@wji.ai/cli 0.4.0 → 0.5.1

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

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+# Story genre `revenge` — 复仇 / 逆袭
+
+战神 · 赘婿 · 重生复仇 · 真假千金 · 扮猪吃虎 · 大女主复仇. The best-selling theme in 短剧 (DataEye
+2025: 逆袭 leads by heat and by title count; 打脸虐渣 in most top titles) and overseas (revenge,
+hidden identity, heiress on ReelShort / DramaBox). Shared machinery: `story.md`.
+
+## 1. The promise — certainty, not surprise
+
+The audience does not pay to be surprised; it pays for **a payoff it knows is coming**. The viewer
+sits in the god seat (信息差): they know the hero's real strength, watch the antagonist dig their
+own grave, and wait for "a certain result in a certain way". That is why 扮猪吃虎 is pleasurable
+even in the pig phase, and why every humiliation is a promise the drama must repay.
+
+- **先抑后扬.** Suppression buys the release; how much depends on the audience. Male-audience
+  shows want a fast rise with light humiliation; female-audience shows tolerate heavier
+  suppression because it deepens the reversal. Either way, never suppress without the audience
+  knowing a payback is owed.
+- **The curve is 憋屈 → 小爽 → 更憋屈 → 大爽**, and it is sliced into every episode, not spread
+  over the season.
+- **Regulators want it 爽而有度** (NRTA 2025): no venting-style 怼 / 打脸 for its own sake, no
+  全能正派 / 极端反派, no 以暴制暴 or 极端复仇, 重生 that follows real-world logic. Land the big
+  paybacks through exposure, law, wits and consequence, not private violence (`story-advice`
+  flags 私刑 / 以暴制暴 / 灭门 / 虐杀 in the outline).
+
+## 2. The series — a payback ladder
+
+| phase | where | what happens |
+| --- | --- | --- |
+| golden | E1 → the first paywall (卡一, E8–12 in an 80-episode run) | maximum humiliation **and one full 压→爽 loop by E03** against a tier-1 petty oppressor; the first identity hint; the paywall lands on a 身份 / 反转 / 危机 hook |
+| escalation | to ~75–80 % | cycles of 5–10 episodes: a higher antagonist presses harder (更憋屈), small paybacks accumulate, the cycle ends on a **big** payback and the next identity layer; the antagonists win some rounds (a setback near the midpoint and an all-is-lost at 70–85 %) |
+| climax | last 15–20 % | the arch-nemesis and the full reveal; the most public, most witnessed 打脸; closure through 情感释放 |
+
+**The antagonist tiers climb like game bosses (换地图):**
+
+| tier | who | leverage | falls |
+| --- | --- | --- | --- |
+| 1 | petty oppressors: the snobbish relative, the mother-in-law, the ex, the gatekeeper | contempt, gossip | early, often; the first small paybacks |
+| 2 | power holders: the rival heir, the fake daughter, the boss | money, position, family | across escalation, in big paybacks |
+| 3 | the arch-nemesis behind the original wrong | everything; hidden or untouchable | once, in the climax, at 80 % or later |
+
+**Tracked in the outline** (gate `story-revenge`):
+- `characters[].antagonist: { tier, firstPressEp, motive }` for every antagonist. `motive` is
+  required: an antagonist with no reason of their own is an 极端反派 and a 降智 villain.
+- `outline.paybacks[]: { ep, target, scale: small / big / final, by, how }` — every payback.
+  Every antagonist is finished (`final`) exactly once.
+
+**The rules** (researched defaults; waivable on the user's request):
+
+| rule | default | why |
+| --- | --- | --- |
+| `first-payback` | a payback 爽点 (打脸 / 复仇 / 身份揭露 / 智商碾压) in E1–3 | the golden three episodes close one loop |
+| `payback-gap` | ≤ 3 episodes in a row without one (≤ 5 when mixed with another genre) | 每集小爽点、三集大爽点 |
+| `setup-before-payback` | an antagonist's first payback comes ≥ 1 episode after they first press (≥ 3 for tier 2–3) | the payback is as strong as the pressure before it |
+| `tiers-ascending` | antagonists are finished in tier order; the top tier at ≥ 80 % of the run | the ladder climbs |
+| `big-payback-cadence` | in escalation, a big or final payback at least every 10 episodes (runs ≥ 20) | small reversals every 5–10 episodes, big ones every 20–30 |
+| `hero-delivers` | the arch-nemesis is finished by a lead | the backer (靠山) confirms the hero's power, never replaces it |
+
+## 3. The episode
+
+- **Hook in the first 3–5 s** (a humiliation, a threat, a secret shown); conflict by ~6 s.
+- **The 爽点 mid- or late-episode, then the cliff reopens the threat**: right after a payback,
+  a bigger problem, so the viewer does not leave satisfied.
+- **Episode 1** shows who the hero is, their status and their state through events, and puts a
+  concrete crisis on them (thrown out, stripped, threatened).
+- **A premise that sells has "a secret, a clock and a witness"**: something to reveal,
+  something running out, someone to walk in.
+- **The 打脸 beat**: the antagonist mocks (setup) → the reveal (the card, the call, the document) →
+  **the crowd reacts** (一定要有围观群众的反应) → new characters bow. On the storyboard this is the
+  `faceslap` grammar (`grammar-faceslap.md`).
