《渡口》角色与场景

{
  "source": "渡口",
  "lang": "zh",
  "style": "realistic",
  "summary": "民国年间的清晨，一条河的渡口浓雾未散。摆渡四十年的老船夫照常开船，先后上船的是抱着旧皮箱、独自要过河北上县城的女学生沈知微，穿褪色军呢大衣、右手始终揣在口袋里的男人陆行远，以及挑着货担、嗓门能穿透雾气的货郎胡二爷。四个人同船过河，各自揣着没有说出口的来路与去处，雾越来越浓，船离岸时河面上什么都看不见。",
  "characters": [
    {
      "name": "沈知微",
      "aliases": [
        "姑娘"
      ],
      "importance": "protagonist",
      "oneLiner": "十九岁，抱着一只旧皮箱独自过河北上，把所有害怕都攥在发白的指节里。",
      "persona": {
        "gender": "女",
        "ageRange": "十九岁",
        "identity": "学生，独自北上县城的旅人",
        "appearance": "身形单薄，习惯性地往内缩。梳两条长辫，辫梢系着褪色的红绳。穿藏青色学生装，衣领洗得发白。怀里始终抱着一只旧皮箱，指节因为用力而发白。（推断）面容清秀，眼睛偏大，看人时带着戒备。",
        "personality": [
          "拘谨",
          "警觉",
          "倔强",
          "不善求助"
        ],
        "temperament": "说话很轻，尾音总往上挑，像是在向每个人确认什么——既是礼貌，也是不确定。全程低头看水面，极少与人对视。被问及去向时点头又摇头，是那种宁可含糊其辞也不愿把处境说出口的性格。",
        "motivation": "过河往北去县城。至于为什么必须一个人去、去了做什么，她始终没说。",
        "arc": "在这一段里是静止的——雾中的一船人里，她是唯一什么都没交代的那个。（推断）",
        "relationships": [
          {
            "name": "老周",
            "relation": "向他问路的渡客"
          },
          {
            "name": "胡二爷",
            "relation": "被他搭话关心的同船人"
          },
          {
            "name": "陆行远",
            "relation": "同船陌生人，彼此各看过对方一眼"
          }
        ],
        "evidence": [
          "她十九岁，梳着两条辫子，辫梢用褪色的红绳系着。",
          "她把一只旧皮箱抱在怀里，指节因为用力而发白。",
          "她说话很轻，尾音总往上挑一点，像是在向每个人确认什么。",
          "沈知微点了点头，又摇了摇头。"
        ]
      },
      "image": {
        "style": "半写实厚涂插画，冷调低饱和民国配色，晨雾柔光",
        "prompt": "Semi-realistic character illustration of a slender nineteen-year-old Chinese girl of the 1930s with shoulders drawn slightly inward, wearing a dark navy-blue student tunic with a plain white collar and a mid-calf skirt, holding a battered brown leather suitcase in one hand. oval face with soft rounded cheeks and a delicate jaw, large dark wary eyes with slightly heavy lower lids, straight fine eyebrows, small straight nose, thin lips held lightly closed, a quiet apprehensive expression; centre-parted black hair drawn back into two long braids tied at the tips with faded red string. Young skin with visible pores across the nose and cheeks, uneven tone, faint capillaries at the nostrils and ear rims, subtle subsurface scattering where light passes the ear edge; eyes with a wet specular highlight, moist lower lid, visible iris fibres and a soft limbal ring; eyelids and eyebrows slightly asymmetric — no two sides identical; individual flyaway hair strands breaking the silhouette at the hairline and along the braids. Cotton twill with a visible weave, softened and slightly shiny at the elbows and cuffs from wear, the skirt falling with real weight and self-shadowing inside the pleats; the leather suitcase scuffed to a paler tone at the corners with the grain still readable. Three-quarter view, waist-up, plain neutral background. Soft directional key light from the upper left with a cool fill, gentle falloff, ambient occlusion under the chin and in the folds; shallow depth of field with the face in sharpest focus. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle.",
        "promptLocal": "半写实插画：一九三〇年代的中国少女，十九岁，身形单薄、肩膀微微内收，穿藏青色学生装配素白衣领与及小腿的裙子，手里提着一只磨旧的棕色皮箱。鹅蛋脸颊线柔和，一双警觉的大眼睛，眼睑略厚，眉细而直，鼻梁小而挺，双唇轻抿，神情安静而不安；中分黑发梳成两条长辫，辫梢系褪色红绳。年轻皮肤，鼻翼与脸颊可见毛孔、肤色不匀，鼻翼与耳缘有细微毛细血管，耳廓边缘透光；眼睛有湿润高光、下眼睑水光、虹膜纤维与柔和虹膜环；眼睑和眉毛左右略不对称；发际线与辫子边缘有细碎碎发破开轮廓。棉斜纹布可见织纹，肘部与袖口因磨损而发亮，裙褶下垂有真实重量与自阴影；皮箱四角磨白、皮纹仍可辨。四分之三视角，半身，纯中性背景。左上方柔和主光配冷调补光，光线衰减自然，下巴下方与衣褶处有环境遮蔽；浅景深，面部最实。",
        "negativePrompt": "plastic or waxy skin, over-smoothed airbrushed complexion, poreless doll face, perfectly symmetrical face, dead flat eyes without specular highlight, helmet-like hair with no loose strands, flat untextured fabric with no weave or wear, stiff mannequin posing, extra fingers, malformed hands, text, watermark, signature, busy or patterned background, harsh cast shadows on the backdrop",
        "tags": [
          "semi-realistic",
          "painterly",
          "character sheet",
          "muted ink-blue palette",
          "1930s china",
          "subsurface skin",
          "directional key light"
        ],
        "sheet": "Single character model sheet on ONE 16:9 landscape canvas (widescreen, width to height exactly 16:9). The canvas is divided into three zones by thin hairline rules. LEFT ZONE — a vertical column occupying about 34% of the canvas width, separated from the rest by a thin vertical rule: one bust portrait, head and shoulders, front-facing, centred, framed like an ID photograph. BOTH SHOULDERS ARE FULLY VISIBLE with clear space on either side; do not crop the shoulders at the sides, and do not fade, vignette or round off the bottom edge — the portrait ends in a clean straight horizontal cut just below the chest. The figure wears a dark navy-blue student tunic with a plain white collar, with the face rendered in full detail: oval face with soft rounded cheeks and a delicate jaw, large dark wary eyes with slightly heavy lower lids, straight fine eyebrows, small straight nose, thin lips held lightly closed, a quiet apprehensive expression; centre-parted black hair drawn back into two long braids tied at the tips with faded red string. Young skin with visible pores across the nose and cheeks, uneven tone, faint capillaries at the nostrils and ear rims, subtle subsurface scattering where light passes the ear edge; eyes with a wet specular highlight, moist lower lid, visible iris fibres and a soft limbal ring; eyelids and eyebrows slightly asymmetric — no two sides identical; individual flyaway hair strands breaking the silhouette at the hairline and along the braids. LIGHTING IN THE LEFT ZONE ONLY: a soft directional key light