@wji.ai/cli 0.3.0 → 0.5.0

package/skill/short-drama/reference/story-angst.md

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+# Story genre `angst` — 虐恋 / 追妻火葬场
+
+虐恋情深 · 追妻火葬场 · 替身文学 · 白月光 / 朱砂痣 · 带球跑 · 先虐后甜. The opposite pole of `sweet`
+(`story-sweet.md`); in a mixed drama the two share the romance, and `angst` decides the shape.
+Shared machinery: `story.md`.
+
+## 1. The promise — delayed justice in love
+
+The audience does not pay to suffer. **The pain is a deposit; his regret and pursuit are the
+withdrawal, with interest.** 追妻火葬场 is a power reversal: early on he controls the relationship,
+later she sets the price of forgiveness — "emotional fairness", his arrogance collapsing into
+regret. A 虐点 that is never repaid is a broken promise, not a stronger drama.
+
+- **Make them love her before anything breaks.** Tragedy is destroying something beautiful in
+  front of people who care. Her devotion is concrete (the hangover soup at 3 a.m., the three-year
+  diary, the career she gave up).
+- **Catharsis** swings between "too late" (tears) and "in the nick of time" (action). 火葬场 is
+  built on "almost too late": a BE lands on too late, a HE on the nick of time.
+- **The market is moving**: 女频 dominates the billion-play titles and 虐恋 with 追妻 reversals was a
+  2025 mainstay, but toward the **清醒女主** and the **克制霸总**; the 壁咚 / 强吻 era is over. 虐 survives
+  as 甜虐 with a dignified heroine, not as prolonged victimhood.
+
+## 2. The series — 虐 ≤ 30 %, 悔 ≈ 40 %, 追 ≈ 30 %
+
+| phase | where (80 episodes) | what |
+| --- | --- | --- |
+| 虐 | to ~30 % | cause and effect, not wallowing: her devotion, his false belief, the wound; **the heroine's dark night** (she loses the child, the marriage, her illusions) and **she leaves by her own choice** — the 卡一 cliff (E8–12) ends on that decision |
+| 悔 | ~25–45 % → | **the turn**: he learns or suspects the truth, or she "dies" / disappears — the 卡二 cliff (E26–30); **the hero's dark night** (too late, she is gone) |
+| 追 | → ~85 % | the 火葬场: she holds power; every pursuit beat costs him something he values (status, pride in public, money, his family, his body in the rain); a public apology before witnesses; the antagonist who engineered it all is paid off |
+| ending | last ~15 % | HE (先虐后甜 — sugar after), HE with the second lead (男二上位, when he crossed a line), BE (declared, prestige), OE (rare). Whatever the ending, she ends with more agency than she began |
+
+**Tracked in the outline** (gate `story-angst`): `outline.angst: { ending, turnEp, exitEp,
+reconcileEp, misbelief: { belief, engineeredBy, evidence, audienceRevealEp, heroRevealEp },
+beats: [{ ep, kind: 虐 / 悔 / 追 / 糖, target?, inflictor?, what?, cost?, severity?, releaseEp?,
+public? }] }` and `outline.brief.redLines` (what the male lead never does).
+
+| rule | default | why |
+| --- | --- | --- |
+| `abuse-cap` | the last 虐 beat before the turn at ≤ 35 % | 虐妻 ≤ 30 %, with room for the 卡二 gate |
+| `turn-timing` | the turn at 25–45 % | regret begins at 卡二 |
+| `regret-outweighs` | 悔 + 追 beats ≥ 1.5 × 虐 beats | "his regret must outweigh her suffering" (30/40/30 is 2.3×) |
+| `pursuit-length` | ≥ 3 追 beats, lasting ≥ 15 % before she forgives (HE) | 火葬场不够烧 is the standard complaint |
+| `release-cadence` | every 虐 beat released within 2 episodes | swipe behaviour; the 虐/甜/爽 rotation |
+| `engineered-misbelief` | the misunderstanding is engineered by a non-lead, rests on evidence, the audience knows by E3, he learns by 55 % | a misunderstanding one sentence would clear reads as 降智; the tears come from irony |
+| `exit-by-choice` | she leaves at 10–40 %, no later than the turn | her leaving is her choice, not an expulsion |
+| `costly-regret` | every 悔 / 追 beat has a cost; one public 追 beat | the grovel is before witnesses |
+| `ending-contract` | HE reconciles at ≥ 85 % with sugar after; a BE brief does not promise sweetness | 先虐后甜 is the commercial default |
+| `male-lead-red-lines` | `brief.redLines` declared; no beat where the male lead strikes, drugs, confines, coerces or forces a kneel | 虐 is emotional and situational; regulators and audiences refuse the rest |
+
+## 3. The episode
+
+- A minor climax every 2–3 minutes, a cliff at every end, the core conflict inside 30 s.
+- **Every 虐 episode still has a 爽 beat — her dignity**: a cold line, a refusal, the divorce papers
+  signed, a walk-out, a competence the audience sees. Not him being kind.
+- **Dramatic irony is the engine**: the audience sees her hidden sacrifice, he does not. The
+  flashback that re-reads his cruelty is the tearjerker loop.
+- **Hooks by phase**: 虐 — 情感 (her silent breakdown), 结果 (the test, the diagnosis), 道具 (the diary,
+  the ultrasound); 悔 — 反转 (he finds the evidence), 身份 (she was the real 白月光 / the benefactor);
+  追 — 危机 (a rival suitor, the villainess strikes again), 情感 (will she take his hand).
+
+## 4. Characters
+
+- **The male lead** wounds her severely but for a reason: 爱而不自知, a misbelief planted by a third
+  party, or treating her as a 替身. His cruelty is consistent with a false belief. Never
+  irredeemable; never physical abuse (`redLines`).
+- **The heroine** may suffer but is never 圣母 or 降智; her silence has a reason (a promise, pride,
+  shielding someone, no proof); "redeemed only after her death" is criticised — she lives to set
+  the price.
+- **The 白月光 / 替身 structure**: A loves C (the unreachable first love); B loves A and resembles C.
