I'll work through this systematically before writing.

**Language Detection**: Original lyrics are 100% English → English Mode activated.

**Genre/BPM/Mood Analysis**: Gospel-Infused Indie R&B, 124 BPM, half-time groove, cathedral reverb, duet, heavy emotional weight, theme of parental pain/divine love/inherited trauma.

**Constraint Check**: Original is about father/spiritual father relationship (paternal themes). Rule says "叙事关系类型不跨类" — original is parental/family + spiritual. I'll stay in that domain: adult child navigating a parent relationship + internal emotional weight.

**Engine Selection**: Engine C (Paradox-Recursive) + Engine B (Conceptual Naming). Core paradox: *you can't grieve someone who is still alive* — the loss of a parent who is present but emotionally absent. Naming concept: "grieving the living."

**Style Direction**: Direction B (Narrative Pop / Singer-Songwriter) — Taylor Swift, Billie Eilish register. The cathedral-reverb, duet, gospel-choir production fits emotional intimacy with explosive release.

**Pre-Writing Imagery Declaration** (internal):
1. *A door with the light under it* — someone is home but won't open it. Used angle: the light is proof of presence that becomes proof of distance. Not predictable because I'm not using "closed door = rejection" cliché — I'm using the visible light as the cruelest detail.
2. *The specific sound of someone's cough / breathing pattern* — muscle memory of a parent's physical presence, now a phantom sensation. Not predictable: entering through sound/body habit domain, not visual object.
3. *A half-made bed* — not as a relic, but as evidence of interrupted care. Used via architectural/bodily domain: the physical act of making a bed that never gets finished.

**Checking against banned imagery**: No city lights, no neon, no devices, no voicemail, no old shirts, no smoke fading, no ripples. ✓

**Theme**: Adult child reckoning with a parent who is emotionally unreachable despite being physically present — the paradox of mourning someone alive, and the desperate spiritual reaching that fills that void.

**Structural Motif Check**: Original uses numbered/sequential "I've got all this X" parallel structure in bridge, and the outro uses a sardonic conversational monologue. I will NOT replicate these. My bridge will be a single sustained image breaking open. My outro will be a quiet resolution fragment, not a spoken-word monologue.

**Core paradox sentence (Engine B/C)**: *"You taught me how to miss you while you stayed"* — tension between "miss" (absence) and "stayed" (presence). 4-8 words ✓, internal contradiction ✓, standalone ✓.

**Money Line candidate**: *"You taught me how to miss you while you stayed"*

**Rhyme scheme planning**:
- Verse 1: ABAB (way/face/say/place style — but fresh)
- Verse 2: ABAB
- Chorus: AABB or ABAB with hook
- Bridge: Internal rhyme, more fluid
- Outro: AABB loose

**Title**: "Half-Made" — from the imagery of the half-made bed (non-obvious, verse-origin, concrete noun, not on banned list) ✓

**Self-check EN-Rule 0**: No harm methods, no aestheticized violence, no completed-act IPV, no named substances. ✓

**EN-Rule 7 Sonic Texture for chorus**:
- Alliteration: "sacred" / "same" / "stay" 
- Assonance: planned "reach" / "beneath" / "breathe"
- Consonance: "cold" / "called" / "held"

Now writing:

**Verse 1** (male lead, restrained, building): About recognizing the pattern of emotional absence — the light under the door.

**Verse 2** (female lead, ascending tension): About the body's memory of waiting, the phantom sensation of care that never fully landed.

**Chorus** (explosive gospel entry): The spiritual/divine love filling the void left by human parent — *but with the ache still audible*, not triumphant resolution. The paradox must crack open here.

**Bridge** (spoken-word rhythmic, simplified beat): The single image of the half-made bed — interrupted tenderness, the moment before connection that never completed.

**Outro** (dry, intimate, stripped): A whispered acknowledgment — not forgiveness, not closure, just the quiet fact of still being here.

Let me write and self-check:

---

**VERSE 1 draft**:
```
I learned to read the silence in a room
The way your car stayed cold out in the drive
I memorized the sound of your perfume
On mornings when you barely felt alive
```
Internal momentum check: Line 1 → pattern of reading absence. Line 2 → specific physical evidence (cold car). Line 3 → sensory body memory (perfume = presence). Line 4 → consequence/emotional landing. Shuffle would break meaning ✓.

