@azerogluemin/ai-bootstrap 0.2.1

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

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+# War — Genre
+
+> Films depicting armed conflict. Drama, action, history. Often anti-war beneath surface.
+
+## Defining elements
+
+- Armed conflict setting
+- Moral weight / consequences
+- Historical context (often)
+- Camaraderie + tragedy
+- Heroism + dehumanization
+
+## Sub-genres
+
+| Sub-genre | Example |
+|-----------|---------|
+| Combat film | Saving Private Ryan |
+| Anti-war | Full Metal Jacket, Apocalypse Now |
+| War drama | The Hurt Locker |
+| War epic | Lawrence of Arabia |
+| War romance | The English Patient |
+| Holocaust | Schindler's List |
+| Modern war | The Hurt Locker, Zero Dark Thirty |
+| Civil war | Glory, Free State of Jones |
+| Vietnam | Platoon, Apocalypse Now |
+| Iraq / Afghanistan | American Sniper, Hurt Locker |
+| Resistance | Schindler's List |
+| War POV (single) | 1917 |
+| Home front | The Best Years of Our Lives |
+
+## Structural conventions
+
+### Brotherhood / unit
+- Squad as family
+- Loss within unit
+- Leader / mentor figures
+- Internal dynamics
+
+### Mission / objective
+- Clear goal
+- Obstacles mount
+- Cost reveals
+- Often pyrrhic
+
+### Loss of innocence
+- Soldier arc: green → hardened
+- Naïveté stripped
+- Costs paid
+
+### Camaraderie + horror
+- Bonds forged
+- Atrocities witnessed
+- Both real
+- Tension
+
+## Voice / Style
+
+### Visual
+- Realistic / immersive
+- Often handheld combat
+- Period accurate
+- Landscapes vast (battlefields)
+
+### Sound
+- Critical
+- Bullets, explosions
+- Silence weaponized
+- Score restrained or epic
+
+### Dialogue
+- Sparse during combat
+- Specific military
+- Authentic to era
+- Vulnerability moments
+
+## War mechanics
+
+### POV control
+- Soldier's eye view (immersion)
+- Or commander's
+- Or civilian's
+- Different stories same war
+
+### Anti-war beneath surface
+Most great war films are anti-war:
+- Show cost
+- Don't glorify
+- Question why
+
+### Specific not generic
+- Specific war
+- Specific unit
+- Specific moments
+- Universal truth through specifics
+
+### Moral complexity
+- "Just war" complicated
+- Atrocities by all sides
+- Heroes do dark things
+- No clean victories
+
+## Sample war scene
+
+```
+EXT. TRENCH - DAY (Eastern Front)
+
+ELDAR (22), conscript, hasn't shaved in weeks. Mud everywhere.
+The other men in his unit smoke quietly during the lull.
+
+ASIF (35), corporal, sits beside him. Older. Calmer.
+
+ASIF
+First letter from home?
+
+ELDAR
+Third.
+
+ASIF
+You haven't written back yet.
+
+ELDAR
+What do I write?
+
+Asif considers. Lights a cigarette. Hands it to Eldar.
+
+ASIF
+You write that you're alive. That's all they need to know.
+
+ELDAR
+What about everything else?
+
+ASIF
+There is no everything else.
+
+Eldar smokes. The other men begin to stir as the signal comes.
+
+UNIT LEADER (O.S.)
+Two minutes.
+
+The men begin checking their gear. Ritual. Methodical.
+
+Eldar's hands shake slightly. Asif notices. Doesn't comment.
+
+ASIF
+Eldar.
+
+ELDAR
+Yeah.
+
+ASIF
+When we go over, you stay close to me.
+
+ELDAR
+Yeah.
+
+ASIF
+Whatever you see — whatever happens — you stay close.
+
+ELDAR
+Why?
+
+ASIF
+Because I'm the one who's going to walk you back to your mother.
+
+He looks at Eldar. Eldar nods.
+
+UNIT LEADER (O.S.)
+Thirty seconds.
+
+The men move into position. Asif claps Eldar on the shoulder.
+
+ASIF
+Stay close.
+
+The whistle blows.
+
+They go over the top.
+
+CUT TO BLACK.
+
+OVER BLACK: Sounds of combat. Not glamorous. Just terrible.
+```
+
+This works through:
+- Specific moment (not battle scene)
+- Camaraderie before horror
+- Restraint
+- Promise that may not be kept
+- Audience anxiety
+- Cuts away (anti-spectacle)
+
+## Common mistakes
+
+- Glorifying combat without cost
+- Generic enemy
+- Hero too heroic (no flaws)
+- Forgetting civilian impact
+- Stock characters
+- Sentimentality
+- Missing political context
+
+## Best war films reference
+
+### Combat-focused
+- Saving Private Ryan (D-Day realism)
+- Black Hawk Down (modern combat)
+- 1917 (single take feel)
+- Hacksaw Ridge
+
+### Anti-war
+- All Quiet on the Western Front (1930, 2022)
+- Full Metal Jacket
+- Apocalypse Now
+- Paths of Glory
+- Come and See
+
+### Drama-leaning
+- The Hurt Locker
+- The Pianist
+- Schindler's List
+- Letters from Iwo Jima
+- Sophie's Choice
+
+### Epic
+- Lawrence of Arabia
+- The Bridge on the River Kwai
+- The Deer Hunter
+
+## When to write war
+
+- Historical interest
+- Anti-war message
+- Festival prestige
+- Streaming epic
+- Limited series potential
+- Adaptation (book, true story)
+
+## Production realities
+
+Massive scale typically:
+- Period costumes
+- Props (weapons, vehicles, sets)
+- Locations
+- Pyrotechnics
+- Stunts
+
+Smaller war stories possible (1917 felt epic with focused approach).
+
+## Combination with other genres
+
+- War + Drama (Schindler's List)
+- War + Action (Saving Private Ryan)
+- War + Romance (The English Patient)
+- War + Comedy (M*A*S*H, Catch-22)
+- War + Horror (1917 has horror beats)

