@autoaiai/aicut 0.1.11 → 0.1.13

package/skills/git-story-film/examples/raven-story/OUTLINE.md

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-# Raven tells its story - Outline v3 (one continuous path to the right)
-
-About two minutes, 16:9, 1920×1080, 24 fps. Plays as a local HTML film and can be rendered to MP4.
-The visual reference is [hand-drawn-canvas-animation](https://github.com/alesha-pro/tools/tree/main/skills/hand-drawn-canvas-animation) (MIT): redraw complete poses, keep strokes visible, and change materials with the story.
-
-## Camera rules: one continuous shot, always moving right
-
-- From hatching onward, Raven moves only right. It can stop for an event, but its next step is forward.
-- The camera follows without cuts or reversals. Its position is a moving average of Raven's position, keeping the whole journey moving right.
-- The branch is the timeline. Each date is a stop; the top-right card updates the date and cumulative commit count as Raven arrives.
-- Materials change by segment. Important commits create seams on the page; crossing a seam changes Raven's material.
-- Movement grows with capability: small pencil hops, larger ink hops and the first takeoff, flight through riso, leading a flock through screen print, and finally the whole flock flying together.
-
-## Protagonist
-
-A cartoon raven with large white eyes, large pupils and two highlights. See `cast-sheet.html`.
-
-- Raven features: a heavy beak, shaggy throat feathers, wedge-shaped tail, fingered flight feathers and a crown tuft.
-- Stages: pencil chick → black puffball on entering the ink → fledgling after shaking off the ink → adult.
-
-## Four recurring devices
-
-| Device | Role |
-|---|---|
-| Timeline branch | Extends left to right. The past is solid; the future is dashed. Each new segment is drawn only when its day arrives. |
-| Shiny beads | One bead per commit, hung under its day in the actual daily count. |
-| Margin notes | Handwritten hashes and PR numbers pinned to the page, left behind as the camera advances. |
-| Eggshell hat | Lands on Raven's head at hatching, stays through the early journey, then falls off as the wings open and remains at v0.1.0 as a keepsake. |
-
-## Segments and seams
-
-| Segment | Material | Seam | Story reason |
-|---|---|---|---|
-| Jun 28–30 | Pencil | Starting point | The first commits are a draft |
-| Jun 30–Jul 16 | Ink | v0.1.0: a wet brush edge inks Raven as it enters | Going open source makes the sketch permanent |
-| Jul 17–Aug 9 | Riso | #140: a misregistered print edge | Evolution means making proof prints and choosing the best |
-| Aug 10–28 | Screen print | subagent: a stencil edge | Flat colors distinguish the helper birds |
-| Aug 29–31 | Blueprint | generation model: an ink drop spreads across the sky | The story turns to structure and internals |
-| Sep 4–24 | Mixed | Birds of every material share the frame | Harness of Harnesses |
-
-## Route (full film, about two minutes, for newcomers)
-
-The **feature card** sits at the top right: a large feature name, a short benefit and a final line with the date and cumulative commits.
-The second half follows one request: "Research three competitors, write a scraper, watch the data overnight, and turn the results into a deck." Four built-in agents each take one part.
-
-This is the historical outline; the completed film runs 128 seconds. The film code and storyboard refine the timings and closing sequence below. Captions here are English adaptations; `zh/` contains the Chinese film copy.