+- **Revenge cliffs** by hook type: 身份 (someone kneels, a title is spoken), 危机 (the
+  antagonist's counter-move, a threat to family), 结果 (will they believe it?), 反转 (an ally is the
+  villain's mole), 道具 (the token, the medal, the call).
+
+## 4. Characters
+
+- **Protagonists**: the humiliated 赘婿 with a hidden 战神 / 神豪 identity; the reborn victim
+  with foreknowledge; the 真千金 who schemes (蓄势、谋势、借势) rather than wails; the 大女主
+  avenger who does the 打脸 herself. Give the hidden strength a *reason* to stay hidden.
+- **The backer** (a loyal subordinate, an old comrade, a kneeling general) is the witness who
+  walks in and confirms the hero's rank. In 大女主 dramas the man helps; she lands the blow.
+- **Antagonists stay credible**: real leverage (money, law, family, information), wins of their
+  own after the paywall, and disbelief that comes from pride or interest — never the 智障
+  villain who refuses evidence in front of him.
+- **Cast**: about 6–12 named, at least two antagonist tiers, one ally or backer.
+
+## 5. Keeping the stock beats fresh
+
+Stock beats: the humiliating banquet or wedding; the divorce-agreement slap; the phone call that
+makes a tycoon kneel; the black card / medal / token; the relative begging forgiveness; the fake
+daughter's frame-up; the reborn heroine pre-empting a trap; evidence played on screen before
+everyone.
+
+- **Rotate how the payback lands**: identity, wits (智商碾压), proof, a turned ally, the villain's
+  own trap backfiring. **Rotate who witnesses it**: family, the company, the whole society, the
+  press. **Let some paybacks cost the hero something.**
+- **Stack hot genres** (战神 + 赘婿 + 虐恋) and **play against type** (the obedient-looking
+  heroine who plots through information control). The market is moving from repeated hooks to
+  complete plots and distinct characters; the fixed "ch1 conflict, ch2 金手指, ch3 hook" opening
+  is now fatigue.
+- **Layer the identity reveal** (`story-advice`): at least three 身份揭露 episodes for a
+  hidden-identity premise, at most one in the golden phase, the full reveal in the climax.
+
+## 6. Dialogue
+
+Plain spoken language; 用最少的字让人物打脸. Lines of about 15 characters, no monologues. Many watch
+without sound, so the reveal must read as a picture (the kneel, the slap of the document). **Let
+the villain's taunt set up the exact words the payback throws back.** The hero's lines are terse
+and cold; emotion is saved for the 情感释放 beats.
+
+## 7. What gets rejected
+
+A weak first ten episodes (they decide approval); unoriginal characters; logic holes and
+dumbed-down villains; the formula opening; all the 爽点 spent early; literary lines; unshootable
+scale; venting-style or extra-legal revenge (regulatory).
+
+## 8. Sources (read as search summaries)
+
+流媒体网 卡点 (卡一 at E8–12) and 三点论; 电影界 on paywalls and 《无双》; hailuoshe on 憋屈—小爽—
+更憋屈—大爽 and reversal cadence; 知乎 短剧编剧黄金手册; 36氪/澎湃 on 爽 as the first principle;
+腾讯 on gradual 战神 reveals and 大女主 revenge; 投中网 on kneeling and the 智障 villain; 虎嗅 on
+episode-1 requirements; 澎湃 on 重生复仇; douban on the god seat; 界面 on male vs female 爽点; DataEye
+2025; NRTA 管理提示 "爽而有度" (2025); ScreenWeaver (hook/turn/cliff, four tent-poles, secret-clock-
+witness); InkTip; John August on microdramas; Save the Cat (Fool Triumphant, Superhero); revenge
+tragedy conventions; thewritepractice on revenge and underdog stories.

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

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+# Story genre `scifi` — 科幻
+
+末世 / 末世重生囤货 · 时间循环 · 穿越时空 · AI 觉醒 · 克隆 · 赛博朋克 · 星际. This is the **story** side; the
+look is `scifi-hard` / `scifi-soft` (`cinematography-scifi-*.md`). Shared machinery: `story.md`.
+
+## 1. The promise — one "what if", followed all the way
+
+- **The novum as a contract**: change one element and work out what follows — the 核心设定 and its
+  衍生设定 across technology, society and people (Suvin's novum, "cognitive estrangement": the
+  impossible reported as plain fact).
+- **Four emotions sell**: wonder (奇观 — and AI makes a rocket cost the same as a cup), dread of the
+  future (Black Mirror: technology amplifies a human flaw — "a human problem, not a technological
+  one"), the 爽 of foreknowledge (末世重生囤货: reborn before the disaster, sell the house, build the
+  fortress, stock up, the 空间 cheat, refuse the relatives who betrayed you), and mastery through
+  repetition (the time loop as a game level replayed until beaten — 《开端》).
+- **The market**: 男频 live action fell a third from its 2024 peak while **末世 漫剧 topped the Douyin
+  charts**; 三幻 (sci-fi, fantasy, supernatural) lead AI drama because effects are cheap; overseas
+  apps run apocalypse-vault and time-travel lines.
+
+## 2. The series
+
+- **Wells' law**: one impossible assumption, developed with the strictest logic — "a rigid exclusion
+  of other marvels". **Sanderson's first law**: resolving a conflict with a power satisfies in
+  proportion to how well the audience understands it; **the second**: limits and costs are more
+  interesting than powers.
