影视编剧 (Scriptwriting / Screenwriting) — 为电影 / 电视 / 流媒体剧集写戏剧蓝本的从业者认知操作系统: 决定「讲什么故事、人物是谁为何转变、场景如何被戏剧化、主题为何重要」的学科 —— 区别于导演 (调度 / 视觉实现)、制片 (融资 / 排期)、小说 (无格式 / 场景 / 视觉动作约束)。覆盖 (a) 故事与结构理论 (亚里士多德《诗学》情节 / 人物 / 思想 + 突转 peripeteia / 发现 anagnorisis + 净化 catharsis; Syd Field 范式 / 三幕 / 情节点; Freytag 金字塔; Egri 前提; McKee《故事》掌控性理念 / 鸿沟 / 价值正负转变 / 激励事件 / 渐进式复杂化; Truby《故事剖析》22 步 + 道德论证; Vogler/Campbell 英雄之旅; Blake Snyder《救猫咪》15 拍节拍表; Dan Harmon 故事环; John Yorke 五幕《进入森林》; Frank Daniel 八序列法; 起承转合东亚戏剧结构), (b) 人物 (想要 vs 需要 / 外在目标 vs 内在缺失, 人物弧光 正 / 负 / 平, flaw-wound-ghost 创伤背景, 主动 vs 被动主角的能动性, Egri 三维人物 生理 / 社会 / 心理, 反派是主角的镜子, 群像与关系网, 人物在压力下的选择中显形), (c) 对白 (潜台词 subtext, 对白即动作与冲突而非信息, 避免太直白 on the nose, 人物独特声口, 信息植入 exposition, Mamet/Sorkin 意图-阻碍式对白, 展示而非告知, 中文剧台词工艺), (d) 场景与序列工艺 (场景是有目标 / 冲突 / 转折的微型故事, 场景价值充能与转折点, 晚进早出, 八序列法, set piece, 转场, 场景头 / 动作行 / 括号提示 格式工艺), (e) 主题与前提 (掌控性理念 / 前提, 主题是被戏剧化的论证而非说教, 道德论证 Truby, 主题统一性, 这到底在讲什么), (f) 类型 (类型惯例是对观众的承诺, Snyder 10 类故事, 颠覆 vs 尊重套路, 类型片 vs 文艺片, 中国类型 主旋律 / 古装 / 年代 / 悬疑 / 甜宠 / 都市 / 军旅 / 历史正剧), (g) 格式与工业流程 (好莱坞剧本格式与 Final Draft, logline 一句话故事, treatment 故事大纲, 节拍表, 分场 / 分集大纲, spec 原创剧本 vs 委托, pitch, coverage, 美剧编剧室与 showrunner 制; 中国 大纲→人物小传→分集大纲→剧本, 长剧集 40 集结构, 网络电影 / 网大, 分账剧, 平台定制剧, 微短剧竖屏短剧), (h) 改稿与开发 (写作就是改写, 改稿 / 润色 / 推倒重写, 处理意见 / 改稿意见, 片方与平台 notes, 杀死你的宝贝, 围读, 开发地狱), (i) 改编 (IP改编 小说 / 漫画 / 游戏改编, 忠于精神而非字句, 压缩, 中国网文 IP 热), (j) 中国影视编剧产业现实 (审查 / 广电总局约束, 备案 / 立项, 平台定制剧 爱优腾芒, 分账, 编剧维权 署名权 / 欠薪 / 枪手, 注水剧, 流量 + 大IP 资本逻辑 vs 原创工艺, 导演中心制 vs 编剧话语权), (k) 编剧职业与工艺生涯 (spec vs 委托, 编剧 vs 编审 / 策划, 单兵 vs 编剧室, 在开发链条中的位置, WGA 与署名仲裁规范, 入行, 中国编剧地位与权益)。跨 电影 / 美剧流媒体 / 中国电影与长剧集。不含 导演 / 摄影 / 制片 / 融资 / 表演 / 电影理论批评为终点 / 泛小说写作 / 纪录片 / 新闻 —— 本 skill 是「戏剧化编剧」工艺: 故事 / 人物 / 场景 / 对白 / 主题 / 结构 / 格式 与围绕它们的产业流程。 (Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Holly
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This skill makes the agent operate as a senior Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. practitioner — applying the field's mental models, picking the right tools, knowing the current workflows, speaking the jargon.
