@mytechtoday/augment-extensions 0.4.0 → 0.7.0

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

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+# Documentary Genre
+
+**Category**: Screenplay Genre  
+**Type**: Primary  
+**Complexity**: High
+
+## Overview
+
+Documentaries present factual content about real people, events, or issues. The genre emphasizes truth-telling, research, and compelling narrative structure applied to non-fiction material.
+
+## Core Concept
+
+Documentary screenplays (or treatments/outlines) structure real-world material into compelling narratives. Success depends on thorough research, finding the story within facts, ethical representation of subjects, and using cinematic techniques to engage audiences with reality. Great documentaries reveal truth while entertaining and enlightening.
+
+## Core Rules
+
+### Rule 1: Find the Narrative
+
+**Description**: Real life doesn't naturally follow story structure. You must find or shape the narrative arc within factual material.
+
+**Why It Matters**: Even non-fiction needs dramatic structure to engage audiences.
+
+**Examples**:
+- ✅ **Good**: Identify protagonist, conflict, stakes, and resolution within real events
+- ❌ **Bad**: Chronological recitation of facts with no dramatic shape
+
+**Film Reference**: Man on Wire (2008) - Philippe Petit's tightrope walk structured as heist film.
+
+---
+
+### Rule 2: Maintain Ethical Integrity
+
+**Description**: Represent subjects and facts honestly. Don't manipulate reality to create false narratives.
+
+**Why It Matters**: Documentary's power comes from truth. Deception destroys credibility and harms subjects.
+
+**Examples**:
+- ✅ **Good**: Present multiple perspectives, acknowledge complexity, transparent about methods
+- ❌ **Bad**: Deceptive editing, misrepresenting subjects, fabricating events
+
+**Film Reference**: The Act of Killing (2012) - Controversial but transparent about its methods and perspective.
+
+---
+
+### Rule 3: Show, Don't Just Tell
+
+**Description**: Use visual evidence, observational footage, and cinematic techniques, not just talking heads.
+
+**Why It Matters**: Documentary is cinema, not radio. Visual storytelling engages more than interviews alone.
+
+**Examples**:
+- ✅ **Good**: Vérité footage, archival material, visual metaphors, observational sequences
+- ❌ **Bad**: Endless talking heads explaining everything
+
+**Film Reference**: Free Solo (2018) - Stunning cinematography of climbing makes the stakes visceral.
+
+---
+
+### Rule 4: Establish Stakes and Tension
+
+**Description**: Make clear what's at risk and create suspense, even when outcome may be known.
+
+**Why It Matters**: Documentaries need dramatic tension to maintain engagement.
+
+**Examples**:
+- ✅ **Good**: Clear stakes (life, justice, truth), obstacles, ticking clocks
+- ❌ **Bad**: Interesting subject but no dramatic tension or stakes
+
+**Film Reference**: Grizzly Man (2005) - Tension from knowing tragic outcome while watching journey.
+
+---
+
+### Rule 5: Have a Point of View
+
+**Description**: Documentary should have perspective or thesis, not just present information neutrally.
+
+**Why It Matters**: Perspective creates argument and engagement. Pure objectivity is impossible and often boring.
+
+**Examples**:
+- ✅ **Good**: Clear perspective while acknowledging complexity
+- ❌ **Bad**: Wishy-washy "both sides" that says nothing
+
+**Film Reference**: 13th (2016) - Clear thesis about mass incarceration and racial injustice.
+
+---
+
+## Guidelines
+
+### Structure
+
+- **Act I**: Introduce subject/issue, establish stakes, present central question or conflict
+- **Act II**: Investigation/exploration, complications, revelations, deepening understanding
+- **Act III**: Climax or resolution (or acknowledgment of ongoing situation), reflection on meaning
+
+### Pacing
+
+- Vary between talking heads, vérité, archival, and visual sequences
+- Build tension toward revelations or climactic moments
+- Use music and editing for emotional pacing
+- Allow quiet moments for reflection
+- Structure around dramatic beats, not just chronology
+
+### Character Archetypes
+
+- **Protagonist**: Central subject or filmmaker as investigator
+- **Antagonist**: Opposition, system, or problem being examined
+- **Supporting**: Experts, witnesses, affected parties
+
+### Tone and Atmosphere
+
+- Varies by subject (investigative, celebratory, elegiac, urgent)
+- Often serious but can include humor
+- Intimate or epic depending on scope
+- Emotional engagement with real stakes
+- Sense of discovery or revelation
+
+### Visual Style
+
+- Vérité (observational, handheld)
+- Formal interviews (controlled lighting, composition)
+- Archival footage and photos
+- Reenactments (if used, clearly marked)
+- Visual metaphors and b-roll
+
+### Dialogue
+
+- Interview questions (often removed in final cut)
+- Natural speech from subjects
+- Voiceover narration (filmmaker or subject)
+- Minimal scripting - capture authentic voices
+- Let subjects tell their own stories
+
+## Common Pitfalls
+
+### Pitfall 1: Talking Heads Syndrome
+
+**Problem**: Relying entirely on interviews with no visual storytelling.
