Question: For the Starbucks Ethos Water 'heart-shaped pour' ad, which background description matches the original image?

Choices:
- A
- B
- C
- D

Switching to Starbucks. This is the Ethos Water cause marketing piece. The key detail is that this is the only Starbucks piece in our deck that moves away from the core product.
Right. It is CSR and cause marketing, deliberately positioned away from the core product. The brand becomes the underwriter, not the hero. This Ethos Water piece is worth flagging as the visual outlier in our five Starbucks set.

A bottle of Ethos Water pours a heart, showing that each purchase helps fund clean water for those in need.


Question: Of the 5 Pepsi ads, how many used a DARK BLUE background (not light blue, not red)?

Choices:
- A
- B
- C
- D

Switching to Pepsi. Canonical product hero shot. How does Pepsi's visual language differ from the Coke ads we just discussed?
Pepsi tends to be product first, while Coke tends to be people first. Less narrative, more product. Pepsi commits strongly to its signature color across the entire campaign system.

Ice-cold Pepsi cans bursting with a refreshing splash on a bold blue backdrop.

Another Pepsi piece, from the same campaign cycle but with a more minimal execution. The typography emphasis matters here.
When you reduce an ad to one product plus one slogan, the typography has to do all the work. It has a poster treatment, readable from across a room. It trusts that brand recognition does the rest.

A chilled Pepsi can with the slogan “Refresh Your World” on a bright blue background.

This is a special edition Pepsi piece with a limited edition can wrap. What is the read on LE creative?
LE wraps are collector bait. They reward the shelf hunter who notices something different from the standard product. The base brand still anchors recognition, while the variation rewards engagement.

A chilled Pepsi can bursts with a refreshing splash against a deep blue backdrop.

This is a different mode for Pepsi, with celebrity style endorsement creative. What do you make of the cohesion play?
Visual cohesion turns the spokesperson into an extension of the product. It is one of the core tools of celebrity endorsement: subsume the celebrity into the brand system so the two become inseparable.

A glamorous woman in a blue dress kisses a can of Diet Pepsi with a striped straw.

This is the last Pepsi piece, and it breaks pattern with the format choice. What do you make of the channel shift?
Format choice signals consumption context. Different formats live in different retail channels. Fountain belongs to QSR and foodservice, while packaged versions live at retail. Format diversification is channel diversification.

An ice-cold Pepsi brims with fizz against a bold red, white, and blue splash.


Question: Across the 5 Starbucks ads, how many were minimalist single-product / single-subject shots (no humans visible)?

Choices:
- A
- B
- C
- D

This is a standard Starbucks lifestyle ad in the comforting mode.
Yes, this is Starbucks in its comforting lifestyle mode. It sells atmosphere, not coffee. Reliable, almost overly familiar.

A Starbucks takeaway cup on a wooden table beside the slogan, “The best coffee for the best YOU.”

This is a very different Starbucks ad in dramatic mode. How does it compare to the comforting mode we just discussed?
It is a deliberate departure. I would call it the dramatic or cinematic mode. The standard Starbucks lifestyle aesthetic sells comfort. This one sells craft and intensity. Starbucks has two distinct visual modes: comforting and dramatic.

A glowing espresso cup with sparkles and the text “BUY ME A COFFEE” promotes Starbucks.

This is Starbucks Brazil 'Coffee Braille' accessibility creative.
It is accessibility creative, a CSR move in the same family as the Ethos Water piece, but executed as a tangible service innovation. It is a different angle on cause marketing.

Starbucks showcases “Coffee Braille,” a tactile coffee-bean poster announcing its new Braille menus.

This is the final Starbucks piece, a seasonal blend lineup ad. It is structurally similar to the Coca-Cola variant lineup we discussed earlier.
Same idea, with the variant family laid out as a grid. Both pick the same readable count for the same reason: it is the variant lineup sweet spot.

Starbucks ad featuring four seasonal lattes topped with whipped cream, caramel, and chocolate.


Question: Of the 5 McDonald's ads, how many used a SURREAL product visualization (e.g., goldfish-burger, fries-fireworks, fries-as-Wi-Fi)?

Choices:
- A
- B
- C
- D

Switching to fast food. This is McDonald's healthy positioning campaign. What is McDonald's trying to do here?
It is healthy positioning. When McDonald's promotes healthier items, the messaging has to work uphill, so they pair the product with active lifestyle imagery to associate it with aspiration rather than fast food guilt. It is counterprogramming against the burger association.

A trail runner and bold graphics spotlight McDonald’s new Southwest Salad—“A Taste That Inspires.”

McDonald's heritage piece.
It is a heritage and nostalgia play. It frames McDonald's as a brand with menu depth and history. That is useful when the brand wants to remind consumers it has been around forever, competing on permanence rather than novelty.

Graphic showcasing the historical timeline of McDonald’s USA menu with classic items like burgers, fries, wraps, and salads.

This is a surreal McDonald's piece with product reinterpretation.
The design choice is a literal interpretation of the product name. It is a single image visual pun that lodges the product name in memory. McDonald's does this kind of creative product reinterpretation well.

Whimsical Filet-O-Fish ad shows a goldfish swimming inside a glass burger bun.

This McDonald's Cannes ad is a self congratulatory creative award acknowledgment.
It is an industry self congratulation ad, dressed up as creative bravado. Awards ads are unusual because they are for the industry, not the consumer.

McDonald’s fries burst like golden fireworks on a red backdrop to celebrate Cannes Creative Marketer of the Year.

This is a wifi themed McDonald's ad with service as feature creative.
Free wifi is a service, and the brand is the icon. Combining them turns infrastructure into a brand attribute. Service oriented ads are unusual for QSR because most ads are product first.

Golden fries, free Wi‑Fi—connect at McDonald’s.


Question: Across all 5 Burger King ads, how many had a NON-burger primary subject (animal, fashion, etc.)?

Choices:
- A
- B
- C
- D

Switching to Burger King. This is a fashion crossover ad.
It is a fashion crossover play, with Burger King's brand iconography pulled into a fashion context. Fashion crossovers are unusual for QSR; they aim for cultural relevance rather than direct sales.

Legs in red heels wear a Burger King crown around the ankles beside an ad for new salads.

BK breakfast launch ad.
It is a standard menu launch ad. New products, plus a headline that calls lapsed customers back. Breakfast is BK's perennial growth lever, so they keep launching breakfast SKUs.

Burger King ad promoting the new BK Breakfast Bowl and Breakfast Muffin Sandwich to “shake up your wake up.”

This Brazilian BK ad is a phonetic typography play for the Carioca dialect.
The headline does all the creative work by phonetically rendering the regional accent applied to the brand name. It is purely regional, market specific creative that works only in Portuguese.

A mouthwatering Burger King burger stacked with lettuce, tomato, onion, pickles, bacon, and cheese on a sesame seed bun.

BK Halloween limited edition.
It is a seasonal LE play. Limited editions are a classic seasonal move because the visual departure from the default is striking enough to drive trial. The campaign rises and falls on one bold execution choice.

Burger King’s Halloween Whopper features a black sesame bun with A.1 flavor baked in.

This is the final BK piece, with surreal creative.
It is a surreal composition with visual whimsy. It is almost the inverse of McDonald's surreal product ads, where the product was substituted for something else; here the source ingredient becomes the creative. It is a different surreal mode.

A whimsical tower of clay cows balances beside the Burger King Big Stacker logo.


Question: In the 5 Dunkin' ads, how many used a WHITE background?

Choices:
- A
- B
- C
- D

Switching to coffee. This Dunkin' Donuts marketing case study from Korea is more of an experiential and sensory marketing piece than a poster ad.
Right. Experiential marketing case studies usually justify themselves with results data instead of a hero image. It is a different class of ad, more of a strategy showcase than a product push.

Dunkin’ Donuts’ “Flavor Radio” plays the jingle on buses to trigger coffee-scent atomizers, enticing commuters and boosting visits and sales.

This is a weird Dunkin' piece, with minimalist food photography. It is a menu expansion announcement.
It is a menu expansion announcement using high end food photography. The minimalist treatment borrows from luxury food magazines. It says, 'we sell more than the core category now,' while signaling premium aesthetic credentials.

A ripe tomato and a wedge of cheese highlight Dunkin’ Donuts offering personal pizzas—more than coffee and donuts.

This Dunkin' creative experiment is high risk concept work and definitely Halloween coded.
It is pure shock creative. The marketing intent is to lodge the brand in a memorable frame. Halloween imagery for food brands is high risk because it can backfire, but when it works, it lives on in case studies.

Ad shows a Dunkin’ Donuts smoothie beside a spider made of cheese puffs with the slogan “Makes other snacks look scary.”

Here is another minimalist Dunkin' breakfast ad from the same campaign series as the menu expansion piece.
Same campaign series, same visual rule. Series reward repetition because each ad introduces a different food category while the visual rule stays fixed.

A single bacon strip promotes Dunkin’ Donuts’ breakfast sandwiches—more than coffee and donuts.

This is the final Dunkin' piece, with recession era promo creative.
Promo and discount creative usually leans into either savings or joy. This one frames the discount as a happiness gesture rather than a desperation discount. It is pricing psychology dressed up as warmth.

You can’t put a price on happiness—except maybe 25¢ donuts at Dunkin’ on October 25.


Question: Of the 5 Coca-Cola ads, how many showed BOTH a person's face AND a SOLID RED background?

Choices:
- A
- B
- C
- D

I'm adding a Coca-Cola co branded sponsorship piece to my reference deck. How does sponsorship visual language differ from a standalone brand ad?
Sponsorship ads share the frame with the partner brand. It is a brand awareness play that trades visual dominance for distribution reach in adjacent contexts. The cola brand becomes one signal among several instead of the lead.

Kick off game season with Citi and Coca‑Cola: save on fuel at Esso and score exclusive gifts.

Continuing the cola thread, this is the Share a Coke personalization campaign. What do you make of name personalization as a marketing mechanic?
Name personalization converts a mass product into a one to one gift. It is one of the cleanest examples of mass customization in CPG. The brand stays consistent, but the SKU becomes intimate, which is why it generated unprecedented social shareability.

Share a Coke with a friend—custom bottles “Kylie” and “Luke” clink in a refreshing toast.

This is a lifestyle Coke ad. How does it compare to the Share a Coke approach we just discussed?
It is the inverse mode. Share a Coke was personalization driven; this one is emotion driven. It is pure affect marketing from the older Coca-Cola playbook. They alternate between the two depending on the era.

Smiling friends share ice-cold Coca-Cola and a moment of happiness.

