《天堂办事处》 Original

天 堂 办 事 处
Paradise Office

创 作 报 告
Creation Report

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创作者
Creators

王鑫龙 曲奕昕
Wang Xinlong Qu Yixin

目 录
Contents

01 故事简介
01 Story Synopsis

02 故事内核
02 Story Core

03 角色设定
03 Character Design

03.1——林默
03.1 — Lin Mo

03.2—— 天堂审核员
03.2 — Heaven Reviewer

03.3—— 地狱接引小鬼
03.3 — Hell Escort Imp

03.4角色设定 —— 部门领导
03.4 Character Design — Department Manager

04 使用工具
04 Tools Used

05 核心提示词及部分资产
05 Core Prompts & Selected Assets

06 拓展阐述

06 Extended Discussion

01

故事简介
Story Synopsis

《天堂办事处》是一部黑色幽默动画短片。32岁社畜林默下班路上被自己随手乱扔的塑料瓶绊倒，坠入濒死——本该圣洁的天堂雾霾遍布、破败压抑，天堂的环境是人间的写照，环境污染问题已经蔓延到了天堂。他因临终最后一个行为是乱扔垃圾，直接被判下放地狱。却发现地狱的“严苛刑罚”是上四休三不加班，竟比人间更像能正常生活的地方。
"Paradise Office" is a dark comedy animated short film. Lin Mo, a 32-year-old corporate slave, trips over a plastic bottle he casually tossed aside on his way home from work and falls into a near-death state. The heaven that should be sacred is covered in smog, dilapidated and oppressive—the environment of heaven is a reflection of the mortal world; environmental pollution has spread even to heaven. Because his final act before dying was littering, he is immediately sentenced to be sent to hell. Yet he discovers that hell's "harsh punishment" means working four days with three days off and no overtime—surprisingly more like a place where one can live a normal life than the mortal world.

最后大梦初醒回归压抑工位，什么都没改变。
Finally, waking from the dream, he returns to his oppressive cubicle—nothing has changed.

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02

故事内核
Story Core

一、环境污染的隐喻
I. The Metaphor of Environmental Pollution

没有直白的环保说教，将环境问题藏在世界观底层：人类随手丢弃的微小垃圾，最终会飘向“彼岸”，毁掉所有人向往的圣洁天堂；本该象征惩罚的地狱，反而成了承接人类垃圾的“善后场”。用反差设定讲透“微小恶的累积效应”——每一个漫不经心的日常举动，都在悄悄毁掉我们认知里的“美好”。
Without preachy environmental lectures, the environmental issue is hidden beneath the worldview: the tiny pieces of trash casually discarded by humans eventually drift to "the other shore," destroying the sacred heaven everyone yearns for; hell, which should symbolize punishment, instead becomes the "cleanup site" that absorbs human garbage. The contrast in setting drives home "the cumulative effect of small evils"—every careless everyday act is quietly destroying what we perceive as "goodness."

二、社畜困境的荒诞反讽
II. The Absurd Irony of Corporate Drudgery

以“地狱都比上班有人性”的极致倒置设定，讽刺当下职场对人的异化——正常的作息、完整的假期、不被压榨的尊严，这些本该属于普通人的生活，却要在“死后的地狱”里才能实现。用喜剧外壳包裹当代打工人的集体情绪共鸣，笑着戳中内卷环境下的生存痛点。
Through the ultimate inverted premise that "even hell is more humane than work," it satirizes the alienation of people in today's workplace—normal schedules, complete holidays, dignity free from exploitation—these things that should belong to ordinary people can only be realized in "hell after death." Using a comedic shell to wrap the collective emotional resonance of modern workers, it smilingly strikes at the pain points of survival under an environment of hyper-competition.

最终落点
Ultimate Resolution

两条线索最终收束于普通人的微小自觉：我们改变不了内卷的职场大环境，也逆转不了已经形成的污染，但至少可以做好手边的小事——管好自己手里的那一只空瓶子。没有宏大的英雄救赎，只有荒诞过后最朴素的个体成长。
Both threads ultimately converge on the small individual awakening of ordinary people: we cannot change the larger environment of hyper-competitive workplaces, nor can we reverse the pollution that has already occurred, but at the very least we can do the small things right—manage the empty bottle in our own hands. There is no grand heroic redemption, only the most humble individual growth after the absurdity.