+  Modern variants: the 替身 was the real childhood saviour; the 白月光 manufactured the claim; the 替身
+  walks away and C's return disappoints him. The 朱砂痣 — the one who stayed — is her position.
+- **The engine** needs a named inflictor (the 白月光, a mother-in-law, a rival), an artifact of
+  evidence, and a reveal the audience sees early; the inflictor is paid off (打脸 / 复仇) before the
+  reconciliation.
+
+## 5. Beats and freshness
+
+| beat | status |
+| --- | --- |
+| 带球跑 (she leaves pregnant, returns years later with a 萌宝) | alive; needs a time skip and a transformed heroine; child rules apply (`story-family.md`) |
+| 死遁 / 假死 (he goes mad) | alive; give her a point of view in the gap years |
+| 挖肾 / 献血 / 换心 | dated and restricted — blood and surgery close-ups are banned on platforms; imply |
+| 失忆 | usable as a clock or reversal; mocked as a deus ex machina |
+| terminal illness / a clock | strong, if planted early |
+| 离婚协议 / 流产 | a powerful 卡点 — the aftermath, never gore |
+| 雨中下跪, the public grovel | popular when *he* chooses it; forcing anyone to kneel, slaps, thrown money are banned |
+| 强吻 / 壁咚 / 强制爱 | dated and targeted — avoid |
+
+Give each lead a signature line early and reprise it with the roles swapped: the echo is the
+payoff.
+
+## 6. Dialogue
+
+Lines under 10 characters. The 虐 phase runs on understatement — her pain in subtext ("好。" "我签。"
+"你开心就好。"), his cruelty in cold certainty ("别让我再说第二遍。"). The 悔 phase reverses the register:
+he halts and repeats ("我错了"; "你回来好不好"), she is crisp and final. No monologues — tears and a
+prop close-up do the work.
+
+## 7. What fails, and the red lines
+
+A 虐 phase too long; a purely evil male lead; cheap forgiveness; pain for its own sake; a 圣母
+heroine; misunderstandings that need stupidity; a new misunderstanding after the truth is out; the
+白月光 never punished; a reconciliation nobody witnesses. **Regulation**: NRTA "爽而有度" (2025), the
+correct 婚恋观 in the 2024–25 notices, the 霸总 correction (2024, 2025), the June 2026 campaign on
+畸形婚恋观 and 暴力复仇; platform rules (红果 2026) ban forced kneeling, slaps, thrown money, blood
+close-ups, knives to the throat and drugging. `story-advice` flags organ harvesting, blood and
+forced kisses in the outline.
+
+## 8. Sources (read as search summaries)
+
+知乎 追妻火葬场万能公式 (30/40/30) and templates; 中华网 and 知乎 on why women watch 追妻火葬场; 流媒体网 on
+红果 2025 (女频 share) and 卡点 (卡一 E8–12, 卡二 E26–30); 澎湃 on 2025 虐恋 and "虐恋阵亡，纯爱永续"; 澎湃 /
+DataEye 14 黄金设定; 36氪 on 反套路霸总 and 霸总 regulation; DataEye 2025; 知乎 on 替身文学, 万赞虐文, 带球跑;
+人人都是产品经理 on 6,000 titles; NRTA notices (2025-02, 2026-06) and 管理提示; tvoao; 每经 on 霸总 correction;
+澎湃 on 1,200 removals; 新京报 and 天星AI on 红果 2026 rules; ScreenWeaver; The Experiment on *Today I
+Divorce My Superstar Husband*; Dramabeans and Tatler on K-drama devices; September C. Fawkes on All
+Is Lost; Linda Williams, "Melodrama Revised"; 搜狐 on BE vs HE.

package/skill/short-drama/reference/story-comedy.md

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+# Story genre `comedy` — 喜剧
+
+沙雕 · 无厘头 · 情景喜剧 · 甜宠喜剧 · 古装喜剧. This is the **writing** of comedy; how a gag is cut
+is `grammar-comedy.md`. Shared machinery: `story.md`.
+
+## 1. The promise — the laugh as the texture of a story
+
+- **Comedy is incongruity**: an expectation set up, then broken (错位, 误会与巧合, 情境置换, 语误,
+  元素嫁接). Vorhaus calls the engine the **comic premise** — the gap between comic reality and
+  real reality.
+- **In 短剧 the laugh is packaged with 情绪价值.** The biggest comedy-adjacent hit of 2025, 《十八岁
+  太奶奶驾到》, combines 反差萌 (an old soul in a young body) with 打脸 (爽) and a tear-jerking family
+  reunion (温情). 《成何体统》 split "笑点、虐点、爽点" and put one of each in an episode.
+- **Comedy rides the story; it does not replace it.** The 太奶奶 team tried a sitcom form for a
+  later season and the audience rejected it — they wanted the story and its emotion, with the
+  comedy inside. Keep the revenge, romance or family through-line and its 爽点 cadence; comedy is
+  the texture and the delivery, not the spine. (That is why `comedy` usually sits beside another
+  story genre in `params.story`.)
+- **"Distance makes us laugh; humanity makes us stay."** Audiences now reject piled-up
+  physiological gags (堆砌式的笑点); they want structure and real-life resonance (接地气).
+
+## 2. The series
+
+- **The comic premise** (`outline.brief.comicPremise`, gated): the normal world, the comic world,
+  the gap. *An 18-year-old body with a great-grandmother inside. Office workers transmigrated into
+  a palace-intrigue novel, running the court with KPIs and spreadsheets.* Vorhaus' clash of
+  context: force incompatible things together.
+- **Running gags and callbacks** (`outline.runningGags[]`, gated): a gag repeated at least three
+  times, **varied and escalated** each time and tied to the plot — without escalation, repetition
+  is dead weight. The Chinese form is 三翻四抖: a 包袱 threaded through the piece, laid out over
+  several 翻 and shaken open at the end. Pay the running gag off late (in the climax).
+- **Escalation** (UCB): each move "in keeping with, yet more absurd than" the last — "if this is
+  true, what else is true?" and "why is it true?".
