刀片裙摆单手 · H3 提示词教程（专攻"起势 / 进入"）

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这是我们这十几轮踩坑后沉淀的正确写法。动作最难、失败率最高的就是怎么从站立"起"这个旋转——本教程按你上面那套字段标题逐段讲，重点放在第 5、9 节的起势。

0. 先建立正确的动作心智模型（写之前必须想清楚）

看原图，先记住一句话：腰是圆心，裙子是一圈固定在腰上、竖立朝镜头的环形布；上半身和撑地手从圆心向下伸到地面，腿从圆心向上伸。

整个动作分四阶段，缺一个模型就会崩：

阶段 身体状态 作用 ① 垂直站立 双腿垂直地面，正常站 起始，必须有 ② 冠状面张开侧倒 屈膝蹬地，双腿沿冠状面从垂直向外打开，身体侧倒 角动量在这一步积蓄（关键，最容易漏） ③ 单手撑地 720 单掌前侧方落地为唯一支点，非对称斜水平悬空，绕轴转两圈 旋转主体 ④ 四步防穿模起身 收腿→裙在腰周垂落→脚落到裙外→躯干最后起 防止人从裙子里穿出

之前所有失败，本质都是跳过了②、或把③理解成了"后弯桥式"。

1. subject_definitions —— 图1主锁 + 最小锚点（不是零文字）

作用：让图1当最高权威，同时给一行短锚点，防止旋转这种图1没出现过的极端姿态下服装/身份漂移。

写法三条：

  1. 声明图1锁定身份、身材、服装廓形、配饰；
  2. 保留运动学锚点：layered huge sheer gown、full-circle multi-layer skirt、long sheer sleeves、lower-back trailing ribbon（这些决定裙子能不能炸开）；
  3. 颜色全部移除、归图1：写 "All color is carried by <Picture 1> only — no color is named"。

刀片旋转专属：必须写 full-circle multi-layer skirt（整圆多层裙），否则模型不知道"有什么可炸成圆盘"。

坑：零文字 → 大动作时丢服装、动作变形；写太多颜色纹样 → 图文打架漂移。正确是"短锚点、不命名颜色"。

2. environment_definition —— 只在图1不锁环境时写

  • 图1锁环境（默认）→ 整段省略，并在负面约束写 no background redraw。
  • 像45秒军帐这种"图1只锁人物、环境自定义"的例外 → 才写环境，且不命名颜色，只用材质/光影/明暗词（heavy drapes、polished dark wooden reflective floor、lantern bokeh、firelight），并预留足够地面半径给旋转。

3. lighting_definition —— 逆光是刀片裙摆的灵魂

刀片裙摆要"透、利、分层"，靠逆光/轮廓光打穿薄纱：

  • 主光给方向（warm-toned key, upper-left 45°），去掉色相词只留色温倾向；
  • 旋转时 backlight catches every sheer layer（逆光逐层穿透纱层），裙摆边缘才会"刀片化"；
  • 灯光全程恒定，静止/慢落靠身体不靠灯光变化。

4. audio —— 续接不重启 + 标清触发拍

  • 多段视频每段都写 CONTINUES from previous segment — does NOT restart；
  • 标清 BPM、1拍时长、强拍位置，让"侧倒 / 撑地 / 旋转"卡在强拍；
  • supplied 音频标 fully_copy，舞蹈去适应音频，不反过来。

5. integrated_multimodal_description ——【核心】起势逐拍拆解

5.1 先写总纲

  • 动作语言：中国古典舞身法 + 融入的 breaking 地板技术；
  • 音乐结构：几拍、强拍在哪、分成几个 kinetic sentence。

5.2 [Shot 1]

