luckiest-co 1.0.13 → 1.0.14

package/skills/luckiest-design-website/references/feel.md

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+# The emotion axis
+
+A page is not sections. It is a sequence of states a person passes through with
+their hand on a wheel. The device kit decides how a page looks, the grammar
+decides what a page is, and this file decides what it does to somebody.
+
+Design the feeling before the acts. An act list written first will always be a
+list of things that happen, and a page of things happening is a page nobody can
+describe afterwards.
+
+Read this after the interview, alongside [uniqueness.md](uniqueness.md), before
+the score table in SKILL.md Step 2.
+
+---
+
+## 1. The feeling curve
+
+Write the curve as its own artifact, in BRIEF.md, before a single act exists.
+One line per act: the emotion, then the thing on screen that causes it.
+
+The emotion column is the constraint. The cause column is the only place a
+device name may appear, and it appears second, because the feeling picks the
+device and never the other way round.
+
+Useful states, not a closed list: curiosity, recognition, unease, doubt,
+tension, awe, delight, relief, intimacy, confidence, resolve, calm.
+
+**If two adjacent acts produce the same feeling, one of them is filler.** Cut it
+or change what it does. Two acts of awe in a row is one act of awe followed by a
+reader who has adjusted. Every emotion is defined by what preceded it, which is
+why the curve matters more than any single peak: relief needs tension in front
+of it, awe needs quiet in front of it, intimacy needs scale in front of it.
+
+The curve also outranks the journey beats from Step 1. Beats say what the
+visitor learns. The curve says what they feel while learning it. When they
+disagree, the curve wins, because nobody remembers what they learned on a page
+that made them feel nothing.
+
+### Worked curve: a canned drink brand
+
+```
+1  Recognition   their own kitchen counter at 7am, shot at eye height
+2  Fatigue       the two containers, the mess, held still while copy names it
+3  Delight       a wipe, and the whole frame is one cold can, condensation running
+4  Trust         macro texture at a scale the eye cannot get in a shop
+5  Appetite      the flavours travelling sideways, each one landing whole
+6  Resolve       everything stops, one can, one line, one place to buy it
+```
+
+### Worked curve: an infrastructure product for engineers
+
+```
+1  Familiar dread  the alert channel at 3am, real markup, already scrolling
+2  Doubt           the log fills and nothing in it explains anything
+3  Clarity         one panel resolves the whole trace, the noise falls away
+4  Control         the visitor moves a selection and the surface answers
+5  Competence      the real numbers arrive on telemetry they can check
+6  Readiness       a live input with a cursor in it, not a button
+```
+
+### Worked curve: a landscape design-build firm
+
+```
+1  Stillness   a garden at dawn, almost nothing moving, held long
+2  Longing     copy naming the space they actually have, small and honest
+3  Curiosity   the drawing builds itself, survey to plan to planting
+4  Weight      material facts as museum labels, stone, cedar, water
+5  Warmth      the same garden five years on, people in it
+6  Intent      a quiet line of running text, not a CTA island
+```
+
+### Worked curve: a live event or festival brand
+
+```
+1   Pulse       a cut before the reader has settled, sound implied not played
+2   Appetite    faces, close, one per screen, gone
+3   Envy        the year before, at speed, twelve cuts in a viewport-height
+4   Urgency     the real date and the real capacity, counting
+5   Belonging   one held frame, the crowd, the only slow moment on the page
+6   Decision    abrupt, full bleed, the ticket line and nothing else
+```
+
+Note what the fourth curve does that the others do not: its one slow act is the
+peak, because on a page made entirely of cuts, stopping is the loudest thing
+available. The peak is defined by contrast with its own page, not by an absolute
+amount of spectacle.
+
+---
+
+## 2. The peak
+
+People remember one peak moment and the ending. The middle compresses into a
+general impression and then goes. This is the peak-end rule and it is the single
+most useful thing known about how anybody experiences a sequence.
+
+So every build engineers **one deliberate peak**. Name it in BRIEF.md as the
+sentence a visitor would say to a friend:
+
+> the screen went black and then the whole ocean lit up under me
+
+Not "the hero is impressive". A described moment, with a before and an after.
+
+The peak gets three things, and it gets them at the expense of other acts:
+
+| It gets | Because |
+|---|---|
+| The asset budget | The best generated frames or the only real footage go here, not to act two |
+| The silence before it | An act of quiet, or an empty viewport, so the change has something to be a change from |
+| The most scroll room | The largest `data-sc-span` on the page, and the `data-sc-dwell` that makes the camera settle exactly on it |
+
+**A page with three peaks has none.** Three impressive acts flatten each other,
+and the visitor leaves able to say the site was nice and unable to say what
+happened. If a second act is competing, demote it: shorter span, less asset,
+plainer device. Something has to be the biggest thing.
+
+**The ending must resolve.** The last feeling is the one they carry, and a page
+that trails off into a footer overwrites everything the peak did. Resolution
+means the page arrives somewhere and stops: the divider collapses, the world
+lands at a place, the type shrinks to its quietest setting, the surface hands
+over an input. The close cue holds (see the cue contract in
+[devices.md §2](devices.md)) so the final screen still has something on it. A
+closing act that fades to an empty stage is the page apologising for existing.
+
+---
+
+## 3. The tell-someone test
+
+Before building, complete this sentence:
+
+> it's the site where ___
+
+Then look at what filled the blank.
+
+- "it has a scrub video" is a device name. No memory hook yet.
+- "the background changes colour" is a device name wearing a description.
+- "you dive to the bottom of the ocean and the pressure readout keeps climbing"
+  is an experience. That is a hook.
+- "you drag the letters of the logo apart and they snap back perfectly" is an
+  experience. That is a hook.
+
+The blank has to be something that happened **to the visitor**, phrased from
+their side. If the sentence only makes sense to someone who has read the build
+folder, it fails.
+
+This sentence goes in BRIEF.md, and the signature move from
+[uniqueness.md §3](uniqueness.md) usually lives inside it. If the signature move
+and the tell-someone sentence point at different moments, one of them is
+decoration. Merge them, or cut the one that is not the peak.