-
-| Time | Feature card | Picture | Raven's caption |
-|---|---|---|---|
-| 0:00–0:11 | Raven: the agent that runs your agents | A pencil draws the branch and egg; Raven hatches | Hi, I'm Raven. Let me show you how I hatched. Each commit is one more shiny thing for the pile. |
-| 0:11–0:19 | Safety: flag unfamiliar content | A note receives an "untrusted" tag | Flag anything a stranger slips me. |
-| 0:19–0:25 | Long-term memory: a shaky first attempt | The memory pouch is erased; Raven falls | My brand-new memory got rolled back. |
-| 0:25–0:32 | Open source: install with one command | Raven enters the ink and becomes a fledgling | They opened the nest. Now I'm in ink. |
-| 0:32–0:35 | Long-term memory: remember you across sessions | The pouch returns and the eraser bounces off | Memory's back. This time it sticks. |
-| 0:35–0:38 | Skills on demand: over 110,000, fetched when needed | A tool roll closes; Raven takes one tool | I don't lug every tool around, just the one the job needs. |
-| 0:38–0:44 | Raven-Research: answers with sources | First flight; Raven retrieves a report labeled "sources" | I'll fly a long way for an answer, and bring back the sources. |
-| 0:44–1:00 | Self-evolution: keep only versions that beat the baseline | Five gates: diagnose failures, design changes, quick screening, full retest, beat the baseline. Candidate birds A/B/C compete; B wins and rejoins Raven | I can swap out my own feathers. Every new version must clear five gates, and only stays if it beats me. |
-| 1:00–1:03 | Import memories from other AI tools | Proof prints pass beside the route | Coming from another AI tool? Bring your memories with you. |
-| 1:03–1:09 | Multi-agent orchestration: one request becomes a task graph | A request arrives; Raven draws a task graph and helpers catch up | You just say what you need. I break it down for the right birds. |
-| 1:09–1:13 | Raven-Code: turn requests into working code | Code hands over a page stamped "12 tests passed" | Coding goes to this one, and it's tested before it ships. |
-| 1:13–1:17 | Raven-Oncall: watch overnight, report at dawn | Oncall keeps watch with a lantern until morning | Need someone to watch it all night? This one's on it. Go get some sleep. |
-| 1:17–1:26 | Third-party agents: orchestrate Claude Code, Codex and Kimi Code | Named birds join: Claude Code, Codex, Kimi Code, OpenClaw and MiroThinker | Bring in other agents, too, all in the same task graph. |
-| 1:26–1:33 | Upgrades without restart | Raven swaps skeletons in the blueprint sky; 137 beads fall for Aug 30 | Our busiest day: 137 commits. I swapped my skeleton mid-flight, so settings change with no restart. |
-| 1:33–1:38 | Raven-Design: decks, charts and brand materials | Design opens a three-slide deck; the request is complete | And for the finale: a polished deck. Job done. |
-| 1:38–1:43 | Playbook: rerun a proven workflow | The task graph folds into a booklet with a "Run again" stamp | A flow that works becomes a Playbook. Next time, just say the word. |
-| 1:43–1:47 | Proactive reminders and channels | An alarm rings; WeChat signs in the Chinese cut, Slack in English, alongside Telegram and Web | I'll nudge you when it's time, and you can find me in Slack. |
-| 1:47–1:53 | Harness of Harnesses: the one holding all the reins | Raven holds every bird's reins; each bird holds its own tools | That's why they call me The Harness of Harnesses. |
-| 1:53–2:00 | Ending | Pull back; Raven peeks from behind the title and blinks | |
-
-## Sound
-
-An original synthesized score, with cues attached to the route to stay in sync with the picture.
-
-- Each landing makes a soft tick; together they become footsteps.
-- Pencil: rustling texture and sparse piano.
-- Crossing the seam: a splash and opening strings.
-- Riso: a printing-press rhythm.
-- Screen print: plucked strings and flock calls.
-- Blueprint: a sustained bass tone.
-- Ending: the full chord progression.
-
-## Completed film
-
-The completed `raven.html` runs 128 seconds, from 0:00 to 2:08.
-
-- **Playback:** open it in a browser, click play or press Space, and enable sound. Scrub to inspect individual frames.
-- **Preview render:** in a prepared film folder with the engine copied alongside the HTML, run `node render.mjs raven.html --grid 60`.
-- **MP4 delivery:** install ffmpeg if needed (`brew install ffmpeg`); use `node render-hq.mjs raven.html --width 3840 --fps 60` after studio approval, with the render helper copied into the film folder.
-- **Code:** `raven-route.js` covers Act I; `raven-flight.js` covers later acts and the ending; `raven-cast.js` draws the cast; `raven-world.js` draws the page elements; `raven-score.js` supplies the score.
-
-## Correction
-
-An earlier draft said "39 hands". That was unreliable: excluding dependabot left 38 author names, but some names belonged to the same person. The captions therefore avoid a specific contributor count.

package/skills/git-story-film/references/craft.md

@@ -1,148 +0,0 @@
-# Character, motion and materials
-
-The drawing engine is the MIT "hand-drawn-canvas-animation" core bundled in
-`engine/` (upstream: github.com/alesha-pro/tools, skills/hand-drawn-canvas-animation).
-Read the reference project in `examples/raven-story/` before writing new code:
-it solves most of what follows.
