Resources

PART 1 — 24.59 seconds, 4:3
Create a stylized, dialogue-led videogame cutscene. Scene takes place in a Guangzhou plaza. Use <<<image_1>>> for styling reference.

REFERENCE ROLES
Main character image: Match his face, hair, proportions, wardrobe, and accessories consistently.
BLENDER VIDEO — CAMERA AND BLOCKING ONLY: Follow its framing, cuts, camera paths, and character positions. Apply the scene image’s finished game appearance to that structure.
Animate characters with deliberate pose transitions, restrained facial rigs, simple hand shapes, and repeating background walk cycles.
GAME-STYLE SCENE IMAGE — PRIMARY APPEARANCE REFERENCE: Match <<<image_1>>> rendering across the entire frame: character, architecture, foliage, pavement, background people, lighting, and reflections. Preserve its simplified geometry and visibly textured game surfaces throughout every camera cut.
The main character stands sideways to the railing, torso perpendicular to it, one forearm resting naturally on the rail. Keep him predominantly on the right third, looking toward the active camera. Preserve his position and screen direction across cuts.

PERFORMANCE AND CAMERA LANGUAGE
Dry, conversational confidence with quick, clearly articulated delivery. Small expressions and purposeful gestures attached to specific words; hands settle between gestures. Close shots create intimacy, wides reveal context, and locked close-ups land punchlines. Use gentle handheld sway in the wide shot; keep pushes and lateral drifts controlled.

TIMED SHOTS AND EXACT DIALOGUE
All timestamps are seconds and hundredths.

0.00–4.19 — Medium close-up, slow push-in.
Direct eye contact, curious deadpan:
“Why is it called tomfoolery and not just foolery? Who is Tom and what did he do?”

4.19–9.10 — Hard cut wide, full body.
Reveal his relaxed rail lean and the plaza. Almost imperceptible handheld sway; one small explaining gesture:
“Imagine being so ridiculous, your ‘foolery’ gets credited for generations.”

9.10–10.16 — Hard cut to a locked face close-up.
A brief beat, then absolute deadpan:
“I can.”

10.16–15.18 — Medium close-up, slight three-quarter angle, slow lateral drift.
“I came down from space to China to search for my brother in a Chinese time of HIS life. Then I got hungry.”
A small eyebrow movement emphasizes “HIS.” He recounts the story while remaining at the railing.

15.18–19.11 — Medium shot, subtle push-in.
“So I stopped and got some soup dumplings from a spot in Liwan.”
Finish around 19.00; hold briefly.

19.11–24.59 — Cut closer, restrained lateral drift.
Brief appreciation, then matter-of-fact delivery:
“They’re decadent. I order half the menu immediately. Ask him how much. He says eight dollar special.”
End after “special,” before his price reaction.

BACKGROUND AND CONTINUITY
Sparse pedestrians move in both directions at the edges of the wide frame. Animate natural walking and perspective changes. Smaller figures cross the lower plaza and ascend the escalator. Keep the main character’s face and gestures clear.
Use clean hard cuts at the specified times.

18 seconds · 4:3 · Smooth PS2/PSP-style 3D

Use the supplied references <<<image_1>>> <<<image_2>>> <<<image_3>>> for the main character, <<<image_4>>> for his car, <<<image_6>>> <<<image_7>>> the city, and <<<audio_1>>> for his voice. Smooth shaded geometry, simplified textures, soft bloom. Preserve character and car consistency throughout. Nighttime until the final dawn reveal. No music or subtitles.

Spoken language: English only. Use the supplied audio reference for the main character's voice, tone, and accent. Chinese text appears only on environmental signage. Background crowd chatter is indistinct, with no intelligible words.

0:00–0:01.5 — Above the city
High aerial view looking diagonally down across Guangzhou at night. Slowly push toward the illuminated towers, as if beginning a descent into the city. Distant city hum.

0:01.5–0:03 — Car overhead
Hard cut to a camera flush with the road, looking up between impressive skyscrapers. The Jaguar drives directly over the lens, its underside briefly filling the frame. Engine growl and tire rush.

0:03–0:04.5 — Windshield
Hard cut to the main character through the moving car’s windshield. Tight framing. Neon buildings reflect across the glass while his focused face remains visible.

0:04.5–0:06 — Inside the car
Passenger-side close-up. Gentle road vibration. Passing lights sweep across his face. His eyes shift toward the shops, then forward.

