ripples violently as a gigantic energy explosion erupts. Sparks, debris, plasma waves, and holographic shockwaves spread throughout the stadium with blockbuster visual effects. Scene 4 (22–25s) – Stadium Celebration The stadium erupts with fireworks, holographic lights, smoke, confetti, waving flags, and roaring fans. Bright floodlights illuminate the entire arena while glowing energy particles drift through the air. Epic cinematic drone shots reveal the celebration. Scene 5 (25–28s) – Hero Landing The cyber athlete lands powerfully on the pitch. Mechanical wings slowly fold back into the armor while blue energy lines gradually fade. Floating sparks and glowing fragments surround the athlete as the camera circles dramatically. Scene 6 (28–30s) – Epic Finale The athlete stands in a victorious heroic pose facing the roaring stadium. The camera slowly pushes in while cinematic lens flares, volumetric lighting, drifting smoke, and holographic particles fill the scene. End on a premium blockbuster frame with an unforgettable cinematic finish. Style: Original fictional football athlete only. Do not resemble or recreate any real football player, club, team, logo, jersey, or copyrighted content. Hyper-realistic, Unreal Engine 5 quality, cyberpunk-mecha anime fusion, HDR, volumetric lighting, premium VFX, smooth cinematic camera movement, ultra-detailed 1080p, realistic physics, blockbuster sports commercial. Negative Prompt: No real football players, no celebrity likeness, no club logos, no copyrighted jerseys, no watermarks, no subtitles, no storyboard visible, no extra limbs, no deformed anatomy, no blurry frames, no flickering, no glitches, no low quality, no camera shake. #PolloAI #PolloCup
0:34

A normal football moment turned into a futuristic legend. ⚽⚡🔥 From a dream shot to a cyber-powered goal AI brought this cinematic football universe to life. Made with GPT Image 2 + Seedance 2.0 Mini on Pollo AI Prompt: Scene 1 (0–2s) – Stadium Establishing Shot A packed football stadium at night under brilliant floodlights. The crowd roars as the camera slowly pushes toward the pitch. Flags wave, atmospheric particles float through the air, and the stadium feels massive and alive. Ultra-realistic sports broadcast quality. Scene 2 (2–4s) – Perfect Cross An original football athlete wearing a sleek futuristic white-and-neon football kit tracks a perfect aerial cross. The camera follows the ball before smoothly transitioning to the athlete's focused expression. Dramatic anticipation builds with cinematic slow motion. Scene 3 (4–7s) – The Leap The athlete explodes into an incredible bicycle volley. The camera switches between low-angle tracking shots, slow-motion close-ups, and dynamic aerial perspectives. Flying grass, dust, and motion blur enhance the realism. Scene 4 (7–10s) – Time Freeze At the exact instant before the foot touches the ball, time completely freezes. Every particle hangs motionless. The camera performs a slow cinematic orbit around the athlete while the stadium remains perfectly frozen. Scene 5 (10–13s) – Cyber Transformation Mechanical armor assembles over the athlete's body piece by piece. Blue and orange energy lines ignite, the visor activates, mechanical wings unfold, and the football transforms into a glowing plasma sphere surrounded by electricity, fire, sparks, and floating energy fragments. Scene 6 (13–15s) – Cliffhanger The transformation completes. The cyber athlete remains frozen inches away from striking the glowing plasma ball. End with a dramatic close-up, intense lens flare, floating energy particles, and a seamless cliffhanger ready for Part 2. Style: Original fictional character only. Hyper-realistic, Unreal Engine 5 quality, cyberpunk-mecha anime fusion, premium VFX, volumetric lighting, HDR, cinematic sports commercial, smooth camera movement, 1080p detail, blockbuster visuals. Negative Prompt: No real football players, no celebrity likeness, no club logos, no copyrighted jerseys, no watermarks, no text, no subtitles, no storyboard visible, no extra limbs, no deformed anatomy, no blurry frames, no flickering, no low quality, no camera shake, no glitches. Part 2 Scene 1 (15–17s) – Action Resumes Time suddenly resumes from the frozen frame. The cyber athlete unleashes a devastating bicycle volley. The instant the foot strikes the plasma football, a massive burst of blue electricity, orange fire, sparks, plasma energy, and shockwaves explodes outward. Capture the impact with ultra slow motion and dramatic close-ups. Scene 2 (17–20s) – Plasma Ball Flight The plasma football rockets toward the goal at incredible speed, leaving behind blazing fire trails, blue lightning, glowing plasma particles, and motion streaks. The camera alternates between tracking shots, side views, and behind-the-ball perspectives while the crowd becomes a cinematic blur. Scene 3 (20–22s) – Goal Impact The glowing plasma football smashes into the top corner of the goal. The net ripples violently as a gigantic energy explosion erupts. Sparks, debris, plasma waves, and holographic shockwaves spread throughout the stadium with blockbuster visual effects. Scene 4 (22–25s) – Stadium Celebration The stadium erupts with fireworks, holographic lights, smoke, confetti, waving flags, and roaring fans. Bright floodlights illuminate the entire arena while glowing energy particles drift through the air. Epic cinematic drone shots reveal the celebration. Scene 5 (25–28s) – Hero Landing The cyber athlete lands powerfully on the pitch. Mechanical wings slowly fold back into the armor while blue energy lines gradually fade. Floating sparks and glowing fragments surround the athlete as the camera circles dramatically. Scene 6 (28–30s) – Epic Finale The athlete stands in a victorious heroic pose facing the roaring stadium. The camera slowly pushes in while cinematic lens flares, volumetric lighting, drifting smoke, and holographic particles fill the scene. End on a premium blockbuster frame with an unforgettable cinematic finish. Style: Original fictional football athlete only. Do not resemble or recreate any real football player, club, team, logo, jersey, or copyrighted content. Hyper-realistic, Unreal Engine 5 quality, cyberpunk-mecha anime fusion, HDR, volumetric lighting, premium VFX, smooth cinematic camera movement, ultra-detailed 1080p, realistic physics, blockbuster sports commercial. Negative Prompt: No real football players, no celebrity likeness, no club logos, no copyrighted jerseys, no watermarks, no subtitles, no storyboard visible, no extra limbs, no deformed anatomy, no blurry frames, no flickering, no glitches, no low quality, no camera shake. #PolloAI #PolloCup

Stonic AI

30,576 views • 2 months ago

週末のんびり (2/4) | 寧寧の運動時間がわんぱく子豚に邪魔される — 集中できない TL;DR 雨の日、寧寧はお家で軽いエクササイズをしようと思っていたのに…… 目を覚ました子ブタがまさかの“おじゃまモード”に突入。 まずは彼女の腕にすり寄ってチュッと甘えて、 そのまま背中によじ登ってきちゃった 昨日は窓辺で静かに本を読んでいた時、小豚は寧寧の膝の上で穏やかに眠っていました。今日は雨の午後、寧寧は軽く体を動かそうと思いました。 彼女は快適な部屋着に着替え、畳の上に手をついて、プランクの姿勢を始めました。雨の音が窓を叩き続け、室内の光は柔らかく穏やかです。彼女はこれが平穏な運動時間になると思っていました——しかし隣にいた小さな子豚が突然目を開けたのです。 子豚はまず好奇心いっぱいに近づき、ピンク色の小さな鼻で彼女の腕を優しくつつきました。「何してるの？」とでも言っているかのように。寧寧が顔を下げて見つめると、思わず微笑んでしまいました。「おはよう、小さな子。起きたの？」と優しく声をかけます。でも子豚はさらに踏み込んで、身体全体を寄せてきて、鼻や口で彼女の腕や肩を優しく擦り始めました。「くすぐったいよ……」と笑いながら言いながらも、寧寧は動作を止めませんでした。 彼女が集中して姿勢を維持していると、子豚が突然興奮して飛び上がり、前脚を彼女の背中に乗せ、続いて身体全体をよじ登ってきました！寧寧は一瞬固まって、背中に立っている子豚の方を振り返りました。子豚は胸を張り、まるで小さな勝利者のようにそこに立ち、尻尾を優しく振っています。光景は滑稽でありながら、どこか心温まるものでした——優雅な女性が運動をしようとしているのに、ピンクの子豚が誇らしげにその背中に立っている。まるで「私も一緒にやる！」と言っているかのように。 ============== Weekend Leisure (2/4) | Nene’s Workout Interrupted by a Mischievous Piglet — Hard to Focus TL;DR Nene tries to do a simple home workout on a rainy day, but the little piglet wakes up and starts “interfering” — first nuzzling her arm, then climbing onto her back during plank. This is Chapter 2 of the “Weekend Leisure” series, showing the most real and healing daily interaction between Nene and her piglet. Yesterday, while quietly reading by the window, the piglet slept peacefully on her lap. Today, Nene wanted to do some light home exercise during the rainy afternoon. She changed into comfortable homewear, got down on the tatami, placed her hands on the floor, and started holding a plank position. The sound of rain continued tapping against the window, and the indoor lighting was soft and calm. She thought this would be a peaceful workout — until the little piglet beside her suddenly opened its eyes. It first curiously came closer and gently nudged her arm with its pink nose, as if asking, “What are you doing?” Ningning looked down and couldn’t help but smile, softly saying, “Hey there, little one. You’re awake?” But the piglet went further — it leaned its whole body against her and began gently rubbing its nose and mouth against her arm and shoulder. “That tickles…” she laughed while speaking, yet didn’t stop her movement. Just as she was focused on maintaining the pose, the piglet suddenly got excited and jumped up. Its front legs landed on her back, and then its entire body climbed on top! Nene froze for a second and turned to look at the piglet now standing proudly on her back. Its tail wagged gently, looking like a little champion who had just conquered a mountain. The scene was both absurd and heartwarming — an elegant girl trying to exercise, while a pink piglet stood triumphantly on her back, as if declaring, “I’m joining too!” ===Check the full prompt and story in comment=== Please tap the post😁 #AIart #Sunday
0:29

週末のんびり (2/4) | 寧寧の運動時間がわんぱく子豚に邪魔される — 集中できない TL;DR 雨の日、寧寧はお家で軽いエクササイズをしようと思っていたのに…… 目を覚ました子ブタがまさかの“おじゃまモード”に突入。 まずは彼女の腕にすり寄ってチュッと甘えて、 そのまま背中によじ登ってきちゃった 昨日は窓辺で静かに本を読んでいた時、小豚は寧寧の膝の上で穏やかに眠っていました。今日は雨の午後、寧寧は軽く体を動かそうと思いました。 彼女は快適な部屋着に着替え、畳の上に手をついて、プランクの姿勢を始めました。雨の音が窓を叩き続け、室内の光は柔らかく穏やかです。彼女はこれが平穏な運動時間になると思っていました——しかし隣にいた小さな子豚が突然目を開けたのです。 子豚はまず好奇心いっぱいに近づき、ピンク色の小さな鼻で彼女の腕を優しくつつきました。「何してるの？」とでも言っているかのように。寧寧が顔を下げて見つめると、思わず微笑んでしまいました。「おはよう、小さな子。起きたの？」と優しく声をかけます。でも子豚はさらに踏み込んで、身体全体を寄せてきて、鼻や口で彼女の腕や肩を優しく擦り始めました。「くすぐったいよ……」と笑いながら言いながらも、寧寧は動作を止めませんでした。 彼女が集中して姿勢を維持していると、子豚が突然興奮して飛び上がり、前脚を彼女の背中に乗せ、続いて身体全体をよじ登ってきました！寧寧は一瞬固まって、背中に立っている子豚の方を振り返りました。子豚は胸を張り、まるで小さな勝利者のようにそこに立ち、尻尾を優しく振っています。光景は滑稽でありながら、どこか心温まるものでした——優雅な女性が運動をしようとしているのに、ピンクの子豚が誇らしげにその背中に立っている。まるで「私も一緒にやる！」と言っているかのように。 ============== Weekend Leisure (2/4) | Nene’s Workout Interrupted by a Mischievous Piglet — Hard to Focus TL;DR Nene tries to do a simple home workout on a rainy day, but the little piglet wakes up and starts “interfering” — first nuzzling her arm, then climbing onto her back during plank. This is Chapter 2 of the “Weekend Leisure” series, showing the most real and healing daily interaction between Nene and her piglet. Yesterday, while quietly reading by the window, the piglet slept peacefully on her lap. Today, Nene wanted to do some light home exercise during the rainy afternoon. She changed into comfortable homewear, got down on the tatami, placed her hands on the floor, and started holding a plank position. The sound of rain continued tapping against the window, and the indoor lighting was soft and calm. She thought this would be a peaceful workout — until the little piglet beside her suddenly opened its eyes. It first curiously came closer and gently nudged her arm with its pink nose, as if asking, “What are you doing?” Ningning looked down and couldn’t help but smile, softly saying, “Hey there, little one. You’re awake?” But the piglet went further — it leaned its whole body against her and began gently rubbing its nose and mouth against her arm and shoulder. “That tickles…” she laughed while speaking, yet didn’t stop her movement. Just as she was focused on maintaining the pose, the piglet suddenly got excited and jumped up. Its front legs landed on her back, and then its entire body climbed on top! Nene froze for a second and turned to look at the piglet now standing proudly on her back. Its tail wagged gently, looking like a little champion who had just conquered a mountain. The scene was both absurd and heartwarming — an elegant girl trying to exercise, while a pink piglet stood triumphantly on her back, as if declaring, “I’m joining too!” ===Check the full prompt and story in comment=== Please tap the post😁 #AIart #Sunday

