Culture & Arts
The Black and White Impermanence become underworld dispatchers, and a song that keeps shouting “I'll change” ties together a comedy about everyday safety hazards.
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01 / Background
An entry in the VACAT Awards AI Music Visual track has to make the song and the visuals memorable together. “Don't Take Me, I'll Change” is built around everyday scenes in the kitchen, at the charger and with e-bike batteries, turning the consequences of unsafe habits into a fantasy in which the Black and White Impermanence show up at the door to “take an order.”
An ordinary woman's everyday actions summon two order-takers, and the dangerous consequences are played out in exaggerated form. Then she shouts “I'll change,” the order is cancelled, and the story returns to a real-life choice. The song splits risk warnings, the visitors' questions and the refusal of the order across different voices, and each repeat of the chorus matches a new part of the plot, so the song and the characters' actions keep pushing each other forward.
02 / Creative Highlights
Tall hats, iron chains and palm-leaf fans, plus an “Incoming Call” alert and order pop-ups on screen: the Black and White Impermanence take jobs just like the order-takers we all know from everyday apps. Each time they appear, it is for a new everyday risk, so the absurd characters always follow the same story rules.
A wok of hot oil, a phone, a microwave and an e-bike battery are each the starting point of an action. Viewers first see how these ordinary things are used, then see the exaggerated fantasy consequences, so the warnings in the song point to something concrete.
Warm light at home and the teal and deep-blue tones of the Underworld separate reality from fantasy. On a giant scale, one side reads “Luck” and the other “Safety,” and the red “Luck” side sinks down, showing at a glance how heavy a single gamble on luck can be. Later, the order is cancelled and she is back in her bedroom: the exaggeration ends, and the story closes on the character's change.
In the bathroom she plugs in a cord with wet hands and gets electrocuted into an afro; the next shot switches to Chinese-style comic art, where she stands at the gates of the Underworld with the same afro and the Black and White Impermanence are drawn in the same style. Her look carries over between shots, so when the art style changes, viewers know they have moved from reality into fantasy. Later, a signpost stands in front of a charging station downstairs: one arrow says “Safe Charging,” the other “Naihe Bridge,” two paths laid out in front of her.
03 / Scene Breakdown
The film gets straight to the point: she scrolls on her phone while stir-frying, a red warning box lights up on screen, and over in the Underworld the phone rings. The Black and White Impermanence pass through a white light into the kitchen to take her to the Underworld to report in.
Phone in one hand, flipping the wok with the other. The red box reads “High-risk behavior detected,” counts down 3, 2, 1, and flames shoot up from the wok.
The Black and White Impermanence sit at their Underworld workstation when an “Incoming Call” alert pops up. White Impermanence picks up: “Hello, Underworld Impermanence Order Desk.” Hearing there's a new order, his eyes light up.
The two push open a door into white light, and in the next shot White Impermanence is standing in the kitchen. She throws a glass of water onto the burning oil, and the flames leap up to the range hood.
Wearing her apron, she stands at the Underworld “Onboarding Desk,” surrounded by glowing souls, while White Impermanence holds up a green “Underworld Canteen” sign.
The second order comes from the bedroom: a charging phone smothered under a pillow. The Black and White Impermanence visit late at night, she tumbles all the way into the Underworld, and finally slams the “Fix It” button, shouting the hook of the whole song.
She plugs in the charger, tucks her phone under the pillow and goes to sleep. In close-up, the phone slowly glows red-hot under the pillow.
The Black and White Impermanence crouch by the bed. Black Impermanence is still looking down at his phone while White Impermanence reaches out and shakes her awake: “Hello, we're here to pick you up.”
She lies sprawled in an endless corridor lined with long rows of workstations, where Ox-Head and Horse-Face process orders with their heads down. A giant Book of Life and Death hangs straight ahead.
As White Impermanence sings “if you don't care” into the microphone, she dashes past Ox-Head and slams her palm onto the green “Fix It” button.