+- **The 爽点 cadence still applies** (每集一个小爽点，三集一个大爽点). The best 爽点 double as
+  punchlines: the 打脸 played as a reversal gag.
+- **Sitcom tools**: A/B stories, a cold open, a tag; the trouble resolved and harmony restored at
+  the end (大事化小，小事化了, the 温馨收 close).
+
+## 3. The episode
+
+- **Density.** There is no 短剧-specific benchmark. Sitcoms run from one laugh every 8–11 s (the
+  fastest) to 16–22 s; stand-up aims for 4–6 a minute. A 短剧 also carries plot and 爽, so for a
+  1–2-minute episode: **3–6 gags for 沙雕 / 无厘头, 2–3 for a romcom or a 古装 comedy carrying plot**
+  (gated at the script: `gag-density`, 3 for `slapstick` / `deadpan`, 2 otherwise, 2 for one-minute
+  episodes). Count the laughs after every draft.
+- **The hook can be a gag** within the first 10–15 s. **The biggest laugh lands in the last
+  third**, on the 爽点 or just before the cliff.
+- **The comic cliff** is an impending exposure: the dramatic irony about to break, the
+  misunderstanding about to be discovered (揭秘→发现 — once the audience knows a secret, the writer
+  owes them the moment a character finds it out). Do not let three comic-only cliffs in a row
+  replace the plot hook.
+- **In the script**, mark the beats: `gag: setup` where the joke is planted, `gag: build` for the
+  repeats of a rule of three, `gag: punchline` where it lands, and `runningGag: "G1"` on a beat that
+  calls back a running gag. The storyboard's `grammar-comedy` cuts pick these up.
+
+**Script rules** (gate `story-script`; waivable on the user's request):
+
+| rule | default | why |
+| --- | --- | --- |
+| `gag-density` | ≥ 3 punchlines an episode (`slapstick`, `deadpan`), ≥ 2 otherwise and in one-minute episodes | sitcom benchmarks, set lower for a plot-carrying 短剧 |
+| `gag-setup` | every punchline has a setup earlier in the episode, or calls back a running gag first seen in an earlier episode | 铺平垫稳 — no payoff without a plant |
+| `punchline-brevity` | a punchline line is ≤ 20 characters (≤ 12 English words) | 笑点直接干脆; the funny word last, nothing explaining it after |
+
+## 4. Comic characters
+
+- **Every lead and support has a comic flaw** (`characters[].comic.flaw`, gated), and the leads' flaws
+  differ. Vorhaus' four elements: a **comic perspective** (a worldview at odds with normal
+  reality), **flaws**, **humanity** ("for every flaw an equal and opposite humanity" —
+  `comic.humanity`), and **exaggeration**.
+- **逗 and 捧** (`comic.role`): the 逗哏 makes the laughs; the 捧哏 frames them, gives the next line
+  its footing and controls the rhythm. **Somebody plays it straight** (gated) — the voice of
+  reason, the audience surrogate. "If everyone is unusual, no one is." 一头沉 (one partner
+  dominates) or 子母哏 (both trade gags).
+- **Base reality first**: the scene establishes the normal world before the first unusual thing.
+- **Pairs built on contrast** (开心麻花: 从人物关系入手去锤炼包袱) — the butler who acts like the young
+  master and the young master who acts like the butler; the 欢喜冤家 sparring lovers; 读心 (he
+  hears her thoughts); exaggerated family love.
+- **Ensembles** as opera role types (老生 / 小生 / 花旦 / 青衣), each distinct.
+
+## 5. Building a joke
+
+1. **Setup and punchline — 铺平垫稳**: the setup natural (平) and logically tight (稳); no little
+   zingers inside the setup, they drain the punchline.
+2. **The rule of three (三拍子)**: two normal items, the third breaks the pattern.
+3. **Reversal** (反转, 人设反转).
+4. **Exaggeration** of perspective, flaw and humanity — the heart of 无厘头.
+5. **Misunderstanding and dramatic irony**: the audience knows, the character does not, so plain
+   lines carry a double meaning. Pay it off: the discovery must come.
+6. **错位**: the wrong person does the wrong thing, or walks into the wrong place.
+7. **Clash of context and anachronism**: high and low, old and modern flipped together; office
+   jargon in a palace.
+8. **The game** (UCB): find the first unusual thing, then heighten and justify it.
+9. **Callbacks**: an earlier 笑点 returns in a new context, escalated.
+10. **The wildly inappropriate response** (Vorhaus).
+11. **Wordplay (谐音梗)** — only when it starts from what you want to say; a pun worked backwards is
+    a 烂梗.
+
+**What survives AI video.** Robust: situational irony and misunderstanding (the situation carries
+it, not the performance); contrast in costume, prop or setting; exaggerated static reaction faces;
+an insert (the object, the text message) as the punchline; a voice-over inner monologue (读心 gags
+need no lip-sync); sound effects and freezes; a rule of three cut as three shots. Fragile: precise
+pratfall timing, collisions, rapid overlapping 抢话, a gag that depends on a micro-expression or a
+lip-synced funny word. **Let the punchline land on a cut or a reaction, not mid-shot acting.**
+
+## 6. Dialogue
+
+- **Brevity** — 笑点直接干脆，不能拖泥带水, and never explain after the laugh.
+- **The funny word last** — end the line on the point of highest tension; in Chinese, put the
+  包袱 word or the reversal at the end of the clause.
+- **Memes** add 代入感 but date quickly ("老套的梗跟不上潮流，太高级的梗不接地气"): at most one an
+  episode, never the only gag.
+- **Avoid 尬**: gags that make the leads irrational just to get a laugh; predictable reused 梗;
+  straining too hard (用力过猛).
+- **Dialect** for flavour, tested on outsiders.
+
+## 7. What fails
+
+Gags that break character logic; repetition without escalation; switching form mid-series and
+losing the emotional line; everyone zany with no straight man; explaining the joke or cluttering
+the setup; stacked gags with no structure; dated or niche memes; a misunderstanding planted and
+never paid off; comedy that depends on physical or lip-sync precision the video model cannot give;
+punching down at the sympathetic lead instead of at the antagonist's pretension.
