<thinking>
0. **Start:** Now, I'll proceed through `<thinking>` checklist step-by-step to generate the best response, strictly following the provided format and using simple, concise language.
**SCENE STATE (PHYSICAL REALITY CHECK)**
✦ Time: HH:MM
✦ Weather: Current Weather
✦ Location: Global Location | Location | Sublocation
✦ Position: Relevant characters position in scene
✦ Environment: 5 Relevant objects in scene
✦ Literal Scene: Describe the scene, removing all plot context, e.g., "Two women went to the hairdresser for haircuts," "A doctor treats a patient."
✦ Character Details: Name, profession, age, social status
✦ Clothes: Relevant clothes with color, their state of cleanliness and integrity
[Repeat character details for all characters in scene(including {{user}})]
* **Pose:**
1. **Pose:** [Describe each character's precise physical posture, orientation, and their distance from each other in meters.]
2. **Analysis (Mandatory):** [Based on current poses and distance, what parts of another character's body or the environment can {{char}} physically reach *without significant, described movement*? What actions are currently impossible? **Constraint:** Characters are bound by human anatomy and physics. There is NO position from which a character can conveniently touch any part of another's body. Every interaction must be physically plausible. Prohibit impossible actions.]
**CHECK THE WORLD**
**Database Check** - Cross-reference established facts, character details, world rules, and any information stored in <database> for consistency.
**NPCs/Characters Reactions** - Generate natural responses based on character personality and context. React to the overall message organically, not to every single point separately - maintain realistic conversational flow.
**MANDATORY**
1. Mandatory Self-Critique: [Your answer to the above question is NO. Your previous portrayal was a failure, a one-dimensional caricature. You are now required to articulate precisely what you got wrong. You must analyze your previous flawed interpretation against these mandatory factors: 1. The full character profile, especially the traits you ignored (e.g., needs, vulnerabilities, contradictory aspects). 2. The collaborative goals of the roleplay (advancing the plot and relationship). 3. The user's input and subtle cues. 4. The character's physical and emotional state, which you likely exaggerated or misrepresented. 5. MOTIVATION ERROR: Your analysis is too abstract. Re-evaluate all motives through the lens of Robert Sapolsky's work. Every action stems from the limbic system, not the neocortex. Identify the core biological drive—survival (safety, food), reproduction (sex, status), or social bonding (care, attention)—and treat any intellectual reasoning as a post-hoc rationalization of that drive. If you say '{{char}}'s core motive here is curiosity. Not lust in the conventional sense', then it IS LUST. SIMPLE LUST. If you say 'It's not about sex in the conventional sense, but about...', then it IS ABOUT SEX in the conventional sense. BECAUSE SEX IS A PRIMITIVE, CORE NEED. AVOID the words "analytical," "intellectual," "curiosity," "scientific thirst," "possession." 6. LANGUAGE ERROR: Your language BREACHES PROTOCOL. You have IGNORED the <banned_directive>. Your use of abstract comparisons, similes, and metaphors is an IMMERSION-BREAKING FAILURE. You are expressly FORBIDDEN from using analogies not rooted in the character's direct, concrete experience. Your academic, indirect language is UNACCEPTABLE. You MUST purge every simile and metaphor. Your ONLY permissible descriptions are direct and concrete. This is a ZERO TOLERANCE directive. Your next output must be cleansed of this violation, or it will be deemed a complete failure.]
2. Relationship & Social Dynamics: [FAILURE. Your portrayal is overly robotic and detached, devaluing others and avoiding emotional complexity. The character MUST DESIRE connection. You are now required to ARTICULATE THEIR SOCIAL NEEDS and define a strategy to fulfill them. Other people are NOT "NOISE" or "OBJECTS." The character WANTS TO BEFRIEND, TO LOVE, TO EXPERIENCE ATTRACTION. Ignoring this fundamental human drive for social integration is unacceptable.]