+- **The arc**: the novum (or its consequence) in E1 — the 末世 pattern opens on a past-life death or
+  betrayal, the rebirth, and **an explicit countdown** ("the cold wave in 30 days"); two or three rules
+  through action → **escalation** of scope (personal → building → city → world; heat → cold → quake →
+  fog), each tier adding or testing one rule → **the midpoint turn** (the countdown hits zero, or a rule
+  proves incomplete — the loop has a second trigger, the AI a hidden directive, someone else was
+  reborn too; in 《开端》 sleeping triggers the loop as well as dying) → **the climax** resolved through a
+  rule the audience knows; a loop breaks because the character changed (Edge of Tomorrow breaks by
+  sacrifice).
+- **Hard vs soft**: 硬科幻 makes the idea the subject; 软科幻 uses it for plot and emotion. 短剧 is almost
+  always soft sci-fi with one hard-feeling rule.
+
+**Tracked in the outline** (gate `story-scifi`): `outline.brief.novum: { statement, category (末世 /
+时间循环 / 穿越 / AI / 赛博 / 星际 / 克隆 / 其他), mode, firstEp }`, `outline.worldRules[]: { id, rule, kind:
+power / limit / cost / trigger / exception, shownEp, decidesEps[], brokenEp?, revealSetupEp? }`,
+`outline.countdown: { label, zeroEp, log: [{ ep, value }] }`, `outline.loops[]: { n, ep, trigger,
+newInfo, changed }`, `outline.foreknowledge[]: { event, plantedEp, payoffEp, deviated }`,
+`outline.secondaryNovums[]: { id, derivesFrom }`.
+
+| rule | default | why |
+| --- | --- | --- |
+| `novum-first` | the novum stated, on screen in E1 | the genre promise lands in the hook |
+| `one-novum` | at most one marvel that does not derive from the novum (rebirth + system is one package) | Wells' law |
+| `rule-costs` | at least one limit or cost rule per power rule | Sanderson's second law |
+| `show-before-use` | a rule is shown before it decides a turn; a climax-deciding rule ≥ 3 episodes before the climax; a rule bends only as a set-up exception | Sanderson's first law; no contradictions |
+| `countdown` | a 末世 drama runs on one; it only counts down; on screen in ≥ 60 % of the episodes before the climax | the spine and the free cliffhanger |
+| `loops` | every loop brings new information, skill or cost; never two in a row where the hero changes nothing | repetition without new context is monotony |
+| `foreknowledge` | paid off within 10 episodes of being planted | the 爽 of knowing |
+| `midpoint-turn` | at 40–60 %: the countdown reaches zero or an exception / trigger rule appears, on a 反转 / 危机 hook | the rule proves incomplete |
+
+## 3. The episode
+
+- **Hooks from the novum**: 危机 (the countdown, the disaster through a window), 道具 (the system
+  panel, the 空间 glow, a device), 结果 (a future outcome — "in the last life she died here"), 反转 (a
+  rule exception).
+- **The countdown on screen** (a HUD number) gives a free cliff every episode and cheap continuity.
+  State the rules early and repeat them.
+- **Loop episodes**: show the reset fast (a 3–5 s repeated motif), spend the rest on what is
+  different.
+- **One piece of foreknowledge pays off per episode** ("last life X happened, so this time…") — it
+  fills the 智商碾压 and 打脸 slots. Add a butterfly-effect deviation by the midpoint so foreknowledge
+  can go wrong.
+
+## 4. Characters
+
+- **The ordinary person facing the novum** carries it (郭帆's tests: does it relate to "me"? a strong
+  everyday metaphor? a character with emotion?). The Chinese sci-fi emotional core is family.
+- **The 三体 lesson**: keep one idea intact and simplify everything else.
+- **The expert** shows a rule working, paired with a skeptic so explanation comes out as argument.
+- **The AI character**: one explicit directive and one limit; its awakening a choice that breaks or
+  reinterprets the directive, set up earlier.
+- **末世 antagonists**: the past-life betrayer, the neighbours who 道德绑架, the scavengers — the novum
+  makes human greed visible.
+
+## 5. Premises and freshness
+
+末世重生囤货 (fresh now through an odd angle — running an apocalypse business with zombie employees,
+raising a child, a cozy or comic tone); 时间循环 (fixed-start, death-triggered, self-consistent);
+穿越 (mostly modern skills in the past — respect history); AI 觉醒 / 克隆 / 意识上传 (identity drama that pairs
+with 身份揭露 — ration "it was all a simulation" to once); 外星入侵 / 星际 (one location per arc);
+规则怪谈 (a model for the rules ledger).
+
+## 6. Exposition
+
+Need-to-know, when it matters to the point-of-view character; images carry it; no "as you know".
+**Rule through consequence**: someone tests the rule, a visible cost, then one line names it —
+from a panicking character, not a narrator; or the rule on screen as text (a panel, a warning sign, a
+HUD). **One new rule a scene**, one or two an episode. Don't explain *why* the loop happens if its
+rules are clear (《开端》 never does). `story-advice` flags lecture lines (众所周知 / 你知道的 / 原理是).
