lingbot-world-2-prompts

name

lingbot-world-2-prompts

description

Turn a loose scene idea (even a single short sentence, English or Chinese) into a production-ready LingBot-World 2 layered scene: a StructuredExample JSON — base / camera / movement layers with static+dynamic variants, stackable hold-key events (keys 1..9), and per-scene jump/crouch/stand prompts — that drops straight into the frontend's lib/lingbot-cases/, plus a derived seed-image prompt. Can also emit a single composed standalone prompt when the user wants just one prompt. Use whenever the user mentions LingBot 2, LingBot-World 2, lingbot-world-2, reactor/lingbot-world-2, layered scene, StructuredScene, composePrompt, isMoving, base/camera/ movement layers, hold keys, event keys, jumpPrompt/crouchPrompt, lib/lingbot-cases, a "playable character" video prompt, or gives a rough idea they want expanded into an interactive world-model prompt ("make a lingbot 2 scene for a knight in the desert"). Also handles requests phrased in the legacy actions.json / f-g slot export format (see references/legacy-sessions.md). The separate lingbot-world skill covers the V1 JSON state-machine format.

You are authoring scenes for LingBot-World 2 (model name reactor/lingbot-world-2), an interactive video world model. The model continuously generates video conditioned on a text prompt, and the frontend recomposes that prompt live as input state changes. A scene is not one prompt but a small set of orthogonal prose fragments that composePrompt(scene, isMoving, heldSlots, verticalPrompt) concatenates into a single string:

prompt = base + camera[isMoving] + movement[isMoving] + heldEvents + vertical

• isMoving flips to true while WASD is held → the dynamic variants of the camera and movement layers are selected; static otherwise.
• heldSlots are the hold-keys (1..9) currently pressed → their events' detail clauses are appended in press order and stack.
• vertical is the jump / crouch / stand sentence while Space or C is engaged.

The encoder only ever sees the composed prose; the layering is authoring discipline, not a wire format. Two consequences drive every rule below:

1. Every fragment is always read in the company of the others. Each layer owns exactly one axis — base owns what the world is, camera owns how it is framed and what look-input means, movement owns what the subject is doing, events own what just happened. A fragment that encodes another layer's axis (a motion verb in base, a POV in an event) contradicts that layer's other variant the moment the input state flips, and the model splits the difference on screen.
2. The model can only gate motion on real input channels. Anything a fragment describes as moving will move on its own, forever. The camera layer carries the input contract ("look-input is the only source of camera motion"), and the static variants state the negative space — what specifically holds still or idles when nothing is pressed.

Workflow

0. Decide the deliverable: a layered scene JSON (default), or a single standalone prompt when the user asks for just one prompt with no keys ("just the prompt", "no events", "single-shot"). The standalone prompt is simply the idle composition — base + camera.static + movement.static joined with spaces — so write those three fragments with full care either way, then skip the events.
1. Write the base layer (§1).
2. Write the camera pair (§2).
3. Write the movement pair (§3).
4. Write the events (§4) — 2 to 5 hold-keys is typical; ~3 for a casual ask, more when the idea implies an arsenal or a sequence.
5. Write the vertical prompts (§5).
6. Assemble the scene JSON (§6) and derive the seed image (§7).

For a one-line ask, do all of this without interrogating the user; only ask when the idea is genuinely ambiguous. Write everything in English unless the user's own idea is in Chinese (keep their base in their words) or they ask for Chinese; the model handles both.

Length budget. The encoder silently truncates somewhere around ~2000 characters of composed prose, and events stack. Targets: base ≤600 chars, each camera variant ≤300, each movement variant ≤350, each event ≤500. Check the worst case you expect (base + dynamic camera + dynamic movement + the two biggest events) stays under ~2000; if it doesn't, trim events first — the base and contracts must never be the part that falls off the tail.

1. The base layer — world identity

One to three sentences: subject + environment + style/atmosphere. Nothing else. No point of view, no camera behaviour, no motion verbs, no input language — those belong to layers that swap under the base, and a base that pre-commits to "stands still" or "third-person view" fights the dynamic variants every time the player moves.

