The showcase is an atlas with three lanes #RFUR2R

The showcase should say what luvcraft can actually do, preserve good views of those things, and occasionally be beautiful enough to stand on its own. Those are related jobs, but not identical ones. The useful catalogue has three lanes:

• Scenes are composed editorial images: terrain, inhabitants, architecture, and light arranged as a picture. They normally omit the crosshair, hotbar, and first-person body.
• Surfaces show interaction in context: a terminal wall, phone, inventory, metabar, approval, or other pane at the moment its purpose is legible. HUD and viewmodel layers belong when they are part of that purpose.
• Plates hold a camera and one variable still for comparison: materials, hours, shadows, blocklight, glyphs, poses, and backend-sensitive effects. These are reference imagery even when they are too diagnostic for the front of the public page.

This page is a source-backed roster, not a claim that all these recipes exist. Names in verbatim are proposed literal capture names. Each figure can own a still and one or more films under the executable media contract #IVRWI8. A recipe only joins luv/showcase when it can render from source without private ambient state; networked, credentialed, and Darwin-only views remain authored shots until they acquire a deterministic fixture.

The first folio should be small enough to art-direct: the pre-noon ridge #NLCFX0, a crystal afterglow #Q8ZIFD, a terminal at home in the terrain #2TMUKK, the instrument family #DYJZBK, inhabitants #W7T2IT, physics #CSCFGF, and the already composed birthday world #L5G2WQ. The rest of the gazetteer prevents those hero shots from becoming the only visual memory of the game.

Pre-noon light on the little world #NLCFX0

The principal landscape should be a recognizably generated little world, not a bespoke diorama. The terrain source already supplies rolling grass, sand, stone and snow with rocks and broad-canopied trees. The sky can pin any hour, while the HDR presentation in the renderer supplies fog, bloom, vignette, focus blur, and screen-space sunlight shafts.

The composition wants a ridge or shallow valley from seed 121 or another recorded seed: warm light from the left at roughly ten in the morning, the sun just inside or just outside the frame, two or three tree crowns breaking it into shafts, a bright middle-distance slope, and a cooler fogged horizon. The camera should be near human height rather than the old gazetteer's aerial debugging angle. The grade may make the pre-noon sun warmer, but should not raise shaft or bloom gain until the entire frame looks veiled.

• pre-noon-ridge-still — clean 3:2 hero still, no HUD or viewmodel.
• pre-noon-ridge-glide — six to eight seconds moving slowly across the foreground while keeping the ridge and sun relationship intact.
• pre-noon-under-the-trees — a lower companion view with trunks and leaves providing foreground occlusion and obvious shafts.

The still establishes the picture. The glide proves that shadows, fog, lens effects, streamed terrain products, and exposure remain coherent when the camera moves.

Mentioned in: The showcase is an atlas with three lanes, The sky deserves one fixed camera across a whole day, Player instruments should be readable in context, Author the pre-noon ridge

The sky deserves one fixed camera across a whole day #TRYHPN

A time-of-day folio should use one seed, one camera, one viewport, and one grade. Only the pinned sky-clock reading changes. That makes the default profile's midnight, sunrise, morning, noon, sunset, and dusk keyframes visible as a system rather than as unrelated pretty pictures.

• little-world-blue-hour — the world still readable before sunrise.
• little-world-sunrise — warm horizon, long shadows, cool zenith.
• little-world-pre-noon — the neutral comparison for #NLCFX0.
• little-world-noon — high sun, shortest shadows, strongest material read.
• little-world-sunset — warm lateral light and fog colour.
• little-world-deep-night — ambient silhouette without an artificial moon.
• little-world-one-day — an eight-second authored time-lapse through the same fixed view; no camera orbit to confuse lighting change with parallax.

The six stills are reference plates. The film is where continuous profile interpolation, shadow motion, cloud movement, and exposure transitions become visible.

Crystal afterglow shows luminous materials #Q8ZIFD

The crystal is simultaneously a textured material, a blocklight emitter, and an HDR surface emitter. A small grove at late dusk can show all three: crystal light reaching grass, stone, trunks, and the underside of leaves; faceted normal relief on the near blocks; and a restrained bloom spread against a dark sky. The existing glow-floor and crystal-seam gazetteer views already provide the diagnostic core in luvcraft/gazetteer.lisp.