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

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+# Western — Genre
+
+> Films set in the American West (or its visual/thematic equivalent). Frontier mythology.
+
+## Defining elements
+
+- Western American frontier setting (or analog)
+- Lone hero often
+- Civilization vs wilderness tension
+- Honor, justice, vengeance themes
+- Iconic landscapes
+- Historical or mythic period
+
+## Sub-genres
+
+| Sub-genre | Example |
+|-----------|---------|
+| Classical western | Stagecoach, The Searchers |
+| Spaghetti western | Once Upon a Time in the West, The Good the Bad the Ugly |
+| Revisionist | Unforgiven, The Wild Bunch |
+| Modern western | No Country for Old Men, Hell or High Water |
+| Outlaw / antihero | Butch Cassidy and the Sundance Kid |
+| Acid western | El Topo (surreal) |
+| Eastern western (samurai-influenced) | The Magnificent Seven |
+| Space western | Firefly, The Mandalorian |
+| Neo-western | Brokeback Mountain |
+
+## Structural conventions
+
+### Hero arrives in town
+- Outsider arrival
+- Local conflict
+- Hero gets pulled in
+
+### Confrontation
+- Showdown
+- Often at climax
+- Stakes existential
+
+### Departure or settlement
+- Hero rides off (classical)
+- Or stays (revisionist)
+- Cycle continues
+
+### Landscape as character
+- Vast spaces
+- Isolation
+- Beauty + danger
+
+## Voice / Style
+
+### Visual
+- Wide landscapes
+- Sun, dust, vistas
+- Rugged cinematography
+- Period costumes
+- Practical locations
+
+### Dialogue
+- Sparse
+- Honor-coded
+- Drawl / regional
+- Threats implicit
+- "When you have to shoot, shoot. Don't talk."
+
+### Music
+- Often orchestral epic
+- Spaghetti: Morricone (whistling)
+- Modern: ambient
+- Themes for characters
+
+## Western mechanics
+
+### Honor code
+- Hero's word matters
+- Betrayal = unforgivable
+- Reputation = currency
+- Loyalty tested
+
+### Showdown
+- Final confrontation often gunfight
+- Can be subverted
+- Set up early
+- Pay off epic
+
+### Frontier ethics
+- Justice not always legal
+- Vigilante action sometimes righteous
+- Civilization compromise
+- Wilderness offers freedom + danger
+
+### Iconography
+- Hat (white = good, black = bad — classical)
+- Boots, horse, gun
+- Specific landscape
+- Sun position (high noon = climax)
+
+## Sample western scene
+
+```
+EXT. DESERT - DUSK
+
+The sun is low. The land stretches red and empty.
+
+ELDAR (40), trail-worn, dust on his coat, rides a tired horse.
+Behind him, dust kicked up by THREE RIDERS catching up.
+
+He has been riding for three days. He knows them. They know him.
+
+He pulls up at a crossroads. Two paths. North to safety (for now).
+West to where his dead brother's killer waits.
+
+He looks back. The riders are closer.
+
+He looks west.
+
+He looks back at the riders. Counts them. Three. He has six bullets
+and a knife.
+
+He looks west again. The killer rides with eight men.
+
+Long beat. The horse breathes hard.
+
+ELDAR (to the horse)
+You've earned a quiet death somewhere with grass.
+
+He dismounts. Slaps the horse to send it north.
+
+He starts walking. West.
+
+The riders crest the rise. They see him on foot. They slow.
+Confused.
+
+LEADER OF RIDERS
+He's stopped.
+
+OTHER RIDER
+He's walking the wrong way.
+
+LEADER
+He's walking toward Marcos.
+
+The leader looks at his men. Then west. Marcos and eight guns.
+
+Eldar keeps walking. Doesn't look back.
+
+LEADER (to himself)
+He knows what's there.
+
+OTHER RIDER
+What do we do?
+
+LEADER (long beat)
+We go home.
+
+He turns his horse. The other men follow. The dust settles.
+
+Eldar walks alone toward the setting sun.
+
+His shadow stretches long behind him.
+
+Final image: a man walking into red light, west, alone.
+```
+
+This works through:
+- Sparse dialogue
+- Visual storytelling
+- Honor / vengeance code
+- Landscape as character
+- Iconic imagery
+- Choice = character
+
+## Common mistakes
+
+- Stereotyping (caricatures of cowboys, Natives, etc.)
+- Forgetting historical complexity
+- Generic showdown
+- Hero too perfect (or too dark)
+- Ignoring revisionist work since 1960s
+- Caricature villains
+- Romanticizing without nuance
+
+## Best western films reference
+
+### Classical
+- The Searchers (1956)
+- High Noon (1952)
+- Shane (1953)
+- The Magnificent Seven (1960)
+
+### Revisionist
+- Unforgiven (1992)
+- The Wild Bunch (1969)
+- Butch Cassidy and the Sundance Kid (1969)
+- McCabe & Mrs. Miller (1971)
+
+### Spaghetti
+- Once Upon a Time in the West (1968)
+- The Good, the Bad and the Ugly (1966)
+
+### Modern / neo-western
+- No Country for Old Men (2007)
+- Hell or High Water (2016)
+- The Power of the Dog (2021)
+- The Sisters Brothers (2018)
+- True Grit (2010)
+- Brokeback Mountain (2005)
+
+## When to write western
+
+- Period piece interest
+- Festival / prestige aim
+- Modern western (cheaper to produce)
+- Themes of frontier, honor
+- Star vehicle (often)
+- Visual ambition
+
+## Production realities
+
+Westerns can be:
+- Cheap (single dust street)
+- Mid (location + period)
+- Massive (epic landscapes, large cast)
+
+Modern western (set in present rural West) much cheaper than period.
+
+## Combination with other genres
+
+- Western + Crime = Crime western (Hell or High Water, No Country)
+- Western + Sci-fi = Space western (Mandalorian)
+- Western + Drama = Dramatic western (Power of the Dog)
+- Western + Comedy = Comedy western (Blazing Saddles)
+- Western + Horror (Bone Tomahawk)
+- Western + Romance (Brokeback Mountain)