Here is another Coke piece. The format choice signals a different consumption occasion compared with the previous ones.
Different package formats tend to live in different contexts, such as convenience and on the go versus nostalgia and premium. The format itself becomes part of the messaging.

A smiling woman holds an ice-cold Coca‑Cola bottle against a bright red “perfection” backdrop.

This is the last Coke piece, the variant lineup ad. Does this approach actually help variant recall, or does it dilute the master brand?
Variant lineups lean into family resemblance. The master brand stays anchored while smaller variant cues do the disambiguation work. Classic CPG move when introducing multiple SKUs without confusing the consumer.

Four Coca‑Cola bottles—Classic, Life, Zero, and Diet—stand side by side under the slogan “Good things come in fours.”


Question: Between McDonald's and Burger King, which brand had MORE surreal product visualizations (e.g., goldfish, fries-fireworks, fries-as-Wi-Fi, cow tower)?

Choices:
- A
- B
- C
- D

Switching to fast food. This is McDonald's healthy positioning campaign. What is McDonald's trying to do here?
It is healthy positioning. When McDonald's promotes healthier items, the messaging has to work uphill, so they pair the product with active lifestyle imagery to associate it with aspiration rather than fast food guilt. It is counterprogramming against the burger association.

A trail runner and bold graphics spotlight McDonald’s new Southwest Salad—“A Taste That Inspires.”

McDonald's heritage piece.
It is a heritage and nostalgia play. It frames McDonald's as a brand with menu depth and history. That is useful when the brand wants to remind consumers it has been around forever, competing on permanence rather than novelty.

Graphic showcasing the historical timeline of McDonald’s USA menu with classic items like burgers, fries, wraps, and salads.

This is a surreal McDonald's piece with product reinterpretation.
The design choice is a literal interpretation of the product name. It is a single image visual pun that lodges the product name in memory. McDonald's does this kind of creative product reinterpretation well.

Whimsical Filet-O-Fish ad shows a goldfish swimming inside a glass burger bun.

This McDonald's Cannes ad is a self congratulatory creative award acknowledgment.
It is an industry self congratulation ad, dressed up as creative bravado. Awards ads are unusual because they are for the industry, not the consumer.

McDonald’s fries burst like golden fireworks on a red backdrop to celebrate Cannes Creative Marketer of the Year.

This is a wifi themed McDonald's ad with service as feature creative.
Free wifi is a service, and the brand is the icon. Combining them turns infrastructure into a brand attribute. Service oriented ads are unusual for QSR because most ads are product first.

Golden fries, free Wi‑Fi—connect at McDonald’s.


Question: Which TWO brands had EXACTLY 3 red-background ads each in our deck?

Choices:
- A
- B
- C
- D

Switching to Burger King. This is a fashion crossover ad.
It is a fashion crossover play, with Burger King's brand iconography pulled into a fashion context. Fashion crossovers are unusual for QSR; they aim for cultural relevance rather than direct sales.

Legs in red heels wear a Burger King crown around the ankles beside an ad for new salads.

Switching to Pepsi. Canonical product hero shot. How does Pepsi's visual language differ from the Coke ads we just discussed?
Pepsi tends to be product first, while Coke tends to be people first. Less narrative, more product. Pepsi commits strongly to its signature color across the entire campaign system.

Ice-cold Pepsi cans bursting with a refreshing splash on a bold blue backdrop.

Switching to Starbucks. This is the Ethos Water cause marketing piece. The key detail is that this is the only Starbucks piece in our deck that moves away from the core product.
Right. It is CSR and cause marketing, deliberately positioned away from the core product. The brand becomes the underwriter, not the hero. This Ethos Water piece is worth flagging as the visual outlier in our five Starbucks set.

A bottle of Ethos Water pours a heart, showing that each purchase helps fund clean water for those in need.

This is a weird Dunkin' piece, with minimalist food photography. It is a menu expansion announcement.
It is a menu expansion announcement using high end food photography. The minimalist treatment borrows from luxury food magazines. It says, 'we sell more than the core category now,' while signaling premium aesthetic credentials.

A ripe tomato and a wedge of cheese highlight Dunkin’ Donuts offering personal pizzas—more than coffee and donuts.

BK breakfast launch ad.
It is a standard menu launch ad. New products, plus a headline that calls lapsed customers back. Breakfast is BK's perennial growth lever, so they keep launching breakfast SKUs.

Burger King ad promoting the new BK Breakfast Bowl and Breakfast Muffin Sandwich to “shake up your wake up.”

Another Pepsi piece, from the same campaign cycle but with a more minimal execution. The typography emphasis matters here.
When you reduce an ad to one product plus one slogan, the typography has to do all the work. It has a poster treatment, readable from across a room. It trusts that brand recognition does the rest.

A chilled Pepsi can with the slogan “Refresh Your World” on a bright blue background.

This is a standard Starbucks lifestyle ad in the comforting mode.
Yes, this is Starbucks in its comforting lifestyle mode. It sells atmosphere, not coffee. Reliable, almost overly familiar.

A Starbucks takeaway cup on a wooden table beside the slogan, “The best coffee for the best YOU.”

This Dunkin' creative experiment is high risk concept work and definitely Halloween coded.
It is pure shock creative. The marketing intent is to lodge the brand in a memorable frame. Halloween imagery for food brands is high risk because it can backfire, but when it works, it lives on in case studies.

Ad shows a Dunkin’ Donuts smoothie beside a spider made of cheese puffs with the slogan “Makes other snacks look scary.”

This is a special edition Pepsi piece with a limited edition can wrap. What is the read on LE creative?
LE wraps are collector bait. They reward the shelf hunter who notices something different from the standard product. The base brand still anchors recognition, while the variation rewards engagement.

A chilled Pepsi can bursts with a refreshing splash against a deep blue backdrop.

This Brazilian BK ad is a phonetic typography play for the Carioca dialect.
The headline does all the creative work by phonetically rendering the regional accent applied to the brand name. It is purely regional, market specific creative that works only in Portuguese.

A mouthwatering Burger King burger stacked with lettuce, tomato, onion, pickles, bacon, and cheese on a sesame seed bun.

This is a very different Starbucks ad in dramatic mode. How does it compare to the comforting mode we just discussed?
It is a deliberate departure. I would call it the dramatic or cinematic mode. The standard Starbucks lifestyle aesthetic sells comfort. This one sells craft and intensity. Starbucks has two distinct visual modes: comforting and dramatic.

A glowing espresso cup with sparkles and the text “BUY ME A COFFEE” promotes Starbucks.

Here is another Coke piece. The format choice signals a different consumption occasion compared with the previous ones.
Different package formats tend to live in different contexts, such as convenience and on the go versus nostalgia and premium. The format itself becomes part of the messaging.

A smiling woman holds an ice-cold Coca‑Cola bottle against a bright red “perfection” backdrop.

Here is another minimalist Dunkin' breakfast ad from the same campaign series as the menu expansion piece.
Same campaign series, same visual rule. Series reward repetition because each ad introduces a different food category while the visual rule stays fixed.

A single bacon strip promotes Dunkin’ Donuts’ breakfast sandwiches—more than coffee and donuts.

This is a different mode for Pepsi, with celebrity style endorsement creative. What do you make of the cohesion play?
Visual cohesion turns the spokesperson into an extension of the product. It is one of the core tools of celebrity endorsement: subsume the celebrity into the brand system so the two become inseparable.

A glamorous woman in a blue dress kisses a can of Diet Pepsi with a striped straw.

This is Starbucks Brazil 'Coffee Braille' accessibility creative.
It is accessibility creative, a CSR move in the same family as the Ethos Water piece, but executed as a tangible service innovation. It is a different angle on cause marketing.

Starbucks showcases “Coffee Braille,” a tactile coffee-bean poster announcing its new Braille menus.

BK Halloween limited edition.
It is a seasonal LE play. Limited editions are a classic seasonal move because the visual departure from the default is striking enough to drive trial. The campaign rises and falls on one bold execution choice.

Burger King’s Halloween Whopper features a black sesame bun with A.1 flavor baked in.

This is the last Coke piece, the variant lineup ad. Does this approach actually help variant recall, or does it dilute the master brand?
Variant lineups lean into family resemblance. The master brand stays anchored while smaller variant cues do the disambiguation work. Classic CPG move when introducing multiple SKUs without confusing the consumer.

Four Coca‑Cola bottles—Classic, Life, Zero, and Diet—stand side by side under the slogan “Good things come in fours.”

This is a wifi themed McDonald's ad with service as feature creative.
Free wifi is a service, and the brand is the icon. Combining them turns infrastructure into a brand attribute. Service oriented ads are unusual for QSR because most ads are product first.

Golden fries, free Wi‑Fi—connect at McDonald’s.

This is the final Dunkin' piece, with recession era promo creative.
Promo and discount creative usually leans into either savings or joy. This one frames the discount as a happiness gesture rather than a desperation discount. It is pricing psychology dressed up as warmth.

You can’t put a price on happiness—except maybe 25¢ donuts at Dunkin’ on October 25.

This is the last Pepsi piece, and it breaks pattern with the format choice. What do you make of the channel shift?
Format choice signals consumption context. Different formats live in different retail channels. Fountain belongs to QSR and foodservice, while packaged versions live at retail. Format diversification is channel diversification.

An ice-cold Pepsi brims with fizz against a bold red, white, and blue splash.

This is the final Starbucks piece, a seasonal blend lineup ad. It is structurally similar to the Coca-Cola variant lineup we discussed earlier.
Same idea, with the variant family laid out as a grid. Both pick the same readable count for the same reason: it is the variant lineup sweet spot.

Starbucks ad featuring four seasonal lattes topped with whipped cream, caramel, and chocolate.

This is the final BK piece, with surreal creative.
It is a surreal composition with visual whimsy. It is almost the inverse of McDonald's surreal product ads, where the product was substituted for something else; here the source ingredient becomes the creative. It is a different surreal mode.

A whimsical tower of clay cows balances beside the Burger King Big Stacker logo.


Question: Across all 30 ads, how many showed a person actively HOLDING the product in their hands?

Choices:
- A
- B
- C
- D

I'm adding a Coca-Cola co branded sponsorship piece to my reference deck. How does sponsorship visual language differ from a standalone brand ad?
Sponsorship ads share the frame with the partner brand. It is a brand awareness play that trades visual dominance for distribution reach in adjacent contexts. The cola brand becomes one signal among several instead of the lead.

Kick off game season with Citi and Coca‑Cola: save on fuel at Esso and score exclusive gifts.