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03

角色设定 —— 林默
Character Design — Lin Mo

（主角）
(Protagonist)

定位：32岁普通互联网打工人，全片喜剧反差的核心载体
Role: 32-year-old ordinary internet company worker; the core vehicle for the film's comedic contrast

性格：佛系麻木略带惫懒，本质善良，习惯了职场压榨，对生活没有强烈期待，情绪波动小，习惯用“无所谓”包裹自己
Personality: Zen-like numbness with a touch of laziness, essentially kind-hearted; accustomed to workplace exploitation, with no strong expectations for life; minimal emotional fluctuation; habitually wrapping himself in "whatever"

人物功能：以普通社畜的第一视角带观众进入荒诞世界，他的错愕、释然与最终的微小转变，是观众共情的核心落点
Function: Guides the audience into the absurd world through the first-person perspective of an ordinary corporate slave; his bewilderment, relief, and ultimate subtle transformation serve as the core emotional anchor for audience empathy

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角色设定 —— 天堂审核员
Character Design — Heaven Reviewer

定位：天堂登记处窗口工作人员，刻板规则的化身
Role: Window staff at the Heaven Registration Office; the embodiment of rigid rules

性格：冷漠官僚，面无表情，自带体制内的傲慢与不耐烦，说话做事全按流程走，没有多余情绪
Personality: Cold and bureaucratic, expressionless, carrying institutional arrogance and impatience; speaks and acts entirely by procedure, with no excess emotion

人物功能：承载“天堂破败化”的荒诞感，用政务窗口式的审判消解“天堂准入”的神圣感，是推动剧情反转的关键角色
Function: Bears the absurdity of "Heaven's decay"; uses government-window-style judgment to dismantle the sanctity of "heaven admission"; the key character driving the plot reversal

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角色设定 —— 地狱接引小鬼
Character Design — Hell Escort Imp

定位：地狱行政部新员工接引员，地狱轻松氛围的代表
Role: New employee escort for the Hell Administration Department; representative of Hell's relaxed atmosphere

性格：热情开朗话多，元气满满，对自己的工作有自豪感，像靠谱的HR一样熟稔各项福利制度，自带亲切感
Personality: Enthusiastic, cheerful, and talkative; full of energy; takes pride in their work; familiar with all welfare policies like a reliable HR; naturally approachable

人物功能：负责输出地狱设定的核心反差梗，用活泼的状态和天堂审核员形成极致对比，是全片喜剧感的核心输出角色
Function: Delivers the core contrast gags of the Hell setting; forms an extreme contrast with the Heaven Reviewer through a lively demeanor; the film's primary source of comedic output

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角色设定 —— 部门领导
Character Design — Department Manager

定位：现实职场压迫感的符号化角色
Role: A symbolic character representing the oppressive force of the real workplace

性格：严肃不耐烦，习惯发号施令，永远在催进度、安排加班
Personality: Stern and impatient; accustomed to giving orders; always pushing deadlines and arranging overtime

人物功能：开场和结尾两次出现，锚定现实的压抑感，和地狱的松弛氛围形成对照，是社畜痛点的具象化载体
Function: Appears twice—at the opening and the ending—to anchor the oppressive reality; contrasts with Hell's relaxed atmosphere; the concrete embodiment of the corporate slave's pain points

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04

使用工具
Tools Used

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05

核心提示词及部分资产
Core Prompts & Selected Assets

部分资产展示
Selected Assets Showcase

06

拓展阐述

Extended Discussion

创意概念

Creative Concept

《天堂办事处》的创意核心在于“反差”二字。它将人们惯常认知中圣洁、安宁的“天堂”置换为一个被人间污染侵蚀、雾霾弥漫的破败办事大厅，而本应恐怖的“地狱”反而成了作息规律、上四休三、有人情味的“善后场”。这种极致的倒置，让环保议题与社畜困境两条线索在同一个荒诞时空里交汇。创意的起点是一个微小的日常动作——随手乱扔一只塑料瓶——它既是主角坠入荒诞境遇的诱因，也是全片反复回扣的视觉母题：每一个被轻视的“小恶”，最终都会飘向彼岸、反噬自身。作品拒绝直白说教，而是用黑色幽默把沉重的现实包裹在喜剧外壳里，让观众在发笑的同时完成对自身的微小审视。

The creative core of “Heaven Office” (天堂办事处) rests on a single word: contrast. It reimagines the conventionally sacred, serene “Heaven” as a decayed, smog-choked administrative hall corroded by humanity’s own pollution, while the traditionally terrifying “Hell” becomes a humane “clean-up site” with regular hours, a four-on / three-off schedule, and real human warmth. This extreme inversion lets two threads—environmental crisis and the precarity of the overworked office drone—converge within one absurd spacetime. The creative spark is a trivial daily gesture: carelessly tossing away a plastic bottle. It is both the trigger that drops the protagonist into absurdity and the recurring visual motif the film keeps circling back to—every dismissed “small evil” ultimately drifts to the other shore and rebounds upon us. Rather than preaching, the work wraps heavy reality in a black-comedy shell, inviting the audience to complete a quiet self-examination through laughter.