Peter Lam

11,458 views • 3 months ago

Seedance 2.0は凄いけどコストも凄い問題。 この問題を解決できる、低コストだけどクオリティが高い動画生成AIを探し求め 「Pixverse（ピクスバース）」 に課金しました。 独自モデルのPixverse V6を使ってみた正直な感想は 「Seedance 2.0の代替として十分あり」 というか、妙にSeedance 2.0に似ているような...🤔 もちろんSeedance 2.0の方が良いです。 けれど、作ってみた動画はどれもSeedance 2.0っぽさがあると感じました。 登場人物の顔つきのせいなのか... 「これがSeedance 2.0 Miniです」 と言われたら信じてしまいそうです😳 Seedance 2.0とPixverseで同じプロンプトを使い、それぞれ5本ずつ動画を作ってみました。 ぜひ比べてみてください😃 ※Seedance 2.0で作った動画が先に流れます 比較例1、リップシンク動画 プロンプト↓ --------------- A cinematic Japanese slice-of-life scene.Two young Japanese women (age 20 and 22) are sitting together and chatting happily. They are close friends having a relaxed conversation. Their lips move naturally with synchronized dialogue (accurate lip sync).Scene: a quiet residential street in Japan in the late afternoon. Warm golden sunlight, gentle breeze, peaceful everyday cinematic Japanese film style composition, medium two-shot, natural framing, slightly handheld camera, slow cinematic soft natural sunlight, realistic skin tones, subtle film color grading.Visual style: Japanese indie film aesthetics, shallow depth of field, soft background blur, realistic acting.Dialogue (spoken in Japanese, natural lip sync):Woman 1: 「今日ほんとうにあたたかいね。春って感じしない？」Woman 2: 「うん、こういう日に外で話すの気持ちいいよね。」Woman 1: 「最近どう？大学はいそがしい？」Woman 2: 「ちょっといそがしいけど、こうやって話すと元気出る。」They smile, laugh lightly, and continue their casual conversation.Ultra realistic, cinematic storytelling, natural acting, 4K film look.
0:25

Seedance 2.0は凄いけどコストも凄い問題。 この問題を解決できる、低コストだけどクオリティが高い動画生成AIを探し求め 「Pixverse（ピクスバース）」 に課金しました。 独自モデルのPixverse V6を使ってみた正直な感想は 「Seedance 2.0の代替として十分あり」 というか、妙にSeedance 2.0に似ているような...🤔 もちろんSeedance 2.0の方が良いです。 けれど、作ってみた動画はどれもSeedance 2.0っぽさがあると感じました。 登場人物の顔つきのせいなのか... 「これがSeedance 2.0 Miniです」 と言われたら信じてしまいそうです😳 Seedance 2.0とPixverseで同じプロンプトを使い、それぞれ5本ずつ動画を作ってみました。 ぜひ比べてみてください😃 ※Seedance 2.0で作った動画が先に流れます 比較例1、リップシンク動画 プロンプト↓ --------------- A cinematic Japanese slice-of-life scene.Two young Japanese women (age 20 and 22) are sitting together and chatting happily. They are close friends having a relaxed conversation. Their lips move naturally with synchronized dialogue (accurate lip sync).Scene: a quiet residential street in Japan in the late afternoon. Warm golden sunlight, gentle breeze, peaceful everyday cinematic Japanese film style composition, medium two-shot, natural framing, slightly handheld camera, slow cinematic soft natural sunlight, realistic skin tones, subtle film color grading.Visual style: Japanese indie film aesthetics, shallow depth of field, soft background blur, realistic acting.Dialogue (spoken in Japanese, natural lip sync):Woman 1: 「今日ほんとうにあたたかいね。春って感じしない？」Woman 2: 「うん、こういう日に外で話すの気持ちいいよね。」Woman 1: 「最近どう？大学はいそがしい？」Woman 2: 「ちょっといそがしいけど、こうやって話すと元気出る。」They smile, laugh lightly, and continue their casual conversation.Ultra realistic, cinematic storytelling, natural acting, 4K film look.

タナベ | 動画・音声生成AI解説

22,266 views • 3 months ago

[PR] nijiJourney & seedance2.0🪩 TapNowAIのワークフローを使って、「Collage Animation & Lyric Motion」のMVを作成しました。 スピード感ある映像と音楽をお楽しみください😆 以下プロンプトも共有しています。 リリックモーション部分も全部seedance2.0製です・ ✳️今回の作成手順 1.SUNOで音楽を生成 2.nijiJourneyで元画像を作る 3.5枚のnijiJourney画像をリファレンスで動画生成 4.リリックモーションはChatGPTとチャットで作成 ✳️seedance2.0 プロンプト abstract art animation, hand-drawn, emotional kinetic transformation. through are five cyberpunk and glitch-art compositions featuring neon pink, cyan, magenta, electric blue color palettes, digital glitch artifacts, pixelated distortions, heterochromatic glowing eyes, data-moshing effects, and claustrophobic intensity. Extract every form, motif, color, line quality, texture, rhythm, and emotional tension from the references. The animation must feel fast, alive, unstable, and emotionally charged. Every transformation seamless and continuous. No hard cuts. No static pauses except single-frame impact holds. Entire composition including background constantly transforms. All elements behave as if pulled by memory, gravity, heat, sound, and emotion simultaneously. [0-1.5s] A central abstract figure appears as if already in motion. Its inner color pulses outward in uneven emotional waves, while its outline tears away in multiple directions. The background bends around the figure like soft paper under pressure. Fine hand-drawn textures crawl across the surface faster than the main form moves, creating tension between body and skin. [1.5-3s] The detached outlines accelerate and become nervous thread-like forms. The figure's color core stretches into sharp ribbons and liquid stains simultaneously. Some ribbons snap back, others whip forward, each leaving a trembling residue. Empty spaces between moving parts ignite into new shapes, as if the composition is creating forms to fill its own emotional gaps. [3-4.5s] All forms suddenly surge diagonally across the frame. One large shape folds over itself like fabric, but the fold reveals a completely different texture beneath: grain, chalk, wet ink, and scraped paint all visible at once. The background follows the fold, twisting into a new color field. Smaller forms are dragged behind the motion, stretching into speed lines that remain alive and continue transforming. [4.5-6s] The composition fractures into several emotional forces: one calm, one violent, one fragile, one ecstatic. Each force pulls color from the others. Shadows appear before the objects that cast them, moving ahead like predictions. Original forms chase their own shadows, but the shadows mutate faster, becoming brighter, thicker, and more dominant than the objects. [6-7.5s] A rapid chain reaction begins. Every collision between forms produces a new motif taken from the references: fragments, symbols, textures, silhouettes, stains, lines, and color fields. These new motifs immediately accelerate in different directions. Trails do not simply fade — they harden into new bodies, then melt again, then split into smaller emotional echoes. [7.5-9s] The entire frame compresses toward a single invisible point near the lower center. All lines, colors, textures, shadows, and background layers squeeze inward at different speeds. Hold maximum compression for one single frame. Then everything explodes upward and outward with vertical smears, wobbling contours, and overshooting motion. Each element lands in a new position but continues vibrating from impact. [9-10.5s] Textures begin migrating between forms like exchanged emotions. A rough dry texture enters a fluid form, making it move in broken angular steps. A liquid texture enters a rigid form, causing it to sag, drip, and breathe. A glowing color texture passes into the background, making the entire environment pulse. Every form changes behavior based on the texture it receives. [10.5-12s] A cascade of rotations crosses the frame. Each form flips, twists, or turns inside out, revealing a hidden back face with a dramatically different color and emotional quality. Revealed faces reach toward neighboring forms like hands, hooks, flames, or waves. When touched, the next form rotates immediately, continuing the cascade faster and faster until the entire frame has transformed into a new emotional world. [12-13.5s] Boundaries dissolve everywhere at once. Forms merge, reject each other, separate, then merge again. New hybrid shapes inherit colors, textures, and motion behaviors from their parents but never become identical to them. The background no longer sits behind the forms — it becomes one of the forms, pushing forward, swallowing edges, and releasing new figures from within itself. [13.5-15s] Every previous process returns simultaneously at maximum speed: outlines detach, colors seep and drip, textures migrate, shadows lead, forms chase, trails solidify, hidden faces rotate, boundaries dissolve, backgrounds fold, and hybrid shapes multiply. Each element performs multiple transformations at once. Final second feels emotionally overloaded but visually intentional — a fast, hand-drawn abstract storm where every reference has been fully absorbed and transformed until the last frame. これを元にいくつかプロンプトを変えて生成しています。 ✳️MV作成で良かった点 映像をseedance2.0に作成してもらったので、他の作業に集中できた。 リリックモーションは、ChatGPTに歌詞を渡して考えてもらってます。 ✳️MV作成で残念な点 リリックモーションの部分もseedance2.0で作成したため、完全に音ハメできませんでした。 もっと細かく生成して調整したほうがよかったかもです。 また、クロマキーでリリック部分を作成したため完全に緑を除去できませんでした。 何かいい方法ないかなぁ… 最後に、このような機会を設けて頂いたTapNowAIさんに感謝致します☺️
2:15

[PR] nijiJourney & seedance2.0🪩 TapNowAIのワークフローを使って、「Collage Animation & Lyric Motion」のMVを作成しました。 スピード感ある映像と音楽をお楽しみください😆 以下プロンプトも共有しています。 リリックモーション部分も全部seedance2.0製です・ ✳️今回の作成手順 1.SUNOで音楽を生成 2.nijiJourneyで元画像を作る 3.5枚のnijiJourney画像をリファレンスで動画生成 4.リリックモーションはChatGPTとチャットで作成 ✳️seedance2.0 プロンプト abstract art animation, hand-drawn, emotional kinetic transformation. through are five cyberpunk and glitch-art compositions featuring neon pink, cyan, magenta, electric blue color palettes, digital glitch artifacts, pixelated distortions, heterochromatic glowing eyes, data-moshing effects, and claustrophobic intensity. Extract every form, motif, color, line quality, texture, rhythm, and emotional tension from the references. The animation must feel fast, alive, unstable, and emotionally charged. Every transformation seamless and continuous. No hard cuts. No static pauses except single-frame impact holds. Entire composition including background constantly transforms. All elements behave as if pulled by memory, gravity, heat, sound, and emotion simultaneously. [0-1.5s] A central abstract figure appears as if already in motion. Its inner color pulses outward in uneven emotional waves, while its outline tears away in multiple directions. The background bends around the figure like soft paper under pressure. Fine hand-drawn textures crawl across the surface faster than the main form moves, creating tension between body and skin. [1.5-3s] The detached outlines accelerate and become nervous thread-like forms. The figure's color core stretches into sharp ribbons and liquid stains simultaneously. Some ribbons snap back, others whip forward, each leaving a trembling residue. Empty spaces between moving parts ignite into new shapes, as if the composition is creating forms to fill its own emotional gaps. [3-4.5s] All forms suddenly surge diagonally across the frame. One large shape folds over itself like fabric, but the fold reveals a completely different texture beneath: grain, chalk, wet ink, and scraped paint all visible at once. The background follows the fold, twisting into a new color field. Smaller forms are dragged behind the motion, stretching into speed lines that remain alive and continue transforming. [4.5-6s] The composition fractures into several emotional forces: one calm, one violent, one fragile, one ecstatic. Each force pulls color from the others. Shadows appear before the objects that cast them, moving ahead like predictions. Original forms chase their own shadows, but the shadows mutate faster, becoming brighter, thicker, and more dominant than the objects. [6-7.5s] A rapid chain reaction begins. Every collision between forms produces a new motif taken from the references: fragments, symbols, textures, silhouettes, stains, lines, and color fields. These new motifs immediately accelerate in different directions. Trails do not simply fade — they harden into new bodies, then melt again, then split into smaller emotional echoes. [7.5-9s] The entire frame compresses toward a single invisible point near the lower center. All lines, colors, textures, shadows, and background layers squeeze inward at different speeds. Hold maximum compression for one single frame. Then everything explodes upward and outward with vertical smears, wobbling contours, and overshooting motion. Each element lands in a new position but continues vibrating from impact. [9-10.5s] Textures begin migrating between forms like exchanged emotions. A rough dry texture enters a fluid form, making it move in broken angular steps. A liquid texture enters a rigid form, causing it to sag, drip, and breathe. A glowing color texture passes into the background, making the entire environment pulse. Every form changes behavior based on the texture it receives. [10.5-12s] A cascade of rotations crosses the frame. Each form flips, twists, or turns inside out, revealing a hidden back face with a dramatically different color and emotional quality. Revealed faces reach toward neighboring forms like hands, hooks, flames, or waves. When touched, the next form rotates immediately, continuing the cascade faster and faster until the entire frame has transformed into a new emotional world. [12-13.5s] Boundaries dissolve everywhere at once. Forms merge, reject each other, separate, then merge again. New hybrid shapes inherit colors, textures, and motion behaviors from their parents but never become identical to them. The background no longer sits behind the forms — it becomes one of the forms, pushing forward, swallowing edges, and releasing new figures from within itself. [13.5-15s] Every previous process returns simultaneously at maximum speed: outlines detach, colors seep and drip, textures migrate, shadows lead, forms chase, trails solidify, hidden faces rotate, boundaries dissolve, backgrounds fold, and hybrid shapes multiply. Each element performs multiple transformations at once. Final second feels emotionally overloaded but visually intentional — a fast, hand-drawn abstract storm where every reference has been fully absorbed and transformed until the last frame. これを元にいくつかプロンプトを変えて生成しています。 ✳️MV作成で良かった点 映像をseedance2.0に作成してもらったので、他の作業に集中できた。 リリックモーションは、ChatGPTに歌詞を渡して考えてもらってます。 ✳️MV作成で残念な点 リリックモーションの部分もseedance2.0で作成したため、完全に音ハメできませんでした。 もっと細かく生成して調整したほうがよかったかもです。 また、クロマキーでリリック部分を作成したため完全に緑を除去できませんでした。 何かいい方法ないかなぁ… 最後に、このような機会を設けて頂いたTapNowAIさんに感謝致します☺️

