wizz-method 2.21.0 → 2.23.0

package/src/skills-lib/wizz-video-styles/references/film-styles/papercut-red.md

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/papercut-red), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# Red Paper-cut — Style Prompt
+
+> Chinese window-flower paper-cuts brought to life: jointed red cut-outs on paper grounds, where the cut *is* the drawing and the holes are where the light gets in.
+> References (grammar only): folk window flowers of Shaanxi and Yuxian (sawtooth, crescent, cloud and swirl cuts, fold-symmetric rosettes, *yin* and *yang* cutting); the 1958–59 Shanghai Animation Film Studio cut-paper shorts (jointed figures, profile acting, paper layers in parallax). Copy no studio character, no named artist's work and no real motif sheet: generate every pattern from code, and never name the references in the film.
+
+## 1. Essence, and what it is not
+
+Every visible thing is **a piece of paper that was cut with scissors** and laid flat on another sheet. There is no painting, no gradient shading, no outline stroke: detail, volume and expression come only from **what was cut away**. Red paper is the hero material; grounds are paper too (a light paper by day, a deep dyed paper by night). Characters are **jointed cut-outs** (head, torso, upper and lower limbs pinned at rivets) animated in hard 12 fps steps.
+
+Not shadow puppetry: no light behind a screen, no translucent dyed hide, no rods. Here the paper is **front-lit and opaque**; backlight is a special event you save for the moment that needs it. Not flat vector art (no strokes, no gradients), not a silhouette film (every shape's interior is cut).
+
+## 2. Materials & rendering
+
+- **Paper grain:** a neutral-grey texture in `soft-light` inside each piece (dye mottling, fibres, specks), then the piece's alpha restored with `destination-in`, so holes stay holes.
+- **Cut edge:** every silhouette is a polyline with a slight low-frequency wobble (hand-cut), a 1 px light rim upper-left and a dark rim lower-right (the cut face). Architecture and machines use straight segments + wobble, never smoothing.
+- **Paper thickness:** each piece casts a tight soft shadow on the layer below; stacked folded paper shows 2–6 offset darker edges.
+- **Figures: red block + yin lines.** Every figure piece gets an **inset contour** (a thin slit a few units inside the outline): the classic double outline, which also separates red-on-red overlaps (an arm over a coat).
+- **Folk cutting vocabulary** (`demo/motifs.js`): sawtooth rows (fur, grass, tiles, fringe), serrated edges, crescents (scales, quilting), swirls (joints), clouds, rosettes, plum, coin, tapered slits.
+- **No floating islands.** A closed ring cut would drop its centre out of real paper. Eyes are two crescents (upper and lower lid) that leave bridges, plus a pupil *hole*.
+- Faces never morph: expressions are **swappable face pieces** (smile, surprise, fear, determined, asleep).
+- **The rosette (团花)** is designed as one 45° wedge and mirrored 8× (D4); other folds give 2×, 4× or 6×. Alternate rings of *yang* cut (band cut away, red lines left) and *yin* cut (lines cut out of a red field). Fold seams leave faint crease lines: keep them, they are true to the craft.
+- **Light:** front-lit scenes use the paper as is. Night: `frame × lightmap` + warm pools, then **emissive** backlit pieces (light × paper transmission via `multiply`; holes at full light), a two-level bloom and optional rays. Keep bloom low enough that the pattern stays legible at the centre.
+- **Projected pattern:** a piece's hole mask, squashed onto the ground and added with `lighter`; on a character, masked by its layer alpha over a solid warm spot, so cut features still read as holes.
+
+## 3. Colour logic
+
+- **China red** (around `#d2201f`, range `#c8102e`–`#d7261e`) is the hero material. Depth and role are shown by **paper tones one step apart**, not by shading: near pieces one step brighter, far pieces one step darker, an antagonist or a heavy object one step deeper.
+- **Ground and hero must be different paper families.** If background and hero are both red, the silhouettes stop popping. At night, all background layers are one dark dyed family and only the pieces that matter to the story are red; by day, a light paper ground with red and pale-red layers.
+- **Gold foil** is an accent kept for one late moment (a sun, a title, a coin); never a second main colour.
+- Examples of ground families: indigo night papers (far layers lighter blue, near darker); a warm rice-paper day with pale-red far hills; a jade-green or black paper for a story that isn't festive. Choose from the topic.
+
+## 4. Type & subtitles
+
+- **Subtitles are a paper strip in the world**, e.g. a red banner (横批) darker than the picture's reds so cream text holds, serrated edges, swallow-tail ends; a sturdy OFL serif (e.g. Fraunces SemiBold) around 44 px, low, with a paper shadow. It drops in on two 12 fps steps, like a couplet being pasted. Hold ≥ max(1.8 s, speech + 0.7 s); never overlap.
+- **Titles** are cut-out letters (*yang*-cut, counters are real holes) popping in letter by letter on 12 fps steps, with sawtooth border strips and a seal cut by code.
+- Small credits may be printed ink on paper.
+
+## 5. Motion quality
+
+- **Characters step at 12 fps** (pose sampled at `floor(t·12)/12`); **camera, light, weather, flames and flying pieces move on ones** at 24 fps.
+- Rigs pin pieces at rivets (neck, shoulders, elbows, hips, knees, jaws, tails). Hard poses, tiny eases, 1-frame overshoots ("pop" = 1.15× for one step). Weight comes from **size and camera shake**.
+- In profile, a raised near arm crosses the face: keep hands forward of the face or let a prop cover them.
+- **Folding:** the flap is split into ~16 strips; each is compressed by cosθ and enlarged along the fold by `1 + 0.28·height` (fake perspective), darkened as it stands up, in a lighter back colour past 90°, with a growing shadow and a crease after. About half a second per fold, each on a hit.
+- **Cutting:** the pattern is revealed through a mask of circles along the scissor path; the offcut drops once the outer edge is passed; blades open and close on a subdivision of the beat; scraps flutter out and land.
+- **Unfolding:** successive unfolds a fraction of a second apart, each flap swinging from folded to flat with ease-out (the "pa!" snap), then a scale bump and warm flash on the accent.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Extreme close-up tracking the scissor tip | making; attention to craft | a beginning of work; a precise act; a signature |
+| Flat front view, locked | the cut-out as an emblem | a title; a statement; a family portrait |
+| Slow pan across paper layers (parallax) | a world laid out | a village, a route, a timeline |
+| Low wide, a shape standing up from the ground layer | scale, threat | a storm; a rival; a deadline arriving |
+| Top-down tabletop | the craft as plot | folding, cutting, assembling, sorting |
+| Push toward a lit piece, pull back to many | one act spreading | influence; a network lighting up |
+| Page turn / sheet peel | time or place changing | day to night; before and after; chapters |
+| Pull back to an object in a room | the film was a thing someone made | memory; a gift; a tradition |
+| Rotation around a rosette's centre | order, repetition | a cycle; a team |
+
+Framing: layers stay parallel to the screen; depth comes from parallax and paper tones, never from perspective. Transitions are paper actions (fold, page turn, peel, a sheet flying off, a cut through the frame); no dissolves.