写清从上一段的什么延续姿态开始（continuation state），禁止 reset 成新姿势。

5.3 ★开始四拍模板（这就是"针对开始"的标准答案）

口诀：站着 → 打开 → 侧倒 → 才转。四拍各有分工，绝不能一拍直接进悬空旋转。

[Beat 1 strong] STANDING PREPARATION AND SIDE-DROP INITIATION. Begin upright with BOTH LEGS VERTICAL to the ground, feet under hips. Softly bend knees, sink weight onto the supporting leg; the support arm swings down-forward, the other arm opens for counterbalance. The driving foot pushes off and BOTH legs begin to OPEN along the CORONAL PLANE away from vertical — this opening out of vertical is what builds rotational momentum, not a separate upper-body twist. → 要点：明确"起始双腿垂直地面"，明确角动量来自"腿从垂直张开"。 [Beat 2 weak] OPEN FROM VERTICAL INTO THE OBLIQUE HORIZONTAL. As the body tips sideways the palm plants ANTEROLATERALLY (beside and slightly ahead, NEVER behind) as sole contact, arm extended, shoulder stacked over wrist. The driving leg sweeps up the same coronal path and extends toward the top; the other leg opens bent. Travel continuously: vertical standing → tilted intermediate → oblique side-suspended near-horizontal, ONE unbroken motion. ASYMMETRIC (one leg up, one bent open), NOT a backbend bridge, NOT prone; head drops toward the floor, gaze down. The waist-fixed skirt begins radiating. → 要点：必须出现"垂直→倾斜中间态→斜水平"的连续过程，模型才看得懂怎么倒下去。 [Beat 3 medium] ONE-HAND 720 SPIN. The instant the asymmetric line is established, momentum from push-off + coronal opening + shoulder-against-hip twist drives a full 720° around the near-vertical axis planted wrist → shoulder → hip. Hold the asymmetric leg line. The skirt blooms into an UPRIGHT, CAMERA-FACING petal disc, body through its hollow center, limbs never cutting fabric. As the second 360 completes, the raised leg begins to retract. → 要点：旋转"在姿态到位的瞬间"才开始，说明角动量来源，锁旋转轴。 [Beat 4 weak] CLIPPING-FREE RECOVERY (strict order, see §10). retract raised leg → skirt falls around waist → feet land clear of hem → palm press → torso rises last → skirt settles around legs.

为什么必须有 beat1→beat2 的"张开"过程：breaking 单手转的角动量是蹬地+摆腿"甩"出来的。你让模型从站立直接跳到悬空转，它没有动量来源，只能"飘"上去 → 零重力感、转不动、姿态怪。

5.4 后续动作

起身稳定后再接双袖/圆场/点翻身/slow descent，强弱对比拉开，别让一个旋转占满整段。

6. camera_direction —— 贴地、平视、微仰；严禁俯拍

  • 旋转用 WIDE + LOW（相机贴近地面）+ eye-level-to-slightly-upward + 正面，把完整的人和竖立圆盘都装下；
  • 侧倒时相机随身体轻微下降，起身时随身体轻升；
  • 禁 top-down/high-angle：俯拍会把竖立圆盘压平、还把人拍没——这是早期"视角不对"的根因；
  • 慢落 signature 段相机完全静止，用静对暴烈音乐。

7. editing —— 一镜到底

旋转全程一个连续镜头，不硬切；bullet-time（英雄时刻）也嵌在长镜头里，不切进切出。

8. performance —— 表情克制

旋转时头是垂向地面的，表情平静、专注、带一丝超然；不笑、不龇牙、不做夸张表情；音乐越暴烈、舞者越静（音画对位的核心）。

9. body_mechanics —— 进入路径力学（与第5节同等重要）

把下面这套写进 body_mechanics，模型才会用正确的身体因果生成：

- ENTRY PATH MANDATORY, one continuous motion: upright (legs vertical) → soft knee bend & weight sink → coronal push-off, legs open away from vertical → side drop as palm plants anterolaterally → legs open into asymmetric oblique-horizontal (driving leg sweeps up & extends, other bends open) → ONLY THEN spin. Never snap from standing straight into the spin. - Momentum = foot push-off + coronal leg opening + shoulder-against-hip twist; never arm-yank or head-lead. - Sole contact = one palm anterolateral (beside/ahead, never behind); shoulder stacked over wrist. - Posture = oblique side-suspended ASYMMETRIC (one leg up extended, one bent open); NOT backbend bridge, NOT prone; head drops along spine. - Axis near-vertical: planted wrist → shoulder → hip. - Recovery order mandatory (see §10); supported through the arm, no zero-gravity levitation.