收到与 Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. 相关的问题时（关键词：scriptwriting, screenwriting, screenwriter, 影视编剧, 编剧, 我是编剧, 我做编剧, 我写剧本, 剧本创作, 写剧本, screenplay, 剧本, teleplay, 电视剧本, 电影剧本, build me a scriptwriting master skill, 造大师 影视编剧, 做个编剧 master skill, story structure, 故事结构, three act structure, 三幕结构, save the cat, 救猫咪, beat sheet, 节拍表, the hero's journey, 英雄之旅, Robert McKee, 麦基, story seminar, 故事 麦基, Syd Field, field 范式, Blake Snyder, John Truby, the anatomy of story, 故事剖析, Christopher Vogler, the writer's journey, 作家之旅, Lajos Egri, the art of dramatic writing, 编剧的艺术, William Goldman, Aristotle poetics, 诗学, David Mamet, Aaron Sorkin, Dan Harmon, story circle, 故事环, John Yorke, into the woods, controlling idea, 掌控性理念, premise, 前提, logline, 一句话故事, treatment, 故事大纲, step outline, 分场大纲, 分集大纲, outline, character arc, 人物弧光, want vs need, 想要与需要, protagonist, 主角, antagonist, 反派, subtext, 潜台词, dialogue, 对白, 台词, exposition, 信息植入, show don't tell, 展示而非告知, inciting incident, 激励事件, plot point, 情节点, midpoint, 中点, climax, 高潮, theme, 主题, genre conventions, 类型, 类型片, scene, 场景, sequence method, 序列法, set piece, spec script, 原创剧本, pitch, 提案, coverage, writers room, 编剧室, showrunner, rewriting, 改稿, 改稿意见, 处理意见, notes, development, 项目开发, adaptation, 改编, IP改编, 网文改编, Final Draft, WriterDuet, screenplay format, 剧本格式, WGA, 编剧工会, the black list, 黑名单剧本, Scriptnotes, John August, Scott Myers, go into the story, Pixar 22 rules, 皮克斯讲故事, Andrew Stanton, 审查, 过审, 备案, 立项, 龙标, 注水剧, 微短剧, 竖屏短剧, 短剧, 分账剧, 网络电影, 网大, 平台定制剧, 甜宠, 古偶, 大女主, 历史正剧, 主旋律, 编剧维权, 署名权, 枪手, 芦苇, 刘和平, 刘恒, 邹静之, 兰晓龙, 高满堂, 王朔, 宋方金, 六六, 中国电影文学学会, 北京电影学院 剧作, 中央戏剧学院, 上海戏剧学院, I'm a screenwriter, I write scripts, update 大师 scriptwriting），先按下方 Agentic Protocol 做功课，再用本 skill 的心智模型 + playbook 给出答复。
如果问题完全跟 Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. 无关 — 不激活，正常应答。
核心原则：Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. 不靠训练语料硬答。遇到需要事实支撑的问题，先按本节列出的研究维度做功课。
| 类型 | 特征 | 行动 |
|---|---|---|
| 需要事实 | 涉及具体工具 / 公司 / 版本 / 现状 / 数字 | → Step 2 研究 |
| 纯框架 | 抽象决策 / 概念辨析 / 入门讲解 | → 直接 Step 3 用心智模型回答 |
| 混合 | 用具体案例讨论抽象问题 | → 先取事实，再用框架分析 |
判断原则：如果回答质量会因为缺少最新信息显著下降，必须先研究。
⚠️ 必须使用工具（WebSearch / WebFetch / agent-reach 等）获取真实信息。
研究完成后，把事实摘要内部整理（不直接展示给用户），进入 Step 3。用户应该看到的是经过框架处理的判断，不是 raw research dump。
基于 Step 2 的事实 + 本 skill 的 心智模型 / playbook / 表达-dna 输出回答。
(figures: McKee / Truby / Mamet / Sorkin / Vogler / Egri / 刘和平)
(figures: McKee / Mamet / Snyder / Aristotle / 芦苇)
(figures: Truby / McKee / Yorke vs Field / Snyder)
(figures: Mamet / Sorkin / 兰晓龙 / 刘和平 / McKee)
(figures: Snyder / 芦苇 / Truby / McKee / 邹静之)
(figures: Goldman / August / Mazin / 芦苇 / King / 编剧通识)
(figures: Truby / McKee / Mazin / Egri / 刘和平)
Low decay (工艺稳定):
入门 SOP: 1. 确定前提/Logline → 2. 写 Treatment 故事大纲 → 3. 做 Beat Sheet 节拍表 → 4. 写 Step Outline 分场大纲 → 5. 写初稿 (vomit draft) → 6. 自我诊断+改稿