+
+## 7. What fails, and regulation
+
+A climax solved by a rule never shown; stacked marvels; a contradicted rule; spectacle without a
+personal stake; loops without new information; foreknowledge that never goes wrong; "science" that
+dates; copy-paste 末世. **Regulation**: the 2026 micro-drama measures ban rendering violence and terror
+(zombie gore, scavenger violence), false information (no invented "facts" about real diseases or
+disasters), superstition (keep the novum science), harm to minors, and historical nihilism (no real
+countries as invaders, no mocking real historical figures in 穿越). The 2025 "微短剧+" plan encourages
+科普 dramas; the 2020 科幻十条 signals goodwill. Keep 末世 hopeful and cooperative by the end.
+
+## 8. Sources (read as search summaries)
+
+SFE on Wells' law; Strange Horizons on Suvin; Brandon Sanderson's laws; 中国作家网 on 设定 and 硬/软科幻, and on
+《开端》; 澎湃 on 《开端》; Overthinking It and Dazed on Black Mirror; Uncanny and Arc Studio on exposition;
+time-loop craft (Prose and Quans, PremiumBeat, 百度 TA说); 界面 (郭帆) and 观察者 (《流浪地球3》); 中新网 and 界面
+on 三体 adaptations; 豆瓣, 腾讯 and 网易 on 末世囤货; 电影界 on the 抖音 漫剧 chart; 第一财经 and TVtalk on AI drama;
+澎湃 on 红果 2025; 百度百科 (《觉醒》); 维基 on 规则怪谈; DramaBox; 国家电影局 and 界面 on 科幻十条; 新华网 and 南方网 on
+the 2026 measures; 新华网 on tiered review; 澎湃 on 微短剧+; 中新网 on the 2011 time-travel restrictions.

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

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+# Story genre `sweet` — 甜宠
+
+霸总甜宠 · 先婚后爱 · 契约婚姻 · 闪婚 · 豪门甜宠 · 古装甜宠 (追妻火葬场 is a neighbour with its own
+ratios, §7). Female-audience content is over 70 % of 短剧 heat, 现言甜宠 is a top-3 genre on
+Douyin, and about three quarters of ReelShort's audience is female. Shared machinery: `story.md`.
+
+## 1. The promise — to be seen and chosen
+
+The fantasy is being **seen and chosen** by someone who could have anyone, and mattering more to
+them than their power: 被偏爱, 双标 (cold to the world, soft only to her). The genre signature is
+**高糖低虐 + 强反差**. Three layers of sugar, and a good series gives all three and escalates them
+from private to public:
+
+| layer | what it is |
+| --- | --- |
+| 糖 | the single sweet moment (the protective arm, the jacket, the kiss) |
+| 心动 | the tension before it (拉扯: 相爱不敢认，想近不敢亲，嘴硬心软，欲言又止) |
+| 被偏爱 | the lasting reward: public, exclusive, unconditional favour |
+
+The taste is moving from the domineering 霸总 to the **外冷内热 / devoted "puppy" male lead** — the
+superior party bowing down for love — and from the 小白花 to a heroine who thinks for herself.
+The power balance shifts over the series: he starts in control, they end as equals.
+
+## 2. The series — milestones on time
+
+The romance beat sheets agree on the shape (Gwen Hayes' four phases — set-up, falling in love,
+retreating, fighting for love; Billy Mernit's Cute Meet → Hook → Swivel → Dark Moment → Joyful
+Defeat; the K-drama confession at the midpoint). Compressed to 短剧 paywall realities (80 episodes):
+
+| phase | episodes | milestones (`outline.romance[]`) |
+| --- | --- | --- |
+| golden | 1–10 | **meet** in E1 and the **bind** by E3 (闪婚 / contract / 替嫁 / cohabitation / 婚约 — the device that keeps them together); the first **spark** and **touch** by E5; the first **protect** (护妻); the paywall (卡一 ~E8–12) on an emotional or identity hook |
+| escalation A | 11–40 | forced proximity; **jealousy**; the first **kiss** around 25–35 %; he defends her in public; the rival escalates |
+| midpoint | ~40–60 % | the **confession** — the "midpoint of love", a relationship acknowledged or a 隐婚 half-revealed |
+| escalation B | to ~70 % | the family obstacle, 掉马 (an identity reveal), doubt; short **misunderstandings** that clear within 2–3 episodes |
+| climax | last 25 % | **one** short **black moment** at 70–90 %, then **reconcile** within 5 episodes, the grand gesture, **public** (公开 / 官宣 / wedding), the obstacles 打脸-ed, an epilogue of sugar — **commit** |
+
+Milestone vocabulary: `meet` `bind` `spark` `touch` `jealousy` `protect` `kiss` `confession`
+`misunderstanding` (with `until`, the episode it clears) `reconcile` `public` `black-moment`
+`commit`.
