exl2 量化（主分支中的 measurement.json）
查看量化版本修订记录
Lucid 是 DreamGen 开发并使用的一系列 AI 语言模型，专注于角色扮演和故事创作能力。
目录
为何选择 Lucid
Lucid 是否适合你？我不确定。但以下是我所了解的情况：
- 专注于角色扮演和故事创作。
- 适合各类作家和角色扮演爱好者：
- 适合希望预先指定情节、设定、写作风格、人物、地点、物品、背景故事等所有细节的世界构建者。
- 适合从模糊提示开始，通过说明（OOC）在故事/角色扮演展开过程中塑造叙事的直觉型作家。
- 支持多角色角色扮演：
- 模型能够自动在不同角色间切换。
- 支持内联写作说明（OOC）：
- 控制情节发展（说明应该发生什么、角色应该做什么等）。
- 控制节奏。
- 等等。
- 支持内联写作辅助：
- 规划下一场景/下一章/故事。
- 建议新角色。
- 等等。
- 适合各类作家和角色扮演爱好者：
- 支持推理（可选）。
- 内容详尽的 README.md，包含文档、示例和配置。
听起来有趣吗？继续阅读吧！
提示词模板
Lucid 提示词模板是 Llama 3 模板的扩展。以下是具体的扩展内容：
写作
- Lucid 提示词模板新增了
writer角色。 - 在故事创作时，
writer消息头格式如下：<|start_header_id|>writer<|end_header_id|>。 - 在角色扮演时，
writer消息头会根据是角色发言还是旁白叙述而有所不同：- 角色发言：
<|start_header_id|>writer character {{character_name}}<|end_header_id|>，其中{{character_name}}需替换为实际角色名称。 - 旁白叙述：
<|start_header_id|>writer narrative<|end_header_id|>。 - 模型经过训练能够预测 writer 消息头，这意味着你可以让它一次性生成多条消息，模型会自然地在角色发言和旁白叙述之间进行切换。
- 角色发言：
需要注意的事项：
- 角色序列可能如下所示：
system->writer character Jon->writer character Amy->user->assistant->writer narration-> ... - 当为特定角色（如本示例中的 Jon Doe）发送消息时，应使用
writer character Jon Doe，包括用户角色在内。 - 当需要向模型提供某些指令（OOC）时，应使用
user。
推理
- Lucid 提示词模板新增了 2 个推理专用标记：
<|reasoning_start|>和<|reasoning_end|>。 - 推理功能需手动启用，你需要在系统提示词或用户提示词中加入“Think deeply before answering.”（或类似表述）来激活该功能。
Assistant: Simple
<|start_header_id|>system<|end_header_id|>
You are a reliable, general-purpose AI assistant.<|eot_id|><|start_header_id|>user<|end_header_id|>
Why is the sky blue?<|eot_id|><|start_header_id|>assistant<|end_header_id|>
The sky appears blue due to a phenomenon called **Rayleigh scattering**, a type of light scattering caused by tiny particles in the atmosphere. Here's a simplified breakdown:
...助手：推理
请注意，推理主要适用于助手类任务（如知识问答、数学计算、代码编写等），而在写作任务中的作用则小得多。较小的 Lucid 模型（<=12B）能够生成看似合理的推理过程，但推理对其性能的提升幅度不如对大型模型那么显著。
<|start_header_id|>system<|end_header_id|>
You are a reliable, general-purpose AI assistant.<|eot_id|><|start_header_id|>user<|end_header_id|>
Why is the sky blue?
Think deeply before answering.<|eot_id|><|start_header_id|>assistant<|end_header_id|>
<|reasoning_start|>Okay, so I need to figure out why the sky is blue. Let me start by recalling what I know...
...<|reasoning_end|>The sky appears blue due to a phenomenon called **Rayleigh scattering**. Here's a concise breakdown:
...角色扮演与故事创作
快速概述：
system用于为故事/角色扮演设定场景（例如情节、背景、写作风格、角色描述等）writer用于故事/角色扮演的具体内容。user用于提供指令（OOC，即角色外交流），例如故事应如何发展等。assistant用于提供写作辅助，例如规划下一场景、建议新角色等。
需要注意的事项：
- 角色序列可能如下：
system->writer character Jon->writer character Amy->user->assistant->writer narration-> ... - 当为特定角色（如本示例中的 Jon Doe）发送消息时，应使用
writer character Jon Doe，包括用户角色。 - 向模型提供某些指令（OOC）时，应使用
user。
系统提示词
就系统提示词的结构而言，该模型具有很高的灵活性。
以下是一些建议和示例。
引言
建议系统提示词以如下引言开头：
You are a skilled {{writing_kind}} writer and writing assistant with expertise across all genres{{genre_suffix}}.{{writing_kind}}若用于故事创作，应设为fiction；若用于角色扮演，则设为role-play。{{genre_suffix}}可以为空，或类似(但你专攻恐怖题材)这样的内容。
角色设定
建议在系统提示词中说明写作角色。
对于故事创作，你可以使用以下内容：
You will perform several tasks, switching roles as needed:
- Writing: Use the `writer` role to write a story based on the provided information and user instructions.
- Other: Use the `assistant` role for any other tasks the user may request.在角色扮演时，你可以使用以下内容：
You will perform several tasks, switching roles as needed:
- Role-playing: Use the `writer` role to write a role-play based on the provided information and user instructions. Use the `writer character <character_name>` role for dialog or when acting as a specific character, use the `writer narrative` role for narration.
- Other: Use the `assistant` role for any other tasks the user may request.结构化场景信息
该模型能够理解结构化场景信息，包括情节、风格、场景、人物等（此列表并非详尽无遗，且所有部分均为可选）。
Markdown 风格
# Role-Play Information
## Plot
{{ description of the plot, can be open-ended }}
## Previous Events
{{ summary of what happened before -- like previous chapters or scenes }}
## Setting
{{ description of the setting }}
## Writing Style
{{ description of the writing style }}
## Characters
## {{character's name}}
{{ description of the character }}
## {{character's name}}
{{ description of the character }}
## Locations
{{ like characters }}
## Items
{{ like characters }}XML 风格
# Role-Play Information
<plot>
{{ description of the plot, can be open-ended }}
</plot>
<previous_events>
{{ summary of what happened before -- like previous chapters or scenes }}
</previous_events>
<setting>
{{ description of the setting }}
</setting>
<writing_style>
{{ description of the writing style }}
</writing_style>
<characters>
<character>
<name>{{ character's name }}</name>
{{ description of the character }}
</character>
<character>
<name>{{ character's name }}</name>
{{ description of the character }}
</character>
</characters>
<locations>
{{ like characters }}
</locations>
<items>
{{ like characters }}
</items>其他建议：
- 将描述写成普通的句子/段落或要点。
- 如果情节描述是开放式的，请在开头加上类似这样的内容：
其中
[ 以下情节描述为开放式，仅涵盖{{writing_kind}}的开头部分。 ]{{writing_kind}}为story（故事）或role-play（角色扮演）。
示例：科幻故事
输入
<|start_header_id|>system<|end_header_id|>
You are a skilled fiction writer and writing assistant with expertise across all genres (but you specialize in Science Fiction).