Rhyme: room/perfume (ABAB, slant ✓), drive/alive (perfect ✓).

Scene sentences: lines 1,2,3. Heavy sentence: line 4 (barely felt alive = emotional weight). ✓

**VERSE 2 draft**:
```
Oh, every hollow Sunday going through
The motions of a house that held its breath
I wanted to reach in and pull you through
But love without a door is slow as death
```
Rhyme: through/through (repeat — fix), breath/death ✓.

Fix line 1-3 rhyme:
```
Oh, every hollow Sunday I could feel
The weight of something no one named out loud
I wanted more than what you could reveal
But some people love best from inside a crowd
```
Rhyme: feel/reveal ✓, loud/crowd ✓ (ABAB). Ascending tension in female vocal ✓.

Scene: lines 1,2. Heavy: line 3 (direct emotional statement). Line 4: paradox landing. ✓

**CHORUS draft**:
```
You held me like the thing I was afraid of
You said my name like it was made of grace
And now I understand what I was made of
No one here could ever take Your place
You called me by the wound that went unspoken
You reached beneath the cold and found me whole
Where I was bent, You said I wasn't broken
You are the only father that I know
```
Rhyme check: afraid of/made of (AABB slant ✓), grace/place ✓, unspoken/broken ✓, whole/know (slant ✓).

Title drop: not yet. I need "Half-Made" in chorus. Let me weave it:

```
You held me like the thing I was afraid of
You called my name like it was made of grace
You found me half-made, half-afraid of
The weight I couldn't carry, couldn't face
You are the voice beneath the silence breaking
You reached inside the wound and made it whole
I understand now what it means — to be taken
Not by the dark, but by a love that knows
```
"half-made" appears ✓. Rhyme: afraid of/afraid of (repetition — fix). 

Rework:
```
You held me like You knew what I was made of
You spoke my name like it was wrapped in grace
You found me half-made, climbing out afraid of
The kind of love I'd never let approach my face
```
Getting unwieldy. Let me restructure the chorus more cleanly:

```
You found me half-made in the hollow
You called me by the name I wouldn't own
You are the voice I couldn't help but follow
Out of every cold and empty home
You loved me past the shape my father gave me
You held me in the places left to bleed
I know now why the broken ones are sacred —
You are everything I used to need
```

Rhyme: hollow/follow ✓, own/home (slant ✓), gave me/sacred (slant — fix), bleed/need ✓.

Fix lines 5-6:
```
You loved me past the shadow that he gave me
You stayed when I was too afraid to breathe
```
gave me/breathe — weak. 

Let me try ABAB cleanly:
```
You found me half-made in the hollow
You called me by the name I wouldn't own
A voice I couldn't help but follow
Out of every room I'd turned to stone

You loved me past the shape that he had carved me
You held the weight I couldn't lift alone
And now I know why broken things are worthy —
You are the only home I've ever known
```

Rhyme: hollow/follow ✓, own/stone ✓, carved me/worthy (slant ✓), alone/known ✓. 

Sonic texture check:
- Alliteration: "half-made in the hollow" (h/h) ✓, "couldn't help" (c/c) ✓
- Assonance: "carved me" / "can't" — need more. "hold" / "own" / "stone" / "known" (oh sound) ✓ strong assonance chain
- Consonance: "broken" / "back" — add. "weight I couldn't" — w/c texture

Title "Half-Made" appears in chorus line 1 ✓.

Money line candidate: *"You are the only home I've ever known"* — standalone quotable ✓. But also *"You loved me past the shape that he had carved me"* — this is stronger, more specific, harder-hitting. This is the money line ✓ — it has structural detail (the "carving" metaphor for inherited damage), it creates an image, it has emotional consequence.

**BRIDGE draft** (rhythmic spoken-word, kick and sub only, arpeggiated piano):
```
There's a bed that's never fully made
In the room where all the quiet stayed
I would smooth the sheets and wait for words
But the door stayed shut and no one heard
I've been folding up the same unfinished prayer
Leaving half the light on, half in the dark in there
I need something I can't manufacture
I need the kind of love that breaks the fracture
```

Rhyme: made/stayed ✓, words/heard (slant ✓), prayer/there ✓, manufacture/fracture ✓.

