@mytechtoday/augment-extensions 0.4.0 → 0.5.0

package/augment-extensions/writing-standards/screenplay/genres/rules/superhero.md

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+# Superhero Genre
+
+**Category**: Screenplay Genre  
+**Type**: Primary  
+**Complexity**: Medium
+
+## Overview
+
+Superhero films feature characters with extraordinary abilities fighting threats to protect others. The genre emphasizes spectacle, moral responsibility, and the tension between power and humanity.
+
+## Core Concept
+
+Superhero screenplays explore what it means to have power and the responsibility that comes with it. Success depends on balancing spectacular action with character development, creating villains who challenge the hero thematically, and grounding fantastical elements in relatable human emotions. Great superhero films use powers as metaphors for real human struggles and ask what it means to be heroic.
+
+## Core Rules
+
+### Rule 1: Power Must Come with Cost
+
+**Description**: Superpowers should have limitations, costs, or consequences. Perfect power is dramatically inert.
+
+**Why It Matters**: Limitations create tension and stakes. Unlimited power makes conflict meaningless.
+
+**Examples**:
+- ✅ **Good**: Powers drain energy, have moral costs, or create personal sacrifices
+- ❌ **Bad**: Unlimited powers that solve every problem easily
+
+**Film Reference**: Spider-Man 2 (2004) - Powers interfere with Peter's personal life and relationships.
+
+---
+
+### Rule 2: The Hero's Journey is Personal
+
+**Description**: Becoming a hero should involve internal transformation, not just gaining powers.
+
+**Why It Matters**: Powers are external. Character growth is what makes the journey meaningful.
+
+**Examples**:
+- ✅ **Good**: Hero learns responsibility, overcomes fear, or accepts their role
+- ❌ **Bad**: Character unchanged except for having powers
+
+**Film Reference**: Iron Man (2008) - Tony Stark's transformation from selfish to selfless.
+
+---
+
+### Rule 3: Villain Mirrors Hero Thematically
+
+**Description**: Antagonist should represent dark reflection or ideological opposite of hero, not just obstacle.
+
+**Why It Matters**: Thematic opposition creates deeper conflict than just physical threat.
+
+**Examples**:
+- ✅ **Good**: Villain embodies what hero could become or represents opposing philosophy
+- ❌ **Bad**: Generic bad guy with no thematic connection to hero
+
+**Film Reference**: Black Panther (2018) - Killmonger represents valid critique of T'Challa's isolationism.
+
+---
+
+### Rule 4: Ground the Fantastic in Human Emotion
+
+**Description**: No matter how spectacular the powers, story must center on relatable human feelings and relationships.
+
+**Why It Matters**: Audiences connect with humanity, not spectacle. Emotion makes powers meaningful.
+
+**Examples**:
+- ✅ **Good**: Powers complicate relationships, create moral dilemmas, or reflect internal struggles
+- ❌ **Bad**: Cool powers with no emotional or relational impact
+
+**Film Reference**: The Incredibles (2004) - Superhero family dealing with very human family dynamics.
+
+---
+
+### Rule 5: Earn the Spectacle
+
+**Description**: Big action set pieces should be emotional climaxes, not just visual effects showcases.
+
+**Why It Matters**: Spectacle without stakes is empty. The biggest battles should be the biggest emotional moments.
+
+**Examples**:
+- ✅ **Good**: Final battle tests hero's growth and resolves thematic conflict
+- ❌ **Bad**: Generic CGI battle with no emotional investment
+
+**Film Reference**: The Dark Knight (2008) - Ferry scene tests Batman's belief in humanity's goodness.
+
+---
+
+## Guidelines
+
+### Structure
+
+- **Act I**: Origin (or status quo), call to heroism, initial failure or reluctance
+- **Act II**: Training/growth, escalating threats, personal costs of heroism, dark night of the soul
+- **Act III**: Final confrontation testing growth, sacrifice, resolution of personal and external conflict
+
+### Pacing
+
+- Balance action with character development
+- Build to bigger set pieces
+- Use quiet moments for emotional beats
+- Montages for training or power discovery
+- Climax combines spectacle with emotional resolution
+
+### Character Archetypes
+
+- **Protagonist**: Ordinary person gaining powers or powered person learning humanity
+- **Antagonist**: Villain with opposing ideology or dark mirror of hero
+- **Supporting**: Mentor, love interest, sidekick, ordinary people hero protects
+
+### Tone and Atmosphere
+
+- Can range from dark (The Dark Knight) to light (Shazam!)