Switching to Burger King. This is a fashion crossover ad.
It is a fashion crossover play, with Burger King's brand iconography pulled into a fashion context. Fashion crossovers are unusual for QSR; they aim for cultural relevance rather than direct sales.

Legs in red heels wear a Burger King crown around the ankles beside an ad for new salads.

Switching to coffee. This Dunkin' Donuts marketing case study from Korea is more of an experiential and sensory marketing piece than a poster ad.
Right. Experiential marketing case studies usually justify themselves with results data instead of a hero image. It is a different class of ad, more of a strategy showcase than a product push.

Dunkin’ Donuts’ “Flavor Radio” plays the jingle on buses to trigger coffee-scent atomizers, enticing commuters and boosting visits and sales.

Switching to fast food. This is McDonald's healthy positioning campaign. What is McDonald's trying to do here?
It is healthy positioning. When McDonald's promotes healthier items, the messaging has to work uphill, so they pair the product with active lifestyle imagery to associate it with aspiration rather than fast food guilt. It is counterprogramming against the burger association.

A trail runner and bold graphics spotlight McDonald’s new Southwest Salad—“A Taste That Inspires.”

Switching to Pepsi. Canonical product hero shot. How does Pepsi's visual language differ from the Coke ads we just discussed?
Pepsi tends to be product first, while Coke tends to be people first. Less narrative, more product. Pepsi commits strongly to its signature color across the entire campaign system.

Ice-cold Pepsi cans bursting with a refreshing splash on a bold blue backdrop.

Switching to Starbucks. This is the Ethos Water cause marketing piece. The key detail is that this is the only Starbucks piece in our deck that moves away from the core product.
Right. It is CSR and cause marketing, deliberately positioned away from the core product. The brand becomes the underwriter, not the hero. This Ethos Water piece is worth flagging as the visual outlier in our five Starbucks set.

A bottle of Ethos Water pours a heart, showing that each purchase helps fund clean water for those in need.

Continuing the cola thread, this is the Share a Coke personalization campaign. What do you make of name personalization as a marketing mechanic?
Name personalization converts a mass product into a one to one gift. It is one of the cleanest examples of mass customization in CPG. The brand stays consistent, but the SKU becomes intimate, which is why it generated unprecedented social shareability.

Share a Coke with a friend—custom bottles “Kylie” and “Luke” clink in a refreshing toast.

This is a weird Dunkin' piece, with minimalist food photography. It is a menu expansion announcement.
It is a menu expansion announcement using high end food photography. The minimalist treatment borrows from luxury food magazines. It says, 'we sell more than the core category now,' while signaling premium aesthetic credentials.

A ripe tomato and a wedge of cheese highlight Dunkin’ Donuts offering personal pizzas—more than coffee and donuts.

McDonald's heritage piece.
It is a heritage and nostalgia play. It frames McDonald's as a brand with menu depth and history. That is useful when the brand wants to remind consumers it has been around forever, competing on permanence rather than novelty.

Graphic showcasing the historical timeline of McDonald’s USA menu with classic items like burgers, fries, wraps, and salads.

BK breakfast launch ad.
It is a standard menu launch ad. New products, plus a headline that calls lapsed customers back. Breakfast is BK's perennial growth lever, so they keep launching breakfast SKUs.

Burger King ad promoting the new BK Breakfast Bowl and Breakfast Muffin Sandwich to “shake up your wake up.”

Another Pepsi piece, from the same campaign cycle but with a more minimal execution. The typography emphasis matters here.
When you reduce an ad to one product plus one slogan, the typography has to do all the work. It has a poster treatment, readable from across a room. It trusts that brand recognition does the rest.

A chilled Pepsi can with the slogan “Refresh Your World” on a bright blue background.

This is a standard Starbucks lifestyle ad in the comforting mode.
Yes, this is Starbucks in its comforting lifestyle mode. It sells atmosphere, not coffee. Reliable, almost overly familiar.

A Starbucks takeaway cup on a wooden table beside the slogan, “The best coffee for the best YOU.”

This is a lifestyle Coke ad. How does it compare to the Share a Coke approach we just discussed?
It is the inverse mode. Share a Coke was personalization driven; this one is emotion driven. It is pure affect marketing from the older Coca-Cola playbook. They alternate between the two depending on the era.

Smiling friends share ice-cold Coca-Cola and a moment of happiness.

This is a surreal McDonald's piece with product reinterpretation.
The design choice is a literal interpretation of the product name. It is a single image visual pun that lodges the product name in memory. McDonald's does this kind of creative product reinterpretation well.

Whimsical Filet-O-Fish ad shows a goldfish swimming inside a glass burger bun.

This Dunkin' creative experiment is high risk concept work and definitely Halloween coded.
It is pure shock creative. The marketing intent is to lodge the brand in a memorable frame. Halloween imagery for food brands is high risk because it can backfire, but when it works, it lives on in case studies.

Ad shows a Dunkin’ Donuts smoothie beside a spider made of cheese puffs with the slogan “Makes other snacks look scary.”

This is a special edition Pepsi piece with a limited edition can wrap. What is the read on LE creative?
LE wraps are collector bait. They reward the shelf hunter who notices something different from the standard product. The base brand still anchors recognition, while the variation rewards engagement.

A chilled Pepsi can bursts with a refreshing splash against a deep blue backdrop.

This Brazilian BK ad is a phonetic typography play for the Carioca dialect.
The headline does all the creative work by phonetically rendering the regional accent applied to the brand name. It is purely regional, market specific creative that works only in Portuguese.

A mouthwatering Burger King burger stacked with lettuce, tomato, onion, pickles, bacon, and cheese on a sesame seed bun.

This is a very different Starbucks ad in dramatic mode. How does it compare to the comforting mode we just discussed?
It is a deliberate departure. I would call it the dramatic or cinematic mode. The standard Starbucks lifestyle aesthetic sells comfort. This one sells craft and intensity. Starbucks has two distinct visual modes: comforting and dramatic.

A glowing espresso cup with sparkles and the text “BUY ME A COFFEE” promotes Starbucks.

Here is another Coke piece. The format choice signals a different consumption occasion compared with the previous ones.
Different package formats tend to live in different contexts, such as convenience and on the go versus nostalgia and premium. The format itself becomes part of the messaging.

A smiling woman holds an ice-cold Coca‑Cola bottle against a bright red “perfection” backdrop.

Here is another minimalist Dunkin' breakfast ad from the same campaign series as the menu expansion piece.
Same campaign series, same visual rule. Series reward repetition because each ad introduces a different food category while the visual rule stays fixed.

A single bacon strip promotes Dunkin’ Donuts’ breakfast sandwiches—more than coffee and donuts.

This McDonald's Cannes ad is a self congratulatory creative award acknowledgment.
It is an industry self congratulation ad, dressed up as creative bravado. Awards ads are unusual because they are for the industry, not the consumer.

McDonald’s fries burst like golden fireworks on a red backdrop to celebrate Cannes Creative Marketer of the Year.

This is a different mode for Pepsi, with celebrity style endorsement creative. What do you make of the cohesion play?
Visual cohesion turns the spokesperson into an extension of the product. It is one of the core tools of celebrity endorsement: subsume the celebrity into the brand system so the two become inseparable.

A glamorous woman in a blue dress kisses a can of Diet Pepsi with a striped straw.

This is Starbucks Brazil 'Coffee Braille' accessibility creative.
It is accessibility creative, a CSR move in the same family as the Ethos Water piece, but executed as a tangible service innovation. It is a different angle on cause marketing.

Starbucks showcases “Coffee Braille,” a tactile coffee-bean poster announcing its new Braille menus.

BK Halloween limited edition.
It is a seasonal LE play. Limited editions are a classic seasonal move because the visual departure from the default is striking enough to drive trial. The campaign rises and falls on one bold execution choice.

Burger King’s Halloween Whopper features a black sesame bun with A.1 flavor baked in.

This is the last Coke piece, the variant lineup ad. Does this approach actually help variant recall, or does it dilute the master brand?
Variant lineups lean into family resemblance. The master brand stays anchored while smaller variant cues do the disambiguation work. Classic CPG move when introducing multiple SKUs without confusing the consumer.

Four Coca‑Cola bottles—Classic, Life, Zero, and Diet—stand side by side under the slogan “Good things come in fours.”

This is a wifi themed McDonald's ad with service as feature creative.
Free wifi is a service, and the brand is the icon. Combining them turns infrastructure into a brand attribute. Service oriented ads are unusual for QSR because most ads are product first.

Golden fries, free Wi‑Fi—connect at McDonald’s.

This is the final Dunkin' piece, with recession era promo creative.
Promo and discount creative usually leans into either savings or joy. This one frames the discount as a happiness gesture rather than a desperation discount. It is pricing psychology dressed up as warmth.

You can’t put a price on happiness—except maybe 25¢ donuts at Dunkin’ on October 25.

This is the last Pepsi piece, and it breaks pattern with the format choice. What do you make of the channel shift?
Format choice signals consumption context. Different formats live in different retail channels. Fountain belongs to QSR and foodservice, while packaged versions live at retail. Format diversification is channel diversification.

An ice-cold Pepsi brims with fizz against a bold red, white, and blue splash.

This is the final Starbucks piece, a seasonal blend lineup ad. It is structurally similar to the Coca-Cola variant lineup we discussed earlier.
Same idea, with the variant family laid out as a grid. Both pick the same readable count for the same reason: it is the variant lineup sweet spot.

Starbucks ad featuring four seasonal lattes topped with whipped cream, caramel, and chocolate.

This is the final BK piece, with surreal creative.
It is a surreal composition with visual whimsy. It is almost the inverse of McDonald's surreal product ads, where the product was substituted for something else; here the source ingredient becomes the creative. It is a different surreal mode.

A whimsical tower of clay cows balances beside the Burger King Big Stacker logo.


Question: Which brand was shown in the very FIRST ad of the entire conversation?

Choices:
- A
- B
- C
- D

I'm adding a Coca-Cola co branded sponsorship piece to my reference deck. How does sponsorship visual language differ from a standalone brand ad?
Sponsorship ads share the frame with the partner brand. It is a brand awareness play that trades visual dominance for distribution reach in adjacent contexts. The cola brand becomes one signal among several instead of the lead.

Kick off game season with Citi and Coca‑Cola: save on fuel at Esso and score exclusive gifts.


Question: Of the 6 brands in our discussion, how many distinct PRODUCT CATEGORIES did they cover (cola / coffee / fast food etc.)?