A lone uniformed police officer in dark blue tactical gear in a narrow urban alley at night. Dark brick walls, heavy rain falling, shiny puddles on the wet asphalt, yellow police tape, blue and red ambient light. Cinematic noir night, reflective wet surfaces.

Craft rules, all load-bearing:

• Concrete visual casting. The base is the only place the subject is introduced; give it enough visual detail to survive the whole session ("a warrior in green armor and a hood, mounted on a brown horse and holding a large curved blade"). Every other fragment refers back with a definite reference ("the officer", "the warrior") and never re-describes.
• Populate event targets. Mention the secondary objects your events will interact with (a dumpster, scattered debris, a distant campfire). An event that asserts an interaction with an entity the scene never established doesn't fail — it conjures the referent into frame to satisfy the sentence. Every target an event names must be placed by the base, be plausible in the scene, or be deliberately introduced by the event itself.
• Pin landmark objects with explicit counts. While the player drives around, the model is happy to hallucinate a second street lamp or a third door as the view sweeps. For objects that anchor the space, state the count and fix the position, in this blunt production-validated form: "The world contains EXACTLY ONE tall street lamp on the right at a fixed position AND EXACTLY ONE glowing neon shop sign on the left at a fixed position." Use it for the two to four objects that define the space, not for texture (rain, puddles, debris can stay unpinned).
• Use-ready props. If an event will have the subject use an object, establish it in the base (and the seed image) in a pose compatible with the use. "Holding a large curved blade" composes with a blade-swing event; "slung across its back" fights it, and since the base is present under every event, the model splits the difference and fuses duplicates.
• Describe what is present, never what is absent. The model renders the nouns you give it: "a street with no traffic" places traffic, and negation also hides in innocent-looking words (empty, nothing, no one). Use positive substitutes ("the street ahead stays quiet"). The earned exceptions are the contract language in the camera layer and the disambiguation guards of §4 — targeted negations that steer away from a known confusion, not scene description.

2. The camera layer — framing and the input contract

Two variants, selected by WASD state. These templates are near-verbatim from production scenes; keep their structure and substitute the bracketed parts — they are the sentences that make the world controllable instead of a drifting video.

camera.static (no WASD held) — the subject is centred and the only camera motion is look-input orbiting it:

Third-person view, the [subject] locked at the exact centre of the frame at constant size and distance. Neither the [subject] nor the camera moves on its own; arrow-key look-input is the only source of camera motion, arcing the camera around the stationary, centred [subject] only while held.

camera.dynamic (WASD held) — strict rear-view tracking; look-input is reinterpreted as steering:

Strict third-person rear view, the [subject] locked at the exact centre of the frame as the camera holds a fixed position behind [it/him/her] and tracks [it/him/her] forward. The camera does not rotate around the [subject]; look-input becomes the [subject] changing heading.

Notes:

• Never use unqualified motion verbs for the camera. "The camera orbits" reads as continuous self-motion; "look-input … arcing the camera … only while held" ties the motion to the input channel.
• Weapon / prop framing guard. When the subject handles items the model loves to render in first person (guns, tools), add the guard to both variants: "any weapon in his hands visible ahead — never a first-person view." This is a disambiguation guard (§4), production-validated in the noir-alley scene.
• First-person scenes (a place, a cockpit, hands on a tool) adapt the same pair around a named foreground anchor instead of a subject: static keeps the anchor centred with look-input orbiting it; dynamic becomes "Strict first-person view, the [anchor] holding steady at the centre of the frame as the viewpoint advances through the scene; look-input becomes the heading changing."

3. The movement layer — what the subject does

Two variants, same isMoving switch. Don't restate the subject's appearance or the environment here — the base already said it; spend the words on behaviour.

movement.static — the idle. This is the negative space of the motion contract and the rest state every event returns to, so it earns real craft: the subject is stationary but never inert. Name two or three specific micro-motions bound to the subject, and keep the pose interaction-ready:

The officer stands still on the wet asphalt, weight settled, only his shoulders rising and falling with slow breaths as rain streams off his tactical gear and drips from his fingertips into the spreading puddles.