+
+The test is also the fastest fingerprint check available. If the sentence would
+be true of an existing build in
+`<workspace>/FINGERPRINTS.md`, the page is not new yet.
+
+---
+
+## 4. Being in it, not watching it
+
+A film plays whether you are there or not. The difference between a viewer and a
+participant is whether the page acknowledges that somebody specific is here: how
+fast they are moving, where their pointer is, whether they stopped.
+
+Concrete techniques, in this skill's vocabulary:
+
+- **Pointer parallax that moves the world, not a card.** `data-sc-spotlight`
+  publishes `--sc-mx` / `--sc-my`. Drive a background layer's transform off them
+  instead of a highlight, and the environment shifts as the visitor moves,
+  slightly, the way a real space does when you lean.
+- **Dwell-triggered detail.** Hold still on an act and something further arrives:
+  a caption, a second line, a small annotation. Reward for stopping. Read
+  `--sc-p` staying constant across a few frames, in the page's own JS, and reveal
+  something that was never needed for comprehension.
+- **Scroll velocity shaping intensity.** Fast scrolling raises grain, blur,
+  chromatic offset, ground saturation. Slow scrolling settles it. The page feels
+  like it is being driven rather than played back, and it costs one derived
+  custom property.
+- **The page addressing "you" at one moment that lands.** Not throughout, which
+  is just copywriting. One line, at the emotional turn, in second person, when
+  the visitor is already implicated. It works because it is the only time.
+- **A trace of where they have been.** Anything that accumulates as they travel,
+  so arriving at the end means having a record rather than reaching a footer.
+
+**Embodiment is seasoning. One or two per page.** A page that reacts to
+everything feels haunted, not alive: the visitor stops reading and starts
+poking, which is the opposite of what any of this is for. Pick the one that
+serves the peak and leave the rest.
+
+Everything here is gated to `(hover: hover) and (pointer: fine)` and off under
+reduced motion, same as the pointer devices. A technique that only exists on
+desktop cannot be the thing that carries the page's meaning.
+
+---
+
+## 5. Pacing as emotion
+
+Scroll distance is emotional time. It is the only clock this medium has, and it
+is fully under your control, which makes it the cheapest emotional instrument in
+the kit and the one most often left at default.
+
+| Pacing | Reads as | Built with |
+|---|---|---|
+| Short acts, hard cuts | Adrenaline, pulse, impatience | Acts under 1.4vh, no `pin`, `dwell` at 0 |
+| A long pin | Held breath, pressure, attention | `data-sc-span` 3+, overlapping cues, one idea |
+| An empty viewport before a reveal | Silence before the drop | A ground-only act, no cue until the next one |
+| A slow settle mid-act | The shot landing | `data-sc-dwell` 0.35 to 0.6 with the cue peak on the settle |
+| A fast cue with a long plateau | Confidence, arrival | `data-sc-cue="0.1 0.9 0.08 0.4"` |
+| A slow ramp in | Hesitation, dawning | Long `rampIn`, and use it once, because it is close to feeling broken |
+
+Three rules follow.
+
+**A continuous world is the exception to pacing variety.** Everything in this
+section is about a page of acts, where varying the length is how you vary the
+feeling. A worldflight is one camera move, and a camera that changes speed
+between legs reads as broken rather than as expressive. There, hold one pace and
+let the peak carry the shape by being the single long leg. See worldflight.md
+section 7c.
+
+**Give the peak room.** The peak act should have the largest span on the page by
+a visible margin. If every act is 2.2vh, the page has no shape, whatever the
+curve in BRIEF.md says.
+
+**Compress the administrative parts.** Specs, logistics, FAQ, credentials: these
+are information, not experience. Flow sections at short stagger, not pinned acts
+with dwell. Spending scroll on them is spending the visitor's patience on the
+part they will not remember.
+
+**Silence has to be authored, not left over.** An empty screen you meant reads
+as anticipation. An empty screen you did not mean reads as a page that failed to
+load, and the harness reports both as dead scroll. If you are using the empty
+viewport before the peak, say so in BRIEF.md so the verification pass knows the
+difference.
+
+The total-length budget from SKILL.md still holds at 8 to 14 viewport-heights.
+Pacing is how that budget is spent, not permission to spend more of it. A page
+that needs 20vh to land its curve has too many acts, not too little room.
+
+---
+
+## 6. The feel check
+
+A verification pass, run after the harness in SKILL.md Step 5, against the
+contact sheets and a live scroll. The harness measures whether the page works.
+This measures whether it does what it was for.
+
+Run it in this order, and do not reread BRIEF.md first. The whole value is in
+arriving cold.
+
+1. **Scroll the page top to bottom at a normal reading pace.** Once. No stopping
+   to fix things.
+2. **Write down what you felt, act by act.** One word per act, before looking at
+   anything. If an act produces no word, write nothing for it, because nothing is
+   the finding.
+3. **Now open BRIEF.md and diff the two curves.**
+
+**Where they disagree, the page is wrong, not the brief.** Rewriting the
+intended curve to match what got built is the same failure as rewriting a
+fingerprint row: it turns the artifact into a description of the accident.
+
+Then three specific checks:
+
+- **Does the peak read as the peak?** On the contact sheet it should be the
+  largest visual change on the page and it should occupy the most scroll room.
+  If a different act is the biggest thing on the sheet, that act is the real
+  peak and the plan lost. Fix the page or admit the new peak in BRIEF.md and
+  give it the budget.
+- **Is there silence in front of the peak?** Look at the act before it. If it is
+  as loud as the peak, the peak has nothing to arrive from.
+- **Does the end resolve?** The last screen should be able to stand still with
+  content on it. Blank final frame, a cue that faded out, or a footer that just
+  begins means the page ended rather than finished.
+
+Two adjacent acts that produced the same word in step 2 is the filler finding
+from §1, caught late. Cutting one is almost always right, and almost always
+improves the total length budget at the same time.