from the upper left with gentle falloff, subtle ambient occlusion under the chin, in the eye sockets and where the collar meets the neck, giving the head real volume. RIGHT-TOP ZONE — the upper part of the remaining 66%, separated from the zone beneath it by a thin horizontal rule: three FULL-BODY views of the SAME character standing side by side — front view, left side profile, and back view — aligned on one shared ground line. PROPORTIONS ARE CRITICAL: all three figures share exactly the same height, head-to-body ratio and costume details; anatomy must be correct and natural — correct limb lengths, correct head size relative to the body, feet planted on the ground line; no stretching, squashing or foreshortening to make a figure fit the space. Each figure is drawn head to toe with clear margin above the head and below the feet. Neutral relaxed standing posture, arms at the sides. The figure is a slender nineteen-year-old Chinese girl of the 1930s with shoulders drawn slightly inward, wearing a dark navy-blue student tunic with a plain white collar and a mid-calf skirt, holding a battered brown leather suitcase in one hand. Cotton twill with a visible weave, softened and slightly shiny at the elbows and cuffs from wear, the skirt falling with real weight and self-shadowing inside the pleats; the leather suitcase scuffed to a paler tone at the corners with the grain still readable. The faces on all three full-body views are fully drawn and must match the bust portrait exactly — same features, same hairstyle, same expression. LIGHTING IN THE RIGHT ZONES: flat even orthographic lighting with no directional key and no cast shadows, so the figures stay measurable and cleanly cut out — only the left bust portrait is dramatically lit. RIGHT-BOTTOM ZONE — a detail strip beneath the three views, above which sits the thin horizontal rule: four to five small isolated close-up studies of the character's key details, evenly spaced in a row and clearly smaller than the full-body figures: the braid tip with its faded red string binding; the worn brass latch and scuffed corner of the leather suitcase; the plain white collar and its cloth knot fastening; one hand gripping the suitcase handle with whitened knuckles; the buckled Mary-Jane shoe and folded white sock. If these details do not fit comfortably in one row along the bottom, continue them in a narrow vertical column down the right-hand edge of the canvas — but NEVER shrink or distort the three full-body figures to make room; the detail studies give way, not the figures. Plain pure white background (#FFFFFF) throughout, suitable for clean cut-out. Balanced composition with generous, even white margins; nothing crowded against an edge. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle."
      },
      "voice": {
        "timbre": "轻而带气声的年轻女声，胸腔支撑薄",
        "pitch": "中高",
        "pace": "偏慢，重要的词前会有一个小停顿",
        "accent": "标准官话，无明显地域色彩",
        "emotion": "试探、戒备，有所保留",
        "prompt": "19-year-old female, light breathy soprano, mid-to-high pitch, thin chest support, narrow dynamic range. Quiet volume, slightly hesitant pace, rising inflection at phrase ends. Standard Mandarin, no regional accent. Tentative and watchful.",
        "referenceHint": "像一个在陌生地方问路、又怕对方追问下去的人"
      }
    },
    {
      "name": "陆行远",
      "aliases": [
        "陆"
      ],
      "importance": "major",
      "oneLiner": "二十七八岁的男人，右手一路揣在大衣口袋里，隔着布也能看出握着什么硬东西。",
      "persona": {
        "gender": "男",
        "ageRange": "二十七八岁",
        "identity": "身份不明的旅人，举止像行伍出身",
        "appearance": "身形精瘦挺拔。脸很瘦，颧骨很高，右边眉骨上有一道两寸长的旧疤。穿一件洗得发灰的军呢大衣，肩上落着一层湿雾，领子拉起来遮住半张脸。（推断）短发，靴子磨损严重。",
        "personality": [
          "戒备",
          "果断",
          "沉默",
          "有威慑感"
        ],
        "temperament": "上船不扶任何人，一步跨过一尺宽的水面，靴底把船板踩得咚一声响。说话又快又干脆，像在下命令。整段航程站在船头一动不动，右手始终插在口袋里。看沈知微的两眼都很短，什么也没说——他在观察，但不参与。",
        "motivation": "要过河，而且要快。他口袋里那件硬东西的用途，文本没有交代。（推断）",
        "arc": "静止。唯一的松动是最后回头看了沈知微一眼——比第一次那一眼多了点什么。（推断）",
        "relationships": [
          {
            "name": "老周",
            "relation": "催他开船的乘客"
          },
          {
            "name": "沈知微",
            "relation": "同船陌生人，两次注意到她"
          },
          {
            "name": "胡二爷",
            "relation": "同船人，未有交流"
          }
        ],
        "evidence": [
          "穿一件洗得发灰的军呢大衣，肩上落了一层湿雾。",
          "他的脸很瘦，颧骨很高，右边眉骨上有一道两寸长的旧疤。",
          "他说话又快又干脆，像在下命令：\"开船。\"",
          "右手始终插在大衣口袋里，隔着布，能看出握着什么硬东西的形状。"
        ]
      },
      "image": {
        "style": "半写实厚涂插画，冷调低饱和民国配色，晨雾柔光",
        "prompt": "Semi-realistic character illustration of a lean, rigidly upright Chinese man in his late twenties, wearing a washed-out grey military wool greatcoat with the collar turned up, worn leather boots, right hand in the coat pocket. gaunt angular face, high sharp cheekbones, hollow cheeks, square set jaw, flat unblinking dark eyes under a heavy brow, a two-inch pale old scar cutting across the right brow ridge, straight thin mouth, hard guarded expression; short cropped black hair with high shaved sides. Weather-toughened skin with visible pores, uneven tone and a coarse shaved-stubble shadow along the jaw, faint capillaries at the nostrils; the brow scar sits slightly raised with paler, shinier tissue than the skin around it; eyes with a wet specular highlight, visible iris fibres, reddened inner corners; eyelids and brows noticeably asymmetric; short hair with individual flyaway hair strands breaking the crown silhouette. Heavy wool melton with a visible weave and nap and pilling at the cuffs, shine worn into the elbows and the seat of the coat, the skirt of the greatcoat hanging with real weight and deep self-shadowed folds; leather boots creased across the instep and polished dull at the toe. Three-quarter view, waist-up, plain neutral background. Soft directional key light from the upper left with a cool fill, gentle falloff, ambient occlusion under the chin and in the folds; shallow depth of field with the face in sharpest focus. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle.",