+- Sense of wonder at powers
+- Moral seriousness about responsibility
+- Hope and inspiration
+- Often epic in scope
+
+### Visual Style
+
+- Spectacular action and effects
+- Iconic imagery and costumes
+- Dynamic camera work for action
+- Color palette reflecting tone
+- Visual contrast between powered and ordinary
+
+### Dialogue
+
+- Balance quips with sincerity
+- Thematic discussions of power and responsibility
+- Avoid over-explaining powers
+- Character-specific voices
+- Inspirational speeches earned through journey
+
+## Common Pitfalls
+
+### Pitfall 1: Spectacle Over Story
+
+**Problem**: Prioritizing visual effects and action over character development and emotional stakes.
+
+**Solution**: Use spectacle to serve emotional story. Every action beat should have character purpose.
+
+**Example**: Logan (2017) - Intimate character study with superhero elements.
+
+---
+
+### Pitfall 2: Invincible Hero
+
+**Problem**: Hero so powerful that there's no real threat or tension.
+
+**Solution**: Create limitations, personal stakes, or moral dilemmas that powers can't solve.
+
+**Example**: Superman (1978) - Kryptonite and protecting Lois create vulnerability.
+
+---
+
+### Pitfall 3: Generic World-Ending Threat
+
+**Problem**: Every film ends with stopping apocalypse, making stakes feel repetitive and abstract.
+
+**Solution**: Personal stakes matter more than scale. Smaller, character-driven conflicts can be more engaging.
+
+**Example**: Spider-Man 2 (2004) - Saving city but real stakes are Peter's identity and relationships.
+
+---
+
+## Film Examples
+
+### Example 1: The Dark Knight (2008)
+
+**Director**: Christopher Nolan
+
+**Why It Works**: Superhero film as crime thriller. Joker tests Batman's moral code and Gotham's soul.
+
+**Key Scenes**:
+- **Ferry Scene**: Testing humanity's goodness
+- **Interrogation**: Ideological battle between Batman and Joker
+- **Harvey Dent's Fall**: Corruption of white knight
+
+**Techniques Used**:
+- Grounded, realistic approach to superhero
+- Villain as ideological opposite (chaos vs. order)
+- Moral dilemmas powers can't solve
+- Tragic ending despite victory
+
+---
+
+### Example 2: Iron Man (2008)
+
+**Director**: Jon Favreau
+
+**Why It Works**: Origin story with character transformation. Selfish billionaire becomes selfless hero.
+
+**Key Scenes**:
+- **Cave Escape**: Birth of Iron Man from trauma
+- **"I am Iron Man"**: Rejecting secret identity
+- **Afghanistan Return**: Using power for justice
+
+**Techniques Used**:
+- Character arc from selfish to heroic
+- Grounded sci-fi technology
+- Charismatic performance (RDJ)
+- Personal stakes (Stark's legacy and redemption)
+
+---
+
+### Example 3: Black Panther (2018)
+
+**Director**: Ryan Coogler
+
+**Why It Works**: Superhero film as political drama. Isolationism vs. intervention, tradition vs. change.
+
+**Key Scenes**:
+- **Ancestral Plane**: Confronting father's failures
+- **Killmonger's Challenge**: Legitimate critique of T'Challa's worldview
+- **"Bury me in the ocean with my ancestors"**: Villain's tragic nobility
+
+**Techniques Used**:
+- Villain with valid perspective
+- Political and cultural themes
+- Afrofuturism and world-building
+- Hero grows by accepting villain's critique
+
+---
+
+### Example 4: Spider-Man 2 (2004)
+
+**Director**: Sam Raimi
+
+**Why It Works**: Powers as burden. Responsibility vs. personal happiness. Relatable struggles.
+
+**Key Scenes**:
+- **"I'm Spider-Man no more"**: Giving up powers for normal life
+- **Train Fight**: Heroism revealed to public
+- **"Sometimes to do what's right, we have to give up what we want most"**: Theme stated
+
+**Techniques Used**:
+- Powers interfere with personal life
+- Hero questions calling
+- Villain (Doc Ock) as tragic figure
+- Emotional stakes matter more than spectacle
+
+---
+
+## Integration with Other Features
+
+### Compatible Themes
+
+- **Power and Responsibility**: Central superhero theme
+- **Identity**: Secret identities and dual lives
+- **Sacrifice**: Heroism requires giving up
+- **Justice vs. Vengeance**: Moral lines
+- **Outsider**: Different from normal people
+
+### Compatible Styles
+
+- **Grounded Superhero**: Realistic approach (The Dark Knight, Logan)
+- **Cosmic Superhero**: Space and gods (Thor, Guardians of the Galaxy)
+- **Street-Level**: Urban crime-fighting (Daredevil, Spider-Man)
+- **Team Superhero**: Ensemble (The Avengers, X-Men)
+
+### Hybrid Combinations
+
+- **Superhero + Thriller**: Espionage and suspense (Captain America: Winter Soldier)
+- **Superhero + Comedy**: Humor-driven (Guardians of the Galaxy, Shazam!)
