Page 57 · cinematic kill animations · live on real DARK VIVID arenas

25 NEW KILLS FOR THEPUMP SHOTGUN

The pump is the gun that takes the room with it. Its camera language is the rack of the slide as the edit and the cover coming apart: walls eaten bite by bite, balcony floors blown out from underneath, bodies sent out of the frame entirely while the camera stays on the space they left. Each kill here runs as long as its own story needs, up to fifteen seconds, built on its own from its first frame to its last, with the gore at full.

YOU SAID“Maximize token usage, i want bestest animations.”

YOU SAID“From start frame to end frame everything should be very very different.”

1PLAY THEMTap any kill card. Nothing plays by itself. 2THE LANGUAGEWhat makes a kill a shotgun kill. 3HOW THEY PLAYRarity order, what a kill needs, the stage. 4THE BOARDAll 35 weapons and what is ready.

TAP A CARD TO PLAY IT

THE PUMP SHOTGUN KILLS

Tap any card and it plays in the phone above, on a real arena, at full gore. PLAY AGAIN restarts it, SLOW drops it to a third speed, and the track under the phone carries that kill’s own beats — drag it to stop anywhere. Nothing plays until you ask for it. Tap CHANGE on any kill you want rebuilt.

THE ROTATIONMost epic first, then the next

1Your owned kills for this gun play in rarity order, the biggest first. › 2If the spot can’t host one, it is skipped and comes back later. › 3Once they have all played, it starts again from the top.

WHY THESE LOOK LIKE SHOTGUN KILLS

THE CAMERA LANGUAGE

Each weapon family has its own way of being filmed, so a kill reads as that gun’s even before you see the gun. These are the pump’s, and no other family uses the same set — the pistol stays inside arm’s reach and films the brass; the pump films the room coming apart.

THE RACK IS THE CUTThe slide cycling is the edit point. The camera jolts, re-frames or changes panel on every shuck, so the rhythm of the kill is the rhythm of the gun.

COVER IS NOT COVERWhatever they hide behind is eaten shot by shot. Walls, planks, balcony floors — the shotgun takes the room apart before it takes the person.

CRASH IN, RECOIL OUTThe camera is thrown at the muzzle on the shot and knocked back off it. The lens takes the recoil with the shooter.

BODIES LEAVE THE FRAMEA shotgun does not drop people, it sends them: off a ledge, through a window, out of shot. The camera stays with the space they left.

THE CONE, NOT THE LINEThe hit opens as it travels. Pellet spread, splatter cones, exit holes wider than the entry — nothing about this gun is a straight thin line.

DECIDED 23 OCT

HOW THEY PLAY IN THE GAME

These are the cinematic kills, on top of the 238 skin kills that already exist. Nothing is replaced.

ROUND-ENDING ONLYAnd the match-winning kill, exactly as the kill cam works today.

THE APPROACH STAYSWalk-up, dash or ranged as now — the kill itself is the next animation in the rotation.

WHAT A KILL NEEDSA wall to eat, a ledge to send them over, a floor above to blow out. If the spot can’t host it, the next one that fits plays instead.

THE CINEMATIC STAGEA mini map built only for kill animations. The kill cam cuts to it so a set piece is never lost.

ANY TAP SKIPSSame as today. Five to fifteen seconds, as long as the kill needs and never padded.

EVERYTHING IS OWNEDFor now. Kills are sold on their own as well as inside a skin.

‹ THE BOARD · ALL 35 WEAPONS PAGE 57 · THE PISTOL KILLS PAGE 40 · THE SKIN KILLS