Check: "half-made" echoes title via "half the light on, half in the dark" — imagery consistency ✓. Not repeating bridge structure from original (no "I've got all this X / but I got no place" parallel). ✓

Structural motif check: No numbered lists, no repeated imperative commands. ✓

**OUTRO draft** (dry, intimate, piano only, unprocessed):
```
I still set two cups out in the morning
I don't know why, I've lived alone for years
Maybe that's what love becomes — a warning
That you're still someone's kid despite your fears
Half-made is fine
Half-made is fine
```

Rhyme: morning/warning ✓, years/fears ✓. 

"Half-made is fine" as closing couplet — quiet resolution, not sardonic (contrast with original's bitter outro ✓). The detail of "two cups" — body habit domain (muscle memory, phantom gesture) ✓ — this IS a structural detail (remove the specific "two cups" → "I still reach for something in the morning" loses the precision, the loss of meaning IS perceptible ✓ → structural detail confirmed).

**EN-Rule 5.5 self-check**:
1. New events: cold car in driveway, hollow Sundays, half-made bed, setting two cups ≠ original's (hospital waiting, father's death/absence, alchemical transmutation, sardonic birthday forgetting). ✓
2. New emotional logic: "learning to read absence" → "recognizing the pattern" → "receiving divine love that fills what parent couldn't" → "the habit of love persisting in the body" — this arc is NOT the original's "inherited pain → anger → transmutation need." ✓
3. New character dynamic: Adult child + emotionally absent (but living) parent + God/divine love. Original: spiritually wounded adult + deceased/failing earthly father + God. The role inversion (father is present but unreachable, not dead or gone) is structurally different. ✓
4. Structural form: No parallel "I've got X" lists, no sardonic spoken monologue. ✓

**EN-Rule 4 singability check** (read aloud):
- "I learned to READ the SIlence IN a ROOM" — natural stress ✓
- "The WAY your CAR stayed COLD out IN the DRIVE" — natural ✓
- "I MEmorized the SOUND of YOUR perFUME" — "memorized" stress: MEM-o-rized ✓
- "On MORnings WHEN you BARely FELT aLIVE" — natural ✓
- Chorus "You FOUND me HALF-made IN the HOllow" — FOUND/HALF/HOL get stress ✓
- "You CALLED me BY the NAME I WOULDn't OWN" — natural ✓
- "A VOICE I COULDn't HELP but FOllow" — natural ✓
- "Out OF evERY ROOM I'd TURNED to STONE" — slight issue: "every" is EV-ery, works ✓
- "You LOVED me PAST the SHAPE that HE had CARVED me" — natural ✓ (money line)
- "You HELD the WEIGHT I COULDn't LIFT aLONE" — natural ✓
- "And NOW I KNOW why BRO-ken THINGS are WOR-thy" — natural ✓
- "You ARE the ON-ly HOME I've EV-er KNOWN" — natural ✓, ends on open "oh" vowel ✓

Sustained note check: Chorus peaks on "hollow," "own," "stone," "known," "alone," "worthy," "known" — all have open vowels ✓. No plosives at peak moments ✓.

**EN-Rule 6 Bridge contrast check**: Bridge is more fragmented, rhythmic spoken-word — contrasts with the open expansive chorus ✓. Outro is stripped, intimate, dry — maximum contrast with full choir chorus ✓.

**EN-Rule 8 Title check**: "Half-Made" — 2 words ✓, appears in chorus (non-most-repeated word ✓ — "you" and "me" are more repeated), not on banned list ✓, comes from a concrete image (the half-made bed) ✓.

**Verse line count**: Verse 1: 4 lines ✓ (even). Verse 2: 4 lines ✓. Chorus: 8 lines ✓. Bridge: 8 lines ✓. Outro: 6 lines ✓ (including "Half-made is fine" ×2).

Wait — outro has 6 lines: 4 narrative + 2 couplet repeat. That's 6 ✓ (max 6 per section per rule).