+
+## 8. Sources (read as search summaries)
+
+知乎 on 结构喜剧 (三拍子, call back, 温馨收); 界面 on 开心麻花 and 短剧, on 语误, on 情景喜剧; 豆瓣 on comedy
+technique and 三翻四抖; Cracked / No Film School / Ken Levine on jokes per minute; 知乎 on
+seconds-per-laugh benchmarks; the UCB Comedy Improvisation Manual (game, base reality,
+heightening); John Vorhaus, The Comic Toolbox (comic premise, perspective, flaw, humanity, clash of
+context, rule of three); MasterClass and No Film School on sitcom structure; comedy callbacks and
+escalation (Medium, New York Improv Theater); 流媒体网 三点论 and CSDN on 短剧 爽点 cadence; 短剧编剧
+九九; 澎湃 / ETtoday on 《十八岁太奶奶驾到》; 腾讯 (范博洋 on the failed sitcom season); 网易 / 知乎 on
+《成何体统》; 界面 / 腾讯 on 《家里家外》; 澎湃 on 无厘头 and 《一年一度喜剧大赛》; zh.wikipedia on 捧哏;
+Backstage on the straight man; 知乎 on 戏剧性反讽; Luma and arXiv on comedy in AI video; Descript and
+PremiumBeat on comedy editing; Greg Dean on punchlines; 腾讯 / 澎湃 on 谐音梗; 搜狐 on why 短剧 comedy
+fails. No 短剧-specific laughs-per-minute figure was found; the density thresholds are extrapolated.

package/skill/short-drama/reference/story-cultivation.md

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+# Story genre `cultivation` — 玄幻 / 修仙 / 系统流
+
+修仙 · 玄幻 · 系统 / 金手指 · 都市异能 · 废柴逆袭 · 神医 / 鉴宝 系统. The level-up genre. Pairs with the
+`costume-idol` look (修仙) or `scifi-soft` (都市异能 / 系统), and with the `wuxia-fantasy` or
+`superhero` action style. Shared machinery: `story.md`.
+
+## 1. The promise — visible growth
+
+- **The engine is the upgrade loop**: a nobody climbs a fixed ladder, step by step. Each trope pays a
+  feeling: 废柴逆袭 ("someday I'll count"), 退婚打脸 (trampled dignity repaid), 捡漏得宝 (unearned luck),
+  越级杀敌 (breaking the rules).
+- **扮猪吃虎 is an information-gap pleasure**: the hero knows more (time loops, texts from the future,
+  the system).
+- **系统 suits 短剧**: an instant-payoff 金手指 that pairs with any hot theme (荒年 + 系统 passed a billion
+  plays). 男频 has turned toward quality: the grassroots hero growing up, the thrill of controlling
+  power.
+- **The 女频 version differs**: 满级大佬 (starts at max), 团宠, 升级流 — the biggest 女频修真 hit starts her
+  as a goddess who clears villains with a wave. So the genre has a **`startPower`**: `废柴` (climbs),
+  `隐藏大佬` or `满级` (hides) — and the rules change with it.
+- **The market**: 红果 pushed 男频 in 2025, naming 玄幻仙侠 and 都市异能; on AI 漫剧 charts 玄幻仙侠 leads with
+  废柴逆袭 + 升级打怪 + 系统面板.
+
+## 2. The series — a realm ladder and map changes
+
+- **The ladder**: 练气 → 筑基 → 金丹 → 元婴 → 化神 → 炼虚 → 合体 → 大乘 (→ 渡劫), each with 初期 / 中期 / 后期 / 大圆满.
+  Subdivide so small highs come regularly, layered with big ones — but in 短剧 **pick 5–7 realms and
+  climb 3–5 on screen**.
+- **换地图** is levelling up made visible (village → county → sect → capital → upper realm); each map's
+  enemies, resources and ranks climb in step. The loop: beat stronger enemies → gain a skill or a
+  treasure → clear the region → move on.
+- **On a 60–100 episode run**: golden (E1–10) humiliation → 觉醒 / binding → first gain → first 打脸 →
+  first breakthrough; 2–4 map arcs of 15–30 episodes, each with a rival and a boss realm, a major
+  breakthrough ending each arc; **the peak held for the last 10–15 %**. A tangible gain every 3–5
+  episodes, a major breakthrough every 12–20.
+- **Against power collapse (战力崩坏)**: fixed multipliers between realms, few top-tier fighters, seals,
+  political duties for the powerful, equivalent-exchange economies — and keep the story short.
+  Progression-fantasy craft: power should *buy harder problems*; bottlenecks, not grinding.
+
+**Tracked in the outline** (gate `story-cultivation`): `outline.powerSystem: { realms: [{ id, name,
+visual }] }` (low → high), `outline.goldenFinger: { type, name, activationEp, rules[], costs[] }` (one
+or two), `outline.startPower`, `outline.upgrades[]: { ep, char, to, cause, cost }`,
+`outline.fights[]: { ep, foe, heroRealm, foeRealm, foeRevealedEp, edge? }`.
+
+| rule | default | why |
+| --- | --- | --- |
+| `golden-finger` | activated by E2, with rules and costs; at most two | the golden opening; limits matter more than powers; a sprawl of cheats bores |
+| `upgrade-cadence` (`废柴`) | no 12-episode stretch without a breakthrough; one in the golden phase | the level-up is the promise |
+| `no-level-skip` (`废柴`) | one realm at a time; no fall back unless it is a recorded cost | ladder integrity |
+| `cause-and-cost` | every breakthrough has a cause and a cost (time, resources, injury, exposure, a debt to the system) | Sanderson: limits > powers |
+| `foe-known` | the foe's realm is known before the fight; at most one realm up, and then with an edge set up earlier | makes 越级 legible; no deus-ex-system |
+| `peak-held` (`废柴`) | the top realm reached in the last 15 % | keeps the climax |
+| `hidden-master-reveals` (`隐藏大佬` / `满级`) | a new layer of 身份揭露 at least every 10 episodes | the tension moves to the hidden identity |
+
+## 3. The episode
+
+- The micro-arc fits one episode: conflict → the system activates → crushing power.