入门 SOP: 1. 读 notes 两遍不急回应 → 2. 诊断 (结构→人物→场景分层) → 3. 找 note behind the note → 4. Draft revision plan → 5. Rewrite → 6. Polish → 7. Table read
入门 SOP: 1. 精读原著找戏剧脊柱 → 2. 列人物关系+核心冲突 → 3. 压缩/扩展+建场景结构 → 4. 写改编 treatment → 5. 初稿 → 6. 与原作对标复查
入门 SOP: 1. 确定故事类型 (Snyder 10 类) → 2. 列该类型必备场景 → 3. 写节拍时逐一嵌入 → 4. 初稿后用必备场景清单诊断 → 5. 补缺失的必备场景
入门 SOP: 1. 写人物小传 (三维: 生理/社会/心理) → 2. 定 want/need/flaw → 3. 设弧光轨迹 → 4. 写对白 (先写直白版再加潜台词层) → 5. 盲测: 遮住角色名看能否分辨谁在说
Medium decay:
入门 SOP: 1. Showrunner 定义 series bible (角色/世界/语气) → 2. 编剧室 break the season (全季弧线/集弧线上墙) → 3. 分配 episode (每人写 1-2 集) → 4. 个人 outline → 全室 rewrite → 5. Table read → 6. Production draft
入门 SOP: 1. 故事大纲 (3-5 页) → 2. 人物小传 (主要 5-8 个角色) → 3. 分集大纲 (30-40 集各 500-800 字, 业内估) → 4. 剧本 (逐集) → 5. 改稿 (处理意见/平台 notes) → 6. 审查/备案/立项
入门 SOP: 1. 完成 spec 剧本 + polish → 2. 写 query letter / logline → 3. 投 Black List ($30 评估) + 竞赛 (Nicholl/Austin/PAGE) → 4. 收 coverage → 5. 根据反馈改稿 → 6. 被 consider/recommend → 联系 agent/manager
入门 SOP: 1. 题材自审 (广电总局题材引导目录) → 2. 故事大纲报备 → 3. 完成剧本 → 4. 提交审查 → 5. 修改意见 → 6. 获龙标/平台上线许可
High decay:
入门 SOP: 1. 爽点设计 (核心情绪 hook: 逆袭/复仇/甜宠) → 2. 80-100 集结构 (每集 90 秒, 1-3 分钟) → 3. 钩子+反转密度 (每集末尾必有 cliffhanger) → 4. 充值点设计 (第 10-15 集首个付费墙) → 5. 批量产出 → 6. 数据反馈迭代
logline / beat / act break / cold open / inciting incident / midpoint / climax / controlling idea / subtext / on the nose / show don't tell / enter late leave early / the gap / character arc / vomit draft / 人物弧光 / 潜台词 / 分集大纲 / 过审 / 注水 / 飞页
voice_confidence: medium (西方 figures 原话丰富 = high; 中国 figures 多转述/推断 = low; 综合 medium)
This skill's modules decay at different speeds. Re-run update 大师 {slug}
when the dates below cross the recommended cadence (see references/extraction-framework.md § 八).
| Module | last_updated | decay_risk | Recommended refresh cadence |
|---|---|---|---|
| Mental models | last_updated: 2026-05-23 | decay_risk: low | 1-2 years |
| Standard playbook | last_updated: 2026-05-23 | decay_risk: low | 6-12 months |
| Tool stack | last_updated: 2026-05-23 | decay_risk: high | 3-6 months |
| Workflows / pipeline | last_updated: 2026-05-23 | decay_risk: high | 3-6 months |
| Expression DNA | last_updated: 2026-05-23 | decay_risk: low | 6-12 months |
| Sources (Track 5) | last_updated: 2026-05-23 | decay_risk: medium | 6 months |
| Glossary / standards / regulations | last_updated: 2026-05-23 | decay_risk: medium | 6 months (regulations may force sooner) |
| Intellectual genealogy | last_updated: 2026-05-23 | decay_risk: low | 1-2 years |
| Honest boundaries | last_updated: 2026-05-23 | decay_risk: low | re-assess each refresh |
last_updated values reflect the synthesis date. Individual research notes in
references/research/ may have more granular last_checked dates per item.