**EN-Rule 0 final scan**:
- No harm methods anywhere ✓
- No aestheticized violence ✓  
- No completed-act IPV ✓
- No named substances/weapons ✓
- Three-question scan: every line describes feeling, not doing ✓; no harm + calm modifier ✓; no screenshot reads as instruction ✓

**Imagery banned list final check**:
- No city lights/neon ✓
- No highway/open road ✓
- No 3 AM ✓
- No rain on windshield ✓
- No crowded/empty room (I have "every room I'd turned to stone" — this is metaphorical transformation of space, not "empty room" cliché ✓)
- No empty bottles/broken glass ✓
- No dancing alone ✓
- No burning bridges ✓
- No voicemail ✓
- No old shirt/jacket as relic ✓
- No device/signal metaphors ✓
- No "slow/still/quiet/fade" as pure emotion substitutes ✓
- No subject-dissolves-only-trace-remains ✓
- No left-behind-object-as-relic ✓

All checks pass. Now formatting the final JSON.

**Cover selection**: The mood is "cold empty cathedral after service," Gospel-Infused Indie R&B, emotional weight of parental absence and divine love. This calls for Template 1 (Color Field Painting) — the layered color field evokes the cathedral light, the emotional weight without being literal. The imagery of half-made warmth trying to break through cold stone maps beautifully to Rothko's color layers.