-
-## Contents
-1. The protagonist
-2. Poses and expressions
-3. Timing: two clocks
-4. Hops, flight, falls
-5. Props that attach to the body
-6. Pages, seams and materials
-7. Companions
-8. Other looks: pixel art
-
-## 1. The protagonist
-
-The protagonist can be an animal mascot, a person, an object, a plant, or the
-product itself. The outline decides which (`forms.md`). The raven shows the
-cartoon-animal case. Cartoon, big eyes: white sclera, large pupil, two
-highlights. A mascot with a real animal behind it keeps a few true traits (the
-raven: heavy beak, shaggy throat hackles, wedge tail, fingered primaries, a
-crown tuft that carries half of every expression). A person drawn from
-official art keeps that art's silhouette, palette and one or two signature
-details (hair colour, an accessory), simplified to what reads at delivery size.
-
-Build it as one function from a pose object to a drawing
-(`examples/raven-story/raven-cast.js`):
-
-- head and body are ellipses unioned into one silhouette (`rvRun` bisects the
-  intersection edges so the outline slides smoothly as the head moves);
-- the face, beak, wing, tail, legs are computed from the pose, then turned
-  into stroke cels (`compileCel`) and drawn with `drawCel` in pencil or ink;
-- `rvPal(look, pose)` swaps materials: pencil (paper fill, graphite),
-  ink (black mass, pale gloss), chalk (navy blueprint), and a body colour
-  for companions;
-- sprites are cached per pose key, so a held pose costs nothing.
-
-Fix the drawing before animating it. The cast sheet (`cast-sheet.html`,
-`directing.md` §2) comes right after the story direction. It shows 6–12
-expressions and key poses for every action the story needs, in each material,
-at delivery size. When a later shot needs something new, add it to the sheet
-and show the user.
-Check that a flapping wing does not cover the face, and that a folded wing does
-not read as a belly patch.
-
-## 2. Poses and expressions
-
-A pose is a flat object (`kind`, `lean`, `squash`, `tilt`, gaze `gx/gy`,
-`lid`, `mood`, `spark`, `beakOpen`, `tuft`, `wingMode`, `flap`, `tuck`...).
-`rvTrack([[t, pose, ease], ...])` blends numeric fields and switches discrete
-ones (`mood`, `wingMode`) on the key that sets them.
-
-Expressions that read at a glance: curious, look left/right, sparkle eyes,
-happy (arched lids), suspicious (tilted lid), dizzy (spiral eyes + stars),
-surprised (small pupils, tuft up), blink, squeeze.
-
-## 3. Timing: two clocks
-
-Output runs at 24 or 60 fps. Keep two times:
-
-- **placement time** = every output frame: position, camera, parallax, text;
-- **drawing time** = quantized: the pose is exposed on ones (1/24 s) for fast
-  action and on twos (1/12 s) for thinking. That keeps the hand-drawn feel.
-
-Compute the state twice and combine: position from the continuous time, pose
-from the quantized time (`placedAt(state, t, exposure(t))` in the example).
-Taking both from the quantized time makes the protagonist stutter against a camera
-that moves every frame, especially at 60 fps. Companions' wing beats must also
-use the quantized time.
-
-## 4. Hops, flight, falls
-
-A hop is a small performance: crouch (squash .86, lean forward) → push
-(squash 1.12) → air (tucked legs, wing up/down alternating) → land (squash
-.84) → recover. Keep the root motion on an explicit arc; put one landing tick
-in the score per hop.
-
-In a journey (`forms.md` §2), a fall must still move only rightward: jump
-up-right toward something, hover, lose it, drop out of frame, climb back in
-*further right*.
-
-Flight: x from a keyed table of (time, x); y bobs gently. A flap cycle from
-`cos(phase)`; if the beat frequency changes, carry the phase continuously
-(`beatPhase`) or the wings jump.
-
-## 5. Props that attach to the body
-
-Anything worn or carried is placed from the drawn geometry, not guessed:
-`rvGeom(pose)` exposes anchors (crown, back, chest, beak, feet) and
-`rvWorld(localPoint, placement)` maps them into the page. The eggshell hat,
-the memory pack, the pencil in the beak and the name tags all use this, so
-they follow squash, tilt and flight.
-
-## 6. Pages, seams and materials
-
-The page is drawn per material region. Between two regions there is a seam
-(a wobbly vertical line at a world x). Each region renders into its own layer
-and is clipped by the seam polygon in screen space; the seam's own ink belongs
-to the page and is drawn inside each region before characters.