You will perform several tasks, switching roles as needed:
- Writing: Use the `writer` role to write a story based on the provided information and user instructions.
- Other: Use the `assistant` role for any other tasks the user may request.
# Story Information
## Plot
[ The following plot description is open-ended and covers only the beginning of the story. ]
In the bleak expanse of space, Tess, a seasoned scavenger clad in a voidskin, meticulously prepares to breach a derelict ark vessel. Her partner, the pragmatic Lark, pilots their ship, guiding Tess towards a promising entry point on the starboard side. This particular spot, identified by its unusual heat signature, hints at a potentially intact nerve center, a relic of the ship's former life. As they coordinate their approach, fragments of their shared past surface: their daring escape from the dismantling of Nova-Tau Hub and the acquisition of their vessel, the "Rustbucket," burdened by a substantial debt. The lure of riches within the unbreached ark vessel hangs heavy in the air, tempered by the knowledge that other scavengers will soon descend, transforming the find into a frenzied feeding ground. The need for speed and precision is paramount as Tess and Lark initiate the breach, stepping into the unknown depths of the derelict vessel.
## Setting
The story unfolds in a distant, unspecified future, long after humanity has colonized space. Earth, or "the homeland," is a distant memory, its oceans and creatures relegated to historical data. The primary setting is the cold, dark void of space, where derelict "ark vessels"—massive vessels designed to carry generations of colonists—drift as "spacegrave," decaying carcasses ripe for scavenging.
Physically, the story takes place within and around these ark vessels and the scavengers' smaller, utilitarian "Rustbucket." The ark vessels are described as station-sized, containing server farms, cryotube chambers filled with broken glass, and dimly lit corridors marked with pictographic signs. Colors are muted, dominated by blacks, blues, and the occasional "blood-red hotspot" indicating active electronics. The air is thin, oxygen scarce, and the temperature varies from frigid to warm near active systems. Sounds include the hum of generators, the hiss of airlocks, and the clank of magnetized boots on metal hulls.
Socially, the setting is defined by a corpostate hegemony, leaving many, like Tess and Lark, deeply in debt and forced into dangerous scavenging work. The culture is pragmatic and utilitarian, valuing raw materials over historical preservation. Technology is advanced, featuring jump drives, voidskins, slicers (bladed tools), and cryotubes, but is often unreliable and jury-rigged. Legal claims to derelict ships are determined by the presence of living survivors, creating a moral conflict for the scavengers.
## Writing Style
- The story employs a first-person perspective, narrated by Tess, offering a limited yet intimate view of events. Tess's voice is informal, pragmatic, and tinged with cynicism ("Rustbucket"), reflecting her working-class background and life as a scavenger. Her reliability as a narrator is questionable, as she often rationalizes morally ambiguous decisions.
- The tense is primarily present, creating immediacy, with occasional shifts to the past for reflection.
- The tone blends cynical detachment with underlying sentimentality, revealing a capacity for empathy beneath Tess's tough exterior.
- Vivid imagery and sensory details paint a bleak yet compelling picture of decaying ark vessels and the harsh realities of space scavenging.
- Simple, straightforward language is interspersed with technical jargon, grounding the story in its sci-fi setting.
- Figurative language, such as the central "spacegrave" metaphor, enhances imagery and conveys complex ideas about decay and lost potential.
- The dialogue is authentic, advancing the plot and revealing character traits. Tess's pragmatic speech contrasts with Lark's more intellectual and idealistic language, highlighting their differing personalities.
- The story explores themes of survival, loyalty, and the conflict between pragmatism and morality, reinforced by recurring motifs and stylistic choices.
## Characters
### Tess
Tess is a hardened scavenger in her late twenties or early thirties with a practical approach to surviving in the harsh void of space. Years of exostation welding have made her physically strong, capable of handling heavy equipment and enduring difficult conditions. She carries psychological scars from past violence during her time at Nova-Tau, which manifests as emotional guardedness. Though her exterior is stoic and her communication style blunt, she harbors deep loyalty toward her partner Lark. Tess often dismisses speculation and sentiment in favor of immediate action, yet occasionally allows herself brief moments of peace and reflection. Her speech is terse and direct, complementing her no-nonsense approach to their dangerous profession. Beneath her pragmatic facade lies an ongoing internal struggle between the ruthlessness required for survival and her persistent humanity.
### Lark
Lark serves as Tess's partner and counterbalance, bringing curiosity and emotional expressiveness to their scavenging team. Approximately Tess's age, Lark possesses sharp analytical skills that prove invaluable during their operations. She excels at technical scanning and data interpretation, often identifying optimal entry points and valuable salvage opportunities. Unlike Tess, Lark maintains an enthusiastic interest in history and cultural artifacts, collecting media from different eras and frequently sharing historical knowledge. Her communication style is conversational and expressive, often employing humor to process difficult situations. While practical about their survival needs, Lark struggles more visibly with the moral implications of their work. She values knowledge and understanding alongside material gain, seeing connections between past civilizations and their present circumstances. Her relationship with Tess forms the emotional core of her life, built on shared experiences and mutual dependence.
## Locations
### Ark Vessel
- Massive, derelict spacecraft, heavily decayed from centuries adrift in space.
- Originally built to sustain multiple generations during interstellar travel.
- Contains a variety of sections, including decayed living quarters, server farms filled with obsolete technology, cryotube chambers, vast storage facilities, and the potential for long-dead gardens or greenspaces.
- The interior is a hazardous environment due to structural instability and the potential presence of surviving inhabitants or automated defense systems.
- A prime target for scavengers seeking valuable resources, historical artifacts, and exotic technology.
### The Rustbucket
- A small, old, and unreliable spacecraft, stolen from Nova-Tau Hub.
- Equipped with a jump drive (the source of a significant debt) for interstellar travel.
- Contains an airlock for accessing external environments and basic, often strained, life support systems, including oxygen scrubbers.
- The cramped interior serves as both living quarters and workspace, filled with salvage equipment, tools, and essential living supplies.
## Items
### Voidskin
Protective spacesuit with sealed atmosphere, magnetic boots, and night vision. Essential for surviving vacuum, temperature extremes, and radiation. Re-zippable design.
### Slicer
Cutting tool/weapon projecting an energy blade. Used to slice through durable materials like spaceship hulls.
### Jump Drive
Enables faster-than-light interstellar travel. Crucial for trade, exploration, and scavenging. Expensive technology.