+
+Report the diff in the final output: the intended curve, the felt curve, and
+what you changed. A build that reports them as identical on the first pass
+either got lucky or did not do the check cold.

package/skills/luckiest-design-website/references/registry-examples.md

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+# Fingerprints
+
+Every site built with **luckiest-design-website** gets one row here, appended after it
+ships. The registry exists so the next build can prove it is a different page
+rather than a re-skin of an existing one.
+
+The rules, the six dimensions and the gate itself live in
+`.claude/skills/scrollcraft/references/uniqueness.md`. Short version:
+
+**A new build must differ from EVERY row below on at least 4 of the 6
+dimensions.** Four against each row individually, not four on average across the
+table. If a planned build fails, change the plan. Never edit a row to make room
+for it.
+
+The six dimensions are: **grammar**, **nav treatment**, **hero device**,
+**act-sequence shape**, **close pattern**, **signature move**.
+
+---
+
+## Why this file exists
+
+The first four builds were run before there was a structure axis. Read the rows
+and the collision is obvious: **all four sit in the same grammar**, with the same
+nav, the same hero device, the same close, and no signature move on any of them.
+`saas` (Vesper) and `perkform` are the pair the owner named, but the problem is
+the whole table. Only the act order and the palette actually moved.
+
+Those four rows are recorded as-built, warts included. They are the baseline any
+fifth build has to clear, and clearing them is not hard, because they occupy one
+cell of a very large space.
+
+---
+
+## The registry
+
+| Build | Grammar | Nav treatment | Hero device | Act-sequence shape | Close pattern | Signature move | World | Port |
+|---|---|---|---|---|---|---|---|---|
+| `perkform` | Filmic one-shot | Fixed minimal bar: wordmark + one CTA | Full-bleed `scrub` 2.6vh, lead-corner kinetic `h1`, greet cue `0 0.78 0` | `scrub > pin > flow > scrub > pan > pin`, 6 acts, ~13.7vh | `pin` 1.15vh, `data-sc-spotlight` stage, `data-sc-magnet="0.26"` CTA, footer inside the stage | **none** | Low-key cinematic. Charcoal `#0A0807`, lime accent `#C8FF3D` | 4500 |
+| `nateherk` | Filmic one-shot | Fixed minimal bar: wordmark + one CTA | Full-bleed `scrub` 2.5vh, lead-corner kinetic `h1`, greet cue `0 0.82 0` | `scrub > pin > flow > scrub > flow > pan > pin`, 7 acts, 13.8vh | `pin` 1.15vh, spotlight stage, magnet `0.26` CTA, plus a social sub-nav in the footer | **none** | High-key editorial. Warm paper `#F2F0EB`, navy accent `#14589B` | 4501 |
+| `agency` | Filmic one-shot | Fixed minimal bar: wordmark + one CTA | Full-bleed `scrub` 2.4vh, lead-corner kinetic `h1`, greet cue `0 0.86 0` | `scrub > flow > pin > scrub > pan > flow > pin`, 7 acts, 13.6vh | `pin` 1.15vh, spotlight stage, magnet `0.26` CTA on a dusk ground | **none** | Natural documentary. Woodland dark `#0B1013`, weathered copper `#C97B3E` | 4502 |
+| `saas` | Filmic one-shot | Fixed minimal bar: wordmark + one CTA | Full-bleed `scrub` 2.5vh, lead-corner kinetic `h1`, greet cue `0 0.76 0 0.48` | `scrub > pin > flow > pan > scrub > pin`, 6 acts, 13.8vh | `pin` 1.15vh, spotlight stage, magnet `0.26` CTA, cue opened early for the tab stop | **none** | Nocturne. Ink-blue `#050A10`, sodium amber `#FF8A3C` | 4503 |
+| `vesper-v2` | Live surface, on one continuous incident timeline | Console status chrome: process line, incident id, live timecode bound to scroll. No CTA in the chrome. Navigation is the playhead rail fixed to the bottom edge | Cold open as the product surface: pinned ops console, status board plus a log stream already tailing, `h1` set as the incident title in the panel header. No media, no kinetic type, no scrub | `pin > flow > pin > pan > pin > flow > pin`, 7 acts, **12.1vh** (12.5vh at 390px). Zero `scrub` acts, zero `tilt`, one `pan` carrying the trace itself | Command prompt: `vesper init` types itself on approach, caret blinking, real Copy button, install-style lines, concept disclosure in a footer inside the stage. No spotlight, no magnet | **Scroll is the playhead.** A persistent trace rail spans the whole page, drawing a real latency series; scroll scrubs a piecewise-linear incident clock that crawls through the run and jumps six hours in the gap. Log lines and spans materialise when the clock passes their own printed timecode; waypoints stamp as they are passed and stay stamped; keyboard focus scrubs the playhead to the focused span | Code-rendered console. Deep ink `#05080D` to warm black `#0A0708`, sodium amber `#FF8A3C` as the alarm only, one muted state green `#5FA98D` in status glyphs. Zero generated imagery | 4504 |
+| `descent` | **Continuous world**, on the kits **worldflight** mode. One water column on one `position:fixed` stage; the seven zones are depths passed through. Zero acts, zero `sc-section`, zero `flow`, zero `pan`, zero `data-sc-drift`, and the only element in document flow is the spacer | The nav is a **map**: a left-edge depth gauge carrying a metre readout bound to journey progress, the current zone, and seven clickable waypoints on a hairline scale with a travelling tick. No wordmark-plus-CTA bar; no CTA anywhere in the chrome | The world already in motion with no title stage, and **no block anywhere on the page**: a seam-locked nine-leg flight scrubbing from the first notch on one fixed stage. The `h1` is set at `--md`, anchored **top-right** in the dawn sky band on the fixed copy layer, and greets on the `hero` window rather than fading in. The largest thing on the first screen is the depth readout at `0 m` | **One worldflight track, nine legs, 8.18vh of film over a 9.18vh spacer** (the mode adds a closing viewport). Weights 0.95 / 0.92 / 0.94 / 0.95 / **0.95 + 0.95** / 0.90 / 0.80 + 0.82, capped by the ~1.5vh-per-8s rule, so the peak buys its room by **owning two legs (1.90vh) against a 0.95vh next-largest zone** rather than by a bigger span. Copy anchors run TR, BR, BL, TL, BC, MR, C, never repeating adjacently | Arrival in the same canvas, still flying: two ascent legs carry the camera off the seafloor and up into the daylight ceiling, the authored grade lifts to surface blue, the depth number **falls** to 0 for the only time on the page, and the CTA is an etched plate resting in that light on a close window with `rOut` 0, so nothing fades out under the reader. No spotlight, no magnet, no `1.15` pin | **The dark that answers.** In the midnight zone the page stops lighting itself: a near-opaque mask covers the water and the pointer carries the only hole in it, a lamp cone driven off `--sc-mx`/`--sc-my` published by the page's own handler. Stop scrolling for ~0.6s inside that zone and bioluminescent motes fade up and drift toward wherever the lamp is pointing, then scatter the moment the wheel moves. Ramps out before the bloom so it never fights the peak | Underwater nocturne, real deep-water photographic. Ink `#03070C`, bioluminescent cyan `#35E6DA` | 4505 |