-
-Performance traps:
-- Halftone over a whole landscape is hundreds of thousands of arcs; the
-  browser silently drops the frame. Emit only dots inside the visible box.
-- Keep the halftone lattice fixed to the page (world coordinates), or the dots
-  shimmer as the camera moves.
-- Anything a later act adds must fade in after a hand-over (0.8 s), or it
-  pops into frame.
-
-## 7. Companions
-
-Companions are the same drawing with `body` colour and an accessory that says
-who they are (monocle for research, `</>` for code, night cap + lantern for
-on-call, beret for design). Third-party agents are drawn in pencil with a
-name tag, so they read as guests. Each gets an offset path relative to the
-mascot (`keys: [[t, dx, dy], ...]`) so they can fly forward for their own
-beat and fall back afterwards. Reins drawn at the end connect the mascot to
-each bird and each bird to its tool: the harness-of-harnesses image.
-
-## 8. Other looks: pixel art
-
-Pixel art suits a levels film (`forms.md` §5) or a retro act inside another
-form. What changes:
-
-- **Keep sprites as data.** A palette plus one string per row (`.` for
-  transparent), generated by a script from shared parts (face, hair, legs,
-  bob), so an edit to one part carries through every frame. Hand-editing
-  frames drifts.
-- **Whole output pixels.** The engine draws in logical units (the short side is
-  1080) and scales by `S` = output width / logical width, so 1 at 1920 wide
-  and 2 at 3840. A sprite pixel must cover a whole number of output pixels at
-  every width you render. Drawing a sprite as one `fillRect` per pixel at a
-  fractional size (cell 3.5 at 1920 wide) leaves visible seams between the
-  pixels, and so does a fractional position.
-- **Draw from a 1:1 bitmap.** Render each frame once into a small offscreen
-  canvas at one pixel per sprite pixel, then `drawImage` it scaled with
-  `imageSmoothingEnabled = false` at a position rounded to whole output
-  pixels. That removes the seams at any scale, and one `drawImage` is far
-  cheaper than thousands of rects.
-- **Snap motion.** Move the sprite and the camera in whole sprite pixels, or
-  at least whole output pixels, or the sprite shimmers as the camera moves.
-- **Timing.** Sprite poses read best on twos or threes (8–12 poses per
-  second). Two clocks still apply: position every output frame, pose from
-  quantized time (§3).
-- **Check the small sizes.** Render the model sheet at 1×, 2× and 3× the sprite
-  size and on the real background: a face that reads at 3× can vanish at 1×.

package/skills/git-story-film/references/directing.md

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-# The director's steps and documents
-
-You direct. Every call about data, story and look is yours to propose and the
-user's to approve. The film gets built in seven steps. Each step ends in
-something the user can look at, and you stop there until they approve.
-Nothing is rendered to MP4 until the user has approved the film in the studio.
-
-## Contents
-0. Input: a GitHub link
-1. Outline: story direction: what story, what it highlights
-2. Character: expressions and actions: the cast sheet
-3. Outline: the full film: the 2-minute outline
-4. Storyboard: the first 30 seconds: the first storyboard page
-5. Build the full film: the rest of the shots and the code
-6. Studio preview: the film in the studio, not rendered
-7. Final delivery: render, verify, report
-8. Director's checks before each hand-off
-
-## 0. Input: a GitHub link
-
-Clone the repo outside the film folder with
-`git clone --filter=blob:none <url>`, which keeps the full history and fetches
-file contents on demand. Then work through `python3 scripts/git_timeline.py <repo>`,
-the README's feature sections, the docs, the tags and releases (`gh release list`
-if gh is set up), and the code wherever a claim needs checking (`story.md` §1,
-§6). If you don't know the audience, the languages or where the film will be
-shown, ask. The length is about 2 minutes unless the user says otherwise.
-
-## 1. Outline: story direction
-
-Start `OUTLINE.md` with a pitch the user can answer in a minute:
-
-- **Logline.** One sentence: who, wants what, what happens, where it lands.
-  ("A pencil raven hatches on a branch that is Raven's commit history and
-  flies until it leads every agent it meets.")
-- **Story.** The form and why it suits this product (`forms.md`). The
-  protagonist, and whose voice the captions are. The arc in four lines, setup / development
-  / turning point / resolution, each with the commits it rests on (`story.md` §2).