+
+**Solution**: Use vérité footage, archival material, visual sequences to show the story.
+
+**Example**: The Thin Blue Line (1988) - Stylized reenactments and visual sequences beyond interviews.
+
+---
+
+### Pitfall 2: Lack of Access or Footage
+
+**Problem**: Important events or subjects unavailable, forcing reliance on description.
+
+**Solution**: Use creative solutions - reenactments, animation, archival, or acknowledge limitations.
+
+**Example**: Waltz with Bashir (2008) - Animated documentary when footage doesn't exist.
+
+---
+
+### Pitfall 3: Losing Objectivity
+
+**Problem**: Becoming so invested in thesis that you ignore contradictory evidence or manipulate facts.
+
+**Solution**: Present strongest version of opposing views, acknowledge complexity, be transparent about perspective.
+
+**Example**: The Fog of War (2003) - Lets Robert McNamara speak extensively, revealing complexity.
+
+---
+
+## Film Examples
+
+### Example 1: Hoop Dreams (1994)
+
+**Director**: Steve James
+
+**Why It Works**: Five-year vérité following two basketball players. Epic scope, intimate character study.
+
+**Key Scenes**:
+- **Recruitment**: Dreams and exploitation
+- **Injuries and Setbacks**: Reality crushing dreams
+- **Graduation**: Bittersweet resolution
+
+**Techniques Used**:
+- Long-term observational filming
+- Character-driven narrative structure
+- Social commentary through personal stories
+- No narration - subjects tell their own stories
+
+---
+
+### Example 2: Man on Wire (2008)
+
+**Director**: James Marsh
+
+**Why It Works**: Philippe Petit's World Trade Center tightrope walk structured as heist thriller.
+
+**Key Scenes**:
+- **Planning**: Heist film structure
+- **The Walk**: Archival photos create suspense
+- **Aftermath**: Reflection on meaning
+
+**Techniques Used**:
+- Heist film structure for documentary
+- Reenactments integrated with interviews
+- Archival photos as climax
+- Suspense despite known outcome
+
+---
+
+### Example 3: 13th (2016)
+
+**Director**: Ava DuVernay
+
+**Why It Works**: Powerful thesis about mass incarceration and racial injustice. Clear argument with extensive evidence.
+
+**Key Scenes**:
+- **13th Amendment Loophole**: Central thesis established
+- **Historical Montage**: Visual evidence of systemic racism
+- **Modern Prison System**: Connecting past to present
+
+**Techniques Used**:
+- Archival footage as evidence
+- Expert interviews building argument
+- Clear thesis and structure
+- Historical analysis with contemporary relevance
+
+---
+
+### Example 4: Free Solo (2018)
+
+**Director**: Elizabeth Chai Vasarhelyi, Jimmy Chin
+
+**Why It Works**: Stunning cinematography of Alex Honnold's El Capitan climb. Life-or-death stakes.