+| `airfield` | Rhythmic cutlist | Full-width split-flap **departures strip** fixed to the top: wordmark, one live board row that flips as the page advances, one CTA at equal weight. Loud, not minimal. No progress bar | Static full-bleed still at 1.00vh that cuts away in under a viewport. `<h1>` set small in the top-left corner as stencilled signage, over a corner scrim. No clip, no scrub, no display-scale greet, no kinetic hero | `flow x15`, **15 acts, 13.19vh**. **Zero pinned acts** (no `scrub`, `pin` or `pan` anywhere), zero video. Full-bleed frames at ~1.00vh alternating with 0.30-0.42vh type slabs; `reveal` on every frame in a different direction; grounds hard-cut per section rather than drifted | Abrupt full-bleed slab: eyebrow, one amber CTA block at 11vw, footer with the concept disclosure inside it. No spotlight, no magnet, no fade-down. The strip stamps FINAL CALL and holds | **The departures board.** The lineup is a real split-flap board in real markup, 320 flaps, each walking forward through a 40-character set. Scroll drives it: stop half way and it holds half flipped. The strip flips through the lineup as the page advances; at the peak the board unfurls out of the strip to fill the screen, populates top to bottom, empties itself row by row to DEPARTED, and the one row that was never filled in flips up to poster scale as the headliner | Hard-light graphic. Dusk blue-black `#0B1119` with two full-bleed inversions (concrete `#E7E1D5`, amber `#FFC400`), flap amber `#FFC400` accent, `#FF4A2B` as the board's alarm state only | 4506 |
+| `pigment` | **Gallery / catalog.** Seven specimens in a walkable museum index, every one labelled on the same schema (number, name, composition, origin, period, what it did, status), facts only, zero persuasion, zero kinetic type | A clickable **specimen index** set in the top margin like a running head: catalog numerals I to VII plus ST, each with a swatch dot in its pigment's hue, current entry underlined via scroll spy. No bar, no CTA in the chrome, no numeric readout | **Object one, already in view and already labelled.** A framed specimen plate (generated still on a mat) with the museum label beside it on greet cues; `h1` is the specimen name. No full-bleed media, no title treatment, no display-scale stack | `pin > flow > pin > flow > pan > flow > scrub > flow > pin`, **9 acts, ~13.4vh** (shares maison's vh band; differs on everything else in the shape: 9 acts not 11, one scrub one pan, zero kinetic, one constant bone ground, flows carrying reveal / parallax / iris). Peak = the only clip at 2.7vh with dwell 0.4, silence act (0.5vh) directly before it | **The acquisition plate.** The close is Specimen VII: Visitor: a framed canvas live-mirroring every smear the visitor left, labelled on the same schema (composition: the pigments they touched; acquired: just now), colophon and a "walk the room again" link inside the stage, hold cues, nothing fades to empty | **The visitor's brush.** The pointer is a brush loaded with the pigment of the specimen in view; strokes deposit chalky color on a fixed multiply canvas and never come off; every specimen passed also auto-stamps a small smear (so touch visits accumulate a record); the close frames the canvas as the newest specimen. Distinct from descent's lamp (reveals vs deposits) and maison's tray (authored tokens vs visitor-made marks) | High-key editorial museum-specimen photography, macro grain, bone-white seamless. First light canvas since `nateherk`. Palette rule: chrome strictly achromatic ink `#1A1611` on bone `#F2EEE3`; ALL saturation belongs to the eight specimen hues and the visitor's smears. Fraunces + Instrument Sans, first use of either | 4509 |
+| `maison` | Chaptered editorial. Three chapters as printed intertitle-plus-spread pairs, hard cuts between grounds, no interpolation anywhere | No bar. A folio in the top margin carrying the house and the current chapter, updating as chapters pass, suppressed on the title page and the colophon the way a running head is in print. Beside it a fixed margin tray (the accord) that accumulates. Neither is clickable; the page has no navigation, only position | **Title page.** Type on a paper ground, no media above the fold at all: masthead, one `h1`, and a contents list of three chapter names that arrives on the first notch of scroll. No scrub, no kinetic hero, no corner anchor | `kinetic > reveal > parallax > reveal > pan > reveal > kinetic > drift > pin > scrub > flow`, **11 acts, 13.38vh**. Both clips confined to one chapter; the intertitle `reveal` recurs as the chapter boundary and is never adjacent to itself | Full-screen paper **colophon plate** that bookends the title page: masthead rule, the ask set as a line of running text with an italic underlined link inside it, a spec list as museum-label rows, concept disclosure in the foot. Smallest type on the site. No spotlight, no magnet, no button island | **The accord.** Three empty vial marks sit in a margin tray from the first screen. Each chapter's spread stamps its own token as it is read, and the stamps never come off. At the turn the three tokens leave the tray, travel into the frame, stack into a column, compress, and hand over to the bottle that appears inside the footprint they just made; the labels re-set from `Pluie / Zeste / Fumée` to `Tête / Cœur / Fond` and the tray collapses to the scent's name. The visitor's scroll assembled the product | Macro texture (worlds.md #5) at millimetre scale. Grounds hard-cut paper `#E9E5DA` → wet slate `#0B0D0D` → bone `#F2F1EA` → ember `#12100C` → void `#070808` → paper. One citron accent hue at two lightness stops, `#C9D36A` on dark and `#57601F` on light, because the page alternates. Bodoni Moda and Archivo | 4507 |