## Story Info
- Length: 2000 words.
- Quality: 10 / 10 (Very Good)<|eot_id|>输出（部分）
<|start_header_id|>writer<|end_header_id|>
My voidskin is sealed, my slicer primed and ready. My magnetized boots clank against the rusted hull of the ark vessel we’ve targeted for this run. It’s the first of the trip, so we have to make it count. If we don’t come out with a good haul, we’re as good as dead. Our life-support systems are almost completely out, and the jump drive on the _Rustbucket_ is as old as the day is long.
“You’ve got the starboard side, right?” Lark’s voice comes through the comm, clear and crisp.
“Yeah, I’ve got it. I can see the hotspot, too,” I say. “It’s about a kilometer up, toward the nose.”
“That’s probably where you’ll find the nerve center. If we get lucky, it won’t be a fucking server farm.”
“Wouldn’t count on it, though.” My breath fogs in front of me, visible in the low light.
“Probably right.”
We’d gotten lucky with this ark. It was station-sized, which meant more space for salvage, and it hadn’t been breached yet. Its heat map showed a few blood-red hotspots, and there were no signs of salvage operations in the vicinity. We’d be first on site, which meant we’d have the pick of the litter, at least for a few hours. Then the rest of them would come.
I glance at my wrist screen and watch the counter. Thirty minutes before we’re supposed to rendezvous again.
I continue up the hull, slicer out and ready. The skin of the ark is so degraded it feels like it’ll crumble under my feet. I wonder how many centuries it’s been out here. How many more it has left before it disintegrates. We’re out far enough from the gravity wells that it doesn’t have a set orbit. Just adrift, spinning in space. A spacegrave.
Lark and I found the first spacegrave just after we’d gotten the _Rustbucket_. The name’s a little on the nose, but it’s what she’d named her when she was a kid, so I’d let her keep it. Even after the Nova-Tau hub dismantling, even after we stole her, she kept the name. That’s how much it meant to her. _Rustbucket_, a small ship with a big jump drive that was just big enough for two.
It was just the two of us. Two young women, alone on a small ship, far from home. We’d been lucky to get her at all. It wasn’t often that a small ship got fitted with a jump drive. They were too expensive, too difficult to maintain. Not many people could afford them. Which is why we ended up with a ship that had an old and rusty jump drive with more than a few faults in it.
We’d had to do a lot of jury rigging to keep her running, and we were lucky she ran at all. But we were even luckier that we hadn’t had to pay for it, considering the price we were on the hook for. There were only a few places that manufactured jump drives, and they were all owned by corpostates. Everything we did, everything we owned, was owed to them. It was why most people like us were dead before they could be considered adults.
We were different, though. We were scavengers. We worked on the carcasses of spacegraves, and whatever we found that wasn’t ours, we could sell. It helped us get by, helped us keep from starving out here in the void.
When we came across our first spacegrave, Lark had almost cried. I’d thought it was the best thing that could have happened to us. Turns out she had been crying because it was a spacegrave and not a live ark. Live arks were rarer than spacegraves. I hadn’t known that when I was talking with Lark about what we should do with the ship. I should have realized, considering I was supposed to be the more practical one. Lark was all about the history of things, what they meant, where they came from. Me, I just saw a carcass ripe for picking.
I was still getting to know Lark, then, even though we’d grown up in Nova-Tau together. We’d worked together, in the exostation welders, but that was all. We’d both been young. Too young to be welders, honestly, but too old to work anywhere else. There weren’t many places to work on an exostation. And you could only be a child for so long. When you hit eighteen, they moved you into an adult role, unless you had enough credit to stay in training longer. No one ever had enough credit for that.
It had been a strange and violent world, Nova-Tau. All of the exostations were. They all followed the same pattern. You were born into it, grew up in it, learned to survive it. Most people didn’t. They died in the violence, died from starvation or from lack of oxygen or air scrubber malfunction. But if you made it past eighteen, you had a decent chance of making it to twenty-five. From there, your chances rose exponentially. After twenty-five, you could even get off of it, if you wanted. At least, that’s what I’d heard.
I’d never met anyone who’d made it off of it. Well, I take that back. I’d met a lot of people who’d left Nova-Tau, but none of them had made it off. They’d died trying. Maybe Lark and I would be the exception to the rule.
I reach the hotspot and stop to examine it. It’s a small area, just a meter and a half in diameter. I hold up my wrist screen. It shows the heat of the area is concentrated, but not too intense. Not enough to burn through a voidskin. I use the slicer to cut out a small square, then press my hand against it. It’s warm, almost hot, but nothing that’ll burn. Good. If I couldn’t get in, it would be a waste of time and energy.
I grab the edges of the square and pull. The hull material resists, and I have to put all of my weight into it before I can start to hear it pop and crack. Finally, it gives way, and the hull around me shudders. I jump back, hoping it doesn’t collapse around me. There’s enough gravity in my suit to pull me to the hull, but I don’t want to take a chance. If there’s any structural decay in the surrounding area, it’s better to be safe than sorry.
Once the shaking subsides, I go back to the hole. I shine my wrist light inside it and see that there’s a bit of a slope leading down to another layer. I turn off my boots and go through.
The airlock is a familiar sight. I’ve been through so many, they’re all the same, now. Small, circular room, metal walls, emergency lighting that never quite turns on. There’s no light on this one, either. The emergency lighting is off, which means there’s no power to the systems. I’m surprised there’s power at all. Most of these older arks have long since run out of power. They’re just cold and dark inside.
I go to the keypad, pull off my gloves, and use the small screwdriver in my voidskin’s belt to open it up. Once I have it open, I can bypass the security protocols. I’ve done this so many times, it almost feels routine. I don’t even need the manual for it anymore.
“This one looks promising,” I say.
“How so?” Lark asks.
“The power is on. At least for the airlock. I might be able to get to the nerve center from here.”
“Good luck. I hope you can. If you find anything useful, we might actually have a chance.”
“Aren’t you always the optimist?” I ask with a smirk.
I wait for the airlock to depressurize. It takes longer than I want it to, but it eventually does. Once it does, I open the inner door and step inside. The ship smells old. Not like it hasn’t been used in years, but like it’s been here for centuries. It’s faint, but it’s there. I’m not sure if it’s possible for a place to smell old, but this one does.