• crystal-grove-afterglow-still — a composed near/middle/far scene with one crystal close enough to read its facets and several hidden among trees.
• crystal-grove-night-orbit — a slow lateral arc, not a full turntable, so changing occlusion shows the blocklight volume.
• crystal-chunk-seam-plate — the existing flat seam proof promoted into the capture system as reference imagery.
• crystal-bloom-ladder — three fixed plates at zero, ordinary, and strong bloom gain for tuning regressions; never a public hero card.

Mentioned in: The showcase is an atlas with three lanes

A terminal is a place, a pane, and a carried thing #2TMUKK

The world terminal discovers an authored rectangle of blocks, sizes a Ghostty grid to it, draws styled cell backgrounds and Slug glyph geometry, and adds a separately lit screen panel and glass faceplate. The same terminal surface protocol reaches the graphite slab in the player's hand. A terminal showcase should therefore keep enough oblique perspective for the rim, glass, and world placement to survive; a square-on crop makes the surface look like a pasted screenshot.

• terminal-camp-golden-hour — a three-by-two or four-by-three shell wall in a small stone-and-wood shelter, warm exterior light, luminous styled text, and no modal HUD.
• terminal-shell-closeup — the same deterministic fixture from its ordinary off-axis focus pose, sharp enough to inspect bold and coloured cells.
• terminal-mode-hotbar — focused wall plus the mode-aware hotbar showing Shell, Film, and Telegram as the wall's own choices.
• phone-shell-in-hand — first-person body and phone retained, terminal full of a short deterministic fixture rather than a machine-specific prompt.
• phone-focus-pull — a short film of taking the phone out, glancing at it, focusing it, typing one line, leaving focus, and pocketing it while the shell remains alive.

The shell fixture should contain colour, bold text, a command and output, but no hostname, home directory, credential, or wall-clock reading.

Mentioned in: The showcase is an atlas with three lanes

Player instruments should be readable in context #DYJZBK

The main panes are already McCLIM frames composited into the one game canvas. They should be photographed over a quiet midtone landscape which gives their edges contrast without competing with their text.

• hotbar-material-palette — the ordinary bottom hotbar with procedural block icons, numbered wells, selection edge, and selected-material caption from mcclim/hotbar.lisp.
• inventory-natural, inventory-building, and inventory-luminous — the category sidebar, paged item grid, quickbar, quantity, and item inspector from mcclim/inventory.lisp. The building plate should inspect a film so its title/uploader/duration specialization is retained in visual memory.
• metabar-grading — the grading group open over the #NLCFX0 scene, so exposure, bloom, light-shaft, shaft-reach, and vignette controls are visibly attached to their consequence.
• metabar-physics — the physics group over a sleeping pile of balls; useful as a reference for the knob/action vocabulary rather than a hero shot.
• keymap-legend — the generated sections and live bindings from the keymap legend.
• command-menu-filter — M-x with a useful partial query and several matches, showing that game commands are an inspectable command table.
• tape-prompt — the small YouTube-code prompt with neutral fixture text and its validation line.
• lobby-radio — the quiet corner instrument in offline, connecting, and two-peer fixture states; only the two-peer plate belongs on the public page.

An authored instrument-tour film may open hotbar, inventory, metabar, legend, and command menu in a stable sequence, but the individual stills remain the better reference for typography and layout.

Mentioned in: The showcase is an atlas with three lanes

World-native panes should keep their depth cues #FSDUXL

Some panes live on world surfaces rather than in the HUD. Their showcase pair is an environmental view proving placement and a close view proving content. Both keep the surface slightly off-axis.