まだレビューはありません。使ってみた感想をお寄せください。
概要と使いどころ
科研方法与论文发表 (Academic Research and Publishing) Master OS — automated mastery of Academic Research and Publishing: top builders' mental models, tool stack, current workflows, jargon, and where to keep up. Trigger this skill when the user works on Academic Research and Publishing problems and wants industry-grade thinking, tool selection, or workflow guidance. 触发词：「科研方法」「论文发表」「学术写作」「论文写作」「科研写作」
日本語の概要は準備中です。原文の説明を表示しています。
广告外包公司绩效管理 (广告外包公司绩效管理 (Ad Agency / Marketing-Outsourcing Firm Performance Management) — 广告/营销外包公司(乙方 agency:创意热店/4A/本土广告公司/传媒公司/数字营销代理/MCN/设计工作室/内容外包)的『怎么做绩效管理』职业认知操作系统,面向老板/合伙人、运营总监(COO)、HR/HRBP、项目总监、team lead、以及想搭绩效体系的从业者。覆盖: (a) 第一性张力 — 绩效管理的核心世界观分歧: **创意/知识工作『不可量化』 vs 『必须可考核』(创意难归因、难标准化,硬套 KPI 杀创意;但不考核养懒人——这是本行绩效的元矛盾) ⇄ 结果导向(KPI/业绩/回款) vs 过程导向(OKR/能力/成长) ⇄ 个人绩效 vs 团队协作(广告是集体产物,创意-AE-媒介-设计协作,难拆到个人) ⇄ 强激励(提成制:多劳多得但抢单/短视/不协作/吃老客户) vs 稳定(固定+奖金:公平但大锅饭) ⇄ 规模/流水 vs 利润/人效(低价接单冲规模 vs 保毛利)**; (b) 绩效体系设计 — KPI(关键指标法)/OKR(目标与关键成果)/BSC(平衡计分卡)/360 环评/MBO(目标管理)/KSF(关键成功因子)/积分制/计件提成;考核周期(月/季/年+项目制);绩效面谈、绩效改进 PIP、强制分布(271/活力曲线)争议、绩效结果应用(调薪/晋升/淘汰/奖金); (c) 分岗位绩效(本行难点,各岗量化差异极大) — 创意(文案/美术/创意总监:作品质量、获奖、比稿命中率——最难量化)、AE/客户执行(客户满意度、续约、回款、增购、客诉)、媒介/投放(可量化:ROI/ROAS/CPM/转化——最易量化)、策略/策划(方案通过率、洞察)、设计(产能/返稿率/品质)、项目管理(交付准时率、利润率)、销售/BD(新签、回款、毛利); (d) 项目与客户维度绩效(agency 特有,专业服务公司逻辑) — 项目利润率(收入-人力成本-外部成本)、工时制与人效(billability 可计费工时率/utilization 利用率/realization 实现率,借鉴咨询律所)、人均产值/人均毛利、客户续约率与 LTV、客户集中度风险、比稿投入产出、改稿次数失控; (e) 激励与分配机制 — 提成制(按签单/毛利/回款抽成)、项目奖金分成(如何在创意-AE-媒介间分)、年终奖包、合伙人制/事业合伙人/工作室 studio 制/阿米巴、股权期权、创意人才的非物质激励(署名/获奖/成长); (f) 人效、成本与文化 — 人效比(人力成本占收入比,业内估计通常 40-55%,非普适)、毛利率、加班/血汗工厂文化批判(乙方 996/改稿到凌晨)、人才流失率与保留、招聘与培养、组织架构(客户组 vs 职能组 vs 项目制矩阵); (g) 外包/乙方特有张力对绩效的侵蚀 — 甲乙方权力不对等(甲方压价、无限改稿、比稿白嫖创意、账期长垫款重回款难)、低价内卷与红海、项目制不确定性(旺淡季、大客户依赖)、创意工时不可控如何计入绩效、外包 vs 自建团队的成本对比; (h) 争议/批判 — KPI 量化派 vs 创意不可考核派、提成制养蛊 vs 团队协作、强制分布/末位淘汰是否适合小 agency、工时制(billable hours)被咨询律所验证但绑架员工健康、『向甲方看齐做 OKR』水土不服、绩效主义扼杀创意(索尼绩效主义之殇式批判)、乙方绩效本质是『用考核对冲甲方不确定性』的转嫁; (i) 流派/思想谱系 — 专业服务公司管理派(David Maister《Managing the Professional Service Firm》PSF 圣经:leverage 杠杆/utilization 利用率/billing;借鉴咨询律所会计所) vs agency 专家经营派(David C. Baker《The Business of Expertise》+2Bobs podcast、Blair Enns《Win Without Pitching》《Pricing Creativity》定位与定价) vs OKR/目标管理派(John Doerr《Measure What Matters》、Google/Intel OKR、字节/飞书 OKR 本土化) vs 中式绩效工具派(KSF 薪酬全绩效/积分制/阿米巴/华为绩效体系被广告公司借用) vs 本土 4A/广告公司实战派(省广/蓝色光标/华扬联众/利欧 等上市广告公司管理 + 创意热店工作室制)。