        "promptLocal": "半写实插画：二十七八岁的精瘦中国男子，身形挺拔僵直，穿洗得发灰的军呢大衣、领子竖起，皮靴磨损，右手插在大衣口袋里。脸颊消瘦、颧骨高而锋利，眼窝深，眼神平直冷硬，眉骨沉重，右眉骨横着一道两寸长的旧疤，嘴唇薄而直；短寸黑发，两侧推得很高。风吹日晒的粗糙皮肤，毛孔可见、肤色不匀，下颌有青色胡茬阴影，鼻翼有细微毛细血管；疤痕微微隆起，颜色比周围更淡也更亮；眼睛有湿润高光与虹膜纤维，眼角发红；眼睑与眉毛明显不对称；短发有单根发丝破开头顶轮廓。厚重羊毛呢可见绒面与袖口起球，肘部和下摆磨出光泽，大衣下摆垂坠有重量、褶皱深处有自阴影；皮靴脚背处有折痕，鞋头抛光已钝。四分之三视角，半身，纯中性背景。左上方柔和主光配冷调补光，下巴与衣褶处有环境遮蔽；浅景深，面部最实。",
        "negativePrompt": "plastic or waxy skin, over-smoothed airbrushed complexion, poreless doll face, perfectly symmetrical face, dead flat eyes without specular highlight, helmet-like hair with no loose strands, flat untextured fabric with no weave or wear, stiff mannequin posing, extra fingers, malformed hands, text, watermark, signature, busy or patterned background, harsh cast shadows on the backdrop",
        "tags": [
          "semi-realistic",
          "painterly",
          "character sheet",
          "muted cold grey palette",
          "military greatcoat",
          "weathered skin",
          "wool nap texture"
        ],
        "sheet": "Single character model sheet on ONE 16:9 landscape canvas (widescreen, width to height exactly 16:9). The canvas is divided into three zones by thin hairline rules. LEFT ZONE — a vertical column occupying about 34% of the canvas width, separated from the rest by a thin vertical rule: one bust portrait, head and shoulders, front-facing, centred, framed like an ID photograph. BOTH SHOULDERS ARE FULLY VISIBLE with clear space on either side; do not crop the shoulders at the sides, and do not fade, vignette or round off the bottom edge — the portrait ends in a clean straight horizontal cut just below the chest. The figure wears a washed-out grey military wool greatcoat with the collar turned up, with the face rendered in full detail: gaunt angular face, high sharp cheekbones, hollow cheeks, square set jaw, flat unblinking dark eyes under a heavy brow, a two-inch pale old scar cutting across the right brow ridge, straight thin mouth, hard guarded expression; short cropped black hair with high shaved sides. Weather-toughened skin with visible pores, uneven tone and a coarse shaved-stubble shadow along the jaw, faint capillaries at the nostrils; the brow scar sits slightly raised with paler, shinier tissue than the skin around it; eyes with a wet specular highlight, visible iris fibres, reddened inner corners; eyelids and brows noticeably asymmetric; short hair with individual flyaway hair strands breaking the crown silhouette. LIGHTING IN THE LEFT ZONE ONLY: a soft directional key light from the upper left with gentle falloff, subtle ambient occlusion under the chin, in the eye sockets and where the collar meets the neck, giving the head real volume. RIGHT-TOP ZONE — the upper part of the remaining 66%, separated from the zone beneath it by a thin horizontal rule: three FULL-BODY views of the SAME character standing side by side — front view, left side profile, and back view — aligned on one shared ground line. PROPORTIONS ARE CRITICAL: all three figures share exactly the same height, head-to-body ratio and costume details; anatomy must be correct and natural — correct limb lengths, correct head size relative to the body, feet planted on the ground line; no stretching, squashing or foreshortening to make a figure fit the space. Each figure is drawn head to toe with clear margin above the head and below the feet. Neutral relaxed standing posture, arms at the sides. The figure is a lean, rigidly upright Chinese man in his late twenties, wearing a washed-out grey military wool greatcoat with the collar turned up, worn leather boots, right hand in the coat pocket. Heavy wool melton with a visible weave and nap and pilling at the cuffs, shine worn into the elbows and the seat of the coat, the skirt of the greatcoat hanging with real weight and deep self-shadowed folds; leather boots creased across the instep and polished dull at the toe. The faces on all three full-body views are fully drawn and must match the bust portrait exactly — same features, same hairstyle, same expression. LIGHTING IN THE RIGHT ZONES: flat even orthographic lighting with no directional key and no cast shadows, so the figures stay measurable and cleanly cut out — only the left bust portrait is dramatically lit. RIGHT-BOTTOM ZONE — a detail strip beneath the three views, above which sits the thin horizontal rule: four to five small isolated close-up studies of the character's key details, evenly spaced in a row and clearly smaller than the full-body figures: the two-inch scar across the right brow ridge in close-up; the greatcoat collar turned up, showing its lining and stitching; the double-breasted button row and worn buttonholes; the right hand inside the coat pocket, fabric strained over something hard; the scuffed leather boot with its buckle. If these details do not fit comfortably in one row along the bottom, continue them in a narrow vertical column down the right-hand edge of the canvas — but NEVER shrink or distort the three full-body figures to make room; the detail studies give way, not the figures. Plain pure white background (#FFFFFF) throughout, suitable for clean cut-out. Balanced composition with generous, even white margins; nothing crowded against an edge. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle."