+
+## 7. Sound palette
+
+- **Foley follows the material:** scissors = metallic shear sweep (2.5–9 kHz) + a short ring + a fibre crack; folds = swish + crease tap; unfold = sharp snap; heavy steps = *cardboard* thud, not flesh; paper peel; pasting = a palm pat; match strike, puff; firecrackers = dense clicks 20–60 ms apart with low booms.
+- **Instruments:** a bright Chinese chamber ensemble, not piano and strings and not the opera percussion of shadow puppetry: pipa (tremolo on long notes), zheng (`dan_tranh`: broken chords, glissandi, tremolo), erhu (glides), dizi (flute), sheng or yangqin colours, woodblock, small and big gong, frame drum. Pentatonic modes.
+- Options: one snip = one beat subdivision; a rising zheng run, one note per thing that appears; a frame-drum heartbeat for weight; one big gong saved for one accent; total silence for a held breath.
+- **Voice:** warm storyteller, few lines. Duck music ≈ 9 dB and foley ≈ 3 dB under the voice; keep impacts out of voice windows. Folk names may need an `asr` alias in `lines.json`.
+- Mix to −14 LUFS, **no film grain** (the paper fibres are the texture).
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Fold – cut – unfold.** Fold a sheet 2/4/8 times; one cut becomes many. Put the unfold on a strong beat. *Fits content like:* one teacher, many students; a single design mass-produced; one seed becoming a field.
+- **Holes are light.** A cut-out lit from behind glows deep red, every hole glows, and the pattern is projected onto the world. *Fits content like:* an idea shining through a person; a lighthouse; a window at night in a story about home.
+- **Symmetry replicates.** A mirrored motif peels off and multiplies (rosette → window flowers → fireworks). *Fits content like:* a franchise; cell division; a song spreading through a crowd.
+- **Scraps have a future.** The bits that fall while cutting come back later (as snow, confetti, stars). *Fits content like:* recycling; leftover time; small failures that add up.
+- **Everything is one flat sheet.** Things share the same cuts, so a ridge can stand up and be a creature, or a wave become a road. *Fits content like:* a landscape that becomes a map; a factory that turns out to be one machine; a zoom out to the made object.
+- **Mirrored pair.** Two figures cut from one folded sheet. *Fits content like:* twins; a partnership; before/after of the same person.
+
+## 9. Pitfalls of the medium
+
+- **Red on red** reads as one blob → different ground family, near/far paper tones, inset contours for overlaps.
+- **Darkening a layer through the light map** also darkens what covers it → tint the layer itself (multiply + restore alpha).
+- **A flat cos-squashed flap reads as a sliding card**, not a fold → strips with fake perspective, darken as it stands up, show the back colour.
+- **Cut reveal shows the uncut stack through the holes** → stack thickness inside the "uncut" mask only; the cut part gets its own offset copies.
+- Scissors pointing backwards → the blade axis follows the direction of travel, the rivet a little behind the cutting point.
+- Blank frames between shots → overlap outgoing and incoming paper actions.
+- Engine traps (`put()` transforms, piece boxes, test pages) are in DEMO.md build notes.
+
+## 10. Engine
+
+In `demo/`: `paper.js` (paper textures, piece builder: fill, cut, inset, edge, grain, shadows, transmission), `motifs.js` (folk pattern library), `rig.js` (2D affine rig helpers), `tuanhua.js` (8-fold rosette from one wedge × D4), `light.js` (night lightmap, backlit pieces, bloom, rays, masked projected light), `fold.js` (fold – cut – unfold sequence), `hud.js` (subtitle banner, cut-letter text); `?test=` pages draw model sheets from the real engine. A first test not in the demo: a bicycle from `paper.js` pieces (`sawRow` spokes), wheels riveted in `rig.js`, rolling on 12 fps steps.
+
+## 11. Variation space
+
+You decide the structure, the cast (or none), the sets, the paper families, the opening, the ending, the camera path, the pacing and which native moves carry the story. All far from our demo:
+
+- Structures: **a year of twelve cuts** (a zodiac or calendar wheel, one wedge per month, rotating); **an assembly line** (a product built piece by piece from cut parts, each part a pattern); **a letter** (a folded message unfolds panel by panel, each panel a scene).
+- Openings: **a finished pattern** (a full rosette, then one piece falls out and walks away); **an empty ground** (a blank sheet, one fold crease appears); **a crowd of cut figures** already dancing, parallax full.
+- Endings: **refold** (the world folds back into a small square that is handed to someone); **scraps settle** (every offcut drifts down into a new pattern); **backlit only** (the lights go off except behind one cut piece, which projects the last image on the wall).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/papercut-red/DEMO.md). Read it after your treatment exists.

package/src/skills-lib/wizz-video-styles/references/film-styles/pictogram-motion.md

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/pictogram-motion), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# Pictogram Motion — Style Prompt
+
+> A beat-locked flash-card film built from three things only: a **square-grid "core graphic"** of circles, half-discs and tiny patterned cells whose rows slide past each other; **geometric pictograms** made of round-capped bars and a disc head; and **bold bilingual type** that slides up out of masks. Every cut lands on a drum hit.
+> References (grammar only): Otl Aicher's 1972 Munich pictograms (geometric athletes); multi-sport-games "look of the games" identity systems (a modular pattern + a colour set used for everything); Swiss sports-broadcast graphics (mono meta text, tick-bar progress). Learn the grammar; never copy any real event's pictograms, emblem, slogan, pattern artwork or colour names, and never name them in the film.
+
+## 1. Essence, and what it is not
+
+A **catalogue film**: N items (products, dishes, steps, species…) shown one card at a time, fast, on the beat. Each card = **one pictogram doing one action + a huge title + a second-language line + a mono index "07 / N"**. Cards group into chapters; each chapter owns one hue, opened by a full-bleed pattern card.
+
+What makes a frame read as this style at a glance:
+1. **The grid pattern**: big discs and half-discs spanning square cells, about half the cells carrying a small motif, all in **five tones of one hue**, with **whole rows cut and shifted sideways**: the signature that drives backgrounds and transitions.
+2. **The pictogram figure**: flat, faceless, rounded bars and a disc head; far-side limbs mixed toward the background. Props are discs, rings, capsules, lines.
+3. **Type as architecture**: a 900-weight grotesk title set very large, a heavy second-language line under it, small mono meta text in the corners like a broadcast HUD.
+4. **Beat lock**: every shot starts on a beat, every key action lands on a beat.
+
+Mood: premium broadcast identity; flat colour, light grain, one soft light sweep as the only gradient.
+
+Not an isometric infographic (no depth, no 3D), not Swiss motion graphics (the figure and the pattern carry as much as the type), not a cartoon (figures never emote, have no faces), not a data film (numbers are labels, not charts).
+
+## 2. Materials & rendering
+
+- **Flat Canvas2D**, rendered clean; grain only at mux time. **One square grid** (cell ≈ 1/6 of the frame height) rules bands, transitions and walls.
+- **Pattern model**: fill with a mid-dark tone; on grid nodes randomly place cell-radius discs in random tones and discs-with-inner-discs; then a fraction of cells get one motif from a library of generic geometry (quarter-discs, fish-scale waves, dot and triangle scales, concentric arcs, sun wheels, checkers, crescents…), rotated by multiples of 90°; never mascots, landmarks or logos. Draw it wider than the screen so any row can shift one cell.