Choices:
- A
- B
- C
- D

Switching to Pepsi. Canonical product hero shot. How does Pepsi's visual language differ from the Coke ads we just discussed?
Pepsi tends to be product first, while Coke tends to be people first. Less narrative, more product. Pepsi commits strongly to its signature color across the entire campaign system.

Ice-cold Pepsi cans bursting with a refreshing splash on a bold blue backdrop.

Switching to coffee. This Dunkin' Donuts marketing case study from Korea is more of an experiential and sensory marketing piece than a poster ad.
Right. Experiential marketing case studies usually justify themselves with results data instead of a hero image. It is a different class of ad, more of a strategy showcase than a product push.

Dunkin’ Donuts’ “Flavor Radio” plays the jingle on buses to trigger coffee-scent atomizers, enticing commuters and boosting visits and sales.

Switching to Starbucks. This is the Ethos Water cause marketing piece. The key detail is that this is the only Starbucks piece in our deck that moves away from the core product.
Right. It is CSR and cause marketing, deliberately positioned away from the core product. The brand becomes the underwriter, not the hero. This Ethos Water piece is worth flagging as the visual outlier in our five Starbucks set.

A bottle of Ethos Water pours a heart, showing that each purchase helps fund clean water for those in need.

Switching to fast food. This is McDonald's healthy positioning campaign. What is McDonald's trying to do here?
It is healthy positioning. When McDonald's promotes healthier items, the messaging has to work uphill, so they pair the product with active lifestyle imagery to associate it with aspiration rather than fast food guilt. It is counterprogramming against the burger association.

A trail runner and bold graphics spotlight McDonald’s new Southwest Salad—“A Taste That Inspires.”

Switching to Burger King. This is a fashion crossover ad.
It is a fashion crossover play, with Burger King's brand iconography pulled into a fashion context. Fashion crossovers are unusual for QSR; they aim for cultural relevance rather than direct sales.

Legs in red heels wear a Burger King crown around the ankles beside an ad for new salads.


Question: Across all 30 ads, how many ads showed a person's face clearly visible in the frame?

Choices:
- A
- B
- C
- D

Continuing the cola thread, this is the Share a Coke personalization campaign. What do you make of name personalization as a marketing mechanic?
Name personalization converts a mass product into a one to one gift. It is one of the cleanest examples of mass customization in CPG. The brand stays consistent, but the SKU becomes intimate, which is why it generated unprecedented social shareability.

Share a Coke with a friend—custom bottles “Kylie” and “Luke” clink in a refreshing toast.

This is a weird Dunkin' piece, with minimalist food photography. It is a menu expansion announcement.
It is a menu expansion announcement using high end food photography. The minimalist treatment borrows from luxury food magazines. It says, 'we sell more than the core category now,' while signaling premium aesthetic credentials.

A ripe tomato and a wedge of cheese highlight Dunkin’ Donuts offering personal pizzas—more than coffee and donuts.

McDonald's heritage piece.
It is a heritage and nostalgia play. It frames McDonald's as a brand with menu depth and history. That is useful when the brand wants to remind consumers it has been around forever, competing on permanence rather than novelty.

Graphic showcasing the historical timeline of McDonald’s USA menu with classic items like burgers, fries, wraps, and salads.

BK breakfast launch ad.
It is a standard menu launch ad. New products, plus a headline that calls lapsed customers back. Breakfast is BK's perennial growth lever, so they keep launching breakfast SKUs.

Burger King ad promoting the new BK Breakfast Bowl and Breakfast Muffin Sandwich to “shake up your wake up.”

Another Pepsi piece, from the same campaign cycle but with a more minimal execution. The typography emphasis matters here.
When you reduce an ad to one product plus one slogan, the typography has to do all the work. It has a poster treatment, readable from across a room. It trusts that brand recognition does the rest.

A chilled Pepsi can with the slogan “Refresh Your World” on a bright blue background.

This is a standard Starbucks lifestyle ad in the comforting mode.
Yes, this is Starbucks in its comforting lifestyle mode. It sells atmosphere, not coffee. Reliable, almost overly familiar.

A Starbucks takeaway cup on a wooden table beside the slogan, “The best coffee for the best YOU.”

This is a lifestyle Coke ad. How does it compare to the Share a Coke approach we just discussed?
It is the inverse mode. Share a Coke was personalization driven; this one is emotion driven. It is pure affect marketing from the older Coca-Cola playbook. They alternate between the two depending on the era.

Smiling friends share ice-cold Coca-Cola and a moment of happiness.

This is a surreal McDonald's piece with product reinterpretation.
The design choice is a literal interpretation of the product name. It is a single image visual pun that lodges the product name in memory. McDonald's does this kind of creative product reinterpretation well.

Whimsical Filet-O-Fish ad shows a goldfish swimming inside a glass burger bun.

This Dunkin' creative experiment is high risk concept work and definitely Halloween coded.
It is pure shock creative. The marketing intent is to lodge the brand in a memorable frame. Halloween imagery for food brands is high risk because it can backfire, but when it works, it lives on in case studies.

Ad shows a Dunkin’ Donuts smoothie beside a spider made of cheese puffs with the slogan “Makes other snacks look scary.”

This is a special edition Pepsi piece with a limited edition can wrap. What is the read on LE creative?
LE wraps are collector bait. They reward the shelf hunter who notices something different from the standard product. The base brand still anchors recognition, while the variation rewards engagement.

A chilled Pepsi can bursts with a refreshing splash against a deep blue backdrop.

This Brazilian BK ad is a phonetic typography play for the Carioca dialect.
The headline does all the creative work by phonetically rendering the regional accent applied to the brand name. It is purely regional, market specific creative that works only in Portuguese.

A mouthwatering Burger King burger stacked with lettuce, tomato, onion, pickles, bacon, and cheese on a sesame seed bun.

This is a very different Starbucks ad in dramatic mode. How does it compare to the comforting mode we just discussed?
It is a deliberate departure. I would call it the dramatic or cinematic mode. The standard Starbucks lifestyle aesthetic sells comfort. This one sells craft and intensity. Starbucks has two distinct visual modes: comforting and dramatic.

A glowing espresso cup with sparkles and the text “BUY ME A COFFEE” promotes Starbucks.

Here is another Coke piece. The format choice signals a different consumption occasion compared with the previous ones.
Different package formats tend to live in different contexts, such as convenience and on the go versus nostalgia and premium. The format itself becomes part of the messaging.

A smiling woman holds an ice-cold Coca‑Cola bottle against a bright red “perfection” backdrop.

Here is another minimalist Dunkin' breakfast ad from the same campaign series as the menu expansion piece.
Same campaign series, same visual rule. Series reward repetition because each ad introduces a different food category while the visual rule stays fixed.

A single bacon strip promotes Dunkin’ Donuts’ breakfast sandwiches—more than coffee and donuts.

This McDonald's Cannes ad is a self congratulatory creative award acknowledgment.
It is an industry self congratulation ad, dressed up as creative bravado. Awards ads are unusual because they are for the industry, not the consumer.

McDonald’s fries burst like golden fireworks on a red backdrop to celebrate Cannes Creative Marketer of the Year.

This is a different mode for Pepsi, with celebrity style endorsement creative. What do you make of the cohesion play?
Visual cohesion turns the spokesperson into an extension of the product. It is one of the core tools of celebrity endorsement: subsume the celebrity into the brand system so the two become inseparable.

A glamorous woman in a blue dress kisses a can of Diet Pepsi with a striped straw.

This is Starbucks Brazil 'Coffee Braille' accessibility creative.
It is accessibility creative, a CSR move in the same family as the Ethos Water piece, but executed as a tangible service innovation. It is a different angle on cause marketing.

Starbucks showcases “Coffee Braille,” a tactile coffee-bean poster announcing its new Braille menus.

BK Halloween limited edition.
It is a seasonal LE play. Limited editions are a classic seasonal move because the visual departure from the default is striking enough to drive trial. The campaign rises and falls on one bold execution choice.

Burger King’s Halloween Whopper features a black sesame bun with A.1 flavor baked in.

This is the last Coke piece, the variant lineup ad. Does this approach actually help variant recall, or does it dilute the master brand?
Variant lineups lean into family resemblance. The master brand stays anchored while smaller variant cues do the disambiguation work. Classic CPG move when introducing multiple SKUs without confusing the consumer.

Four Coca‑Cola bottles—Classic, Life, Zero, and Diet—stand side by side under the slogan “Good things come in fours.”

This is a wifi themed McDonald's ad with service as feature creative.
Free wifi is a service, and the brand is the icon. Combining them turns infrastructure into a brand attribute. Service oriented ads are unusual for QSR because most ads are product first.

Golden fries, free Wi‑Fi—connect at McDonald’s.

This is the final Dunkin' piece, with recession era promo creative.
Promo and discount creative usually leans into either savings or joy. This one frames the discount as a happiness gesture rather than a desperation discount. It is pricing psychology dressed up as warmth.

You can’t put a price on happiness—except maybe 25¢ donuts at Dunkin’ on October 25.

This is the last Pepsi piece, and it breaks pattern with the format choice. What do you make of the channel shift?
Format choice signals consumption context. Different formats live in different retail channels. Fountain belongs to QSR and foodservice, while packaged versions live at retail. Format diversification is channel diversification.

An ice-cold Pepsi brims with fizz against a bold red, white, and blue splash.

This is the final Starbucks piece, a seasonal blend lineup ad. It is structurally similar to the Coca-Cola variant lineup we discussed earlier.
Same idea, with the variant family laid out as a grid. Both pick the same readable count for the same reason: it is the variant lineup sweet spot.

Starbucks ad featuring four seasonal lattes topped with whipped cream, caramel, and chocolate.

This is the final BK piece, with surreal creative.
It is a surreal composition with visual whimsy. It is almost the inverse of McDonald's surreal product ads, where the product was substituted for something else; here the source ingredient becomes the creative. It is a different surreal mode.

A whimsical tower of clay cows balances beside the Burger King Big Stacker logo.


Question: Of the 5 McDonald's ads, only ONE used a TEAL / blue-gray background as its primary backdrop. Which one?

Choices:
- A
- B
- C
- D

Switching to fast food. This is McDonald's healthy positioning campaign. What is McDonald's trying to do here?
It is healthy positioning. When McDonald's promotes healthier items, the messaging has to work uphill, so they pair the product with active lifestyle imagery to associate it with aspiration rather than fast food guilt. It is counterprogramming against the burger association.

A trail runner and bold graphics spotlight McDonald’s new Southwest Salad—“A Taste That Inspires.”