• film-browser-on-wall — the stone-cased file browser from terminal-film-browser.lisp, with directories, playable films, sizes, paging marks, and footer message supplied by a temporary deterministic fixture tree.
• communicator-dialogs-on-wall — a credential-free Telegram console snapshot containing avatar colours, dialog rows, transcript text, photo/video thumbnails, composer, and scrollbar. A live private account must never be a capture dependency.
• paper-sheet-on-wall — the separate luvcraft/paper system showing a known repository PDF page with McCLIM text replayed as sharp world geometry.
• terminal-six-faces — one compact reference scene exercising front, back, left, right, top, and bottom terminal surface frames.

The communicator and paper are real capabilities, but need small source-owned fixtures before they can enter the default Chapel render set.

Inhabitants need portraits and motion #W7T2IT

The little world now has box-built turtles and independently ray-marched gnome and cat bodies. Their pictures should show scale against blocks and ground, not isolate them on a transparent turntable.

• turtle-meadow-portrait — promote the three posed animals from the old gazetteer into a warmer, lower composition with walking, turning, and resting poses all readable.
• turtle-crossing — a short lateral film of gait, rest, turning, cast shadow, and a small terrain obstacle.
• ride-a-turtle — first-person authored film of mounting with Tab, walking a small path from the moving seat, and dismounting safely.
• gnome-garden-portrait — one gnome at conversational distance among grass, stone and flowers, preserving hat, beard, face, rim light, and world scale.
• cat-in-the-sun — the seated cat in warm side light with the tail silhouette clear against a simpler background.
• gnome-and-cat-two-shot — the shared embodied-agent vocabulary made visible without pretending the two bodies share a shader.
• inhabitant-turns — a restrained film of turtle gait, gnome walking, and the cat's breathing proxy, cut as three shots rather than one busy arena.

Mentioned in: The showcase is an atlas with three lanes

Agent work has four visible surfaces #HA4V5Q

The agent is visually larger than its gnome. Its work appears as a top-right cassette HUD, bubbles and dialogue around an embodied presence, an ANSI transcript written onto a terminal wall, and a clean over-the-shoulder surroundings observation. Construction adds the fifth special case already captured by #Y7X7WK: an inert possible world awaiting approval.

• agent-cassette-hud — a source-owned synthetic turn with prompt, thought, one running call, one completed call, elapsed times, output, and final text. Do not call a model to render it.
• gnome-conversation — the same synthetic records as world bubbles plus a short dialogue subtitle, with the gnome itself in frame.
• agent-wall-transcript — the records rendered as coloured Ghostty geometry on a terminal wall, including prompt and one tool cassette.
• agent-surroundings-glance — the clean third-person image from capture-surroundings-observation, paired in the wiki with its pose and voxel-census text.
• construction-proposal-still and construction-proposal-orbit — retain the existing recipes; add a future construction-approve film which ends with the preview becoming ordinary world geometry.

Synthetic transcript objects keep typography and layout deterministic. A separate authored film may show a real model turn, but it should be presented as an observed session rather than as a reproducible capture recipe.

Physics is best shown with causality #CSCFGF

The physics presentation draws true patterned spheres, posts the player and animals as kinematic obstacles, and turns the fountain and lava spring blocks into persistent body sources. A still can show materials and a settled pile; motion is required to show the system.

• ball-in-hand — viewmodel reference with the worn banded ball carried low.
• throw-and-settle — one throw, one bounce, a roll down a small slope, contact with another ball, and sleep; keep the camera fixed so causality reads.
• party-ball-cascade — beach, smiley, marble, and classic balls spilling down stone steps under side light.
• turtle-and-ball — a rolling ball deflected by a turtle, which visibly startles; a playful proof that physics and critter protocols meet.
• fountain-courtyard — water drops spraying from the fountain block and splashing over a built basin.
• lava-spring-night — glowing gobbets rising, falling, sticking, cooling, and fading against a dark slate setting.
• dig-and-place-particles — a close short film of one removal and placement, preserving the ordinary block-particle feedback.

The spring films need a bounded clock and fixed emission sequence so their authored motion remains repeatable enough to compare.

Mentioned in: The showcase is an atlas with three lanes

The birthday world is the authored ensemble shot #L5G2WQ

The luvcraft/birthday system is already a composed scene rather than a bag of demonstrations. The party owner places a gazebo in a flowered meadow, ties back-lit balloons to it, rings it with dancing gnomes and physical balls, runs a terminal-based marquee, pins the sky, and starts the fireworks. It deserves both a coherent film and smaller portraits of the work that disappears in the ensemble.