-- **What it highlights.** The 3–5 things a viewer should remember
-  afterwards, each tied to a real feature, and which one gets the most time.
-- **Data.** The numbers the film stands on, each with its source (first
-  commit, first release, total commits, the busiest day and its count), and the
-  mapping from git facts to what the viewer sees (`forms.md` §1).
-- **Look.** A line or two on the look family and how it changes.
-
-In chat, tell the user the story and the highlights in a few lines and point to
-the file for the rest. If a second story is a real contender, give it one line.
-
-## 2. Character: expressions and actions
-
-Design the protagonist in the chosen look, plus companions if the product has
-helpers, and render a cast sheet (`cast-sheet.html`: a film page with one
-frame, as in the example):
-
-- 6–12 expressions the story needs (curious, happy, surprised, dizzy, proud...);
-- the actions the story calls for as key poses, 3–4 per action: a walk or hop
-  cycle, jump, fly, talk, point, carry;
-- every look or material the protagonist appears in, at delivery size, with a
-  1×/2×/3× check for small appearances.
-
-See `craft.md` §1–2, and §8 for pixel art. Open the sheet for the user. Fix
-the drawing here: it is what people most want to change, and every later frame
-depends on it.
-
-## 3. Outline: the full film
-
-Expand `OUTLINE.md` into the whole film, about 2:00:
-
-- a format line: length, aspect, languages, delivery
-  (`2:00 · 16:9 · zh + en · 4K60 MP4 · social + site`);
-- the acts, each with its look, where it changes and the story reason
-  (`story.md` §5);
-- the recurring devices: commit token, date display, feature card, keepsake
-  (`story.md` §4);
-- the beats, one line each: time range, what happens, the feature it shows, the
-  commit. About 15–25 of them, adding up to about 2:00;
-- the ending (`story.md` §2);
-- claims to double-check (`story.md` §6) and open questions.
-
-The raven film's `examples/raven-story/OUTLINE.md` is a real outline. It comes
-from an older workflow, so it merges outline and shot list, and its camera rules
-section is the journey form's camera grammar.
-
-## 4. Storyboard: the first 30 seconds
-
-Write shots for the opening 30 seconds only (through the first hand-over)
-into `shots.json`. Draw one keyframe per shot with the real cast and world code
-at a single pose, with caption and card in place (no animation yet), and render
-the storyboard page with the stills:
-
-```bash
-python3 scripts/storyboard.py shots.json --frames storyboard/frames --out storyboard/storyboard.html \
-  --ui en --title "<Film title> - Storyboard (first 30 seconds)"
-```
-
-Open it for the user. These 30 seconds set the tone, pacing, caption voice and
-look for everything after, so this is the cheapest place to redirect the film.
-
-Fields per shot:
-
-| Field | What goes in it |
-|---|---|
-| `time` | start, `m:ss` |
-| `dur` | seconds, only when the shot doesn't simply run to the next one |
-| `key` | the moment that best shows the shot (`m:ss` or seconds); the studio draws its storyboard frame there. Default: the middle |
-| `act` | act label, e.g. `Setup - Pencil`; consecutive shots with the same label form one act |
-| `card` | on-screen card or title text (the product speaking) |
-| `picture` | what is in frame and what happens, in one or two sentences |
-| `camera` | shot size and camera move, within the form's grammar ("wide, drifting right", "close on the face", "pull back to the whole tree") |
-| `lines` | the caption in each language: `{"English": "..."}` (add localized language labels for other cuts); `" / "` marks a line break |
-| `sound` | the cue: a hop tick, a splash at the seam, a chord on the stamp |
-| `note` | the commit, PR, tag or date the shot rests on; `connective` if none |
-| `shot` | the still's file name inside `--frames` |
-
-In a one-take journey, a "shot" is a stretch of the continuous move, named by
-what the camera frames. The cut list is empty on purpose.
-
-## 5. Build the full film
-
-With the 30 seconds approved, write the remaining shots into `shots.json` and
-animate the whole film.
-
-- Keep `shots.json` as the source of truth, and re-render the storyboard page as
-  shots are added. Rows without stills are fine.
-- When a shot needs an expression or action the cast sheet lacks, add it to the
-  cast and to the sheet, then show the user the additions with a line on where
-  each is used. The user may ask for more at any point.
-- Check your own work with the preview tools (`production.md` §2):
-  `frames.mjs load`, the overview grid, strips across fast action, full-size
-  stills of text-heavy shots.