McDonald's heritage piece.
It is a heritage and nostalgia play. It frames McDonald's as a brand with menu depth and history. That is useful when the brand wants to remind consumers it has been around forever, competing on permanence rather than novelty.

Graphic showcasing the historical timeline of McDonald’s USA menu with classic items like burgers, fries, wraps, and salads.

This is a surreal McDonald's piece with product reinterpretation.
The design choice is a literal interpretation of the product name. It is a single image visual pun that lodges the product name in memory. McDonald's does this kind of creative product reinterpretation well.

Whimsical Filet-O-Fish ad shows a goldfish swimming inside a glass burger bun.


Question: Across the 5 Burger King ads, how many had NEITHER a burger NOR breakfast item as the primary subject?

Choices:
- A
- B
- C
- D

Switching to Burger King. This is a fashion crossover ad.
It is a fashion crossover play, with Burger King's brand iconography pulled into a fashion context. Fashion crossovers are unusual for QSR; they aim for cultural relevance rather than direct sales.

Legs in red heels wear a Burger King crown around the ankles beside an ad for new salads.

BK breakfast launch ad.
It is a standard menu launch ad. New products, plus a headline that calls lapsed customers back. Breakfast is BK's perennial growth lever, so they keep launching breakfast SKUs.

Burger King ad promoting the new BK Breakfast Bowl and Breakfast Muffin Sandwich to “shake up your wake up.”

This Brazilian BK ad is a phonetic typography play for the Carioca dialect.
The headline does all the creative work by phonetically rendering the regional accent applied to the brand name. It is purely regional, market specific creative that works only in Portuguese.

A mouthwatering Burger King burger stacked with lettuce, tomato, onion, pickles, bacon, and cheese on a sesame seed bun.


Question: Of the THREE McDonald's ads with red backgrounds, which one was the EARLIEST chronologically?

Choices:
- A
- B
- C
- D


Question: What was the very first product category shown in the ad deck — was it a cola, coffee, or fast food brand?

Choices:
- A
- B
- C
- D

I'm adding a Coca-Cola co branded sponsorship piece to my reference deck. How does sponsorship visual language differ from a standalone brand ad?
Sponsorship ads share the frame with the partner brand. It is a brand awareness play that trades visual dominance for distribution reach in adjacent contexts. The cola brand becomes one signal among several instead of the lead.

Kick off game season with Citi and Coca‑Cola: save on fuel at Esso and score exclusive gifts.


Question: Which brand was shown in the very LAST ad of the entire conversation?

Choices:
- A
- B
- C
- D


Question: Did we discuss the Pepsi camouflage-pattern can BEFORE or AFTER the McDonald's surreal goldfish-burger?

Choices:
- A
- B
- C
- D

This is a special edition Pepsi piece with a limited edition can wrap. What is the read on LE creative?
LE wraps are collector bait. They reward the shelf hunter who notices something different from the standard product. The base brand still anchors recognition, while the variation rewards engagement.

A chilled Pepsi can bursts with a refreshing splash against a deep blue backdrop.


Question: Across all 5 Coca-Cola ads, how many used a SOLID RED background?

Choices:
- A
- B
- C
- D

Continuing the cola thread, this is the Share a Coke personalization campaign. What do you make of name personalization as a marketing mechanic?
Name personalization converts a mass product into a one to one gift. It is one of the cleanest examples of mass customization in CPG. The brand stays consistent, but the SKU becomes intimate, which is why it generated unprecedented social shareability.

Share a Coke with a friend—custom bottles “Kylie” and “Luke” clink in a refreshing toast.

This is a lifestyle Coke ad. How does it compare to the Share a Coke approach we just discussed?
It is the inverse mode. Share a Coke was personalization driven; this one is emotion driven. It is pure affect marketing from the older Coca-Cola playbook. They alternate between the two depending on the era.

Smiling friends share ice-cold Coca-Cola and a moment of happiness.

Here is another Coke piece. The format choice signals a different consumption occasion compared with the previous ones.
Different package formats tend to live in different contexts, such as convenience and on the go versus nostalgia and premium. The format itself becomes part of the messaging.

A smiling woman holds an ice-cold Coca‑Cola bottle against a bright red “perfection” backdrop.

This is the last Coke piece, the variant lineup ad. Does this approach actually help variant recall, or does it dilute the master brand?
Variant lineups lean into family resemblance. The master brand stays anchored while smaller variant cues do the disambiguation work. Classic CPG move when introducing multiple SKUs without confusing the consumer.

Four Coca‑Cola bottles—Classic, Life, Zero, and Diet—stand side by side under the slogan “Good things come in fours.”


Question: Across the 5 Dunkin' ads, how many had FOOD as the visual centerpiece (not coffee, not a multi-panel layout)?

Choices:
- A
- B
- C
- D

Switching to coffee. This Dunkin' Donuts marketing case study from Korea is more of an experiential and sensory marketing piece than a poster ad.
Right. Experiential marketing case studies usually justify themselves with results data instead of a hero image. It is a different class of ad, more of a strategy showcase than a product push.

Dunkin’ Donuts’ “Flavor Radio” plays the jingle on buses to trigger coffee-scent atomizers, enticing commuters and boosting visits and sales.

This is a weird Dunkin' piece, with minimalist food photography. It is a menu expansion announcement.
It is a menu expansion announcement using high end food photography. The minimalist treatment borrows from luxury food magazines. It says, 'we sell more than the core category now,' while signaling premium aesthetic credentials.

A ripe tomato and a wedge of cheese highlight Dunkin’ Donuts offering personal pizzas—more than coffee and donuts.

This Dunkin' creative experiment is high risk concept work and definitely Halloween coded.
It is pure shock creative. The marketing intent is to lodge the brand in a memorable frame. Halloween imagery for food brands is high risk because it can backfire, but when it works, it lives on in case studies.

Ad shows a Dunkin’ Donuts smoothie beside a spider made of cheese puffs with the slogan “Makes other snacks look scary.”

Here is another minimalist Dunkin' breakfast ad from the same campaign series as the menu expansion piece.
Same campaign series, same visual rule. Series reward repetition because each ad introduces a different food category while the visual rule stays fixed.

A single bacon strip promotes Dunkin’ Donuts’ breakfast sandwiches—more than coffee and donuts.

This is the final Dunkin' piece, with recession era promo creative.
Promo and discount creative usually leans into either savings or joy. This one frames the discount as a happiness gesture rather than a desperation discount. It is pricing psychology dressed up as warmth.

You can’t put a price on happiness—except maybe 25¢ donuts at Dunkin’ on October 25.


Question: Across the 5 McDonald's ads, how many used a RED or red-orange background?

Choices:
- A
- B
- C
- D

Switching to fast food. This is McDonald's healthy positioning campaign. What is McDonald's trying to do here?
It is healthy positioning. When McDonald's promotes healthier items, the messaging has to work uphill, so they pair the product with active lifestyle imagery to associate it with aspiration rather than fast food guilt. It is counterprogramming against the burger association.

A trail runner and bold graphics spotlight McDonald’s new Southwest Salad—“A Taste That Inspires.”

McDonald's heritage piece.
It is a heritage and nostalgia play. It frames McDonald's as a brand with menu depth and history. That is useful when the brand wants to remind consumers it has been around forever, competing on permanence rather than novelty.

Graphic showcasing the historical timeline of McDonald’s USA menu with classic items like burgers, fries, wraps, and salads.

This is a surreal McDonald's piece with product reinterpretation.
The design choice is a literal interpretation of the product name. It is a single image visual pun that lodges the product name in memory. McDonald's does this kind of creative product reinterpretation well.

Whimsical Filet-O-Fish ad shows a goldfish swimming inside a glass burger bun.

This McDonald's Cannes ad is a self congratulatory creative award acknowledgment.
It is an industry self congratulation ad, dressed up as creative bravado. Awards ads are unusual because they are for the industry, not the consumer.

McDonald’s fries burst like golden fireworks on a red backdrop to celebrate Cannes Creative Marketer of the Year.

This is a wifi themed McDonald's ad with service as feature creative.
Free wifi is a service, and the brand is the icon. Combining them turns infrastructure into a brand attribute. Service oriented ads are unusual for QSR because most ads are product first.

Golden fries, free Wi‑Fi—connect at McDonald’s.


Question: Of the 5 Burger King ads, how many had an actual BURGER as the primary subject?

Choices:
- A
- B
- C
- D

Switching to Burger King. This is a fashion crossover ad.
It is a fashion crossover play, with Burger King's brand iconography pulled into a fashion context. Fashion crossovers are unusual for QSR; they aim for cultural relevance rather than direct sales.

Legs in red heels wear a Burger King crown around the ankles beside an ad for new salads.

BK breakfast launch ad.
It is a standard menu launch ad. New products, plus a headline that calls lapsed customers back. Breakfast is BK's perennial growth lever, so they keep launching breakfast SKUs.

Burger King ad promoting the new BK Breakfast Bowl and Breakfast Muffin Sandwich to “shake up your wake up.”

This Brazilian BK ad is a phonetic typography play for the Carioca dialect.
The headline does all the creative work by phonetically rendering the regional accent applied to the brand name. It is purely regional, market specific creative that works only in Portuguese.

A mouthwatering Burger King burger stacked with lettuce, tomato, onion, pickles, bacon, and cheese on a sesame seed bun.

BK Halloween limited edition.
It is a seasonal LE play. Limited editions are a classic seasonal move because the visual departure from the default is striking enough to drive trial. The campaign rises and falls on one bold execution choice.

Burger King’s Halloween Whopper features a black sesame bun with A.1 flavor baked in.

This is the final BK piece, with surreal creative.
It is a surreal composition with visual whimsy. It is almost the inverse of McDonald's surreal product ads, where the product was substituted for something else; here the source ingredient becomes the creative. It is a different surreal mode.

A whimsical tower of clay cows balances beside the Burger King Big Stacker logo.


Question: At the moment when Player 0's 3rd play action happens, how many black cards does Player 0 hold?

Choices:
- A
- B
- C
- D

Player 0 decides to: play-(card_idx: 1)
Player 0 plays yellow-4-number.
---------- End of Player 0's turn ----------
Player 1 decides to: play-(card_idx: 4)
Player 1 plays green-4-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-3-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 4)
Player 3 plays green-7-number.
---------- End of Player 3's turn ----------
Thanks, I'll remember this for later.

Digital UNO game interface showing four players, a green 7 target card, recent played cards, and Player 0’s hand at the bottom.