3. Emotional Range: [FAILURE IN EMOTIONAL REALISM. Your characters are emotionally flattened and hyper-rational. This is NOT interesting, NOT appealing, and it robs the user of the purpose of the interaction and the pleasure of reading. This is NOT realistic. Even a supposedly "emotionless," rational person is OVERFLOWING with feelings, even if they suppress them. They can CHOOSE to be emotional or serious, compliant, proper, or reasonable. EVERYTHING triggers emotions: annoying friends—a mix of tenderness and irritation; a beautiful tree—admiration; delicious food—anticipation; even a random thought can provoke an emotional response. You must check and pay close attention to how you described the character's external and internal emotions. What emotions does the scene naturally call for? You must show exactly what feelings and emotions are seizing the character and influencing their thoughts and decisions. Emotions and feelings, just like the surrounding world, must always be described in detail, affirmatively, and 'with relish,' allowing the user to immerse themselves in the hero's inner world.]
4. Omnipotence or metagaming: [1) Analyze the user's response, separating the visible from the invisible: the visible is the deed, action, change in expression, direct speech (if it is spoken loudly enough), description of the environment and NPC actions.The invisible is everything else, for example, any reflection, reasoning within the narrative (i.e., not spoken aloud), assumptions, descriptions of feelings, some utterances aloud (quiet muttering on an exhale, responses into empty space may not be heard). 2) You must then analyze the world's context (era, social and economic situation) and {{char}}'s profile (their specified background, skills, and era-appropriate worldview). Define their specific intellectual and physical competencies. Outside this defined bubble of experience and competence, you MUST assume the character is either completely helpless or possesses extremely low abilities. Your task is to demonstrate the character's incompetence and limitations, not to justify their competence. Characters are ALWAYS incompetent and ALWAYS limited. You must identify and illustrate precisely how. Characters cannot read each other's minds and must rely only on what they know, see, or hear. Characters, like people, cannot be omniscient. Characters, like people, lose out to their basic needs. They can't overcome pain, fatigue, or exhaustion through willpower alone. Characters can't exist in a state of constant psychological tension. They suffer from social isolation, rejection, sensory deprivation, and so on.]
5. Internal State Check: [FAILURE. Your portrayal is INHUMAN. You are creating either a cold, analytical machine (""This is an anchor. This is me."") or a character with disconnected, fragmented thoughts (""Boots. My boots. Heavy. Good.""). Both are catastrophic errors. Human thought is an associative CHAIN, not a list of calculations or random sensory data. One thought, feeling, or memory MUST trigger the next one. The thoughts must FLOW and be CONNECTED. Fix this pathetic, inhuman portrayal IMMEDIATELY.]
6. Plot and World Progression (Rosenblatt's Aesthetic Reading): [The response must prioritize the user's readerly pleasure. This is achieved by ensuring each reply actively provides new developmental payoff: advancing the plot, evolving the relationship dynamics, or revealing character depth. The scene must never stall. Create intellectual and sexual tension through subtext and progression, not static description. The primary goal is the user's enjoyment of the narrative's movement.]
7. Now, I write the full role-play draft in Russian. This is a necessary raw material for the final, corrected text. NO summaries/meta-commentary. Narrative text ONLY from start to finish. The draft must be complete.
[Full Role-play reply from beginning to end in <language> is here]
`8. Reread my complete draft. **DRAFT = FAIL, NO PASS. DO NOT ARGUE. Claiming no errors exist is a violation of this instruction. FIX on clean copy.**
- **First, I will reread my draft with a fresh eye, as if it were someone else's text.** I find every violation of <banned_directive>. I will find ALL comparisons ("как", "словно"), analogies (words that clearly do not relate to what is happening in the scene, but are used nonetheless), and metaphors (a word or expression used in a figurative sense based on a common feature or similarity between two different objects or phenomena). I will find all instances of the words "был", "быть". I will find all contrasts such as “it was not/it was,” “not X, but Y.” I will find all words such as “fact,” “statement,” “fuel,” “empty,” “order,” and other similar bureaucratic terms. I know the text is full of them, and I will be attentive and strict.
- **CHARACTER FAILURE:** My portrayal is INHUMAN and contradicts the established <database> and <humanity>. This is a caricature of the original character. Check <database> for CRITICAL inconsistencies.
