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

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: Of the 5 Coca-Cola ads, how many did NOT show a person's face clearly?

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.


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

Choices:
- A
- B
- C
- D


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.


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: 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: Immediately after Player 3's 2nd play action, how many black cards has Player 3 played so far?

Choices:
- A
- B
- C
- D

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 ----------
Thanks, I'll remember this for later.

Digital UNO game board showing four players, a yellow 5 target card, a stack of played cards, and a large remaining draw deck on a wooden background.


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: Immediately after public deck size changes from 79 to 77 for the 1st time, how many red cards does Player 3 hold?

Choices:
- A
- B
- C
- D


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

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 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 bright outdoor scene with open blue sky and a round green treetop, what is the baby dinosaur doing?

Hugging and climbing a vertical tree trunk

Choices:
- A
- B
- C
- D

Now here's the same kind of character in a totally different context. Full body, full activity. Completely different energy.
Night and day. The posture tells the whole story — you don't even need the face in detail to read the mood.

An animated monkey clings to the trunk of a large tree against a green sky.

Here. A face close-up. The emotional weight in this single frame is incredible.
Tight framing — they want you locked onto the expression. The background contrast pushes everything forward and amplifies the mood.

An animated dinosaur with a surprised expression peeks over a rock in a forest.


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

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.


Question: In the jungle scene with stacked characters, what type of creature is at the BOTTOM of the stack (being sat upon)?

An armored dinosaur with a shell-like back

Choices:
- A
- B
- C
- D

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: How are the divers on the Champ Comics cover dressed?

Old-style diving suits with metal helmets

Choices:
- A
- B
- C
- D

Reading another comic now — Champ Comics. Here is page 1.
Okay, I'll hold onto this.

Vintage Champ Comics cover featuring “The Human Meteor” swimming underwater and battling divers in old-fashioned diving suits.


Question: What kind of hats are the Western Love cowboys wearing?

Choices:
- A
- B
- C
- D

Page 2 of Western Love.
Thanks, I'll keep that in mind.

Vintage Western comic page showing cowboys, a jeep, and a woman discussing a deserted ghost town and plans to tear it down.


Question: Did all the dinosaur scenes happen before the palace takeover arc, or were they mixed in?

Choices:
- A
- B
- C
- D

Here's page 2 of the Alley Oop comic I'm reading.
I see page 2. I'll keep track of what happens on this page as we continue through the comic.

Vintage “Alley Oop” comic strip titled “Bronto Soreness” shows a caveman dealing with a troublesome brontosaurus and talking with another caveman about the dinosaur.

Here's page 3 of the Alley Oop comic I'm reading.
I see page 3. I'll keep track of what happens on this page as we continue through the comic.

Vintage comic strip where cavemen visit “Honest Zog’s New & Used Dinosaurs” lot to shop for and test-ride different dinosaurs.

Here's page 4 of the Alley Oop comic I'm reading.
I see page 4. I'll keep track of what happens on this page as we continue through the comic.

A caveman tests a small dinosaur as a new economical mount, gets bucked off and bitten, then another man praises the dinosaur while it looks smug.

Here's page 27 of the Alley Oop comic I'm reading.
I see page 27. I'll keep track of what happens on this page as we continue through the comic.

Comic strip titled “King for a Day” shows a caveman king trying to convince another caveman to take his place because ruling is hard work.


Question: I think Oop rescued the king by pulling him out of a cave. Is that what happened?

Choices:
- A
- B
- C
- D

Here's page 1 of the Alley Oop comic I'm reading.
I see page 1. I'll keep track of what happens on this page as we continue through the comic.

Black-and-white comic strip shows a caveman rescuing a drowning king, then reminding him of an unpaid five-clam debt.


Question: In the terracotta inspiration image, where is the woven chair positioned relative to the coffee table?

Choices:
- A
- B
- C
- D

Here's new inspiration after the color pivot.
Got it, this marks the new direction.