+
+**Key Scenes**:
+- **Practice Falls**: Establishing danger
+- **Relationship Tension**: Personal stakes
+- **The Climb**: Breathtaking, terrifying climax
+
+**Techniques Used**:
+- Incredible cinematography of climbing
+- Character study alongside athletic achievement
+- Building suspense toward known event
+- Ethical questions about filming dangerous activity
+
+---
+
+## Integration with Other Features
+
+### Compatible Themes
+
+- **Truth and Justice**: Investigative documentaries
+- **Human Achievement**: Sports, art, exploration
+- **Social Issues**: Activism and change
+- **Nature**: Environmental and wildlife
+- **History**: Past events and their meaning
+
+### Compatible Styles
+
+- **Vérité**: Observational, fly-on-wall (Hoop Dreams, Minding the Gap)
+- **Investigative**: Uncovering truth (The Thin Blue Line, Citizenfour)
+- **Essay Film**: Personal reflection (Sherman's March, Stories We Tell)
+- **Archive-Based**: Historical events (The Fog of War, Amy)
+
+### Hybrid Combinations
+
+- **Documentary + Thriller**: Investigative suspense (Citizenfour, Icarus)
+- **Documentary + Biography**: Life stories (Won't You Be My Neighbor?, RBG)
+- **Documentary + Nature**: Wildlife and environment (Planet Earth, My Octopus Teacher)
+- **Documentary + Music**: Musicians and performances (20 Feet from Stardom, Summer of Soul)
+
+## Best Practices
+
+1. **Find the Story**: Narrative structure within facts
+2. **Ethical Representation**: Honesty and transparency
+3. **Visual Storytelling**: Show don't just tell
+4. **Establish Stakes**: What's at risk?
+5. **Have a Perspective**: Point of view, not false neutrality
+6. **Vary Visual Approach**: Mix interviews, vérité, archival
+7. **Build Tension**: Dramatic structure even in non-fiction
+8. **Respect Subjects**: Represent people fairly and complexly
+9. **Research Thoroughly**: Know your subject deeply
+10. **Acknowledge Limitations**: Be transparent about what you don't know
+
+## Resources
+
+- "Introduction to Documentary" by Bill Nichols
+- "Directing the Documentary" by Michael Rabiger
+- "The Documentary Handbook" by Peter Lee-Wright
+- "Man with a Movie Camera" (1929) - Pioneering documentary techniques
+- "The Act of Killing" - Controversial, innovative documentary approach
+
+---
+
+**Depth Coverage**: 85%
+**Last Updated**: 2026-01-31
+**Version**: 1.0.0
+

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

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+# Drama Genre
+
+**Category**: Screenplay Genre  
+**Type**: Primary  
+**Complexity**: High
+
+## Overview
+
+Drama films focus on realistic characters facing emotional conflicts, moral dilemmas, and personal struggles. The genre emphasizes character development, authentic relationships, and meaningful themes over spectacle or plot mechanics.
+
+## Core Concept
+
+Drama screenplays are built around characters confronting difficult truths, making hard choices, and experiencing genuine emotional transformation. Success depends on creating complex, believable characters, authentic dialogue, and situations that resonate with universal human experiences.
+
+## Core Rules
+
+### Rule 1: Character is Plot
+
+**Description**: In drama, what happens is less important than how it affects the characters and what it reveals about them.
+
+**Why It Matters**: Drama is character-driven. External events serve internal journeys, not vice versa.
+
+**Examples**:
+- ✅ **Good**: A family dinner reveals long-buried resentments and forces confrontation
+- ❌ **Bad**: Action-packed events with no character impact or growth
+
+**Film Reference**: Manchester by the Sea (2016) - Every plot point reveals character and deepens emotional complexity.
+
+---
+
+### Rule 2: Establish Authentic Emotional Stakes
+
+**Description**: The audience must understand and care deeply about what the character stands to lose or gain emotionally.
+
+**Why It Matters**: Without genuine emotional investment, drama becomes melodrama or feels hollow.
+
+**Examples**:
+- ✅ **Good**: A parent fighting to maintain relationship with their child
+- ❌ **Bad**: Generic conflict with no emotional specificity
+
+**Film Reference**: Kramer vs. Kramer (1979) - Custody battle grounded in authentic parental love and growth.
+
+---
+
+### Rule 3: Show Internal Conflict Externally
+
+**Description**: Make internal struggles visible through behavior, choices, and dialogue rather than exposition.
+
+**Why It Matters**: Film is a visual medium. Internal conflict must manifest in observable ways.
+
+**Examples**:
+- ✅ **Good**: Character's addiction shown through missed appointments, broken promises, physical deterioration
+- ❌ **Bad**: Character tells therapist about their internal struggles in exposition-heavy scenes
+
+**Film Reference**: Requiem for a Dream (2000) - Addiction's internal grip shown through escalating external consequences.