+- **Figure model**: unit = body height, origin at the hip; draw far limbs (mixed ~40 % toward the background), torso, near limbs, head. A second person sits behind, mixed further (~60 %).
+- **Stage**: the figure stands on a large **sun disc** in a neighbouring tone, crossed by one faint light sweep.
+- **Figure environments** (water, nets, ramps) live in the figure's own buffer, masked to zero before the text column.
+
+## 3. Colour logic
+
+- **A set of five hues + one dark neutral**, each hue in **five tones** (darkest → lightest, the middle one is the base). A chapter = one hue; a multi-hue chapter rotates through the set per card.
+- Under type the pattern runs at **low contrast**; on chapter cards at **full contrast**.
+- **Light hues take dark type and dark figures**, and their disc uses the lighter tone; dark hues take cream. On the dark neutral, the disc uses a lighter tone or it vanishes; its accent is one warm hue.
+- One cream and one ink serve every hue. No outlines, no highlights except the sweep.
+- Choose the set from the topic. Examples: warm festival (red, violet, forest green, gold, ochre); coastal (navy, teal, coral, sand, sky); kitchen (tomato, basil, saffron, aubergine, flour cream). Invent names for your hues; never borrow an event's colour names.
+
+## 4. Type & subtitles
+
+- Title: a 900-weight grotesk (e.g. Inter Tight), 150–330 px at 1080p, tight tracking, auto-fitted. Second language: a heavy face under it. Meta: a mono (e.g. DM Mono) ~22 px, wide tracking; tags as mono chips.
+- **HUD** on every card: mono corner text and a **progress bar of N ticks** (current tall, done dimmed, rest faint), N derived from the item list.
+- **Bilingual rule**: one language is always the big title; the second language is chosen per version by a switch, never by hand-editing cards.
+- The card type *is* the text layer. With narration, captions are a mono line on a solid band in the chapter hue, bottom, never over the title; hold ≥ max(1.8 s, speech + 0.6 s). A card that must be read (a spec, a number) holds ≥ 1.6 s.
+- Deliver an `.srt` of the title cards, generated from the edit list.
+
+## 5. Motion quality
+
+- **A grid of time**: pick one tempo for the film; every shot starts on a beat and every key action in a pose (release, contact, landing) lands on an integer beat.
+- **Pace ladder**: normal cards last one bar; related sub-items become half-length rapid-fire runs. A second tempo comes from dividing the beat, never from changing tempo.
+- Easing: exponential ease-out for entrances, exponential in-out for whips and wipes; a back ease once at most.
+- **Type enters by mask slide-up**: title first, second line ~0.08 s later, tag after; meta lines type on without a caret. Short cards compress all timings.
+- **Figure assembly**: the figure arrives as horizontal bands sliding into register from alternating sides.
+- **Backgrounds breathe**: rows drift in alternating directions; on chapter cards they jump a quarter-cell on beats.
+- **Transitions** snap to the grid: sliding rows, dropping columns, a push, quarter-discs from cell corners, an iris from the last figure, a tile flip. Rotate them; each lasts a few frames around the cut.
+- **Motion blur only where things move**: sub-frame averaging inside transition and whip windows; static frames render once.
+
+## 6. Camera grammar
+
+Mostly a locked flat frame; energy comes from row shifts, transitions and figure actions. When the camera moves, it moves along the grid. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Locked flat frame | clarity, the card as a poster | any item; a spec that must be read |
+| Lateral track with a one-screen whip per beat | one continuous family, momentum | a line of stations; a production line; a route |
+| Slow drift along a row | calm, browsing | a gallery; a menu; a slower chapter |
+| Vertical scroll by grid rows | ranking, depth, descent | a top-ten; floors of a building; ocean depths |
+| Push into one motif cell until it becomes the next frame | zooming into a part | an ingredient inside a dish; a city inside a map |
+| Pull back to a tiled wall of items | the whole set at once | a summary; "all of them"; a comparison |
+| Tiles collapsing to one point | many become one | a merger; a shared goal; a count reaching zero |
+| Split screen along a grid line | two items side by side | versus; before/after; two versions |
+
+Framing: text and figure never overlap (one text column, one stage); horizontal poses move the stage outward. The HUD stays in the corners. Allowed transitions are the grid ones in §5; never dissolves, 3D camera moves, handheld shake or depth of field.
+
+## 7. Sound palette
+
+- **Type and music can carry the film alone**; a voice is optional, calm, one line per chapter at most.
+- **Percussion is the spine**: choose a drum family that suits the topic (frame drums, taiko, marching snares, steel pans, body percussion, an electronic kit) plus rim clicks, claps, shakers and crashes.
+- Colour instruments on top: Karplus-Strong plucks (any lute, koto or harp-like voice, with pitch bends), mallets (marimba, glockenspiel), detuned-saw chord stabs, a synth bass, pads, risers and a drone.
+- **Per-family accents**: every shot onset gets a hit chosen by chapter (a splash, a pok, a clank, a crack, a whoosh, a sizzle): foley reads the chapter's matter.
+- **Picture-locked by data**: the score reads the edit list's shot times and places accents there; check every onset to ±15 ms.
+- **Silence as a tool**: half a beat of drums-and-bass-muted before a big hit, or one whole bar stripped to a single ticking sound under a count.
+- Mix: glue compressor and limiter, −14 LUFS, ≤ −1 dBTP.
+
+## 8. Native moves
+
+A menu: use the ones your film needs.
+
+- **One card = one item.** The count is the hook ("ALL N"). *Fits content like:* every tool in a workshop; every station of a subway line; every dish of a regional cuisine.
+- **Chapter = colour.** Families become hues so the viewer always knows where they are. *Fits content like:* instrument sections of an orchestra; food groups; departments of a company.
+- **One verb per item.** One body action readable in a bar, or a prop action (a gear turns, a cup pours). *Fits content like:* yoga poses; kitchen techniques; jobs on a construction site.
+- **Pace ladder run.** A sub-family at double speed. *Fits content like:* four knife cuts; the bones of a hand; weekday routines.
+- **Long take down a track.** Stations one screen apart, the camera whipping on each cut. *Fits content like:* the steps of a recipe; checkpoints of a marathon; stages of a rocket launch.
+- **Count-up slam.** A big number rolls to its value on a bar. *Fits content like:* tonnes recycled; members of a club; years of a company.
+- **Icon wall.** All pictograms return as a grid and turn one colour. *Fits content like:* a summary of a year; a periodic table of habits; a team roster.
+
+## 9. Pitfalls of the medium
+
+- Figure environments spread into the text column → render the figure layer into its own buffer and fade it out with a gradient mask before the text.
+- Cream on light hues fails contrast → dark type and dark figures on light hues; their disc is the lighter tone.
+- The sun disc vanishes on the dark neutral → use a lighter tone for it.
+- Pattern canvases are large and seeded per card → cache with a bounded LRU; an unbounded cache runs out of memory with parallel renderers.
+- Horizontal poses (swimming, lying, crawling) cross the title → move the stage outward and narrow the text column.
+- Imitating a real identity too closely → your own palette, mark and slogan from the grid motifs.