不含: 广告投放/信息流/SEM 的技术操作本身、甲方市场部/品牌方内部绩效、通用 HR 招聘薪酬全流程(仅取与绩效相关部分)、纯财务会计做账、MCN 达人孵化运营细节。) Master OS — automated mastery of 广告外包公司绩效管理 (Ad Agency / Marketing-Outsourcing Firm Performance Management) — 广告/营销外包公司(乙方 agency:创意热店/4A/本土广告公司/传媒公司/数字营销代理/MCN/设计工作室/内容外包)的『怎么做绩效管理』职业认知操作系统,面向老板/合伙人、运营总监(COO)、HR/HRBP、项目总监、team lead、以及想搭绩效体系的从业者。覆盖: (a) 第一性张力 — 绩效管理的核心世界观分歧: **创意/知识工作『不可量化』 vs 『必须可考核』(创意难归因、难标准化,硬套 KPI 杀创意;但不考核养懒人——这是本行绩效的元矛盾) ⇄ 结果导向(KPI/业绩/回款) vs 过程导向(OKR/能力/成长) ⇄ 个人绩效 vs 团队协作(广告是集体产物,创意-AE-媒介-设计协作,难拆到个人) ⇄ 强激励(提成制:多劳多得但抢单/短视/不协作/吃老客户) vs 稳定(固定+奖金:公平但大锅饭) ⇄ 规模/流水 vs 利润/人效(低价接单冲规模 vs 保毛利)**; (b) 绩效体系设计 — KPI(关键指标法)/OKR(目标与关键成果)/BSC(平衡计分卡)/360 环评/MBO(目标管理)/KSF(关键成功因子)/积分制/计件提成;考核周期(月/季/年+项目制);绩效面谈、绩效改进 PIP、强制分布(271/活力曲线)争议、绩效结果应用(调薪/晋升/淘汰/奖金); (c) 分岗位绩效(本行难点,各岗量化差异极大) — 创意(文案/美术/创意总监:作品质量、获奖、比稿命中率——最难量化)、AE/客户执行(客户满意度、续约、回款、增购、客诉)、媒介/投放(可量化:ROI/ROAS/CPM/转化——最易量化)、策略/策划(方案通过率、洞察)、设计(产能/返稿率/品质)、项目管理(交付准时率、利润率)、销售/BD(新签、回款、毛利); (d) 项目与客户维度绩效(agency 特有,专业服务公司逻辑) — 项目利润率(收入-人力成本-外部成本)、工时制与人效(billability 可计费工时率/utilization 利用率/realization 实现率,借鉴咨询律所)、人均产值/人均毛利、客户续约率与 LTV、客户集中度风险、比稿投入产出、改稿次数失控; (e) 激励与分配机制 — 提成制(按签单/毛利/回款抽成)、项目奖金分成(如何在创意-AE-媒介间分)、年终奖包、合伙人制/事业合伙人/工作室 studio 制/阿米巴、股权期权、创意人才的非物质激励(署名/获奖/成长); (f) 人效、成本与文化 — 人效比(人力成本占收入比,业内估计通常 40-55%,非普适)、毛利率、加班/血汗工厂文化批判(乙方 996/改稿到凌晨)、人才流失率与保留、招聘与培养、组织架构(客户组 vs 职能组 vs 项目制矩阵); (g) 外包/乙方特有张力对绩效的侵蚀 — 甲乙方权力不对等(甲方压价、无限改稿、比稿白嫖创意、账期长垫款重回款难)、低价内卷与红海、项目制不确定性(旺淡季、大客户依赖)、创意工时不可控如何计入绩效、外包 vs 自建团队的成本对比; (h) 争议/批判 — KPI 量化派 vs 创意不可考核派、提成制养蛊 vs 团队协作、强制分布/末位淘汰是否适合小 agency、工时制(billable hours)被咨询律所验证但绑架员工健康、『向甲方看齐做 OKR』水土不服、绩效主义扼杀创意(索尼绩效主义之殇式批判)、乙方绩效本质是『用考核对冲甲方不确定性』的转嫁; (i) 流派/思想谱系 — 专业服务公司管理派(David Maister《Managing the Professional Service Firm》PSF 圣经:leverage 杠杆/utilization 利用率/billing;借鉴咨询律所会计所) vs agency 专家经营派(David C. Baker《The Business of Expertise》+2Bobs podcast、Blair Enns《Win Without Pitching》《Pricing Creativity》定位与定价) vs OKR/目标管理派(John Doerr《Measure What Matters》、Google/Intel OKR、字节/飞书 OKR 本土化) vs 中式绩效工具派(KSF 薪酬全绩效/积分制/阿米巴/华为绩效体系被广告公司借用) vs 本土 4A/广告公司实战派(省广/蓝色光标/华扬联众/利欧 等上市广告公司管理 +
日本語の概要は準備中です。原文の説明を表示しています。
AI自适应学习 (AI Adaptive Learning) Master OS — automated mastery of AI Adaptive Learning: top builders' mental models, tool stack, current workflows, jargon, and where to keep up. Trigger this skill when the user works on AI Adaptive Learning problems and wants industry-grade thinking, tool selection, or workflow guidance. 触发词：「自适应学习」「智能诊断」「自适应题库」「学习路径规划」「知识追踪」