Toshi@ニャルオAI

14,282 views • 3 months ago

『METAL SLUG３』に出てくる『リングレーザーメカ』は、私が描いた敵キャラの中でもかなりお気に入りなんです。 いかにも昔のSF映画に出てきそうなデザインで、ブリキのオモチャになんかしたら、きっと可愛いでしょうね。 このメカは、老いて動けなくなったルーツマーズが乗るシニアカーなんです。 衰えた肉体を捨て、メンテナンスが容易な機械の身体となり、この先何百年も生き続けていくことになります。 普段は母船でお掃除ロボットとして働いていますが、敵が侵入してくると清掃用レーザーの出力を一気に上げ、ガーディアンに早変わりするんです。 デザインもさることながら、その攻撃もまたシンプルで気に入っています。 この『リングレーザーメカ』は、デバッグ段階ではもっと耐久力があって、かなり手強かったんですよ。 縦や横の輪っかレーザーを連射されると、それはもう大変でしたが、子供の頃に遊んだケンケンパのような感じで凄く面白かったんです。 それを連続で避けきれた時の快感は格別でしたね。 私は、あの頃の鬼のような『リングレーザーメカ』が好きでした。 交差する縦や横の「輪っかレーザー」を掻い潜り、皆で競い合いながら、デバッグしていたあの時間がとにかく楽しくて。 でも、残念なのは、私が考えた敵の仕様が企画マンに伝わっていないことが多く、この敵もほんとの面白さを理解してもらえませんでした。 『リングレーザーメカ』は、母船に突入したプレイヤーにとって、最初の脅威として立ちはだかる存在にしたかったんですが、どうやら、この『リングレーザーメカ』は、個性を発揮する事が出来ないまま破壊されてしまうことが多いんです。 私たちがデバッグルームで「キャー！キャー！」叫びながらデバッグしてる様子を企画マンが見てさえいれば、何をするべきかが色々と見えてきたと思うのですが、その企画マンには、現場の反応から学び取って改善につなげる視点がちょっと欠けていたんだと思います。 最終的なバランス調整で、あっけなく破壊される存在になってしまった『リングレーザーメカ』が、ちょっと気の毒に思うんですよね。 I don’t even remember if this enemy from METAL SLUG 3 was called “Utom” or “Ring Laser Mech,” but whatever the name was, it’s still one of my personal favorites among the ones I designed. Its design looks like something straight out of an old sci-fi movie, and I bet it would look absolutely adorable if made into a tin toy. This mech is actually a kind of “senior scooter,” like a mobility scooter for the aging Rootmars, who can no longer move on his own. He’s abandoned his weakened body and now lives on in a machine that’s easy to maintain, allowing him to survive for centuries to come. Most of the time, it works as a cleaning robot aboard the mothership—but when enemies intrude, it boosts the power of its cleaning laser and quickly switches into guardian mode. I really like not just the design, but also the way it attacks—every time I see it, I think, “That’s a pretty clever idea, if I do say so myself.” Back during the debugging phase, this “Ring Laser Mech” had a lot more durability and was a real tough opponent. When it started firing those ring-shaped lasers vertically and horizontally, it was complete chaos. But dodging them by the skin of your teeth—that feeling was absolutely exhilarating. I really liked the brutal version of the Ring Laser Mech from back then. We’d weave through those crisscrossing ring lasers, competing with each other as we debugged—and I just remember those moments being incredibly fun. But what’s unfortunate is that the specs I had in mind for enemies often didn’t get through to the planners, and this enemy was no exception—it never really showed its true appeal. The Ring Laser Mech was supposed to be the first major threat players faced once they boarded the mothership. Instead, it often gets destroyed before it can show what makes it unique. If the planner had seen us in the debug room, cheering and shouting as we tested things out, I think he would’ve realized a lot about what needed to be done. But he just didn’t have that perspective of learning from player reactions and turning them into improvements. In the end, final balance adjustments left the Ring Laser Mech as something that gets taken out far too easily, and honestly, I can’t help but feel a little sorry for him. #METALSLUG #PixelArt #GameDevStory #メタルスラッグ
0:54

『METAL SLUG３』に出てくる『リングレーザーメカ』は、私が描いた敵キャラの中でもかなりお気に入りなんです。 いかにも昔のSF映画に出てきそうなデザインで、ブリキのオモチャになんかしたら、きっと可愛いでしょうね。 このメカは、老いて動けなくなったルーツマーズが乗るシニアカーなんです。 衰えた肉体を捨て、メンテナンスが容易な機械の身体となり、この先何百年も生き続けていくことになります。 普段は母船でお掃除ロボットとして働いていますが、敵が侵入してくると清掃用レーザーの出力を一気に上げ、ガーディアンに早変わりするんです。 デザインもさることながら、その攻撃もまたシンプルで気に入っています。 この『リングレーザーメカ』は、デバッグ段階ではもっと耐久力があって、かなり手強かったんですよ。 縦や横の輪っかレーザーを連射されると、それはもう大変でしたが、子供の頃に遊んだケンケンパのような感じで凄く面白かったんです。 それを連続で避けきれた時の快感は格別でしたね。 私は、あの頃の鬼のような『リングレーザーメカ』が好きでした。 交差する縦や横の「輪っかレーザー」を掻い潜り、皆で競い合いながら、デバッグしていたあの時間がとにかく楽しくて。 でも、残念なのは、私が考えた敵の仕様が企画マンに伝わっていないことが多く、この敵もほんとの面白さを理解してもらえませんでした。 『リングレーザーメカ』は、母船に突入したプレイヤーにとって、最初の脅威として立ちはだかる存在にしたかったんですが、どうやら、この『リングレーザーメカ』は、個性を発揮する事が出来ないまま破壊されてしまうことが多いんです。 私たちがデバッグルームで「キャー！キャー！」叫びながらデバッグしてる様子を企画マンが見てさえいれば、何をするべきかが色々と見えてきたと思うのですが、その企画マンには、現場の反応から学び取って改善につなげる視点がちょっと欠けていたんだと思います。 最終的なバランス調整で、あっけなく破壊される存在になってしまった『リングレーザーメカ』が、ちょっと気の毒に思うんですよね。 I don’t even remember if this enemy from METAL SLUG 3 was called “Utom” or “Ring Laser Mech,” but whatever the name was, it’s still one of my personal favorites among the ones I designed. Its design looks like something straight out of an old sci-fi movie, and I bet it would look absolutely adorable if made into a tin toy. This mech is actually a kind of “senior scooter,” like a mobility scooter for the aging Rootmars, who can no longer move on his own. He’s abandoned his weakened body and now lives on in a machine that’s easy to maintain, allowing him to survive for centuries to come. Most of the time, it works as a cleaning robot aboard the mothership—but when enemies intrude, it boosts the power of its cleaning laser and quickly switches into guardian mode. I really like not just the design, but also the way it attacks—every time I see it, I think, “That’s a pretty clever idea, if I do say so myself.” Back during the debugging phase, this “Ring Laser Mech” had a lot more durability and was a real tough opponent. When it started firing those ring-shaped lasers vertically and horizontally, it was complete chaos. But dodging them by the skin of your teeth—that feeling was absolutely exhilarating. I really liked the brutal version of the Ring Laser Mech from back then. We’d weave through those crisscrossing ring lasers, competing with each other as we debugged—and I just remember those moments being incredibly fun. But what’s unfortunate is that the specs I had in mind for enemies often didn’t get through to the planners, and this enemy was no exception—it never really showed its true appeal. The Ring Laser Mech was supposed to be the first major threat players faced once they boarded the mothership. Instead, it often gets destroyed before it can show what makes it unique. If the planner had seen us in the debug room, cheering and shouting as we tested things out, I think he would’ve realized a lot about what needed to be done. But he just didn’t have that perspective of learning from player reactions and turning them into improvements. In the end, final balance adjustments left the Ring Laser Mech as something that gets taken out far too easily, and honestly, I can’t help but feel a little sorry for him. #METALSLUG #PixelArt #GameDevStory #メタルスラッグ

akio

200,504 views • 11 months ago

『METAL SLUG 3』に登場するモーデン軍の「レベルアーマー」は、実は『装甲騎兵ボトムズ』の「アーマードトルーパー（AT）」へのオマージュなんです。 高度なパイロット認証システムなんてないので、誰でも動かせてしまう仕様なんです。 だからマルコたちも、乗り捨てられた機体を難なく奪えるんですね。 敵の兵器を奪ってそのまま暴れまわるシーンは、映画なんかでもよく見られる王道で、いつか自分のゲームでもやってみたいと思っていたシチュエーションなんです。 レベルアーマーの待機状態も、ATと同じくパイロットの乗り降りを容易にするために脚部を折りたたむポーズなので、スコープドッグなんかを連想した方もいたんじゃないでしょうか。 このメカは、ATみたいな無機質でカッコ良いデザインにしたかったんですが、私が描くと、どうしてもマヌケで可愛いデザインになってしまいますね。 舞台はレベルアーマーの製造工場。 拾う、奪う、壊れたら次へ乗り換える。 そんな鉄屑を乱暴に扱うような使い捨ての美学こそが、このエリアの主役なんです。 小型ロボット工場のボスが、アンティークな大型ロボットという流れも気に入ってます。 このレベルアーマーをボスステージで、『今週のビックリドッキリメカ』のようにボスの腹からワラワラと出そうかと思ったんですが、あのボスがあれ以上、凶悪になってはいけないと踏みとどまりました。 このステージの構想段階では、もっと過激な奪い合いが繰り広げられると思っていたんです。 機体がボロボロになったら、敵のレベルアーマーに突撃。 至近距離でパイロットだけをバルカンで排除し、爆発する寸前の自機から新品へ飛び移る。 そんな「キリコ」さながらの、生き残るための泥臭い『奪う』アクションを、攻略の主軸にするつもりだったんです。 でも私のイメージが上手く伝わらなかったのか、そういう『奪う』っていう遊びは前に出てなかったように見えるんですが、どうなんでしょ…。 さらに言えば、もっと多種多様な試作型や、右腕がパイルバンカー仕様の近接特化型なんかも工場内に配置して、その場でカスタマイズしながら進む構成にすればよかった！なんてことも考えていたんです。 今見返すと、このステージの山場は少し物足りません。 難易度の上がり方がぼやけているので、もっとメリハリのある、強気なレベルデザインをして欲しかったですね。 現状では、新しい機体を奪わなくても、スイスイと走破出来てしまいます…。 絶望的な物量に対して、機体を盾にしながら次々と乗り換え、工場の深部へ突き進む「物を大切にしない戦士」の戦いを突き詰め、『キリコ』っぽい使い捨て感をもっと味わってもらえるゲームになっていれば良かったかなと、少し反省しています。 English below: The “Level Armor” used by the Morden Army in METAL SLUG 3 is actually an homage to the Armored Trooper (AT) from Armored Trooper VOTOMS. There is no advanced pilot authentication system built into it, so basically anyone can operate one. That’s why Marco and the others are able to take over abandoned units without much trouble. Scenes where characters seize enemy weapons and go on a rampage are a classic trope often seen in movies, and it was a situation I had always wanted to try using in one of my own games someday. The Level Armor’s standby pose, with its legs folded to make boarding and disembarking easier, is also the same idea used for ATs, so some of you may have been reminded of the Scopedog. I wanted this machine to have that cool, inorganic AT-like design, but whenever I draw it, it somehow ends up looking a bit goofy and cute instead. The stage itself is a Level Armor factory. Pick one up, steal it, and when it breaks, move on to the next. This rough, almost careless treatment of machines, this sense of disposable aesthetics, is really what takes center stage in this area. I also like the flow where the boss of a small robot factory turns out to be an antique, oversized robot. I did think about having Level Armors pour out of the boss’s body, almost like a “surprise mecha of the week,” but I stopped myself, feeling that making that boss any more vicious would have been too much. At the concept stage, I imagined much more intense battles over these machines. When your unit is falling apart, you ram it straight into an enemy Level Armor. At point-blank range, you eliminate only the pilot with a Vulcan cannon, then jump into the brand-new machine just before your own explodes. I was planning to make that dirty, desperate “steal to survive” action, very much like Chirico, the core of the gameplay. But perhaps my image didn’t come across very well, because it feels like that kind of “stealing” play never really came to the forefront. Or maybe that’s just how it looks to me. On top of that, I also thought it would have been interesting to place a wider variety of prototype units around the factory, such as close-combat types with a pile bunker on the right arm, and let players customize on the spot as they progressed. Looking back now, the climax of this stage feels a little underwhelming. The way the difficulty ramps up is somewhat vague, and I wish the level design had been bolder and more clearly defined. As it stands, the stage can be cleared quite smoothly even without stealing new machines. I can’t help but feel a bit of regret that we didn’t push further into that battle style of a “warrior who doesn’t value machines,” constantly swapping units as shields while forcing their way deeper into the factory against overwhelming numbers, letting players really savor that disposable, Chirico-like feeling. #METALSLUG #GameDev #PixelArt #RetroGaming #VOTOMS
0:46