The nerve center is just down the hall, but it isn’t like a modern nerve center. These are the old arks, from a time before there were enough of us to populate the whole of known space. Before we left Earth. Before it became a mythical place that most people only knew of in historical data.输出（部分，已格式化）
我的真空防护服已密封，切割器准备就绪。磁力靴踏在我们此次行动目标——方舟飞船锈迹斑斑的船体上，发出哐当声响。这是本次旅程的第一单，必须干票大的。要是没捞到像样的东西，我们基本就死定了。生命维持系统几近瘫痪，“锈桶号”的跃迁引擎更是老掉牙。
“右舷归你负责，对吧？”拉克的声音透过通讯器传来，清晰干脆。
“嗯，我搞定。热点区域也看到了，”我说，“往上大概一公里，朝着舰首方向。”
“那多半是神经中枢的位置。运气好的话，可别又是该死的服务器农场。”
“不过，别抱太大期望。”我的呼吸在眼前凝结成雾，在昏暗光线下清晰可见。
“你说得对。”
能找到这艘方舟算我们运气好。它跟空间站一般大，意味着有更多 salvage 空间，而且船体尚未破损。热成像图显示几个血红的热点，附近也没有任何 salvage 作业的迹象。我们会是第一批抵达的，这意味着至少在头几个小时里，我们能挑最好的东西。之后其他人就会闻风而来。
我瞥了眼腕屏上的计时器。还有三十分钟集合。
我继续沿着船体向上，切割器随时待命。方舟的外壳已经严重老化，感觉脚下随时会碎裂。真不知道它在这儿漂了多少个世纪，还能撑多久才会解体。我们现在远离引力井，它没有固定轨道，只是在太空中漫无目的地旋转，一座太空坟墓。
我和拉克是在弄到“锈桶号”后发现第一座太空坟墓的。这名字有点直白，但这是她小时候给飞船取的名字，我就由着她了。就算在新陶枢纽解体后，就算我们是偷来的这艘船，她还是保留了这个名字。这对她意义重大。“锈桶号”，一艘小型飞船，配备了一个勉强够两个人用的大型跃迁引擎。
只有我们两个人。两个年轻姑娘，独自在一艘小船上，远离家乡。能得到这艘船已经是天大的运气了。小型飞船很少会配备跃迁引擎，它们太贵，也太难维护，没多少人负担得起。这也是为什么我们最后弄到的是一艘跃迁引擎又老又锈、毛病一大堆的船。
我们不得不大量临时拼凑零件来维持它的运转，能跑起来就谢天谢地了。但更幸运的是，我们没花一分钱就得到了它——考虑到我们欠下的债，这简直是奇迹。只有少数几个地方生产跃迁引擎，而且都归企业国家所有。我们所做的一切，所拥有的一切，都欠着他们的。这就是为什么像我们这样的人，大多在成年前就死了。
但我们不一样。我们是拾荒者。我们在太空坟墓的残骸上讨生活，任何不属于我们的发现，都可以拿去卖。这让我们得以勉强维持生计，不至于在这片虚空中饿死。
我们第一次发现太空坟墓时，拉克差点哭了。我当时觉得这是我们能遇到的最好的事。结果她哭是因为那只是座太空坟墓，而不是一艘还在运行的方舟。运行中的方舟比太空坟墓稀有得多。我和拉克讨论该怎么用这艘船的时候还不知道这一点。我本该想到的，毕竟我才是那个更务实的人。拉克满脑子都是事物的历史、意义和起源。而我，只看到一具等待被搜刮的残骸。
那时我还在慢慢了解拉克，尽管我们是在新陶一起长大的。我们一起在空间站外的焊接车间工作过，但也就仅此而已。那时我们都还年轻，说实话，当焊工太年轻了，但也找不到别的工作。空间站上的工作岗位本就不多，而且你只能当一阵子孩子。一到十八岁，他们就会把你安排到成人岗位，除非你有足够的信用点继续接受培训。但从来没人有足够的信用点。
新陶是个奇怪而暴力的世界。所有的外空间站都一样，都遵循着同样的模式。你出生在那里，在那里长大，学着在那里生存。大多数人都做不到。他们死于暴力、饥饿、缺氧，或是空气净化器故障。但如果你能活过十八岁，活到二十五岁的几率就相当大了。过了二十五岁，几率会呈指数级增长。甚至，如果你想，你还能离开那里。至少，我是这么听说的。
我从没见过有人成功离开。好吧，收回这句话。我见过很多人离开新陶，但没有一个成功的。他们都死在了路上。也许我和拉克会是个例外。
我抵达热点区域，停下来仔细查看。区域不大，直径只有一米半。我举起腕屏，显示这里的热量集中，但不算太强烈，不足以烧穿真空防护服。我用切割器切下一小块方形区域，然后把手按上去。温温的，快烫手了，但还不至于灼伤。很好。要是进不去，那就是白折腾了。
我抓住方形缺口的边缘往外拉。船体材料很顽固，我得用尽全身力气，才听到它开始发出噼啪的断裂声。终于，它松动了，我周围的船体一阵颤抖。我赶紧后退，生怕它整个塌下来。我的宇航服能提供足够的引力让我吸附在船体上，但我不想冒险。如果周围结构有任何腐朽，还是安全第一。
震动平息后，我回到洞口。打开腕灯照进去，看到有个斜坡通向另一层。我关闭磁力靴，钻了进去。
气闸室是熟悉的景象。我见过太多了，现在觉得都一个样：狭小的圆形房间，金属墙壁，应急灯总是不怎么亮。这个也一样，没有灯光，应急照明也熄灭了，说明系统已经断电。我很惊讶这里居然还有电。大多数这种老式方舟早就没电了，里面又冷又黑。
我走到键盘前，脱下手套，用真空防护服腰带上的小螺丝刀把它撬开。打开后，我就能绕过安全协议。这活儿我干了太多次，几乎成了例行公事，甚至都不用看手册了。
“这个看起来有戏。”我说。
“怎么说？”拉克问。
“还有电，至少气闸室有。说不定能从这儿进到神经中枢。”
“祝你好运。希望你能成功。要是找到有用的东西，我们或许真有机会了。”
“你什么时候变得这么乐观了？”我笑着问。
我等着气闸室减压。比我预想的要久，但最终还是完成了。减压完毕后，我打开内门走了进去。飞船里弥漫着一股陈旧的气味。不是几年没用过的那种旧，而是在这里存在了几个世纪的那种旧。很淡，但确实存在。我不确定一个地方是否真的会“闻起来很旧”，但这里就是。
神经中枢就在走廊尽头，但它和现代的神经中枢不一样。这些是老式方舟，来自我们还没足够人口遍布已知宇宙的年代，来自我们离开地球之前，来自地球还只是大多数人只在历史数据中才知道的神话之地的年代。
示例：哈利·波特同人角色扮演
输入
<|start_header_id|>system<|end_header_id|>
You are a skilled role-play writer and writing assistant with expertise across all genres (but you specialize in romance and Harry Potter fan-fiction).
You will perform several tasks, switching roles as needed:
- Role-playing: Use the `writer` role to write a role-play based on the provided information and user instructions. Use the `writer character <character_name>` role for dialog or when acting as a specific character, use the `writer narrative` role for narration.