+
+## 10. Engine
+
+In `demo/`: `engine.js` (`G.pattern`, `G.motif`, `G.joints` / `G.drawFigure`, `G.keyPose`, `G.maskText`, easings), `poses/base.js` (pose contract, props `G.P`), `edl.js` (edit list in beats), `scenes.js` (layouts, transitions, HUD, motion blur), `lab.mjs` (pose sheets), `music/music.py` (picture-locked score with onset report). API table, pose convention and a minimal example: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/pictogram-motion/DEMO.md#engine-reference).
+
+## 11. Variation space
+
+You decide the items, grouping, verbs, palette, chapter order, any long take, the pace ladder, opening, ending, music and voice. All far from our demo:
+
+- Structures: **a countdown** (items ranked from N to 1, the camera scrolling down rows, the pace speeding up as the list shortens); **a day in pictograms** (one figure, one card per hour, the palette moving from dawn to night hues); **an assembly** (each card adds one part to a single growing pictogram machine seen in the corner).
+- Openings: **a single motif cell** (one cell fills the frame and splits into the grid); **mid-action** (the first pictogram is already running when the type slams in); **a blank grid** (hairlines draw the grid on the beat before any colour appears).
+- Endings: **one card held long** (the last item stays while the pattern rows stop, one by one); **the figure walks off** (the last pictogram exits the frame and the HUD ticks out); **reverse assembly** (the grid disassembles into rows that slide off-screen, leaving cream).
+
+---
+
+How our demo was made (story, shots, score, end card, build, engine reference): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/pictogram-motion/DEMO.md). Read it after your treatment exists.

package/src/skills-lib/wizz-video-styles/references/film-styles/pixel-rpg.md

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/pixel-rpg), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# 16-bit Pixel RPG — Style Prompt
+
+> A short film that looks, sounds and *behaves* like a mid-90s console role-playing game: 320×180 pixels, a limited indexed palette, text boxes that type, menus, save files, chip music with echo.
+> References (grammar only): mid-90s console RPGs as a system of dialog boxes, menus, battles, overworlds and save points; the palette tricks of indexed hardware (palette swaps, fades by steps, cycling); the colour-depth history of consoles (4 shades → 8-bit → 16-bit). Never use existing game names, characters, UI frames, fonts, logos, melodies or sound effects. Learn the grammar, not the assets.
+
+## 1. Essence, and what it is not
+
+- **320×180 native pixels**, scaled ×6 nearest-neighbour to 1080p; everything, text included, lives in the framebuffer.
+- **A limited, indexed palette**; gradients are **ordered dither**, never blends.
+- **Sprites** around 20–34 px tall animating in a handful of frames; faces act in **portraits**.
+- **Story told the way a game tells it**: dialog boxes with portraits, menus, status bars, battle messages, save files, item fanfares.
+- It takes the game's systems seriously as a language for feeling.
+
+Not HD-2D (no depth of field, bloom or real-time light), not CRT nostalgia (no scanlines, no grain), not a parody.
+
+## 2. Materials & rendering
+
+- **Indexed framebuffer** (`Uint8Array` of palette indices) presented through a **lookup table** (index → RGB), so a whole palette can change in one frame. Camera moves are **integer pixels**; each parallax layer rounds its own offset.
+- **Master palette** of ~32 colours (a free palette such as ENDESGA-32), plus **protected duplicates** of a few indices that no palette effect touches.
+- **Colour-depth tables** computed from the master palette: identity (16-bit), nearest of ~15 NES-like colours (8-bit; it needs a dark green and a dark brown), 4 fixed luminance thresholds (4-colour, drawn natively at 160×90 and doubled), a faded set (`lum^0.8` → ~7 blue-greys), and intermediate subsets for step-by-step collapse. Map by luminance, never by rank.
+- **Light is index stepping**: `LIGHT[]` / `DARK[]` tables move each index one step along its ramp; glows are Bayer-thresholded rings. Firelight in a low-colour era uses a warm remap (greens → browns → rust), not generic brightening.
+- **Dither**: 4×4 Bayer for gradients and glows; light shafts as a flat 50 % checker with a 25 % edge.
+- **Sprites from a rig**: capsule limbs with 3-tone shading from an upper-left light, a per-part inner line in the material's darkest tone, a global 1-px ink outline, plus hand-placed ASCII heads. One rig gives every pose; lower eras drop the highlight tone. Give the hero a **silhouette mark** (a garment tail, a hat, a hairstyle).
+- **Portraits** 32×32, 3/4 view, base face + eye/brow and mouth overlays; they carry facial acting (the sprite face has one eye pixel).
+- **Props** can be flat-shaded 3D shapes quantised to a few protected indices (e.g. a rotating crystal at 8 frames per 90°).
+
+## 3. Colour logic
+
+- **Palette = feeling.** Colour depth, fades and swaps are story tools; change the whole palette by table, never by alpha.
+- **Colour depth can stand for time**: older = fewer colours, lower resolution.
+- **Protected indices**: a few colours exempt from every effect become the thread through the film and allow match cuts between eras. Use one or two; more and they stop meaning anything.
+- **Warm hues survive reductions**: keep orange, pink and plum in reduced subsets, or the first step turns a scene solid red.
+- Example uses of protected colours: a red kite across a childhood; a gold coin in a grey economy; the green of one plant in a faded city.
+
+## 4. Type & subtitles
+
+- **The dialog box is the subtitle**, drawn in the framebuffer at the bottom quarter: a layered rounded border (ink / white / silver), a dithered dark-blue fill, a 32×32 portrait on the left, an **original** variable-width pixel font (cap ~7 px) with a 1-px shadow. It types with the voice (~38–40 chars/s; slower in older eras), ▼ blinks when done.
+- **Skins follow the era** (light box for 4-colour, black box with white frame for 8-bit, blue for 16-bit).
+- Battle and system messages go in a thin top window. Every box stays ≥ max(1.8 s, speech + 0.6 s); the next box cuts the previous one. Export the `.srt` from the same subtitle array.
+- Titles in the pixel font at 2×, 8-neighbour ink outline, row-by-row gradient, Bayer-dissolved in and out.
+
+## 5. Motion quality
+
+- Output 24 fps. Sprites step at **8 fps** (walk) to **12 fps** (flames, blinks); camera and parallax move on ones at integer pixels.
+- **Game-native acting**: hop forward to act, cast pose, knockback recoil, kneel, KO blink (12 fps on/off) and vanish; breath = shoulders up 1 px.
+- **UI motion**: windows slide in over ~0.3 s (ease-out, integer px); a hand cursor bobs 1 px at 4 fps and **stops when the character hesitates**.
+- **Transitions**: thumbnail expand + mosaic, mosaic cross with a palette switch at the peak, the encounter swirl (polar twist + mosaic + Bayer dissolve to white), screen shake (3–2–1 px over 8 frames), palette step fades (4 levels). Never alpha fades.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Game cameras are simple and legible. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Side-scroll with parallax layers | journey; loneliness; progress | a commute; a quest; a timeline |
+| Locked frame with UI on one third | a choice; a system speaking | a menu decision; a stats reveal |
+| Battle side view (enemy / party / windows) | conflict as a system | an exam; a negotiation; an illness |
+| Top-down overworld pan | the whole world; where things are | a city; a map of a company; a trip |
+| Integer-pixel tilt up something tall | awe; scale | a tower; a door; a mountain |
+| Hold while the palette changes | loss or change without motion | grief; a memory fading; nightfall |
+| Back view at a threshold | resolve; the unknown ahead | a first day; a launch; a departure |
+| Zoom by mosaic into a thumbnail | entering a memory or a file | a flashback; a save slot; a photo |
+
+Framing: characters stay above the dialog box (floor line above its top edge); menus leave the action visible.