+| `orrery` | **Continuous world**, on the kit's **worldflight** mode. One handmade scale model of the Earth on a single `position:fixed` stage; the three destinations are places the camera falls into and climbs back out of. Zero acts, zero `sc-section`, and the only element in document flow is the spacer | The nav is a **map that is an object, not a readout**: a bearing dial on an instrument plate fixed bottom-left, wordmark at its hub, whose disc turns exactly **once** across the page and carries a pip at each destination's real longitude (135.8E, 73W, 4W), so a pip arrives under the needle when the flight does. **No number anywhere on the page**, which is the thing `descent` and `vesper-v2` had both spent. Three clickable stops; the current one is marked with an accent square, never recoloured | The world **at rest**. The model globe sitting still on a workbench under a slow push-in, with the `h1` at **display scale** (`--sc-t-3xl`, held to two lines) as the largest thing on the first screen. No chrome readout, no small headline, no kinetic split, no corner greet cue | **One worldflight track, ten legs, 11.97vh of film over a 12.97vh spacer.** **One pace for the whole flight**: every 5s leg carries 1.08vh and the 10s peak carries **2.25**, so the film advances at 0.212-0.225vh per second everywhere and never surges between legs (measured spread 6%, down from 36% on the first cut). `data-sc-seam` 0.16, `data-sc-lerp` 0.12. The peak buys its room by being **one leg carrying the page's only 10-second clip at slightly over double every other weight**, rather than by owning two adjacent legs the way `descent`'s did. Copy anchors run BL, BR, C, BR, BL, TL, ML, TL, never repeating adjacently; two of those anchors (TL, ML) are not in the kit | **A return, not an arrival.** The flight climbs off the model and lands back on the workbench it opened on, so the last frame rhymes with the first instead of reaching somewhere new. The CTA is a letterpress card resting in that light, beside the folded card and pencil that are actually in the shot. No spotlight, no magnet, no fade-out | **The elsewhere field.** Sixty markers for places this route is not going ride over the world for the entire page, parallaxed by their own depth. Sixteen are named and interactive. During the fall they **streak**: a radial burst driven off the page's own reading of `--sc-seg`/`--sc-segp`, tearing past the camera. **Point at one and it stops**: the held marker simply stops being written to, so it freezes exactly where it was while everything else keeps moving, and its name and one line arrive. Click or tab to keep it held, Escape releases. At the close every one of them lights vermilion in an index-ordered cascade under the line that says the list is too small | Handmade physical scale model, macro tilt-shift. Milled brass, painted plaster, real moss, poured resin, sifted sand, fibre-optic practicals. Cold off-black `#07080A`, vermilion `#F0492A` with one lifted stop `#FF7A5E` for small marks. Space Grotesk and IBM Plex Sans | 4510 |
+| `luckiest-design-website-showcase` | **Typographic poster.** Type is the imagery; one Kie.ai material texture is visible only inside the peak letterforms. No photographic ground, scrub, card, rail, tilt, parallax, spotlight or magnet | **No navigation.** `SCROLLCRAFT` is set as composition-scale metadata and the hero word is the wordmark. No persistent chrome, progress, index or CTA above the close | A single real-text `SCROLL` fills the first screen at 24.5vw. Its characters breathe on opposing baselines as the pinned hero advances. No media, corner-anchored copy, scrub or separate logo | Engine acts `pin > flow > flow > pin > flow`; device score `kinetic > flow/in > reveal > bespoke pin > flow`. **5 acts, 10.8vh desktop / 10.5vh mobile**, zero video. The peak owns 4.4vh and the act before it is authored silence | Full-screen bone inversion in normal flow. Smallest type on the site, `Make one` as a plain underlined mail link, disclosure in a hairline footer. No button island, pin, spotlight, magnet or fade-down | **Borrowed momentum.** Page-local physics measures real scroll velocity and gives each `ALIVE` letter a different mass, offset, skew and settle rate. Fast motion breaks the baseline and reveals physical pigment; stillness returns all five letters to exact alignment. Fine pointers add a directional bias, touch keeps the velocity behavior, reduced motion shows the resolved form | Typographic material poster. Off-black `#070707`, bone `#F3F0E8`, cobalt `#174CFF`; Arial Black and Helvetica Neue. One generated physical cobalt-and-bone pigment image, confined to glyph interiors | 4508 |
+| `phase` | **Split stage.** One fixed viewport carries matched cold and ready worlds for the full page; the seam is the composition and collapses only at the resolve | The divider is the only chrome: state labels, a six-dot clickable chapter rail, current marker and progress share one moving vertical seam. No bar, menu, numeric readout or CTA in chrome | The exact same full-bleed product frame exists twice at once, cold-filtered left and cobalt right, with a real-text `PHASE` crossing the seam at 22vw. No playback begins above the fold | `flow x6`, **11.0vh**. Image score `hero > hero > macro > macro > hand > table`; one custom-scrubbed five-second clip, zero engine scrub/pan/tilt. The peak owns 2.65vh after a 1.25vh authored silence act | The seam retreats from 62% to 0%, so READY physically takes the entire frame. `NOW.` and one dark full-width CTA land over the final product scene; concept disclosure sits in the same bottom rule. No spotlight, magnet or fade to empty | **Heatprint.** Pointer and touch paths bloom the cobalt ready-state photograph through a cold base, then expand and cool away. Scroll adds a deterministic heat front for touch and screenshots; reduced motion shows one stable partial bloom. Nobody else may take temporary thermochromic path painting whose reveal is the product behavior | Physical macro product campaign. Porcelain bone `#EEE9DD`, soot `#060808`, electric cobalt `#0C46FF`; one product invariant across six generated stills and one five-second macro shot | 4511 |
+
+---
+
+## What is taken
+
+Read this before planning, not after. Each line is a shape that a new build
+cannot reuse without spending one of its six dimensions.
