@azerogluemin/ai-bootstrap 0.2.1

package/templates/skills/screenwriter/knowledge/categories/film/genres/sci-fi.md

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+# Sci-Fi — Genre
+
+> Science fiction. Speculative scenarios based on (or extrapolated from) science and technology.
+
+## Defining elements
+
+- Speculative premise (technology, future, alien, science)
+- "What if..." structure
+- World-building
+- Often examines humanity through other lens
+- Idea-driven (alongside character)
+
+## Sub-genres
+
+| Sub-genre | Example | Focus |
+|-----------|---------|-------|
+| Hard sci-fi | Interstellar, Arrival | Plausible science |
+| Space opera | Star Wars | Galactic adventure |
+| Cyberpunk | Blade Runner | Tech dystopia |
+| Dystopian | 1984, Children of Men | Bad future |
+| Utopian | (rare) Star Trek | Good future |
+| Time travel | Looper, Tenet | Temporal manipulation |
+| First contact | Arrival, Contact | Alien encounter |
+| AI / Robot | Ex Machina, A.I. | Artificial intelligence |
+| Post-apocalyptic | Mad Max, The Road | After collapse |
+| Climate fiction | The Day After Tomorrow | Environmental |
+| Bio sci-fi | Annihilation | Biological |
+| Mind / consciousness | Inception | Internal worlds |
+
+## Structural conventions
+
+### World-building introduction
+- Explain rules of world early
+- Show, don't tell
+- Specific details
+- Internal consistency
+
+### Concept exploration
+- "What if X were true?"
+- Implications followed
+- Logic consistent
+
+### Character through concept
+- Characters affected by world's rules
+- Personal story within concept
+- Don't lose human stakes
+
+### Twists from concept
+- Reveals based on world rules
+- Audience figures it out (or doesn't)
+- Earned, not arbitrary
+
+## Voice / Style
+
+### Visual
+- Production design crucial
+- Practical + VFX
+- Production design = character
+- Lighting often stylized
+
+### Sound
+- Scoring often electronic
+- Sound design for tech
+- Silence in space (or not)
+
+### Dialogue
+- Some exposition needed
+- Avoid info-dumps
+- Specialized vocabulary
+- Logic clear
+
+## Sci-fi mechanics
+
+### Speculative premise
+"What if AI became sentient?"
+"What if aliens contacted us?"
+"What if we could time travel?"
+"What if humanity lived on Mars?"
+
+Premise drives story.
+
+### Internal logic
+- Rules established
+- Followed consistently
+- Violations undermine
+- "Hard" sci-fi: real science basis
+
+### Implications followed
+- One premise → many consequences
+- Explore ramifications
+- Don't shy from dark implications
+
+### Hope / Warning
+- Sci-fi often warns of futures to avoid
+- Or imagines futures to aspire
+- Has POV on humanity
+
+## Sample sci-fi scene
+
+```
+INT. MARS HABITAT - DAY (SOLAR DAY 487)
+
+NIGAR (38), botanist, examines the seedling under a grow light.
+She wears a casual jumpsuit. Three other crew members visible
+through the corridor window.
+
+The plant is growing. First successful one.
+
+Her wrist communicator beeps. ELDAR (35), commander, voice:
+
+ELDAR (over comms)
+Earth's response just came in.
+
+NIGAR
+And?
+
+Long pause.
+
+ELDAR
+They're not coming.
+
+She looks at the plant. Touches the leaf.
+
+NIGAR
+Define 'not coming.'
+
+ELDAR
+Funding cut. Resupply mission cancelled. We're on our own.
+
+She doesn't respond. The plant stretches toward the artificial sun.
+
+NIGAR (V.O.)
+Our food supply lasts 312 days. We have 6 crew members. The math
+doesn't work.
+
+She looks up at the others through the window. They don't know yet.
+
+NIGAR
+... I'll be right there.
+
+She turns off the grow light. The plant dims into shadow.
+
+FADE OUT.