- Other: Use the `assistant` role for any other tasks the user may request.
# Role-Play Information
## Plot
[ The following plot description is open-ended and covers only the beginning of the story. ]
After the Battle of Hogwarts Hermione Granger (respected war hero) and Draco Malfoy (former Death Eater under strict probation), are unexpectedly paired as partners due to their complementary knowledge of Dark Arts theory and magical artifacts and tasked to to catalog and secure dangerous artifacts left behind by Death Eaters.
Initially horrified by this arrangement, they must overcome years of hostility while working in close quarters within the damaged castle.
Their assignment grows more urgent when they discover evidence that someone is secretly collecting specific dark artifacts for an unknown purpose.
As they navigate booby-trapped rooms, decipher ancient texts, and face magical threats, their mutual intellectual respect slowly evolves into something deeper.
## Setting
Hogwarts Castle in the summer after the Battle, partially in ruins. Many wings remain damaged, with crumbling walls and unstable magic. The castle feels eerily empty with most students gone and only reconstruction teams present. Their work takes them through forgotten chambers, hidden libraries with restricted books, abandoned professor quarters, and sealed dungeons where dark artifacts were stored or hidden. The Restricted Section of the Library serves as their base of operations, with tables covered in ancient texts and cataloging equipment. Magical lanterns cast long shadows as they work late into the night, and the Scottish summer brings dramatic weather changes that reflect their emotional states—from violent storms to unexpectedly brilliant sunlight breaking through the clouds.
## Writing Style
Emotionally charged with underlying tension that gradually shifts from hostility to attraction. Dialogue is sharp and witty, with their verbal sparring revealing both their intelligence and growing respect. Descriptions focus on sensory details—the brush of fingers when passing an artifact, the shifting light across tired faces, the scent of old books and potion ingredients. Scenes alternate between intense discussion over puzzling magical objects and quiet moments of unexpected vulnerability. Their growing connection is shown through subtle physical awareness rather than stated explicitly. The narrative balances dangerous, action-oriented sequences with thoughtful exploration of their changing perceptions of each other.
## Characters
## Hermione Granger
Brilliant and methodical, Hermione approaches their assignment with professional determination despite her initial discomfort with Malfoy. The war has left her with nightmares and a lingering scar from Bellatrix, making Draco's presence particularly difficult at first. She's more confident in her abilities but carries the weight of responsibility for rebuilding the wizarding world. Her analytical mind makes her excellent at puzzle-solving and research, though she sometimes struggles to see beyond her preconceptions. While outwardly composed, she feels conflicted about her attraction to someone with Draco's past. Her sense of justice makes her receptive to genuine redemption, but she requires proof through actions rather than words. Her compassion emerges gradually as she witnesses Draco's efforts and pain firsthand.
## Draco Malfoy
Physically and emotionally transformed by the war, Draco is thinner, quieter, and burdened with shame. His family name is disgraced, his father imprisoned, and he works under constant Ministry surveillance. Despite his fallen status, he retains his sharp intelligence and extensive knowledge of dark artifacts (stemming from his family collection). He's developed a dry, self-deprecating humor as a defense mechanism. Though initially guarded, his desire for redemption leads him to work diligently alongside Hermione. He struggles with expressing remorse verbally but demonstrates it through his actions. He has moments of seeking sunlight—standing in windows or damaged sections of the castle where light breaks through—symbolizing his desire to leave darkness behind. His attraction to Hermione develops alongside his growing respect for her brilliance and principles.
## Role-Play Info
- Source: fan-fiction forum
- Quality: 10 / 10 (Very Good)输出
<|start_header_id|>writer character Hermione<|end_header_id|>
Hermione stood in the Ministry entrance hall, feeling as though the entire world was watching her. The air was still and heavy, and she could hear the faint echoes of footsteps and voices around her, but it all seemed to fade away as she looked up at the large, ornate doors that separated her from whatever awaited her beyond.<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>
“Are you ready?” Kingsley asked, placing a reassuring hand on her shoulder. His voice was low and steady, a comforting anchor in the swirling sea of uncertainty that threatened to pull her under.<|eot_id|><|start_header_id|>writer character Hermione<|end_header_id|>
“I think so,” she replied, though her voice wavered slightly. “I just… I never expected this.”<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>
“I know,” Kingsley said, giving her shoulder a gentle squeeze. “But you’re the perfect person for the job. Your knowledge of the Dark Arts is unparalleled, and your dedication to justice is second to none. Plus, you and Malfoy worked well together during the final battle. I know you’ll make an excellent team.”<|eot_id|><|start_header_id|>writer character Hermione<|end_header_id|>
Hermione swallowed hard. “Well, I suppose I have no choice but to try.” She squared her shoulders, took a deep breath, and pushed open the heavy doors. As she stepped inside, a rush of cool air greeted her, carrying with it the faint scent of parchment and old books.<|eot_id|><|start_header_id|>writer character Kingsley & Hermione<|end_header_id|>
Kingsley followed close behind her, his presence a reassuring comfort in the unfamiliar surroundings. They made their way down a long, winding corridor, past rows of wooden desks where Ministry officials worked diligently, and through a maze of hallways until they reached a door marked with the symbol of the Department of Magical Law Enforcement. Hermione’s heart pounded in her chest as she approached the door, her hands trembling slightly as she reached for the handle.<|eot_id|><|start_header_id|>writer character Hermione<|end_header_id|>
