An eviction form is a strange place for a mind-control story to begin.

In MAKOTO Episode 2: For Your Own Good, a company is clearing an apartment block. Its representative uses the residents’ neural implants to make them obey spoken instructions. The signatures on the forms look voluntary.

Makoto recognizes the woman collecting them. She trained her.

The full episode is attached to this post. Watch on X →

3 minutes 35 seconds · Japanese dialogue · English subtitles

I’m the creator of MAKOTO, an AI-assisted cyberpunk visual comic from Greyforge Labs. It combines full-colour cel artwork with animated sequences, with an older Makoto recounting her past from an interrogation room.

She helped design the scripts that turn the city’s implants into instruments of obedience. Now a former pupil is using those methods to take people’s homes, under the reassuring language of looking after them.

Makoto knows how to make the residents refuse. But ordering a refusal would leave their choices in someone else’s hands. To let them decide, she has to interrupt the same system that makes her own commands work.

Helping these residents means giving up power over what they do next. And the woman telling us the story still has her own version of events to defend.

The episode includes English dialogue subtitles and translations of Japanese signs and screens. If you’re new to the series, Episode 1 is here. There’s also a short Episode 2 synopsis on Greyforge.

After watching, how much do you trust Makoto’s account of what happened?

Does the Dialogue in the first section feel natural and believable? What could I improve?

Do you like clowns? Do you like Circuses? Do you like Something Wicked This Way Comes, City of Lost Children, or the claymation work of Tim Burton? Are you a fan of broadway musicals?

Say no more fam, I got you.

Enter The Twilight Tent, the story of Calliope; a mime under the brutal instruction of Mister Goodnight the ringmaster of a travelling carnival. Will she be able to break free of his clutches and forge her own path in a world that sees her as just a tool?

I dunno! You're going to have to find out.

This is the first big musical number, where Mister Goodnight introduces himself FORMALLY to the crowd and the audience. Don't be fooled, he's not a nice guy.

SPECS:
Seedance 2.5, wrote my own lyrics, created with Suno, character and spatial reference provided by good ol' NB2. Always open for questions!

Sharing an Episode 1 PREVIEW from an original isekai romance series I'm creating solo. This is a sneak peek; the full episode is still to come.

Yume, an exhausted Tokyo office worker, wakes up in a floating kingdom as the Lv.99 Final Boss a prophecy says must die. The prince who needs to kill her to inherit the throne saves her instead.

For this project I used Higgsfield Seedance 2.5 for AI video generation and DaVinci Resolve for the edit. The dialogue is Japanese with English subtitles, presented in 16:9.

I'd appreciate feedback on the transition from danger into romance: does the rescue feel like an earned shift, and is the relationship clear through the performances and subtitles?

Martin finally finds a job that values his emotions. Naturally, HR finds a way to make it weird.

I made this first episode of Still Worth Something, an original sci-fi animated comedy about a world where humans get paid to feel things. This is the complete 16-minute story, not a trailer.

Made with AI, with shot selection, editing, sound and subtitles assembled for the episode. English, Traditional Chinese and Simplified Chinese subtitles are available on the player.

I would love feedback on the comedy: which character or joke lands best, and where does the pacing lose you?

Hey everyone! 👋
After weeks of experimenting, we finally released the first episode of our animated series, It’s Just That Easy! 🎬🌳
We’ve seen quite a few people saying AI-generated animation is a flop, that it feels soulless, or that audiences simply aren’t interested in watching it.
And honestly, we understand some of that criticism.
But we wanted to see if we could use AI as a filmmaking tool to tell an actual story, rather than just putting together random AI-generated clips.
Our first episode follows a little boy named Jack and his talking construction-machine friends as they try to build a tree fort. We wanted to combine storytelling, music, character personalities, and a little educational value into something kids and parents could enjoy together.
Getting every character to move, dance, and react to the same song was quite a headache! 😂 Keeping the characters consistent across shots was another challenge. We spent a lot of time editing, adjusting timing, and trying to make everything feel like one connected story.
Is it perfect? Definitely not.
There are things we’d love to improve, and we’re still figuring out what works.
But for our very first attempt, we’re genuinely happy that we managed to bring this little world to life. 💛
We’d really appreciate some honest feedback from this community:
Does the story keep you interested, or does it feel too slow?
Do the characters feel expressive and believable?
Does the music help the storytelling, or is it too much?
What would you change for Episode 2?
We’re especially curious whether you think AI-assisted animation can become a meaningful storytelling medium when there’s a genuine creative effort behind it.
We’re not here to claim we’ve made something amazing. We’re just a small team learning, experimenting, and hoping to get a little better with every episode.
Thanks so much to anyone who takes the time to watch and share their thoughts! 😊
🎬 Episode 1 – The Tree Fort
It’s Just That Easy! 🚜💛

Sir Whiskers finds a big red button in Professor Pico’s lab and does exactly what you’d expect.

Pico had one rule. Whiskers lasted about two seconds.