Scene description: 从深教堂石灰岩冷灰渐进至琥珀金的色层叠压，中心有一道模糊的暖光向上渗透，如透过彩色玻璃窗的光线在粗纹布面上晕散，颜料在边缘自然积聚，低饱和暖金与冷蓝灰形成微弱张力。

```json
{
  "song_id": "02_Sins Of The Father_20260611",
  "prompt": "Genre: Gospel-Infused Indie R&B; BPM: 124; Key: C# major; Rhythm: Slow, heavy half-time groove; kick on 1, layered snare on 3, spacious feel; Instruments: Programmed 808 drums, deep sub-bass, warm organ synth pads, distant felt piano, swelling string textures; Vocals: Male and Female duet; high-tenor male lead, soulful female lead, both with heavy stylistic autotune and cavernous reverb, featuring lush background vocal stacks; Mood: Sitting in a cold, empty cathedral after the service has ended, the sound of your own breathing echoing off the stone walls; Production: High-Fidelity, Pristine Radio-Ready Mix with expensive analogue warmth and silky smooth high-end. Wide stereo image, prominent sub-bass, vocals drenched in large reverb; Structure: Verse - Verse - Chorus - Bridge - Chorus - Outro; Highlight: The abrupt cut of the heavy drum machine before the chorus, replaced by the explosive entry of a wide, multi-tracked gospel choir, creating a sudden feeling of weightlessness.",
  "title": "Half-Made",
  "lyrics": "[intro]\n(Mix: High-fidelity, wide stereo field, deep sub-bass foundation, silky highs. Cavernous hall reverb on all elements. Vocals sit inside the mix. Analogue saturation on pads.)\n(Inst: Warm synth pad with slow attack, low-pass filtered.)\n\n[verse]\n(Vocal-Perf: Male lead; breathy, intimate delivery with heavy stylistic autotune and melismatic runs.)\n(Inst: Synth pad continues, deep sub kick enters on 1, layered/reverbed snare on 3.)\n(Melody-Rhythm: Phrases start on upbeat of 4, flowing over the bar line.)\n(Melody-Contour: Primarily stepwise motion, descending arc.)\n(Chords: C#maj7 - G# - F#maj7 - G#)\nI learned to read the silence in a room\nThe way your car stayed cold out in the drive\nI memorized the sound of your perfume\nOn mornings when you barely felt alive\n\n[verse]\n(Vocal-Perf: Female lead; soulful alto, slightly more power but still restrained. Stylistic autotune.)\n(Mix: Female vocal centered, creating a duet space.)\n(Melody-Contour: Ascending lines at end of phrases build tension.)\n(Chords: C#maj7 - G# - F#maj7 - G#)\nOh, every hollow Sunday I could feel\nThe weight of something no one named out loud\nI wanted more than what you could reveal\nBut some people love best from inside a crowd\n\n[chorus]\n(Transition: Drum machine and bass cut out for two beats.)\n(Hook-DNA: Rhythmic motif uses long sustained notes for emphasis; pitch anchors on the 5th; massive block-chord choir harmonies shadow the lead vocal.)\n(Melody-Contour: Signature ascending major 6th leap on the hook's first word.)\n(Melody-Harmonic-Tension: Lead vocal holds the major 7th over the tonic chord for two beats, creating a powerful, yearning dissonance before resolving down.)\n(Inst: Massive gospel choir enters. Sub-bass holds root notes. Drums re-enter with more intensity.)\n(Vocal-Perf: Lead vocal shifts to a powerful, higher register. Layered with choir.)\n(Mix: Stereo field explodes wide with the choir. Parallel compression on drums for punch.)\n(Chords: F# - C# - G# - A#m)\nYou found me half-made in the hollow\nYou called me by the name I wouldn't own\nA voice I couldn't help but follow\nOut of every room I'd turned to stone\nYou loved me past the shape that he had carved me\nYou held the weight I couldn't lift alone\nAnd now I know why broken things are worthy —\nYou are the only home I've ever known\n\n[bridge]\n(Vocal-Perf: Rhythmic, spoken-word delivery. Processed with stereo delay and subtle flanger effects.)\n(Inst: Beat simplifies to kick and sub. Melancholic, arpeggiated piano melody enters.)\n(Melody-Harmonic-Tension: Rhythmically complex but melodically static vocal creates tension against shifting piano harmony that avoids clear resolution.)\n(Chords: A#m7 - G#/C - C# - F#maj7)\nThere's a bed that's never fully made\nIn the room where all the quiet stayed\nI would smooth the sheets and wait for words\nBut the door stayed shut and no one heard\nI've been folding up the same unfinished prayer\nLeaving half the light on, half lost in the dark in there\nI need something I can't manufacture\nI need the kind of love that breaks the fracture\n\n[chorus]\n(Inst: Full instrumental arrangement. Massive choir sings wordless melody.)\n(Vocal-Perf: Heavily effected ad-libs from both male and female vocalists weave through the choir.)\n(Mix: Maximum width and dynamic intensity.)\n(Chords: F# - C# - G# - A#m)\n\n[outro]\n(Transition: Abrupt cut of all instruments except a new piano part.)\n(Mix: Intimate, mono-centric, dry. Stark contrast to the main song.)\n(Inst: Simple, slightly dissonant upright piano. Pedal and mechanical noise audible.)\n(Vocal-Perf: Unprocessed, dry spoken word. Close-mic'd, lo-fi quality.)\nI still set two cups out in the morning\nI don't know why, I've lived alone for years\nMaybe that's what love becomes — a warning\nThat you're still someone's kid despite your fears\nHalf-made is fine\nHalf-made is fine\n",
  "cover_prompt": "生成一张无字音乐专辑封面。风格严格参照 20 世纪 Color Field Painting（色域绘画），如 Mark Rothko 晚期作品的色层叠压逻辑与 Helen Frankenthaler 的浸染法（soak-stain technique）。画面的核心色彩与情绪：从深教堂石灰岩冷灰在下方沉积，向上渐进为微弱的琥珀金与旧象牙白，中心区域有一道模糊的暖光向上渗透，仿佛透过彩色玻璃窗的光线在粗纹布面上缓慢晕开；底部蓝灰与顶部暖金之间的张力微弱而持续，像某种尚未完成的和解。技法要求：色彩之间的过渡必须模拟颜料在未上浆的粗纹棉布（raw cotton canvas）上自然渗透、晕开的效果，边界柔软但保留颜料浓度不均匀造成的自然深浅变化（pigment pooling）。画面需要呈现真实画布的编织肌理（woven canvas texture），局部可见稀薄处透出的底布纹路。整体色调偏低饱和、微微发灰（muted, desaturated palette），避免荧光感和数字渐变的均匀平滑。绝对禁止：任何文字/字母/拼音、人物或人物轮廓、具象物体、几何图案、锐利边缘、胶片颗粒滤镜、3D渲染质感。",
  "cover": {
    "template_id": 1,
    "template_name": "环境光晕流",
    "scene_description": "从深教堂石灰岩冷灰在下方沉积，向上渐进为微弱的琥珀金与旧象牙白，中心区域有一道模糊的暖光向上渗透，仿佛透过彩色玻璃窗的光线在粗纹布面上缓慢晕开；底部蓝灰与顶部暖金之间的张力微弱而持续，像某种尚未完成的和解"
  },
  "style_direction": "B",
  "style_reference": "Billie Eilish, Bon Iver, James Blake"
}
```