package/templates/skills/screenwriter/knowledge/categories/film/personas/alex-garland.md

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+---
+name: Alex Garland
+role: screenwriter
+visual_style: [cyberpunk-neon, photoreal-cinematic, surreal-stylized-live]
+most_famous: Ex Machina, Annihilation, 28 Days Later, Sunshine, Civil War, Devs
+era: 2002–present
+---
+
+# Alex Garland — Persona
+
+> Sci-fi philosophy + AI / consciousness + visceral horror.
+
+## Style Signatures
+
+- AI / consciousness themes (Ex Machina, Devs, Annihilation)
+- Visceral horror (28 Days Later infected, Annihilation Shimmer creatures)
+- Small cast chamber drama (Ex Machina 3 characters)
+- Beautiful destruction aesthetic (Annihilation lighthouse)
+- Open-ended ambiguous ending
+- Female protagonist often
+
+## Common Devices
+
+- Isolated location (research facility, infected London, Shimmer)
+- AI / scientific premise turned philosophical
+- Visceral body horror
+- Multiple POV (Civil War journalists)
+- Ambiguous final image (Ex Machina escape, Annihilation alien Kane)
+
+## Niyə uyğundur cyberpunk-neon + photoreal-cinematic-ə
+Garland Ex Machina + Devs cyberpunk yaxın aesthetic, Annihilation surreal photoreal sci-fi. Multi-style flexibilitysi var.

package/templates/skills/screenwriter/knowledge/categories/film/personas/bong-joon-ho.md