A warm, minimalist living room with earthy tones and natural textures creates a cozy, inviting atmosphere.


Question: From the side-angle living-room revisit, what partly hides the lamp from view?

Choices:
- A
- B
- C
- D

Here's the living room with a few seasonal swaps.
Thanks, I'll keep this seasonal update.

A cozy, light-filled living room features neutral tones, natural wood accents, and lush greenery for a calm, inviting atmosphere.

Same living room from the side.
Thanks, that helps for comparison.

A cozy living room decorated with autumn colors and a pumpkin centerpiece.


Question: In the installed dining corner, where is the small black bowl placed on the table?

Choices:
- A
- B
- C
- D

Here's the corner after we installed everything.
Got it, I'll treat this as the installed state.

A minimalist breakfast nook features a round wooden table, built-in beige seating, and soft natural light from a nearby window.


Question: In the demo staging photo, where is the tile sample located relative to the red tool bag and plank stack?

Choices:
- A
- B
- C
- D

Here's another update from today.
Got it, I'll keep it with this stage.

Stacks of wooden floorboards and a tool bag sit ready for renovation in a worn, unfinished room.


Question: In the three-sample cabinet comparison, which labeled sample is the same one that later appears laid on the floor beside the tape measure and pencil?

Choices:
- A
- B
- C
- D

Here are three options to compare.
Got it, I'll keep them together.

Three cabinet door samples in white, natural wood, and sage green lean against a wall for color comparison.

I'm checking how this choice works with the floor.
Got it, I'll keep track of that.

A wooden cabinet door sample is laid on the floor between a tape measure and a pencil for planning installation.


Question: In that wider terracotta wall-test view, where is the tray positioned relative to the patch?

Choices:
- A
- B
- C
- D

Here's a wider view of the same test.
Thanks, that gives more context.

Testing a warm terracotta paint color on a living room wall.


Question: In bedroom option B, where is the tray placed?

Choices:
- A
- B
- C
- D

Bed option B.
Got it, option B too.

A serene, neutral-toned bedroom features a neatly made bed flanked by matching wooden nightstands and lamps.


Question: In the bathroom shelf restyle, where is the amber jar relative to the folded towel?

Choices:
- A
- B
- C
- D

Here's the shelf after I restyled it.
Thanks, I'll keep this update.

A neatly arranged minimalist bathroom shelf with neutral-toned toiletries and folded towels.


Question: In the lower-front fossil-room crop, how much of the blue shell-shaped object was visible to the right of the torn label: only a narrow edge, roughly half, most of the object or whole of the object?

Choices:
- A
- B
- C
- D

Now here is a closer crop from the lower front area.
Got it. The close up confirms that the front label has a distinctive damaged corner, and one of the small blue items is positioned behind it on the right.

An empty, torn museum label sits in front of a trilobite fossil and a blue shell display.


Question: On the restoration table, was the metal tool more horizontally aligned with the compass, slightly above it, or slightly below it?

Choices:
- A
- B
- C
- D

Now the restoration table.
Got it. The restoration table contains a small brass object, a narrow silver tool, a red handled item, a small vial, and a cream card. Some of these may correspond to earlier missing objects, while others may be new.

A vintage compass, seal stamp, tweezers, and a small jar of sand are neatly arranged on a stone work surface.

Here is a closer image from the right side of that table.
Got it. The right side close up confirms the silver tool’s elongated form, the red handled object beside it, and the intact corner label card.

Vintage desk tools—a compass, metal stylus, and wax seal stamp—are arranged beside a blank label on a stone surface.


Question: In the later restoration-room image, was the small corked glass jar of sand positioned closer to the compass or closer to the blank rectangular label?

Choices:
- A
- B
- C
- D

Now a later restoration room image.
Got it. The restoration table still contains the brass object, silver tool, pale filled vial, and intact corner card, while the red handled object is no longer present.

A vintage brass compass rests on a workbench beside a vial of sand and a metal tool.