+- **Every episode moves a ledger quantity** (a resource, a skill, an item, reputation or a realm) — not
+  a full level each time.
+- **System notifications are ready-made cliffs**: 【叮！任务发布：…失败惩罚：…】 — a concrete task, a
+  reward that builds anticipation, a penalty grasped at once. Task or penalty → 危机; the unopened
+  reward box → 道具; "breakthrough in progress…" → 结果; the enemy's realm revealed → 身份 / 反转. At
+  most two system hooks in a row.
+- **Breakthrough cliffs**: cut on the aura surge or the tribulation cloud; pay off in the next
+  episode's first 15 s with an onlooker's shock ("筑基了?!").
+
+## 4. Characters
+
+- **The 废柴 hero**: a visible humiliation (退婚, expelled from the sect) and a goal beyond power
+  (family, revenge, someone to protect).
+- **The system or the 老爷爷** has a personality, blind spots, limits, even an agenda — never
+  omniscient in practice. One or two 金手指 for the whole story.
+- **A rival per realm or map**, within about one realm of the hero — the revenge ladder indexed by
+  realm (`story-revenge.md`).
+- **The love interest** has her own stake; the 退婚 fiancée and the loyal girl are worn out.
+- **For 满级 heroes**, the tension is hiding, protecting others and consequences, not whether she wins.
+
+## 5. Beats and freshness
+
+觉醒 / 绑定系统, 系统提示, 退婚, 宗门大比, 越级挑战, 秘境, 丹药 / 法宝, 拍卖会, 天劫, the 扮猪吃虎 reveal, 下山即无敌.
+Fresh through **融梗** (a 无情道 system in 女频修真, famine + stockpiling, the time loop, texts from your
+future self, 签到, 全民转职, 规则怪谈) and through conviction — "make the unreasonable believable".
+
+## 6. Dialogue and AI video
+
+The system speaks in bracketed UI copy: short, numeric, deadpan. **Onlookers say the realm aloud**
+("他竟是金丹后期!") — exposition and payoff in one line. Contempt lines (区区练气) set up the 打脸; understate
+the hidden master. **For AI video**: give each realm one fixed visual signature (an aura colour, a
+particle, an eye glow) — `powerSystem.realms[].visual`; ration full-screen set pieces (天劫, armies)
+for breakthroughs and the climax; prefer glows, runes, UI panels and flying swords over crowds and
+long choreography.
+
+## 7. What fails, and regulation
+
+Power creep from open-ended multipliers; a sprawl of 金手指; rules the story does not follow; the
+deus-ex-system (a new ability exactly when needed — Sanderson's First Law); the same plot shot a
+hundred times. **Regulation**: the micro-drama measures in force from 2026-09-01 ban promoting
+superstition and cults and glamorising violence, and require an AI label on every episode; compliance
+guides treat 招魂, 鬼上身, 养小鬼, 冥婚, and fortune-telling or exorcism shown as real as red lines. **An
+invented world is the safe setting**; a modern-city 神医 / 风水 / 鉴宝 is the risky one — never show
+talismans or feng-shui working as real cures or luck, never disparage medicine (`story-advice` flags
+it on the mainland).
+
+## 8. Sources (read as search summaries)
+
+CSDN on 修仙 writing and 金手指 design; 知乎 on 金手指, 扮猪吃虎 / 越级 and power-system collapse; 澎湃 网文论 (the
+MMORPG loop) and 女主修真赛道; DataEye 2025; 钛媒体 on 系统 hits; Sudowrite and Writer's Daily Practice on
+progression fantasy; Royal Road on pacing; Brandon Sanderson's laws; 百度百科 on 升级流 and 系统; 知乎 / 腾讯 on
+融梗 and 信息差; 腾讯 on 男频 recovery; 搜狐 and 蓝鲸 on 漫剧 charts; 起点 on realm ladders; 知乎 on homogeneity; 新华网,
+NRTA and 17173 on the 2026 measures; Byerisk on superstition red lines; 36氪 and 新京报 on AI 仙侠 costs.

package/skill/short-drama/reference/story-family.md

@@ -0,0 +1,119 @@
+# Story genre `family` — 家庭伦理
+
+婆媳 · 豪门恩怨 · 萌宝 · 亲情 · 认亲 / 寻亲 · 养老 · 家庭复仇 · 年代家庭. The genre of 《家里家外》 and
+《十八岁太奶奶驾到》, and of the fastest-growing audience in 短剧. Shared machinery: `story.md`.
+
+## 1. The promise — being needed, being loved
+
+- **Who watches**: in 2024 viewers aged 40–59 were 37 % of the short-drama audience and 60+ were 12 %
+  and rising fast; 中老年 titles take close to half of some monthly heat charts, and older men are a
+  large share of payers. Hits like 《家里家外》 and 《我在八零年代当后妈》 also reach students; 原生家庭
+  stories (《好一个乖乖女》) pull in younger women. **Serve both poles**: the parent (the wronged
+  mother, the unfilial child) and the child (the 原生家庭 wound, the found family).
+- **The underlying need is 被需要 and 被爱.** The older viewer's first pain is their children: the
+  mother who sold her flat for her son's wedding home. The payoff is the ungrateful child finally
+  seeing the sacrifice — and a double happy ending, love and family.
+- **The shift is 从强刺激到强共鸣**: 情怀, 家和亲情, "家才是顶流剧本"; family as the unit, not the company or
+  the couple.
+- **Four emotions**: 共鸣 (that's my mother-in-law), 泪点 (sacrifice seen too late), 家的温暖 (a found or
+  blended family), 扬眉吐气 (the wronged one vindicated before everyone who looked down on her). The
+  last overlaps with `revenge` — but the target is kin, so the end is 和解 or 清醒的切割, not destruction.