0:06–0:11 — City montage
Six rapid hard cuts. Every shot feels personally observed: handheld camera with subtle sways and small framing adjustments, as though someone is holding it while exploring throughout the city. Tight, selective compositions squeeze fragments of the city into the frame. People, objects, and storefront edges partially come in and out of view.

Shoulder-level view among crowds crossing the street. People pass close to the lens, briefly obscuring the scene.
Close view of sizzling food. Steam rises past the lens as a vendor’s hand enters the frame.
Camera tilts slightly upward toward glowing Chinese signs crowded between building edges.
Scooters pass close by, briefly filling the frame as the camera follows.
A passing glimpse into packed Y2K stalls: electronics, jackets, bags, and toys overlapping within the tight composition.
Handheld sidewalk view. Pedestrians blur past in accelerated time-lapse, suggesting the night slipping away.

Brief overlapping fragments of chatter, sizzling food, footsteps, and engines build the city’s energy.

0:11–0:13.5 — Reflection reveal
Hard cut. The busy soundscape drops to a distant hush. Close view of the penthouse glass from outside, initially filled with the city’s reflection. The main character steps into view behind the glass. Focus shifts to his face, clearly visible beneath faint reflections. The first dawn light touches him.

0:13.5–0:18 — Dawn above the city
Hard cut behind the main character inside the penthouse. He stands at the floor-to-ceiling windows, overlooking the city as early dawn breaks. Slowly pull back from behind his shoulders, revealing the room and expansive skyline.

The main character says exactly in English, without translation or additional dialogue: “I know you’re out there, brother.” Quiet certainty, matching the supplied voice reference. Finish before the final half-second.

PART 1 — 24.59 seconds, 4:3
Create a dialogue-led 2006–2008 console videogame cutscene, with period-specific rendering and character animation. Remain in the same Guangzhou plaza throughout.

REFERENCE ROLES

Main character image: Preserve his identity, hair silhouette, proportions, wardrobe, and accessories. Translate his appearance into a 2006–2008 game character.

Blender video: Follow its camera sequence, cut timing, composition, and spatial blocking. The blue stand-in is the main character; rectangular figures indicate pedestrian paths. Replace proxies with finished game characters and deliberate, period-style keyframed animation. Do not inherit mannequin anatomy, sliding locomotion, or unfinished surfaces.

Guangzhou images: Guide the architecture, layout, and environmental colors. Translate the photographic references into the game-rendered style described below.

RENDERING STYLE

Visibly modeled silhouettes, angular clothing folds, hair made from solid clumps or textured cards, and painted surface detail. Simple skin shading, restrained specular highlights, baked-looking environmental lighting, soft shadow maps, and modest texture resolution. Wet pavement uses broad, simplified reflections.

The entire scene should look like an in-engine console cutscene from 2006–2008. Avoid photoreal skin pores, individual hair strands, photographic materials, film grain, VHS overlays, and pixel-art effects.

WORLD AND STAGING

A rainy Guangzhou shopping plaza: curved glass storefronts, striped stone paving, green-tinted glass railings, a sunken shopping court, escalators, and sweeping lattice canopies. Chinese storefront signage, cyan advertising screens, planting, and restrained pink accents. Soft overcast daylight and hazy distant buildings, expressed through simplified game lighting and textures.

The main character stands sideways to the railing, torso perpendicular to it, one forearm resting on the top rail with clear physical contact. Keep him predominantly on the right third, looking toward the active camera. Preserve his position and screen direction across cuts.

CHARACTER ANIMATION AND PERFORMANCE

Dry, conversational confidence with quick, clearly articulated delivery.

Use deliberate keyframed poses, slightly rigid torso movement, simple weight shifts, and short transitions between held poses. Each spoken clause gets one purposeful gesture, followed by a brief settle. Hands use simple open-palm, loose-fist, and pointing poses.

Facial animation uses restrained mouth shapes, simple jaw movement, occasional blinks, eyebrow lifts, and small head tilts. Eyes hold their target between deliberate gaze changes. Avoid continuous facial micro-expressions, fluid motion-capture acting, and lifelike finger articulation.

Background pedestrians use recognizable looping walk cycles with modest variation. Keep feet grounded and contact believable while retaining the slightly mechanical quality of period game animation.

CAMERA LANGUAGE

Close shots create intimacy, wides reveal context, and locked close-ups land punchlines. Follow the reference video’s camera movement and cuts. Handheld movement is a subtle authored sway in the wide shot; pushes and lateral drifts remain controlled, and locked shots remain still. Keep camera playback smooth.