『METAL SLUG 3』に登場するモーデン軍の「レベルアーマー」は、実は『装甲騎兵ボトムズ』の「アーマードトルーパー（AT）」へのオマージュなんです。 高度なパイロット認証システムなんてないので、誰でも動かせてしまう仕様なんです。 だからマルコたちも、乗り捨てられた機体を難なく奪えるんですね。 敵の兵器を奪ってそのまま暴れまわるシーンは、映画なんかでもよく見られる王道で、いつか自分のゲームでもやってみたいと思っていたシチュエーションなんです。 レベルアーマーの待機状態も、ATと同じくパイロットの乗り降りを容易にするために脚部を折りたたむポーズなので、スコープドッグなんかを連想した方もいたんじゃないでしょうか。 このメカは、ATみたいな無機質でカッコ良いデザインにしたかったんですが、私が描くと、どうしてもマヌケで可愛いデザインになってしまいますね。 舞台はレベルアーマーの製造工場。 拾う、奪う、壊れたら次へ乗り換える。 そんな鉄屑を乱暴に扱うような使い捨ての美学こそが、このエリアの主役なんです。 小型ロボット工場のボスが、アンティークな大型ロボットという流れも気に入ってます。 このレベルアーマーをボスステージで、『今週のビックリドッキリメカ』のようにボスの腹からワラワラと出そうかと思ったんですが、あのボスがあれ以上、凶悪になってはいけないと踏みとどまりました。 このステージの構想段階では、もっと過激な奪い合いが繰り広げられると思っていたんです。 機体がボロボロになったら、敵のレベルアーマーに突撃。 至近距離でパイロットだけをバルカンで排除し、爆発する寸前の自機から新品へ飛び移る。 そんな「キリコ」さながらの、生き残るための泥臭い『奪う』アクションを、攻略の主軸にするつもりだったんです。 でも私のイメージが上手く伝わらなかったのか、そういう『奪う』っていう遊びは前に出てなかったように見えるんですが、どうなんでしょ…。 さらに言えば、もっと多種多様な試作型や、右腕がパイルバンカー仕様の近接特化型なんかも工場内に配置して、その場でカスタマイズしながら進む構成にすればよかった！なんてことも考えていたんです。 今見返すと、このステージの山場は少し物足りません。 難易度の上がり方がぼやけているので、もっとメリハリのある、強気なレベルデザインをして欲しかったですね。 現状では、新しい機体を奪わなくても、スイスイと走破出来てしまいます…。 絶望的な物量に対して、機体を盾にしながら次々と乗り換え、工場の深部へ突き進む「物を大切にしない戦士」の戦いを突き詰め、『キリコ』っぽい使い捨て感をもっと味わってもらえるゲームになっていれば良かったかなと、少し反省しています。 English below: The “Level Armor” used by the Morden Army in METAL SLUG 3 is actually an homage to the Armored Trooper (AT) from Armored Trooper VOTOMS. There is no advanced pilot authentication system built into it, so basically anyone can operate one. That’s why Marco and the others are able to take over abandoned units without much trouble. Scenes where characters seize enemy weapons and go on a rampage are a classic trope often seen in movies, and it was a situation I had always wanted to try using in one of my own games someday. The Level Armor’s standby pose, with its legs folded to make boarding and disembarking easier, is also the same idea used for ATs, so some of you may have been reminded of the Scopedog. I wanted this machine to have that cool, inorganic AT-like design, but whenever I draw it, it somehow ends up looking a bit goofy and cute instead. The stage itself is a Level Armor factory. Pick one up, steal it, and when it breaks, move on to the next. This rough, almost careless treatment of machines, this sense of disposable aesthetics, is really what takes center stage in this area. I also like the flow where the boss of a small robot factory turns out to be an antique, oversized robot. I did think about having Level Armors pour out of the boss’s body, almost like a “surprise mecha of the week,” but I stopped myself, feeling that making that boss any more vicious would have been too much. At the concept stage, I imagined much more intense battles over these machines. When your unit is falling apart, you ram it straight into an enemy Level Armor. At point-blank range, you eliminate only the pilot with a Vulcan cannon, then jump into the brand-new machine just before your own explodes. I was planning to make that dirty, desperate “steal to survive” action, very much like Chirico, the core of the gameplay. But perhaps my image didn’t come across very well, because it feels like that kind of “stealing” play never really came to the forefront. Or maybe that’s just how it looks to me. On top of that, I also thought it would have been interesting to place a wider variety of prototype units around the factory, such as close-combat types with a pile bunker on the right arm, and let players customize on the spot as they progressed. Looking back now, the climax of this stage feels a little underwhelming. The way the difficulty ramps up is somewhat vague, and I wish the level design had been bolder and more clearly defined. As it stands, the stage can be cleared quite smoothly even without stealing new machines. I can’t help but feel a bit of regret that we didn’t push further into that battle style of a “warrior who doesn’t value machines,” constantly swapping units as shields while forcing their way deeper into the factory against overwhelming numbers, letting players really savor that disposable, Chirico-like feeling. #METALSLUG #GameDev #PixelArt #RetroGaming #VOTOMS

akio

339,749 views • 8 months ago

祝20万インプ越え...(^^♪...【プロンプト公開】 引用元のデブ・バズ企画が盛り上がってます♪ 今公開promptはソロversion：FF7ティファ・コス！ ぜひ、オリキャラやコスプレで使ってみてね... 登場させたいキャラ画像1枚用意するだけ！ ＜ソロ・スカイダイビングチャレンジ＞ Seedance2.5（30秒）プロンプト The English dialogue version is in the comments section. →リプ欄に、ハンコック・コス版（必見） ↓日本語セリフ版 ★セリフは変更して使ってみてね！ ===プロンプト開始=== Seedance 2.5 30 seconds / 4:3 / photorealistic live-action High-energy overseas LIVE TV sports feature All spoken dialogue and commentary must be audibly spoken in Japanese. @ Image1 = Challenger Faithfully preserve the Challenger’s face, hairstyle, hair color, makeup, body proportions, outfit, and overall identity from the reference image throughout the entire video. Do not reinterpret her appearance or redesign her body. Keep the reference outfit and add realistic solo-skydiving equipment over it. Use bold, colorful international LIVE-TV broadcast graphics throughout the video. Top-left: “SOLO SKYDIVE SPECIAL” Make it moderately large and highly visible. Bold modern lettering with bright yellow, cyan, red and white accents, layered broadcast design, strong outline, subtle glow and drop shadow. Top-right: “LIVE” Use a large bright-red LIVE badge with bold white lettering, yellow/cyan accent details, strong outline, subtle glow and drop shadow. The upper graphics should look flashy, energetic and exciting like an international TV special. Keep them away from the Challenger’s face and important action. Do not add large subtitles across the center or bottom. The Challenger is highly energetic, confident, stylish and glamorous from beginning to end. She has the controlled movements of an experienced solo skydiver but performs for the cameras with bright, bold, playful energy. No fear. No hesitation. No panic. She is visibly excited and enjoying the entire challenge. Use big confident smiles, lively eye contact, enthusiastic waves, thumbs-up, fist pumps, peace signs and a quick wink. The mood is cool, sporty, exciting, glamorous and slightly sexy, not comedic. Add realistic solo-skydiving equipment: main and reserve parachute container, correctly fitted harness with shoulder, chest, waist and leg straps, wrist altimeter. No goggles. A compact action camera is securely fixed to the back of one hand. It is not handheld and does not interfere with normal skydiving control. Use a believable small single-engine turboprop high-wing skydiving aircraft with a large rectangular side jump door, narrow practical cabin and simple side benches. Inside the aircraft, use a fixed wide TV camera. Keep natural engine vibration, small camera vibration and strong wind when the door opens. A professional aerial cameraman jumps before the Challenger. He wears a navy skydiving suit, his own parachute system, a head-mounted action camera and carries a compact handheld TV camera. He descends rapidly below the aircraft, turns upward toward the jump door and captures the Challenger’s exit from below. During freefall he dynamically moves around her and actively searches for visually attractive LIVE-TV moments. Use authentic LIVE-TV camerawork: quick punch-in zooms, fast reframing, rapid cut-backs, brief close-ups, wind vibration, slight tracking delay, small overshoots, quick corrective pans, minor framing imperfections. The Challenger exits cleanly and rapidly separates downward from the aircraft. She never floats beside the aircraft. After exit: rapid downward acceleration, aircraft quickly receding above, strong relative airflow, smooth stabilization into a natural belly-to-earth freefall position. Belly toward ground. Back toward sky. Chest open. Hips naturally arched. Knees bent. Legs trailing behind. Arms naturally open. No upright falling. No seated falling. No swimming motion. No zero-gravity drifting. The aerial cameraman falls at a similar speed, so the Challenger appears relatively stable and floating inside the frame while the distant ground, clouds, aircraft movement, wind and body reactions clearly communicate high-speed descent. Strong realistic airflow continuously affects her face, hair and body. Hair streams violently backward. Cheeks are pushed and pulled by the airflow. Lips and mouth area tremble. Soft skin around the jaw and neck vibrates subtly. Even under strong airflow she keeps a bright confident smile and high-energy camera presence. Her chest, belly, sides, waist, hips, butt and thighs react naturally to turbulent airflow. The chest keeps realistic soft weight and shows clearly visible irregular multi-directional jiggling rather than repetitive bouncing. The belly, waist, hips, butt and thighs each show their own natural irregular soft-body movement. Use these as attractive LIVE-TV visual moments. Include a brief quick zoom toward the upper body to capture the chest movement. Include a brief rear three-quarter zoom framing the waist, hips, butt and upper thighs. Immediately return to her face or full-body action after each close-up. Do not hold isolated body close-ups too long. Keep the style dynamic, sporty, glamorous and broadcast-like. During freefall, cut between: aerial cameraman handheld TV camera, aerial cameraman head camera, Challenger hand-mounted self camera. Use: diagonal-front tracking, side tracking, low upward angle, frontal pass, rear three-quarter tracking, wide shots with open sky and distant ground. Audio: aircraft engine, cabin vibration, violent wind at the open door, powerful freefall wind, microphone turbulence, close breathing from the self camera, high-energy international sports-TV music. Lower the music during freefall so the live wind and voices dominate. All written Challenger dialogue MUST be actually spoken aloud in Japanese by the Challenger. Use a bright, energetic, excited young adult Japanese female voice. Her mouth movement must naturally synchronize with her Japanese speech. All written Commentator dialogue MUST be actually spoken aloud in Japanese by an energetic Japanese male TV commentator. Do not convert spoken lines into subtitles. Do not mute, omit or skip any written line. During freefall, wind noise may partially affect her voice, but every spoken line must remain audible and recognizable. Audio priority: 1. Challenger Japanese voice 2. Japanese Commentator 3. live environmental sound 4. background music [0:00–0:05] Fixed aircraft camera. The Challenger stands near the jump door with a big confident smile and high energy. She quickly adjusts her hair, enthusiastically waves at the camera, gives a thumbs-up and finishes with a strong short fist pump. Use a quick TV punch-in toward her smiling face. Challenger audibly says in Japanese: 「みんな、みてるー！？」 「今日は、かっこよくきめるよー！」 Japanese male Commentator audibly says: 「今回のチャレンジャー、実はスカイダイビングのライセンス保持者！ しかも今回は、なんとひとりで飛びます！」 [0:05–0:08] The jump door opens. Violent wind rushes into the cabin. Her hair immediately whips backward. The fixed TV camera quickly zooms toward her face and upper body. Instead of hesitating, she becomes even more excited. She laughs, looks directly into camera and raises a fist. Challenger audibly says in Japanese: 「きたきたー！！」 「テンションあがるー！」 「いってきまーす！！」 Japanese male Commentator audibly says: 「そして今回は、顔の表情をはっきり撮影するため、あえてゴーグルなし！ 強い風を受ける表情まで、しっかり捉えます！」 [0:08–0:11] Fixed aircraft camera. The aerial cameraman jumps first and rapidly disappears below the door. Immediately cut to his head camera. He accelerates downward, turns his body and points the camera upward toward the aircraft and open jump door. Natural wind vibration and rapid framing adjustment. Japanese male Commentator audibly says: 「まず空中カメラマンが先行！ 下から狙います！」 [0:11–0:14] Fixed aircraft camera. The Challenger confidently moves to the jump door with no hesitation. She looks back at the fixed camera with a big smile and gives a strong thumbs-up. Challenger audibly says in Japanese: 「いくよー！！」 She launches into a clean, stylish solo jump. Cut immediately to the aerial cameraman below the aircraft. She rapidly drops toward the camera while the aircraft becomes smaller above. The cameraman quickly corrects his framing to follow her. Japanese male Commentator audibly says: 「いったーーー！ 迷いなし！ きれいなソロジャンプ！」 [0:14–0:18] Aerial handheld TV camera. The Challenger smoothly stabilizes into a clean belly-to-earth posture. Begin with a dynamic diagonal-front full-body tracking shot. She immediately notices the aerial cameraman. Without breaking her posture, she enthusiastically waves with the free hand and gives a thumbs-up. Challenger audibly says in Japanese: 「みえてるー！？」 「さいこー！！」 Make a fast LIVE-TV punch-in toward her upper body for approximately 0.7 seconds. Clearly capture the strong airflow through her hair, face, chest and belly. Her chest shows soft irregular multi-directional jiggling. Immediately pull back to full-body. Japanese male Commentator audibly says: 「きれいに安定したーー！ さすがライセンス保持者、この余裕！ おおっと、カメラが寄った！ 胸元まで、風を受けてぷるぷる揺れています！」 [0:18–0:21] Challenger hand-mounted self camera. Close, energetic, slightly unstable shot of her face and upper body. Strong wind pushes her cheeks and lips. Her hair streams backward. Her chest and belly naturally move in the airflow. She looks directly into the camera with a huge smile and gives a playful quick wink. Challenger audibly says in Japanese: 「どう！？」 「かっこいいでしょー！！」 Japanese male Commentator audibly says: 「この風でも笑ってるーー！ 完全に楽しんでます！」 [0:21–0:25] Cut rapidly back to the aerial handheld TV camera. The cameraman tracks alongside her, then drops lower for a dramatic full-body upward angle against the blue sky. Move briefly toward a rear three-quarter position. Make a fast approximately 0.7-second LIVE-TV punch-in framing her lower back, waist, hips, butt and upper thighs. Show natural irregular airflow movement through the fitted outfit and soft body. Immediately widen back to full body and move toward diagonal front. The Challenger notices the camera again, gives a big smile and a playful peace sign. Challenger audibly says in Japanese: 「もっと、とってー！！」 Japanese male Commentator audibly says: 「後ろからも来たーー！ 腰まわりも、お尻も、風をまともに受けています！ それでもこの余裕！ カメラにピースです！！」 [0:25–0:28] Wide aerial TV shot. The Challenger quickly checks her wrist altimeter. With confident controlled movement, she deploys her own parachute. The canopy opens correctly. Her body rises naturally into the harness and freefall speed drops sharply. The cameraman performs a quick upward pan to follow the opening canopy. Wind noise suddenly becomes much quieter. Challenger audibly says in Japanese: 「よしっ！！」 Japanese male Commentator audibly says: 「ここで自分でパラシュート展開！ 開いたーー！ きれいです！」 [0:28–0:30] Challenger hand-mounted self camera during stable parachute descent. The atmosphere becomes calmer. The Challenger is still extremely energetic and excited. She gives a huge satisfied smile, waves enthusiastically at the camera, then makes a strong celebratory fist pump. Challenger audibly says in Japanese: 「せいこうー！！」 「みんな、みてたー！？」 Japanese male Commentator audibly says: 「ソロ・スカイダイブ、見事成功ーー！ 最後まで余裕たっぷり！ かっこよく決めましたーー！」 End with the Challenger smiling brightly against the open blue sky while the colorful “SOLO SKYDIVE SPECIAL” and “LIVE” broadcast graphics remain clearly visible. ===プロンプト終了===
0:30