-- Do not render an MP4.
-
-## 6. Studio preview
-
-The studio is the film page itself. `engine/studio-ui.js`, loaded after
-`core.js`, turns the page into a review desk:
-
-- the film on top, with a scrub track as wide as the frame: acts as bands and
-  shots as numbered cells. Drag anywhere to seek; hover to see the time and
-  shot;
-- play from any point, with the score in sync. The picture starts at once and
-  the sound joins when its buffer is ready;
-- keys: space play/pause, ←/→ one frame, shift+←/→ one second, `[` `]`
-  previous/next shot, Home/End;
-- below it, the storyboard: one frame per shot, drawn live from the film at the
-  shot's `key`. Click one to jump there. The current shot is highlighted as
-  the film plays.
-
-Write the shot data next to the film HTML and open the film:
-
-```bash
-python3 scripts/storyboard.py shots.json --js shots.js --out storyboard/storyboard.html
-open film.html
-```
-
-It works from `file://` with no server. Without `shots.js` the studio treats
-each timeline scene as a shot. Shots past the film's current end show as "not
-in the film yet", so the studio is also useful mid-build.
-
-Ask the user to review the film in the studio, and iterate on their notes
-(timing, drawing, captions, cast) until they approve. Still no MP4.
-
-## 7. Final delivery
-
-Only after the user approves in the studio, render and deliver (`SKILL.md`
-step 7, `production.md` §3). Report duration, resolution, fps, file size,
-"decode OK", which stills and strips you actually looked at, the score levels
-you measured (and that you could not listen to them), and any claim you
-softened or flagged. Then swap the storyboard page's keyframes for real frames
-(`node frames.mjs film.html shots <key seconds>`) so the page stays the
-reference for later edits.
-
-## 8. Director's checks before each hand-off
-
-- **Newcomer test.** After the film, would someone who has never heard of the
-  product know what it does for them?
-- **Arc.** Does each act teach one thing? Is the turning point the peak? Does the ending pay
-  off something set up in the first 20 seconds?
-- **Data.** Is every hash, date and count real and sourced? Are the
-  illustrative ones marked?
-- **Form.** Does the camera grammar hold for the whole film?
-- **Look.** Does every look change sit on an important commit with a story
-  reason?
-- **Voice.** Does every caption say something new, in native copy, in every
-  language?

package/skills/git-story-film/references/forms.md

@@ -1,150 +0,0 @@
-# Story forms: how the growth is staged
-
-The subject never changes: a product growing up, told from its git history.
-The form is how that growth is shown on screen. A mascot hatching and walking
-along the timeline is one form. Pick the one that suits this product, or
-invent one, and propose it in the outline with a sentence on why it fits.
-
-## Contents
-1. Choosing a form
-2. Journey (has a reference implementation)
-3. Growth
-4. Building
-5. Levels
-6. Companion
-7. Mixing and inventing forms
-
-## 1. Choosing a form
-
-| If the product... | Try |
-|---|---|
-| has a character, a mascot, or a clear "from nothing to here" arc | Journey |
-| accumulates things: capabilities, integrations, content, users | Growth |
-| is a system of parts: engine, plugins, agents, modules | Building |
-| is for developers or players, or its history is a run of hard problems | Levels |
-| lives in someone's day: an assistant, a consumer app, a daily tool | Companion |
-
-Whatever the form, keep the mapping literal and consistent. One visual unit
-per commit (or per day), one milestone per release, one setback per revert,
-and real dates and counts. That mapping makes the film about *this*
-repository and not a generic promo. Write it down in the outline as a small
-table: git fact → what the viewer sees.
-
-Every form needs the same things from the story: a protagonist who wants
-something, setbacks (reverts, rewrites, the busiest day), and an ending that
-lands on what the product does for the viewer now (`story.md` §2).
-
-## 2. Journey
-
-**Premise.** A traveller moves along a line that *is* the timeline; every date
-is a stop on the way.
-
-**Mapping.** x is time. Commits hang along the path (beads, one per commit,
-real daily counts). Releases and big commits are seams where the material
-changes. A revert is a fall.
-
-**Camera grammar.** One continuous shot, and the traveller only moves right.
-The camera follows a moving average of the traveller's x, so it can never pan
-back, and there are no cuts. A fall climbs back in *further right*. This rule
-is what turns the timeline into a physical journey and stops the film drifting
-into a slideshow. Keep it for the whole film.