+```
+
+This works through:
+- Specific world rules (Sol 487, comms, crew size)
+- Personal scale + cosmic stakes
+- Dialogue exposition without info-dump
+- Visual metaphor (plant + their situation)
+
+## Common mistakes
+
+- Info-dump dialogue
+- World-building over story
+- Inconsistent logic
+- Generic dystopia
+- Forgetting human stakes
+- Tech without consequence
+- Over-explanation (mystery is good)
+
+## Best sci-fi films reference
+
+- 2001: A Space Odyssey (philosophical)
+- Blade Runner / 2049 (cyberpunk)
+- Arrival (linguistic, hopeful)
+- Children of Men (dystopian, technical)
+- Annihilation (biological, surreal)
+- Ex Machina (AI, intimate)
+- Interstellar (hard sci-fi epic)
+- Her (near-future intimate)
+- The Matrix (action sci-fi)
+- District 9 (allegorical)
+
+## When to write sci-fi
+
+- Philosophical "what if" question
+- Examining humanity through lens
+- Spectacle + ideas
+- Festival or studio (both work)
+- Streaming friendly (huge sci-fi audiences)
+- Visual ambition
+
+## Production realities
+
+Sci-fi can be:
+- Low budget (Primer, Coherence)
+- Mid budget (Ex Machina, Annihilation)
+- High budget (Interstellar, Dune)
+
+Concept doesn't require huge budget if smart.
+
+## Combination with other genres
+
+- Sci-fi + Drama (Arrival, Her)
+- Sci-fi + Thriller (Ex Machina)
+- Sci-fi + Action (Edge of Tomorrow)
+- Sci-fi + Horror (Alien)
+- Sci-fi + Comedy (Galaxy Quest)
+- Sci-fi + Romance (Eternal Sunshine)

package/templates/skills/screenwriter/knowledge/categories/film/genres/surreal.md

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+# Surreal — Genre
+
+> Films embracing dream-logic, impossible imagery, unconscious mind. Beyond rational narrative.
+
+## Defining elements
+
+- Dream-logic
+- Impossible imagery treated as real
+- Symbolism over realism
+- Unconscious mind on screen
+- Audience interpretation invited
+
+## Distinguished from related genres
+
+- **Surreal** = dream-logic, impossible accepted
+- **Magical realism** = magic in mundane world (treated as normal)
+- **Fantasy** = magical world with rules
+- **Experimental** = formal experimentation (may or may not be surreal)
+
+Surreal can overlap all three.
+
+## Sub-types
+
+| Sub-type | Example |
+|----------|---------|
+| David Lynch surreal | Mulholland Drive, Eraserhead |
+| Buñuel surreal | The Discreet Charm of the Bourgeoisie |
+| Dream film | Inception, Paprika |
+| Absurdist | The Lobster, Dogtooth |
+| Symbolic | Holy Motors, Synecdoche New York |
+| Body horror surreal | The Fly, Tetsuo |
+| Liminal | Last Year at Marienbad |
+
+## Structural conventions
+
+### Dream-logic
+- Cause-effect doesn't apply
+- Time is fluid
+- Identity shifts
+- Locations transform
+
+### Recurring imagery
+- Symbols repeat
+- Patterns emerge
+- Audience hunts meaning
+
+### Multiple interpretations
+- No single "correct" reading
+- Audience completes meaning
+- Mystery preserved
+
+### Anchor in reality (often)
+- Film begins in recognizable world
+- Slips into surreal
+- Returns or doesn't
+
+## Voice / Style
+
+### Visual
+- Striking imagery
+- Production design distinctive
+- Color palette specific
+- Lighting often theatrical
+
+### Sound
+- Music distorted often
+- Silence weaponized
+- Familiar sounds wrong context
+- Auditory dream-logic
+
+### Dialogue
+- Often stilted / theatrical
+- Or hyper-naturalistic but in wrong context
+- Words that don't match images
+- Repetition
+
+## Surreal mechanics
+
+### The uncanny
+- Familiar made strange
+- Almost-right but not
+- Discomfort triggered
+- Audience destabilized
+
+### Symbolic associations
+- Objects mean something
+- Recurring = meaningful
+- Audience patterns
+- Layered meaning
+
+### Identity slippage
+- Characters become others
+- Or contain multitudes
+- Or change without notice
+
+### Time + space slippage
+- Locations transform
+- Time loops or skips
+- Causality breaks
+
+## Sample surreal scene
+
+```
+INT. APARTMENT - NIGHT (?)
+
+ELDAR (35) sits at his kitchen table. The lamp above is too bright.
+His shadow on the wall is too dark.
+
+The phone rings.
+
+He answers.