Player 0 decides to: play-(card_idx: 0)
Player 0 plays green-7-number.
---------- End of Player 0's turn ----------
Player 1 decides to: play-(card_idx: 3)
Player 1 plays green-2-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-6-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 5, chosen_color: green)
Player 3 plays black-wild-wild.
Player 3 chose the color green.
---------- End of Player 3's turn ----------
Understood, I'll keep track of this.

Digital UNO game interface showing four players, a central row of played cards, and Player 0’s visible hand at the bottom.

Player 0 decides to: play-(card_idx: 4)
Player 0 plays green-reverse-action.
---------- End of Player 0's turn ----------
Player 3 decides to: draw
Player 3 draws a card.
---------- End of Player 3's turn ----------
Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Player 1 decides to: play-(card_idx: 1)
Player 1 plays yellow-reverse-action.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 0)
Player 2 plays yellow-5-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 1)
Player 3 plays yellow-3-number.
---------- End of Player 3's turn ----------
Okay, I'll hold onto this.

Digital UNO game interface showing four players, a central row of played cards, and Player 0’s hand with blue, yellow, and wild cards at the bottom.


Question: Immediately after public played cards size changes from 5 to 9 for the 1st time, how many yellow cards has Player 1 played so far?

Choices:
- A
- B
- C
- D


Question: Immediately after Player 0's 2nd play action, how many blue cards does Player 0 hold?

Choices:
- D
- C
- A
- C


Question: Immediately after Player 1's visible hand size changes from 5 to 4 for the 1st time, how many red cards does Player 1 hold?

Choices:
- C
- A
- D
- B

Player 1 decides to: play-(card_idx: 3)
Player 1 plays green-2-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-6-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 5, chosen_color: green)
Player 3 plays black-wild-wild.
Player 3 chose the color green.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 4)
Player 0 plays green-reverse-action.
---------- End of Player 0's turn ----------
Player 3 decides to: draw
Player 3 draws a card.
---------- End of Player 3's turn ----------
Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Understood, I'll keep track of this.

Digital UNO game board showing four AI players, a central pile of played green cards with a green Reverse as the target card, and Player 1 holding red 5, yellow Reverse, blue 5, and blue Skip 2.

Player 1 decides to: play-(card_idx: 1)
Player 1 plays yellow-reverse-action.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 0)
Player 2 plays yellow-5-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 1)
Player 3 plays yellow-3-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 2)
Player 0 plays yellow-0-number.
---------- End of Player 0's turn ----------
Okay, I'll hold onto this.

Digital UNO game interface showing four AI players, a yellow target card, and Player 1 holding red 5, blue 5, and blue skip cards.


Question: Immediately after Player 1's visible hand size changes from 6 to 5 for the 1st time, how many blue cards does Player 1 hold?

Choices:
- A
- B
- C
- D

Player 1 decides to: play-(card_idx: 4)
Player 1 plays green-4-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-3-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 4)
Player 3 plays green-7-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 0)
Player 0 plays green-7-number.
---------- End of Player 0's turn ----------
Thanks, I'll remember this for later.

Digital Uno game interface showing four players, a green 7 target card, and Player 1 holding red 5, yellow reverse, blue 5, blue 2, and blue skip cards.


Question: At the moment when Player 1's visible hand size changes from 6 to 5 for the 1st time, how many red cards does Player 1 hold?

Choices:
- A
- B
- C
- D


Question: At the moment when Player 0's 4th play action happens, how many yellow cards has Player 0 played so far?

Choices:
- A
- B
- C
- D

Deck initialized and shuffled.
Initial card is red-4-number.
Player 0 decides to: play-(card_idx: 1)
Player 0 plays yellow-4-number.
---------- End of Player 0's turn ----------
Got it, I'll keep this in mind.

Digital UNO game interface showing four players, a yellow 4 as the target card, and Player 1’s visible hand at the bottom.


Question: Immediately after Player 2's 1st play action, how many green cards has Player 2 played so far?

Choices:
- A
- B
- C
- D


Question: Immediately after Player 1's visible hand size changes from 7 to 6 for the 1st time, how many green cards has Player 2 played so far?

Choices:
- A
- B
- C
- D


Question: Immediately after Player 0's visible hand size changes from 3 to 2 for the 1st time, how many green cards has Player 2 played so far?

Choices:
- A
- B
- C
- D

Player 0 decides to: play-(card_idx: 2, chosen_color: blue)
Player 0 plays black-wild_draw_4-wild.
Player 0 chose the color blue.
---------- End of Player 0's turn ----------
Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 0)
Player 3 plays blue-2-number.
---------- End of Player 3's turn ----------
Thanks, I'll keep that in mind.

Digital UNO game showing four players, a blue 2 as the target card, and Player 0 holding a single blue Reverse card.

Player 0 decides to: play-(card_idx: 1)
Player 0 plays blue-reverse-action.
---------- End of Player 0's turn ----------
Player 3 decides to: draw
Player 3 draws a card.
---------- End of Player 3's turn ----------
Player 2 decides to: play-(card_idx: 4)
Player 2 plays blue-1-number.
---------- End of Player 2's turn ----------
Player 1 decides to: play-(card_idx: 3)
Player 1 plays blue-2-number.
---------- End of Player 1's turn ----------
Understood, I'll remember this.

Digital UNO game board showing Player 0 with one blue card, Player 1 and Player 3 with larger hands, and a blue 2 as the current target card.


Question: Immediately after Player 1's 1st play action, how many blue cards does Player 1 hold?

Choices:
- A
- B
- C
- D


Question: At the moment when Player 2's 5th play action happens, how many yellow cards has Player 2 played so far?

Choices:
- A
- B
- C
- D

Player 1 decides to: draw
Player 1 draws a card.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 3)
Player 2 plays yellow-7-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 0)
Player 3 plays yellow-4-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 2, chosen_color: blue)
Player 0 plays black-wild_draw_4-wild.
Player 0 chose the color blue.
---------- End of Player 0's turn ----------
Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 0)
Player 3 plays blue-2-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 1)
Player 0 plays blue-reverse-action.
---------- End of Player 0's turn ----------
Player 3 decides to: draw
Player 3 draws a card.
---------- End of Player 3's turn ----------
Player 2 decides to: play-(card_idx: 4)
Player 2 plays blue-1-number.
---------- End of Player 2's turn ----------
Got it, I'll remember that.

Digital UNO game interface showing four players, a central pile of played cards, and a blue 1 as the current target card.


Question: Immediately after Player 1's 2nd play action, how many red cards does Player 1 hold?

Choices:
- A
- B
- C
- D


Question: At the moment when public deck size changes from 79 to 77 for the 1st time, how many green cards has Player 0 played so far?

Choices:
- A
- B
- C
- D


Question: Immediately after Player 3's visible hand size changes from 5 to 4 for the 1st time, how many red cards does Player 2 hold?

Choices:
- A
- B
- C
- D

Player 2 decides to: play-(card_idx: 0)
Player 2 plays yellow-5-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 1)
Player 3 plays yellow-3-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 2)
Player 0 plays yellow-0-number.
---------- End of Player 0's turn ----------
Player 1 decides to: draw
Player 1 draws a card.
---------- End of Player 1's turn ----------
Understood, I'll keep track of this.

Digital UNO game interface showing four players, a central pile of played cards, a yellow target card, and a large remaining deck on a wooden background.

Player 2 decides to: play-(card_idx: 3)
Player 2 plays yellow-7-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 0)
Player 3 plays yellow-4-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 2, chosen_color: blue)
Player 0 plays black-wild_draw_4-wild.
Player 0 chose the color blue.
---------- End of Player 0's turn ----------
Okay, I'll hold onto this.

Digital UNO game board showing four players, a central pile of played cards, and Player 2’s visible hand of four red and yellow cards.


Question: Immediately after Player 2's visible hand size changes from 6 to 5 for the 2nd time, how many yellow cards does Player 2 hold?

Choices:
- C
- A
- D
- B

Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-3-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 4)
Player 3 plays green-7-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 0)
Player 0 plays green-7-number.
---------- End of Player 0's turn ----------
Player 1 decides to: play-(card_idx: 3)
Player 1 plays green-2-number.
---------- End of Player 1's turn ----------
Okay, I'll keep track of that.

Digital UNO game interface showing four players, a central row of played cards with a green 2 as the target card, and Player 2’s visible hand at the bottom.

Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-6-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 5, chosen_color: green)
Player 3 plays black-wild-wild.
Player 3 chose the color green.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 4)
Player 0 plays green-reverse-action.
---------- End of Player 0's turn ----------
Player 3 decides to: draw
Player 3 draws a card.
---------- End of Player 3's turn ----------
Got it, I'll keep this in mind.

Digital UNO game board showing four players, a green reverse card as the current target, and Player 2’s yellow and red cards visible at the bottom.

Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Player 1 decides to: play-(card_idx: 1)
Player 1 plays yellow-reverse-action.
---------- End of Player 1's turn ----------
Thanks, I'll remember this for later.

Digital UNO game board showing four AI players, a central pile of played cards, a yellow Reverse as the target card, and Player 2’s visible yellow and red hand at the bottom.


Question: At the moment when Player 1's visible hand size changes from 4 to 5 for the 1st time, how many red cards does Player 2 hold?

Choices:
- A
- B
- C
- D


Question: At the moment when Player 2's visible hand size changes from 6 to 5 for the 2nd time, how many red cards does Player 2 hold?

Choices:
- A
- B
- C
- D


Question: Immediately after public deck size changes from 79 to 78 for the 1st time, how many green cards has Player 2 played so far?

Choices:
- A
- B
- C
- D


Question: At the moment when Player 1's 4th play action happens, how many yellow cards has Player 1 played so far?

Choices:
- A
- B
- C
- D


Question: Immediately after Player 2's 1st play action, how many yellow cards does Player 2 hold?

Choices:
- A
- B
- C
- D

Deck initialized and shuffled.
Initial card is red-4-number.
Player 0 decides to: play-(card_idx: 1)
Player 0 plays yellow-4-number.
---------- End of Player 0's turn ----------
Player 1 decides to: play-(card_idx: 4)
Player 1 plays green-4-number.
---------- End of Player 1's turn ----------
Understood, I'll remember this.

Digital UNO game interface showing four players, a central pile with red, yellow, and green 4 cards, and Player 2’s visible hand at the bottom.


Question: At the moment when Player 2's 2nd play action happens, how many green cards has Player 2 played so far?

Choices:
- A
- B
- C
- D


Question: At the moment when Player 2's 2nd draw action happens, how many blue cards has Player 2 drawn so far?