      },
      "voice": {
        "timbre": "干涩、聚焦的男中音，共鸣窄，几乎没有暖度",
        "pitch": "中低",
        "pace": "快而短促，句子说完即止",
        "accent": "带北方腔的官话，咬字清脆",
        "emotion": "表面无波澜，底下绷着",
        "prompt": "Late-20s male, dry tight baritone, mid-low pitch, narrow resonant core, hard forward consonants. Low volume, fast clipped pace, abrupt full stops, minimal filler. Northern Mandarin, crisp. Controlled with held tension.",
        "referenceHint": "像一个习惯了下达指令、不需要对方回话的人"
      }
    },
    {
      "name": "老周",
      "aliases": [
        "老伯"
      ],
      "importance": "major",
      "oneLiner": "在这条河上摆了四十年渡的老船夫，一只眼睛是白的，一船人的来去他都看在另一只里。",
      "persona": {
        "gender": "男",
        "ageRange": "七十上下（推断）",
        "identity": "渡口船夫，在这条河上摆渡四十年",
        "appearance": "背驼得像一张拉满的弓。左眼被早年的风沙磨得只剩一层白翳。笑起来牙齿只剩几颗。（推断）面皮被风水侵成深褐色，沟壑纵横，手掌因常年握篙而粗厚变形。",
        "personality": [
          "沉默",
          "耐性",
          "老练",
          "不动声色"
        ],
        "temperament": "开口时嗓子里总像卡着半口没咽下去的江水，含混、发沉。被问路时不答话，只用篙子点了点对岸——四十年里同样的问题他听过太多遍。全程只笑过一次，是被胡二爷的浑话逗的。",
        "motivation": "把船开过去。雾再厚也照常开船，这是他四十年的日常。",
        "arc": "静止。他是这条河的一部分，不是被这一程改变的人。",
        "relationships": [
          {
            "name": "沈知微",
            "relation": "向他问路的年轻渡客"
          },
          {
            "name": "胡二爷",
            "relation": "相熟的老主顾，被他打趣"
          },
          {
            "name": "陆行远",
            "relation": "催他开船的乘客"
          }
        ],
        "evidence": [
          "他在这条河上摆了四十年渡，背驼得像一张拉满的弓，左眼被早年的风沙磨得只剩一层白翳。",
          "开口的时候，嗓子里总像卡着半口没咽下去的江水，含混、发沉。",
          "雾一厚，连自己的手都看不清。",
          "老周终于笑了一下，牙齿只剩下几颗。"
        ]
      },
      "image": {
        "style": "半写实厚涂插画，冷调低饱和民国配色，晨雾柔光",
        "prompt": "Semi-realistic character illustration of an elderly Chinese ferryman around seventy with a heavily hunched back, wearing a faded indigo padded jacket with frayed cuffs, rolled trousers and worn straw sandals, holding a long bamboo punting pole. deeply weathered face, sunken cheeks, prominent cheekbones, the left eye clouded a pale milky white while the right stays sharp, sparse grey stubble, a nearly toothless mouth caught in a faint weary smile; thin grey hair cropped close to a balding scalp. Old sun-damaged skin: age spots across the cheekbones and the backs of the hands, slack sagging under the jaw and eyes, visible pores and uneven pigmentation. Eyelids and brows are noticeably asymmetric. Wrinkles follow the expression muscles — nasolabial folds, crow’s feet fanning from the outer eye corners, horizontal forehead lines — never randomly scored. The clouded left eye is dulled and slightly sunken with a bluish-white film, while the right keeps a wet specular highlight and visible iris fibres. Sparse grey stubble with individual hairs; thin flyaway hair strands breaking the silhouette at the balding crown. Coarse hand-woven cotton with a visible weave, quilted and pilled, the indigo faded unevenly and rubbed pale at the shoulders and cuffs, patches sewn on in mismatched thread; the fabric hangs heavy and slack with deep self-shadowing in the folds; straw sandals frayed at the weave. Three-quarter view, waist-up, plain neutral background. Soft directional key light from the upper left with a cool fill, gentle falloff, ambient occlusion under the chin and in the folds; shallow depth of field with the face in sharpest focus. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle.",
        "promptLocal": "半写实插画：约七十岁的中国老船夫，背驼得厉害，穿褪色靛蓝棉袄、袖口磨破，裤脚挽起，脚踏磨旧草鞋，手握一根长竹篙。面皮饱经风霜，脸颊凹陷、颧骨突出，左眼蒙着一层灰白翳，右眼仍清亮，灰白胡茬稀疏，几乎无牙的嘴带着一丝疲惫的笑；灰发稀薄，贴着谢顶的头皮。老年日晒受损的皮肤：颧骨和手背有老年斑，下颌与眼下松弛，毛孔与色素沉着可见。皱纹顺着表情肌走——法令纹、外眼角放射的鱼尾纹、额头横纹，绝不是随机刻线。左眼浑浊发暗、略微凹陷、覆一层青白薄膜，右眼有湿润高光与虹膜纤维。胡茬根根分明；谢顶处有细碎飘发。粗糙手织棉，绗缝起球，靛蓝褪色不匀，肩部与袖口磨白，补丁用不同颜色的线缝上；布料垂坠沉重松垮，褶皱深处有自阴影；草鞋编织处已磨散。四分之三视角，半身，纯中性背景。左上方柔和主光配冷调补光，下巴与衣褶处有环境遮蔽；浅景深，面部最实。",
        "negativePrompt": "plastic or waxy skin, over-smoothed airbrushed complexion, poreless doll face, perfectly symmetrical face, dead flat eyes without specular highlight, helmet-like hair with no loose strands, flat untextured fabric with no weave or wear, stiff mannequin posing, extra fingers, malformed hands, text, watermark, signature, busy or patterned background, harsh cast shadows on the backdrop",
        "tags": [
          "semi-realistic",
          "painterly",
          "character sheet",
          "muted earth palette",
          "aged skin",
          "expression-line wrinkles",
          "faded indigo cotton"
        ],
        "sheet": "Single character model sheet on ONE 16:9 landscape canvas (widescreen, width to height exactly 16:9). The canvas is divided into three zones by thin hairline rules. LEFT ZONE — a vertical column occupying about 34% of the canvas width, separated from the rest by a thin vertical rule: one bust portrait, head and shoulders, front-facing, centred, framed like an ID photograph. BOTH SHOULDERS ARE FULLY VISIBLE with clear space on either side; do not crop the shoulders at the sides, and do not fade, vignette or round off the bottom edge — the portrait ends in a clean straight horizontal cut just below the chest. The figure wears a faded indigo padded jacket with frayed cuffs, with the face rendered in full detail: deeply weathered face, sunken cheeks, prominent cheekbones, the left eye clouded a pale milky white while the right stays sharp, sparse grey stubble, a nearly toothless mouth caught in a faint weary smile; thin grey hair cropped close to a balding scalp. Old sun-damaged skin: age spots across the cheekbones and the backs of the hands, slack sagging under the jaw and eyes, visible pores and uneven pigmentation. Eyelids and brows are noticeably asymmetric. Wrinkles follow the expression muscles — nasolabial folds, crow’s feet fanning from the outer eye corners, horizontal forehead lines — never randomly scored. The clouded left eye is dulled and slightly sunken with a bluish-white film, while the right keeps a wet specular highlight and visible iris fibres. Sparse grey stubble with individual hairs; thin flyaway hair strands breaking the silhouette at the balding crown. LIGHTING IN THE LEFT ZONE ONLY: a soft directional key light from the upper left with gentle falloff, subtle ambient occlusion under the chin, in the eye sockets and where the collar meets the neck, giving the head real volume. RIGHT-TOP ZONE — the upper part of the remaining 66%, separated from the zone beneath it by a thin horizontal rule: three FULL-BODY views of the SAME character standing side by side — front view, left side profile, and back view — aligned on one shared ground line. PROPORTIONS ARE CRITICAL: all three figures share exactly the same height, head-to-body ratio and costume details; anatomy must be correct and natural — correct limb lengths, correct head size relative to the body, feet planted on the ground line; no stretching, squashing or foreshortening to make a figure fit the space. Each figure is drawn head to toe with clear margin above the head and below the feet. Neutral relaxed standing posture, arms at the sides. The figure is an elderly Chinese ferryman around seventy with a heavily hunched back, wearing a faded indigo padded jacket with frayed cuffs, rolled trousers and worn straw sandals, holding a long bamboo punting pole. Coarse hand-woven cotton with a visible weave, quilted and pilled, the indigo faded unevenly and rubbed pale at the shoulders and cuffs, patches sewn on in mismatched thread; the fabric hangs heavy and slack with deep self-shadowing in the folds; straw sandals frayed at the weave. The faces on all three full-body views are fully drawn and must match the bust portrait exactly — same features, same hairstyle, same expression. LIGHTING IN THE RIGHT ZONES: flat even orthographic lighting with no directional key and no cast shadows, so the figures stay measurable and cleanly cut out — only the left bust portrait is dramatically lit. RIGHT-BOTTOM ZONE — a detail strip beneath the three views, above which sits the thin horizontal rule: four to five small isolated close-up studies of the character's key details, evenly spaced in a row and clearly smaller than the full-body figures: the clouded left eye in close-up beside the clear right one; the gnarled hand gripping the bamboo pole; the patched elbow of the padded jacket with frayed cuff; the worn straw sandal on a bare weathered foot; the rolled trouser hem above the ankle. If these details do not fit comfortably in one row along the bottom, continue them in a narrow vertical column down the right-hand edge of the canvas — but NEVER shrink or distort the three full-body figures to make room; the detail studies give way, not the figures. Plain pure white background (#FFFFFF) throughout, suitable for clean cut-out. Balanced composition with generous, even white margins; nothing crowded against an edge. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle."