祝20万インプ越え...(^^♪...【プロンプト公開】 引用元のデブ・バズ企画が盛り上がってます♪ 今公開promptはソロversion：FF7ティファ・コス！ ぜひ、オリキャラやコスプレで使ってみてね... 登場させたいキャラ画像1枚用意するだけ！ ＜ソロ・スカイダイビングチャレンジ＞ Seedance2.5（30秒）プロンプト The English dialogue version is in the comments section. →リプ欄に、ハンコック・コス版（必見） ↓日本語セリフ版 ★セリフは変更して使ってみてね！ ===プロンプト開始=== Seedance 2.5 30 seconds / 4:3 / photorealistic live-action High-energy overseas LIVE TV sports feature All spoken dialogue and commentary must be audibly spoken in Japanese. @ Image1 = Challenger Faithfully preserve the Challenger’s face, hairstyle, hair color, makeup, body proportions, outfit, and overall identity from the reference image throughout the entire video. Do not reinterpret her appearance or redesign her body. Keep the reference outfit and add realistic solo-skydiving equipment over it. Use bold, colorful international LIVE-TV broadcast graphics throughout the video. Top-left: “SOLO SKYDIVE SPECIAL” Make it moderately large and highly visible. Bold modern lettering with bright yellow, cyan, red and white accents, layered broadcast design, strong outline, subtle glow and drop shadow. Top-right: “LIVE” Use a large bright-red LIVE badge with bold white lettering, yellow/cyan accent details, strong outline, subtle glow and drop shadow. The upper graphics should look flashy, energetic and exciting like an international TV special. Keep them away from the Challenger’s face and important action. Do not add large subtitles across the center or bottom. The Challenger is highly energetic, confident, stylish and glamorous from beginning to end. She has the controlled movements of an experienced solo skydiver but performs for the cameras with bright, bold, playful energy. No fear. No hesitation. No panic. She is visibly excited and enjoying the entire challenge. Use big confident smiles, lively eye contact, enthusiastic waves, thumbs-up, fist pumps, peace signs and a quick wink. The mood is cool, sporty, exciting, glamorous and slightly sexy, not comedic. Add realistic solo-skydiving equipment: main and reserve parachute container, correctly fitted harness with shoulder, chest, waist and leg straps, wrist altimeter. No goggles. A compact action camera is securely fixed to the back of one hand. It is not handheld and does not interfere with normal skydiving control. Use a believable small single-engine turboprop high-wing skydiving aircraft with a large rectangular side jump door, narrow practical cabin and simple side benches. Inside the aircraft, use a fixed wide TV camera. Keep natural engine vibration, small camera vibration and strong wind when the door opens. A professional aerial cameraman jumps before the Challenger. He wears a navy skydiving suit, his own parachute system, a head-mounted action camera and carries a compact handheld TV camera. He descends rapidly below the aircraft, turns upward toward the jump door and captures the Challenger’s exit from below. During freefall he dynamically moves around her and actively searches for visually attractive LIVE-TV moments. Use authentic LIVE-TV camerawork: quick punch-in zooms, fast reframing, rapid cut-backs, brief close-ups, wind vibration, slight tracking delay, small overshoots, quick corrective pans, minor framing imperfections. The Challenger exits cleanly and rapidly separates downward from the aircraft. She never floats beside the aircraft. After exit: rapid downward acceleration, aircraft quickly receding above, strong relative airflow, smooth stabilization into a natural belly-to-earth freefall position. Belly toward ground. Back toward sky. Chest open. Hips naturally arched. Knees bent. Legs trailing behind. Arms naturally open. No upright falling. No seated falling. No swimming motion. No zero-gravity drifting. The aerial cameraman falls at a similar speed, so the Challenger appears relatively stable and floating inside the frame while the distant ground, clouds, aircraft movement, wind and body reactions clearly communicate high-speed descent. Strong realistic airflow continuously affects her face, hair and body. Hair streams violently backward. Cheeks are pushed and pulled by the airflow. Lips and mouth area tremble. Soft skin around the jaw and neck vibrates subtly. Even under strong airflow she keeps a bright confident smile and high-energy camera presence. Her chest, belly, sides, waist, hips, butt and thighs react naturally to turbulent airflow. The chest keeps realistic soft weight and shows clearly visible irregular multi-directional jiggling rather than repetitive bouncing. The belly, waist, hips, butt and thighs each show their own natural irregular soft-body movement. Use these as attractive LIVE-TV visual moments. Include a brief quick zoom toward the upper body to capture the chest movement. Include a brief rear three-quarter zoom framing the waist, hips, butt and upper thighs. Immediately return to her face or full-body action after each close-up. Do not hold isolated body close-ups too long. Keep the style dynamic, sporty, glamorous and broadcast-like. During freefall, cut between: aerial cameraman handheld TV camera, aerial cameraman head camera, Challenger hand-mounted self camera. Use: diagonal-front tracking, side tracking, low upward angle, frontal pass, rear three-quarter tracking, wide shots with open sky and distant ground. Audio: aircraft engine, cabin vibration, violent wind at the open door, powerful freefall wind, microphone turbulence, close breathing from the self camera, high-energy international sports-TV music. Lower the music during freefall so the live wind and voices dominate. All written Challenger dialogue MUST be actually spoken aloud in Japanese by the Challenger. Use a bright, energetic, excited young adult Japanese female voice. Her mouth movement must naturally synchronize with her Japanese speech. All written Commentator dialogue MUST be actually spoken aloud in Japanese by an energetic Japanese male TV commentator. Do not convert spoken lines into subtitles. Do not mute, omit or skip any written line. During freefall, wind noise may partially affect her voice, but every spoken line must remain audible and recognizable. Audio priority: 1. Challenger Japanese voice 2. Japanese Commentator 3. live environmental sound 4. background music [0:00–0:05] Fixed aircraft camera. The Challenger stands near the jump door with a big confident smile and high energy. She quickly adjusts her hair, enthusiastically waves at the camera, gives a thumbs-up and finishes with a strong short fist pump. Use a quick TV punch-in toward her smiling face. Challenger audibly says in Japanese: 「みんな、みてるー！？」 「今日は、かっこよくきめるよー！」 Japanese male Commentator audibly says: 「今回のチャレンジャー、実はスカイダイビングのライセンス保持者！ しかも今回は、なんとひとりで飛びます！」 [0:05–0:08] The jump door opens. Violent wind rushes into the cabin. Her hair immediately whips backward. The fixed TV camera quickly zooms toward her face and upper body. Instead of hesitating, she becomes even more excited. She laughs, looks directly into camera and raises a fist. Challenger audibly says in Japanese: 「きたきたー！！」 「テンションあがるー！」 「いってきまーす！！」 Japanese male Commentator audibly says: 「そして今回は、顔の表情をはっきり撮影するため、あえてゴーグルなし！ 強い風を受ける表情まで、しっかり捉えます！」 [0:08–0:11] Fixed aircraft camera. The aerial cameraman jumps first and rapidly disappears below the door. Immediately cut to his head camera. He accelerates downward, turns his body and points the camera upward toward the aircraft and open jump door. Natural wind vibration and rapid framing adjustment. Japanese male Commentator audibly says: 「まず空中カメラマンが先行！ 下から狙います！」 [0:11–0:14] Fixed aircraft camera. The Challenger confidently moves to the jump door with no hesitation. She looks back at the fixed camera with a big smile and gives a strong thumbs-up. Challenger audibly says in Japanese: 「いくよー！！」 She launches into a clean, stylish solo jump. Cut immediately to the aerial cameraman below the aircraft. She rapidly drops toward the camera while the aircraft becomes smaller above. The cameraman quickly corrects his framing to follow her. Japanese male Commentator audibly says: 「いったーーー！ 迷いなし！ きれいなソロジャンプ！」 [0:14–0:18] Aerial handheld TV camera. The Challenger smoothly stabilizes into a clean belly-to-earth posture. Begin with a dynamic diagonal-front full-body tracking shot. She immediately notices the aerial cameraman. Without breaking her posture, she enthusiastically waves with the free hand and gives a thumbs-up. Challenger audibly says in Japanese: 「みえてるー！？」 「さいこー！！」 Make a fast LIVE-TV punch-in toward her upper body for approximately 0.7 seconds. Clearly capture the strong airflow through her hair, face, chest and belly. Her chest shows soft irregular multi-directional jiggling. Immediately pull back to full-body. Japanese male Commentator audibly says: 「きれいに安定したーー！ さすがライセンス保持者、この余裕！ おおっと、カメラが寄った！ 胸元まで、風を受けてぷるぷる揺れています！」 [0:18–0:21] Challenger hand-mounted self camera. Close, energetic, slightly unstable shot of her face and upper body. Strong wind pushes her cheeks and lips. Her hair streams backward. Her chest and belly naturally move in the airflow. She looks directly into the camera with a huge smile and gives a playful quick wink. Challenger audibly says in Japanese: 「どう！？」 「かっこいいでしょー！！」 Japanese male Commentator audibly says: 「この風でも笑ってるーー！ 完全に楽しんでます！」 [0:21–0:25] Cut rapidly back to the aerial handheld TV camera. The cameraman tracks alongside her, then drops lower for a dramatic full-body upward angle against the blue sky. Move briefly toward a rear three-quarter position. Make a fast approximately 0.7-second LIVE-TV punch-in framing her lower back, waist, hips, butt and upper thighs. Show natural irregular airflow movement through the fitted outfit and soft body. Immediately widen back to full body and move toward diagonal front. The Challenger notices the camera again, gives a big smile and a playful peace sign. Challenger audibly says in Japanese: 「もっと、とってー！！」 Japanese male Commentator audibly says: 「後ろからも来たーー！ 腰まわりも、お尻も、風をまともに受けています！ それでもこの余裕！ カメラにピースです！！」 [0:25–0:28] Wide aerial TV shot. The Challenger quickly checks her wrist altimeter. With confident controlled movement, she deploys her own parachute. The canopy opens correctly. Her body rises naturally into the harness and freefall speed drops sharply. The cameraman performs a quick upward pan to follow the opening canopy. Wind noise suddenly becomes much quieter. Challenger audibly says in Japanese: 「よしっ！！」 Japanese male Commentator audibly says: 「ここで自分でパラシュート展開！ 開いたーー！ きれいです！」 [0:28–0:30] Challenger hand-mounted self camera during stable parachute descent. The atmosphere becomes calmer. The Challenger is still extremely energetic and excited. She gives a huge satisfied smile, waves enthusiastically at the camera, then makes a strong celebratory fist pump. Challenger audibly says in Japanese: 「せいこうー！！」 「みんな、みてたー！？」 Japanese male Commentator audibly says: 「ソロ・スカイダイブ、見事成功ーー！ 最後まで余裕たっぷり！ かっこよく決めましたーー！」 End with the Challenger smiling brightly against the open blue sky while the colorful “SOLO SKYDIVE SPECIAL” and “LIVE” broadcast graphics remain clearly visible. ===プロンプト終了===