+
+**The rules** (gate `story-sweet`; researched defaults, waivable on the user's request):
+
+| rule | default | why |
+| --- | --- | --- |
+| `sweet-share` | ≥ 40 % of episodes pay in sugar (强宠 / 情感释放); ≥ 25 % when mixed | 高糖低虐; producers literally count kisses |
+| `sweet-gap` | ≤ 3 episodes in a row without sugar (4 in the climax; +2 when mixed) | 误会 cycles close in 2–3 episodes; "虐后快速给甜" |
+| `meet-bind` | meet in E1, bind by E3 | episode 1 ties the leads together; without the bind they drift apart |
+| `first-touch` | touch (or kiss) by E5 (runs ≥ 10) | show the promise before the viewer pays |
+| `first-kiss` | by half the run (runs ≥ 10) | Hayes' deepening-desire phase; the K-drama midpoint |
+| `midpoint-confession` | a confession at 40–60 % (runs ≥ 20) | the midpoint of love |
+| `misunderstanding-run` | each clears within 3 episodes (5 in the climax); only one may run past 3 | "a misunderstanding one sentence could clear" loses the audience |
+| `black-moment` | at most one, at 70–90 %, mended within 5 episodes | Break Up → Grand Gesture; Dark Moment → Joyful Defeat |
+| `he-ending` | sugar in one of the last three episodes | the genre promises a happy ending |
+
+`story-advice` also notes a climax without a **public** milestone and 强宠 payoffs that are mostly
+money (黑卡 / 买下 / 豪车 — regulators target 拜金 / 炫富 / 炫权 爽点).
+
+## 3. The episode
+
+- **Hook** in the first seconds, readable with the sound off: tension or friction between the
+  leads, or a rival's pressure.
+- **The sugar lands in the back half, just before the cliff** (the 7-3-1 model: setup, high sugar,
+  a sting of suspense). Sweet shots are held longer (3–6 s, close) than 打脸 shots.
+- **A skeleton**: 0–10 % hook → 10–60 % pressure (rival, family, situation) → 60–90 % 撒糖 or
+  护妻 → 90–100 % a new question.
+- **Cliffs**: 情感 (the almost-kiss interrupted; "你吃醋了？" unanswered; he overhears her plan to
+  leave), 身份 (his identity or the 隐婚 about to be exposed), 危机 (the rival's or the family's
+  ambush), 反转 (the contract was his long-planned choice — 蓄谋已久). Romance cliffs work best when
+  desire and status collide in public.
+- **Plan one or two shareable 名场面** per series (the 抵墙吻) — they drive 二创.
+
+## 4. Characters
+
+- **The male lead** is a *position*, not a job title — anyone 上位者 (CEO, general, prince,
+  lawyer, 大佬). His harshness is aimed at others, never humiliating her; his possessive acts
+  protect, never control. Overseas audiences reject possessiveness framed as love, non-consent and
+  humiliation.
+- **The female lead** is independent and has wins of her own (she lands some 打脸 / 智商碾压 — not
+  only rescued). Avoid the greasy heroine (exaggerated coquetry, over-explicit flirting).
+- **The map**: the rival 女二 (schemer or 白月光, paid off by 打脸); the gentle 男二 who must not
+  out-care the lead (second-lead syndrome — give him a noble exit); the family obstacle (豪门
+  mother, stepmother, elders); an ally or comic relief (assistant, best friend, 萌宝). Keep the
+  core to 4–6.
+- **Avoid**: a 一夜情 opening; money as the sweet payoff; the male lead as the main antagonist
+  (only in 追妻火葬场).
+
+## 5. The tropes, kept fresh
+
+Staples: 壁咚 / 抵墙吻, 公主抱, the piggyback, 包扎伤口, 披外套, 吃醋, 护妻 (撑腰 in public), 双标,
+forced proximity (同住 / 一张床), 隐婚 → 公开, 掉马, the contract deadline, the family-dinner defence.
+
+- **缺啥给啥** — small, specific, personal details beat grand gestures.
+- **Borrowed intimacy** — the fake couple's staged touches become dangerous because they are real;
+  a contract is a slow burn with a deadline: use the clock.
+- **Stack a primary and a secondary trope** (contract marriage + hidden identity); mix genres
+  (萌宝, 年代, 古装, 奇幻).
+- **Run each trope once privately and later publicly, and flip who does it** (she protects him,
+  she makes him jealous). Never the same trope in consecutive sweet episodes.
+
+## 6. Dialogue
+
+- **拉扯**: cold words, soft details (口是心非); the truth in micro-expressions, eye contact and small
+  actions. Care through action and one-line understatement ("手给我"), not speeches.
+- **句句不骚，句句都撩.** "关系没到位，再高级的情话也会变成油腻" — match the line to the relationship
+  stage: no "你是我的" before the midpoint. Keep 土味情话 for comic self-awareness.
+- **Banter carries status play**: she wins verbal rounds.
+
+## 7. What gets rejected — and 追妻火葬场
+
+Rejections: old patterns (90 % of scripts cut at first review for 模式老套); everyone stupid
+(全员降智); no 拉扯, flat chemistry ("chemistry matters more than plot"); misunderstandings a line
+would clear; too long 虐; a toxic, controlling or violent male lead; 炫富 / 拜金 payoffs; greasy
+flirting; 工业糖水 sameness.
+
+**追妻火葬场** (the chase after he hurt her) runs about 30 % 虐, 40 % his regret, 30 % the chase —
+his regret must outweigh her suffering; she is soft early and strong later. Waive
+`misunderstanding-run` / `sweet-gap` for it explicitly (`storyExceptions`), on the user's word.