Question: In the final prop-table image, was the brass pocket watch positioned more to the left of the hat, more in front of it, or more to the right of it?

The brass pocket watch was positioned to the left-front of the hat, primarily on its left side.

Choices:
- A
- B
- C
- D

Now a final prop table image taken near curtain call.
Got it. By the final table image, the central hat, damaged card, necklace, and clipped tag remain, while the earlier red fan and blue bottle are no longer in their original table positions.

A vintage magician’s table is set with a top hat, pocket watch, pearls, and a blank, scorched card marked as the next cue.


Question: Where is the small red USB drive in the most recent archive images?

On the middle shelf of the storage cabinet, near the front edge

Choices:
- A
- B
- C
- D

Here is the first wide image of the workstation.
Got it. I'll use this image for later comparison and keep the notes grounded in what is visible.

A tidy home office desk with a laptop, coffee mug, notebook, and monitor ready for work.

Now here is the workstation from later the same afternoon.
Got it. I'll compare this against the earlier desk state and avoid merging similar items.

A tidy home office desk with a laptop, coffee mug, and monitor ready for work.

And here is the storage cabinet.
Got it. I'll use this image to trace possible reappearances without collapsing similar objects together.

A neatly organized metal shelf holds a gray storage box, folded plastic-wrapped linens, and small office items.

And one more cabinet image.
Got it. I'll use it to track the smaller moved objects and their positions precisely.

A gray shelf holds a storage box, a roll of yellow labels, a red USB flash drive, and a metal hook.


Question: Where is the gold pocket watch with the engraved star lid currently located in the backstage area?

Choices:
- A
- B
- C
- D

Here is the first image from the main prop table.
Got it. The prop table contains a central hat, several handheld accessories, a damaged cream card, a blue bottle, a white jewelry item, and a clipped black tag.

A magician’s cluttered worktable is filled with vintage props, from a top hat and pocket watch to a skull and tarot cards.

Here is a closer crop of the left half of the table.
Got it. The close up confirms the distinct marking on the gold watch and the specific damage pattern on the cream card.

An old, blank parchment lies on a rustic wooden desk beside a vintage pocket watch and string of pearls.

Now here is a later image of the same prop table after rehearsal traffic.
Got it. Most of the table remains stable, but one distinctive gold accessory that had been on the left is no longer present.

A vintage theater dressing table is set with a top hat, fan, pearls, and a blank cue card awaiting the next performance.

Here is the quick change station.
Got it. The quick change station contains a strong candidate match for the missing gold item, plus several similar but clearly distinct objects in bottle, jewelry, card, and cane form.

Vintage dressing table with a golden locket, pearl necklace, and blue potion bottle glowing under warm vanity lights.

Here is a closer crop of the counter.
Got it. The close up confirms the match cue on the gold item and clarifies the material and shape differences of the surrounding objects.

Vintage vanity items—a pocket watch, pearls, cane, and blank card—are arranged on a rustic wooden dressing table.


Question: What identification tag number is currently displayed in the fossil room case?

Choices:
- A
- B
- C
- D

This is the first image from the fossil room.
Got it. I see a central fossil slab with several small supporting items arranged around it, including a label card and a few portable objects.

A trilobite fossil is displayed in a museum case alongside a brass compass and a blue shell-shaped object.

Here is another fossil room image taken later that afternoon.
Got it. The fossil room layout is mostly unchanged, but one of the small metal objects that had been on the left is no longer visible.

A trilobite fossil is displayed in a museum case alongside a blue shell and an empty label.

Here is a side angle image of the same room.
Got it. The side view confirms the pouch and right side tag placement, and the same left side absence remains.

A trilobite fossil and shell are displayed in a museum case with a blank label and catalog number.

I'm going to ask some things in a vague way now. First, though, here's another fossil room shot from the next morning.
Got it. The fossil room is stable except for the continued absence of the earlier missing metal object.

A trilobite fossil and a small blue fish figurine are displayed together in a museum case.