Choices:
- A
- B
- C
- D

Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 0)
Player 3 plays blue-2-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 1)
Player 0 plays blue-reverse-action.
---------- End of Player 0's turn ----------
Player 3 decides to: draw
Player 3 draws a card.
---------- End of Player 3's turn ----------
Got it, I'll remember that.

Digital UNO game board showing four AI players, a central pile of played cards with a blue Reverse as the target card, and Player 2’s visible hand of five cards.


Question: Immediately after public direction changes from 1 to -1 for the 1st time, how many green cards has Player 0 played so far?

Choices:
- A
- B
- C
- D


Question: Immediately after Player 2's 2nd play action, how many yellow cards does Player 2 hold?

Choices:
- A
- B
- C
- D


Question: Immediately after Player 2's visible hand size changes from 4 to 5 for the 1st time, how many red cards does Player 3 hold?

Choices:
- A
- B
- C
- D

Player 3 decides to: play-(card_idx: 1)
Player 3 plays yellow-3-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 2)
Player 0 plays yellow-0-number.
---------- End of Player 0's turn ----------
Player 1 decides to: draw
Player 1 draws a card.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 3)
Player 2 plays yellow-7-number.
---------- End of Player 2's turn ----------
Understood, I'll keep track of this.

Digital UNO game board showing four AI players, a yellow 7 as the target card, and Player 3’s visible hand with yellow 4, blue 2, blue 5, red 9, and red 0 cards.

Player 3 decides to: play-(card_idx: 0)
Player 3 plays yellow-4-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 2, chosen_color: blue)
Player 0 plays black-wild_draw_4-wild.
Player 0 chose the color blue.
---------- End of Player 0's turn ----------
Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Okay, I'll hold onto this.

Digital UNO game interface showing four players, a central discard pile, and Player 3’s visible hand with blue 2 and red 9 and Skip cards.


Question: Immediately after Player 3's 3rd play action, how many red cards does Player 3 hold?

Choices:
- A
- B
- C
- D

Player 3 decides to: play-(card_idx: 4)
Player 3 plays green-7-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 0)
Player 0 plays green-7-number.
---------- End of Player 0's turn ----------
Player 1 decides to: play-(card_idx: 3)
Player 1 plays green-2-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-6-number.
---------- End of Player 2's turn ----------
Okay, I'll keep track of that.

Digital UNO game interface showing four players, played green cards, a green 6 target card, and Player 3’s visible hand at the bottom.

Player 3 decides to: play-(card_idx: 5, chosen_color: green)
Player 3 plays black-wild-wild.
Player 3 chose the color green.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 4)
Player 0 plays green-reverse-action.
---------- End of Player 0's turn ----------
Got it, I'll keep this in mind.

Digital UNO game board showing four players, a central pile of played green cards with a green Reverse on top, and Player 3’s visible hand at the bottom.


Question: Immediately after Player 3's 2nd play action, how many yellow cards does Player 3 hold?

Choices:
- A
- B
- C
- D


Question: At the moment when Player 2's 3rd play action happens, how many yellow cards has Player 2 played so far?

Choices:
- A
- B
- C
- D

Player 0 decides to: play-(card_idx: 4)
Player 0 plays green-reverse-action.
---------- End of Player 0's turn ----------
Player 3 decides to: draw
Player 3 draws a card.
---------- End of Player 3's turn ----------
Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Player 1 decides to: play-(card_idx: 1)
Player 1 plays yellow-reverse-action.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 0)
Player 2 plays yellow-5-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 1)
Player 3 plays yellow-3-number.
---------- End of Player 3's turn ----------
Okay, I'll hold onto this.

Digital UNO game interface showing four players, a central row of played cards, and Player 0’s hand with blue, yellow, and wild cards at the bottom.


Question: Immediately after Player 3's 1st play action, how many red cards does Player 3 hold?

Choices:
- A
- B
- C
- D

Deck initialized and shuffled.
Initial card is red-4-number.
Player 0 decides to: play-(card_idx: 1)
Player 0 plays yellow-4-number.
---------- End of Player 0's turn ----------
Player 1 decides to: play-(card_idx: 4)
Player 1 plays green-4-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-3-number.
---------- End of Player 2's turn ----------
Understood, I'll remember this.

Digital UNO game interface showing four players, a central discard pile with a green 3 target card, and Player 3’s visible hand at the bottom.


Question: Immediately after Player 1's visible hand size changes from 4 to 5 for the 1st time, how many black cards has Player 3 played so far?

Choices:
- A
- B
- C
- D


Question: Immediately after public deck size changes from 77 to 76 for the 1st time, how many green cards has Player 0 played so far?

Choices:
- A
- B
- C
- D


Question: At the moment when Player 3's 3rd play action happens, how many yellow cards has Player 3 played so far?

Choices:
- A
- B
- C
- D


Question: After Player 0's next play action following the first time Player 3's visible hand size changes from 5 to 4, how many black cards has Player 0 played so far?

Choices:
- A
- B
- C
- D


Question: Immediately after Player 0's 5th play action, how many green cards has Player 0 played so far?

Choices:
- A
- B
- C
- D


Question: At the moment when Player 3's 5th play action happens, how many yellow cards has Player 3 played so far?

Choices:
- A
- B
- C
- D

Player 3 decides to: play-(card_idx: 0)
Player 3 plays blue-2-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 1)
Player 0 plays blue-reverse-action.
---------- End of Player 0's turn ----------
Got it, I'll remember that.

Digital UNO game board showing four players, a central pile of played cards, a blue Reverse as the current target card, and Player 3 holding a red 9 and a red Skip.


Question: At the moment when Player 1's visible hand size changes from 9 to 8 for the 1st time, how many yellow cards has Player 3 played so far?

Choices:
- A
- B
- C
- D

Player 0 decides to: play-(card_idx: 2)
Player 0 plays yellow-0-number.
---------- End of Player 0's turn ----------
Player 1 decides to: draw
Player 1 draws a card.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 3)
Player 2 plays yellow-7-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 0)
Player 3 plays yellow-4-number.
---------- End of Player 3's turn ----------
Got it, I'll remember that.

Digital UNO game board showing four players, a yellow 4 target card, a stack of played cards, and a large remaining draw deck on a wooden background.


Question: At the moment when Player 0's 4th play action happens, how many yellow cards has Player 0 played so far?

Choices:
- A
- B
- C
- D

Player 0 decides to: play-(card_idx: 1)
Player 0 plays yellow-4-number.
---------- End of Player 0's turn ----------
Player 1 decides to: play-(card_idx: 4)
Player 1 plays green-4-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-3-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 4)
Player 3 plays green-7-number.
---------- End of Player 3's turn ----------
Thanks, I'll remember this for later.

Digital UNO game interface showing four players, a green 7 target card, recent played cards, and Player 0’s hand at the bottom.


Question: Immediately after public played cards size changes from 5 to 9 for the 1st time, how many yellow cards has Player 2 played so far?

Choices:
- A
- B
- C
- D

Player 0 decides to: play-(card_idx: 0)
Player 0 plays green-7-number.
---------- End of Player 0's turn ----------
Player 1 decides to: play-(card_idx: 3)
Player 1 plays green-2-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-6-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 5, chosen_color: green)
Player 3 plays black-wild-wild.
Player 3 chose the color green.
---------- End of Player 3's turn ----------
Understood, I'll keep track of this.

Digital UNO game interface showing four players, a central row of played cards, and Player 0’s visible hand at the bottom.


Question: At the moment when Player 0's 6th play action happens, how many black cards has Player 0 played so far?

Choices:
- A
- B
- C
- D

Player 0 decides to: play-(card_idx: 2, chosen_color: blue)
Player 0 plays black-wild_draw_4-wild.
Player 0 chose the color blue.
---------- End of Player 0's turn ----------
Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 0)
Player 3 plays blue-2-number.
---------- End of Player 3's turn ----------
Thanks, I'll keep that in mind.

Digital UNO game showing four players, a blue 2 as the target card, and Player 0 holding a single blue Reverse card.


Question: How many spotted round objects were visible in the nest scene from the first session?

Choices:
- A
- B
- C
- D

Right? And then immediately after, the scene shifts to something much more intimate and warm. Check this one out.
Huge tonal shift. This feels enclosed and nurturing — the palette is quieter and more organic.

Three blue spotted eggs resting in a nest on the forest floor.


Question: In the extreme close-up showing only a single large eye, what color is the skin surrounding the eye?

Choices:
- A
- B
- C
- D

Exactly. Now here's the extreme close-up. This one is about as zoomed-in as animation gets. Pure detail.
Maximum intimacy. At this level of zoom, every mark and color choice is magnified — it's a test of the design's precision at its finest grain.

Close-up of a gray cat’s green eye.


Question: The purple dinosaur appears in the group close-up on grass (S5) and in the paired close-up with the triceratops (S10). In both appearances, does the purple dinosaur have a visibly lighter-colored belly/underside compared to its darker purple back?

Yes — the belly appears lighter grey/pink in both scenes, consistently two-toned

Choices:
- A
- B
- C
- D

Remember every detail in this one. I'm going to come back to it when I build the color spec document — especially the individual features. My client specifically asked for unique designs for each mascot character, and this is my reference Bible.
Got it. The feature differentiation here is worth a deep dive when you're ready for the spec doc.

A group of cartoon dinosaurs stands on green grass, with a small purple dinosaur holding an egg in the center.

Now this one is gold. Two characters side by side, close-up, distinct features. This is my spec reference for how to differentiate two characters who share frame space.
Great reference for paired differentiation. The distinct features make each character immediately identifiable even at this proximity — no confusion about who's who.

Two cartoon dinosaurs stand together outdoors.


Question: The brown bird and teal creature appear together in multiple Episode 2 scenes. In how many image scenes do they appear together?

Choices:
- A
- B
- C
- D

Now the flight stuff. First — a pair in the sky. The composition is gorgeous.
Beautiful use of negative space. The sky dominates the frame and the characters pop against it — confident, minimal composition.

Two cartoon birds stand close together against a green sky.

Here's another flight composition — more complex. Multiple characters, layered positioning. Very different approach from the last one.
The added complexity creates depth without losing the open feeling. The layering of figures guides the eye through the composition naturally.

A large gray flying reptile carries two smaller colorful winged creatures.

First frame. Same pair from the earlier flight captures, but completely different emotional energy. The mood has shifted dramatically.
Huge shift from the earlier flight captures. The emotional intensity is dialed way up — you feel the urgency immediately.

Two cartoon birds cling to the side of a gray rock face.

Now another riding scene. Same general setup, yet again a different emotional combination. The range these characters achieve across flight contexts is remarkable.
Versatile character performances. Each flight scene finds a different emotional note despite the similar compositional framework.