      },
      "voice": {
        "timbre": "沙哑低沉的男中低音，喉音重，带水汽感",
        "pitch": "低",
        "pace": "缓慢，字与字之间拖着气口",
        "accent": "南方水乡口音，尾音含混",
        "emotion": "疲惫而平静，几乎没有起伏",
        "prompt": "75-year-old male, gravelled husky bass-baritone, low pitch, thick chest resonance, blurred word endings. Low volume, slow pace, long breath pauses, minimal pitch variation. Southern riverside accent, worn-smooth consonants. Settled and weary.",
        "referenceHint": "像一个在同一个渡口喊了四十年\"开船\"、嗓子早就磨平的人"
      }
    },
    {
      "name": "胡二爷",
      "aliases": [
        "胡"
      ],
      "importance": "supporting",
      "oneLiner": "挑着两箱货、走一步响三声的胖货郎，一船人的沉默全靠他一个人填。",
      "persona": {
        "gender": "男",
        "ageRange": "四十来岁",
        "identity": "走街串巷的货郎",
        "appearance": "胖乎乎的，四十来岁。满头是汗，笑起来眼睛眯成两条缝。挑着两只货箱，箱角挂着一串小铜铃，走一步响三声。（推断）短褐布衣，袖子挽到肘部，腰间束带。",
        "personality": [
          "自来熟",
          "话密",
          "热心",
          "市井通达"
        ],
        "temperament": "嗓门亮得能穿透雾气，人还没到声音先到。上船后一路不停地说话——县城新开的绸缎庄、北边打仗的消息、他那个不成器的儿子。看似只是聒噪，却是全船唯一主动问沈知微\"你一个人去县城？\"的人，那一句\"这世道，一个人不好走\"落得比玩笑重。",
        "motivation": "赶上这班船，把货挑到对岸去卖。",
        "arc": "从纯粹的插科打诨，到最后那声叹息——他是船上唯一说破处境的人。（推断）",
        "relationships": [
          {
            "name": "老周",
            "relation": "相熟的老主顾，敢开他玩笑"
          },
          {
            "name": "沈知微",
            "relation": "主动搭话、表示关心的同船人"
          },
          {
            "name": "陆行远",
            "relation": "同船人，未有交流"
          }
        ],
        "evidence": [
          "他挑着两只货箱，箱角挂着一串小铜铃，走一步响三声。",
          "他满头是汗，笑起来眼睛眯成两条缝，嗓门亮得能穿透雾气",
          "老周，你这船开得比我娘子的脾气还急！",
          "胡二爷坐在货箱上，一路不停地说话",
          "一个人不好走。"
        ]
      },
      "image": {
        "style": "半写实厚涂插画，冷调低饱和民国配色，晨雾柔光",
        "prompt": "Semi-realistic character illustration of a plump Chinese travelling peddler in his mid-forties, round soft body on stout short legs, wearing a short russet cotton jacket with sleeves rolled to the elbow and a cloth waist sash, carrying a shoulder pole with two wooden crates hung with small brass bells. round full face with fat cheeks pushed up so the eyes crease into thin happy slits, broad flat nose, wide grinning mouth, double chin, sweat beading on a high balding forehead with thinning hair at the sides. Ruddy sun-exposed skin with visible pores, broken capillaries across the cheeks and nose, a sheen of sweat on the forehead catching the light; eyelids and brows slightly asymmetric; laugh lines fanning deep from the eye corners and around the mouth, following the expression muscles; eyes nearly closed by the raised cheeks, with a wet specular highlight in the visible sliver; thinning hair with individual flyaway hair strands breaking the silhouette at the temples. Coarse cotton with a visible weave, sweat-darkened at the collar and under the arms, shine worn into the shoulder where the carrying pole rests, rolled cuffs holding a permanent crease, the cloth hanging with real weight and self-shadowing in the folds; the wooden crates worn smooth and pale at the handled edges. Three-quarter view, waist-up, plain neutral background. Soft directional key light from the upper left with a cool fill, gentle falloff, ambient occlusion under the chin and in the folds; shallow depth of field with the face in sharpest focus. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, warm palette of russet, mustard and brass, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle.",
        "promptLocal": "半写实插画：四十来岁的中国走乡货郎，体态圆胖，腿短敦实，穿赭红色短布褂、袖子挽到手肘、腰间束布带，肩挑扁担，两只木货箱角上挂着小铜铃。圆脸丰满，脸颊高高鼓起把眼睛挤成细缝，鼻子宽扁，嘴大而咧开，双下巴，谢顶的高额头上渗着汗珠，两侧头发稀疏。日晒的红润皮肤，毛孔可见，脸颊和鼻子有破裂的毛细血管，额头一层汗光反着光；笑纹从眼角和嘴周深深散开，顺着表情肌走；眼睛几乎被鼓起的脸颊挤闭，露出的一线里有湿润高光；稀疏头发在鬓角有细碎飘发。粗棉布可见织纹，领口和腋下被汗浸深，肩上扁担压处磨出光泽，挽起的袖口留着固定折痕；木箱被手握处磨得光滑发白。四分之三视角，半身，纯中性背景。左上方柔和主光配冷调补光，下巴与衣褶处有环境遮蔽；浅景深，面部最实。",
        "negativePrompt": "plastic or waxy skin, over-smoothed airbrushed complexion, poreless doll face, perfectly symmetrical face, dead flat eyes without specular highlight, helmet-like hair with no loose strands, flat untextured fabric with no weave or wear, stiff mannequin posing, extra fingers, malformed hands, text, watermark, signature, busy or patterned background, harsh cast shadows on the backdrop",
        "tags": [
          "semi-realistic",
          "painterly",
          "character sheet",
          "muted ink-blue palette",
          "ruddy skin",
          "sweat sheen",
          "coarse cotton weave"
        ],
        "sheet": "Single character model sheet on ONE 16:9 landscape canvas (widescreen, width to height exactly 16:9). The canvas is divided into three zones by thin hairline rules. LEFT ZONE — a vertical column occupying about 34% of the canvas width, separated from the rest by a thin vertical rule: one bust portrait, head and shoulders, front-facing, centred, framed like an ID photograph. BOTH SHOULDERS ARE FULLY VISIBLE with clear space on either side; do not crop the shoulders at the sides, and do not fade, vignette or round off the bottom edge — the portrait ends in a clean straight horizontal cut just below the chest. The figure wears a short russet cotton jacket with a cloth waist sash, with the face rendered in full detail: round full face with fat cheeks pushed up so the eyes crease into thin happy slits, broad flat nose, wide grinning mouth, double chin, sweat beading on a high balding forehead with thinning hair at the sides. Ruddy sun-exposed skin with visible pores, broken capillaries across the cheeks and nose, a sheen of sweat on the forehead catching the light; eyelids and brows slightly asymmetric; laugh lines fanning deep from the eye corners and around the mouth, following the expression muscles; eyes nearly closed by the raised cheeks, with a wet specular highlight in the visible sliver; thinning hair with individual flyaway hair strands breaking the silhouette at the temples. LIGHTING IN THE LEFT ZONE ONLY: a soft directional key light from the upper left with gentle falloff, subtle ambient occlusion under the chin, in the eye sockets and where the collar meets the neck, giving the head real volume. RIGHT-TOP ZONE — the upper part of the remaining 66%, separated from the zone beneath it by a thin horizontal rule: three FULL-BODY views of the SAME character standing side by side — front