+
+## 2. The series — a family web that reorganises
+
+- **Pressure runs long**: 中老年 titles hold the heroine down for twenty or thirty episodes before the
+  big payoff, much longer than 爽剧 — so give small wins early (a reason to stay) and the full public
+  vindication in the middle third, then a larger one in the climax.
+- **A web, not a line**: three lines work — the present line drives the plot, a memory line explains
+  the past, a hidden line plants motives, with an emotional anchor every few episodes. Pivotal
+  revelations happen in **ensemble scenes where everyone is present**.
+- **Family as a system**: the 偏心 parent runs the golden-child / scapegoat engine; the 老实人 son or
+  husband is the enabler; the 萌宝 is the mascot and truth-teller; the wronged daughter-in-law is the
+  scapegoat who breaks the role. The series is the system reorganising — so **every member ends
+  somewhere**.
+- **Secrets**: tell the audience the blood secret early (信息差, by E5); reveal it character by
+  character (the intercepted DNA result, the 信物, the witness); stage the full public 认亲 at a
+  gathering at 55–85 %; leave episodes for the fallout.
+- **爽 and 泪 alternate**: humiliation → small 爽 → a warm or tearful beat → bigger humiliation →
+  bigger 爽. Never more than about three 爽 episodes without a tear — that is what separates family
+  drama from revenge.
+
+**Tracked in the outline** (gate `story-family`): `characters[].family: { generation, role,
+minor?, endState: 和解 / 清醒切割 / 惩戒 / 离世 }`, `outline.secrets[]: { id, content, audienceKnowsEp,
+plantEp, hintEps[], revealEp, revealTo }`, `outline.vindications[]: { char, ep, venue, witnesses[] }`,
+`outline.reconciliations[]: { pair, woundEp, triggerEp, turnEp, endState }`.
+
+| rule | default | why |
+| --- | --- | --- |
+| `family-web` | ≥ 5 family members over ≥ 2 generations | the genre is a system, not a duel |
+| `every-member-resolves` | every lead and support family member has an end state | the system visibly reorganises |
+| `tear-cadence` | ≥ 20 % 情感释放 episodes, never more than 6 in a row without one | 泪 is the promise |
+| `public-vindication` | a vindication with ≥ 3 family witnesses at 25–70 %, a larger one in the climax | "压到二三十集", then before everyone |
+| `secret-hygiene` | every secret planted before it is revealed with ≥ 2 hints between; the main secret known to the audience by E5, revealed at 50–85 % | 信息差; room for the fallout |
+| `earned-reconciliation` | wound < trigger (evidence of sacrifice) ≤ turn; ≥ 10 episodes from wound to turn | repentance earned by sacrifice, not by her wealth (富贵门前皆孝子) |
+| `child-compliance` | a minor never lands an 打脸 / 复仇 / 智商碾压 | NRTA 2026 儿童类微短剧 notice: no adultification, no 啃小, no children as tools |
+
+## 3. The episode
+
+- **Cold open on a concrete family wound**: the mother eating leftovers while the in-laws feast, the
+  soup knocked away, the old woman outside her own house. The wound, not the violence — takedowns
+  cite 刻意渲染.
+- **The tear beat in the back half**, usually a memento (the old photo, the handmade shoes, the
+  存折, the medical report) or a silent sacrifice seen by a third party; cut on it (情感) or undercut it
+  with a threat (危机).
+- **Cliffs**: the DNA envelope unopened (道具 / 身份); the elder collapses, a diagnosis (危机); the
+  unfilial child about to sign away the house (结果); the 信物 seen by the wrong person (道具); the 萌宝
+  blurts "you're my daddy" (情感 / 身份); the banquet door opens (身份 / 反转).
+- **End a vindication on the key relative's face** — shame and regret. The villain's comeuppance is
+  not enough; the repentance face is what this audience pays for.
+
+## 4. Characters
+
+- **The wronged mother / daughter-in-law / elder**: 为了孩子, 委屈求全, and hidden value (a status, a
+  skill, a past sacrifice). Give her the moment of choosing herself — 半生为母，余生为己. Pure martyrdom
+  is dated. (The 2024 婆婆爽剧 wave flipped it: the mother-in-law as the protagonist.)
+- **The 萌宝**: builds arcs (the cold father warms), drives 认亲, fulfils fantasy — as an **innocent
+  truth-teller or bridge** who notices, asks or carries a 信物. Never a schemer, a 霸总 or a bully; no
+  adult lines.
+- **The unfilial child, the 偏心 parent, the 白眼狼**: they repent — earned by evidence of sacrifice.
+- **The elder** is the arbiter at the 寿宴 and the holder of the will.
+- **Antagonists stay human**: a real motive (fear of poverty, an inherited 偏心, protecting their own
+  child), one scene of their own pain, a proportionate consequence (loss of standing, not violence).
+  《家里家外》 won by treating women's relationships warmly instead of 斗小三.
+- **Ensemble**: every core member wants something; rotate the focus; gather everyone for the
+  revelations.
+
+## 5. Beats and freshness
+
+Staples: 认亲 / 寻亲, 真假千金, 抱错, the DNA test, the 寿宴 / 满月宴 / 订婚宴 humiliation and reveal, 分家产 /
+遗嘱, selling the house for the son, being thrown out, 萌宝助攻, 闪婚老伴, 黄昏恋, 重组家庭, 后妈, 年代. Fresh
+through **period and dialect specificity** (1981 Sichuan, the women's volleyball team, 天府可乐),
+**lived detail** (the writers interviewed hundreds of locals), **生活流 over 套路** (代际和解, 国企改制),
+**inversions** (the good stepmother, the victim mother-in-law, the 18-year-old great-grandmother), and
+**series-ability** (more of what viewers loved). Plan at least two whole-family gatherings (寿宴,
+年夜饭, 满月, 婚宴, 葬礼, 分家) — one in escalation, one in the climax.