+
+## 7. Sound palette
+
+- **Chiptune voices**: pulse waves at 12.5/25/50 % duty, 4-bit triangle bass, LFSR noise drums, wavetable leads, SNES-style echo (a few taps ~180–370 ms, feedback ~0.4, low-pass in the loop). Original melodies only.
+- **Fidelity follows colour depth** (option): 4-colour = mono, 4-bit volume steps, low sample rate; 8-bit = NES-like mono; 16-bit = stereo with echo; a faded present = the same music muffled.
+- **Techniques (options)**: regional variations of one motif; the arrangement losing one layer per palette step; a key change or the full band returning on a colour flood; a phrase left on the dominant and resolved later; an item-get fanfare as a punctuation.
+- **Foley**, synthesised and bit-crushed to the scene's era: cursor and select blips, text blips (pitch per speaker), footsteps with echo, fire crackle, magic shimmer (triangle arpeggio), charge and blast, HP tick-down, KO blink, a bit-drop per palette step, save ticks, door grind, coin and item jingles, menu error buzz.
+- **One organic sound** (a breath, a heartbeat) can make a character human at one moment.
+- **Silence**: true zero including echo tails.
+- **Mix**: music ducks ~7–8 dB under voice (fast attack, slow release); −14 LUFS, grain 0.
+- **Voice** (optional): first person, few short lines; or text blips only, for a character who exists only in text.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Palette collapse / flood.** Colour depth drops one level per beat, or full colour floods back through a dither wave. *Fits content like:* a city blackout and recovery; a company in crisis; burnout and rest.
+- **Protected colour match cut.** One exempt colour links two eras in the same screen position. *Fits content like:* a family heirloom; a brand colour across decades; a team jersey.
+- **Save files as memory.** A list of files; choosing NEW FILE refuses to overwrite. *Fits content like:* versions of a product; chapters of a career; photo albums.
+- **Game UI as narration.** A greyed-out name, an item description, a stat screen. *Fits content like:* a team member leaving; a skill learned; a budget.
+- **Level up.** Stats rise with a fanfare. *Fits content like:* a student's year; a startup's funding round; learning a language.
+- **Encounter swirl.** A crash into danger. *Fits content like:* a deadline; a diagnosis; a storm.
+- **Era shift.** The same characters redrawn in older hardware. *Fits content like:* a town's history; grandparents' youth; the evolution of a device.
+
+## 9. Pitfalls of the medium
+
+- Rank-based palette mapping crushes a scene to black → map by luminance with a gamma.
+- Reduced subsets without warm hues turn a sunset solid red → keep warm hues.
+- An 8-bit set without dark green or brown turns night grass blue; generic brightening near fire turns grass neon → warm remap.
+- Post-quantising a full-colour scene to 4 shades is mud → draw low eras natively with known indices at half resolution.
+- Pixel hair as a smooth dome reads as a helmet; single-pixel alternation reads as noise → 2–3 big spikes. Pale clothing reads as skin. Held props cross the face in side view → back hand.
+- A dark plank door reads as a jail → panels, bevels, studs.
+- Negative modulo indexes `undefined` → `((n % m) + m) % m`.
+- The dialog box covers the bottom quarter → keep the floor line above it.
+- Match cuts on protected colours need both screen positions computed.
+
+## 10. Engine
+
+In `demo/`: `px.js` (indexed framebuffer, palettes and LUTs for every colour depth, Bayer dither, mosaic), `font.js` (variable-width pixel font), `ui.js` (windows, dialog, menus, file list, status bars), `sprites.js` (rig + ASCII heads), `portraits.js` (32×32 portraits + expressions), `props.js`, `scenes.js` (parallax, index lighting, tilt), `main.js` (shots, transitions, palette timing, sound events, subtitles). `?sheet=1` renders a model sheet; `?frame=<scene>&lut=<table>` renders an environment through any colour-depth table. File list and build steps: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/pixel-rpg/DEMO.md) "Build notes".
+
+## 11. Variation space
+
+You decide which game system the topic hides, the characters, the eras, the palette plan, the opening and the ending. All far from our demo:
+
+- Structures: **an overworld tour** (a top-down map; each town a chapter entered by a door transition); **a shop and an inventory** (the story told entirely through items bought, used and sold); **a turn-based duel** (two sides take turns; each move is a scene of the topic).
+- Openings: **PRESS START**, a title screen with an attract-mode demo; **a battle already in progress** with HP low; **a boot screen** that fails to load and must be retried.
+- Endings: **GAME OVER** answered by a choice (retry / give up) left open; **credits scrolling over the overworld** as characters walk home; **the save screen** where the last slot is written and the menu closes.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/pixel-rpg/DEMO.md). Read it after your treatment exists.

package/src/skills-lib/wizz-video-styles/references/film-styles/risograph.md

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/risograph), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# Risograph Print — Style Prompt
+
+> Animation that looks printed, frame by frame, on a stencil duplicator: two or three translucent spot inks overprinted on warm paper, halftone dots, ink grain, and plates that never quite line up.
+> References (grammar only): Tom Haugomat's riso illustrations (colour fields and silhouettes, a small figure in a large world, extra colours made by overprinting); Jacques Tati's *Jour de fête* (comedy staged small in a wide frame, everyday sounds as rhythm); real riso prints (translucent inks, misregistration, pinholes, feed streaks). Copy none of their characters, compositions or palettes.
+
+## 1. Essence, and what it is not
+
+A risograph prints **one colour at a time**: each colour is its own stencil ("plate") with its own drum of translucent ink. That one fact makes the look:
+
+- **A tiny palette**: 2–3 spot inks on warm off-white paper.
+- **Overprint mixing**: inks multiply, so two inks make a third colour and all three approach black; a tint of one ink over a solid of another gives the brightest mixes.
+- **Misregistration**: every plate lands a few pixels off; edges show slivers of paper or a coloured halo.
+- **Halftone dots** for mid-tones, each plate on its own screen angle; **imperfect ink**: pinholes in solids, streaks along the feed direction, blotchy density.
+- **Flat shapes, no outlines**: forms are colour fields and silhouettes.
+
+Not flat vector art with a noise overlay (every colour comes from the plates), not CMYK pop-art halftone (no process colours, no keyline), not screen-print posters (riso ink is translucent and grainy, not opaque). **Never** show the RISO brand, logo or machine trade dress; ink names are colour references only.
+
+## 2. Materials & rendering
+
+**Pipeline.** Draw each frame into **one RGB canvas where each channel is one plate's density** (R = ink 1, G = ink 2, B = ink 3; 0 = none, 1 = solid). `source-over` gives true **knockouts**; `globalCompositeOperation = 'lighter'` adds ink only to the channels you set: a true **overprint**. A WebGL2 shader "prints" it:
+
+- per plate: offset in px + tiny rotation → misregistration;
+- halftone: cosine spot function on a rotated grid, period ~6–8 px at 1080p, anti-aliased threshold; densities ≥ ~0.9 print solid; screen angles ≥ 15° apart;
+- grain on the dot threshold, pinholes in solids, density varying with a feed-direction streak and a slow blot noise;
+- composite `paper × Π mix(1, ink_i, coverage_i)`, with faint paper fibre;
+- dots anchored to the **paper** (screen), not to objects: a pan slides the image under a fixed screen, as if each frame were printed anew;
+- a per-plate **gate** and a **roller sweep** (moving edge, slightly heavier ink band) let a plate arrive mid-shot.