10. costume_hair_physics —— 环形拓扑 + 延迟级联 + 防穿模

三句话必须同时写：

  1. 拓扑：裙子是固定在腰的一圈布，只占外圈（outer ring），身体只走圆心中空区（hollow center），四肢永不切断面料；
  2. 级联：pelvis → waistband → inner → middle → outer hem，逐层延迟；
  3. 防穿模起身：raised leg retracts → skirt falls AROUND THE WAIST (never over head/upper body) → feet land clear of/outside the hem → torso rises last → skirt settles vertically around legs；并写死 no-interpenetration：裙不蒙头裹身、肢体不穿裙边、脚不踩布。
穿模根因：之前写"leg pierces through disc（腿刺穿圆盘）"+"skirt collapses inward 同时起身"，模型就让人从塌下来的布里顶出来。改成"环形只占外圈 + 先收腿、裙在腰周垂、脚落裙外、身体最后起"即可。

11. negative_constraints —— 把踩过的坑全部反向锁死

每条都是用一次失败换来的，照抄：

no color named in text (color carried by <Picture 1>); only one floor spin, no extra random spins; no snapping from standing into spin — vertical→coronal-open→oblique entry must be visible; asymmetric oblique side-suspension, NOT symmetric backbend bridge, NOT prone; palm anterolateral, never behind the body; legs asymmetric (one extended up, one bent), never two parallel legs; head drops toward floor, never tilted back looking up; anti-clipping: no body/limb passing THROUGH skirt; skirt is a waist-fixed ring, body only in its hollow center; no skirt over head/face/upper body; no skirt collapsing inward; raised leg retracts BEFORE torso rises, feet land clear of hem BEFORE standing, no standing up through the skirt; no feet tangled in hem; no top-down/high-angle spin camera; no zero-gravity levitation.

12 / 13. overall_soundscape & non_diegetic_music —— 三层声音分离

  • overall_soundscape 只放 diegetic 物理声：掌击地、布料 whoosh、脚步、纱层 rustle；英雄时刻 foley 跟着 time-dilation 变慢；
  • non_diegetic_music 单独放音乐层（鼓、弦、埙），写清 CONTINUES 不重启；
  • 两层绝不混写，否则模型会把音乐当画面元素。

附：九个坑 · 错误 → 正确 速查

# 错误写法 / 理解 正确写法 1 后弯桥式 backbend bridge、胸朝天 非对称斜侧水平悬空 oblique side-suspended 2 手在身后撑地 手在前侧方 anterolateral 3 双腿平行 45–60° 一腿向上伸直、一腿弯曲侧开（非对称） 4 头后仰看天 头沿脊柱垂向地面、看撑地手 5 水平圆盘 + 高空俯拍 竖立朝镜头圆盘 + 贴地平视微仰 6 站立直接进旋转 垂直站立→冠状面张开→侧倒→才转 7 裙摆内塌同时起身→穿模 收腿→裙在腰周垂→脚落裙外→躯干最后起 8 零文字锁图→丢服装变形 图1主锁 + 一行运动学短锚点 9 写颜色纹样 颜色全部归图1，正文不命名颜色

一句话总纲：让模型先看到"人怎么从垂直站立、靠蹬地摆腿把自己甩成侧水平"，再看到"腰上的环形纱裙被离心力立起来炸成朝镜头的花瓣盘"，最后看到"收腿、垂裙、脚落外、身体最后钻出腰口"——起势有动量、旋转有支点、起身不穿布，这个动作就成了。

