Action grammar, built in
When a beat reads as action, the studio adds a specific vocabulary to the render: speed lines on fast movement, a smear frame on the swing, an impact frame on the hardest hit, a dramatic low angle, a held pose on the landing. You do not have to know those terms or write them. Describe the move in plain words ("she vaults the crates and tackles him", "the ice cracks between them as the staff comes down") and the staging follows.
The same beat can be rendered at standard or high quality. High goes up to 1080p and costs more per second; for a fight, where motion matters, many people render the stare-down at standard and spend the high-quality credits on the impact shot.
Building the fight as an episode
Create a show with your fighter and their rival in the cast. Draw them with a prop each if the fight needs one: a wooden practice sword, a staff, a wrench. Then add an episode and write three or four beats. A clean shape is: the two face off and one line is spoken; the first exchange; the turning hit with an impact frame; the landing and a last line. Each beat is one continuous shot of six to fifteen seconds, which keeps the engine honest and the cuts sharp.
Stitch the takes with eyecatch cards off, so the fight runs without a pause, or leave one eyecatch before the final blow for a beat of tension. The title card goes in front either way.
Keeping it PG-13
Fights here are the kind a broadcast episode would show: clashes, falls, dust and sparks, a bruise and a grin. Every beat is checked before it renders, and the finished frames are checked again before anything is stored. Graphic injury and gore are not rendered, and a take that is blocked on output is marked failed with its credits spent, so it is worth keeping the choreography on the stylised side.
Rivals, villains and mentors
The preset cast ships with a cool rival, a villain with a purr, a gruff mentor with an eyepatch and a hot-blooded sprinter, so you can block out a fight before you have drawn anyone. Swap in your own characters whenever they are ready; the show keeps its episodes and the beats keep their text.
Voice styles matter more in a fight than anywhere else, because the lines are short. Give the hero "hot-blooded" and the rival "cool rival" and a two-word exchange carries the whole dynamic; give the villain "villain purr" and his one line before the impact frame does the work of a monologue. The styles are delivery descriptions, not recordings, and they shape the performance the engine renders.