M7［mi7］AI

88,283 views • 23 days ago

【R・TYPEのボス『ブロンク』を描いたときの話】 初代『R・TYPE』の開発が始まった頃、アイレムにはまだドット絵エディターが無く、私は方眼紙と色鉛筆でドット絵を描いていました。 当初は『R・TYPE』に必要な絵をすべて私一人で描く予定だったんですが、さすがに作業量が多すぎたため、開発の途中で導入されたドット絵エディターを使って、プランナーのABIKO君が敵や背景を描くのを手伝ってくれたんです。 このボスステージの背景もABIKO君が描いてくれていて、私が描いたのは、ゴミ、ハッチ、『ブロンク』、監視ロボ等のオブジェです。 それでも全体の作業量は多く、私には大きなボスを描く余裕がありませんでした。 その影響で、後半ステージのボスはどうしても小ぶりなものになってしまったんです。 この7ステージのボス『ブロンク』も、その一つでした。 このボスの着想は、初代『スター・ウォーズ』の有名なシーンです。 デス・スターの独房から脱出したルーク、レイア、ハン・ソロ、チューバッカの4人が、シュートへ飛び込んで行き着いた先のゴミ処理場なんです。 ルークを汚水に引きずりこんだ単眼のクリーチャー『ダイアノーガ』が、『R・TYPE』では、溜まったゴミの中からひょっこり顔を出す、ゴミ監視ロボになっています。 実は、このボスステージには『デス・スター』のゴミ処理場と同じように、巨大なゴミ圧縮機を設置する予定だったんです。 ゴミを押しつぶすための巨大な壁が迫ってくるので、その壁を撃って押し戻しながら、落下してくるゴミや『ブロンク』を破壊するというゲームになるはずでした。 English below 【When I Drew the R-TYPE Boss “Bronk”】 When development began on the original R-TYPE, Irem did not yet have a pixel art editor, so I was drawing pixel art on graph paper with colored pencils. At first, I planned to draw all the graphics needed for R-TYPE by myself, but the workload was simply too large. Partway through development, a pixel art editor was introduced, and our planner ABIKO used it to help draw enemies and backgrounds. ABIKO also drew the background for this stage. What I drew were objects such as the trash, the hatch, Bronk, and the surveillance robots. Even so, the overall workload was still huge, and I did not have enough room in the schedule to draw large bosses. As a result, the bosses in the later stages inevitably ended up being on the smaller side. The boss of this Stage 7, Bronk, was one of them. The idea for this boss came from the famous scene in the original Star Wars, where Luke, Leia, Han Solo, and Chewbacca escape from the Death Star detention block, jump into a chute, and end up in the garbage compactor. The one-eyed creature Dianoga, which pulls Luke into the dirty water, became a garbage-monitoring robot in R-TYPE, popping its head out from the accumulated trash. Actually, this boss stage was originally planned to have a giant garbage compactor, just like the garbage compactor in the Death Star. A huge wall for crushing the trash would close in, and the player was supposed to shoot that wall to push it back while destroying the falling trash and Bronk. #RType #GameDev
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【R・TYPEのボス『ブロンク』を描いたときの話】 初代『R・TYPE』の開発が始まった頃、アイレムにはまだドット絵エディターが無く、私は方眼紙と色鉛筆でドット絵を描いていました。 当初は『R・TYPE』に必要な絵をすべて私一人で描く予定だったんですが、さすがに作業量が多すぎたため、開発の途中で導入されたドット絵エディターを使って、プランナーのABIKO君が敵や背景を描くのを手伝ってくれたんです。 このボスステージの背景もABIKO君が描いてくれていて、私が描いたのは、ゴミ、ハッチ、『ブロンク』、監視ロボ等のオブジェです。 それでも全体の作業量は多く、私には大きなボスを描く余裕がありませんでした。 その影響で、後半ステージのボスはどうしても小ぶりなものになってしまったんです。 この7ステージのボス『ブロンク』も、その一つでした。 このボスの着想は、初代『スター・ウォーズ』の有名なシーンです。 デス・スターの独房から脱出したルーク、レイア、ハン・ソロ、チューバッカの4人が、シュートへ飛び込んで行き着いた先のゴミ処理場なんです。 ルークを汚水に引きずりこんだ単眼のクリーチャー『ダイアノーガ』が、『R・TYPE』では、溜まったゴミの中からひょっこり顔を出す、ゴミ監視ロボになっています。 実は、このボスステージには『デス・スター』のゴミ処理場と同じように、巨大なゴミ圧縮機を設置する予定だったんです。 ゴミを押しつぶすための巨大な壁が迫ってくるので、その壁を撃って押し戻しながら、落下してくるゴミや『ブロンク』を破壊するというゲームになるはずでした。 English below 【When I Drew the R-TYPE Boss “Bronk”】 When development began on the original R-TYPE, Irem did not yet have a pixel art editor, so I was drawing pixel art on graph paper with colored pencils. At first, I planned to draw all the graphics needed for R-TYPE by myself, but the workload was simply too large. Partway through development, a pixel art editor was introduced, and our planner ABIKO used it to help draw enemies and backgrounds. ABIKO also drew the background for this stage. What I drew were objects such as the trash, the hatch, Bronk, and the surveillance robots. Even so, the overall workload was still huge, and I did not have enough room in the schedule to draw large bosses. As a result, the bosses in the later stages inevitably ended up being on the smaller side. The boss of this Stage 7, Bronk, was one of them. The idea for this boss came from the famous scene in the original Star Wars, where Luke, Leia, Han Solo, and Chewbacca escape from the Death Star detention block, jump into a chute, and end up in the garbage compactor. The one-eyed creature Dianoga, which pulls Luke into the dirty water, became a garbage-monitoring robot in R-TYPE, popping its head out from the accumulated trash. Actually, this boss stage was originally planned to have a giant garbage compactor, just like the garbage compactor in the Death Star. A huge wall for crushing the trash would close in, and the player was supposed to shoot that wall to push it back while destroying the falling trash and Bronk. #RType #GameDev

akio

149,984 views • 3 months ago

『METAL SLUG２のアッシ・NERO』 アラビン王国の地下に広がる遺跡には、王家の財宝が隠されている螺旋塔『ガーディアン・ピラー』が無数にそびえているんです。 これらの塔には防衛トラップが各所に仕掛けられており、通常の手段では近づくことすら難しく、たちまちミイラにされてしまいます。 螺旋塔の中心には、超高硬度かつエネルギーを発する希少金属『蛇鉄鋼』が柱として使われており、構造材でありながら動力源としても機能するという特性で、螺旋塔は長きにわたって崩壊を免れてきました。 この性質を古くから知っていたアラビン王国は、同盟国であるモーデン軍には明かさず、密かに『蛇鉄鋼』の採掘を進めています。 そして、『ガーディアン・ピラー』に隠された財宝と『蛇鉄鋼』を採掘するために開発されたのが、王国製の巨大ボーリングマシン『アッシ・NERO』です。 『アッシ・NERO』は地下遺跡に侵入すると、『ガーディアン・ピラー』を最下層から丸呑みし、内部の『蛇鉄鋼』をスキャンしながら削り取っていく…、 当時は、こんなことをイメージしながら描いていたと思います。 この『アッシ・NERO』はモーデン軍ではなく、アラビン王国製だったかな。 というのも、『METAL SLUG２』のボスの中で、『シティ・デストロイヤー』を除いてモーデンマークが記されていないのは、この『アッシ・NERO』だけなので、そう設定したように覚えているんです。 このボスの着想は、ソード・スワロワーと呼ばれる、剣を胃の近くまで挿入する大道芸人と、1967年に放送してた特撮テレビシリーズ『ジャイアントロボ』に出てきた『アイアンパワー』という、蛇の頭のような巨大メカなんです。 迫り上がるマグマから逃げるゲームはよくありますが、ポッキーゲームのように巨大な口がポッキーをカリカリ食べながら近づいて来るようなシチュエーションは珍しいでしょ？ そんなドキドキの『アッシ・NERO』戦では、あえてプレイヤーの移動域を意図的に極限まで削り、操作精度と反応速度だけで乗り切らせるイジワルな構成にしてみました。 そして実装後、このボスを見た一人のスタッフは、まだ調整もしていないのに「理不尽で、メチャクチャなボスだ！」と、散々ケチをつけてくるんです…。 私としては『アッシ・NERO』は、他のボスとは違ってビックリ箱の様な感じで、現れた瞬間にプレイヤーをパニックにさせるようなボスにしたかったんです。 ビックリさせた後は、すぐ倒されても良いかなというボスでした。 土地に縛られたプレイヤーに対応するボスって、マンネリ化するでしょ。 どうやってプレイヤーをビックリさせるか…いつもそればかり考えていたんです。 迫力があるし調整すれば面白くなる、と皆が言ってくれるんですが、とにかくそのスタッフが、「理不尽なボスだ！」と、ずっとボヤいていたんですよ。 結局、プレイヤーの移動領域の確保と、アグレッシブ過ぎるボスの移動速度を抑えるという“怖すぎ要素”を取り除いたら、理想的なビックリ箱のようなボスとなり、丸く収まりました。 このボスは、塔ごとプレイヤーキャラをスッポリ丸呑み出来るように画面に収まらないほど長めに描いていたんです。 その大きさに驚いたスタッフが、「akioはボスをこんなに大きく描いてしまって、どうするつもりだ！」と誤解したんだと思います。 突飛なことをやりがちな私も、プレイヤーキャラを覆い隠しても良いからボスの全体像を常に見せてくれ、なんて言うわけありません。 でも、せっかく描いたんだから、断末魔の演出に限っては、通常は画面外に隠れている背中までフレームインして、ボスの全体像が一瞬でも見えるようにしてほしいと頼んでおきました。 このボスのモチーフはキングコブラなので背中の模様は見てもらいたいですからね。 全身が画面に収まりきらないほど巨大なボス『アッシ・NERO』、プレイヤーの皆さんを少しは驚かせることができたなら、嬉しいですね。 “Assi Nero of METAL SLUG 2” Beneath the Arabin Kingdom lies a vast ruin, where countless stone towers known as the Guardian Pillars rise high, said to conceal the royal family’s treasure. These towers are filled with defensive traps, making it nearly impossible to approach by ordinary means, and intruders are quickly turned into mummies. At the core of each stone tower, a rare metal called Snake Steel is used as the pillar. Known for its extreme hardness and energy-emitting properties, it serves not only as a structural material but also as a power source— a unique trait that has allowed the towers to endure without collapsing for ages. The Arabin Kingdom, having long known of this property, kept it secret from their ally, the Morden Army, and quietly continued mining Snake Steel. To excavate both the treasure hidden within the Guardian Pillars and the Snake Steel, the kingdom developed a massive boring machine known as Assi Nero. When Assi Nero entered the underground ruins, it would swallow a Guardian Pillar from its lowest level and scrape away the Snake Steel inside while scanning it… That was the kind of image I had in mind at the time. I believe Assi Nero was not built by the Morden Army, but by the Arabin Kingdom. The reason is that among the bosses in METAL SLUG 2, aside from the City Destroyer, Assi Nero is the only one without the Morden mark, and I recall setting it that way for this reason. The idea for this boss came from sword swallowers, street performers who insert swords deep down near their stomachs, and from Iron Power, a giant snake-headed mecha that appeared in the 1967 tokusatsu TV series Giant Robo (Johnny Sokko and His Flying Robot). In the battle against Assi Nero, I deliberately limited the player’s movement area to the extreme, forcing them to rely solely on precision of control and reaction speed, making it an intentionally mean-spirited setup. Then, one of the staff who saw this boss complained endlessly, saying, “It’s unreasonable, it’s a ridiculous boss!” That person went around telling everyone, “I was the one who put the planner back on the right path,” with an overwhelming craving for recognition. For me, unlike the other bosses, I wanted Assi Nero to feel like a jack-in-the-box—a boss that would throw the player into panic the moment it appeared. After the surprise, I thought it would be fine if it could be defeated quickly. Bosses that match players restricted to the ground tend to become monotonous, so I was always thinking about how to surprise the player instead. Everyone said that with some adjustments it would become interesting, but that staff member just kept grumbling, “It’s an unreasonable boss!” all the time. In the end, by securing the player’s movement space and toning down the boss’s overly aggressive speed—basically removing the “too scary” factor—it settled into a well-balanced fight, becoming an ideal jack-in-the-box style boss. I had drawn this boss extra long so that it could completely swallow the stone towers, and I think that led to the misunderstanding of “Akio made the boss way too big—what was he thinking?!” Even though I often did outrageous things, I never meant that the boss’s full body had to be shown all the time, even if it covered the player character. But since I had worked hard on the design, I at least asked for the lower part of the boss to rise up during its death throes, so the whole body could be revealed. After all, I wanted the players to see the pattern on its back, since the motif of this boss was the king cobra. This Assi Nero was so enormous that its whole body could not even fit on the screen. If it managed to surprise the players even a little, I would be glad. #METALSLUG #GameDev #PixelArt #RetroGaming
2:31

