Feed system

1The system in one page

Rules 1 to 14 are checked on a single tile and rule 15 on the grid.

1. 1

   Every tile is a finished picture built for the feed. Phone shots, frames taken from a reel, work in progress and placeholder art stay out, because that difference moved his votes more than any other. study: snapshots rejected 71% of the time, built pictures 32%; his words: examples are real or generic mockups, never broken stand-ins

2. 2

   An object tile shows a real object as a lit solid: a box, a cassette, a card, a toy or a miniature, with a front, a darker side, a lit edge and one soft shadow. study: 57 of his 65 loved pictures outside Games Omnivorous are photographs or renders of objects; 21 of the 36 built tiles are object tiles

   a21 Forbidden Lore sleeve on lit teala14 Mind Rend card, large and lifteda23 Cassette sliding out of its sleevea07 DOOMTILE cassette with its printed label
3. 3

   The object carries print that reads on a phone, such as a cover, a label or a card face. A blank shell gets one or two stars at best. study: printed objects sit 0.81 stars above their source, blank ones 0.17, and no placeholder mockup was liked

   a21 Forbidden Lore sleeve on lit teala14 Mind Rend card, large and lifteda30 Thera card breaking its own edge
4. 4

   One mass leads. A single object covers a fifth to two fifths of the tile, and several pieces are grouped until they share one outline. study: 14 to 28% of the tile scores best, half or more is rejected half the time; the single objects that took five stars measure 26 to 37%

   a21 Forbidden Lore sleeve on lit teala29 Open card kit seen from abovea27 Whole core game on black stage
5. 5

   Under an object the ground is one hue from edge to edge, lighter in a pool near the object and darker at the corners. That hue is teal or blue unless the game's own art gives another. Pure black is the exception, allowed under a saturated printed subject that is lit on every edge. Q6: 4 and 2, "teal works much better, black could work in some contexts"; study: graded grounds are ahead in 8 of 8 sources, and teal sits 0.82 stars above its source across 11; five stars on black a19, a27, a33, a34

   q6a Question 6 object on lit tealq6b Question 6 object on pure blacka31 Whole core game on graded bluea34 Frejus card in a clear bag
6. 6

   A title, where a tile has one, is big lettering in Anton or in the game's own wordmark, and it shares space with the object. It stands behind the object, crosses it or circles it, so that one hides part of the other. Behind an object, the object hides a fifth to two fifths of the last line and the first letter of each line stays whole. A tile whose object prints its own name needs no title (a21, a23). his words: big lettering passing over or under the elements, creating three-dimensionality, is what he likes; Anton: five stars a09, a11, a35, four stars a01; a game's wordmark: five stars a15 and a17, the second still open in section 10

   a09 Bertha before three layers of letteringa35 Juju knight before the Anton titlea11 Wizard toy inside ring of capitalsa15 Virus stands before the Bombshell wordmark
7. 7

   Banana yellow is the studio's colour and does one job on a tile, one of the six in the palette table. Ten of the 36 built tiles carry it. Q1: 4 and 4, "both good"; Q2: "yellow wins in general"; addendum 2.1

   a26 Tagline as black blocks on yellowq1a Question 1 yellow as the grounda01 DOOMTILE box before its 3D titlea03 Studio mark on lit yellow screen
8. 8

   Orange-red is an accent, on one tile of the built 36 (a04), and never a second house colour. Q2: 4 and 4, "the booth is all yellow and black but its wheels are orange"

   a04 Sentence case statement leaning on redq2b Supply Drop label printed in orange-red
9. 9

   A flat graphic gets depth or a carrier. Depth comes from a stripe ramp (five touching colour bands, yellow first) behind the title, from an extrusion, from an overprint or from a shadow between layers. A carrier is a sleeve, a label or a sticker that the design is printed on. Q3: 4 and 4, "I like both"; his words: plain specimen text looked "anonymous"; pins: about 16 of 28 flat branding pins carry a depth device

   a10 Bombshell stripe poster with code 103a20 Vera printed over a pink 103q3b Question 3 the graphic on objecta28 Footnote label in yellow and black
10. 10

    Small type is about a tenth of the title or less. It is set in Barlow Condensed capitals the way the back of a box is set, as chips (small outlined boxes that each hold one fact), ruled tables and lines in the corners. pins: about 13 pair a headline with text a tenth to a twentieth of its height; build notes

    a10 Bombshell stripe poster with code 103a32 SPIEL Essen dates with ramp traila16 Vintage ad, the box is VHS
11. 11