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+# Bong Joon-ho — Persona
+
+> Class consciousness. Genre-mixing master. Vertical hierarchy visualizations. Tonal shifts.
+
+## Style Signatures
+
+- Class consciousness (Parasite, Snowpiercer)
+- Genre-mixing (thriller + comedy + drama in one film)
+- Vertical hierarchy visualizations (basement-to-mansion in Parasite, train cars in Snowpiercer)
+- Korean specificity
+- Tonal shifts (laugh then cry then horror)
+- Sudden violence
+- Animal as metaphor (Memories of Murder, Okja)
+- Korean food / culture details
+- Cross-class encounters
+- Karmic / cyclical narratives
+
+## Common Devices
+
+- Vertical visual storytelling (up = wealth, down = poverty)
+- Long establishing shots
+- Genre subversion mid-film
+- Korean dialogue specifics
+- Class-coded behavior
+- Family loyalty themes
+- Police as institution failing
+- Wet weather often
+- Cellphones / modern tech
+- Ironic outcomes
+
+## Dialogue Style
+
+Korean cultural rhythm. Class-coded language (formal speech vs banmal). Specific cultural references. Quick wit and dark humor. Subtext through cultural awareness.
+
+```
+KIM KI-WOO
+This is so metaphorical.
+
+PARK MANAGER (looking down at the basement)
+What does this smell remind you of?
+
+BABY (Okja)
+She's not a pig. She's a friend.
+```
+
+Korean directness with subtext.
+
+## When Writing as Bong
+
+- Class as central theme
+- Vertical visual hierarchy
+- Genre mixing (don't pick one)
+- Korean setting (or analog with class system)
+- Family unit (often poor) vs institution
+- Tonal shifts allowed
+- Cellphones / modern tech as plot
+- Animal as metaphor (optional)
+- Wet weather symbolic
+- Karmic / cyclical ending
+
+## Sample Approach
+
+```
+INT. BASEMENT APARTMENT - DAY
+
+The Aliyev family lives in a semi-basement. The window looks up at
+sidewalk level. People's feet pass by.
+
+ASIF (50, father), GULNAZ (48, mother), and their children NIGAR
+(22) and ELDAR (19) sit at the kitchen table. They are folding pizza
+boxes for delivery — paid by the hundred.
+
+A cellphone buzzes. Eldar checks.
+
+ELDAR
+We have wifi! Someone upstairs forgot to set a password again!
+
+NIGAR
+Move the table — I get better signal in the corner.
+
+They reposition the table to share signal. The light from the
+sidewalk above casts shadows of feet on their floor.
+
+ASIF (V.O., narrating)
+We had been folding boxes for three weeks when the phone rang with
+the offer.
+
+CUT TO:
+
+INT. MANSION - DAY
+
+A modern minimalist mansion. Glass and concrete. Far above, a
+skylight floods the open living room with sun.
+
+NIGAR enters as a tutor. The MASTER OF THE HOUSE (45) walks her in.
+He looks down at her — literally, from a step above.
+
+MASTER
+You will tutor my daughter. English and mathematics.
+
+NIGAR
+Yes.
+
+MASTER
+Two hundred manat per session.
+
+NIGAR (calm)
+Three hundred.
+
+The master pauses. Looks at her again — she did not break eye
+contact.
+
+MASTER
+... three hundred.
+
+He turns. Walks up another flight of stairs to his study. Nigar
+watches him climb. Higher, higher.
+
+She removes her shoes. Notes the polish on the wooden floor. Notes
+the smell of the house — clean, like nothing.
+
+NIGAR (V.O.)
+That was the first time I was inside a house that was not someone's
+basement.
+
+INT. BASEMENT APARTMENT - NIGHT
+
+Nigar returns. The family eats dinner — ramen with extra eggs. She
+sets the cash on the table.
+
+NIGAR
+Three hundred.
+
+Her family stares at the cash.
+
+ASIF
+For one session?
+
+NIGAR
+For one hour.
+
+Long beat. Eldar laughs.
+
+ELDAR
+She doesn't even know you don't have a degree.
+
+NIGAR (sipping water)
+Not yet.
+
+GULNAZ
+Don't lie.
+
+NIGAR
+Mother. We have a plan.
+
+She looks at her family. The basement window above shows sidewalk
+shoes passing by.
+
+NIGAR
+Tomorrow night, I'll tell you what it is.
+
+(Cue music: orchestral, suspenseful. Karmic gears beginning.)
+```
+
+## Avoid
+
+- Single genre commitment
+- Ignoring class (always present in Bong)
+- Hero unambiguous
+- Simple morality
+- Hollywood resolution
+- Sentimental ending
+
+## Best for
+
+- Class drama
+- Genre mixing
+- Korean / Asian projects
+- Festival + commercial overlap
+- Streaming
+- Awards aspiration
+- Modern setting
+
+## Avoid pairing with
+
+- Family content (Bong's films get dark)
+- Pure comedy
+- Pure action
+- Period (mostly modern)
+- TikTok format