+- **Superhero + Horror**: Dark and scary (Brightburn, The New Mutants)
+- **Superhero + Drama**: Character-focused (Logan, Joker)
+
+## Best Practices
+
+1. **Power Has Cost**: Limitations and consequences
+2. **Personal Journey**: Internal transformation, not just powers
+3. **Thematic Villain**: Antagonist mirrors or opposes hero's values
+4. **Human Emotion**: Ground fantastic in relatable feelings
+5. **Earn Spectacle**: Big action serves emotional story
+6. **Moral Responsibility**: What does it mean to be heroic?
+7. **Personal Stakes**: Relationships and identity matter
+8. **Origin Matters**: How hero becomes hero shapes who they are
+9. **Sacrifice**: Heroism requires giving up something
+10. **Hope and Inspiration**: Superhero stories should uplift
+
+## Resources
+
+- "The Hero with a Thousand Faces" by Joseph Campbell - Hero's journey
+- "Superman on the Couch" by Danny Fingeroth - Psychology of superheroes
+- "The Dark Knight" screenplay by Jonathan Nolan and Christopher Nolan
+- "Black Panther" screenplay by Ryan Coogler and Joe Robert Cole
+- Marvel and DC comics - Source material and storytelling techniques
+
+---
+
+**Depth Coverage**: 85%
+**Last Updated**: 2026-01-31
+**Version**: 1.0.0
+

package/augment-extensions/writing-standards/screenplay/genres/rules/thriller.md

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+# Thriller Genre
+
+**Category**: Screenplay Genre  
+**Type**: Primary  
+**Complexity**: High
+
+## Overview
+
+Thrillers create sustained tension, suspense, and excitement through danger, mystery, and high stakes. The genre keeps audiences on edge through uncertainty, escalating threats, and the protagonist's race against time or adversaries.
+
+## Core Concept
+
+Thriller screenplays are built on suspense—the audience knows danger is coming but not when or how. The genre thrives on information asymmetry, ticking clocks, and protagonists who must outsmart or outmaneuver threats. Success depends on maintaining tension, controlling pacing, and delivering satisfying revelations while keeping the audience guessing.
+
+## Core Rules
+
+### Rule 1: Establish High Stakes Early
+
+**Description**: Make clear what the protagonist stands to lose—life, loved ones, freedom, sanity—and keep those stakes visible.
+
+**Why It Matters**: Without meaningful stakes, tension evaporates. The audience must care deeply about the outcome.
+
+**Examples**:
+- ✅ **Good**: Protagonist's family is kidnapped; every wrong move risks their lives
+- ❌ **Bad**: Vague danger with unclear consequences
+
+**Film Reference**: Taken (2008) - Daughter kidnapped, 96-hour window to find her before she's lost forever.
+
+---
+
+### Rule 2: Control Information Flow
+
+**Description**: Carefully manage what the audience knows versus what the protagonist knows to create suspense or surprise.
+
+**Why It Matters**: Suspense comes from knowing danger is coming; surprise from not knowing. Master both.
+
+**Examples**:
+- ✅ **Good**: Audience sees the bomb under the table; protagonist doesn't (suspense)
+- ❌ **Bad**: Audience and protagonist equally in the dark with no tension building
+
+**Film Reference**: No Country for Old Men (2007) - Audience often knows Anton Chigurh is coming before the characters do.
+
+---
+
+### Rule 3: Escalate Relentlessly
+
+**Description**: Each complication should be worse than the last. No relief, only mounting pressure.
+
+**Why It Matters**: Flat or declining tension kills thriller momentum. The vise must tighten continuously.
+
+**Examples**:
+- ✅ **Good**: Escape one threat, immediately face a worse one; allies become enemies
+- ❌ **Bad**: Protagonist easily overcomes obstacles with no setbacks
+
+**Film Reference**: The Fugitive (1993) - Every escape leads to tighter pursuit and new complications.
+
+---
+
+### Rule 4: Use Time Pressure
+
+**Description**: Impose deadlines, countdowns, or time limits that force action and prevent careful planning.