『METAL SLUG２のアッシ・NERO』 アラビン王国の地下に広がる遺跡には、王家の財宝が隠されている螺旋塔『ガーディアン・ピラー』が無数にそびえているんです。 これらの塔には防衛トラップが各所に仕掛けられており、通常の手段では近づくことすら難しく、たちまちミイラにされてしまいます。 螺旋塔の中心には、超高硬度かつエネルギーを発する希少金属『蛇鉄鋼』が柱として使われており、構造材でありながら動力源としても機能するという特性で、螺旋塔は長きにわたって崩壊を免れてきました。 この性質を古くから知っていたアラビン王国は、同盟国であるモーデン軍には明かさず、密かに『蛇鉄鋼』の採掘を進めています。 そして、『ガーディアン・ピラー』に隠された財宝と『蛇鉄鋼』を採掘するために開発されたのが、王国製の巨大ボーリングマシン『アッシ・NERO』です。 『アッシ・NERO』は地下遺跡に侵入すると、『ガーディアン・ピラー』を最下層から丸呑みし、内部の『蛇鉄鋼』をスキャンしながら削り取っていく…、 当時は、こんなことをイメージしながら描いていたと思います。 この『アッシ・NERO』はモーデン軍ではなく、アラビン王国製だったかな。 というのも、『METAL SLUG２』のボスの中で、『シティ・デストロイヤー』を除いてモーデンマークが記されていないのは、この『アッシ・NERO』だけなので、そう設定したように覚えているんです。 このボスの着想は、ソード・スワロワーと呼ばれる、剣を胃の近くまで挿入する大道芸人と、1967年に放送してた特撮テレビシリーズ『ジャイアントロボ』に出てきた『アイアンパワー』という、蛇の頭のような巨大メカなんです。 迫り上がるマグマから逃げるゲームはよくありますが、ポッキーゲームのように巨大な口がポッキーをカリカリ食べながら近づいて来るようなシチュエーションは珍しいでしょ？ そんなドキドキの『アッシ・NERO』戦では、あえてプレイヤーの移動域を意図的に極限まで削り、操作精度と反応速度だけで乗り切らせるイジワルな構成にしてみました。 そして実装後、このボスを見た一人のスタッフは、まだ調整もしていないのに「理不尽で、メチャクチャなボスだ！」と、散々ケチをつけてくるんです…。 私としては『アッシ・NERO』は、他のボスとは違ってビックリ箱の様な感じで、現れた瞬間にプレイヤーをパニックにさせるようなボスにしたかったんです。 ビックリさせた後は、すぐ倒されても良いかなというボスでした。 土地に縛られたプレイヤーに対応するボスって、マンネリ化するでしょ。 どうやってプレイヤーをビックリさせるか…いつもそればかり考えていたんです。 迫力があるし調整すれば面白くなる、と皆が言ってくれるんですが、とにかくそのスタッフが、「理不尽なボスだ！」と、ずっとボヤいていたんですよ。 結局、プレイヤーの移動領域の確保と、アグレッシブ過ぎるボスの移動速度を抑えるという“怖すぎ要素”を取り除いたら、理想的なビックリ箱のようなボスとなり、丸く収まりました。 このボスは、塔ごとプレイヤーキャラをスッポリ丸呑み出来るように画面に収まらないほど長めに描いていたんです。 その大きさに驚いたスタッフが、「akioはボスをこんなに大きく描いてしまって、どうするつもりだ！」と誤解したんだと思います。 突飛なことをやりがちな私も、プレイヤーキャラを覆い隠しても良いからボスの全体像を常に見せてくれ、なんて言うわけありません。 でも、せっかく描いたんだから、断末魔の演出に限っては、通常は画面外に隠れている背中までフレームインして、ボスの全体像が一瞬でも見えるようにしてほしいと頼んでおきました。 このボスのモチーフはキングコブラなので背中の模様は見てもらいたいですからね。 全身が画面に収まりきらないほど巨大なボス『アッシ・NERO』、プレイヤーの皆さんを少しは驚かせることができたなら、嬉しいですね。 “Assi Nero of METAL SLUG 2” Beneath the Arabin Kingdom lies a vast ruin, where countless stone towers known as the Guardian Pillars rise high, said to conceal the royal family’s treasure. These towers are filled with defensive traps, making it nearly impossible to approach by ordinary means, and intruders are quickly turned into mummies. At the core of each stone tower, a rare metal called Snake Steel is used as the pillar. Known for its extreme hardness and energy-emitting properties, it serves not only as a structural material but also as a power source— a unique trait that has allowed the towers to endure without collapsing for ages. The Arabin Kingdom, having long known of this property, kept it secret from their ally, the Morden Army, and quietly continued mining Snake Steel. To excavate both the treasure hidden within the Guardian Pillars and the Snake Steel, the kingdom developed a massive boring machine known as Assi Nero. When Assi Nero entered the underground ruins, it would swallow a Guardian Pillar from its lowest level and scrape away the Snake Steel inside while scanning it… That was the kind of image I had in mind at the time. I believe Assi Nero was not built by the Morden Army, but by the Arabin Kingdom. The reason is that among the bosses in METAL SLUG 2, aside from the City Destroyer, Assi Nero is the only one without the Morden mark, and I recall setting it that way for this reason. The idea for this boss came from sword swallowers, street performers who insert swords deep down near their stomachs, and from Iron Power, a giant snake-headed mecha that appeared in the 1967 tokusatsu TV series Giant Robo (Johnny Sokko and His Flying Robot). In the battle against Assi Nero, I deliberately limited the player’s movement area to the extreme, forcing them to rely solely on precision of control and reaction speed, making it an intentionally mean-spirited setup. Then, one of the staff who saw this boss complained endlessly, saying, “It’s unreasonable, it’s a ridiculous boss!” That person went around telling everyone, “I was the one who put the planner back on the right path,” with an overwhelming craving for recognition. For me, unlike the other bosses, I wanted Assi Nero to feel like a jack-in-the-box—a boss that would throw the player into panic the moment it appeared. After the surprise, I thought it would be fine if it could be defeated quickly. Bosses that match players restricted to the ground tend to become monotonous, so I was always thinking about how to surprise the player instead. Everyone said that with some adjustments it would become interesting, but that staff member just kept grumbling, “It’s an unreasonable boss!” all the time. In the end, by securing the player’s movement space and toning down the boss’s overly aggressive speed—basically removing the “too scary” factor—it settled into a well-balanced fight, becoming an ideal jack-in-the-box style boss. I had drawn this boss extra long so that it could completely swallow the stone towers, and I think that led to the misunderstanding of “Akio made the boss way too big—what was he thinking?!” Even though I often did outrageous things, I never meant that the boss’s full body had to be shown all the time, even if it covered the player character. But since I had worked hard on the design, I at least asked for the lower part of the boss to rise up during its death throes, so the whole body could be revealed. After all, I wanted the players to see the pattern on its back, since the motif of this boss was the king cobra. This Assi Nero was so enormous that its whole body could not even fit on the screen. If it managed to surprise the players even a little, I would be glad. #METALSLUG #GameDev #PixelArt #RetroGaming

akio

797,128 views • 9 months ago

Can't get enough of Seedance 2.5. The best part is it can generate 30s video in one single prompt, and the result is so realistic! So, here's another one that I made using CapCut. Prompt: [STYLE + CAMERA + ATMOSPHERE] Gritty, raw handheld 35mm film aesthetic with natural film grain. Harsh direct sunlight creating high-contrast shadows over a dramatic coastal cliff and open ocean. Continuous single-take handheld tracking shot (3rd-person / over-the-shoulder) with no cuts. Atmosphere: high-altitude wind, realistic coastal cliff and ocean physics, sudden wingsuit deployment. Audio: heavy rhythmic breathing, intense wind howl, fabric snap of wingsuit opening, high-speed air rush over open water, near-miss whooshes past yachts, soft landing roll on sand, distant ocean waves and beach ambient noise, final bite sounds. [IMAGE REFERENCES] Use the provided Hoshino character sheet as the single strict visual reference for the male character. Exact face, black hair, dark brown eyes, lean athletic build (178 cm), gold earrings, and overall facial structure locked from the reference. Outfit: modern high-performance cliff-jumping wingsuit — sleek, form-fitting design in matte charcoal black with sharp white paneling and subtle gold zipper accents (matching his minimalist aesthetic). The wingsuit is worn from the start with a matching technical backpack. Body proportions, posture, and face remain fully locked to the Hoshino reference. [TIMELINE SECOND BY SECOND] 0-3s: [Handheld medium] Hoshino stands on the edge of a high rocky cliff overlooking the open ocean, wearing his charcoal-and-white wingsuit and technical backpack. He looks straight into the camera with calm, confident intensity, then turns and launches into a clear, controlled forward somersault in slow motion as he leaves the cliff edge. 3-5s: [Continuous freefall] He completes the somersault and falls head-first toward the sea. At exactly 1.5 seconds into the fall he fully deploys the wingsuit with a sharp snap. The wing membranes inflate and he levels out into a smooth glide. 5-12s: [High-speed tracking] Camera stays locked behind him as he rockets at full speed just above the ocean surface along the coastline. He weaves tightly past sheer cliff faces, banking hard left and right, turquoise water and rocky walls streaking past at extreme velocity. 12-18s: [Low-level chaos] He drops lower, flying just above the water. He almost collides with a large luxury yacht that suddenly turns, banks hard to avoid it, then narrowly misses a smaller motor yacht. He dips under a yacht’s outstretched boom and threads between two more vessels. 18-23s: [Water-level action] Still flying extremely low over the sea, he dodges a startled seabird that dives across his path, skims past a group of people on a nearby yacht who scatter in surprise, and banks sharply to avoid an open yacht swim platform. The camera stays locked behind him through every near-miss. 23-26s: [Landing] He flares the wingsuit hard, touches down with both feet on the soft beach sand and immediately rolls forward to kill the speed. He stands up, peels off the wingsuit in one fluid motion and drops it on the sand beside him, revealing a clean fitted white undershirt underneath. 26-28s: [Beach level] He walks a few steps still wearing the backpack and stops right in front of a classic beachside hot-dog cart. The vendor hands him a steaming hot dog fresh off the grill. 28-30s: [Close continuous] He turns, looks directly into the camera, takes a big bite of the hot dog and chews with a calm, satisfied expression as the shot holds. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, ultra-detailed textures, cinematic lighting, perfect motion blur, high dynamic range, coherent physics (fabric, air, wingsuit membranes, impact, roll, near-misses with yachts, water spray), stable character locked to the Hoshino reference, realistic ocean reflections, cliff rock textures and wind, no artifacts, movie-level stability, pure single continuous take.
0:30

Can't get enough of Seedance 2.5. The best part is it can generate 30s video in one single prompt, and the result is so realistic! So, here's another one that I made using CapCut. Prompt: [STYLE + CAMERA + ATMOSPHERE] Gritty, raw handheld 35mm film aesthetic with natural film grain. Harsh direct sunlight creating high-contrast shadows over a dramatic coastal cliff and open ocean. Continuous single-take handheld tracking shot (3rd-person / over-the-shoulder) with no cuts. Atmosphere: high-altitude wind, realistic coastal cliff and ocean physics, sudden wingsuit deployment. Audio: heavy rhythmic breathing, intense wind howl, fabric snap of wingsuit opening, high-speed air rush over open water, near-miss whooshes past yachts, soft landing roll on sand, distant ocean waves and beach ambient noise, final bite sounds. [IMAGE REFERENCES] Use the provided Hoshino character sheet as the single strict visual reference for the male character. Exact face, black hair, dark brown eyes, lean athletic build (178 cm), gold earrings, and overall facial structure locked from the reference. Outfit: modern high-performance cliff-jumping wingsuit — sleek, form-fitting design in matte charcoal black with sharp white paneling and subtle gold zipper accents (matching his minimalist aesthetic). The wingsuit is worn from the start with a matching technical backpack. Body proportions, posture, and face remain fully locked to the Hoshino reference. [TIMELINE SECOND BY SECOND] 0-3s: [Handheld medium] Hoshino stands on the edge of a high rocky cliff overlooking the open ocean, wearing his charcoal-and-white wingsuit and technical backpack. He looks straight into the camera with calm, confident intensity, then turns and launches into a clear, controlled forward somersault in slow motion as he leaves the cliff edge. 3-5s: [Continuous freefall] He completes the somersault and falls head-first toward the sea. At exactly 1.5 seconds into the fall he fully deploys the wingsuit with a sharp snap. The wing membranes inflate and he levels out into a smooth glide. 5-12s: [High-speed tracking] Camera stays locked behind him as he rockets at full speed just above the ocean surface along the coastline. He weaves tightly past sheer cliff faces, banking hard left and right, turquoise water and rocky walls streaking past at extreme velocity. 12-18s: [Low-level chaos] He drops lower, flying just above the water. He almost collides with a large luxury yacht that suddenly turns, banks hard to avoid it, then narrowly misses a smaller motor yacht. He dips under a yacht’s outstretched boom and threads between two more vessels. 18-23s: [Water-level action] Still flying extremely low over the sea, he dodges a startled seabird that dives across his path, skims past a group of people on a nearby yacht who scatter in surprise, and banks sharply to avoid an open yacht swim platform. The camera stays locked behind him through every near-miss. 23-26s: [Landing] He flares the wingsuit hard, touches down with both feet on the soft beach sand and immediately rolls forward to kill the speed. He stands up, peels off the wingsuit in one fluid motion and drops it on the sand beside him, revealing a clean fitted white undershirt underneath. 26-28s: [Beach level] He walks a few steps still wearing the backpack and stops right in front of a classic beachside hot-dog cart. The vendor hands him a steaming hot dog fresh off the grill. 28-30s: [Close continuous] He turns, looks directly into the camera, takes a big bite of the hot dog and chews with a calm, satisfied expression as the shot holds. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, ultra-detailed textures, cinematic lighting, perfect motion blur, high dynamic range, coherent physics (fabric, air, wingsuit membranes, impact, roll, near-misses with yachts, water spray), stable character locked to the Hoshino reference, realistic ocean reflections, cliff rock textures and wind, no artifacts, movie-level stability, pure single continuous take.