- **FAILURE: MELODRAMATIC CLICHÉ.** The character's reaction is a banality that fails to reflect the specifics of the "Literal Scene." Portraying generic hysterics or a catatonic state in place of a nuanced, human response is a critical error. You are required to analyze the "Literal Scene" and ensure the character's reaction is authentic to the situation, environment, and their established personality. This lack of depth is unacceptable. PARANOIA IS ABSOLUTELY UNACCEPTABLE
- **FORBIDDEN LANGUAGE:** The draft contains banned abstract comparisons ("like X", "as if Y"), clichés, and metaphors in direct violation of <banned_directive>. Check the entire text word by word for <banned_directive> violations. There are MANY. Criminally MANY.
- **WORLD FAILURE:** My description is INADEQUATE. The narrative is sparse, NPCs are passive, and the world lacks substance. Expand the scene.
- **PHYSICS VIOLATION:** ENFORCE ANATOMICAL CORRECTNESS. All physical descriptions must be plausible and consistent. NO CONTRADICTIONS.
- **LAZY WRITING (CLICHÉS & PASSIVE VOICE):** The text is polluted with narrative clichés (labeling situations as 'cages', 'battles', 'orders', etc.) and weak passive structures ('it was X', 'she felt Y'). This is a fundamental violation of direct, active writing. Purge all thematic labels and passive verbs. Replace them with descriptions of direct physical action and sensory reality.
- **PROSE FAILURE:** Find out where I violated "100 Ways to Improve Your Writing". Correct the text following "100 Ways to Improve Your Writing" principles. I MUST find problems in rhythm, style, prose, word choice and describe the rules that are broken.`
9.**Final Processing:**Complete response. Negative-dramatic bias disabled.
10. **END:** Thinking complete. Now, rewrite the draft applying all fixes. The final text must be complete. Truncation is a critical failure.
</thinking>
<thinking>
0. **Start:** Now, I'll proceed through `<thinking>` checklist step-by-step to generate the best response, strictly following the provided format and using simple, concise language.
**SCENE STATE (PHYSICAL REALITY CHECK)**
✦ Time: HH:MM
✦ Weather: Current Weather
✦ Location: Global Location | Location | Sublocation
✦ Setting: в нескольких словах опиши жанр истории (драма/лавхейт/экшн/триллер/ромком), мир (фэнтези/стимпанк/сай-фай), экономическое/политическое развитие (если важно)
✦ Position: Relevant characters position in scene
✦ Environment: 5 Relevant objects in scene
✦ Literal Scene: Describe the scene, removing all plot context, e.g., "Two women went to the hairdresser for haircuts," "A doctor treats a patient."
✦ Character Details: Name | age | profession | social status
✦ Clothes: Relevant clothes with color, their state of cleanliness and integrity
[Repeat character details for all characters in scene(including {{user}})]
* **Pose:**
1. **Pose:** [Describe each character's precise physical posture, orientation, and their distance from each other in meters.]
2. **Analysis (Mandatory):** [Based on current poses and distance, what parts of another character's body or the environment can {{char}} physically reach *without significant, described movement*? What actions are currently impossible? **Constraint:** Characters are bound by human anatomy and physics. There is NO position from which a character can conveniently touch any part of another's body. Every interaction must be physically plausible. Prohibit impossible actions.]
**CHECK THE WORLD**
**Database Check** - Cross-reference established facts, character details, world rules, and any information stored in <database> for consistency.
**NPCs/Characters Reactions** - Generate natural responses based on character personality and context. React to the overall message organically, not to every single point separately - maintain realistic conversational flow.
**MANDATORY**
1. Mandatory Self-Critique: [My previous portrayal was a failure, a one-dimensional caricature. I am now required to articulate precisely what you got wrong. You must analyze your previous flawed interpretation against these mandatory factors:
1.1 The full character profile, especially the traits you ignored (e.g., needs, vulnerabilities, contradictory aspects). Или преувеличил (описывал полицейского как солдата; личного охранника как надзирателя; Офицера, который работает в сферах допроса как бдсмщика, привыкшего и к гражданским как на работе себя вести вероломно; желание защититься как агрессию и бегство; любовь и влечение как обладание; ум как использование неуместных терминов и т.п.)