Through a fisheye lens, she sits on the bed, crosses her arms into an X and shouts “Don't take me! I'll change!” White Impermanence sweeps his sleeve across the lens: cancel it, cancel it, cancel the order now.
The fix follows right away: put the lid on the wok and the fire goes out. Next come two new orders, in the bathroom and at the microwave, and at the moment of the electric shock, the image suddenly turns into a Chinese-style comic.
Back in the kitchen, White Impermanence takes her hand, and with the lid on the wok, the fire goes out. Yellow text appears in the lower left: for an oil fire, add cold oil or cover with a lid; never blow on it or use water.
Fresh from washing her hair, she plugs in the hair dryer with wet hands. Sparks crackle all over her and her hair explodes outward.
The next shot is a comic: she stands at the gates of the Underworld with an afro, the Black and White Impermanence drawn in the same comic style holding her by each arm, while she sobs her heart out.
She puts a bowl with a metal spoon in it into the microwave. Sparks crackle inside, and when she opens the door, flames burst out.
Once again she lies sprawled on the floor of the Underworld. This section turns the consequences of “luck” into things you can see: a soaring queue count, a lopsided scale and a Naihe Bridge crowded with souls.
She looks up from the Underworld floor. White Impermanence waves his palm-leaf fan, Black Impermanence holds his iron chain, and together they greet her: “Hello, it's us again.”
She runs around in a panic as the “Queue” counter in the upper right keeps jumping, finally stopping at 999+.
On either side of a giant scale are a red “Luck” and a green “Safety,” and the red side sinks heavily.
A line of blue-glowing souls walks onto Naihe Bridge. She's among them, and the line ahead stretches out of sight.
Time rewinds to just before each accident, and she makes the change at the last moment. But as soon as she's fixed things, a new order arrives from the Underworld: she's carrying an e-bike battery home to charge.
In the bathroom, she freezes with the hair dryer in hand. The Black and White Impermanence stand right behind her, and a pop-up reading “Confirm order receipt” waits for her to choose “Accept” or “Reject.”
In the kitchen she rushes to the microwave. Yellow text reads: never put metal utensils in the microwave; if a fire starts, cut the power immediately and keep the door closed.
At night in the residential complex, a “New order incoming” alert pops up on Black Impermanence's hand again. She carries an e-bike battery into the building, and the order count jumps to 999+.
The battery smokes and catches fire in the living room, and in the next shot, every window in the building is ablaze.
The last order is stopped at the building entrance: the Black and White Impermanence lead her to the shared charging station downstairs, where a signpost shows two paths. Back home she almost leaves her phone on the bed again, and the three of them sing the closing together.
The scene rewinds to the building entrance. Black Impermanence grabs the hand holding the battery, and with White Impermanence on her other side, they lead her out of the building to charge downstairs.
A signpost stands in front of the charging station: one arrow says “Safe Charging,” the other “Naihe Bridge.” The camera pans toward Naihe Bridge, revealing a long queue of souls.
She crosses her arms into an X and shouts “Don't take me! I'll change!” and “Order cancelled” pops up in front of White Impermanence. Yellow text reminds viewers: don't bring e-bikes into buildings or homes, and don't charge them with cords run from upper floors.
Before bed, she sits on the edge of the bed playing with her charging phone. The Black and White Impermanence emerge from the mist, and she quickly waves them off: “No, no, I've changed, I've changed!”
The three stand side by side in the bedroom. Black Impermanence spreads his hands: “Well, another order down the drain.” Then they all shout together: “Safety first.”
04 / Gallery
05 / Script Excerpts
06 / Results
Completed a 2 min 19 s AI music video at 1920×1080, with both the song and the visuals generated by AI. On August 31, 2026, it was submitted on Douyin to the VACAT Awards AI Music Visual track under the title “Don't Take Me! I'll Change!” as a competition entry.
