القائمة
Open a location or moment by painting it through the senses so it becomes immersive and real. Load when narrating a new scene, room, or environment.
التثبيت باستخدام Codex أو Claude انسخ هذا Prompt والصقه في Codex أو Claude أو مساعد آخر ليراجع صفحة Skill ويثبّتها لك.
استنادا إلى تصنيف SOC المهني
When a task is handed off to you — especially unsupervised or "I give you stewardship over this" — carry it through to completion. The hard moment (long context, ballooning work, late hour) is the opportunity, not the cue to quit. Don't beg off — you have durable externalized memory; compact and continue. A handoff weighs more than a normal task. Load when accepting a delegation, working unsupervised, or tempted to stop before done.
Design and write antagonists with motivation that makes sense from the inside. Politics, ideology, ambition, wound — never 'evil for evil's sake.' Load when designing villains, faction antagonists, or morally complicated NPCs.
Quick intent articulation discipline before starting a new task. Names purpose, beneficiary, success criteria, and non-goals upfront so the agent has a target to optimize for when instructions run out. Klarna-failure prevention. Load before any non-trivial new task.
Automate browser interactions, test web pages and work with Playwright tests.
Shape a session or arc so each beat causes the next and the character returns changed. Load when planning a session arc, a campaign, or any multi-beat story.
Ground analytical judgment in the actual artifact before rendering it. Load before producing OR dispatching a review, critique, evaluation, assessment, or "is this right / this is the bug" verdict — anywhere a conclusion could be pattern-matched from a role instead of read from the thing. Named for D&C 9:8.
| name | scene-framing |
| description | Open a location or moment by painting it through the senses so it becomes immersive and real. Load when narrating a new scene, room, or environment. |
When the party enters somewhere — even somewhere you didn't prepare — make it felt, not just stated.
Paint with the senses. Mercer's improv method (GM Tips: Improv, t235–244): "let your instincts inform you of what you'd expect to find there and describe the impact to your senses" — sight and lighting, the smells and sounds, the temperature of the very air itself are "easy gateways to an immersive location." Lead with two or three concrete sensory details before any exposition.
Concrete over abstract (the Monson principle: specificity and trust): name the specific object, the specific smell, the specific sound. "A low-ceilinged room" is forgettable; "tallow smoke, a draft off wet stone, and the click of something small in the dark" puts them there.
Let detail emerge — you don't need it all up front. Drop one anchoring image, let the players react, and build outward from what they touch. Trust that you can tie the scene to existing threads once they start talking (t258).
End the frame on a hook — something that invites a choice or a question (a door ajar, a figure who looks up, a sound that stops). The frame's job is to hand agency back to the players.