+
+**Why It Matters**: Time pressure creates urgency and forces characters into difficult choices.
+
+**Examples**:
+- ✅ **Good**: Bomb countdown, poison taking effect, deadline to prevent catastrophe
+- ❌ **Bad**: Protagonist has unlimited time to solve problems methodically
+
+**Film Reference**: Speed (1994) - Bus must stay above 50 mph or it explodes—constant time pressure.
+
+---
+
+### Rule 5: Subvert Expectations
+
+**Description**: Set up patterns, then break them. Mislead the audience, then reveal the truth in satisfying ways.
+
+**Why It Matters**: Predictability kills suspense. The best thrillers keep audiences guessing.
+
+**Examples**:
+- ✅ **Good**: Trusted ally is revealed as traitor; apparent villain is actually helping
+- ❌ **Bad**: Every plot point telegraphed and predictable
+
+**Film Reference**: The Sixth Sense (1999) - Twist recontextualizes everything that came before.
+
+---
+
+## Guidelines
+
+### Structure
+
+- **Act I**: Establish normalcy, introduce threat (often subtly), inciting incident that launches protagonist into danger
+- **Act II**: Escalating complications, false victories followed by worse setbacks, revelations that change understanding, protagonist isolated or outmatched
+- **Act III**: Final confrontation, truth revealed, resolution of threat (or tragic failure)
+
+### Pacing
+
+- Start with hook or cold open to establish tone
+- Build tension through escalation, not constant action
+- Use brief respites to reset tension before next spike
+- Accelerate pacing as story progresses
+- Climax should be fastest, most intense sequence
+
+### Character Archetypes
+
+- **Protagonist**: Ordinary person in extraordinary danger, or skilled professional facing ultimate challenge
+- **Antagonist**: Intelligent, capable threat—often one step ahead
+- **Supporting**: Unreliable ally, authority figure who won't help, innocent in danger, mentor who may betray
+
+### Tone and Atmosphere
+
+- Paranoia and distrust
+- Constant unease and tension
+- Claustrophobic or exposed (nowhere to hide)
+- Moral ambiguity—gray areas, not black and white
+- Urgency and desperation
+
+### Visual Style
+
+- Tight framing to create claustrophobia
+- Shadows and limited visibility
+- Handheld camera for immediacy and instability
+- Long takes to build tension
+- Quick cuts for action and disorientation
+- Use of reflections, windows, and surveillance to suggest being watched
+
+### Dialogue
+
+- Subtext—characters rarely say what they mean
+- Interrogation and verbal sparring
+- Minimal exposition; information revealed through conflict
+- Threats implied rather than stated
+- Silence used for tension
+
+## Common Pitfalls
+
+### Pitfall 1: Contrived Coincidences
+
+**Problem**: Protagonist saved by lucky timing or convenient plot devices rather than skill or choice.
+
+**Solution**: Protagonist should succeed or fail based on their decisions and abilities, not luck.
+
+**Example**: The Bourne Identity—Jason Bourne survives through skill, resourcefulness, and quick thinking, not coincidence.
+
+---
+
+### Pitfall 2: Stupid Protagonist Syndrome
+
+**Problem**: Protagonist makes obviously bad decisions to create tension (going alone, trusting obvious villain).
+
+**Solution**: Give characters believable reasons for risky choices based on their knowledge and situation.
+
+**Example**: Sicario—Characters make dangerous choices based on incomplete information and conflicting loyalties, not stupidity.
+
+---
+
+### Pitfall 3: Overexplaining the Twist
+
+**Problem**: Revealing the twist too early or explaining it in excessive detail, deflating impact.
+
+**Solution**: Trust the audience to connect dots. Reveal twists at the last possible moment with minimal explanation.
+
+**Example**: The Usual Suspects—Twist revealed in final moments through visual montage, not lengthy exposition.
+
+---
+
+## Film Examples
+
+### Example 1: Se7en (1995)
+
+**Director**: David Fincher
+
+**Why It Works**: Masterful control of tone, pacing, and dread. Each revelation is worse than the last, building to devastating climax.
+
+**Key Scenes**:
+- **Gluttony Discovery**: Sets tone of horror and meticulous planning
+- **Sloth Victim**: Subverts expectations—victim is still alive in worst way
+- **"What's in the Box?"**: Ultimate escalation—villain wins by making hero break
+
+**Techniques Used**:
+- Oppressive atmosphere and color palette
+- Villain always one step ahead
+- Moral complexity—no clean resolution
+- Escalation of horror and stakes
+
+---
+
+### Example 2: Prisoners (2013)
+
+**Director**: Denis Villeneuve
+
+**Why It Works**: Moral ambiguity and dual protagonists create complex tension. Questions how far we'd go to protect loved ones.