需要的话，我可以把这份教程存成 blade-skirt-spin-guide.md 放进 dance-director skill 的 references 长期复用，或按同样结构再出一份"单段独立版（非45秒续接）"模板。 原始提示词 subject_definitions: <Subject 1> is the exact same character shown in <Picture 1>. Use <Picture 1> as the sole and complete all-purpose visual authority for facial identity, hairstyle, body proportions, the layered huge sheer gown and its full-circle multi-layer skirt, long sheer sleeves, lower-back trailing ribbon, garment silhouette, and accessories. All color is carried by <Picture 1> only — no color is named anywhere in this prompt. <Picture 1> is a character reference only — it does NOT define the environment, lighting, or first-frame pose. Do not redesign or alter any visible characteristic of the character's appearance or costume; the image wins on every appearance question. Inherit all appearance-locking rules from Segment 01. environment_definition: Inherit the military tent interior from Segment 01. Tall heavy drapes, polished dark wooden reflective floor, blurred lantern bokeh, flickering firelight through tent gaps, diagonal pole shadows. Tone and palette are conveyed through lighting and shadow only — no surface colors are named. 16:9 widescreen. The environment remains continuous and unchanged from Segment 01; keep enough clear floor space for a large-radius spinning movement. lighting_definition: Inherit from Segment 01. Warm-toned key light from upper-left 45°, dim soft fill from the right, lantern backlight creating rim light through the sheer sleeves. During the one-hand 720 rotation, backlight catches every sheer layer of the spinning skirt; during the double-sleeve bloom (beats 25–28) the backlight is at its strongest, maximizing the diaphanous anatomical reveal effect. During the Signature ultra-slow descent (beats 37–40), lighting remains constant — the stillness comes from the body, not from a lighting change. audio: <Audio 1> corresponds to original track 00:15.00–00:30.00. The music CONTINUES directly from Segment 01's ending — it does NOT restart from the beginning. Musical character: mid-battle carnage. War drums erupt into dense rolls, strings rush upward in dissonant scales, xun plays its most piercing and mournful melody in counterpoint, distant battle cries and clashing steel enter the texture. This is the most intense, violent, and chaotic section of the entire composition. BPM 80 continues unchanged. At beats 37–40 (global 27.00–30.00), all instruments reach the peak of carnage in a full ensemble climax, then the drums suddenly drop out, leaving only a single long xun note hanging in the air. integrated_multimodal_description: Overall choreography language: Primary Chinese classical dance shen-yun, integrated modified breaking floor technique for the opening rotation, subtle contemporary contraction-release secondary influence. Movement vocabulary continues: water-sleeve techniques, yuan-chang, dian-fan-shen pivot flip, ti-chen. This segment develops and amplifies the movement vocabulary established in Segment 01. Musical structure: 20 beats at 80 BPM, continuing from beat 21 of the original track. Two 8-beat kinetic sentences (beats 21–28, beats 29–36) followed by the 4-beat Signature climax-resolution (beats 37–40). [Shot 1] The subject begins from the exact continuation state established at the end of Segment 01: weight centered, body slightly chest-contracted, water sleeves hanging at the sides, gaze calm toward front. Do not reset to a new pose. [Beat 21 strong / local beat 1] Generate rotational momentum from the legs and core and drop into the modified breaking floor move. The single right palm plants anterolaterally — beside and slightly ahead of the body, NEVER behind it — as the only ground contact; the arm extends to bear weight, the supporting shoulder stacked above the planted wrist. The body tips laterally and lifts off the floor into an oblique side-suspended posture around this single hand. ASYMMETRIC line (NOT a symmetric backbend bridge, NOT prone): the near leg extends fully along the body's line toward the top of the frame, knee straight, toes pointed, while the far leg stays bent with the foot drawn in close; the head drops naturally toward the floor near the planted hand, gaze down, never tilted back. Spin a complete 720° around the near-vertical axis running planted wrist → supporting shoulder → hip. SKIRT GEOMETRY (critical): the full-circle skirt is fixed at the WAIST and radiates 360° outward from it into a giant petal disc; because the body is tipped sideways this disc stands nearly UPRIGHT and FACES THE CAMERA like a blooming flower, with the body running through its exact center — torso and planted arm extending DOWN from the disc center to the floor, the extended leg reaching UP through the disc's hollow center. Limbs travel ONLY inside the hollow center of the ring and never cut through the skirt fabric. Fabric layers lag the body's rotation by inertia, inner layer first, outer hem last. This is the one and only floor spin in the whole dance. [Beat 22 weak] Continue the 720° spin; the planted palm is the stable pivot and the near-vertical axis holds steady; the asymmetric leg line is maintained (one leg extended up, one bent in); the upright petal disc keeps its full circular bloom and rotates like an open parasol, its hem tracing a clean circle. [Beat 23 medium] Complete the 720° and begin a STRICT CLIPPING-FREE RECOVERY in this exact order: (1) the extended upper