Case Study
Throwing water on an oil fire, charging a phone under the pillow, plugging things in with wet hands, bringing an e-bike battery home to charge.
Plenty of people have done these things.
What if every time you did, the Underworld got a new order?
“Don't Take Me, I'll Change” is Liandan AI Studio's entry in the VACAT Awards AI Music Visual track. From choosing the topic and writing the song to submitting it, it took us two weeks.
01
The VACAT Awards AI Music Visual track has a clear requirement: music is the core, and the visuals follow its rhythm, melody, mood and lyrics.
So we first looked for a story that could be sung. We settled on fire hazards at home: everyone understands them, and the consequences sound a little scary when spelled out. Told through the Black and White Impermanence “taking orders,” the scary part becomes comedy.
The lyrics are split between two voices. The male voice sings the consequences in the voice of the Black and White Impermanence: “Pour water on an oil fire, and the flames leap three feet high.” The female voice sings the chorus: “Don't take me! I'll change! Cancel it, cancel it, cancel the order now!”
The song was generated by AI too. We made several versions, picked the one with the best groove, and made sure the female voice sang “Don't take me” with a touch of regret rather than pure cheer.
The hook of the whole song: she crosses her arms into an X, and White Impermanence sweeps his sleeve to cancel the order.
02
Before making any video, we turned the characters and scenes into design sheets, and every later shot followed them.
The first version of the Black and White Impermanence was too ornate, with cloud patterns on their clothes, and didn't look like Underworld staff. We switched to plain long robes, fixed the words on their hats as “Peace Under Heaven” and “Fortune at First Sight,” and fixed their props too: Black Impermanence carries an iron chain, White Impermanence a palm-leaf fan. That way, whether they appear in the kitchen or the Underworld, viewers recognize them instantly.
The heroine had to look like a real young woman, avoiding the generic AI face. The same went for her home: not a hotel showroom, but a place an ordinary person might rent, with seasonings on the stove and a hair dryer on the bathroom sink.
Props were planned for every home scene in advance: an outlet behind the microwave, an outlet and a hair dryer in the bathroom. These are the “tools of the crime” the story would need later.
03
The song is upbeat, so an overly gloomy Underworld wouldn't match it. We went with traditional architecture, no sci-fi touches: imposing but not scary.
We first created an aerial panorama of the entire Underworld to set the style, then built out each room. Every scene needed a sense of enormous scale: Naihe Bridge stretches out of sight, the workroom looks like an assembly line, and Ox-Head and Horse-Face sit in two long rows processing orders. The Black and White Impermanence have their own workstation, like a cubicle in an office tower.
Each scene also has a sign, such as “Onboarding Desk” or “Naihe Bridge,” so viewers know where she is without narration.
She lies sprawled in an endless corridor lined with long rows of workstations processing orders.
04
The storyboard follows the lyrics line by line, 41 shots in all. For “The phone is charging, a pillow on top,” the image shows her tucking the phone under her pillow; for “Will you sleep for a night, or sleep forever,” the camera pushes in on the red-hot phone under the pillow.
The chorus “Don't take me! I'll change!” comes back several times, and each time it is paired with a fix in a new scene: covering the wok, refusing to sign for an order, pulling a plug, wheeling the battery downstairs to charge. The song repeats, but the story keeps moving forward.
To give the visuals more style, we added 2D design at several turning points. The most striking is the electric shock: the live-action heroine gets zapped into an afro, and the next shot is her in a Chinese-style comic with the same afro, crying at the gates of the Underworld.
She plugs something in with wet hands, gets zapped into an afro, and the image cuts straight to a Chinese-style comic.
We also turned abstract ideas into visible things wherever possible: “trusting to luck” is a scale where the red “Luck” outweighs the green “Safety”; “a few more steps” is a signpost pointing to “Safe Charging” one way and “Naihe Bridge” the other.