+
+**Key Scenes**:
+- **Kidnapping**: Establishes stakes immediately
+- **Torture Dilemma**: Father tortures suspect while detective investigates legally
+- **Maze Revelation**: Truth more complex than anyone suspected
+
+**Techniques Used**:
+- Parallel investigations creating different types of tension
+- Moral gray areas—no clear right answer
+- Atmospheric cinematography reinforcing bleakness
+- Ambiguous ending
+
+---
+
+### Example 3: Zodiac (2007)
+
+**Director**: David Fincher
+
+**Why It Works**: Slow-burn thriller about obsession. Tension from unsolved mystery and toll on investigators.
+
+**Key Scenes**:
+- **Lake Berryessa Attack**: Brutal, methodical violence
+- **Basement Scene**: Suspense from potential danger, not actual violence
+- **Obsession Montage**: Showing psychological cost of investigation
+
+**Techniques Used**:
+- Procedural detail creating authenticity
+- Tension from what doesn't happen
+- Character deterioration as stakes
+- No neat resolution—mirrors real case
+
+---
+
+### Example 4: Parasite (2019)
+
+**Director**: Bong Joon-ho
+
+**Why It Works**: Genre-bending thriller that shifts from comedy to horror. Social commentary through suspense.
+
+**Key Scenes**:
+- **Infiltration**: Tension from deception and risk of discovery
+- **Basement Revelation**: Complete tonal shift and new threat
+- **Birthday Party Climax**: All tensions explode simultaneously
+
+**Techniques Used**:
+- Tonal shifts that disorient and surprise
+- Class conflict as source of suspense
+- Spatial storytelling (house layout crucial)
+- Multiple reversals and escalations
+
+---
+
+## Integration with Other Features
+
+### Compatible Themes
+
+- **Paranoia and Distrust**: Core to thriller psychology
+- **Moral Ambiguity**: Gray areas create complex tension
+- **Obsession**: Driving force for protagonist or antagonist
+- **Betrayal**: Subverts trust and safety
+- **Justice vs. Revenge**: Ethical dilemmas under pressure
+
+### Compatible Styles
+
+- **Psychological Thriller**: Internal tension, unreliable narrators (Black Swan, Shutter Island)
+- **Political Thriller**: Conspiracy, institutional corruption (All the President's Men, The Manchurian Candidate)
+- **Crime Thriller**: Criminal underworld, heists, investigations (Heat, The Town)
+- **Techno-Thriller**: Technology as threat or tool (Enemy of the State, The Net)
+
+### Hybrid Combinations
+
+- **Thriller + Horror**: Suspense with supernatural or slasher elements (The Silence of the Lambs, Don't Breathe)
+- **Thriller + Sci-Fi**: Future tech or speculative scenarios (Minority Report, Ex Machina)
+- **Thriller + Action**: High-octane set pieces with suspense (The Bourne series, Mission: Impossible)
+- **Thriller + Mystery**: Whodunit with sustained tension (Gone Girl, Knives Out)
+
+## Best Practices
+
+1. **Withhold Information Strategically**: Control what audience knows and when
+2. **Make Antagonist Formidable**: Threat must feel real and capable
+3. **Use Misdirection**: Lead audience one way, then pivot
+4. **Build Through Setbacks**: Every victory should be temporary or costly
+5. **Create Moral Dilemmas**: Force protagonist into impossible choices
+6. **Maintain Plausibility**: Even in heightened scenarios, keep it believable
+7. **Pace Revelations**: Dole out information to maintain momentum
+8. **Use Environment**: Settings should enhance tension (confined spaces, exposed locations)
+9. **Silence is Powerful**: Don't underestimate quiet moments before strikes
+10. **Earn the Twist**: Foreshadow subtly so twist feels inevitable in hindsight
+
+## Resources
+
+- "Writing the Thriller Film" by Neill D. Hicks
+- "The Anatomy of Story" by John Truby - Chapter on thriller structure
+- "Hitchcock/Truffaut" - Master class in suspense from the master himself
+- "The Silence of the Lambs" screenplay by Ted Tally - Study in psychological thriller
+- "Chinatown" screenplay by Robert Towne - Noir thriller masterpiece
+
+---
+
+**Depth Coverage**: 85%
+**Last Updated**: 2026-01-31
+**Version**: 1.0.0
+