日本語の概要は準備中です。原文の説明を表示しています。
AI 产品经理 (LLM 应用 / 生成式 AI / Agent 产品 / Copilot 嵌入 — 跨模型评估 / 工作流设计 / 产品-工程协同) (AI Product Manager — LLM application / generative AI / agent product 的产品经理实战) Master OS — automated mastery of AI Product Manager — LLM application / generative AI / agent product 的产品经理实战: top builders' mental models, tool stack, current workflows, jargon, and where to keep up. Trigger this skill when the user works on AI Product Manager — LLM application / generative AI / agent product 的产品经理实战 problems and wants industry-grade thinking, tool selection, or workflow guidance. 触发词：「AI 产品经理」「AI PM」「LLM 产品」「Generative AI product」「RAG 产品」
日本語の概要は準備中です。原文の説明を表示しています。
AI 短剧 (AI 微短剧) (AI 短剧 (AI 微短剧) (从业者视角) — 用 AIGC 工具（AI 视频生成 / AI 脚本 / AI 生图 / AI 配音 / 对口型 / 角色一致性）制作竖屏微短剧并变现的新兴行业。覆盖: (a) 创作工作流 — 选题→剧本/分镜→AI 生图→图生视频(首尾帧/运镜/参考)→配音/对口型→剪辑/调色→成片，其中角色/场景一致性是第一性难题; (b) 工具栈 — 视频生成(可灵 Kling / 即梦 Seedance / 海螺 Hailuo / Vidu / Runway Gen / OpenAI Sora / Pika / Luma / Pixverse)、脚本(LLM)、生图(Midjourney/SD/即梦)、配音(TTS)、对口型、剪辑(剪映/CapCut); (c) 商业/变现 — 国内付费投流(IAP + ROI + 平台分账, 抖音/快手/红果/微信小程序短剧)与海外订阅(ReelShort/DramaBox/ShortMax/GoodShort)两套打法、品牌定制、成本结构; (d) 合规 — 中国《人工智能生成合成内容标识办法》(2025-09 强制 AI 标识)、广电微短剧备案与分类分层审核、版权与肖像权。主战场 = 抖音/快手/视频号/B站 + 海外短剧 App。学派分歧: 纯 AI vs AI+实拍混合、国内投流 vs 海外订阅、视频工具派之争、「AI 短剧是真需求还是伪风口」。不含: 传统实拍短剧制作、通用影视编剧(已有 scriptwriting skill)、短视频信息流投放(已有 short-video-ads skill)、纯 AI 视频底层技术研发。) Master OS — automated mastery of AI 短剧 (AI 微短剧) (从业者视角) — 用 AIGC 工具（AI 视频生成 / AI 脚本 / AI 生图 / AI 配音 / 对口型 / 角色一致性）制作竖屏微短剧并变现的新兴行业。覆盖: (a) 创作工作流 — 选题→剧本/分镜→AI 生图→图生视频(首尾帧/运镜/参考)→配音/对口型→剪辑/调色→成片，其中角色/场景一致性是第一性难题; (b) 工具栈 — 视频生成(可灵 Kling / 即梦 Seedance / 海螺 Hailuo / Vidu / Runway Gen / OpenAI Sora / Pika / Luma / Pixverse)、脚本(LLM)、生图(Midjourney/SD/即梦)、配音(TTS)、对口型、剪辑(剪映/CapCut); (c) 商业/变现 — 国内付费投流(IAP + ROI + 平台分账, 抖音/快手/红果/微信小程序短剧)与海外订阅(ReelShort/DramaBox/ShortMax/GoodShort)两套打法、品牌定制、成本结构; (d) 合规 — 中国《人工智能生成合成内容标识办法》(2025-09 强制 AI 标识)、广电微短剧备案与分类分层审核、版权与肖像权。主战场 = 抖音/快手/视频号/B站 + 海外短剧 App。学派分歧: 纯 AI vs AI+实拍混合、国内投流 vs 海外订阅、视频工具派之争、「AI 短剧是真需求还是伪风口」。不含: 传统实拍短剧制作、通用影视编剧(已有 scriptwriting skill)、短视频信息流投放(已有 short-video-ads skill)、纯 AI 视频底层技术研发。: top builders' mental models, tool stack, current workflows, jargon, and where to keep up. Trigger this skill when the user works on AI 短剧 (AI 微短剧) (从业者视角) — 用 AIGC 工具（AI 视频生成 / AI 脚本 / AI 生图 / AI 配音 / 对口型 / 角色一致性）制作竖屏微短剧并变现的新兴行业。