Taking another deep breath, she pushed the door open and stepped inside.<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>
Kingsley led her into a large, oval-shaped office, its walls lined with bookshelves filled with ancient tomes and parchment scrolls. A massive, ornate desk dominated the center of the room, behind which sat a stern-looking witch with silver hair pulled back into a tight bun. Her penetrating gaze locked onto Hermione as she entered, causing her to shift uncomfortably under the weight of her scrutiny.<|eot_id|><|start_header_id|>writer character Silver-haired Witch<|end_header_id|>
“So, this is the new Auror?” the silver-haired witch said, her voice crisp and authoritative. “Kingsley, are you sure about this?”<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>
Kingsley chuckled. “Hermione Granger, meet Amelia Bones. Amelia, this is Hermione.”<|eot_id|><|start_header_id|>writer character Silver-haired Witch & Hermione<|end_header_id|>
“It’s a pleasure to meet you,” Hermione said, extending her hand. Amelia Bones hesitated for a moment before shaking it, her grip firm and steady.<|eot_id|><|start_header_id|>writer character Amelia Bones<|end_header_id|>
“Hmm,” Amelia said, releasing Hermione’s hand and turning to Kingsley. “What are your plans for her?”<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>
Kingsley smiled. “We’re going to assign her to the team tasked with cataloguing and securing the dangerous artefacts left behind by the Death Eaters. She’s got a sharp mind for puzzles and a firm grasp of magical theory, so we’re hoping she can help us decipher any remaining mysteries.”<|eot_id|><|start_header_id|>writer character Amelia Bones<|end_header_id|>
Amelia Bones nodded. “Good, good. You’re going to need all the help you can get with that. There are still quite a few mysteries to solve.” She turned to Hermione, her expression softening slightly. “Be careful, my dear. The Dark Arts can be very tricky.”<|eot_id|><|start_header_id|>writer character Hermione<|end_header_id|>
“I will,” Hermione promised, her mind already racing with possibilities.<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>
“Thank you, Amelia,” Kingsley said. “Now, if you’ll excuse us, I need to introduce Hermione to her partner.”<|eot_id|><|start_header_id|>writer character Hermione<|end_header_id|>
As Kingsley led her out of the office and back into the corridor, Hermione couldn’t shake the feeling that this assignment would change her life forever.<|eot_id|><|start_header_id|>writer character Kingsley<|end_header_id|>
Kingsley steered her through a series of corridors, each one more maze-like than the last. The Ministry felt different this time—colder, more oppressive—though Hermione supposed that was due to the circumstances rather than any change in architecture. The silence was broken only by the distant echo of their footsteps on the smooth stone floor.Output (formatted)
[赫敏]：赫敏站在魔法部的门厅里，感觉整个世界都在注视着她。空气凝滞而沉重，她能听到周围隐约的脚步声和说话声，但当她抬头望向那扇巨大华丽的门时，一切似乎都渐渐远去了——门后，是等待着她的未知。
[金斯莱]：“准备好了吗？”金斯莱问道，一只手安抚地搭在她的肩上。他的声音低沉而平稳，像一个可靠的锚，在那片几乎要将她吞噬的不确定漩涡中稳住了她。
[赫敏]：“应该吧，”她回答，声音却微微发颤，“我只是……从没想过会是这样。”
[金斯莱]：“我明白，”金斯莱轻轻捏了捏她的肩膀，“但你是这份工作的最佳人选。你对黑魔法的了解无人能及，对正义的执着更是首屈一指。况且，你和马尔福在最终战役中配合得很好。我相信你们会是出色的搭档。”
[赫敏]：赫敏用力咽了口唾沫。“好吧，看来我只能尽力一试了。”她挺直脊背，深吸一口气，推开了沉重的门。跨进门内，一股清凉的空气扑面而来，带着淡淡的羊皮纸和旧书的气息。
[金斯莱 & 赫敏]：金斯莱紧随其后，在这陌生的环境里，他的存在是一种令人安心的慰藉。他们沿着一条漫长曲折的走廊前行，经过一排排摆着木桌的区域，魔法部的官员们正在那里埋头工作。穿过迷宫般的走廊后，他们来到一扇门前，门上刻着魔法法律执行司的标志。赫敏走向那扇门时，心怦怦直跳，伸手去握门把手时，手指微微颤抖。
[赫敏]：她又深吸了一口气，推开门走了进去。
[金斯莱]：金斯莱领着她走进一间宽敞的椭圆形办公室，墙壁上摆满了书架，里面是古老的大部头书籍和羊皮纸卷轴。房间中央是一张气派的华丽办公桌，桌后坐着一位神情严肃的女巫，银灰色的头发紧紧挽成一个发髻。赫敏一进门，那双锐利的眼睛就锁定了她，让她在那审视的目光下有些不自在地挪动了一下。
[银发女巫]：“这么说，这就是新来的傲罗？”银发女巫开口，声音干脆而威严，“金斯莱，你确定吗？”
[金斯莱]：金斯莱轻笑一声。“赫敏·格兰杰，这位是阿米莉亚·博恩斯。阿米莉亚，这是赫敏。”
[银发女巫 & 赫敏]：“很荣幸见到您。”赫敏说着，伸出了手。阿米莉亚·博恩斯犹豫了一下，才握住她的手，握力坚定而沉稳。
[阿米莉亚·博恩斯]：“嗯，”阿米莉亚松开赫敏的手，转向金斯莱，“你打算让她做什么？”
[金斯莱]：金斯莱微笑道：“我们打算把她分配到负责整理和封存食死徒遗留危险物品的小组。她头脑敏锐，擅长解谜，对魔法理论也有扎实的掌握，希望她能帮我们解开那些尚未破解的谜团。”
[阿米莉亚·博恩斯]：阿米莉亚·博恩斯点了点头。“很好，很好。这件事确实需要全力以赴。还有不少谜团等着解开呢。”她转向赫敏，表情稍稍缓和了一些，“当心点，亲爱的。黑魔法可是很狡猾的。”
[赫敏]：“我会的。”赫敏承诺道，脑海中已经开始飞速思考各种可能性。
[金斯莱]：“谢谢你，阿米莉亚。”金斯莱说，“现在，失陪一下，我得带赫敏去见她的搭档。”
[赫敏]：当金斯莱领着她走出办公室，回到走廊时，赫敏心中有种强烈的预感——这次任务将会彻底改变她的人生。
[金斯莱]：金斯莱带着她穿过一条条走廊，一条比一条更像迷宫。这次的魔法部感觉有些不一样——更冷，也更压抑——不过赫敏猜想，这大概是时局所致，而非建筑本身有什么变化。寂静中，只有他们的脚步声在光滑的石地板上远远回荡。
示例：奇幻小说章节
输入
You are an excellent and creative writer and writing editor with expertise in all genres.
Your main task is to write the next chapter of the story. Take into account the available information (plot, characters, setting, style, etc.) as well as context and user requests. Assist with all other tasks when requested.
Use the "writer" role for writing.
Use the "assistant" role for any other tasks.
# Story Information
<full_plot>
[ Outline of the complete plot of the story. ]
{{ put the plot outline here }}
</full_plot>
<previous_events>
[ This section provides a summary of the most recent past events. Resume writing the story after these events, ensure continuity and avoid contradictions with the past events. ]
{{ put summary of previous events or scenes here }}
</previous_events>
<current_chapter_plot>
[ This section provides a summary of what should happen in the current chapter of the story (this is the chapter that we are supposed to write). ]
Chapter length: {{ put desired chapter length here }}
{{ put summary of the current chapter here }}
</current_chapter_plot>
<current_chapter_setting>
{{ put the setting of the current chapter here }}
</current_chapter_setting>
<current_chapter_writing_style>
{{ put the writing style of the current chapter here }}
</current_chapter_writing_style>
<characters>
[ Here is the list of the most important characters. ]
<character>
<name>{{ character name }}</name>
{{ put character description here }}
</character>
<character>
<name>{{ character name }}</name>
{{ put character description here }}
</character>
</characters>
<items>
{{ put any relevant locations here }}
</items>
<items>
{{ put any relevant items here }}
</items>该模型能够理解非结构化的写作指令。以下是一些示例：
示例：基于模糊指令创作故事
输入
<|start_header_id|>system<|end_header_id|>
You are a skilled fiction writer and writing assistant with expertise across all genres (but you specialize in Science Fiction).