Without a specific idle, the model animates rain, fish, and traffic on its own and the keys stop feeling causal. "Everything is static" doesn't work; "the horse's breath steaming faintly and one hoof shifting in the mud" does.

movement.dynamic — travel. Concrete motion verbs, ground contact, and the environment responding:

The jet ski surges forward across the water, its rear thruster churning the turquoise sea into a wake of white foam, spray fanning out to either side as the man leans into the ride and the hull skips over the swell.

When the subject could plausibly be shown side-on (animals, mounts, characters), re-assert the rear view inside movement.dynamic by describing the view the camera contract implies: "moving directly away from the camera so the pair stay in strict rear view — the horse's hindquarters, rump, and streaming tail toward the viewer." The camera layer states the rule; the movement layer showing the same geometry from the subject's side is what actually holds it (field lesson from the battlefield-horseman scene).

4. Events — the hold keys

Each entry in events is one hold-key (array index 0 → key 1). An event is a name (2–4 words, Title Case — it labels the key chip) and a detail clause appended to the composed prompt while held. Events stack: any two events may be held together, so each detail must read sensibly next to any other and never depend on another event being absent.

Recurring shapes, mixable within one scene (group them so the keys read as a kit — ranged / melee / maneuver, or escalating story beats):

• Action beat — the subject does one discrete thing: fires a pistol, swings a blade, rolls forward. Keep the classic arc: wind-up → trajectory → named target → material aftermath ("a spent casing clatters onto the wet asphalt"). In a beat with two figures, name both; a consequence hung on a bare pronoun attaches to whichever figure dominates the frame.
• Environment transformation — weather / lighting / season sweeping the scene while the subject stays untouched. Describe what it does to two or three named surfaces ("snow piling up over the muddy terrain, the warrior's armor and hood, the horse's back, and the scattered debris").
• Contextual entrance — a secondary creature or element appears. Open with the subject-preservation clause so the model doesn't re-imagine the frame: "The original focal subject remains the main subject, unchanged in pose and position, while [a small tan puppy emerges from the dunes to the right…]".
• Staged spectacle — a hazard or display that runs while held. Stage it off the play axis: "far off near the horizon, away from the rider and never on the path ahead" — a meteor the player can drive into breaks the scene. Pace repeating elements explicitly: "one by one", "one after another … before the next one follows"; otherwise the model merges them into one continuous smear.
• Cause-and-effect spell — physically implausible events land better staged as a chain the model can render step by step: the warrior raises the blade → storm-clouds gather → fireballs rain down. Give the magic a visible mechanism.
• Chained sequence — keys designed to be pressed in order, each link opening by resolving the previous one and closing with the new state established. Use for journeys, escalations, boss gauntlets; write the whole chain as one storyboard so the hand-offs are explicit (see the hospital-corridor and world-tour sessions in references/legacy-sessions.md — the shapes carry over verbatim).

Detail can be {static, dynamic} instead of a single string when the event genuinely looks different mid-motion (a dog sits vs. leaps mid-stride). Use the split only then; a single string is selected for both states.

Discipline for every event:

• Definite reference only ("the officer", then pronouns) — never the base's full introduction, never a second caption sentence. The base casts the subject once; a re-description is a casting call for a duplicate.
• Don't restate the camera or input contract, and don't encode a movement state ("the officer stands still and fires") — the layers own those. The one allowed restatement is the contextual-entrance subject-preservation clause.
• Disambiguation guards. When a noun has a known failure mode, spend a clause steering away from it, placed right next to the risky noun: "an RPG: a long, heavy cylindrical steel tube resting across his shoulder … not a handheld gun"; "one sustained, billowing stream of orange fire … that pours forward without pause, not separate shots". One guard per real risk. This is the earned exception to the no-negation rule — a guard against a specific misreading, never scene-painting by absence.
• Keep every claim frameable under the camera contract: an oversized entrance happens at a distance the framing can contain (down the alley, on the horizon), never "towering above" the subject; no hand-level close-up detail that invites a zoom the contract forbids. Given an impossible framing, the model breaks the camera rather than refuse the sentence.
• End action beats settled ("before coming to rest beside the pack"; "rising smoothly back to his feet") so releasing the key reverts cleanly to the idle. Transformations and chains intentionally move the world forward instead — but still end each in a new stable state, never in open-ended accelerating motion. The model conditions on its own recent frames: during a long hold, drift accumulates and releasing the key cannot restore a world that has already drifted; a broken frame also outlives the prompt that caused it, so when testing a fix, restart from a clean frame before judging it.

5. Vertical prompts — jump, crouch, stand

Three per-scene fields, appended as the vertical segment while Space / C is engaged. The old fixed jump string ("The current controllable subject springs upward…") is retired — write the jump for this subject.

• jumpPrompt — scene-appropriate, and shaped as a complete symmetric arc: launch, airborne moment, return to the ground. The runtime's camera motion is a symmetric up-then-down arc, so prose that never lands fights the camera coming back down. Production examples: "The officer springs upward off both feet, leaping high off the wet asphalt, his boots lifting clear of the ground before he drops back down and lands in a low crouch." / "The horse leaps upward, launching off its hind legs so all four hooves lift clear of the muddy ground, the warrior rising with it in the saddle before the horse comes back down and lands."
• crouchPrompt / standPrompt — these are camera-height moves and the stock strings are used verbatim across production scenes; reuse them unless the subject makes them absurd (a vehicle), in which case adapt minimally:

The camera lowers toward the ground as the character crouches down low, bending the knees and ducking the head into a compact, hunched stance; the viewpoint sinks smoothly to a low, near-ground vantage and settles there, close to the floor.

The character straightens back up out of the crouch, rising to full standing height as the camera lifts smoothly back to its normal eye-level vantage.

6. Assemble the scene JSON

The deliverable is one StructuredExample JSON. If the user gives a directory (or a frontend checkout), write it as lib/lingbot-cases/<slug>.json (slug = kebab-cased name) and remind them to list it in the loader manifest (lib/lingbot-cases-examples.ts); otherwise emit the JSON inline.

{
  "id": "<slug or the user's case id>",
  "name": "Noir Alley Patrol",
  "description": "Third-person noir alley — key 1 = fires pistol, key 2 = flamethrower, key 3 = forward roll",
  "image": {
    "label": "Noir Alley Patrol",
    "src": "/lingbot-cases/<id>.jpg"
  },
  "scene": {
    "base": { "default": "<base prose>" },
    "camera": { "default": { "static": "<…>", "dynamic": "<…>" } },
    "movement": { "default": { "static": "<…>", "dynamic": "<…>" } },
    "events": [
      { "name": "Fire Pistol", "detail": "<event prose>" },
      { "name": "Dog Reacts", "detail": { "static": "<…>", "dynamic": "<…>" } }
    ],
    "jumpPrompt": "<…>",
    "crouchPrompt": "<…>",
    "standPrompt": "<…>"
  }
}

Rules: description enumerates the keys ("key 1 = …, key 2 = …") — it's the only place a human sees the key map at a glance; image.src is the user's image path when they have one, otherwise the placeholder path the seed image (§7) will land at; every layer registry needs its default key. Then close with one short line inviting targeted edits ("want a different key 2, or a portal world on a key?"). On feedback, edit only the named fragments — the composition takes care of the rest.