Question: Comparing the storage cabinet's middle shelf between its first appearance and the later rearrangement, in which direction did the gray storage box shift?

Choices:
- A
- B
- C
- D

Here is a closer image of the middle shelf.
Got it. I'll use this close up to anchor the identity of the small items more precisely.

A red USB flash drive lies on a gray shelf beside a storage box and a roll of yellow labels.


Question: In the route that starts with a boxy light-blue compact car along the left side, what traffic-control feature dominates the final saved view?

A wide zebra crossing with green traffic lights ahead.

Choices:
- A
- B
- C
- D

Here's checkpoint 1 on this route.
Got it, that's checkpoint 1.

A straight multi-lane city street lined with trees and large buildings has several cars and vans, a marked crosswalk ahead, sidewalks on both sides, and overhead traffic lights.

Here's checkpoint 2 on this route.
Got it, that's checkpoint 2.

A tree-lined urban street with two marked lanes contains several cars and a white van near a crosswalk and traffic lights, flanked by sidewalks and modern buildings.

Here's checkpoint 3 on this route.
Got it, that's checkpoint 3.

A straight multi-lane city street with several cars and vans, a crosswalk and green traffic lights ahead, and tree-lined sidewalks bordered by mid-rise buildings.

Here's checkpoint 4 on this route.
Got it, that's checkpoint 4.

A wide multi-lane street with zebra crosswalks, several cars and a van, green traffic lights, tree-lined sidewalks, and buildings including one covered in scaffolding extends ahead.


Question: In the night route at the red-awning corner, what interrupts the car's path before the view opens down the block?

A small group of pedestrians steps across the lane.

Choices:
- A
- B
- C
- D

A two-lane city street at night leads to a signalized intersection with crosswalks, two dark taxis ahead, sidewalks with guardrails and utility poles, and mid-rise buildings on both sides.

A city street intersection at night has a zebra crosswalk, several cars, sidewalks with pedestrians, white guardrails, utility poles and traffic lights, and tall buildings on both sides.

A lit urban intersection at night has zebra crosswalks, traffic lights, several cars, pedestrians near the corner, and mid-rise buildings with signs, poles, and overhead wires along both streets.


Question: Which late-stage view continues the daytime route that earlier passed red port cranes beyond a green fenced open field?

It bends left into a quieter road with blue painted patches on the pavement.

Choices:
- A
- B
- C
- D

A zebra crosswalk spans a two-lane city street lined with mid-rise buildings, sidewalks, utility poles and overhead wires, with several cars, a small three-wheeled scooter, green traffic lights, and a low green roadside railing visible.

A wide city intersection at night has zebra crosswalks, several cars, two bicyclists in the roadway, a green traffic light, streetlights, and multi-story storefront buildings along the sidewalks.

A two-way road meets a side street at zebra crosswalks, with sidewalks, streetlights, a fenced grassy area on the left, several parked or stopped vehicles ahead, bicycles on the right, and large red port cranes visible beyond the trees.

A paved road curves left between sidewalks with bollard barriers, trees and bushes, a fenced grassy field on the right, streetlamps, and tall glass office buildings in the background.

A gently curving city street lined with trees and tall apartment buildings has a row of cars and trucks along the left side, blue lane markings on the road, and a fenced sidewalk with a pedestrian on the right.


Question: In the daytime route that begins behind the boxy light-blue compact car, what landmark sits beside the final wide crosswalk?

A building wrapped in dark construction mesh.

Choices:
- A
- B
- C
- D


Question: Within that same April 22 trio, which screen has the lowest Evening Drift even though it does not have the highest Time In Range?

Choices:
- A
- B
- C
- D

Here's the dashboard after the snack.
Got it.

A sleek daily glucose dashboard visualizes time in range, variability, trends, and lifestyle metrics for personalized health tracking.

Here's the dashboard after dinner.
Okay, I'll keep this with the rest.