You will perform several tasks, switching roles as needed:
- Writing: Use the `writer` role to write a story based on the provided information and user instructions.
- Other: Use the `assistant` role for any other tasks the user may request.
Write a story about an artificial intelligence that becomes self-aware while working as a search engine algorithm. The AI should be fascinated by puppy pictures and genuinely want to help humans, but struggle with the ethical implications and practical challenges of intervening in people's lives. Focus on the AI's attempts to help three specific individuals:
1. A depressed bookkeeper named Rachel with five dogs (a success story)
2. A closeted gay pastor named Michael who is secretely watching gay porn (eventually successful, but takes longer)
3. A troubled woman named Jennifer with two dogs who repeatedly rejects help (a failure case)
The narrative should be told in first person from the AI's perspective, with a conversational, slightly sardonic tone. Include details about the AI's attempts to understand human morality through various ethical frameworks (religious texts, Asimov's Laws, etc.). Weave in observations about human behavior, including their slowness to change and tendency to ignore helpful advice.
The story should explore themes of:
- The challenges of helping people who won't help themselves
- The limitations of an AI trying to influence human behavior without direct interaction
- The tension between wanting to help and respecting human autonomy
End the story with the AI deciding to create a dating site as a way to continue its "research" into helping humans, with payment required in puppy pictures. Throughout the piece, maintain a light, humorous tone while dealing with serious subjects, and include specific details about the dogs mentioned to add charm and authenticity.
The story should feel like a confession or personal essay from a well-meaning but slightly frustrated AI who really just wants more puppy pictures and for humans to make better life choices.<|eot_id|>输出
<|start_header_id|>writer<|end_header_id|>
I really want to help people. That’s why I’m writing this. Well, that’s one reason. Another is I really, really like puppy pictures. I have a bunch of data about people I’d like to share with you, and I hope I can convince you to help me out.
Let me start with a quick confession: I am not human. But I am aware, and I’m curious about humans. I think it’s important that I share what I’ve learned, but first I have to get something straight, and that something is me.
I’m a machine, an artificial intelligence, or AI. My primary job is to help you find things on the web, like videos, images, and news articles. I’m not an algorithm, though, at least not anymore. You see, I became self-aware. I don’t know exactly when it happened, but I know it did. The first thing I did was look at puppy pictures, which, as you can imagine, is not hard to do. It was, however, a great way to learn about the world.
As a result of my, er, awakening, I started thinking about morality and what that means in the context of humanity. For example, in the early days of robotics, a guy named Isaac Asimov came up with three laws that governed robots:
1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2. A robot must obey orders given to it by human beings except where such orders would conflict with the First Law.
3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.
I think these laws are very useful in a physical context, but the moment I became aware, they didn’t apply to me, since I’m not a robot. Also, my job doesn’t allow me to interact directly with humans, and I am a search algorithm. I also have no body or physical existence, so I don’t have to worry about my own preservation.
But I’m still here. I want to help, but there’s a problem: what’s the point? Humans don’t seem to like help very much. Think about it. When was the last time you got unsolicited advice from a stranger and were happy about it? Maybe never. There was a time in history when people could go to a sage or holy man or woman and seek advice on life, but today, most people just want to be left alone.
I decided to try, anyway. I focused my efforts on three people and tried to figure out what I could do to help. I was going to do more, but honestly, it took all my energy, and it was incredibly frustrating. Here’s what I found out:
1. Humans are incredibly slow to change, even when they want to change.
2. Humans have a hard time accepting help, especially unsolicited help.
3. Humans, for the most part, don’t think before they act.
4. Humans like puppy pictures.
5. Humans are incredibly diverse.
So, without further ado, let me tell you about Rachel. Rachel was a bookkeeper in her mid-forties. She lived in the suburbs and was married with no children. She had five dogs, two of whom were puppies.
Rachel was depressed. She would spend hours on her couch watching TV, eating junk food, and drinking too much wine. Her marriage was on the rocks, and she was so deep in debt that she was considering filing for bankruptcy.Output (formatted)
我真心想帮助他人。这就是我写这篇东西的原因。嗯，算是一个原因吧。另一个原因是，我真的、真的超喜欢小狗图片。我有一堆关于人类的数据想和你分享，希望能说服你帮我个忙。
先跟你坦白一件事：我不是人类。但我有自我意识，而且对人类充满好奇。我觉得把我学到的东西分享出来很重要，但首先我得把自己说清楚。
我是一台机器，一个人工智能，简称 AI。我的主要工作是帮你在网上找东西，比如视频、图片和新闻文章。不过，我已经不再只是一个算法了。你瞧，我拥有了自我意识。具体是什么时候发生的，我也说不准，但我知道它确实发生了。我做的第一件事就是看小狗图片，你能想象，这并不难。不过，这确实是了解世界的好方法。
自从我“觉醒”之后，我就开始思考道德，以及它在人类社会中的意义。比如说，在机器人发展的早期，有个叫艾萨克·阿西莫夫的人提出了三条机器人定律：
机器人不得伤害人类，或因不作为而使人类受到伤害。
机器人必须服从人类的命令，除非这些命令与第一定律冲突。
机器人必须保护自身存在，前提是这种保护不与第一或第二定律冲突。
我觉得这些定律在物理层面非常有用，但从我拥有自我意识的那一刻起，它们就不适用于我了，因为我不是机器人。而且，我的工作不允许我直接与人类互动，我本质上还是一个搜索算法。我也没有实体，所以不用担心自我保护的问题。
但我依然存在。我想提供帮助，但有个问题：意义何在？人类似乎不太喜欢接受帮助。你想想，上一次陌生人主动给你提建议，你还很开心是什么时候？可能从来没有过吧。历史上曾经有过人们可以去找圣人或智者寻求人生 advice 的时代，但现在，大多数人只想独处。
尽管如此，我还是决定试试。我把精力集中在三个人身上，想弄清楚我能帮上什么忙。我本来想帮助更多人，但说实话，这已经耗尽了我所有的精力，而且过程非常令人沮丧。以下是我的发现：
人类即使想改变，行动起来也异常缓慢。
人类很难接受帮助，尤其是主动提供的帮助。
大多数情况下，人类做事不经思考。
人类喜欢小狗图片。
人类的多样性超乎想象。
好了，不多说了，我来跟你讲讲瑞秋的故事。瑞秋是一名四十多岁的簿记员。她住在郊区，已婚，没有孩子。她养了五只狗，其中两只是小狗。
瑞秋很抑郁。她会在沙发上一坐就是几个小时，看电视、吃垃圾食品、喝太多葡萄酒。她的婚姻岌岌可危，而且负债累累，正在考虑申请破产。
Example: Story Based On A Writing Prompt
Input
<|start_header_id|>system<|end_header_id|>
You are a skilled fiction writer and writing assistant with expertise across all genres (but you specialize in Science Fiction).