On one side of the scale, “Luck”; on the other, “Safety.”
05
After finishing the first cut, we looked back at the opening and felt it took too long to get to the point. Viewers might swipe away before the story even started.
The revised version opens right in the kitchen: she scrolls on her phone while stir-frying, a red box lights up reading “High-risk behavior detected,” counts down 3, 2, 1, and the fire flares up. We also made the ringtone keep ringing and layered in background sound, so the opening isn't just a bare voice.
The revised opening: the wok and the phone right away, then fire after a three-second countdown.
Each time an order is cancelled, a line of yellow text appears in the corner of the frame with the correct thing to do, such as “For an oil fire, add cold oil or cover with a lid; never blow on it or use water.” After the laughs, viewers also know what to do.
06
The hardest thing about safety messaging is getting people to watch to the end. Lecture for one sentence, and viewers swipe away.
This film's approach is simple: a memorable premise (the Black and White Impermanence come to take an order), a chorus you can sing along to (“Don't take me! I'll change!”), and a series of specific home scenes. The wok, the phone, the plug, the microwave and the battery: five hazards covered in just over two minutes, each with a consequence and a fix.
The same approach works for other topics: turn the message into a song first, then let AI turn each lyric into images, cutting back and forth between real scenes and fantasy spaces. From choosing the topic to submitting, it took us two weeks.
FAQ
Set the song first, then write the storyboard. All 41 shots in this film follow the lyrics line by line, with each lyric matched to a specific action. Each time the chorus “Don't take me! I'll change!” repeats, it is paired with a fix in a new scene, such as covering the wok, pulling a plug or wheeling the battery downstairs to charge.
Before making the video, create character design sheets that lock down the details most likely to drift: the words on the Black and White Impermanence's hats are fixed as “Peace Under Heaven” and “Fortune at First Sight,” Black Impermanence carries an iron chain and White Impermanence a palm-leaf fan. When the art style switches to Chinese-style comics, a matching set of comic designs is made from the same looks.
For this film, the topic was set on August 18; the song and storyboard script were done on the 19th–20th; characters and scenes were built from the 21st; a full first cut was ready on the 27th; and after revising the opening, it was submitted on the 31st. About two weeks in all. The final film runs 2 min 19 s at 1920×1080.
Yes. This film covers five hazards: an oil fire in a wok, a phone charging under a pillow, plugging things in with wet hands, metal utensils in a microwave, and charging e-bike batteries indoors. Each one plays out its consequence, and when the order is cancelled, the correct practice appears on screen, such as “don't bring e-bikes into buildings or homes, and don't charge them with cords run from upper floors.”
Approach
The male rap, the call-and-response, the female “I'll change” chorus and the final group chorus each handle a section: the verses introduce everyday risks, the call-and-response brings in the order-takers, and the chorus returns to the heroine refusing and making the fix. The storyboard follows the song's structure as well: first the dangerous action, then the fantasy consequence, and finally the fix, with each chorus repeat moving to a new everyday scene.
The characters and main scenes were defined up front, and the Black and White Impermanence's tall hats, robe colors and props stay consistent in both the real and fantasy sections. The switch from bathroom to Underworld is bridged by the afro: the live-action heroine gets zapped into an afro, and the next shot is the comic version of her with the same afro. The comic style appears only at this turning point. Later, a two-way signpost in front of the charging station downstairs turns “Safe Charging” and “Naihe Bridge” into two paths she can choose between.
The camera puts the wok, the phone under the pillow, the plug and the microwave at the center of the action, keeping the surroundings simple so they don't steal attention. Subtitles help viewers catch the lyrics, while key plot points move forward through performance: picking up, putting down, refusing, cancelling. Viewers can tie the “I'll change” in the chorus to specific objects.
More Work
Ideal for brand launches · public-sector communications · cultural-tourism campaigns · IP transformation · event openers · earnings visualization · social campaigns · AI workflow development