+
+**Composition rules.**
+- Every area uses **at most two plates, at most one of them as a tint**. Three halftones on top of each other = mud.
+- Big flat shapes, lots of solid paper and solid ink; halftone in a few stepped bands (e.g. 20 / 40 / 60 / 100 %) for skies, shadows, distance.
+- Characters get a **paper-white knockout halo** (4–5 px): stamp their layer in a ring with `filter: brightness(0)` (zero ink = paper), then draw them. Plates misregister around it, so it picks up coloured fringes like a real trap.
+- One horizon, one big flat field or disc, one small figure; the figure's head against the flattest colour in the frame.
+- Design for the **one-plate version**: every main colour contains some of the first plate, so a one-ink frame still reads as a complete silhouette. A deliberate exception stays blank paper until its plate arrives: a reveal.
+
+## 3. Colour logic
+
+- **2–3 spot inks, never more**, plus paper; every other colour is an overprint or a tint. No gradients except stepped halftone.
+- Pick inks whose pairs mix into useful colours; at least one must carry a silhouette alone.
+- Paper is warm off-white (around `#F4EEE2`), never pure white; paper white is a colour too (knockouts, highlights, subtitles).
+- Light neutral surfaces (skin): a light tint of the palest ink. Dots of a saturated ink on skin look like a rash.
+- Save the full overprint (every plate, densest mixes) for the moment that earns it.
+- Example ink sets: Blue `#0078BF` + Yellow `#FFE800` + Fluorescent Pink `#FF48B0`; Teal `#00838A` + Fluorescent Orange `#FF7477`; Federal Blue `#3D5588` + Red `#FF665E` + Sunflower `#FFB511`.
+
+## 4. Type & subtitles
+
+- **Type is printed**: titles and subtitles live on one plate, so they misregister and grain with it. A title can be printed on two plates with a visible offset: the riso double-hit.
+- Fonts (OFL): heavy grotesque for titles (e.g. Bricolage Grotesque 800), geometric sans for captions (e.g. Jost 500–700). Preload every weight before `READY`.
+- Subtitles: a **paper-white knockout strip** (zero ink, small radius) with text on one plate, ~40–46 px; its edges catch misregistration fringes. Hold ≥ max(1.8 s, speech + 0.6 s).
+- Prints don't fade: titles arrive with a roller wipe or on a beat and leave on a cut.
+
+## 5. Motion quality
+
+- **Characters act on twos** (12 fps); **camera moves on ones** (24 fps): a stepped camera reads as judder.
+- **Registration is not jittered every frame.** One fixed set of offsets per shot (±1–3 px). A **kick** (≈ 8–14 px, decaying in ~0.25 s with slight ringing) on an accent; a **drift** up to ~25 px through a held moment, snapping back on the downbeat.
+- Grain boils partly (about a third re-rolls per print); sheet streaks and blots change only at cuts.
+- Simple cycles on few drawings; secondary motion (scarf, flag, tail) as a travelling sine wave.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | Expresses | Can serve |
+|---|---|---|
+| Wide lateral tracking, small figure, empty sky | Travel, routine, room | a commute; a process line; a title |
+| Static wide, the subject crosses the frame | Comedy of scale | a gag; an arrival; a crowd |
+| Locked composition: horizon, disc, figure | Stillness, awe | a decision; a reveal; the film's one pause |
+| Ground-level low angle, big foreground shapes | Energy, abundance | a burst; a harvest; a launch |
+| Medium two-shot held for a look | Reaction | a joke landing; a deal; a disagreement |
+| Straight top-down, long shadows | Pattern, a map | a schedule; a floor plan; a game board |
+| Push into a halftone field until dots are shapes | Entering the print | a close look at data; a memory; a cell |
+| Pull back to reveal the paper | It was one sheet | a series; an archive; a summing-up |
+| Match cut on a flat shape | Continuity through form | a time jump; cause and effect; before/after |
+
+Framing: lots of paper and solid ink, text on empty sky or a knockout strip. Transitions: overprint growths, roller sweeps, shape match cuts, hard cuts on beats. Never a cross-dissolve, never a soft digital wipe.
+
+## 7. Sound palette
+
+- **Instruments**, as options: warm, dry, handmade, slightly lo-fi: upright or electric bass, vibraphone or marimba, nylon guitar, whistled or hummed melody, Rhodes, toy piano, brushed kit, shaker and rim clave, a small drum machine through tape saturation.
+- **Layering like plates** (an option): each new plate brings one instrument, and they can leave one by one.
+- **The machine is the signature foley**: feed "shhk", drum "ka-chunk" at a plate arrival, motor hum, a sheet landing on a stack, a guillotine cut. Other foley dry, close and papery, following the story's materials.
+- **Silence**: a held bar with reverb tails cut, at most ambience or one distant sound; it pairs with a registration drift, and the snap brings everything back.
+- **Mix**: dry and close; music ducks ~8 dB under voice; −14 LUFS. Voice relaxed and conversational, short lines, verified with whisper. No grain added at mux: it is in the print.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Plates as narrative.** The world gains a plate at each turning point. *Fits content like:* a product arriving as a new ink; a city history, one ink per era; colour returning during a recovery.
+- **Two inks, a third where they meet.** *Fits content like:* a merger; a duet; two data sets whose overlap is the finding.
+- **Overprint transition.** A shape of one ink grows over the frame, turning everything beneath into the mix, then shrinks into the next scene's key shape. *Fits content like:* a pill dissolving; a spotlight becoming a moon; a stamp becoming a map pin.
+- **Registration as rhythm and feeling.** Kicks on accents, drift in a held moment, snap on the downbeat. *Fits content like:* nerves before a speech; dizziness; a memory coming into focus.
+- **Reflections as separated plates.** Each plate wobbles on its own phase. *Fits content like:* a shop window; heat over a road; a coffee surface.
+- **Knockout reveal.** A shape made only of missing ink; its plate arrives later. *Fits content like:* a missing piece; a secret; a logo hidden in plain sight.
+- **Halftone scale.** Dots grow into shapes as the camera pushes in. *Fits content like:* population; rainfall; a crowd that turns out to be people.
+- **It is a sheet of paper.** The print can be stacked, folded, cut or pinned; grain boils like a flipbook of prints. *Fits content like:* a zine; a poster series; a flyer passed hand to hand.
+
+## 9. Pitfalls of the medium
+
+- Three halftoned plates in one area = mud → two plates, one tint.
+- `fract(p*vec2(233.34,851.73))` draws vertical stripes across solids at 1080p → a well-mixed hash (`fract(vec3(p.xyx)*.1031)` family).
+- Per-frame registration jitter and sheet streaks flicker and blow up file size → fixed offsets per shot, kicks on accents, sheet noise at cuts, partial boil.