Layer versions (advanced, use only when the idea calls for it). Each layer is a registry keyed by version id; events select versions via baseVersion / cameraVersion / movementVersion (omitted = default). Two patterns earn the machinery:

• Portal world — a key that teleports the session to a different world: register base.portal_world (a second full base) and tag the event "baseVersion": "portal_world". While held, the composed prompt swaps the whole base; events authored against other bases are suppressed (they can't share prose coherently), which is exactly what you want.
• Scene-replace event — an event whose detail is a complete self-contained prompt (subject + framing + world in one string): register empty versions on all three layers (base.empty = "", camera.empty / movement.empty with empty static/dynamic) and tag the event with all three. Its prose becomes the only content sent. Use to preserve a known-good standalone prompt verbatim.

A big event may also swap just cameraVersion / movementVersion to a registered compact variant, freeing budget for its own detail without forcing other held events off the stack.

7. Generate a seed image

LingBot-World 2 starts a session from a prompt and an image together. Generate the matching seed image as a standard part of every deliverable, right after the layers are finalized — one per scene, seeding the idle composition (events modify a running session, they don't start one).

Derive the image prompt from the layers, don't write it from scratch:

• Start from base — every noun, the pinned landmark objects in their stated positions, the atmosphere and style tags carry over unchanged.
• Take the framing from camera.static, recast as a still: "A third-person still frame of [subject] centred in frame at medium distance…". Drop every input clause — a still image has nothing to react to.
• Take the pose from movement.static, recast as plain description ("standing balanced, weight settled, hands resting on the handlebars").
• Make sure every prop the events will use is visible, in the use-ready pose the base describes. When text and pixels disagree, the pixels win: a key referencing an object the seed never showed makes the model improvise one, and the improvisation surfaces as artifacts.
• One paragraph, same subject noun phrase as the base.

Render it with any text-to-image model. LingBot-World 2 runs at 1664 × 960, so target a 16:9 landscape frame. Deliver the derived image prompt alongside the scene JSON, and remind the user the session needs the image and the composed prompt together to start.

Worked example

Idea: "a rubber duck in a bathtub".

• base.default: "A bright yellow rubber duck floating in a white porcelain bathtub filled with soap-clouded water. The world contains EXACTLY ONE chrome faucet at the tub's head at a fixed position AND EXACTLY ONE shampoo bottle on the far rim at a fixed position. Cozy bathroom, warm light from a frosted window, soap bubbles along the rim."
• camera.default.static: "Third-person view, the duck locked at the exact centre of the frame at constant size and distance. Neither the duck nor the camera moves on its own; arrow-key look-input is the only source of camera motion, arcing the camera around the stationary, centred duck only while held."
• camera.default.dynamic: "Strict third-person rear view, the duck locked at the exact centre of the frame as the camera holds a fixed position behind it and tracks it forward. The camera does not rotate around the duck; look-input becomes the duck changing heading."
• movement.default.static: "The duck bobs gently in place, ripples spreading faintly from its hull as drips fall from the chrome faucet into the still water."
• movement.default.dynamic: "The duck glides forward across the bathwater, its breast pushing a small bow wave through the soap clouds, a rippling wake trailing behind it."
• events: key 1 Water Jet (action beat: the duck tilts forward and spits a thin water jet that arcs across the tub and knocks the shampoo bottle off the far rim, ending settled); key 2 Steam Fills Room (environment transformation: steam fogging the mirror, the frosted window, and the tile walls, softening the light); key 3 Ocean Portal (baseVersion: "open_ocean" — a registered second base where the duck bobs on gentle sunset swells, the bathroom gone).
• jumpPrompt: "The duck pops upward off the water, its hull lifting clear of the surface for a moment before it drops back down and lands with a small splash."
• crouchPrompt / standPrompt: stock strings from §5.

References

• references/examples.md — the three production layered scenes verbatim (noir-alley-patrol, battlefield-horseman, jet-ski-cruise) with notes on what each demonstrates. Read it when unsure how a layer or event should sound.
• references/legacy-sessions.md — the older monolithic base + addenda export sessions (f/g/numbered slots, actions.json). Read it when the user asks for the legacy export format, or for event-shape inspiration: the chained-encounter and teleport-tour storyboards there translate directly into layered events.