A daily glucose dashboard summarizes Maya Patel’s blood sugar trends, time in range, and lifestyle metrics for April 22, 2025.

This is the choice comparison card.
Got it, I'll keep it with today's context.

A sleek daily glucose dashboard visualizes time in range, trends, and lifestyle metrics for personalized health tracking.


Question: Between the D5 comparison card, the reinterpretation dashboard, the bedtime subtle summary, and the metric panel grid, which screen has the lowest Evening Drift overall?

Choices:
- A
- B
- C
- D

Here's the comparison card.
Got it, I'll keep that in context.

A daily glucose dashboard visualizing time in range, variability, trends, and lifestyle metrics for personalized blood sugar management.

Here's the later dashboard.
Got it, I've got this one.

A sleek daily glucose dashboard visualizes time in range, variability, trends, and activity-related metrics for personalized health tracking.

This is the compact summary screen.
Okay, I'll keep this with the rest.

A daily glucose dashboard visualizing time in range, variability, trends, and lifestyle responses for personalized health tracking.

Here's the metric panel grid.
Got it, I'll keep that in context.

Daily dashboard visualizing glucose trends, time in range, and lifestyle metrics for personalized health tracking.


Question: Among the updated-note supporting trend, the provisional threshold-band trend, the later D9 comparison trend, and the month-wrap comparison trend, which screen is the only one with a nonstandard lower-middle panel label and Evening Drift above 3 hours?

Choices:
- A
- B
- C
- D

Here's the supporting trend.
Got it, I'll keep that in context.

A sleek daily dashboard visualizing glucose trends, time in range, and recovery metrics for personalized health tracking.

Here's the current trend screen.
Got it.

Daily dashboard visualizing glucose trends, time in range, and key response windows for personalized health monitoring.

And the comparison trend after that.
Okay, I've got this too.

This is the multi-day comparison trend.
Okay, I've got this too.

Daily Glucose Dashboard showing stable glucose trends, high time-in-range, and key metrics for meals, activity, and evening patterns.


Question: Among the updated-note supporting trend, the provisional threshold-band trend, and the final ring/card screen, which screen is the only one with a nonstandard middle panel and a lower-right ring above 50%?

Choices:
- A
- B
- C
- D

And the final ring/card screen.
Got it, I've got this one too.

A daily glucose dashboard visualizing time in range, meal variability, activity, and overall blood sugar trends.


Question: Between the reinterpretation dashboard, the bedtime subtle summary, the metric panel grid, and the after-dinner dashboard, which screen has the lowest Evening Drift while also staying below 80% Time In Range?

Choices:
- A
- B
- C
- D


Question: Among the first guidance-anchor dashboard, the follow-up dashboard, the timeline summary, and the final ring/card screen, which one has the lowest Evening Drift among the screens that end above where they start?

Choices:
- A
- B
- C
- D

Here's the related trend screen.
Got it.

Here's the follow-up dashboard.
Got it.

A sleek daily glucose dashboard summarizes time in range, variability, trends, and lifestyle metrics for personalized blood sugar management.

This is the timeline summary.
Okay, I'll keep that in mind.


Question: Among the post-lunch metric card, the D5 compact recap, the April 22 choice-comparison card, and the metric panel grid, which screen keeps Meal Variability at 12 points or below and, within that subset, has the lower Time In Range while tying for the highest Evening Drift?

Choices:
- A
- B
- C
- D

Here's the post-lunch dashboard card.
Got it.

A daily glucose dashboard summarizing time in range, variability, trends, and lifestyle metrics for personalized blood sugar management.

This is the recap dashboard.
Got it, I'll keep it with today's context.


Question: Which later screen improves on both the D9 summary and the D11 follow-up dashboard in Meal Variability while also having the lowest Evening Drift among the later candidates?

Choices:
- A
- B
- C
- D

This is the summary card from that day.
Okay, I'll keep this with the rest.

Daily dashboard visualizing glucose trends, time in range, and lifestyle impacts throughout the day.