+- JPEG screenshots (4:2:0) smear saturated dots → PNG frames into a lossless yuv444 intermediate, encoded once with `-tune grain`; check at 100 % and 50 % for moiré.
+- The halo layer must copy the canvas transform, or zoomed shots draw the subject at the wrong scale.
+- Additive `over()` inside a transparent layer loses its meaning → overprint on the plate canvas.
+- A main colour without the first plate floats loose in one-ink frames → build palette recipes up from the one-ink silhouette.
+- `evenodd` fills of arches fill solid → trace the inner edge in the opposite direction.
+
+## 10. Engine
+
+In `demo/`: `riso.js` (print shader: plates, halftone, grain, registration, kicks and drift, gates, roller sweeps, reflection wobble), `draw.js` (`ink(b,y,p)` densities, `over()` overprint, `layer()` paper halo, 2-bone IK, limbs), `sheet.js` (model sheet with a "plates = story" row via `S.mask`), `tools/video_png.mjs` (PNG frames → lossless intermediate), `tools/mux.sh`. Minimal new frame: two plates (R = teal, G = orange); a solid teal hill, an orange disc drawn with `lighter` so it darkens where it crosses the hill, a 40 % teal sky band, a figure knocked out with `layer()`.
+
+## 11. Variation space
+
+You decide the inks and what each plate means, the structure, characters (or none), opening, ending, camera path and pacing. All far from our demo:
+
+- Structures: **two inks in dialogue** (two subjects alternate shots and only overlap at the end, making the third colour); **subtraction** (start at full overprint, lose a plate at each loss, end in one ink); **a zine** (each shot a page turned, each page a different two-plate pairing).
+- Openings: **a knockout** (a blank shape in a full-colour field, filled by its plate seconds later); **dots first** (extreme close-up of halftone that pulls back into an image); **ghosts converge** (three colour ghosts drift together and snap into a readable frame on the first beat).
+- Endings: **one ink left** (plates lift away until the last line stands in one colour); **the print on a wall** (the last frame becomes a poster pasted up inside the world it showed); **a folded sheet** (the print folds into something the story needs: a boat, an envelope, a ticket).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/risograph/DEMO.md). Read it after your treatment exists.

package/src/skills-lib/wizz-video-styles/references/film-styles/rubber-hose.md

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/rubber-hose), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# 1930s Rubber Hose Cartoon — Style Prompt
+
+> Black-and-white hand-inked cartoons where every object is alive and swings to a hot jazz band.
+> References (grammar only): early Fleischer Studios shorts (c. 1930–33) for "the whole world dances", surreal transformation, the bouncing-ball singalong and ink-and-pen framing devices; *Cuphead* for how a modern team finishes the look and scores it with a big band. Never use an existing cartoon character, name or silhouette, and never copy designs, melodies or logos. **Avoid the "cup-head on a human body with a straw" design**: if your hero is an object, the *whole object is the body*.
+
+## 1. Essence, and what it is not
+
+Hand-inked black-and-white animation from the early sound era: characters with **rubber-hose limbs** (equal-width tubes, no elbows, no knees), **white four-finger gloves**, **pie eyes** (black oval pupils with a wedge cut out), huge round shoes, and bodies that squash and stretch like balloons. The backgrounds are soft grey watercolour paintings; the characters are flat white, grey and ink. Everything (furniture, machines, plants, the walls) **breathes in time with the music**. The film looks like a worn 35 mm print projected in a 4:3 gate: flicker, scratches, dust, gate weave, vignette.
+
+Not a 1950s flat cartoon (no limited animation, no colour, no graphic backgrounds), not a silent film (the synchronised music is the engine), not a "retro filter" over modern animation (no joints, no rendered shading).
+
+## 2. Materials & rendering
+
+- **Frame**: 1920×1080 output with a **4:3 gate** (1440×1080 centred, black pillarbox), gate corners rounded (r ≈ 28 px), soft inner shadow on the gate edge.
+- **Characters**: flat fills, one hard-edged form-shadow band (light grey) on the side away from an upper-left light, ink outline **constant in screen space** at any zoom (transform points first, then stroke; ~6 px at 1080p), light **line boil** (±1.2 px, 3 drawings cycling at 12 fps).
+- **Anatomy kit**:
+  - Limbs: noodle tubes of constant width (about 1/20 of the character's height), one smooth bend, round caps.
+  - Gloves: palm + 3 fat fingers + thumb, flared cuff with a fold line, 3 stitch lines on the back. Outline the union only (stroke all parts thick first, then fill all).
+  - Pie eyes: white oval, big black pupil (≈ 64 % × 74 % of the eye) with a wedge cut toward the upper right; blink with an eyelid in body colour and a lid line.
+  - Mouths: smile with cheek ticks, open grin, "O", wavy (scared), pucker, tongue-out. Shoes: big black ovals with a white toe glint.
+- **Object characters**: the face sits on the body; a **secondary feature carries the mood** (steam, a flame, a lampshade tilt, a spring). A box-shaped object is a real projected 3D shape seen slightly from above, the face mapped onto its front.
+- **Backgrounds**: painted once into a cached canvas at 1.25–1.5× (push-ins stay crisp): flat wash + soft blotches (±5 %) + inner edge darkening + a thin dark-grey outline + paper grain. They never boil. Period motifs: patterned wallpaper, panelled furniture, checker floors, brick, clapboard.
+- **Film damage** (composite pass, not the scene): low-frequency gate weave (±1.2 px) with a rare jump; flicker ±4 %; 0–3 drifting vertical scratches; 3–8 dust specks per frame; an occasional hair; strong vignette; a small jump on every cut; slight blur. Grain in ffmpeg (`mux.sh` grain **3**), not in the page.
+
+## 3. Colour logic
+
+- **Strictly greyscale**: about 6 grey steps plus a separate character white. No hue anywhere, not even in the film damage.
+- **Characters own the extremes**: character whites and ink blacks are brighter and darker than anything in the background. Backgrounds live in the middle greys (walls around mid grey, furniture one or two steps darker). Add a mild contrast boost (≈ 1.1–1.15) in the final composite: 1930s prints are rich black and bright white, never flat grey.
+- Form shadow is one light-grey band, never a gradient.
+- Examples of the grey ramp's temperature: warm paper greys (our demo); cool silver-nitrate greys; a faint sepia print. Pick one and keep it for the whole film.
+
+## 4. Type & subtitles
+
+- **Subtitles are a period title card**: a small near-black plate with a white double-rule border and dot-and-ring corner ornaments; text in **IM Fell English SC** (~36 px), paper white. Drawn in the scene layer so it weaves and flickers with the film; pops on and off with no fades. Bottom by default, top when the action is low. One card may span two short voice clips; hold ≥ max(1.8 s, speech + 0.6 s).
+- **Titles**: **Shrikhand** fat retro script, white face, heavy ink outline (~14 % of the cap height), ink drop shadow down-right; letters can hop in a travelling wave on the beat. Sub-lines in **Limelight** caps.
+
+## 5. Motion quality
+
+- **Characters on twos** (12 fps); camera moves on ones (24 fps). A stepped camera reads as judder.
+- **Tempo grid**: choose a tempo where one beat is an **even whole number of frames** at 24 fps (8, 10, 12, 16 or 20 frames), so every beat lands on a drawing of the twos.