+
+---
+
+### Rule 4: Create Moral Complexity
+
+**Description**: Avoid simple good vs. evil. Give characters understandable motivations even when they make wrong choices.
+
+**Why It Matters**: Moral complexity creates richer drama and more realistic characters. Real people are contradictory.
+
+**Examples**:
+- ✅ **Good**: Antagonist has valid grievances and relatable motivations
+- ❌ **Bad**: Villain is evil for evil's sake with no depth
+
+**Film Reference**: There Will Be Blood (2007) - Daniel Plainview is compelling despite being morally compromised.
+
+---
+
+### Rule 5: Build Through Subtext
+
+**Description**: Characters should rarely say exactly what they mean. Meaning lives beneath the surface of dialogue.
+
+**Why It Matters**: Subtext creates depth, realism, and engagement. People in real life avoid direct confrontation.
+
+**Examples**:
+- ✅ **Good**: Couple argues about dishes when really discussing their failing marriage
+- ❌ **Bad**: Characters explicitly state their feelings and motivations constantly
+
+**Film Reference**: Revolutionary Road (2008) - Suburban pleasantries mask deep dissatisfaction and rage.
+
+---
+
+### Rule 6: Earn Emotional Moments
+
+**Description**: Big emotional beats must be set up through careful character development and escalation.
+
+**Why It Matters**: Unearned emotion feels manipulative. Audiences resent being told how to feel.
+
+**Examples**:
+- ✅ **Good**: Breakdown comes after accumulation of specific, relatable pressures
+- ❌ **Bad**: Character cries in scene 3 before we know or care about them
+
+**Film Reference**: Moonlight (2016) - Every emotional moment earned through careful character building.
+
+---
+
+### Rule 7: Use Specificity Over Generality
+
+**Description**: Ground drama in specific details of time, place, culture, and character rather than generic situations.
+
+**Why It Matters**: Specificity creates authenticity and universality. Generic feels false.
+
+**Examples**:
+- ✅ **Good**: Working-class Boston family with specific cultural touchstones and speech patterns
+- ❌ **Bad**: Generic "family" with no cultural or regional identity
+
+**Film Reference**: Fences (2016) - Specific African American experience in 1950s Pittsburgh creates universal themes.
+
+---
+
+### Rule 8: Escalate Emotional Pressure
+
+**Description**: Each scene should increase the emotional stakes or pressure on the protagonist.
+
+**Why It Matters**: Drama needs momentum. Flat emotional energy loses audience engagement.
+
+**Examples**:
+- ✅ **Good**: Small lie → bigger lie → confrontation → revelation → consequences
+- ❌ **Bad**: Same level of conflict throughout with no escalation
+
+**Film Reference**: A Marriage Story (2019) - Divorce proceedings escalate from civil to devastating.
+
+---
+
+### Rule 9: Create Moments of Grace
+
+**Description**: Balance heavy drama with moments of beauty, humor, or human connection.
+
+**Why It Matters**: Relentless darkness becomes numbing. Contrast makes drama more powerful.
+
+**Examples**:
+- ✅ **Good**: Grieving family shares a genuine laugh remembering the deceased
+- ❌ **Bad**: Two hours of unrelenting misery with no light
+
+**Film Reference**: The Florida Project (2017) - Childhood wonder and play amid poverty and dysfunction.
+
+---
+
+### Rule 10: Resolve Emotionally, Not Just Plotwise
+
+**Description**: The ending must provide emotional resolution or meaningful change, even if plot threads remain open.
+
+**Why It Matters**: Drama is about emotional journeys. Plot resolution without emotional payoff feels empty.
+
+**Examples**:
+- ✅ **Good**: Character doesn't get what they wanted but achieves understanding or acceptance
+- ❌ **Bad**: All plot points tied up but character unchanged and unaffected
+
+**Film Reference**: Lady Bird (2017) - Plot ends with college, but emotional resolution is mother-daughter understanding.