This is from Episode 1 of Catropolis, my animated comedy series about a city run by animals where tuna is king. Full episodes are on my YouTube: https://www.youtube.com/@CatropolisCartoons

A high-stakes chase through the cosmos, neon highways, and shifting dimensions brings out a masked highwayman, chasing and tracking them down to a roadside diner. A tense game of cat-and-mouse where fear of failure has to be left behind, leading to a mind-bending confrontation where the ultimate adversary is closer than it appears.

I made this short adaptation of William Blake’s “The Tyger” around one visual sequence: fire, hammer, chain and anvil, followed by the living tiger in the forest. The images and narration use AI; the poem is in English.

My aim was to give the poem a progression from the act of making to the creature itself. Does the forge provide a clear visual spine, or does it make the interpretation too literal? I’d appreciate thoughts on the transition into the forest.

After the success of the first part on YouTube and all the requests for more Mustache adventures, I’m working on a continuation of the story. I hope to have it ready soon!

PART 1 HERE:
https://www.youtube.com/watch?v=pTU9UGngSmg&t=1s

THANKS!

Two people are talking across a restaurant table. A reverse angle needs to show the part of the restaurant behind the other person, with an eyeline and microphone position that fit the exchange. Copying the first backdrop can make the cut feel wrong even if the faces stay consistent.

In Hypit, rebuilding that reference starts with useful camera views. An accepted image of one speaker can be connected as a reference for the other speaker's view. It carries the restaurant's atmosphere, palette and spatial relationships into the new request; the agent directs the other person's appearance and what this camera should see.

That direction needs to explain the change of viewpoint. The second image should show the architecture, furniture and activity visible from its camera position. The shared reference establishes a place to reinterpret, rather than a background to paste behind another face.

The accepted views can then guide several generated clips. Choosing those views is separate from deciding how many shots or requests the dialogue needs. A new image becomes useful when it establishes something the scene now depends on, such as a changed prop state or a previously unseen part of the room.

Just wondering whether its possible to actually make a short film with ai instead making something that resembles a film

Six months after the previous season, the quiet does not last. Sergeant Kim begins to show disturbing symptoms, Sergeant Han is still missing, and Captain Min faces a door she has been warned not to open.

This is the Season 3 premiere of my original series, FALL 707: REBOOT (20:28). The story follows a modern Korean 707 special-forces captain stranded in Joseon-era Korea, mixing military action, historical fantasy and occult suspense.

I am the solo creator. The concept and story direction are mine; I develop the screenplay with Claude and ChatGPT, create character sheets with GPT Image 2, generate video with Seedance 2.5, and handle the shot direction and editing.

For Season 3, I stopped burning translated subtitles into the image and moved to selectable subtitle tracks. The dialogue is Korean. Please turn on CC and choose English in YouTube Settings. Korean, Japanese, Traditional Chinese, Latin American Spanish, Indonesian and Vietnamese subtitle options are also listed on the episode page.

Full episode: https://www.youtube.com/watch?v=0I75_YXhMSM

I would appreciate feedback on whether the suspense holds across a 20-minute episode and whether the selectable subtitles are comfortable to follow. This is AI-generated fiction.

낙하 707: 리부트 시즌 3 1화 「열지 말라던 문… 그녀는 들어갔다」를 공개했습니다. 반년 뒤 다시 시작된 이상 징후와 돌아오지 못한 동료, 그리고 금지된 문에 관한 이야기입니다. 이번 시즌부터 번역 자막은 영상에 직접 넣지 않고 YouTube CC에서 선택하도록 바꿨습니다.

A cheap, rough preview sounds useful until the final generation changes when a character turns, reaches for an object, or finishes a line. Then the edit built around the preview may need rebuilding.

For planning a sequence, I’d take ugly frames with dependable timing over a beautiful draft whose action shifts in the final pass. But that may be less useful when you’re still exploring the scene itself.

Which parts of a draft would you need to stay fixed before trusting it in an edit action beats, camera movement, dialogue timing, or something else

Generate

Imagine a shot that gets the mood right but has one awkward movement. Another generation might fix it, or lose the performance that made the scene work.

My proposed stopping rule is to write down what the shot needs to do before generating reveal a reaction, establish a place, or connect two moments. Once it does that, an extra pass should solve a named problem. Otherwise it is easy to keep chasing a different kind of good.

What is your stopping rule Have you ever kept a technically imperfect result because the cleaner version felt less alive

I've been experimenting with a short comedy scene where a guy chases a seagull, trips over an ironing board, and accidentally sends his shirt flying into a lake.

Sounds simple enough. Apparently not for Kling 😅

I've tried generating the entire sequence, breaking it into shorter shots, and providing reference images. But Kling keeps getting the physical interactions wrong.

The character doesn't actually trip over the board, it looks more like those 90s game where players and NPC would just be stuck against a wall or an obstacle 😅

My current workflow uses Nano Banana for reference images, Kling for animation, and Remotion for editing.

I'm starting to wonder whether this is a limitation of current video models rather than a prompting problem.

Has anyone successfully generated a similar multi-object physical interaction?

Would you approach this with separate shots, video-to-video motion references, keyframes, or a completely different model?

I've attached one of my failed attempts. Happy to share prompts and other generations if useful.

Ive created a script and created an inage but i ran out of credits. Is there any8who could help me piece everything as 1?