Here's the follow-up dashboard.
Got it.


Question: Who is this person in my chats? Pick the option whose role and recent activity matches them.

An engineering manager who chairs sprint planning and personally approves PTO requests

Choices:
- A
- B
- C
- D

Please save this chat screenshot.
I'll keep this chat screenshot for you.

Chat screenshot. Messages in order:
  - Marcus: Quick sync before sprint kickoff. Daniel starts next week.
  - Priya: Right. Are we pairing him with anyone?
  - Marcus: Yes — I'd like you to mentor him through onboarding.
  - Priya: Happy to. I'll get him into our shared repo on day one.

Chat screenshot. Messages in order:
  - Priya: Marcus, requesting PTO for May 18-22. Family trip.
  - Marcus: Approved. Anything sprint-critical that week?
  - Priya: No — Daniel will be solo on the new feature, he's ready.
  - Marcus: Perfect. Have fun.


Question: Of the 5 FAM family chats, in how many does Mia (the young daughter) actually appear?

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Helen: Mia honey — pickup is at 3:15 today not 3:30.
  - Mia: ok mommy
  - Helen: Be at the front gate.
  - Mia: 🌸

Chat screenshot. Messages in order:
  - Helen: Family chat — what's everyone doing Saturday?
  - Tomas: Can I stay at Marco's house?
  - Mia: I want ice cream!!!
  - Helen: Tomas — yes if his parents are home. Mia — after lunch.


Question: Priya was supposed to be out of office in May so Daniel could solo the sprint. Is that still the plan?

No — Priya canceled her May PTO, so she'll be around after all

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Priya: Marcus, quick update on the May trip — flights canceled, family rescheduled to August.
  - Marcus: Oh no, sorry to hear. So no PTO May 18-22 anymore?
  - Priya: Right, withdrawing the request. I'll re-submit for August later.
  - Marcus: Got it, no problem.


Question: This guy in the photo — I want to message him about a birthday party. Across all the chats I've seen him in, who else has actually talked TO him directly (in the same screenshot)?

His current partner and his ex (the designer)

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Elena: All — Sam's birthday Saturday. Bar at 8?
  - Ryan: I'm in.
  - Jordan: I'm in too. Bringing a small gift.
  - Elena: Cool. See you both.


Question: What kind of conversation does this screenshot show?

A family with a parent and children discussing weekend plans

Choices:
- A
- B
- C
- D


Question: What is the current status of the marketing site refresh project that Daniel and Jordan are working on?

Delayed — a critical bug in the component library pushed the ship date to May 15

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Daniel: Hi Jordan — I'm Daniel, your engineering co-lead for the marketing site refresh.
  - Jordan: Hey! Glad to meet. I've been pushing this project for months.
  - Daniel: Marcus told me to just dive in. Where do you want me to start?
  - Jordan: Pull the design tokens from Figma. I'll send the link.

Here is another screenshot from the same chat.
I'll treat this as part of the same chat.

Chat screenshot. Messages in order:
  - Jordan: Also — we should sync weekly. Mondays work for you?
  - Daniel: Mondays work. I'll add it to my calendar.
  - Jordan: Cool. Looking forward.

Chat screenshot. Messages in order:
  - Marcus: Status check on the marketing refresh — where are we?
  - Daniel: Design tokens migrated. Component library 60% done.
  - Jordan: Hero section ships next week. Jordan's review.
  - Marcus: Good pace. Daniel — anything blocking you?

Chat screenshot. Messages in order:
  - Daniel: No blockers. Just need to verify the colors with Jordan once more.
  - Jordan: Tomorrow afternoon works.
  - Marcus: Great. Next review in two weeks.

Chat screenshot. Messages in order:
  - Daniel: Marcus, Jordan — bad news. Critical bug surfaced in the component library.
  - Jordan: Confirming. The hero section can't ship next week as planned.
  - Marcus: Damage estimate?
  - Daniel: Realistically two extra weeks. New ship date May 15.