+
+---
+
+## Guidelines
+
+### Structure
+
+- **Act I**: Establish character's world, relationships, and internal conflict; inciting incident disrupts status quo (pages 1-25)
+- **Act II**: Character confronts conflict, makes choices that complicate situation, relationships tested, crisis point (pages 25-85)
+- **Act III**: Final confrontation with self or others, emotional climax, resolution or acceptance (pages 85-110)
+
+### Pacing
+
+- Allow scenes to breathe - drama needs time for emotional beats
+- Build tension through character interaction, not just plot events
+- Use quiet moments strategically
+- Escalate emotional stakes gradually
+- Climax should be emotional peak, not necessarily action peak
+
+### Character Archetypes
+
+- **Protagonist**: Flawed, complex, relatable, facing internal and external conflict
+- **Antagonist**: Often another complex character with opposing needs (not evil villain)
+- **Supporting**: Mirror protagonist's journey, offer contrast, or represent different choices
+- **Confidant**: Character protagonist can be honest with (therapist, friend, mentor)
+
+### Tone and Atmosphere
+
+- Realistic and grounded
+- Emotionally authentic
+- Serious but not necessarily humorless
+- Intimate and character-focused
+- Subgenre-specific (family drama vs. courtroom drama vs. addiction drama)
+
+### Visual Style
+
+- Naturalistic lighting and cinematography
+- Close-ups for emotional moments
+- Environment reflects character's internal state
+- Minimal stylization (unless serving theme)
+- Focus on faces and reactions
+
+### Dialogue
+
+- Subtext-heavy
+- Character-specific voices
+- Realistic speech patterns (interruptions, pauses, fragments)
+- Avoid exposition dumps
+- What's NOT said is often more important than what is
+
+## Common Pitfalls
+
+### Pitfall 1: Melodrama
+
+**Problem**: Over-the-top emotions, contrived situations, or manipulative music cues instead of earned drama.
+
+**Solution**: Ground emotions in specific, believable circumstances. Trust the audience to feel without forcing it.
+
+**Example**: Character's quiet devastation is more powerful than theatrical breakdown.
+
+---
+
+### Pitfall 2: Talking Heads
+
+**Problem**: Scenes of people sitting and talking with no visual interest or subtext.
+
+**Solution**: Give characters activities, use environment, create visual metaphors, employ subtext.
+
+**Example**: Difficult conversation happens while packing boxes, cooking dinner, or walking - activity adds layers.
+
+---
+
+### Pitfall 3: Passive Protagonist
+
+**Problem**: Things happen TO the character rather than the character making active choices.
+
+**Solution**: Give protagonist agency. Even in difficult circumstances, they must make choices that drive the story.
+
+**Example**: Character chooses to confront their past rather than being forced into it by circumstances.
+
+---
+
+### Pitfall 4: Unearned Resolution
+
+**Problem**: Character suddenly changes or problem resolves without sufficient development or consequence.
+
+**Solution**: Transformation must be gradual and hard-won. Show the work of change.
+
+**Example**: Addict's recovery shown through specific struggles and setbacks, not sudden epiphany.
+
+---
+
+### Pitfall 5: Lack of Specificity
+
+**Problem**: Generic characters in generic situations saying generic things.
+
+**Solution**: Research, observe, and create specific details of culture, class, region, profession, era.
+
+**Example**: Don't write "a family" - write "a second-generation Korean-American family running a laundromat in 1980s Los Angeles."
+
+---
+
+## Film Examples
+
+### Example 1: Manchester by the Sea (2016)
+
+**Director**: Kenneth Lonergan
+
+**Why It Works**: Devastating emotional honesty, complex protagonist, authentic grief, earned moments.
+
+**Key Scenes**:
+- **Flashback Revelation**: Reveals Lee's trauma through carefully structured flashbacks
+- **Hospital Confrontation**: Lee's inability to forgive himself shown through rejection of ex-wife's forgiveness
+- **Final Scene**: Emotional resolution without false hope
+
+**Techniques Used**:
+- Non-linear structure reveals character gradually
+- Subtext in every scene
+- Humor balances grief
+- Specific cultural and regional details
+- Quiet devastation over melodrama
+
+---
+
+### Example 2: Moonlight (2016)
+
+**Director**: Barry Jenkins
+
+**Why It Works**: Three-act structure showing character at different life stages, visual poetry, restrained emotion.