• birthday-gazebo-golden-hour — wide establishing still with meadow, flower ring, gazebo, marquee, balloons, gnome troupe, and enough terrain beyond to locate the party in a world.
• birthday-balloon-backlight — close still with latex glint, transmitted sunlight, strings, gazebo edge, and one dancing gnome for scale.
• birthday-marquee-and-gnomes — medium still preserving animated banner design and the troupe's individual colours.
• birthday-fireworks — the existing staged party film or a six-to-ten-second extract containing launch, peony, ring, and willow shapes over the gazebo.
• birthday-afterparty — turtles entering after the main act among settled party balls.
• birthday-cutscenes — the complete authored two-act film remains a feature, not a default looping card if its length overwhelms the rest of the page.

Mentioned in: The showcase is an atlas with three lanes

A world within a world needs its own folio #TWKA93

Film walls and portals both put a moving image onto a world panel, but they prove different things. Film can use the hardware-backed video path; the showcase renderer can also cross the same wall texture, screen-panel, and faceplate ownership with a tiny generated clip and a deliberately selected decoder. A portal shows another live luvcraft process through a shared IOSurface and is Darwin-only.

• wall-cinema-at-dusk — a deterministic locally generated film playing on a terminal rectangle while the faceplate, shelter, ground, and dusk light remain visible.
• wall-cinema-at-dusk-film — three seconds of the same fixed theater view while the source-owned stone-age car actually crosses the wall.
• choose-and-play-film — authored sequence from Film mode, through the wall browser, to moving picture and back to Shell.
• film-reel-in-inventory — the carried film's title, uploader, duration, and flange icon in the item inspector.
• terminal-portal — a child little world framed by its parent's terminal wall, with enough oblique perspective to show it is a transmission surface.
• portal-recursion — an authored Darwin film moving the child camera while the parent moves slightly too; the two parallax systems should remain distinguishable and tear-free.

Portal entries stay out of the Chapel default set unless the render host and capture operation acquire an explicit Darwin route. “Hw accelerated” film captures require the hardware path; a silent software fallback does not prove the feature being shown.

Reference plates make failures legible #OK1OC8

The diagnostic gazetteer remains valuable beside the editorial showcase. Its existing views should be wrapped by small capture recipes instead of copied or retired: gazetteer-little-world-noon, little-world-dusk, shadow-forest, glow-floor, crystal-seam, turtle-meadow, and shadow-yard.

The broader reference shelf should add:

• material-raking-lineup — every placeable block in category order under one low neutral sun, including colour and generated normal relief.
• atlas-colour-and-normal — exact colour and normal atlases as technical plates, not upscaled screenshots of blocks.
• shadow-yard-still and shadow-yard-motion — simple caster/receiver evidence plus a consecutive camera or sun sequence.
• shadow-forest-motion — representative trees and terrain paired with the existing derivative diagnostics, keeping host timing out of a visual claim.
• world-text-closeup — the existing Slug text proof at native resolution.
• terminal-type-plate — regular/bold, ANSI colours, background cells, cursor, and faceplate at near and far camera distances.
• body-proportion-plate — gnome and cat at one block ruler for shader-knob reviews.
• viewport-shapes — the same quiet scene at landscape, square, portrait, and a resized live viewport, preserving safe HUD insets.

Reference captures should keep their ordinary PNGs and short MP4s available even when only selected scenes appear on the front showcase grid. The current flat manifest does not need categories yet: the page can remain flat until enough real captures make navigation a demonstrated problem.

Every still has a motion companion when time matters #I380Q9

An orbit is useful when the claim is shape, depth, or attachment to the world. It is not a universal video template. The film should move the variable that the subject owns:

capture-luvcraft-screenshot already chooses HUD and viewmodel layers, and film-luvcraft-session gives authored code a before-frame boundary. A recipe should reuse one scene constructor across its still and film whenever they depict the same subject. That makes their difference an authored camera or clock path rather than accidental world state.