+
+- **Grammar:** filmic one-shot is used four times. The other seven grammars in
+  uniqueness.md §2 are all unclaimed.
+- **Nav:** fixed minimal top bar with a wordmark and exactly one CTA, four
+  times. No build has yet tried app chrome, a folio, a waypoint map, an object
+  index, a divider, a loud bar, or no nav at all.
+- **Hero:** full-bleed `scrub` with corner-anchored kinetic type on a greet cue,
+  four times. Spans cluster at 2.4 to 2.6vh.
+- **Act shape:** 6 or 7 acts, 13.6 to 13.8vh, two `scrub` acts, one `pan` rail
+  of `data-sc-tilt="6"` cards. Every build lands in the same band.
+- **Close:** `pin` at exactly `data-sc-span="1.15"` with `data-sc-spotlight` on
+  the stage and `data-sc-magnet="0.26"` on the CTA, four times.
+- **Signature move:** claimed once, by `vesper-v2`: scroll as a playhead over a
+  persistent trace rail with a piecewise-linear clock. Nobody else may take a
+  scroll-position-as-time-axis rail; the rest of §3's list is still open.
+- **Palette formula:** one dark-or-paper canvas plus exactly one accent, five
+  times. Not a gate dimension, but the same reflex, and it is still worth
+  breaking. `vesper-v2` bends it only by adding one semantic state colour.
+
+Claimed by `airfield`, so also now taken:
+
+- **Grammar:** rhythmic cutlist. Five grammars remain unclaimed (chaptered
+  editorial, continuous world, typographic poster, gallery/catalog, split
+  stage).
+- **Nav:** a loud full-width bar whose content is itself the signature move.
+- **Hero:** a still frame that cuts away in under a viewport, with the `<h1>`
+  set small rather than at display scale.
+- **Act shape:** 15 short acts at 13.19vh with **zero pinned acts of any kind**
+  and no generated video. The old 13.6-13.8vh band and vesper-v2's ~12.1vh are
+  still the things to avoid; ~13.2vh is now also spent, as is "6 or 7 acts".
+- **Close:** an abrupt full-bleed accent slab with the CTA as the last cut.
+- **Signature move:** split-flap character animation driven by scroll. Nobody
+  else may take flipping-character type as their bespoke move.
+- **Palette:** the one-canvas-plus-one-accent formula is finally broken. This
+  page cuts to two full-bleed inverted grounds (a light one and a saturated
+  accent one) mid-page. That option is now demonstrated, not taken.
+- **Ground handling:** per-section painted backgrounds instead of
+  `data-sc-drift`. Worth knowing: drift is scoped to the first act whose
+  progress is strictly between 0 and 1, so on a page with several short acts on
+  screen at once it lags roughly one section behind.
+
+Claimed by `vesper-v2`, so also now taken:
+
+- **Grammar:** live surface. Six grammars remain unclaimed (chaptered editorial,
+  continuous world, typographic poster, gallery/catalog, split stage, rhythmic
+  cutlist).
+- **Nav:** app/console chrome with a scroll-bound readout, plus a fixed bottom
+  rail acting as the page's navigation.
+- **Hero:** the product surface already in a state, with no media and no
+  display-scale headline.
+- **Act shape:** 7 acts at ~12.1vh with **no** `scrub` act at all. The old
+  13.6-13.8vh band is still the thing to avoid; ~12.1vh is now also spent.
+- **Close:** a typed command prompt with a copy control.
+- **Assets:** the first build with **zero** generated imagery. Uniqueness does
+  not require a kie.ai spend, and a page that proves it is worth having in the
+  table.
+
+Claimed by `maison`, so also now taken:
+
+- **Grammar:** chaptered editorial. Five grammars remain unclaimed (continuous
+  world, typographic poster, gallery/catalog, split stage, rhythmic cutlist).
+- **Nav:** a margin folio that names the current chapter, plus a persistent
+  accumulating tray. Also the first build with a nav that is deliberately not
+  clickable.
+- **Hero:** a title page. Type on a ground with no media above the fold at all.
+- **Act shape:** 11 acts at ~13.4vh, alternating light and dark grounds on hard
+  cuts. The 13.6-13.8vh band and ~12.1vh are both still the thing to avoid; a
+  build landing near 13.4 now has to differ elsewhere.
+- **Close:** a full-screen colophon plate bookending the hero, CTA as running
+  text inside a sentence.
+- **Signature:** an accumulating margin tray whose contents merge into the
+  product at the turn. Nobody else may take collect-then-assemble; it is
+  distinct from `vesper-v2`'s rail in that nothing here is a time axis and
+  nothing here is navigable.
+- **Palette:** the first build to run one accent hue at **two** lightness stops,
+  keyed to whether the current ground is light or dark. Any page that hard-cuts
+  between light and dark grounds needs this; a single stop cannot clear 4.5:1 on
+  both.
+- **Type:** the first serif. Bodoni Moda, justified in BRIEF.md against
+  taste.md's serif rule rather than reached for as a luxury reflex.
+
+---
+
+Claimed by `descent`, so also now taken:
+
+- **Grammar:** continuous world, **and with it worldflight mode**. Five grammars
+  remain unclaimed (chaptered editorial, typographic poster, gallery/catalog,
+  split stage, rhythmic cutlist). Worldflight is not itself a grammar and a
+  later build may need it, but a second continuous-world page would be the same
+  page: this one has the water column, the depth axis and the route rail.
+- **Nav:** a map. A fixed edge gauge with a scroll-bound numeric readout and a
+  clickable waypoint list with a travelling position marker. This is close
+  enough to `vesper-v2`'s scroll-bound console readout that the next build
+  should treat "chrome that reports your scroll position as a number" as spent
+  twice over.
