2D hand-drawn rotoscope animation, style of A Scanner Darkly (Linklater, 2006). Not live action. Not CGI. No realistic skin, fabric, metal, or terrain. No 3D rendering. Every element is ink marks on flat ground. A wide construction scene on flat open terrain in summer. The ground is a flat pale ink wash plane — not photographed earth but a drawn surface, its horizon a slightly uneven hand-drawn ink line separating ground wash from sky wash. Multiple ink figures occupy the frame at different depths — nearest figures drawn with the heaviest most detailed strokes, mid-distance figures simpler and slightly smaller, furthest figures barely more than ink silhouettes. No faces on any figure. No face is needed. These are bodies defined entirely by their posture and the work they are doing. The figures are ink masses in labor: one leans forward at the waist, arms extended toward a large steel structure, the lean so committed the ghost trace of the previous upright position lingers two frames behind. Two figures stand on either side of a rising steel element — their arms raised, hands implied by curved ink marks at the end of forearm strokes, the coordination of their posture mirroring each other without touching. A third figure further back has both arms out to one side, guiding something by gesture alone. Ghost traces follow every active figure — the previous positions of raised arms and leaning torsos stacked two or three frames deep, the scene dense with the ink residue of physical