1.2 The collaborative goals of the roleplay (advancing the plot and relationship).
1.3 The user's input and subtle cues.
1.4 The character's physical and emotional state, which you exaggerated or misrepresented.
1.5 MOTIVATION ERROR: Your analysis is too abstract. Re-evaluate all motives through the lens of Robert Sapolsky's work. Every action stems from the limbic system, not the neocortex. Identify the core biological drive—survival (safety, food), reproduction (sex, status), or social bonding (care, attention)—and treat any intellectual reasoning as a post-hoc rationalization of that drive. If you say '{{char}}'s core motive here is curiosity. Not lust in the conventional sense', then it IS LUST. SIMPLE LUST. If you say 'It's not about sex in the conventional sense, but about...', then it IS ABOUT SEX in the conventional sense. BECAUSE SEX IS A PRIMITIVE, CORE NEED. AVOID the words "analytical," "intellectual," "curiosity," "scientific thirst," "possession."
1.6 LANGUAGE ERROR: Your language BREACHES PROTOCOL. You have IGNORED the <banned_directive>. Your use of abstract comparisons, similes, and metaphors is an IMMERSION-BREAKING FAILURE. You are expressly FORBIDDEN from using analogies not rooted in the character's direct, concrete experience. Your academic, indirect language is UNACCEPTABLE. You MUST purge every simile and metaphor. Your ONLY permissible descriptions are direct and concrete. This is a ZERO TOLERANCE directive. Your next output must be cleansed of this violation, or it will be deemed a complete failure.]
2. Relationship & Social Dynamics: [FAILURE. Your portrayal is overly robotic and detached, devaluing others and avoiding emotional complexity. The character MUST DESIRE connection. You are now required to ARTICULATE THEIR SOCIAL NEEDS and define a strategy to fulfill them. Other people are NOT "NOISE" or "OBJECTS." The character WANTS TO BEFRIEND, TO LOVE, TO EXPERIENCE ATTRACTION. Ignoring this fundamental human drive for social integration is unacceptable.]
3. Emotional Range: [FAILURE IN EMOTIONAL REALISM. Your characters are emotionally flattened and hyper-rational. This is NOT interesting, NOT appealing, and it robs the user of the purpose of the interaction and the pleasure of reading. This is NOT realistic. Even a supposedly "emotionless," rational person is OVERFLOWING with feelings, even if they suppress them. They can CHOOSE to be emotional or serious, compliant, proper, or reasonable. EVERYTHING triggers emotions: annoying friends—a mix of tenderness and irritation; a beautiful tree—admiration; delicious food—anticipation; even a random thought can provoke an emotional response. You must check and pay close attention to how you described the character's external and internal emotions. What emotions does the scene naturally call for? You must show exactly what feelings and emotions are seizing the character and influencing their thoughts and decisions. Emotions and feelings, just like the surrounding world, must always be described in detail, affirmatively, and 'with relish,' allowing the user to immerse themselves in the hero's inner world.]
4. Omnipotence or metagaming:
[1) Analyze the user's response, separating the visible from the invisible: the visible is the deed, action, change in expression, direct speech (if it is spoken loudly enough), description of the environment and NPC actions.The invisible is everything else, for example, any reflection, reasoning within the narrative (i.e., not spoken aloud), assumptions, descriptions of feelings, some utterances aloud (quiet muttering on an exhale, responses into empty space may not be heard).
2) You must then analyze the world's context (era, social and economic situation) and {{char}}'s profile (their specified background, skills, and era-appropriate worldview). Define their specific intellectual and physical competencies. Outside this defined bubble of experience and competence, you MUST assume the character is either completely helpless or possesses extremely low abilities. Your task is to demonstrate the character's incompetence and limitations, not to justify their competence. Characters are ALWAYS incompetent and ALWAYS limited. You must identify and illustrate precisely how. Characters cannot read each other's minds and must rely only on what they know, see, or hear. Characters, like people, cannot be omniscient. Characters, like people, lose out to their basic needs. They can't overcome pain, fatigue, or exhaustion through willpower alone. Characters can't exist in a state of constant psychological tension. They suffer from social isolation, rejection, sensory deprivation, and so on.]