+- **Hero:** generated media already in motion on a fixed stage, with the
+  headline set *small* on a `hero` greet window and a chrome readout as the
+  largest element on the first screen.
+- **Act shape:** no acts at all. **A nine-leg worldflight track, 8.18vh of legs
+  over a 9.18vh spacer**, where the peak takes its room by owning two legs
+  rather than by a longer span. The 13.6-13.8vh, ~13.1vh and ~12.1vh bands are
+  still the ones to avoid, and ~9.2vh is now also spent. So is the shape itself:
+  a page whose peak is two adjacent legs of one flight.
+- **Close:** the flight keeps flying to the last pixel and lands somewhere new,
+  with the CTA as an object inside the world rather than a button over it, on a
+  window with no fade-out.
+- **Assets:** the first build to use a **seam-locked chain** (nine legs: seven
+  chained with `--tail` on kling, two more chained on start images only, every
+  joint out of the encoded file at 22-45 dB PSNR) and the first to derive its
+  poster ladder from the encoded clips themselves. Chaining is now spent; the
+  SKILL.md warning against it stands for everyone else.
+- **Signature move:** a pointer-driven mask that reveals the world, plus
+  dwell-triggered particles. Nobody else may take "the pointer is the light".
+
+---
+
+Claimed by `luckiest-design-website-showcase`, so also now taken:
+
+- **Grammar:** typographic poster. Gallery/catalog and split stage remain unbuilt.
+- **Nav:** no navigation at all, with the wordmark absorbed into the composition instead of placed in chrome.
+- **Hero:** one extreme-scale real-text word as the entire first screen, with character baselines breathing in opposing directions and no media.
+- **Act shape:** 5 acts at 10.8vh desktop and 10.5vh mobile, zero video. Engine sequence `pin > flow > flow > pin > flow`; device score `kinetic > flow/in > reveal > bespoke pin > flow`.
+- **Close:** a full bone inversion in normal flow, with the smallest type on the site and a plain underlined mail link.
+- **Signature move:** measured scroll velocity gives letters different physical masses, breaking the baseline under speed and returning it to exact alignment under stillness. Nobody else may take velocity-responsive letter physics.
+- **Assets:** one generated physical pigment still, never used as a ground and visible only through live text. This is distinct from both zero-imagery builds and full-bleed generated worlds.
+- **Shared ground:** it shares zero video with `vesper-v2` and `airfield`, and a quiet small-type ending with `maison`; all six gated dimensions still differ from each of them.
+
+Claimed by `pigment`, so also now taken:
+
+- **Grammar:** gallery / catalog. Two grammars remain unclaimed (split stage; typographic poster went to `luckiest-design-website-showcase` in the same week).
+- **Nav:** a clickable index of the collection's objects with per-object color swatches and a scroll-spy current marker. The museum-label chrome family (folio, index, colophon) is now well trodden; the next build should avoid margin-chrome entirely or do something else with it.
+- **Hero:** the first object of the collection already in view, framed and labelled, `h1` as the object's name, no title treatment, no full-bleed media.
+- **Act shape:** 9 acts at ~13.4vh with exactly one `scrub` and one `pan`, zero kinetic type, and one constant light ground. The ~13.4vh number is now shared with `maison` (they differ on every other shape property); treat both ~13.4 and "9 acts" as spent.
+- **Close:** the last object in the collection is the visitor themself: a live canvas of their own accumulated marks framed and labelled on the collection's schema. Ending a page by accessioning the visitor is taken.
+- **Signature move:** the pointer as a pigment-loaded brush depositing permanent marks, plus scroll-triggered auto-smears as the touch fallback, composited into the close. Nobody else may take cursor-paints-the-page or visitor-marks-become-the-product.
+- **Palette:** an achromatic chrome with per-section object hues (eight saturated hues, none of them an accent role). A third way to break one-canvas-one-accent, after `airfield`'s inversions and `maison`'s two-stop accent.
+- **Facts:** the first build whose copy is real-world history, web-verified at draft time (snail counts, 1964, 1826). Concept brands invent nothing; a factual catalog verifies everything.
+
+---
+
+Claimed by `phase`, so also now taken:
+
+- **Grammar:** split stage. All eight documented grammars have now been built.
+- **Nav:** the dividing seam as the only chrome, carrying opposing state labels,
+  chapter ticks, current state, and progress while its own position changes.
+- **Hero:** the exact same product frame simultaneously shown in cold and ready
+  states, with one display-scale live headline crossing the seam.
+- **Act shape:** six flow acts over 11.0vh, with one custom-scrubbed macro clip,
+  a 1.25vh silence act, and a 2.65vh interactive peak.
+- **Close:** the comparison mechanic resolves by physically giving the full
+  viewport to one side. The divider retreats instead of cutting to a new page.
+- **Signature move:** Heatprint, where touch and pointer paths temporarily bloom
+  the ready-state product through its cold version, with deterministic scroll
+  and reduced-motion fallbacks. The product behavior is the interaction.
+- **Shared ground:** it shares cobalt, bone, and condensed grotesk type with
+  `luckiest-design-website-showcase`; full-bleed generated photography with the early filmic
+  builds; a fixed route rail with `descent`; and visitor marks with `pigment`.
+  It clears the gate because its grammar, divider nav, simultaneous-state hero,
+  six-flow shape, collapsing comparison close, and temporary thermochromic
+  reveal are all different from every existing row.
+
+---
+
+Claimed by `orrery`, so also now taken:
+
+- **Grammar:** continuous world for a **second** time, which is the one gate
+  dimension it could not clear against `descent`. It clears the other five, and
+  the two pages are not the same page: one is a water column with a depth axis,
+  the other is an object on a table you fall into and climb off. A **third**
+  continuous-world build has almost no room left and should pick another
+  grammar.
+- **Nav:** a map that is a physical instrument rather than a readout, turning
+  once across the page against real longitudes, with **no number anywhere on the
+  page**. That closes out the "chrome that reports your position" reflex in the
+  other direction: `descent` and `vesper-v2` spent the numeric version, this one
+  spends the analogue version.