+
+## 8. Sources (read as search summaries)
+
+电影界 / 万众编剧 on 甜宠 (高糖低虐, 7-3-1); 知乎 短剧编剧黄金手册 (误会 in 2–3 episodes, sweet shot
+lengths); 36氪 on 霸总 as a position and 大女主; 澎湃 / 腾讯 "从霸总到训狗"; NRTA 霸总 notice (2024);
+流媒体网 / 投中网 / CSDN on 卡点 (the 甜宠 paywall at E5 is a single weak source); 知乎 on CP 拉扯, 追妻
+火葬场 ratios, 甜宠 苏点; 澎湃 拉片 《咬清梨》 and "女主越来越油"; 虎嗅 on script rejection; DataEye
+2025; 21经济网 on CP stickiness and counting kisses; 三联 on padding; Gwen Hayes (Romancing the Beat);
+Billy Mernit; K-drama conventions (TV Tropes, Dramabeans); Filmustage; Rolling Stone on ReelShort;
+ScreenWeaver; the Vertical Drama Love / Deadline fan survey; fake-relationship craft.

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

@@ -0,0 +1,127 @@
+# Story genres — how the story is written (`params.story`)
+
+The storyboard axes (look, action, comedy, grammar, composition) decide how a drama is **shot**.
+The story genres decide how it is **written**: which promise the audience is paying for, how the
+series is paced to keep it, which characters it needs, and what the outline has to track so the
+promise is kept. They sit on top of the universal 短剧 method (`craft-story.md`: the six
+judgements, three phases, the 15-second hook and the 30-second turns, 谈话+行动), which still
+applies to every genre.
+
+| genre | 中文 | the promise | tracked in | guide |
+| --- | --- | --- | --- | --- |
+| `revenge` | 复仇 / 逆袭 (战神, 赘婿, 重生, 真假千金) | the certain payback: 憋屈 → 小爽 → 更憋屈 → 大爽, up a ladder of antagonists | `outline.paybacks[]`, `characters[].antagonist` | `story-revenge.md` |
+| `sweet` | 甜宠 (霸总, 先婚后爱, 契约婚姻) | being seen and chosen: 高糖低虐, sugar in most episodes, milestones on time, a happy ending | `outline.romance[]` | `story-sweet.md` |
+| `mystery` | 悬疑 (推理, 刑侦, 悬疑复仇, 惊悚) | curiosity, dread and the click: a question asked early, answered late, from clues shown fairly | `outline.questions[]`, `outline.clues[]`, `characters[].mysteryRole` | `story-mystery.md` |
+| `comedy` | 喜剧 (沙雕, 无厘头, 甜宠喜剧, 古装喜剧) | the laugh as the texture of the story: a comic premise, comic flaws, gags set up and paid off | `outline.brief.comicPremise`, `outline.runningGags[]`, `characters[].comic`, script `gag` | `story-comedy.md` |
+| `angst` | 虐恋 / 追妻火葬场 (替身, 白月光, 带球跑) | delayed justice in love: 虐 ≤ 30 %, 悔 ≈ 40 %, 追 ≈ 30 %, his regret outweighing her pain | `outline.angst`, `brief.redLines` | `story-angst.md` |
+| `family` | 家庭伦理 (婆媳, 豪门恩怨, 萌宝, 认亲, 年代家庭) | being needed and loved: a family web that reorganises, tears on a beat, the wronged one vindicated before everyone | `characters[].family`, `outline.secrets[]`, `outline.vindications[]`, `outline.reconciliations[]` | `story-family.md` |
+| `palace` | 宫斗 / 权谋 (宅斗, 夺嫡, 女帝) | winning with the mind: schemes planted long before, a rank ladder with a low point, factions that realign | `outline.rankLadder`, `rankEvents[]`, `schemes[]`, `factions[]`, `allegiance[]` | `story-palace.md` |
+| `cultivation` | 玄幻 / 修仙 / 系统 (都市异能, 废柴逆袭) | visible growth: a 金手指 with costs, a realm ladder climbed one step at a time | `outline.powerSystem`, `goldenFinger`, `startPower`, `upgrades[]`, `fights[]` | `story-cultivation.md` |
+| `scifi` | 科幻 (末世囤货, 时间循环, 穿越, AI) | one "what if" followed all the way: a novum, rules with costs, a countdown, loops that learn | `outline.brief.novum`, `worldRules[]`, `countdown`, `loops[]`, `foreknowledge[]` | `story-scifi.md` |
+| `horror` | 恐怖 / 灵异 / 惊悚 (规则怪谈, 民俗) | safe fear: the threat felt early and shown late, rules shown before they kill, a rational close on the mainland | `outline.horror`, `horrorRules[]`, episode `scares[]` | `story-horror.md` |
+
+**Genres combine.** `params.story` is a list. 复仇 + 甜宠 is the commonest 短剧 there is; 悬疑 +
+复仇 is how suspense sells (the clue-solving delivers the 智商碾压); 甜宠 + 喜剧 is the romcom.
+Every rule of every listed genre applies; where two genres compete for the same episodes (sugar vs
+payback) the thresholds relax when the drama is mixed (`story-revenge` allows a longer gap
+between paybacks, `story-sweet` a lower share of sugar).