MrDejie

198,144 views • 1 month ago

アニメOPによくあるキャラが謎の空間を浮遊しながら次々にアップで出てくるやつ TapNow Seedance 2.0 プロンプト共有するので是非キャラリファレンスやポーズ、背景など変えてやってみてください😁 prompt: 日本のフルカラーアニメ、高速なカット割り、メリハリのあるスピードランプ、作画枚数多め、２４FPS、アニメのオープニング, 右へ左へと飛び回るようなカメラワーク、ダイナミックなポーズ type: anime_opening_continuous_camera_flythrough style: dark fantasy anime, cel-shaded 2D, high contrast characters: $A: ref: あらい ゆうや $B: ref: ode to carnality $C: ref: @mayoi $D: ref: THIEVES ✤ concept: > One unbroken camera move flying rapidly through a blue void. Characters arranged along the path, revealed as camera sweeps past. No cuts, one continuous shot. camera: fast forward dolly with lateral drifts, rollercoaster POV, never stops environment: space: infinite deep blue void, white petals and feathers drifting, diagonal blades and ribbons floating past lens palette: deep crimson (#5A0000–#8B0000), cyan mint accents, black shadows lighting: dramatic rim light, deep shadows path: - subject: $A pose: sitting on a throne framing: push-in to close-up, drift past shoulder - subject: $B pose: mid-lunge with blade framing: quick arc around him - subject: $C pose: katana vertical, gripping blade, eyes over steel framing: lateral drift past the blade - subject: $D pose: finger to lips in shh gesture, blade tip in foreground framing: low angle, slow final push-in, camera rests foreground_wipes: diagonal blades, petals, feathers, ribbons passing close to lens between reveals negative: hard cuts, static camera, fades, text, photorealism
0:30

アニメOPによくあるキャラが謎の空間を浮遊しながら次々にアップで出てくるやつ TapNow Seedance 2.0 プロンプト共有するので是非キャラリファレンスやポーズ、背景など変えてやってみてください😁 prompt: 日本のフルカラーアニメ、高速なカット割り、メリハリのあるスピードランプ、作画枚数多め、２４FPS、アニメのオープニング, 右へ左へと飛び回るようなカメラワーク、ダイナミックなポーズ type: anime_opening_continuous_camera_flythrough style: dark fantasy anime, cel-shaded 2D, high contrast characters: $A: ref: あらい ゆうや $B: ref: ode to carnality $C: ref: @mayoi $D: ref: THIEVES ✤ concept: > One unbroken camera move flying rapidly through a blue void. Characters arranged along the path, revealed as camera sweeps past. No cuts, one continuous shot. camera: fast forward dolly with lateral drifts, rollercoaster POV, never stops environment: space: infinite deep blue void, white petals and feathers drifting, diagonal blades and ribbons floating past lens palette: deep crimson (#5A0000–#8B0000), cyan mint accents, black shadows lighting: dramatic rim light, deep shadows path: - subject: $A pose: sitting on a throne framing: push-in to close-up, drift past shoulder - subject: $B pose: mid-lunge with blade framing: quick arc around him - subject: $C pose: katana vertical, gripping blade, eyes over steel framing: lateral drift past the blade - subject: $D pose: finger to lips in shh gesture, blade tip in foreground framing: low angle, slow final push-in, camera rests foreground_wipes: diagonal blades, petals, feathers, ribbons passing close to lens between reveals negative: hard cuts, static camera, fades, text, photorealism

yachimat - AI Short Anime

154,380 views • 5 months ago

「MASKED 2026」 僕の想いは全てこちらに込めました。 明日から宜しくお願いします！ 【MASKED TEASER本文】 日本から生まれ、 時代に抗いながら進化を続けてきた音楽カルチャー A music culture born in Japan, evolving through defiance of the times. 「ヴィジュアル系」 Visual Kei. 異端と呼ばれたヘアメイク。 激しくも切ないメロディ。 Makeup once dismissed as extreme. Melodies both violent and tender. そのすべてに心を撃ち抜かれ、 僕らは“あなた”に憧れ、 Struck to the heart by everything it held, we admired ‘You,’ いつしか“表現する側”に立つことを選んだ。 and one day found ourselves choosing to express it too. 正解のない人生を、 自分の衝動に嘘をつかず、 With no right answers in life, we followed our impulses and kept walking, 迷いながらも歩んできた。 even through uncertainty. そして2026年。僕らは大人になり、 Here in 2026, we stand as adults. 痛みも別れも覚悟も背負っている。だからこそ、強くなった。 We carry pain, farewells, and resolve. That is why we are stronger. 今、この時代のやり方で、より過激に、より鮮烈に、 Now, redefined through this era, more extreme, more vivid, これまで以上に美しい形で、 in forms more beautiful than anything that came before, 最新のヴィジュアル系を世界へ解き放つ。 we unleash the newest evolution of Visual Kei onto the world. 仮面を被り、それぞれの美学と それぞれの叫びを背負った表現者たちの集合体。 A gathering of expressionists, masked, bearing their individual aesthetics and their individual screams. 「MASKED」 MASKED あの日、 僕らが憧れた“あなた”がくれた世界を受け継ぐだけでは終われない。 The world we received from ‘You’ is not where this ends. だから、その先へ So we move beyond. ヴィジュアル系は、 Visual Kei 誰にも縛られない。 is bound by no one. 何者にでもなれる。 "Anyone can become Visual Kei" 「V系は自由だ」 Visual kei: unbound, unlimited, free.
2:08

「MASKED 2026」 僕の想いは全てこちらに込めました。 明日から宜しくお願いします！ 【MASKED TEASER本文】 日本から生まれ、 時代に抗いながら進化を続けてきた音楽カルチャー A music culture born in Japan, evolving through defiance of the times. 「ヴィジュアル系」 Visual Kei. 異端と呼ばれたヘアメイク。 激しくも切ないメロディ。 Makeup once dismissed as extreme. Melodies both violent and tender. そのすべてに心を撃ち抜かれ、 僕らは“あなた”に憧れ、 Struck to the heart by everything it held, we admired ‘You,’ いつしか“表現する側”に立つことを選んだ。 and one day found ourselves choosing to express it too. 正解のない人生を、 自分の衝動に嘘をつかず、 With no right answers in life, we followed our impulses and kept walking, 迷いながらも歩んできた。 even through uncertainty. そして2026年。僕らは大人になり、 Here in 2026, we stand as adults. 痛みも別れも覚悟も背負っている。だからこそ、強くなった。 We carry pain, farewells, and resolve. That is why we are stronger. 今、この時代のやり方で、より過激に、より鮮烈に、 Now, redefined through this era, more extreme, more vivid, これまで以上に美しい形で、 in forms more beautiful than anything that came before, 最新のヴィジュアル系を世界へ解き放つ。 we unleash the newest evolution of Visual Kei onto the world. 仮面を被り、それぞれの美学と それぞれの叫びを背負った表現者たちの集合体。 A gathering of expressionists, masked, bearing their individual aesthetics and their individual screams. 「MASKED」 MASKED あの日、 僕らが憧れた“あなた”がくれた世界を受け継ぐだけでは終われない。 The world we received from ‘You’ is not where this ends. だから、その先へ So we move beyond. ヴィジュアル系は、 Visual Kei 誰にも縛られない。 is bound by no one. 何者にでもなれる。 "Anyone can become Visual Kei" 「V系は自由だ」 Visual kei: unbound, unlimited, free.

ごえもん -GOEMON-

29,647 views • 4 months ago

『METAL SLUG 3』に登場する『マーズウォーカー』です。 異星文明の脅威を表現するために、往年のSFアニメに出てきそうな、ちょっと可愛いデザインにしてみました。 描いている時は、ふざけ過ぎてないか、と不安になりましたが、ラグネームに侵入後、あの巨体が現れた時は、まるでビルの谷間から現れたマシュマロマンのような、可愛くて怖い、いい感じの脅威になっていたと思います。 映画好きの皆さんは、私が何をオマージュしてこのキャラを描いたか分かりますか？ かなりキュートに描いているので、ちょっと難しいかもしれませんね。 このキャラの元ネタは、1953年の映画『宇宙戦争』に登場する通称『ウォーマシン』という飛行物体なんです。 「どこが似てるんだ？」と言われると、オデコのチョウチンアンコウのような『スキャニング・アイ』くらいしか似てないんですが、このプローブが良いんですよね。 私の大好きな怪獣『宇宙大怪獣ギララ』にも、アンテナの前に同じような『スキャニング・アイ』がついてるんです。 私が小さい頃に描いていた怪獣にも、たいていこの『スキャニング・アイ』がついていた気がします。 小さかった私は、『スキャニング・アイ』こそ、地球を征服しに来た宇宙の悪者の象徴だと信じていたんですね。 あと、マニアの方はご存知かもしれませんが、映画に登場する『ウォーマシン』には足は見えませんが、設定上は存在しています。 H.G.ウェルズの原作に登場する「トライポッド」には、金属製の立派な足が3本あるんです。 その足は『マーズウォーカー』とは少し違って、カメラの三脚のような構造だったと思います。 映画では、この『ウォーマシン』は、3本の見えないエネルギーの足で地面に立っている設定になっていて、火花や光のエフェクトで「ここに足があるんだよ！」と表現していました。 そんなわけで、『ウォーマシン』に足を付けてみると、なんとなく『マーズウォーカー』っぽく見えてくるでしょ？ とはいえ、子供の頃に見た『ウォーマシン』を数十年後、モチーフにしたわけですから、多少の脳内美化があったのかもしれませんね。 もし宇宙人が地球を征服するなら、『トライポッド』より断然、『マーズウォーカー』をお勧めしたいと思います。 This is the "Mars Walker" that appears in METAL SLUG３. To represent the threat of an alien civilization, I gave it a somewhat cute design, like something you might see in a classic sci-fi anime. While I was drawing it, I was a bit worried it might look too silly. But when that huge figure appeared after infiltrating the Rugname, it felt like the right kind of threat. Cute and scary at the same time, like the Marshmallow Man emerging from between city buildings. The original inspiration for this character was a flying machine commonly known as the "War Machine" from the 1953 movie The War of the Worlds. If you ask, "What looks similar?", I’d say it’s mainly the anglerfish-like "scanning eye" on its forehead, but that one probe really makes all the difference. One of my favorite kaiju, Guilala from The X from Outer Space, also has a similar "scanning eye" in front of its antenna. Even the monsters I used to draw when I was a kid almost always had that same "scanning eye" on their heads. When I was little, I truly believed that the "scanning eye" was the very symbol of evil beings from outer space who had come to conquer Earth. For those enthusiasts who might know, the "War Machine" appearing in the movie has no visible legs, but according to the setting, they do exist. In H.G. Wells’ original novel, the "Tripod" has three sturdy metal legs. I believe those legs were structured somewhat differently from the Mars Walker, more like a camera tripod. In the movie, the "War Machine" is depicted as standing on three invisible energy legs, with sparks and glowing effects used to express, "Here are the legs!" That said, considering I used the "War Machine" I saw as a child as the motif decades later, maybe I was seeing it through a bit of nostalgic idealism.If aliens were to conquer Earth, I’d definitely recommend the Mars Walker over the Tripod. #METALSLUG #MarsWalker #PixelArt #GameDev #RetroGaming
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『METAL SLUG 3』に登場する『マーズウォーカー』です。 異星文明の脅威を表現するために、往年のSFアニメに出てきそうな、ちょっと可愛いデザインにしてみました。 描いている時は、ふざけ過ぎてないか、と不安になりましたが、ラグネームに侵入後、あの巨体が現れた時は、まるでビルの谷間から現れたマシュマロマンのような、可愛くて怖い、いい感じの脅威になっていたと思います。 映画好きの皆さんは、私が何をオマージュしてこのキャラを描いたか分かりますか？ かなりキュートに描いているので、ちょっと難しいかもしれませんね。 このキャラの元ネタは、1953年の映画『宇宙戦争』に登場する通称『ウォーマシン』という飛行物体なんです。 「どこが似てるんだ？」と言われると、オデコのチョウチンアンコウのような『スキャニング・アイ』くらいしか似てないんですが、このプローブが良いんですよね。 私の大好きな怪獣『宇宙大怪獣ギララ』にも、アンテナの前に同じような『スキャニング・アイ』がついてるんです。 私が小さい頃に描いていた怪獣にも、たいていこの『スキャニング・アイ』がついていた気がします。 小さかった私は、『スキャニング・アイ』こそ、地球を征服しに来た宇宙の悪者の象徴だと信じていたんですね。 あと、マニアの方はご存知かもしれませんが、映画に登場する『ウォーマシン』には足は見えませんが、設定上は存在しています。 H.G.ウェルズの原作に登場する「トライポッド」には、金属製の立派な足が3本あるんです。 その足は『マーズウォーカー』とは少し違って、カメラの三脚のような構造だったと思います。 映画では、この『ウォーマシン』は、3本の見えないエネルギーの足で地面に立っている設定になっていて、火花や光のエフェクトで「ここに足があるんだよ！」と表現していました。 そんなわけで、『ウォーマシン』に足を付けてみると、なんとなく『マーズウォーカー』っぽく見えてくるでしょ？ とはいえ、子供の頃に見た『ウォーマシン』を数十年後、モチーフにしたわけですから、多少の脳内美化があったのかもしれませんね。 もし宇宙人が地球を征服するなら、『トライポッド』より断然、『マーズウォーカー』をお勧めしたいと思います。 This is the "Mars Walker" that appears in METAL SLUG３. To represent the threat of an alien civilization, I gave it a somewhat cute design, like something you might see in a classic sci-fi anime. While I was drawing it, I was a bit worried it might look too silly. But when that huge figure appeared after infiltrating the Rugname, it felt like the right kind of threat. Cute and scary at the same time, like the Marshmallow Man emerging from between city buildings. The original inspiration for this character was a flying machine commonly known as the "War Machine" from the 1953 movie The War of the Worlds. If you ask, "What looks similar?", I’d say it’s mainly the anglerfish-like "scanning eye" on its forehead, but that one probe really makes all the difference. One of my favorite kaiju, Guilala from The X from Outer Space, also has a similar "scanning eye" in front of its antenna. Even the monsters I used to draw when I was a kid almost always had that same "scanning eye" on their heads. When I was little, I truly believed that the "scanning eye" was the very symbol of evil beings from outer space who had come to conquer Earth. For those enthusiasts who might know, the "War Machine" appearing in the movie has no visible legs, but according to the setting, they do exist. In H.G. Wells’ original novel, the "Tripod" has three sturdy metal legs. I believe those legs were structured somewhat differently from the Mars Walker, more like a camera tripod. In the movie, the "War Machine" is depicted as standing on three invisible energy legs, with sparks and glowing effects used to express, "Here are the legs!" That said, considering I used the "War Machine" I saw as a child as the motif decades later, maybe I was seeing it through a bit of nostalgic idealism.If aliens were to conquer Earth, I’d definitely recommend the Mars Walker over the Tripod. #METALSLUG #MarsWalker #PixelArt #GameDev #RetroGaming

akio

430,499 views • 1 year ago