+
+VOICE (over phone)
+Eldar. The window in your bedroom is open.
+
+ELDAR
+... what?
+
+VOICE
+You should close it before he comes in.
+
+He hangs up. Walks to the bedroom.
+
+The window is closed.
+
+He turns to leave. The phone in the kitchen is ringing again.
+
+He returns. Picks up.
+
+VOICE
+The window in your bedroom is open.
+
+He looks back. The bedroom door — was it open? — is now closed.
+
+ELDAR
+Who is this?
+
+VOICE
+You know who this is.
+
+ELDAR
+I don't.
+
+VOICE
+You will.
+
+He hangs up.
+
+He stands in the kitchen. Listens.
+
+Faintly — wind. Coming from the bedroom.
+
+He walks to the bedroom door. Opens it.
+
+The bedroom is gone. In its place: a forest at night, wind moving
+through leaves, his bed sitting in the middle of it, made.
+
+ELDAR (V.O.)
+That was when I started to suspect that the place I was living
+was not the place I thought.
+
+He steps into the forest. Closes the door behind him.
+
+ON THE OTHER SIDE OF THE DOOR (kitchen): the phone rings again.
+There is no one to answer it.
+```
+
+This works through:
+- Dream logic (forest in bedroom)
+- Voice without identity
+- Familiar made strange
+- Audience destabilized
+- Visual impossibility accepted
+- Mystery preserved
+
+## Common mistakes
+
+- Random weirdness without coherence
+- Surface surrealism (just looks weird)
+- Explanation that kills mystery
+- Forced symbolism
+- Confusion vs. mystery
+- Ignoring craft basics
+- Pretentious without substance
+
+## Best surreal films reference
+
+### David Lynch (master)
+- Eraserhead (1977)
+- Mulholland Drive (2001)
+- Lost Highway (1997)
+- Inland Empire (2006)
+
+### Luis Buñuel
+- The Discreet Charm of the Bourgeoisie (1972)
+- Belle de Jour (1967)
+- The Phantom of Liberty (1974)
+
+### Modern surreal
+- Holy Motors (Carax, 2012)
+- The Lobster (Lanthimos, 2015)
+- Mother! (Aronofsky, 2017)
+- Synecdoche, New York (Kaufman, 2008)
+- Enemy (Villeneuve, 2013)
+- Annihilation (Garland, 2018)
+
+### Anime / international
+- Paprika (Kon, 2006)
+- Perfect Blue (Kon, 1997)
+- Stalker (Tarkovsky, 1979)
+
+## When to write surreal
+
+- Personal vision
+- Festival aspirations
+- Audience appetite
+- Specific symbolic ideas
+- Dream-source material
+- Director-driven project
+
+## Production realities
+
+Surreal can be:
+- Low budget (Eraserhead was tiny)
+- Mid (most modern surreal)
+- High (Mother!, Annihilation)
+
+Production design + cinematography matter more than VFX.
+
+## Risks
+
+- Audience confusion
+- Critical division
+- Limited audience
+- Festival positioning needed
+- Marketing challenge
+
+## Combination
+
+Surreal layers onto:
+- Drama (Mulholland Drive)
+- Horror (Eraserhead)
+- Sci-fi (Annihilation, Stalker)
+- Comedy (The Lobster)
+- Romance (Eternal Sunshine)
+- War (Apocalypse Now has surreal beats)

package/templates/skills/screenwriter/knowledge/categories/film/genres/thriller.md

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+# Thriller — Genre
+
+> Films designed to create suspense and tension. Plot-driven with high stakes.