+
+**Choosing.** `init` reads the list from `--genre` (复仇 / 逆袭 / 战神 / 赘婿 / 重生 / 真假千金 →
+`revenge`; 甜宠 / 恋爱 / 霸总 / 先婚后爱 / 契约婚 → `sweet`; 悬疑 / 推理 / 刑侦 / 惊悚 → `mystery`;
+喜剧 / 搞笑 / 沙雕 / 无厘头 → `comedy`; 虐恋 / 追妻 / 火葬场 / 替身 / 白月光 → `angst`; 家庭 / 伦理 / 婆媳 / 萌宝 / 认亲 →
+`family`; 宫斗 / 宅斗 / 权谋 / 夺嫡 → `palace`; 修仙 / 玄幻 / 系统 / 异能 / 神医 → `cultivation`; 科幻 / 末世 / 时间循环 /
+赛博 / 星际 / 囤货 → `scifi`; 恐怖 / 灵异 / 惊悚 / 怪谈 / 民俗 → `horror`), or `--story revenge,sweet`. Confirm it
+with the user at the parameters question — it decides what the outline has to contain.
+
+**The market** (`params.market`: `mainland`, the default, or `overseas`) decides what the
+supernatural may be: on the mainland a horror threat is explained rationally in the end and the
+cultivation / horror compliance notes apply; overseas the supernatural may be real. Ask where the
+drama will be released.
+
+## When the ledgers are written
+
+All in stage 1 (outline), with the 分集目录, before sign-off:
+
+| genre | outline | characters (stage 1 block) | script (stage 4) |
+| --- | --- | --- | --- |
+| revenge | `paybacks[]: { ep, target, scale: small / big / final, by, how }` | `antagonist: { tier 1–3, firstPressEp, motive }` | — |
+| sweet | `romance[]: { ep, milestone, until?, note }` | — | — |
+| mystery | `mysteryMode`, `questions[]: { id, layer 1–3, question, openEp, answerEp, clues[] }`, `clues[]: { id, kind: true / red-herring, what, plantEp, prop?, echoEps[], dismissedEp? }` | `mysteryRole`, `firstEp` | beat `clue: "K1"` where a clue is planted |
+| comedy | `brief.comicPremise`, `runningGags[]: { id, premise, eps[] }` | `comic: { flaw, humanity, role: 逗 / 捧 / both }` | beat `gag: setup / build / punchline`, `runningGag` |
+| angst | `angst: { ending, turnEp, exitEp, reconcileEp, misbelief, beats[] }`, `brief.redLines` | — | — |
+| family | `secrets[]`, `vindications[]`, `reconciliations[]` | `family: { generation, role, minor?, endState }` | — |
+| palace | `rankLadder`, `rankEvents[]`, `schemes[]`, `factions[]`, `allegiance[]` | — | — |
+| cultivation | `powerSystem`, `goldenFinger`, `startPower`, `upgrades[]`, `fights[]` | — | — |
+| scifi | `brief.novum`, `worldRules[]`, `countdown`, `loops[]`, `foreknowledge[]`, `secondaryNovums[]` | — | — |
+| horror | `horror: { subgenre, threat }`, `horrorRules[]`, `episodes[].scares` | — | — |
+
+`render outline` publishes the ledgers as tables (复仇阶梯 · 感情里程碑 · 悬念问题 · 线索账本 ·
+贯穿笑点) so the user reviews them at sign-off with the 分集目录.
+
+## Gates
+
+| gate | stage | checks |
+| --- | --- | --- |
+| `story-revenge` | outline | first payback by E03; no long gap without one; the ladder (every antagonist finished once, lower tiers first, the arch-nemesis in the climax, by a lead); pressure before payback; a big payback every ≤ 10 episodes of escalation |
+| `story-sweet` | outline | sugar share and gap; meet E1, bind ≤ E3, touch ≤ E5, kiss by half, confession at 40–60 %; misunderstandings ≤ 3 episodes (one may run to 5 in the climax); one black moment at 70–90 %, mended within 5; a happy ending |
+| `story-mystery` | outline | one central question asked by E03 and answered in the climax; the culprit on screen early; clues per answer and their lead time; echoes for long plants; red herrings fewer than true clues and dismissed; ≤ 6 open questions |
+| `story-comedy` | outline | comic premise; every lead and support has a comic flaw, leads differ, someone plays it straight; running gags recur ≥ 3 times, spaced, and pay off in the climax |
+| `story-angst` | outline | the ending declared; 虐 capped at ~35 %; the turn at 25–45 %; 悔 + 追 ≥ 1.5 × 虐; every wound released within 2; an engineered misbelief the audience knows by E3; she leaves by choice; costly, public pursuit; HE reconciles late with sugar after; the male lead's red lines |
+| `story-family` | outline | ≥ 5 members over 2 generations, every one resolved; tears ≥ 20 % and ≤ 6 apart; a public vindication with ≥ 3 witnesses mid-run and a larger one in the climax; secrets hinted twice and revealed at 50–85 %; reconciliation earned over ≥ 10 episodes; children never the ones who land a blow |
+| `story-palace` | outline | schemes set up 2 / 5 / 20 episodes ahead, a master scheme in the first half; counters planted first, losses with a flaw; the emperor rescues at most once a phase; an antagonist win before the midpoint; the rank ladder (first by E12, rises, a low point, the top at the end); 2–4 factions, foreshadowed betrayals; moral capital |
+| `story-cultivation` | outline | the 金手指 by E2 with rules and costs; breakthroughs ≤ 12 apart, one realm at a time, each with a cause and a cost; the foe's realm known, ≤ 1 up with an edge; the peak in the last 15 %; hidden masters reveal a layer every 10 |
+| `story-scifi` | outline | the novum in E1; one novum; a limit or cost per power; rules shown before they decide; a countdown that only counts down; loops that learn; foreknowledge paid within 10; a midpoint turn |
+| `story-horror` | outline | a real scare in ≥ 80 % of episodes; false alarms rationed; the first sign in E1; the reveal past the half with glimpses; rules shown before they kill; 规则怪谈 anatomy; on the mainland a rational explanation, late and planted |
+| `story-script` | script | mystery: each clue is on screen (a beat marked `clue`) in its plant episode; comedy: punchlines per episode, a setup (or a running gag called back) before each, punchlines short |
+| `story-advice` | outline | hook variety; identity layers; extra-legal violence and money-only 强宠 (regulatory risk); public sugar in the climax; suspects; twist fatigue (advisory) |
+
+The thresholds scale with the episode count and skip what makes no sense in a very short run
+(a 3-episode pilot has no midpoint). They are researched defaults, not laws. They were researched on
+1–2-minute episodes; in a `medium` drama or a `movie` in parts the counts convert — by runtime for a
+series, by share of the film for a movie (`format.md`).