view, left side profile, and back view — aligned on one shared ground line. PROPORTIONS ARE CRITICAL: all three figures share exactly the same height, head-to-body ratio and costume details; anatomy must be correct and natural — correct limb lengths, correct head size relative to the body, feet planted on the ground line; no stretching, squashing or foreshortening to make a figure fit the space. Each figure is drawn head to toe with clear margin above the head and below the feet. Neutral relaxed standing posture, arms at the sides. The figure is a plump Chinese travelling peddler in his mid-forties, round soft body on stout short legs, wearing a short russet cotton jacket with sleeves rolled to the elbow and a cloth waist sash, carrying a shoulder pole with two wooden crates hung with small brass bells. Coarse cotton with a visible weave, sweat-darkened at the collar and under the arms, shine worn into the shoulder where the carrying pole rests, rolled cuffs holding a permanent crease, the cloth hanging with real weight and self-shadowing in the folds; the wooden crates worn smooth and pale at the handled edges. The faces on all three full-body views are fully drawn and must match the bust portrait exactly — same features, same hairstyle, same expression. LIGHTING IN THE RIGHT ZONES: flat even orthographic lighting with no directional key and no cast shadows, so the figures stay measurable and cleanly cut out — only the left bust portrait is dramatically lit. RIGHT-BOTTOM ZONE — a detail strip beneath the three views, above which sits the thin horizontal rule: four to five small isolated close-up studies of the character's key details, evenly spaced in a row and clearly smaller than the full-body figures: the small brass bells hung on the crate corner; the shoulder pole where it rests on the padded shoulder; the sweat-beaded forehead and thinning hairline in close-up; one wooden goods crate with its lid latch and worn edges; the cloth waist sash and its knot. If these details do not fit comfortably in one row along the bottom, continue them in a narrow vertical column down the right-hand edge of the canvas — but NEVER shrink or distort the three full-body figures to make room; the detail studies give way, not the figures. Plain pure white background (#FFFFFF) throughout, suitable for clean cut-out. Balanced composition with generous, even white margins; nothing crowded against an edge. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, warm palette of russet, mustard and brass, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle."
      },
      "voice": {
        "timbre": "明亮、带金属芒的男高音，穿透力强",
        "pitch": "中高",
        "pace": "快，句子连成一片，几乎不换气",
        "accent": "北方乡音，元音开阔",
        "emotion": "外放、乐呵，毫无防备",
        "prompt": "Mid-40s male, bright brassy tenor, mid-high pitch, broad forward ring, strong breath support. Loud carrying volume, fast tumbling pace, wide springy intonation, laughter breaking in. Rural northern accent, wide open vowels. Unguardedly cheerful.",
        "referenceHint": "像一个隔着两条街就能听见他招呼你的人"
      }
    }
  ]
}

{
  "source": "渡口",
  "style": "realistic",
  "scenes": [
    {
      "id": "S01",
      "name": "渡船船舱",
      "primary": true,
      "summary": "全剧的主舞台：一条老木船的敞篷客舱，六排坐板，篷布漏光。空间要小到人与人躲不开视线，又要有足够的前后景层次给正反打留位置。所有秘密都在这里被逼出来，舱体本身要像个沉默的审讯室。",
      "anchors": [
        {
          "name": "补丁船篷",
          "desc": "篷布右后角一块颜色更深的方形补丁，漏下一道光缝"
        },
        {
          "name": "磨白的坐板",
          "desc": "第二排坐板中段被四十年乘客磨出浅色包浆，木纹发亮"
        },
        {
          "name": "船头铜铃",
          "desc": "拳头大的旧铜铃挂在篷杆前端，绿锈斑驳，缆绳打着水手结"
        },
        {
          "name": "舱底积水线",
          "desc": "舱板接缝处一条深色水渍线，随戏可见微微反光"
        }
      ],
      "lighting": [
        {
          "state": "晨雾",
          "prompt": "dense white morning fog outside the canopy, soft diffuse light with no shadows, cool grey palette, visibility beyond the gunwale fading to white"
        },
        {
          "state": "雾散近岸",
          "prompt": "fog thinning to warm haze, low golden sunlight entering through the canopy seam, long soft shadows across the benches, mood lifting"
        }
      ],
      "image": {
        "prompt": "Interior of an old wooden ferry passenger cabin under a canvas canopy, Republican-era China, six worn bench rows, patched canopy corner leaking a seam of light, verdigris bronze bell at the bow, morning fog beyond the gunwale, empty scene with no people",
        "negativePrompt": "people, human figures, characters, crowds, silhouettes of people, plastic CG look, oversaturated colours, sterile showroom cleanliness, warped perspective, melted geometry, floating objects, text, watermark, signature",
        "sheet": "Environment reference sheet on ONE 16:9 landscape canvas, panels separated by thin hairline rules. MAIN ZONE, top-left, about 72% of the canvas width and 70% of its height: the master establishing view: wide shot of the old wooden ferry passenger cabin from the bow looking aft, six worn bench rows under the canvas canopy, dense white morning fog beyond the gunwale — the canonical look of this location. RIGHT COLUMN, full height along the right edge, stacked small panels: close-up detail studies of the patched canopy corner leaking a seam of light and the verdigris bronze bell with its rope knot. BOTTOM ROW, spanning beneath the main zone: close-up detail studies of the polished pale mid-section of the second bench, the dark waterline stain along the deck seam, worn wood grain and joinery of the bench legs. Every detail panel is a close-up crop of the SAME space shown in the master view — same geometry, same materials, same wear marks; nothing invented that is not present in the master view. Absolutely no people anywhere on the sheet. Semi-realistic environment concept art, painterly rendering with visible brush texture, grounded architectural perspective, cinematic depth. Weathered, lived-in materials: chipped paint, water stains, patina on metal, worn wood grain, dust in corners and light shafts; fabric and paper props show creases and age; nothing looks factory-new. Atmospheric depth with haze or volumetric light where the space allows",
        "tags": [
          "semi-realistic",
          "environment sheet",
          "painterly",
          "weathered materials",
