Prove the hero before building past it

The Tortuga run showed the finish machinery working end to end, roll,
challengers, approved comp, honest labels, independent reviewer, an
earned rebuild verdict at the user checkpoint, and still cost the user
a full build to learn the hero undersold the comp: a glyph storm at a
tenth of the approved density under type half as compressed. Both
misses were visible the moment the first viewport rendered.

Two cheap gates front-load that discovery. The build section gains a
hero checkpoint: capture the first viewport and set it beside the
comp's before any later section, judging scale and density as
quantities. The inventory gains the same quantitative discipline:
field and texture regions record density and coverage, and TYPE rows
name the compression class and render one headline word against the
comp before anything is built on the face.

Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>

skill/reference/new-work.md

@@ -91,6 +91,7 @@ For `shape`, return the selected direction to [shape.md](shape.md) and stop befo
 Build the assigned direction, not a safer interpretation of it. The form supplies structure, reading order, component conventions, and native motion; the product supplies every fact. Commit every atom: nav, buttons, inputs, and links are rebuilt in the form's vocabulary, and a stock component inside a committed form is a lapse. Land the first build fully committed; committing is the hard part, and the passes that follow exist to make the committed thing clear and effective, never to dilute it. In unattended work, the safe rendition is the known risk. <!-- rule:skill-commit-every-atom -->
 
 - **The first viewport is a thesis, not a header.** Demonstrate the mechanism immediately, at the scale the form has in life; do not trap the concept inside a standard hero or card shell. The memory test: if someone left after one viewport, what would they describe an hour later? If the honest answer is a mood, the concept has not committed yet.
+- **Prove the hero before building past it.** When an approved comp exists, render the first viewport, capture it, and set it beside the comp's first viewport before any later section: the hero carries the run's ambition, and every following section inherits its shortfall. Judge scale and density as quantities, a field at a tenth of the comp's coverage or type at half its weight is a different design, and a five-minute retry here is what a rebuild verdict at the finish costs when this check is skipped. <!-- rule:skill-hero-checkpoint -->
 - **Prove, don't claim.** Show the subject doing its job: the interface at work, the mechanism dramatized, specifics a competitor could not copy-paste. Sections that restate a claim in different words add length, not substance. Demonstration data is design material: author it at full fidelity and label it synthetic; claims stay uninventable.
 - **Author the assets; never substitute chrome.** Great surfaces live on carefully made content: names, entries, copy, covers, thumbnails, textures. In greenfield work every blank the ask round left open is yours to author at production fidelity; content is authorable, claims are labelable, no section is omittable. An unanswered commercial claim ships as a clearly marked placeholder on the user's replacement list. When image generation exists, producing the design's imagery is part of building, at the scale the composition needs: a viewport that wants atmosphere gets a full-bleed layered scene, and a library of small centered subjects standardized for tidiness forecloses it. Gradients, glass, and generic icon tiles where an authored asset belongs are the gap wearing chrome; icons drawn in the world's own grammar are the remedy, not the target. <!-- rule:skill-author-assets-not-chrome -->
 - **Build the form's web leverage.** When the chosen world names a technique (canvas, WebGL, view transitions, generative motion), build the technique itself, not a static imitation of it; the graceful fallback serves constrained clients, it is not the default experience.

skill/reference/visualize.md

@@ -32,7 +32,7 @@ Before building, inventory the approved comp's major visible ingredients in writ
 
 The medium column is where an approved design most often dies, so it obeys a gate: the medium is decided by what the comp region shows, never by what feels buildable in the current stack. A human figure, a product object, machinery, or any material with lighting and depth is raster whatever the stack; writing "silhouette" for a photographic figure, or "CSS" for a sculpted panel's finish, is not a medium choice, it is the quiet deletion of the approved design, and it is how a comp full of physical material becomes a flat page with the same section order. Style does not move this boundary: a comp region with perspective, shading, figure drawing, or dense mechanical detail is illustration however line-drawn it looks, and no build session can author illustration as vectors, so it regenerates as raster like any photograph. Authored SVG covers what a session can specify exactly, diagrams with countable elements, controls, flat shape systems, and it ends where drawing skill begins; an instruction-manual world does not convert its illustrations into diagrams, it makes them line-art illustrations. Produce such regions by regenerating them cleanly, with the approved comp and its embedded prompt as the reference for a fresh render at asset resolution; never crop pixels out of the comp itself, whose effective resolution sits far below asset grade. Dropping an image-native region instead of producing it is a scope decision the user makes at the approval point, never a silent flattening after it. Generated imagery is a material, not a claim: evidence rules bind assertions, specs, testimonials, and photographs presented as real, never render fidelity, so "no photography on hand" forbids fake proof, not an illustrated hero.
 
-The gate runs both ways: precise geometry, hard-edged shape systems, diagrams, expressive motion, shaders, and anything interactive are vector and GPU territory (SVG, canvas, WebGL), where a raster flattens what should move, scale, and respond, and code executed safely and professionally remains first-class there. Raster is for what the world paints; code is for what the world draws, animates, or reacts with, and choosing code there is ambition, not economy. Every `produce` entry is produced before the build ships, through the asset producer or in the current thread; an inventory with unproduced entries is an unfinished build, and this gate is where imagery-free pages come from when it is skipped.
+The gate runs both ways: precise geometry, hard-edged shape systems, diagrams, expressive motion, shaders, and anything interactive are vector and GPU territory (SVG, canvas, WebGL), where a raster flattens what should move, scale, and respond, and code executed safely and professionally remains first-class there. A field or texture built from many small elements carries a quantity commitment either way: write down its approximate density and coverage ("thousands of glyphs over two-thirds of the fold, dense at the top fading into the path"), because a field rebuilt at a tenth of its density passes every checklist and still is not the design. TYPE rows carry the same discipline: name the face's compression class, and render one headline word against the comp before building on it; a visibly wider or lighter silhouette means the face is wrong, and every section built on it inherits the miss. Raster is for what the world paints; code is for what the world draws, animates, or reacts with, and choosing code there is ambition, not economy. Every `produce` entry is produced before the build ships, through the asset producer or in the current thread; an inventory with unproduced entries is an unfinished build, and this gate is where imagery-free pages come from when it is skipped.
 
 Pay special attention to the dominant composition, signature use, image-native content, second-fold system, and any interaction the still image only implies.