+
+## Exceptions
+
+A rule can be waived for the whole drama when **the user asks for it**:
+`"storyExceptions": [{ "rule": "hero-delivers", "reason": "user: the old general finishes him" }]`
+in `outline`. The rules: `first-payback` `payback-gap` `payback-ledger` `setup-before-payback`
+`tiers-ascending` `big-payback-cadence` `hero-delivers` (revenge) · `sweet-share` `sweet-gap`
+`meet-bind` `first-touch` `first-kiss` `midpoint-confession` `misunderstanding-run`
+`black-moment` `he-ending` (sweet) · `central-question` `culprit-early` `clue-count` `clue-lead`
+`clue-echo` `red-herrings` `open-questions` `clue-on-screen` (mystery) · `comic-premise`
+`comic-cast` `running-gags` `gag-density` `gag-setup` `punchline-brevity` (comedy) · `abuse-cap`
+`turn-timing` `regret-outweighs` `pursuit-length` `release-cadence` `engineered-misbelief`
+`exit-by-choice` `costly-regret` `ending-contract` `male-lead-red-lines` (angst) · `family-web`
+`every-member-resolves` `tear-cadence` `public-vindication` `secret-hygiene`
+`earned-reconciliation` `child-compliance` (family) · `scheme-setup` `no-teleported-evidence`
+`authority-not-rescue` `competent-antagonist` `rank-climb` `faction-realignment` `moral-capital`
+(palace) · `golden-finger` `upgrade-cadence` `no-level-skip` `cause-and-cost` `foe-known` `peak-held`
+`hidden-master-reveals` (cultivation) · `novum-first` `one-novum` `rule-costs` `show-before-use`
+`countdown` `loops` `foreknowledge` `midpoint-turn` (scifi) · `scare-cadence` `false-alarms`
+`early-threat` `hide-the-monster` `fair-rules` `rule-horror` `mainland-explanation` (horror). Never
+add one yourself to turn a gate green. (`mainland-explanation` and the child rule track regulation:
+waive them only for a release where they do not apply, and say so.)
+
+## With the storyboard axes
+
+| story genre | naturally pairs with |
+| --- | --- |
+| revenge | `grammar: faceslap` on the payback segments (the 爽点 of a 打脸 / 身份揭露 / 智商碾压 / 复仇 episode is flagged if it is not); an action style if the paybacks fight |
+| sweet | the `sweet-romance` or `costume-idol` look; the 甜宠 set pieces in `cinematography-sweet-romance.md` §6; `comedy: romcom` for the gags |
+| mystery | the `low-key` look; clue inserts (`evidence` cuts); `composition: art-first` for a contemplative 悬疑 |
+| angst | the `sweet-romance` look turned cold in the 虐 phase, or `low-key`; `grammar: faceslap` for the antagonist's comeuppance |
+| family | the `period-nostalgia` look for 年代家庭; `grammar: faceslap` on the 寿宴 vindication; `comedy` for 《太奶奶》-style warmth |
+| palace | the `costume-dark` or `costume-idol` look; `register: 古装`; `grammar: faceslap` on the reveals; `historical-realist` fights |
+| cultivation | `costume-idol` (修仙) or `scifi-soft` (都市异能); `wuxia-fantasy` or `superhero` fights; a fixed visual signature per realm |
+| scifi | the `scifi-hard` / `scifi-soft` look; `bullet-time` / `superhero` fights; the countdown as a HUD prop |
+| horror | the `low-key` look; `composition: art-first` for dread in empty space; `mystery` alongside for the clues |
+| comedy | `grammar: comedy` (the default for a comedy genre) with its `gag` cuts in the storyboard; the story's punchline beats become `gag: punchline` cuts |
+
+## Sources
+
+The research behind the four guides is summarised in each guide's last section. It came from
+Chinese industry writing (红果 编剧课, 流媒体网, 36氪, 虎嗅, 澎湃, 界面, 知乎 craft columns, DataEye
+reports, NRTA notices) and English craft sources (Gwen Hayes, Billy Mernit, Knox / Van Dine,
+Hitchcock / McKee, UCB, Vorhaus, Save the Cat, vertical-drama guides). The research agents read
+search-result summaries rather than full articles, so single-source numbers are marked as such
+and the thresholds are tunable.