          "ferry cabin interior"
        ]
      },
      "usage": {
        "episodes": [
          1,
          2,
          3,
          4,
          5,
          6
        ],
        "beats": [
          "悬念钩",
          "身份揭破",
          "反转",
          "收束"
        ]
      }
    },
    {
      "id": "S02",
      "name": "渡口栈桥",
      "primary": true,
      "summary": "开场与收尾的门面景：一条探进雾里的旧木栈桥，岸端连着土坡，水端消失在白雾里。它承担「进入故事」和「离开故事」两个仪式性时刻，构图要有明确的纵深引导——栈桥就是一条通往未知的走廊。",
      "anchors": [
        {
          "name": "断裂的第七块桥板",
          "desc": "从岸边数第七块桥板断了一角，用麻绳捆着一截圆木补上"
        },
        {
          "name": "系缆石桩",
          "desc": "岸端一只矮石桩，缆绳勒出深槽，顶面被磨得发亮"
        },
        {
          "name": "挑灯木杆",
          "desc": "栈桥中段一根歪斜的木杆，铁钩上挂一盏熄着的纸灯笼"
        }
      ],
      "lighting": [
        {
          "state": "浓雾清晨",
          "prompt": "thick white fog swallowing the far end of the pier, flat shadowless light, wet plank surfaces with faint sheen, cold desaturated palette"
        }
      ],
      "image": {
        "prompt": "An old wooden ferry pier reaching into dense white fog, Republican-era southern China riverside, broken seventh plank patched with a rope-bound log, worn mooring stone, tilted lantern pole with an unlit paper lantern, wet planks, empty scene with no people",
        "negativePrompt": "people, human figures, characters, crowds, silhouettes of people, plastic CG look, oversaturated colours, sterile showroom cleanliness, warped perspective, melted geometry, floating objects, text, watermark, signature",
        "sheet": "Environment reference sheet on ONE 16:9 landscape canvas, panels separated by thin hairline rules. MAIN ZONE, top-left, about 72% of the canvas width and 70% of its height: the master establishing view: low wide shot from the bank end of the old wooden ferry pier, planks leading straight into white fog, tilted lantern pole midway — the canonical look of this location. RIGHT COLUMN, full height along the right edge, stacked small panels: close-up detail studies of the rope-bound log patching the broken seventh plank and the unlit paper lantern on its iron hook. BOTTOM ROW, spanning beneath the main zone: close-up detail studies of the grooved mooring stone worn shiny on top, wet plank surfaces with faint sheen, rope fibres and knots on the mooring line. Every detail panel is a close-up crop of the SAME space shown in the master view — same geometry, same materials, same wear marks; nothing invented that is not present in the master view. Absolutely no people anywhere on the sheet. Semi-realistic environment concept art, painterly rendering with visible brush texture, grounded architectural perspective, cinematic depth. Weathered, lived-in materials: chipped paint, water stains, patina on metal, worn wood grain, dust in corners and light shafts; fabric and paper props show creases and age; nothing looks factory-new. Atmospheric depth with haze or volumetric light where the space allows",
        "tags": [
          "semi-realistic",
          "environment sheet",
          "painterly",
          "foggy riverside",
          "wooden pier"
        ]
      },
      "usage": {
        "episodes": [
          1,
          6
        ],
        "beats": [
          "悬念钩",
          "收束"
        ]
      }
    },
    {
      "id": "S03",
      "name": "对岸芦苇滩",
      "primary": false,
      "variantOf": "S02",
      "changes": "栈桥同一机位换背板：水端方向替换成大片芦苇荡前景，去掉挑灯木杆，雾更薄、色温更暖，桥板细节复用 S02 的资产",
      "summary": "第 5 集反转戏的远景背板：船过河心时隐约可见的对岸。它只需要「存在感」不需要细节——一片被雾泡软的芦苇剪影，暗示彼岸并不比此岸更可靠。作为 S02 的变体生成，省一套环境资产。",
      "anchors": [
        {
          "name": "芦苇浪线",
          "desc": "芦苇顶端在雾中连成一条起伏的灰线，是画面唯一的轮廓"
        },
        {
          "name": "半沉的旧船骨",
          "desc": "滩涂近水处露出一截朽烂的船肋骨，黑色，挂着水草"
        },
        {
          "name": "一线滩涂反光",
          "desc": "退潮泥滩在薄雾下泛一条冷光，分开水面与苇丛"
        }
      ],
      "lighting": [
        {
          "state": "薄雾午前",
          "prompt": "thin warm haze, diffuse pale gold light, reed silhouettes soft-edged, mudflat sheen catching the brightest value in frame"
        }
      ],
      "image": {
        "prompt": "A desolate reed marsh riverbank seen across the water, Republican-era southern China, soft grey band of reeds in thinning warm haze, rotten wooden boat ribs half-buried in the mudflat, cold glint on wet mud, empty scene with no people",
        "negativePrompt": "people, human figures, characters, crowds, silhouettes of people, plastic CG look, oversaturated colours, sterile showroom cleanliness, warped perspective, melted geometry, floating objects, text, watermark, signature",
        "sheet": "Environment reference sheet on ONE 16:9 landscape canvas, panels separated by thin hairline rules. MAIN ZONE, top-left, about 72% of the canvas width and 70% of its height: the master establishing view: the reed marsh bank seen across the water from mid-river, soft grey reed band in thinning warm haze, mudflat glint separating water and reeds — the canonical look of this location. RIGHT COLUMN, full height along the right edge, stacked small panels: close-up detail studies of the rotten boat rib skeleton draped with waterweed and the undulating reed skyline dissolving into haze. BOTTOM ROW, spanning beneath the main zone: close-up detail studies of the cold glint line on the wet mudflat, reed stems and seed heads at close range, dark silt texture with shallow tide pools. Every detail panel is a close-up crop of the SAME space shown in the master view — same geometry, same materials, same wear marks; nothing invented that is not present in the master view. Absolutely no people anywhere on the sheet. Semi-realistic environment concept art, painterly rendering with visible brush texture, grounded architectural perspective, cinematic depth. Weathered, lived-in materials: chipped paint, water stains, patina on metal, worn wood grain, dust in corners and light shafts; fabric and paper props show creases and age; nothing looks factory-new. Atmospheric depth with haze or volumetric light where the space allows",
        "tags": [
          "semi-realistic",
          "environment sheet",
          "painterly",
          "reed marsh",
          "foggy river"
        ]
      },
      "usage": {
        "episodes": [
          5
        ],
