This week, I focused on optimizing and designing Scenes 1, 2, and 3. I refined Scenes 1 and 2, and started the early design for Scene 3.

Scene 1, 2

Scene 1

In Scene 1, I made the character’s actions more exaggerated and stylized, while also making the movements clearer and easier to read.

Feedback

In the preparation phase at the beginning, camera movement should be kept to a minimum, and any movement should be slower and more controlled.

The landing at this point needs a more distinctive action to better show the character’s personality.

The distance between characters should be adjusted through camera staging to create a more balanced composition.

Scene 2

In Scene 2, I added more camera changes and action variations to further increase the intensity of the conflict.

Feedback

This shot needs a series of connected actions to create a smoother transition into the next scene.

Scene3

This week, I started working on Scene 3. I designed a long take to show the first phase of the fight — a smooth and continuous sequence where the protagonist moves and defeats enemies within a short time. I also placed an enemy behind the character to guide the movement toward a specific location.

The purpose of this movement is to prepare for phase two. I designed the boss to enter the scene by elevator, which makes the moment more dramatic than simply having the boss wait in place.

Feedback

Similar to the previous shots, this one is part of the preparing phase and needs to hold a bit longer to better prepare for the upcoming action.

As a key part of the slashing sequence, the character’s movement should be clean. Using two strikes feels too slow for a powerful protagonist — it would be more effective to show the enemy being taken down with a single blow.

The boss’s appearance should be preceded by a clear signal, such as the numbers on the elevator display.

It’s clear that the character’s placement feels too sudden and out of place. A better solution would be to increase the distance between the protagonist and the boss — for example, by positioning the end of the protagonist’s attack farther away from the elevator.

When the boss appears, the protagonist should also be visible in the frame to make the following sequence more smoothly.

Future Plan

The next part will focus on designing the boss fight, followed by Scene 4, where the protagonist finally reaches their goal.