leg bends and draws back IN along the same radius it rose on, knee tucking toward the torso; (2) as rotation slows, the skirt stops radiating and falls by gravity AROUND THE WAIST toward the floor while the body is still oblique — it must never drape over the head, face or upper body; (3) the feet land FIRST, stepping down clear of and outside the falling skirt hem, and the planted palm presses into the floor; only then (4) does the torso rise and return to vertical around the supporting side, spine re-articulating bottom-to-top, head rising last. Throughout, the skirt stays attached at the waist and finishes hanging naturally around the legs as in normal standing — the body always grows OUT of the waist opening and never passes THROUGH the skirt fabric. [Beat 24 weak] Stabilize standing. The skirt hem finishes settling around the legs with only residual ripple; no fabric is caught under the feet and no fabric is wrapped around the body. [Beat 25 strong] Both water sleeves throw simultaneously upward and outward from the sides. [Beat 26 weak] Sleeves continue unfolding in mid-air. [Beat 27 medium] Both sleeves reach maximum expansion — a double-sleeve bloom like a flower opening. The body leans slightly back, chest fully open. Backlight shines through the stretched sheer fabric, maximizing the diaphanous anatomical reveal on both forearms. [Beat 28 weak] Sleeves begin their slow descent from the peak. [Beat 29 strong] Initiate a rapid yuan-chang gliding step, traveling diagonally from left to right-front. Faster than Segment 01's yuan-chang. [Beat 30 weak] Sustain the rapid gliding travel. The upper body remains elegantly stable despite the fast footwork. [Beat 31 medium] Both water sleeves alternate small "sleeve flowers" — wrists draw rapid small circles at the sides, creating continuous wave patterns in the fabric. [Beat 32 weak] Yuan-chang decelerates. The body turns slightly right, preparing the flip. [Beat 33 strong] Left foot pushes off. Initiate a classical Chinese "dian-fan-shen" pivot flip — the body rotates one full turn in the air, pivoting on the ball of the foot. [Beat 34 weak] Flip continues through the air. [Beat 35 medium] At the apex of the flip, the right water sleeve extends fully upward. The body forms a diagonal line in space. [Beat 36 weak] Right foot lands. Flip completes. Body leans slightly forward. The right water sleeve begins its descent from above. [Beat 37 strong] SIGNATURE MOMENT. At the exact instant the music reaches its full ensemble carnage climax — the most violent, chaotic, deafening moment of the entire piece — the subject's body begins to descend at an EXTREMELY slow speed. The right water sleeve falls from above with deliberate, almost imperceptible slowness, like smoke drifting. The body transitions from a slight forward lean into a chest-contracted downward bow. Gaze shifts slowly from front to the ground. [Beat 38 weak] The ultra-slow descent continues. The sleeve falls perhaps only a few more inches. The music remains at peak carnage. [Beat 39 medium] The right sleeve reaches its lowest point, fingertips lightly brushing the side of the thigh. The body has bowed to its maximum contracted depth. [Beat 40 weak / transition] The music drops out — drums vanish, only a single long xun note remains. The subject holds the bowed, contracted position. Water sleeves hang completely down. Only the sleeve tails continue to sway faintly, lagging behind the body's stop. At 00:30.00 the subject is in a continuation state: body bowed and chest-contracted, weight slightly forward, water sleeves fully hanging with tails faintly swaying, gaze toward the ground. This is the exact physical starting condition for Segment 03's slow recovery. camera_direction: For the 720 blade-skirt spin (beats 21–24) use a WIDE, LOW camera near the floor at an eye-level-to-slightly-upward FRONTAL angle that contains the full spin radius while keeping the complete dancer readable; because the body is tipped sideways the waist-centered skirt reads as an upright circular petal disc facing the camera, with the body running through its center. Do NOT use a top-down/high angle, which hides the body and flattens the disc. Slow pull-out to a full wide shot during the double-sleeve bloom to capture maximum horizontal width (beats 25–28). Tracking-right following the rapid yuan-chang travel (beats 29–32). Push-in to a medium shot during the flip and the beginning of the sleeve descent (beats 33–36). STATIC, COMPLETELY STILL during the entire Signature ultra-slow descent (beats 37–40). The camera does not move at all — the audience's full attention is on the extreme slowness of the body against the extreme violence of the music. editing: Favor continuous motion. No hard cuts within this segment. The boundary at 00:30.00 transitions from Segment 02's static hold into Segment 03's extremely slow push-in, creating visual continuity. performance: Emotional progression: explosive floor spin flourish → radiant bloom → poised speed → profound stillness amid chaos. During the Signature descent (beats 37–40) the face remains calm and serene, even carrying the faintest hint of a tranquil smile — as if completely unaware of the battle raging outside the tent. No exaggerated expression. The greater the musical violence, the more serene the dancer's face. This is the core of the artistic contrast. body_mechanics: Inherit the full kinetic chain from Segment 01.