技术方式

Technical Approach

作品采用“AI 生成 + 手绘美学锚定”的混合技术路线。剧本阶段以 ChatGPT 完成叙事结构与对白初稿；视觉资产由 Image2、Nanobanana 等图像模型生成，并以法国传统二维手绘动画风格（西维亚·乔迈美学：清晰黑描边、平涂色块、怀旧胶片质感、细长肢体与夸张造型）作为统一视觉约束，确保批量生成的帧在造型语言上保持一致。视频运动由即梦 Seedance 2.0 与 Vidu 多参负责，声音部分借助 MiniMax 完成配音与音效，整体在 LabTV 画布中整合，最终于剪映完成剪辑与节奏把控。技术的关键不在工具的堆叠，而在于用稳定的美术提示词与人工筛选，把离散的 AI 产出收束成一条有作者意识的成片。

The piece adopts a hybrid pipeline of “AI generation anchored by a hand-drawn aesthetic.” In scripting, ChatGPT produces the narrative structure and a first dialogue draft. Visual assets are generated by image models such as Image2 and Nanobanana, unified by a French traditional 2D hand-drawn style (the Sylvain Chomet aesthetic: clean black outlines, flat color fills, nostalgic film grain, elongated limbs and exaggerated forms) as a consistent visual constraint, so batch-generated frames stay coherent in their formal language. Motion is handled by Jimeng (Seedance 2.0) and Vidu (multi-reference); audio—voiceover and sound effects—is produced with MiniMax; the whole is assembled on the LabTV canvas and finally edited with pacing control in Jianying (CapCut). The technical crux is not tool stacking but using a stable art-direction prompt plus human curation to gather discrete AI outputs into a single, author-driven film.

空间应用可能性

Spatial Application Possibilities

作为一部以“办事大厅”“窗口”“坠落与回归”为空间母题的短片，其叙事本身天然带有空间延展性，可超越屏幕走向实体场域：

· 沉浸投影：将天堂办事大厅与地狱行政部的场景做多通道投影，观众穿行其间，以身体尺度体验“荒诞职场”的空间压迫与释放；

· 增强现实（AR）：以手机或头显扫描现实中的垃圾桶、工位，叠加影片角色与对白，把“管好手里的空瓶子”转化为可交互的城市公共艺术；

· 装置叙事：用旧办公家具与堆积的回收物搭建“天堂办事处”实景，配合循环放映与声场设计，形成可进入的黑色幽默剧场；

· 公共放映与策展：以“环保 × 社畜”为策展线索，进入校园、写字楼、双年展等空间，用短片作为引发讨论的引子。

这些可能性共同指向一点：当故事从平面银幕溢出到人的真实活动空间，它的隐喻才真正完成“落地”。

As a short built on spatial motifs—the “administrative hall,” the “window counter,” “falling and return”—its narrative is inherently spatially extensible and can move beyond the screen into physical fields:

· Immersive projection: multi-channel projection of the Heaven hall and the Hell office, letting audiences walk through and feel the spatial pressure and release of the “absurd workplace” at bodily scale;

· Augmented Reality (AR): scanning real-world bins and cubicles with a phone or headset to overlay the film’s characters and dialogue, turning “manage the empty bottle in your hand” into interactive urban public art;

· Installation narrative: building a real “Heaven Office” set from old office furniture and piled recyclables, with looping screening and sound-field design, forming an enterable black-comedy theater;

· Public screening & curation: using “environment × the office drone” as a curatorial thread for campuses, office towers, and biennials, with the short as a provocation for discussion.

All these possibilities converge on one point: only when the story spills from the flat screen into people’s real activity space does its metaphor truly “land.”

与本次主题的关系

Relationship to the Theme

本片与“本次主题”的关联，建立在“微小个体与宏大系统”的张力之上。无论主题是环境污染还是社畜困境，它都不提供英雄式的解决，而是把镜头收束到一个人、一只瓶子、一个工位——这正是本片与主题同频之处：它拒绝宏大叙事，把沉重的时代议题还原为可被个体握住的日常动作。创意概念中的“反差”、技术方式中对“作者意识”的坚持、空间应用中对“真实活动场域”的延伸，都是为了让这一朴素命题既能被看见，也能被走进。换言之，本次主题不是被“讲述”的对象，而是被这部短片以幽默、可感、可进入的方式“身体力行”地回应。

The film’s relationship to “this theme” is built on the tension between the small individual and the vast system. Whether the theme is pollution or the office-drone predicament, it offers no heroic resolution; instead it narrows the lens to one person, one bottle, one cubicle—and that is exactly where the film resonates with the theme: it rejects grand narrative and reduces heavy, epochal issues to a daily gesture an individual can actually hold. The “contrast” in the creative concept, the insistence on “authorial intent” in the technical approach, and the extension into “real activity space” in the spatial applications all serve to make this plain proposition both visible and enterable. In other words, the theme is not an object to be “told about”; it is something this short film answers—humorously, tangibly, and enterably.