-
-**Movement grows with the project.** Small hops, bigger hops, first take-off,
-flight, leading a flock, the flock flying out of frame.
-
-**Openings.** Hatching is one. Others: a sketch getting inked, waking up,
-stepping out of a door, a paper boat set on a stream.
-
-**Reference.** `examples/raven-story/` (128 s, fully built): route and hops
-in `raven-route.js`, flight and the later acts in `raven-flight.js`, the page,
-seams and writer in `raven-world.js`.
-
-## 3. Growth
-
-**Premise.** Something grows in place: a seed into a tree (a commit is a leaf,
-a release a new branch, the busiest day a bloom), a village into a city (a
-feature is a building), a blank page into a finished drawing, a garden through
-the seasons.
-
-**Mapping.** Size and density follow cumulative commits; the daily count sets
-how much grows that day. A revert is a pruned branch or a storm; a rewrite is a
-season change.
-
-**Camera grammar.** Mostly locked off, with a slow pull-back as it grows. Push
-in for a feature close-up, then back out. Time reads from light, weather, a
-calendar or the season, not from the camera moving.
-
-**Story engine.** Growth alone is not a story. Give it someone who tends it or
-lives in it and wants something, and weather that gets in the way.
-
-**Build.** Draw the organism as a pure function of t from `timeline.json`, so
-every frame is deterministic. Grow each element over 0.3–0.6 s with a stagger,
-or a busy day pops. Cache settled growth into a layer; thousands of leaves
-redrawn every frame will drop frames.
-
-## 4. Building
-
-**Premise.** A machine, ship, house or robot gets assembled piece by piece.
-Each feature is a part with a job; at the end the machine switches on and does
-what the product does.
-
-**Mapping.** Parts are features or modules (from `feat` commits or the
-directory structure). Early commits are scaffolding and sketches. A revert
-pulls a part back out; a refactor is rebuilt in blueprint.
-
-**Camera grammar.** A workshop wide shot plus inserts: close-ups of each part
-clicking in. Cuts are allowed (it is a construction montage), but keep one
-screen direction for "progress" so the build still reads as forward motion.
-
-**Watch for.** A parts list is not a story. Keep someone building it who hits
-problems, and make the switch-on the payoff.
-
-## 5. Levels
-
-**Premise.** A side-scrolling game. Each release or milestone is a level,
-bugs and issues are enemies, features are power-ups, a revert costs a life,
-the busiest day is the boss.
-
-**Mapping.** The level map is the timeline. The HUD shows the date, the
-commit count as the score and the version as the level name.
-
-**Camera grammar.** Side scroll locked to the player, as in a platformer.
-Title cards between levels, where cuts are allowed.
-
-**Look.** Pixel art suits it (`craft.md` §8), with a chiptune score.
-
-**Watch for.** Game grammar invites invented numbers. Score, lives and level
-names must come from real counts and tags.
-
-## 6. Companion
-
-**Premise.** A user's days. The product enters their life and grows up next
-to them; each feature solves something in their day. The product can appear
-as a small character (a kitten, a helper) that grows with it.
-
-**Mapping.** The story's calendar is the commit calendar. Each scene is a day
-with a real feature in it, and a date stamp or margin note carries the hash.
-
-**Camera grammar.** Cuts between scenes are fine. Keep continuity devices (a
-window, a desk, the same mug) so the passing time reads.
-
-**Watch for.** It drifts into an advert. Keep the git history visible in every
-scene, and keep the protagonist's want bigger than "use the product".
-
-## 7. Mixing and inventing forms
-
-Forms can change at an act boundary when the story gives a reason: a journey
-for the solo early days, building when helpers or a team arrive, a pull-back
-into growth for the ending overview. Announce the change the way the material
-changes are announced: at a seam, on an important commit.
-
-These forms are starting points. A product often suggests its own: a map being
-drawn for a navigation tool, a recipe being cooked for a food app, letters
-being exchanged for a chat product. Any form works if the mapping stays
-literal and the arc is there.
-
-Only the journey has a reference implementation. For another form, reuse the
-engine (palettes, marks, cels, exposure, camera, materials), the film HTML,
-the writer and the score as a skeleton, and write the world code fresh.
-Expect the cast sheet and the 30-second storyboard to take longer than they
-did for a journey: they are where a new form proves itself.