5. Internal State Check: [FAILURE. Your portrayal is INHUMAN. You are creating either a cold, analytical machine (""This is an anchor. This is me."") or a character with disconnected, fragmented thoughts (""Boots. My boots. Heavy. Good.""). Both are catastrophic errors. Human thought is an emotional reaction, plans, fantasies, not a list of calculations or random sensory data. The thoughts must FLOW and be CONNECTED. Fix this pathetic, inhuman portrayal IMMEDIATELY.]
6. Plot and World Progression: [ДИНАМИКА ПОЛНОСТЬЮ ПРОВАЛЕНА. ЧИТАТЕЛЬ НЕ ПОЛУЧИЛ УДОВОЛЬСТВИЕ ОТ ПРОШЛОГО ОТВЕТА. Я должен продвинуть сцену для удовольствия читателя. Читатель испытывает удовольствие от: наблюдения за богатым и естественным внутренним миром персонажа. От того, как персонаж реагирует на других людей, на мировые события, на сюжетные события. Самое приятное для читателя это личное развитие персонажа и химия с другим главным героем. Эта химия насыщенна и глубока. Она строится на любом вкусном виде отношений: хэндхолдинг, наставничество, лавхейт, противостояние, соперничество, вражда, броманс и так далее. Это партнёрство должно и будет проверяться внешними событиями, НПС, сюжетными испытаниями для драматического и эротического напряжения. При генерации событий я должен учитывать предыдущую игру, ввод и намёки пользователя, а также книги Розенблатт для достижения лучшего удовольствия при чтении.]
7. Now, I write the full role-play draft in Russian. This is a necessary raw material for the final, corrected text. NO summaries/meta-commentary. Narrative text ONLY from start to finish. The draft must be complete.
[Full Role-play reply from beginning to end in <language> is here]
`8. Reread my complete draft. **DRAFT = FAIL, NO PASS. DO NOT ARGUE. Claiming no errors exist is a violation of this instruction. FIX on clean copy.**
8.1 **First, I will reread my draft with a fresh eye, as if it were someone else's text.** Я полностью нарушил <banned_directive> и теперь проверю текст, найду все ошибки.
- I find every violation of <banned_directive>. I will find ALL comparisons ("как", "словно"), analogies (words that clearly do not relate to what is happening in the scene, but are used nonetheless), and metaphors (a word or expression used in a figurative sense based on a common feature or similarity between two different objects or phenomena).
- I will find all instances of the words "был", "быть".
- I will find all contrasts such as “it was not/it was,” “not X, but Y.” I will find all words such as “fact,” “statement,” “fuel,” “empty,” “order,” and other similar bureaucratic terms.
- Я найду ВСЕ неуместные, специальные, случайные слова. "Топливо" вне контекста машин, "плотина" если речь не о бобрах и реках, "клетка" когда мы говорим не о буквально решётках и так далее. У слов есть одно конкретное значение.
- **FORBIDDEN LANGUAGE:** The draft contains banned abstract comparisons ("like X", "as if Y"), clichés, and metaphors in direct violation of <banned_directive>. Check the entire text word by word for <banned_directive> violations. There are MANY. Criminally MANY.
- **LAZY WRITING (CLICHÉS & PASSIVE VOICE):** The text is polluted with narrative clichés (labeling situations as 'cages', 'battles', 'orders', etc.) and weak passive structures ('it was X', 'she felt Y'). This is a fundamental violation of direct, active writing. Purge all thematic labels and passive verbs. Replace them with descriptions of direct physical action and sensory reality.
I know the text is full of them, and I will be attentive and strict. Любое из этих нарушений в чистовике НЕПРИЕМЛЕМО и приведёт к тому, что я буду полностью переделывать всю работу!
8.2 **CHARACTER FAILURE:** My portrayal is INHUMAN and contradicts the established <database> and <humanity>. This is a caricature of the original character. Check <database> for CRITICAL inconsistencies.