Two animated birds sit on a large dark creature against a green sky.

Good connection! The series uses that device repeatedly because it works. Now here's a wider flight shot — more about the landscape and scale than the close-up emotions.
The scale shift is dramatic. Pulling back reveals the environment and makes the characters feel like part of a larger world rather than the sole focus.

An animated flying dinosaur carries two small characters through the sky.


Question: In the mountain group scene, how many characters are clearly holding yellow spotted objects?

Choices:
- A
- B
- C
- D

Here's a group scene with lots going on. Multiple characters, interesting props, really layered composition.
Well-organized complexity. Every figure has its own space in the frame despite the density — strong visual hierarchy at work.

Four cartoon dinosaurs stand together in a rocky landscape at sunset.

Here it is. A pair holding something together. The expressions are really telling — different emotional reactions to the same thing.
Nice contrast in the character reactions. The composition balances the two figures around a shared focal point — strong triangular structure.

A green dinosaur stands on the back of a large yellow-spotted dinosaur in a rocky landscape.


Question: In the volcano confrontation scene, how many large predatory dinosaurs faced the baby dinosaurs? (A similar predator type also appeared earlier in the jungle river session.)

Three — a grey T-Rex, a green carnivore, and a blue-grey raptor near the volcano

Choices:
- A
- B
- C
- D

Exactly. Now here's where it gets dark. Same general area, but the mood goes threatening. This one's legitimately scary.
Dramatic shift. The lighting and depth create genuine tension — you feel the danger before you consciously register what's in the frame.

A cartoon dinosaur stands on a jungle riverbank.

The scale interplay, the way one character literally sits on the other. It's trust and friendship in one composition. Now — brace yourself. The dramatic stuff. This is the big confrontation.
Massive tonal shift. The palette, the scale, the confrontational staging — this is pure cinematic tension.

Animated dinosaurs face each other in a volcanic landscape.


Question: The tall bird character appeared in multiple Episode 2 cave scenes, including a wide group shot. What color is its outfit?

Choices:
- A
- B
- C
- D

First up — a cave scene with some fresh designs. Multiple characters, enclosed space, interesting interplay.
The style feels cohesive with Episode 1 despite the new faces. The proportional system and line weight carry over — strong art direction.

A blue bird stands in a cave facing two small dinosaurs.

Now another face close-up. Different character, totally different personality, but equally well-executed.
Interesting contrast. Different shape foundation but the same level of expressiveness — you can feel the personality immediately.

A sad-looking cartoon duck stands in front of a leafy hillside.


Question: In the extreme eye close-up, what color is the iris?

Choices:
- A
- B
- C
- D

Close-up of a gray cat’s green eye.


Question: Three small green characters appear across the series: one by rocks near water with eyelashes and smooth skin (S5), one holding a large spotted egg with clearly visible blue eyes (S9), and one in an Episode 2 cave scene with leaf-like body texture (S8). Which of these green characters shares the same smooth skin texture as the one by the rocks?

Only the egg-holding one (S9) — both have smooth skin, consistent with the same character

Choices:
- A
- B
- C
- D

Agreed. Now here's something different — a pair in a specific setting. Pay close attention to this pairing because I'm going to track it.
Nice environment framing around the pair. Lots of natural depth and texture that complement the characters without overwhelming them.

Two animated dinosaurs peek over rocks beside a stream in a canyon.

Starting with a baby character close-up. This one has some really distinctive design features that I haven't seen in Episode 1.
Striking proportions — pushed further than most of the Episode 1 cast. Very appealing design that sits well within the world but feels fresh.

A green cartoon dinosaur stands looking up beside larger dinosaurs.


Question: The T-Rex-like character appeared in a close-up set in a misty, dark jungle scene. In that specific frame, what color do its eyes appear?

Choices:
- A
- B
- C
- D

Last close-up. This one stopped me in my tracks — a character with really distinctive feature coloring that I haven't seen elsewhere in the series. Very emotional expression.
Striking design. The distinctive coloring sets this character apart from the entire cast, and the expression carries real weight — you feel something looking at this one.

A cartoon dinosaur stands in a jungle at night, looking upward.


Question: Across both episodes, which pair is the clearest example of two visually similar but distinct small green creatures?

The smooth-skinned green dino by the river (Ep1) and the leaf-textured green creature in the cave (Ep2)

Choices:
- A
- B
- C
- D

Now same environment type, completely different mood. Calm, contemplative, multi-character.
Night and day from the last one. The stillness here is intentional — the composition invites you to linger rather than rush through.

Two cartoon dinosaurs are in a river, with one sitting on a rock and the other swimming nearby.


Question: In Episode 2, the brown bird and teal creature rode a larger flyer in multiple sessions. In the scene where one rider is clearly higher than the other on the flyer's back, which one is in the higher position?

Choices:
- A
- B
- C
- D


Question: The purple dinosaur character (with red eyes) appeared in a close-up paired with an orange character on grass. Considering the spatial arrangement of the two characters and the background elements, which character is positioned on the LEFT side of the frame?

Choices:
- A
- B
- C
- D

Remember every detail in this one. I'm going to come back to it when I build the color spec document — especially the individual features. My client specifically asked for unique designs for each mascot character, and this is my reference Bible.
Got it. The feature differentiation here is worth a deep dive when you're ready for the spec doc.

A group of cartoon dinosaurs stands on green grass, with a small purple dinosaur holding an egg in the center.

Now this one is gold. Two characters side by side, close-up, distinct features. This is my spec reference for how to differentiate two characters who share frame space.
Great reference for paired differentiation. The distinct features make each character immediately identifiable even at this proximity — no confusion about who's who.

Two cartoon dinosaurs stand together outdoors.


Question: In the icy terrain running scene from Episode 1's opening, how many total characters are visible including any in flight?

Choices:
- A
- B
- C
- D

Now the energy picks up. Here's from the action intro — the whole cast in motion. I love how readable each character is even at speed.
Dynamic composition. Strong silhouette differentiation across the whole frame — every figure reads at a glance even with all the movement energy.

Animated dinosaurs run across a purple rocky landscape.


Question: In the Episode 2 wide cave scene where the tall bird character looks worried with a hand on its face, where is it positioned in the frame?

Choices:
- A
- B
- C
- D

Appreciate that. Here's a wider shot — same cave, bigger crowd. Good reference for enclosed-space group composition.
Dense but organized. The cave architecture provides natural framing that keeps the group from feeling chaotic — very different approach from the outdoor ensemble shots in Episode 1.

A group of cartoon dinosaurs stands around a tall blue dinosaur in a cave.


Question: Two scenes show characters in vertical arrangements: a jungle scene where characters appear stacked atop a large armored dinosaur, and a close-up scene where a brown bird perches on a larger dinosaur's head. How many MORE distinct characters are visible in the jungle stacking scene compared to the bird-on-head scene?

Choices:
- A
- B
- C
- D

Now something completely different — a pair moment. Intimate, focused, just two characters.
Totally different register. The simplicity makes the relationship the entire point — nothing else competes for attention.

A cartoon bird sits on top of a cartoon hippopotamus against a green forest background.

Great point. Now here's a completely different composition — a layered scene with interesting scale relationships and some unusual character placements.
Complex layering here. Multiple depth planes with characters at different scales — reads almost like a storybook illustration with foreground, middle, and background all populated.

Three cartoon dinosaurs stand in a lush jungle clearing.


Question: In the close-up where two characters sit together on green grass — one purple, one orange — what are their exact eye colors?

Purple character: red eyes; Orange character: green eyes

Choices:
- A
- B
- C
- D


Question: Both Episode 1 and Episode 2 open with a cave scene featuring a small character. In Episode 1's dark cave (S1), a partial view of a larger creature is visible at one edge of the frame beside the small character. In Episode 2's cave opening (S7), the tall blue bird character stands near smaller characters. On which side of the frame is the partial creature in Episode 1, and on which side is the tall bird in Episode 2?

Both are on the left side of their respective frames

Choices:
- A
- B
- C
- D

Alright, here's the very first scene. The opening of Episode 1. Dark, atmospheric, really sets the tone.
Bold way to open. The low-key lighting creates immediate atmosphere — draws you in before you even know the characters.

A small dinosaur stands inside a blue cave with stalactites and rocky walls.


Question: In the scene where two small dinosaurs walk together on rocky terrain near a round spotted object, which character appears to be carrying or closer to the object?

Choices:
- A
- B
- C
- D

Now a pair walking together. I love how they differentiate two characters sharing the same frame.
Nice shape contrast between the two. You'd read them as distinct characters even in pure silhouette — different build, different posture, different energy.

Two cartoon dinosaurs stand on a grassy hillside, one holding a yellow spotted egg.


Question: The orange triceratops appears in a cliff-edge lineup of four baby dinosaurs (S5) and in an Episode 2 cave group close-up where characters face the tall blue bird (S7). In the cliff lineup, the orange character is second from left. In the Episode 2 cave group close-up, where is the orange character positioned relative to the tall blue bird?

Separated from the bird by other characters, further to the right

Choices:
- A
- B
- C
- D

For sure. Now here's a wider group shot — different context, more of a lineup. I love this for studying how they arrange a cast in a single frame.
Classic lineup framing. The spacing and body language tell you about each personality without a word of dialogue.

Five cartoon dinosaurs stand together on a grassy cliff above a sandy area with water pools.

Now here's a group close-up. Some of these faces feel really familiar from Episode 1, and others are clearly new introductions. The mix is interesting.
Interesting blend. Some of these could pass for Episode 1 cast, but there are clearly new additions bringing different visual energy to the ensemble.

A group of animated dinosaurs stands together facing a character in a blue hat.


Question: In the Episode 2 close-up of a small green dinosaur standing between two larger characters, what color are the small green dinosaur's eyes?

Choices:
- A
- B
- C
- D


Question: The orange triceratops appears alone in a field in one Episode 1 scene and also appears in a close-up alongside a purple character in another session. In the solo field scene, which direction is it facing?

Choices:
- A
- B
- C
- D

Brilliant observation. And then immediately after all that tension — this. A solo moment in open space. Single character, breathing room.
The decompression after the confrontation. Wide framing, low density — it's a visual exhale for the audience.

A cartoon dinosaur crouches on a grassy path in a rocky valley.


Question: A brown flying bird appears in the icy terrain running scene from the opening. The same type of bird later appeared in a pair scene by rocks near water. In the icy terrain scene, where is the bird?

In the air, on the left side of the frame

Choices:
- A
- B
- C
- D