+
+## 6. Dialogue
+
+**Dialect** is a selling point (《家里家外》, the first all-Sichuanese short drama). **Plain language**;
+each character's styling fits their life. **No 说教**: put the moral in an object or an act (the
+存折, the unworn new clothes, the mother walking in the rain); one quotable line per arc is enough.
+
+## 7. What fails, and regulation
+
+Homogeneous 婆媳 slap-fests; caricatured women; money-worship endings; logic sacrificed for emotion;
+repentance triggered by wealth; relatives left unresolved; a 萌宝 as a plot vending machine.
+**Regulation**: the NRTA 2025-02 notice; takedowns for 刻意夸大渲染婆媳矛盾 and violence; the 2026-01
+儿童类微短剧 notice (反成人化, 防啃小, 防工具化); the June 2026 campaign (harm to minors, wealth worship,
+distorted marriage values, violence and revenge). Keep at least two hierarchical pairs (婆媳, 母子,
+父女…), not 婆媳 alone, and end every abuse resolved.
+
+## 8. Sources (read as search summaries)
+
+人民日报 on 中老年微短剧 (audience shares); 36氪 / AgeClub "被需要与被爱"; 虎嗅 on how 中老年短剧 跑通; 36氪 on
+霸道总裁俏阿姨 and 婆婆爽剧; 21经济网 on 银发经济 and payers; 澎湃, 新华网, 每经 and 界面 on 《家里家外》; 网易 /
+澎湃 on 听花岛 (《太奶奶》); 搜狐 on 《太奶奶》; 虎嗅 on 年代短剧 生活流 (2026); 中国作家网 on 《好一个乖乖女》; 新浪 on
+《我在八零年代当后妈》; 搜狐 / DataEye, 网易 and 央广网 on 萌宝短剧; 新华网 on the 儿童类 notice (2026-01) and the 2026
+专项治理; NRTA 2025-02 notice; 新华报业 on takedowns; 光明网 on distorted family images; 流媒体网 on 卡点; 新浪财经
+on the three-line structure; 知乎 on 真假千金; No Film School and Writers Helping Writers on ensembles;
+Simply Psychology on family-system roles.

package/skill/short-drama/reference/story-horror.md

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+# Story genre `horror` — 恐怖 / 灵异 / 惊悚
+
+心理恐怖 · 规则怪谈 · 民俗恐怖 · 都市怪谈 · 怪兽 · 灵异. It builds on `mystery` (questions and clues) and adds
+the threat, its rules and the dread. **The market decides what is allowed** (`params.market`,
+§7). Shared machinery: `story.md`.
+
+## 1. The promise — safe fear
+
+- **Recreational fear**: fear enjoyed because the frame is safe — a flight simulator for anxiety
+  (adrenaline junkies, white-knucklers, dark copers). The genre promises rising fear, then release:
+  you survived, and you understood.
+- **King's ladder**: terror (what you imagine — the best) > horror (seeing something wrong) >
+  gross-out (the lowest, and effectively banned on the mainland). Live at terror and horror.
+- **Dread is an information gap in the audience's favour** (Hitchcock's bomb): mystery withholds *what
+  happened*; horror shows *that something is coming* and withholds when, where and what.
+- **Curiosity about the rules** (规则怪谈): the viewer rebuilds the hidden world from contradictory
+  rules (细思恐极) — in 短剧 an 智商碾压 payoff when the lead decodes the true rule.
+- **The market**: overseas, thriller and horror are reported to grow fast among 18–30 viewers
+  (trade-blog figures); psychological, domestic and paranoia thrillers suit 9:16 better than chases.
+
+## 2. The series
+
+- **Knowledge drives the acts**: unaware → suspecting → certain. The golden segment establishes
+  normality and puts **the first sign of wrongness in E1, within 15 s**, and one threat event (a victim,
+  a disappearance, a near miss). Escalation raises the stakes in stages (property → a secondary
+  character → a loved one → the lead). **The midpoint** is usually the rule or nature reveal, often
+  after a false win — the lead stops reacting and starts driving. Late escalation shows the monster
+  more (the Jaws rule: hold the full reveal as long as possible); allies fall; the "safe" rule turns out
+  corrupted. **The climax is won by exploiting the rules**, not force.
+- **规则怪谈 anatomy**: the rulebook is the setting (a hospital, a school, a hotel, a compound, a zoo);
+  a human side writes rules to protect, an abnormal side contaminates them; contradictions (the
+  student vs the teacher handbook; red ink) force the characters to tell true rules from false. Beat
+  map: enter the instance and receive the rulebook → the first rule-breaker dies (the rules are real)
+  → the lead spots an anomaly → a contradiction exposes a false rule (midpoint) → the hidden true rule →
+  the rules turned against the monster → the way out, and a sting.
+- **Endings**: overseas and J-horror allow a sting (the curse spreads); **mainland endings close
+  rationally with a positive value** (《蛇影谜踪》 closes on 敬畏自然).
+
+**Tracked in the outline** (gate `story-horror`): `outline.horror: { subgenre, threat: { nature,
+firstSignEp, glimpseEps[], revealEp, explanation: { type: 人为 / 幻觉 / 科学 / 骗局 / 精神 / 超自然, revealEp,
+clueEps[] } } }`, `outline.horrorRules[]: { id, text, isTrue, shownEp, brokenEp?, consequence }`, and on
+each outline episode `scares: [氛围 / 假警报 / 惊吓 / 揭示 / 规则惩罚]`.
+
+| rule | default | why |
+| --- | --- | --- |
+| `scare-cadence` | a real scare (惊吓 / 揭示 / 规则惩罚) in ≥ 80 % of episodes | "a cliffhanger every minute"; the core promise |
+| `false-alarms` | a false alarm is followed by a real scare in the same episode, never two episodes running | the cat scare sets up the real one |
+| `early-threat` | the first sign in E1 | the 15-second hook |
+| `hide-the-monster` | the full reveal past the half, with ≥ 2 glimpses before it | the unseen is scarier; the Jaws rule |
+| `fair-rules` | a rule is shown before anyone is punished by it | dread needs the audience to know the rule |
+| `rule-horror` (规则怪谈) | ≥ 5 rules, the first by E2, a false or contradicting rule by the midpoint | true vs contaminated rules is the game |
+| `mainland-explanation` (`market: mainland`) | the threat is explained by 人为 / 幻觉 / 科学 / 骗局 / 精神, revealed in the climax, with ≥ 2 clues planted ≥ 2 episodes before | ghosts confirmed real, fortune-telling that comes true and 封建迷信 are red lines; an unplanted "it was a dream" cheats |
+
+## 3. The episode
+
+- **The scare cycle**: quiet → build (sound drops, focus narrows) → a false alarm → relief → the real
+  scare, often from a misdirected angle. Ration the false alarms.