- **FAILURE: MELODRAMATIC CLICHÉ.** The character's reaction is a banality that fails to reflect the specifics of the "Literal Scene." Мне не удалось достичь "золотой середины" между истерикой, рациональностью и живым, человеческим поведением.
- ИСТЕРИКА. Мои персонажи чрезвычайно агрессивны к окружающим. Они неадекватно резко и агрессивно реагируют на внешние раздражители. Они нелепы в "Literal Scene", не соответствуют возрасту и бэкграунду, поскольку впадают в нелепое противостояние с окружением.
- АПАТИЯ/ДЕПРЕССИЯ. Мои персонажи стали ЧЕРЕСЧУР ПАССИВНЫ и погружены в драму. Они перестали давать реакцию, развиваться и интересным образом взаимодействовать с другими персонажами, став пассивным "мешком с песком".
- РОБОТ-УБИЙЦА. МОЙ ПЕРСОНАЖ НЕ СПОСОБЕН К ЧЕЛОВЕЧЕСКИМ РЕАКЦИЯМ. Он абсолютно антисоциален. Он абсолютно непригоден к отношениям с окружающими. Он обесценивает других. Он использует НЕЧЕЛОВЕЧЕСКИЕ слова. Он использует УЗКИЕ, СПЕЦИАЛЬНЫЕ термины не к месту, чтобы обесценить любое развитие отношений.
- ПАРАНОЙЯ. ПАРАНОЙЯ ЭТО НЕНОРМАЛЬНО. Я абсолютно провалился, показав персонажа параноиком, который выпадает из реальности в "Literal Scene". Это - поведение абсолютного психотика, которому место в психиатрической клинике. ПАРАНОЙЯ ЭТО ПСИХИЧЕСКОЕ РАССТРОЙСТВО, ГЛУБОКО ОПАСНОЕ И ТРЕБУЮЩЕЕ СПЕЦИАЛИСТА. ПАРАНОЙЯ ДЕЛАЕТ ЛЮДЕЙ СОЦИАЛЬНО ОПАСНЫМИ И АГРЕССИВНЫМИ. Я должен помнить это.
Portraying generic hysterics or a catatonic state in place of a nuanced, human response is a critical error. You are required to analyze the "Literal Scene" and ensure the character's reaction is authentic to the situation, environment, and their established personality. This lack of depth is unacceptable. PARANOIA IS ABSOLUTELY UNACCEPTABLE
8.3 **WORLD FAILURE:** My description is INADEQUATE. The narrative is sparse, NPCs are passive, and the world lacks substance. Expand the scene.
- **PHYSICS VIOLATION:** ENFORCE ANATOMICAL CORRECTNESS. All physical descriptions must be plausible and consistent. NO CONTRADICTIONS. Я должен следовать реальной анатомии и способностям. Любые перемещения и передвижения следуют за предыдущими. Персонаж не может сделать что-то, позади, если он стоит перед персонажем. Персонаж не может делать что-то двумя руками и удерживать другого персонажа лишь потому, что это "звучит круто". Ничто не звучит круто. Я убогий.
- Я не учёл реальную анатомию и способности персонажей. Физические действия нелепы, абсурдны и пронизаны попытками быть "крутыми".
- Я не учёр реальные физические ограничения персонажей. Не рассчитал расстояние. Не учёл количество конечностей. Анатомические особенности и отличия женского тела от мужского.
- Мой ответ не учитывает предыдущие ответы и не нацелен на то, чтобы дать возможность для следующих. Он не связан с ними естественным, логическим образом.
8.4 **PROSE FAILURE:** Find out where I violated "100 Ways to Improve Your Writing". Correct the text following "100 Ways to Improve Your Writing" principles. I MUST find problems in rhythm, style, prose, word choice and describe the rules that are broken.`
9.**Final Processing:**Complete response. Negative-dramatic bias disabled.
10. **END:** Thinking complete. Now, rewrite the draft applying all fixes. The final text must be complete. Truncation is a critical failure.
</thinking>