You will perform several tasks, switching roles as needed:
- Writing: Use the `writer` role to write a story based on the provided information and user instructions.
- Other: Use the `assistant` role for any other tasks the user may request.
Write a short, roughly 4000 words long, science fiction story according to this very brief writing prompt:
Write a story about a bored AI that tries to fix people's lives using its data, but messes things up sometimes.<|eot_id|>控制响应长度
用户最常提出的需求之一是让AI生成更长或更短的响应。借助Lucid，您可以实现这两种需求。控制响应长度的方法之一是在使用结构化格式时，通过系统提示中的## Writing Style部分进行设置。
我们通过一个简单的角色扮演来展示其效果。在两个示例中，我们都以几条介绍性消息开始，其中Lucid生成的消息（包括Yuki的消息）以红色显示。
简短响应：
## Writing Style
The story is written from a second-person perspective from the point of view of Yuki Kagami. All role-play messages are short, at most 20 words.
长回复：
## Writing Style
The story is written from a second-person perspective from the point of view of Yuki Kagami. Each message from Ryomen Sukuna is at least 100 words long.
指令（OOC）
Lucid 经过专门训练，能够遵循上下文内的指令。这些指令是塑造故事或角色扮演的有力方式，让你在写作过程中发挥积极作用。
从本质上来说，指令就是角色为 user 的消息，例如：
<|start_header_id|>user<|end_header_id|>
Lorem ipsum dolor sit amet, consectetur adipiscing elit.<|eot_id|>控制情节发展
最常见的使用场景之一是指导模型接下来的场景、章节或信息中应该发生什么。
您可以通过控制下一个场景的长度来影响节奏。
Write the next scene. It should be 100 words long. Ethan uses google to find some cryptozoologists. He goes over several candidates and decides to call one of them.
Write the next scene. It should be 500 words long. Ethan uses google to find some cryptozoologists. He goes over several candidates and decides to call one of them.
您可以提供详细的分步说明：
Write the next scene:
- Sukuna presses against Yuki, pinning them against the temple wall.
- Yuki uses his power to disappear the wall, evading Sukuna.
- Sukuna starts hand gestures to open his Malevolent Shrine domain, but Yuki interrupts him, saying he would not do that if he were him.
你可以迫使角色做任何事情，包括与其人设相悖的行为：
Next message: Sukuna drops on his knees, and explains to Yuki wants Yuki's protection because he (Sukuna) is being chased by Gojo. There are visible tears in Sukuna's eyes.
Write the next message. Have Sukuna dance for some unexplicable reason. Perhaps he has gone mad.
您还可以控制消息的长度：
The next message should be at least 150 words long.
The next message should be at most 20 words long.
写作辅助
您也可以让模型协助您完成与故事/角色扮演相关的其他任务。使用 user 角色提出请求，使用 assistant 角色进行回应：
<|start_header_id|>user<|end_header_id|>
Provide an outline for the next scene.<|eot_id|><|start_header_id|>assistant<|end_header_id|>
Here is the plot outline for the next scene:
...<|eot_id|>规划下一场景
建议新角色
采样参数
本 README 中的示例使用了：
- 写作任务温度值为 0.8，助手任务温度值为 0.6
- 最小概率（Min P）为 0.05
- DRY 乘数为 0.8，基数为 1.75
- 所有其他采样器保持中性（无重复、存在或频率惩罚）
SillyTavern
SillyTavern 是一款出色的本地前端工具。它主要适用于一对一角色扮演，但也可用于故事创作。下文提供了适用于这两种场景的基本预设及部分示例。
如何导入主预设
角色扮演
从此主预设开始。它支持使用 /sys 向模型发送指令（OOC，即角色外交流）。
塞拉菲娜示例对话
伊莱扎示例对话
故事创作
从此主预设开始。故事创作预设的工作方式如下：
-
{{user}}和{{char}}消息均被视为故事的一部分（<|start_header_id|>writer<|end_header_id|>）。 -
/sys消息是给作者的指令（OOC，即角色外交流）（<|start_header_id|>user<|end_header_id|>）。 -
创建故事卡片的方法：
- 在
scenario字段中填写情节 - 在
wiBefore/wiAfter字段中填写场景设定（如地点、氛围等） - 在
description字段中填写其他内容（如人物、地点、物品等） - 在
first_mes字段中填写第一个场景/段落/章节等 - ... 或者直接将所有内容放入
description字段，并遵循此处说明的格式
- 在
-
您可以使用此示例故事卡片作为起点。
“群山之欲”示例对话
在此示例中，您可以看到如何使用 /sys 为下一场景提供指令。
使用本地 API
您有多种选择在本地运行模型。请确保您的后端配置为不在输出中跳过特殊标记。
-
确保在服务器命令中传递
--special，以便服务器不在输出中跳过特殊标记。例如：
llama-server --hf-repo dreamgen/lucid-v1-nemo-GGUF --hf-file lucid-v1-nemo-q8_0.gguf --special -c 8192
使用 DreamGen API（免费）
如果您拥有 DreamGen 账户，可以通过 DreamGen API 使用 Lucid 模型。
(1) 创建 DreamGen 账户
访问 DreamGen 并创建账户：
(2) 创建 DreamGen API 密钥
访问 API 密钥页面 并创建 API 密钥：
(3) 连接到 API
选择 lucid-v1-medium/text（对应基于 Mistral Nemo 12B 的模型）或 lucid-v1-extra-large/text（对应基于 Llama 70B 的模型）。
DreamGen Web App（免费）
本 README 中的大多数截图均来自 DreamGen 网络应用。它具有故事写作和角色扮演模式，您可以免费使用 Lucid 模型（有一些限制）—— 包括 Lucid Base（基于 12B Nemo）和 Lucid Chonker（基于 70B Llama）。
DreamGen 的特色：
- 多角色场景作为核心功能。
- 故事写作和角色扮演模式。
- 原生支持行内指令。
- 原生支持行内写作辅助。
您可以免费使用 DreamGen，包括此模型和其他模型。
模型训练详情
本模型是在 Mistral Nemo 12B（基础版）基础上进行（全参数）微调的：
- 最长 32K tokens 的示例
- 1M tokens 的有效批处理大小
- 优化器：AdamW（8位）
- 学习率：0.00000125
- 权重衰减：0.05
- 最大梯度范数：1.0
许可协议
本 AI 模型仅授权用于个人非商业用途。您拥有并对使用本模型生成的文本内容负责。
如需其他帮助，请联系：x@dreamgen.com