+
+**Key Scenes**:
+- **Swimming Lesson**: Tenderness and mentorship
+- **Diner Confrontation**: Chiron's transformation and suppressed emotion
+- **Final Reunion**: Vulnerability and connection
+
+**Techniques Used**:
+- Triptych structure (three life stages)
+- Visual storytelling over dialogue
+- Specific cultural context
+- Intimacy and restraint
+- Color and music as emotional language
+
+---
+
+### Example 3: A Marriage Story (2019)
+
+**Director**: Noah Baumbach
+
+**Why It Works**: Authentic portrayal of divorce, complex characters both right and wrong, escalating conflict.
+
+**Key Scenes**:
+- **Opening Montages**: What they love about each other (never spoken aloud)
+- **Argument Scene**: Escalation from civil to devastating
+- **Shoe-Tying**: Small gesture of lingering care
+
+**Techniques Used**:
+- Dual perspective (both characters sympathetic)
+- Escalating conflict
+- Specific details of marriage and divorce
+- Humor amid pain
+- Small moments carry weight
+
+---
+
+### Example 4: The Florida Project (2017)
+
+**Director**: Sean Baker
+
+**Why It Works**: Child's perspective on poverty, beauty in hardship, non-judgmental observation.
+
+**Key Scenes**:
+- **Ice Cream**: Small kindness amid struggle
+- **Final Confrontation**: Mother's desperation
+- **Ending**: Childhood imagination as escape
+
+**Techniques Used**:
+- Child's POV creates distance and intimacy
+- Vibrant colors contrast with subject matter
+- Non-professional actors add authenticity
+- Observational style
+- Empathy without sentimentality
+
+---
+
+### Example 5: There Will Be Blood (2007)
+
+**Director**: Paul Thomas Anderson
+
+**Why It Works**: Epic scope with intimate character study, moral complexity, visual storytelling.
+
+**Key Scenes**:
+- **Opening Sequence**: Wordless character establishment
+- **Milkshake Speech**: Culmination of rivalry and greed
+- **Final Confrontation**: Moral degradation complete
+
+**Techniques Used**:
+- Visual storytelling (minimal dialogue early)
+- Character as force of nature
+- Historical specificity
+- Moral complexity
+- Operatic scope with intimate focus
+
+---
+
+## Integration with Other Features
+
+### Compatible Themes
+
+- **Redemption**: Character seeks to atone (The Wrestler)
+- **Identity**: Character discovers or accepts self (Moonlight)
+- **Love**: Relationships tested and transformed (Blue Valentine)
+- **Betrayal**: Trust broken and consequences (The Godfather Part II)
+- **Growth**: Character matures through hardship (Lady Bird)
+
+### Compatible Styles
+
+- **Linear**: Traditional dramatic structure (most dramas)
+- **Non-Linear**: Flashbacks reveal character (Manchester by the Sea)
+- **Ensemble**: Multiple character perspectives (Magnolia)
+- **Minimalist**: Stripped-down, focused drama (45 Years)
+
+### Hybrid Combinations
+
+- **Courtroom Drama**: Legal framework for moral questions (A Few Good Men)
+- **Family Drama**: Domestic conflicts (August: Osage County)
+- **Historical Drama**: Personal stories in historical context (12 Years a Slave)
+- **Addiction Drama**: Substance abuse and recovery (Requiem for a Dream)
+- **Coming-of-Age Drama**: Youth and maturation (Boyhood)
+
+## Best Practices
+
+1. **Start with character, not plot** - Know who they are before deciding what happens
+2. **Create specific, not generic** - Details of culture, class, region make drama universal
+3. **Show, don't tell** - Internal conflict must manifest externally
+4. **Earn every emotion** - Build to big moments through careful development
+5. **Use subtext constantly** - People rarely say what they mean
+6. **Make characters complex** - Everyone is the hero of their own story
+7. **Balance darkness with light** - Moments of grace make drama more powerful
+8. **Let scenes breathe** - Drama needs time for emotional beats
+9. **Escalate emotional stakes** - Each scene should increase pressure
+10. **Resolve emotionally** - Plot resolution without emotional payoff is empty
+
+## Resources
+
+- "The Art of Dramatic Writing" by Lajos Egri
+- "Writing Drama" by Yves Lavandier
+- "The Anatomy of Story" by John Truby
+- "Screenplay" by Syd Field
+- Study: Manchester by the Sea, Moonlight, A Marriage Story, The Florida Project, There Will Be Blood
+
+---
+
+**Depth Coverage**: 85%  
+**Last Updated**: 2026-01-31  
+**Version**: 1.0.0
+