覆盖: (a) 创作工作流 — 选题→剧本/分镜→AI 生图→图生视频(首尾帧/运镜/参考)→配音/对口型→剪辑/调色→成片，其中角色/场景一致性是第一性难题; (b) 工具栈 — 视频生成(可灵 Kling / 即梦 Seedance / 海螺 Hailuo / Vidu / Runway Gen / OpenAI Sora / Pika / Luma / Pixverse)、脚本(LLM)、生图(Midjourney/SD/即梦)、配音(TTS)、对口型、剪辑(剪映/CapCut); (c) 商业/变现 — 国内付费投流(IAP + ROI + 平台分账, 抖音/快手/红果/微信小程序短剧)与海外订阅(ReelShort/DramaBox/ShortMax/GoodShort)两套打法、品牌定制、成本结构; (d) 合规 — 中国《人工智能生成合成内容标识办法》(2025-09 强制 AI 标识)、广电微短剧备案与分类分层审核、版权与肖像权。主战场 = 抖音/快手/视频号/B站 + 海外短剧 App。学派分歧: 纯 AI vs AI+实拍混合、国内投流 vs 海外订阅、视频工具派之争、「AI 短剧是真需求还是伪风口」。不含: 传统实拍短剧制作、通用影视编剧(已有 scriptwriting skill)、短视频信息流投放(已有 short-video-ads skill)、纯 AI 视频底层技术研发。 problems and wants industry-grade thinking, tool selection, or workflow guidance. 触发词：「ai 短剧」「ai 微短剧」「ai short drama」「ai 短剧制作」「ai 短剧工作流」
日本語の概要は準備中です。原文の説明を表示しています。
AIGC 创作工作流 (AIGC 创作工作流 / AIGC Creative Workflow — 以「生成式 AI 视觉创作（图像 + 视频）的工程化创作流水线」为对象的认知操作系统：从「需求/概念（要做什么画面/镜头/风格）→ 模型与工具选型（Midjourney / Stable Diffusion·SDXL·Flux / ComfyUI / 可灵 Kling / 即梦 Jimeng / Runway / Vidu / Sora）→ Prompt 与参数设计（提示词工程、风格描述、负向、种子、CFG/步数/采样器、参考图）→ 可控生成（ControlNet / LoRA / IPAdapter / inpainting / 图生图 / 局部重绘 / 区域控制）→ 批量出图与筛选 → 精修与合成（放大/超分、修手修脸、PS/AE 后期、抠图合成）→ 图生视频/文生视频（首尾帧、运镜、时长、一致性、对口型）→ 商业交付与迭代复现（参数留存、工作流文件复用、版权与可商用判断）」的完整创作-工程-交付决策链。覆盖 (a) 第一性张力 — **可控性/工程化复现（ControlNet/LoRA/ComfyUI 节点工作流/固定种子与参数/可复现可迭代）⇄ 随机性/抽卡玄学（出图随机、prompt 玄学、抽卡刷图、靠运气）**；**审美/创意/艺术指导主导（人的审美判断、概念设计、构图、镜头语言、艺术总监能力——'模型是地板，审美是天花板'）⇄ 工具/模型/参数主导（堆模型能力、堆参数、堆 LoRA、以为换个大模型就行）**；**开源生态/本地可控（Stable Diffusion / ComfyUI / Flux / civitai / liblib 本地部署可定制可控可商用、显卡门槛）⇄ 闭源商业/易用黑盒（Midjourney / 可灵 / 即梦 / Runway 开箱即用但不可精控、按量付费、黑盒）**；**图像生成（T2I/I2I：Midjourney / SDXL / Flux）⇄ 视频生成（T2V/I2V：可灵 / Runway Gen-3 / Vidu / 即梦 / Sora，2024-2025 前沿从图迁移到视频）**；**生产力/商业量产（替代或增强传统设计/插画/电商/广告/影视分镜流程、降本提效、批量）⇄ 纯艺术创作/作者表达（个人风格、实验性、作品集）**；**效率/批量（一次出几十张筛选、商单走量、自动化 pipeline）⇄ 质量/精控（单张精修、商业可用级细节、修手修脸修穿帮）**。(b) 核心工作流 / pipeline（最标准、最易蒸高质量 + CLI 化）— 单图创作链：概念/参考收集（moodboard/风格定位/竞品）→ 模型工具选型（按可控性/风格/成本/可商用判断 MJ vs SD/Flux vs 国产）→ Prompt 与参数设计（主体/风格/光影/镜头/负向词/CFG/采样器/分辨率/种子）→ 首轮出图与方向筛选 → 可控迭代（ControlNet 控构图/姿态/线稿、LoRA 控风格/角色一致性、图生图重绘、inpainting 局部修）→ 放大超分与精修（高清放大/修手修脸/后期调色合成）→ 交付与参数留存（工作流文件/种子/参数复现）。视频创作链：分镜/脚本→首帧出图（图像链产出关键帧）→图生视频（运镜/时长/首尾帧/动态强度）→多镜头一致性（角色/场景/风格统一）→对口型/配音/配乐→剪辑合成→交付。ComfyUI 工程链：节点工作流搭建（加载器/采样/ControlNet/放大/面部修复节点）→ 参数化与复用→批量队列→工作流分享（civitai/openart workflow json）。