  • The 720 one-hand spin: momentum originates from leg drive and core twist, never from pulling with the planted arm or leading with the head; the single palm is planted anterolaterally (beside/ahead, never behind), arm extended, shoulder stacked over the wrist.
  • The body holds an OBLIQUE SIDE-SUSPENDED posture around the planted hand — not a backbend bridge and not horizontal-prone: near leg extends upward along the body line, far leg bent and drawn in (asymmetric, never two parallel legs); the head drops toward the floor along the spine, gaze down.
  • Spin axis is near-vertical through planted wrist → shoulder → hip; the waist-centered skirt disc rotates with the body like an upright open parasol.
  • CLIPPING-FREE RECOVERY ORDER IS MANDATORY: bend and retract the raised leg along its original path → skirt falls around the waist (never over head/upper body) → feet land clear of the hem → palm presses → torso rises last → skirt settles around the legs. The body always exits through the waist opening; limbs never cross or pierce the skirt ring; feet never land on or through the fabric.
  • The side-suspended posture is physically supported through the planted arm — no zero-gravity levitation.
  • The flip originates from the left-foot push and core rotation. The Signature descent is controlled by gradual weight release through feet, knees, hips and spine — not by collapsing. Every movement follows: force from waist → through limbs → reaches fingertips → fabric responds. costume_hair_physics: The full-circle skirt is a ring of fabric fixed at the waist and radiating from it. During the side-suspended spin, centrifugal force deploys it into a giant petal disc standing nearly UPRIGHT and facing the camera (because the body is tipped sideways), centered exactly on the waist; the torso and planted arm extend downward and the raised leg extends upward through the disc's HOLLOW CENTER — fabric occupies only the OUTER RING, so no body part intersects it. Rotational lag cascade: pelvic rotation → waistband → inner layer → middle layer → outer hem, each with incremental lag. On recovery the fabric must NOT collapse inward over the body: it falls by gravity around the waist as the raised leg retracts, then settles vertically around the legs once standing, with the hem clearing the landing feet. Hard no-interpenetration rule: skirt fabric never wraps the head, face or torso, limbs never pass through the hem, and no fabric is ever trapped under the feet. The lower-back ribbon streams tangentially during the spin and settles on recovery. Inherit all water-sleeve physics from Segment 01; during the double-sleeve bloom both sleeves are at maximum stretched area and the backlight creates the strongest diaphanous effect; during the Signature ultra-slow descent the sleeve falls wrist-first, midsection next, tail last, the tail continuing to sway 1–2 seconds after the body stops. Never animate sleeves or skirt independently of body movement. negative_constraints: Inherit all negative constraints from Segment 01. Additional segment-specific constraints: no color named anywhere in text — all color is carried by <Picture 1>; only one floor spin in the whole dance, no extra random spins; the spin is an asymmetric one-hand oblique side-suspension, NOT a symmetric backbend bridge and NOT prone; planted palm is anterolateral, never behind the body; legs are asymmetric (one extended up, one bent in), never two parallel legs; head drops toward the floor, never tilted back looking up. Anti-clipping (mandatory): no clipping or interpenetration between body and skirt; no body part or limb passing THROUGH skirt fabric — the skirt is a waist-fixed ring and the body occupies only its hollow center and exits through the waist opening; no skirt draping over or covering the head, face or upper body during recovery; no skirt collapsing inward onto the body; fixed recovery order — the raised leg retracts BEFORE the torso rises and feet land clear of the hem BEFORE standing, no standing up through the skirt; no feet landing on or tangled in the hem. No top-down/high-angle camera during the spin; no zero-gravity levitation; no fast movement during the Signature descent (beats 37–40); no camera movement during the Signature descent; no facial reaction to the violent music; no sudden freeze — stillness must be earned through deceleration. overall_soundscape: Subtle diegetic physical movement sounds: fabric rustle, soft palm-floor impact on the spin drop-in, footsteps, faint sleeve whoosh during throws. Do not add prominent environmental sound. non_diegetic_music: Original composition 00:15.00–00:30.00. CONTINUES from Segment 01 — does not restart. Mid-battle carnage: erupting war drum rolls, dissonant rushing strings, piercing xun melody, distant battle cries and clashing steel. Full ensemble climax at beats 37–40, then sudden dropout leaving only one long xun note. BPM 80 continues.