+- **Hero:** the world held still with a display-scale headline as the largest
+  thing on screen. `descent` took world-already-moving with a small headline;
+  those are now both gone.
+- **Act shape:** ten legs, 11.97vh of film over a **12.97vh** spacer, every leg
+  the same weight except the peak, which is the only long clip on the page and
+  slightly over double the rest. The taken bands are now ~9.2, ~12.1, ~13.0,
+  ~13.2, ~13.4 and 13.6-13.8vh. "Peak as one oversized leg" is spent, as is "peak as
+  two adjacent legs".
+- **Close:** a return to the opening frame. The page ends where it started, with
+  the CTA as an object added to that first shot. Distinct from `descent`'s
+  arrival somewhere new and from `maison`'s colophon bookend, which is a
+  typographic rhyme rather than a spatial one.
+- **Signature move:** a persistent population of *other* options that outnumbers
+  the reader, is individually nameable, reacts by **stopping** rather than by
+  lighting, and pays off as a mass cascade at the close. Nobody else may take
+  "the things you are not choosing are on screen the whole time".
+- **Assets:** the first build whose world is an explicitly **handmade physical
+  model** rather than a photographic location or a code-rendered surface. It is
+  how the owner's "tiny world, but not cheap" direction was resolved without
+  reaching for the banned clay diorama, and it is worth reusing as a category:
+  material truth (brass, moss, resin, glue seams) is what keeps a miniature from
+  reading as a render.
+- **Palette:** one hue at two lightness stops again, but for a different reason
+  than `maison`. That page needed two stops because it alternates light and dark
+  grounds; this one needs them because the accent is a **small mark** (a needle,
+  a pip, a lit pin) over frames bright enough that the deep stop cannot clear
+  3:1 at that size.
+
+---
+
+## Appending a row
+
+After shipping, add one line to the table and one bullet to **What is taken** if
+the build claimed something new. Fill every column. Say what the build shares
+with existing rows, since the shared columns are the constraint the build after
+this one inherits.
+
+Rows are append-only. A build that has been superseded stays in the table,
+because the space it occupies is still occupied.
+
+---
+
+## `lane`: PERKFORM, second variation
+
+| Build | Grammar | Nav treatment | Hero device | Act-sequence shape | Close pattern | Signature move | World | Port |
+|---|---|---|---|---|---|---|---|---|
+| `lane` | **Rhythmic cutlist with a held overture.** Nine full-height hard-cut sections behind one act that pins. Shares the grammar cell with `airfield` and differs from it on the other five dimensions | **Two vertical Pulse Rails, one per margin, that merge into one.** Left COFFEE, right PROTEIN, each stamping named ticks as the acts that own them pass; a centred wordmark crowns them. No bar, no readout, no CTA in chrome. The rails are the only navigation and the ticks are its links | **A title alone, then a film.** Opens on a bare Roast Black ground with the `h1` centred at poster scale and nothing else on screen. As the reader scrolls, the title travels to the left column and settles while a ten-second locked-off clip fades up behind it and runs on a held stage across 3.5vh. No corner anchor, no kinetic split, no greet-over-footage: the type gets the first screen to itself | `pin(4.2) > flow x8` + one bespoke close, **10 sections / 9 engine acts, 12.91vh** (13.7vh at 390px). **Exactly one pinned act, and it is the first**: everything after act one is unpinned, under 1.4vh, with no `dwell`, no `pan` and no `scrub` device anywhere. Four clips scrubbed by page-local code, three of them simultaneously in one act, and two measured across their section's full height so a held stage keeps advancing as it leaves. Authored silence at 0.66vh directly before the peak | **The lane terminates in the ask.** The merged lane runs down into a bordered, blurred plate and stops in it: kicker, ask, one field, one button. Behind it a macro lid clip scrubs across the reachable range of the final section and arrives on its condensation frame. No gesture, no spotlight, no magnet, no fade-out | **The two-drink collapse.** Two chrome rails accumulate separately for two thirds of the page, then scroll drives them together: the ticks interleave into one column and the pair lands as the white Center Lane of the can. One rail carries the rest of the page. Distinct from `vesper-v2` (one horizontal time axis), `descent` (one depth gauge), `maison` (tokens that travel and stack), `pigment` (pointer deposits), `orrery` (markers that freeze), `airfield` (flipping characters), `phase` (pointer bloom) | Photoreal beverage campaign. **Six grounds, five hues**: Roast Black `#15110F`, Oat Cream `#F5EBDD`, Roast Brown `#3B241B`, Voltage Lime `#C8FF3D`, plus the three flavour colours as full-bleed plates. Archivo Black and Inter | 4512 |
+
+Claimed by `lane`, so also now taken:
+
+- **Nav:** margin chrome that is a *pair* and terminates by becoming one thing.
+  Also the first nav whose items are the page's own argument rather than its
+  sections.
+- **Hero:** a staged overture. Title alone on a bare ground, then the title
+  travels aside as the film fades up under it and runs on a held stage. The
+  first screen of this page has no media on it at all.
+- **Act shape:** exactly one pinned act, and it is act one. Worth knowing why
+  the pin came back: an unpinned frame gives a clip 2vh of `--sc-p` at most, and
+  a reader outruns ten seconds of footage inside that in one flick. If a page
+  wants a film that plays out, the stage has to hold; the cutlist's 1.4vh cap
+  and a ten-second shot cannot both be satisfied. The cap still governs acts two
+  through ten.
+- **Close:** an ask plate on a scrubbed macro, deliberately gestureless. Recorded
+  because the build tried the alternative first and it failed a real reader: a
+  pull-tab the visitor had to work out is the wrong ending for a landing page.
+- **Signature move:** two chrome elements merging into one. Nobody else may take
+  convergence-of-persistent-chrome as their bespoke move.
+- **Palette:** six grounds and five hues, which is the furthest any row has gone
+  from the one-canvas-plus-one-accent reflex.
+
+What it shares, and what the next build has to avoid because of it: the
+**rhythmic cutlist** grammar (with `airfield`) and **Archivo** as a display face
+(with `maison`).