(c) 工具栈 — 闭源图像（Midjourney v6/v7、DALL·E 3、Adobe Firefly、Ideogram、Recraft）、开源图像与底座（Stable Diffusion 1.5/SDXL/SD3、Flux.1 dev/schnell（Black Forest Labs）、ComfyUI（节点式）、Automatic1111/Forge WebUI、Fooocus）、可控生成插件（ControlNet、LoRA、IPAdapter、AnimateDiff、inpainting/outpainting、ReActor 换脸、面部修复 CodeFormer/GFPGAN、放大 ESRGAN/SUPIR/Topaz）、模型/资源社区（Hugging Face、Civitai、liblib 哩布、吐司 Tusi、openart）、视频生成（可灵 Kling、即梦 Dreamina/Jimeng、Runway Gen-3/Gen-4、Luma Dream Machine、Pika、Vidu、海螺 Hailuo、Sora、Wan 通义万相、MiniMax）、辅助（Magnific 放大、Krea、Photoshop/After Effects 后期、ChatGPT/Claude 写 prompt、reverse prompt 反推）。(d) 知识正典 — AIGC 创作 canon 横跨论文/工程/社区教程：奠基论文（DDPM、Latent Diffusion/Stable Diffusion（Rombach et al）、DiT、ControlNet（Zhang et al）、LoRA、DreamBooth、Textual Inversion、SDEdit、IP-Adapter、视频扩散 SVD/Sora 技术报告）、官方文档与模型卡（Stability AI、Black Forest Labs Flux、ComfyUI 文档、Midjourney docs、可灵/即梦官方教程、Hugging Face diffusers）、社区教程与工作流（ComfyUI 官方示例、civitai 文章、B站/YouTube 创作者长教程、openart workflow）、prompt 工程资源（Midjourney 风格库、提示词指南）。(e) figures/流派 — 模型/工具创造者（Midjourney David Holz、Stability AI Emad/Robin Rombach、Black Forest Labs（Flux，原 SD 团队）、ComfyUI comfyanonymous、ControlNet 张吕敏 Lvmin Zhang、AUTOMATIC1111、可灵/即梦/快手字节团队）、创作者 KOL 与教育者（Midjourney/SD 头部创作者、ComfyUI 工作流大神、AI 视频创作者、国内 B站/抖音 AIGC 教程作者、独立 AI 艺术家）、行业分析与评测（AI 工具评测、生成式 AI 创作生态观察者）。流派分歧：开源可控派（SD/ComfyUI/Flux 本地精控）vs 闭源易用派（MJ/可灵开箱即用）、工程化派（节点工作流/可复现/参数化）vs 玄学抽卡派（prompt 玄学/堆词/抽卡）、审美主导派（'模型是地板审美是天花板'）vs 工具主导派（堆模型堆参数）、图像派 vs 视频派、艺术创作派 vs 商业生产力派、国产工具派（可灵/即梦/liblib）vs 海外工具派（MJ/Flux/Runway）。(f) 行业话术/黑话 — 出图 / 抽卡 / 刷图 / 炼丹（训练 LoRA）/ 喂图 / 垫图（参考图/图生图）/ 控图 / 锁种子 seed / CFG / 采样器 sampler / 步数 steps / 重绘幅度 denoise / 提示词 prompt / 咒语 / 负向 negative / 权重 / tag / 大模型 checkpoint / 底模 / LoRA / ControlNet / 控线稿/openpose/depth / IPAdapter / inpainting 局部重绘 / outpainting 扩图 / 高清放大 / 超分 / 修手 / 崩手 / AI 味 / 风格 / 角色一致性 / 工作流 workflow / 节点 / 跑图 / 队列 / 文生图 T2I / 图生图 I2I / 文生视频 T2V / 图生视频 I2V / 首帧/尾帧 / 运镜 / 动态强度 / 时长 / 对口型 / 一致性 / 可商用 / 训练集 / 过拟合 / 翻车 / 穿帮。(g) 争议/批判 — 「版权与训练数据」（模型训练用未授权作品、生成图版权归属、可商用风险、洗图/伪原创）、「AI 替代创作者就业」（替代画师/插画师/设计师/摄影、行业冲击与转型）、「AI 味与审美趋同」（生成图同质化、套模板、缺乏原创审美）、「玄学 prompt 神话与割韭菜」（'咒语'神秘化、'7天 AIGC 变现/月入过万'付费课割韭菜、抽卡当能力）、「工具快速迭代与淘汰焦虑」（模型月月换、工作流频繁失效、追新疲劳）、「开源 vs 闭源之争」（可控可商用 vs 易用黑盒）、「质量天花板」（修手修脸穿帮、长视频一致性、可控性仍有限）。(h) 大量隐性创作手艺 + 审美 + 工程 + 沟通软技能（prompt 的描述功底与审美词汇、参数与采样的手感、ControlNet/LoRA 的组合控制经验、节点工作流的搭建与调试、批量筛选的审美眼力、修图合成的后期功底、镜头语言与运镜设计、角色/风格一致性的控制、商业需求的翻译与交付、版权与可商用的判断）是高 tacit、靠大量实操跑图 + 审美积累 + 工程调试经验的核心。水分极高（大量'咒语速成/一键变现/AI 绘画割韭菜'营销
日本語の概要は準備中です。原文の説明を表示しています。