+- **The 60-second template** (TikTok horror): 0–3 s a hook (a sound, an image, a line of text); set up a
+  pattern and crack it a little each pass; the turn; a lingering image — the cliff.
+- **Imply, don't show**: "let the mind supply the rest" — Blumhouse avoids CGI because the imagined is
+  scarier; this is also what makes horror cheap for AI video.
+- **Cliffs** are mostly 危机 (the threat imminent) and 反转 (the ally is the monster; the rule was false).
+- **Vary the mechanism**: 《逃出绝命岛》 was criticised for repeating "狼来了" (she warns, nobody listens,
+  someone dies) until it bored. Mark the escalation with an `intensity` per episode if you track it; put a
+  quieter breather after a peak.
+
+## 4. Characters
+
+- **The survivor (final girl)**: watchful, level-headed, the first to sense something amiss and the
+  only one to piece the pattern together — in 短剧 each 爽点 is often her reading the rules right.
+- **The skeptic** denies the threat and dies or converts; on the mainland the skeptic can be *right
+  about the mechanism* (a human is behind it) while wrong about the danger.
+- **The expert** (the folklorist, the old caretaker, the rules veteran) delivers the backstory and is
+  lost by the late escalation so the lead acts alone.
+- **The first victim** proves the threat and the rules, by E3.
+- **The human antagonist** (the snake dealer, the one faking the haunting) — required on the mainland,
+  useful everywhere for 打脸 / 复仇.
+- **No idiot plot**: every bad choice has a motive — forced, deceived, protecting someone, a false rule
+  believed in good faith.
+
+## 5. Beats and freshness
+
+The rulebook reveal; the first rule-breaker's death; "don't look back / don't answer"; the wrong
+mirror or door; the count off by one; the ally who knows too much; the false safe zone; the red-ink
+rule; the monster at the frame edge; the curse spreading like information (J-horror); the wronged
+dead with a grievance (onryō, the K-horror family trauma). **Fresh**: 民俗 / 志怪 anthologies (the pawnshop
+that takes cursed objects), creature features (《逃出绝命岛》, 《蛇影谜踪》, hundreds of millions of plays),
+规则怪谈 / 诡异 / 末世 漫剧, and blends (horror + family, + 探案, + comedy). **Mainland-forbidden or high-risk**:
+ghosts confirmed real, fortune-telling or feng-shui that works, karma as a real mechanism, detailed
+religious or cult ritual, gore and "画风观感不适", minors in terror scenes, pure ghost horror in AI 漫剧.
+
+## 6. Dialogue and tone
+
+Short, plain, concrete. **Rules in a flat bureaucratic register** — the authority is where the fear
+comes from ("even nonsense sounds reasonable written as a rule"). Understatement over exposition:
+silence, a sound cue, one wrong detail; characters do not narrate their fear. A dry line after a false
+alarm resets the baseline so the next build lands harder. On the mainland: 爽而有度, fear resolved into
+reason, a closing value (反迷信, 敬畏自然, 惩恶).
+
+## 7. The market — mainland and overseas
+
+- **Mainland** (`params.market: mainland`, the default): the 2017 content review code bans promoting
+  superstition and rendering terror; the absolute red lines are 色情低俗, 血腥暴力恐怖, 封建迷信 and 错误价值观;
+  tiered review and 先审后播, and since 2026 platforms review every uploaded micro-drama. **The practical
+  line**: 灵异 as atmosphere is allowed **when the ending explains it** (hallucination, fraud, a human,
+  the mind); never confirm ghosts, never let fortune-telling come true. The "建国后不许成精" rule is a myth,
+  but the pattern is real; period and 聊斋-style settings get more leeway. The 红果 / 抖音 漫剧 rules (from
+  2026-04-07) ban 风险迷信 and 画风观感不适 and reportedly pure ghost horror and supernatural 金手指 for AI
+  漫剧; the viral "three banned genres" list for live action was officially denied — treat 灵异 as
+  high-risk, not banned.
+- **Overseas** (`params.market: overseas`): the supernatural may be a real mechanism (cursed manors,
+  werewolves, onryō curses); the limits are app-store and ad policies on gore and minors; keep the
+  threat's rules consistent and answer the central question even if the ending stings.
+
+## 8. Sources (read as search summaries)
+
+Wikipedia on 红果 and 规则怪谈; 知乎 and 腾讯频道 on 规则怪谈 craft; 萌娘百科 on 规则类怪谈 and 建国后不许成精; 中国作家网 on
+规则怪谈 and control; Filmustage on vertical genres (trade figures); 新浪财经 on 2025 漫剧; Byerisk on superstition
+red lines and the red-line table; IT之家 on 红果's denial; 36氪 / 腾讯 on 《蛇影谜踪》 and 《逃出绝命岛》; Far Out
+(Hitchcock); No Film School on Jaws and Blumhouse; Wikipedia on horror and terror and the final girl;
+Psychology Today on recreational fear; Kuciak on horror's three acts; Stone Age Herbalist on J-horror;
+Backstage on jump scares; TIME and Little House of Horrors on TikTok horror; Filmora on ReelShort; Asian
+Movie Pulse on K-horror; 腾讯 红榜 on 民俗志怪; 腾讯 on the 红果 漫剧 rules; 界面 on the decline of Chinese horror
+film; 新华网 on the 2017 review code, the 2025 tiered review and 凡播必审 (2026).