Seedance 2.5 drunken-master swordsman solo dance on a flat grey stage

SCENE
A solo character animation test: one lean bloodied swordsman performs a loose, staggering drunken-master sword routine on a seamless flat grey stage. Lazy wobbling sways snap without warning into blindingly fast cuts, then melt back into sloppy balance. Unsettling, playful, impossible to predict. No opponent, no target, no narrative setting.

REFERENCES
@Image 1 - exact opening and closing frame, and the sole authority for the man's face, messy blue-black hair, deep indigo wide-sleeved robe, off-white tied sash, sandals, dark crimson blood patches on skin, cloth and blade, the single katana and the painted finish. Flat grey background stays plain.

FIRST FRAME
The man from @Image 1 stands full body, nearly frontal, on flat grey, both sandals planted. His right hand rests loosely at his collar; his left hand, at picture-right, holds the katana point-down away from his leg. Head tilted, eyes half-lidded, faint closed-mouth smile. The head begins to loll further sideways and his weight starts to tip forward.

FORMAT
15 seconds, portrait 3:4. One continuous animation showcase with action-following reframing, no editorial cuts. Begins and ends on the exact reference pose and framing.

CAMERA
One full-body master at torso height, slight low angle, framing the whole figure, sandals and blade tip throughout. During the action, ease back to a wider full body so overhead cuts, low sweeps and the flaring sleeves stay inside frame, following his drift sideways with restrained lateral moves. Specific framing changes are in the timeline. Return to the exact opening framing for the last two seconds.

TIMELINE
0.0s to 15.0s - CUT C1
A loose drunken stagger keeps tipping into sudden lightning-fast cuts, then sways back into the reference pose.
0-1.5s: He sways, head lolling, the raised right hand drooping from the collar; his weight tips forward past balance as if he will fall on his face. Camera holds the reference framing.
1.5-3.5s: Mid-fall his front sandal catches the floor and the stumble becomes the attack: the katana whips up in one near-instant rising diagonal cut, then two more snap out, horizontal and reverse diagonal, each a split-second pale smear, while his torso is still tipping. Camera eases back to a wider full body.
3.5-6s: He reels backward, hips leading, knees loose, spins lazily on one heel, wobbles, then suddenly whips a flat full-turn slash at waist height. Sleeves and sash flare outward. He lands balanced on one sandal, the other foot hooked behind his knee, swaying. Camera tracks his sideways drift.
6-8.5s: He tips backward into an impossibly deep lean, almost horizontal, caught on one bent leg, his free arm flopping. From the lean he fires a tight flurry of short overhead cuts, so fast the blade becomes a fan of pale smears above his body, then he lazily rolls back upright.
8.5-11s: He slumps into a loose low crouch, almost sitting, wobbling, then explodes upward into his strongest cut: one huge rising slash from floor to overhead, rising onto the toes of one sandal, sleeves trailing. A brief hold at the peak, still smiling.
11-13s: He topples sideways from the peak, stumbles two steps, and without looking flicks one fast backhand cut behind his own back, then lets the blade drift down. Camera re-centers him.
13-15s: Swaying gently, he steps his sandals back to their original stance, the katana settles point-down in his left hand away from his leg, the right hand floats back to his collar and the head tilts into the same half-lidded smile. One last small sway, then stillness. Camera returns to the exact opening framing.

PERFORMANCE
Boneless, loose and off-balance between attacks, as if drunk; the cuts themselves are precise, decisive and much faster than everything around them. Every attack grows out of a stumble, lean or fall, and each recovery is lazy and wobbly. Half-lidded eyes and faint smile stay calm throughout; no snarl, no shouting.

PHYSICS
Every fall is caught by a planted sandal or bent knee; weight transfers visibly through hips and feet. The katana stays one straight rigid blade gripped in his left hand except for brief two-handed moments. Wide sleeves, robe hem and sash ends lag behind direction changes, flare on spins and settle afterward. Blade smears are brief and clear instantly, never hiding his body.

LIGHTING
Soft even studio light on seamless flat grey, with a soft grounding shadow under his sandals. Keep the reference's peach and periwinkle edge accents on robe and skin. No flashes, sparks or glowing effects.

AUDIO
0.0s to 15.0s - CUT C1 - AUDIO
SPOKEN DIALOGUE: NONE
Sandals scuffing and slapping the floor on each stumble and catch, heavy robe cloth flapping on spins, sash snapping. Each cut is a sharp thin whistle of blade through air, the overhead flurry a rapid chain of whistles, the big rising slash one long deep swish. A single lazy exhale through the nose at the peak. Foley and action sound only. No music.

STYLE
Preserve the painted 2D finish of @Image 1: flat color shapes, crisp faceted cloth planes, broad indigo shadow masses, drawn anime-style face, dark crimson blood as flat graphic patches. Snappy stepped character timing with long elastic sways between attacks; cuts are one- or two-frame painted smear arcs. Camera moves stay fluid. Surface shapes and blood patches stay consistent during movement without crawling or warping.

FINAL STATE
The same man stands full body, nearly frontal, both sandals planted, right hand loosely at his collar, katana point-down in his left hand away from his leg, head tilted, half-lidded eyes and faint smile, matching the opening frame. The last cloth sound has faded to silence.

LOCKS
One man, one katana, no opponent and no new blood spray. Same blood patches, robe, sash and sandals throughout. The sword never breaks, bends, duplicates or disappears. No gourd, bottle or added props, no extra figures, no text, panels or logos, no floating feet.