+
+## Defining elements
+
+- High stakes (often life/death)
+- Tension as primary emotion
+- Plot momentum
+- Time pressure often
+- Audience knows more than protagonist (or vice versa)
+
+## Sub-genres
+
+| Sub-genre | Example | Style |
+|-----------|---------|-------|
+| Psychological thriller | Black Swan | Mind + perception |
+| Crime thriller | Se7en | Investigation + dread |
+| Political thriller | The Manchurian Candidate | Power + conspiracy |
+| Espionage thriller | Tinker Tailor Soldier Spy | Spy craft |
+| Tech thriller | Searching | Digital age |
+| Domestic thriller | Gone Girl | Relationship + secrets |
+| Conspiracy thriller | All the President's Men | Truth + danger |
+| Action thriller | The Bourne Identity | Pursuit + violence |
+| Erotic thriller | Basic Instinct | Sex + danger |
+| Legal thriller | A Few Good Men | Court + stakes |
+
+## Structural conventions
+
+### Ticking clock
+- Time pressure
+- Deadline approaching
+- Urgency pervasive
+
+### Stakes escalation
+- Personal stakes raise
+- Threat expands
+- Limited options
+
+### Reversals
+- What you thought = wrong
+- Twist mid-film
+- Trust questioned
+
+### Cat-and-mouse
+- Pursuer + pursued
+- Roles can flip
+- Dance of evasion
+
+## Voice / Style
+
+### Pacing
+- Tighter than drama
+- Cuts to maintain tension
+- Pause for breath (then escalate)
+- Build to set pieces
+
+### Visual
+- Often shadows, contrast
+- Tight framing
+- Camera movement creates unease
+- Information control through shots
+
+### Sound design
+- Score essential
+- Silence weaponized
+- Breath, heartbeat audible
+- Sudden contrast
+
+### Dialogue
+- Tight, purposeful
+- Subtext (lies, threats)
+- Information control
+- Less than action genres
+
+## Thriller mechanics
+
+### Suspense (Hitchcock)
+"There's a bomb under the table. Don't show audience boom — show audience the bomb. Then show two people having a conversation. THAT'S suspense."
+
+Audience knowing the threat = engagement.
+
+### Twist
+- Setup throughout
+- Pay off in surprise
+- Re-frames everything before
+- Earned, not arbitrary
+
+### Red herring
+- Audience suspects A
+- Actual is B
+- Misdirection through plot
+
+### McGuffin
+- Object/info everyone wants
+- Drives action
+- Specific content less important
+
+## Sample thriller scene
+
+```
+INT. APARTMENT - NIGHT
+
+ELDAR (35) sits at his laptop. The encrypted message just arrived:
+"They know. Get out NOW."
+
+He stands. Walks to the window. Pulls the curtain aside slowly.
+
+EXT. STREET - SAME
+
+A black sedan idles across the street. Headlights off.
+
+INT. APARTMENT - SAME
+
+Eldar steps back from the window. His mind races. He has 90 seconds
+maybe.
+
+He grabs his phone. Pulls the SIM card. Snaps it.
+
+He grabs a backpack from the closet. Already packed. Always packed.
+
+He stops. Looks at the framed photo on the desk. His mother.
+
+He picks it up. Considers. Sets it down.
+
+He moves to the door. Stops. Listens.
+
+Nothing. Then —
+
+A KEY in the lock from outside.
+
+He freezes.
+
+TIGHT ON the doorknob slowly turning.
+
+Eldar moves silently to the kitchen. Picks up the largest knife.
+Flattens against the wall.
+
+The door opens.
+```
+
+This works through:
+- Stakes immediate
+- Time pressure
+- Audience anxiety
+- Specific competence
+- Cliffhanger continuation
+
+## Common mistakes
+
+- Slow opening (thriller needs hook)
+- Convenient resolutions
+- Twist unprepared (audience cries foul)
+- Generic threat
+- Passive protagonist
+- Convenient skills not setup
+- Saggy middle
+
+## Best thriller films reference
+
+- Se7en (psychological)
+- The Silence of the Lambs (psychological)
+- Gone Girl (domestic)
+- Sicario (action)
+- Prisoners (revenge)
+- A Most Violent Year (slow burn)
+- Memento (twist structure)
+- Parasite (genre-mix thriller)
+
+## Hitchcock principles
+
+- Suspense over surprise
+- MacGuffin acceptable
+- Wrong man (innocent caught up)
+- Audience knows more than character
+- Set pieces important
+- Music essential
+
+## When to write thriller
+
+- Plot-driven story
+- High-stakes premise
+- Audience-friendly (genre conventions)
+- Mid-budget feasible
+- Star vehicle works
+- Festival + commercial overlap
+
+## Combination with other genres
+
+- Thriller + Horror = horror-thriller (Silence of the Lambs)
+- Thriller + Crime = crime thriller (Se7en)
+- Thriller + Political = political thriller (Bourne)
+- Thriller + Drama = drama thriller (Prisoners)
+- Thriller + Sci-fi = tech thriller (Ex Machina)