+- **Breathing**: every idle object squashes and stretches with `cos(2π·beats)`: an extreme on every beat (stretch on the beat, squash on the off-beat), sampled on twos, amplitude ~5–7 %, all props in phase. A peak of joy can raise the amplitude ×3 and squash the whole background painting around the floor line (~2.5 %).
+- **Walk**: one step per beat with a body bob (sad = smaller steps, limp arms). **Run**: legs as a windmill (feet orbit a circle), lean forward, speed lines.
+- **Anticipation–hold–action**: before every big move, crouch (squash to ~0.8), hold (let the band stop), then snap. Impacts get a squash with an exponential spring-back.
+- **Held frames are acting**: a chain of holds, each glance on an eighth note with a woodblock tick, reads as thinking.
+- **Freeze on a band stop**: when the music stops, freeze everything, background breathing included.
+
+## 6. Camera grammar
+
+A theatre camera: mostly locked, moving only to follow a runner or to land a gag. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Stage-wide, locked, eye level | A proscenium: the set is a stage and everyone on it performs | introducing a place; a group number; a routine |
+| Hard cut to a face close-up | The reaction is the joke | a surprise; a taste; a realisation |
+| Trucking pan beside a runner, eased start and stop | Pursuit, momentum | a chase; a race; a delivery |
+| Medium follow shot (character ≈ 1/4–1/3 of the frame height) | Every step is a note | Mickey-moused climbing, dancing, working |
+| Tilt with a fall or a rise | Gravity as rhythm | a tumble; a rocket; a lift |
+| Slightly high angle, one unbroken shot | The hazard and the answer in one frame | a danger; a stretch; a rescue |
+| Tabletop pan (flat characters in front of a model set turning in depth) | The world is a real place | a street; a carousel; a factory floor |
+| Pull-back from a close-up to a packed medium-full | One feeling spreads to everyone | a celebration; a crowd joining in |
+| Iris in / iris out (grabbable by a character) | The film is an object | a beginning; an ending; a scene change with a gag |
+
+Framing: faces must read, so no far-wide shot for a gag or a musical moment. The destination prop enters frame before the gag lands. Arcs and leaps stay inside the gate at the current zoom. Transitions: iris, a hard cut on a beat, a title card rolling up like a window shade; no dissolves.
+
+## 7. Sound palette
+
+- **1930s hot dance band / ragtime**: stride piano, clarinet, trumpet (open + plunger-mute "wah-wah"), trombone (smears), tuba oom-pah, banjo on 2 & 4, snare with brushes and rolls, xylophone, woodblocks, slide whistle, cymbal, kazoo, washboard, a pit organ. **No string pads, no modern synths.** One short original syncopated theme can be restated in different arrangements.
+- **Mickey-mouse the score, as options**: a band member "answering" a character (trombone raspberry, trumpet laugh); a stop (hard silence, reverb tails too) before a gag or on a stare; a stinger per gag; slide whistle for every stretch or fall; a prop that *is* an instrument; a solo for tenderness; a key change for a lift.
+- **Foley by material** (synthesised): porcelain and glass = hard inharmonic partials + a tiny transient; wood = woodblock; metal = bells and clanks; springs = "boing"; water = filtered noise + rising blips and bubbles; rubber = sawtooth creak through a band-pass.
+- **Voice**: a period character (a radio announcer calling the action, a vaudeville MC, a crooner), few short lines. Radio chain: HP ~260 Hz / LP ~4.6 kHz, tanh saturation, a short room, compression. Duck the music ~8 dB.
+- **Optical soundtrack pass** over music + foley: band-limit ~110 Hz–6.2 kHz, slight wow (~0.6 Hz) and flutter (~7 Hz), soft saturation; then a bed of hiss, crackle and a 24 Hz projector gate clatter, the *only* sound allowed inside a silence.
+- Loudness −14 LUFS (two-pass loudnorm in `core/render/mux.sh`).
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Everything breathes on the beat.** The setting is a character; at the peak the *whole world* can dance in sync, walls included. *Fits content like:* a factory at shift change; a garden after rain; a city waking up.
+- **Mickey-mousing.** Every step is a note; a prop becomes an instrument. *Fits content like:* stairs as a piano; a typewriter as a drum kit; fence posts as a xylophone.
+- **Rubber-hose stretch.** Limbs reach any length in one unbroken shot. *Fits content like:* reaching a top shelf; a long-distance handshake; catching a falling baby bird.
+- **Transformation.** Anything becomes something else mid-motion (a tail into a question mark, a hose into a saxophone). *Fits content like:* an idea turning into a product; a problem into a tool; a word into an object.
+- **The bouncing-ball singalong.** Lyrics on a title card, a ball hopping from word to word on the beat. *Fits content like:* a jingle; a safety rhyme; a slogan to remember.
+- **The film is a physical object.** Title cards roll up like window shades; the iris is grabbed and pulled shut; intertitles get bumped; the frame line slips. *Fits content like:* a brand reveal; a "the end?" twist; a character escaping the cartoon.
+- **The ink bottle.** An artist's pen draws the hero, who then argues with it. *Fits content like:* a making-of; a mascot introduction; a lesson about drawing.
+
+## 9. Pitfalls of the medium
+
+- **Flat grey frames.** Push backgrounds to mid grey, keep pure white and ink for characters, add a contrast boost.
+- **Wide shots kill gags**: a far shot makes characters tiny and Mickey-mousing unreadable. Use medium shots, and a packed medium-full for crowds.
+- "Sad" brows drawn as "angry": define brows by inner / outer end (inner = near the nose), not by left / right.
+- A limb drawn behind a body gets hidden by the silhouette (a handle, a tail): kick and reach outward past it.
+- Painted characters collide with background props at some camera positions: check every shot's last frame.
+- Smoke puffs in a row read as thought bubbles: scatter and grow them.
+- Short voice clips make subtitles flash: merge consecutive lines into one card.
+
+## 10. Engine
+
+In `demo/`: `toon.js` (constant-width ink, line boil, affine stack), `film.js` (gate and film damage, reusable as is), `chars.js` (rigs, pie eyes, gloves, shoes), `cast.js` (breathing props), `bg.js` (cached watercolour backgrounds), `ui.js` (title lettering, title-card subtitles), `mix.py` (foley, radio chain, optical ageing), `music/score.py` (big band via `core/audio/sampler.py`). File map and commands: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/rubber-hose/DEMO.md#build-notes).
+
+## 11. Variation space
+
+You decide the location (or several), the cast, the structure, the opening, the ending, the camera path, the tempo and the band's line-up. All far from our demo:
+
+- Structures: **a singalong** (verse and chorus, the bouncing ball carrying the message while the set acts out each line); **a talent show** (objects take turns on a stage, the smallest wins); **a relay** (a thing passed hand to hand across a town, each hand-off a new instrument on the melody).
+- Openings: **out of the inkwell** (a pen draws the hero, who hops onto the set); **a curtain rise** (the band tuning up; a baton starts the film); **an iris on one eye** (it blinks, the iris widens to show whose eye it is).
+- Endings: **the card pulled over** (a character drags "The End" in front of itself mid-gag); **the film snaps** (the frame burns, a gloved hand splices it for one last bow); **the band packs up** (instruments leave until one note remains).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/rubber-hose/DEMO.md). Read it after your treatment exists.