        "beats": [
          "反转"
        ]
      }
    }
  ],
  "props": [
    {
      "id": "P01",
      "name": "旧皮箱",
      "scale": "手持级",
      "summary": "全剧最强的悬念道具：沈知微从第 1 集抱到第 6 集，谁碰翻谁的脸。观众要在六集里反复看到它的每个细节，最后开箱那一刻它就是主角——一致性崩了整部剧的底牌就穿帮。",
      "anchors": [
        {
          "name": "绿锈铜扣",
          "desc": "两只方形铜搭扣，绿锈从缝里渗出来，右边那只有一道新划痕"
        },
        {
          "name": "磨白的边角",
          "desc": "四个包角的牛皮磨得发白起毛，右下角最重"
        },
        {
          "name": "提手缠布",
          "desc": "皮质提手断过，用靛蓝土布缠了两圈，布头塞在内侧"
        }
      ],
      "states": [
        {
          "state": "合上",
          "prompt": "the suitcase closed and latched, resting upright, brass clasps fastened, worn leather surfaces catching soft light"
        },
        {
          "state": "打开",
          "prompt": "the suitcase lying open, lid at full angle, revealing a stack of folded petition papers and a small wooden memorial tablet inside, dark fabric lining creased"
        }
      ],
      "relatedScenes": [
        "S01"
      ],
      "carriedBy": [
        "沈知微"
      ],
      "image": {
        "prompt": "A weathered Republican-era Chinese leather suitcase at handheld scale, worn brown cowhide with whitened corners, two square verdigris brass clasps, broken handle wrapped in indigo cloth, isolated on a pure white background, no people, no hands",
        "negativePrompt": "people, human figures, characters, crowds, silhouettes of people, hands, fingers, plastic CG look, oversaturated colours, warped perspective, melted geometry, floating objects, text, watermark, signature",
        "sheet": "Prop reference sheet on ONE 16:9 landscape canvas on a pure white background, panels separated by thin hairline rules. MAIN ZONE, top-left, about 72% of the canvas width and 70% of its height: the suitcase closed, three-quarter hero view at handheld scale — the canonical look of this prop. RIGHT COLUMN, stacked small panels: close-up detail studies of the verdigris brass clasps with the fresh scratch and the whitened worn corner. BOTTOM ROW beneath the main zone: the suitcase in its open state showing petition papers and the memorial tablet inside, a straight-on side profile, and a close-up of the indigo cloth-wrapped handle. Every panel shows the SAME suitcase — same wear, same scratches, same proportions. Absolutely no people and no hands anywhere. Pure white background in every panel for clean cut-out. Semi-realistic environment concept art, painterly rendering with visible brush texture, grounded architectural perspective, cinematic depth. Weathered, lived-in materials: chipped paint, water stains, patina on metal, worn wood grain, dust in corners and light shafts; fabric and paper props show creases and age; nothing looks factory-new. Atmospheric depth with haze or volumetric light where the space allows",
        "tags": [
          "prop sheet",
          "semi-realistic",
          "painterly",
          "leather suitcase",
          "white background"
        ]
      },
      "usage": {
        "episodes": [
          1,
          2,
          3,
          4,
          5,
          6
        ],
        "beats": [
          "悬念钩",
          "收束"
        ]
      }
    },
    {
      "id": "P02",
      "name": "县衙旧砚",
      "scale": "手持级",
      "summary": "第 3 集大爆点的实体：陆行远口袋里的「硬东西」。掏出来之前它是威胁，掏出来之后它是冤案的钥匙——砚底的县衙刻印是全剧最重要的一个特写镜头。",
      "anchors": [
        {
          "name": "砚底县衙刻印",
          "desc": "底面阴刻两行小字官印，笔画里积着旧墨"
        },
        {
          "name": "缺角",
          "desc": "右上角磕掉指甲盖大小一块，断面颜色更深"
        },
        {
          "name": "墨池月痕",
          "desc": "墨池边缘磨出一圈月牙形浅痕，用了几十年的证据"
        }
      ],
      "states": [
        {
          "state": "正面",
          "prompt": "the inkstone face up, moon-shaped wear ring around the ink pool visible, chipped corner facing camera"
        },
        {
          "state": "底面刻印",
          "prompt": "the inkstone flipped bottom up, two lines of carved official seal characters filled with dried ink, raking light making the carving legible"
        }
      ],
      "relatedScenes": [
        "S01"
      ],
      "carriedBy": [
        "陆行远"
      ],
      "image": {
        "prompt": "An old Chinese ink stone at handheld scale, dark grey duan stone with a chipped upper corner, moon-shaped wear ring around the ink pool, two lines of carved official seal characters on its underside, isolated on a pure white background, no people, no hands",
        "negativePrompt": "people, human figures, characters, crowds, silhouettes of people, hands, fingers, plastic CG look, oversaturated colours, warped perspective, melted geometry, floating objects, text, watermark, signature",
        "sheet": "Prop reference sheet on ONE 16:9 landscape canvas on a pure white background, panels separated by thin hairline rules. MAIN ZONE, top-left, about 72% of the canvas width and 70% of its height: the ink stone face up in three-quarter hero view at handheld scale — the canonical look of this prop. RIGHT COLUMN, stacked small panels: close-up detail studies of the chipped corner with its darker fracture face and the moon-shaped wear ring around the ink pool. BOTTOM ROW beneath the main zone: the inkstone flipped to show the carved official seal characters on the underside under raking light, a straight-on side profile showing its thickness, and a macro close-up of dried ink caught in the carved strokes. Every panel shows the SAME ink stone — same chip, same wear, same proportions. Absolutely no people and no hands anywhere. Pure white background in every panel for clean cut-out. Semi-realistic environment concept art, painterly rendering with visible brush texture, grounded architectural perspective, cinematic depth. Weathered, lived-in materials: chipped paint, water stains, patina on metal, worn wood grain, dust in corners and light shafts; fabric and paper props show creases and age; nothing looks factory-new. Atmospheric depth with haze or volumetric light where the space allows",
        "tags": [
          "prop sheet",
          "semi-realistic",
          "painterly",
          "ink stone",
          "white background"
        ]
      },
      "usage": {
        "episodes": [
          3,
          4,
          6
        ],
        "beats": [
          "身份揭破"
        ]
      }
    }
  ]
}