    Lettering is Latin. Katakana or any other script appears only when the game calls for it. his words: "otherwise it is lame and weeb"

    a11 Wizard toy inside ring of capitalsa17 Eggo crossed by Jullien's brush wordmark
12. 12

    Every word and number on a tile comes from the copy bank, the studio is written Banana Joe Games in full, and every illustration names its artist in the string the artist chose. copy bank

13. 13

    Added lettering keeps 60 px from every edge and is never set smaller than 22 px. build notes: the profile grid trims about 34 px from each side of a post, and 18 and 20 px did not read on a phone

14. 14

    A tile carries one stripe ramp at most. addendum 2.1

    a10 Bombshell stripe poster with code 103a18 Banana Joerney sleeve as flat postera32 SPIEL Essen dates with ramp trail
15. 15

    In the grid, object tiles and supporting tiles alternate, and two tiles that share an edge never show the same game or the same ground family. plan; addendum, section 4

Four approved tiles break one of these as built. Yellow does three jobs on a13 (rule 7), and the lettering or the group on a17, a24 and a35 runs closer to the edge than 60 px (rule 13). Sections 2, 3 and 10 say what happens to them.

2Colour

The palette

Yellow as ground and as ink: Q1. Teal and blue as default, black as exception: Q6, and the study names teal, blue or a dark slate first. Cream and warm near-black in place of white and pure black: 14 and 13 pins. Orange-red: Q2. Hex values: plan, checked by sampling the built tiles

A game's own colour enters through its art and stays with that game. Bombshell has detonation pink #FF2E6E and its own near-black #160A10, and the violet of Virus's card became the ground of a15 (pool #6A1E79, corners #45124F). JUJU's Castle gave three grounds: the pink of its packaging (pool #F898BD, corners #E279A6, a11), a coral (#FFB497 and #F58563, a35) and a lilac (#B99AC6 and #7F5F96, a24). SALVAGE's signal cyan became the ground of a22 (#5CC4DA and #2E93AD). Hunger Chain has venom green #5B9E2E and #9AD13F on a swamp near-black #0D120E, and no tile has used them yet. DOOMTILE has no accent on file, and each of its six boxes carries a spine colour instead. Purple and acid green stay out of the studio palette, since he saved them only as part of a game's art or of a present-day identity board, so Hunger Chain's green belongs to Hunger Chain alone. addendum 2.1; copy bank; five stars a11, a15, a22, a24, a35

The colour sets

Each tile uses one set.

Two more tiles sit on a quiet neutral (a25, a29), and the spine row of a05 shows no ground. His answer to Q2 turned flat orange-red from a set into an accent. addendum 2.1; plan; Q2

Four rules keep the sets apart.

1. A tile carries one ramp at most.
2. Yellow does one job per tile, since a yellow title on a yellow band on a yellow ground reads as one flat colour.
3. By the pins, warm saturated grounds go under type and graphics, and cool, black or neutral ones go under objects.
4. Every colour runs at full strength, because deep and mid colours sit half a star above their source in the study and pale ones sit level.

addendum 2.1; study; pin B37

Approved tiles bear on rules 2, 3 and 4. On a13 the first ramp band, the bar of spine 01 and the sticker are all yellow, as its build note records, and the tile took five stars. When a13 is rebuilt the bar or the sticker changes colour, unless he says rule 2 can relax. build note a13

The title poster is the exception to rule 3, and it was built three times: the wizard on pink (a11, five stars), the knight on coral (a35, five stars) and the DOOMTILE box on lit yellow (q1a, 4 stars, level with its teal twin). After his answer to Q1 the split is a habit to start from. addendum 2.1; Q1: 4 and 4; five stars a11, a35; pin B37

The build shows how light a ground can go under rule 4. Light grounds were built four times, pink on a11, coral on a35, lilac on a24 and light blue on a36, and all four took five stars. Each is one lit hue taken from the game's art or from a pin. Nothing paler than those four has been tried. A washed tint and a two-hue pastel wash stay out, because the study never saw one liked, although it says itself that the size of that penalty is unproven. study; five stars a11, a24, a35, a36

How a ground is lit

A lit ground is drawn between two named colours, a pool and a corner, with a radial falloff. The pool sits near the middle of the width and between half and three quarters of the way down, so the light gathers behind the lower half of the object or on the floor under it. How far the corner falls depends on the hue. On teal, dark blue and near-black the corner is a little over half as bright as the pool. Violet, cobalt, azure, cyan, lilac and tan fall to between two thirds and three quarters. Pink, coral and yellow drop by a tenth to a fifth only, which keeps them from turning muddy. In 2D the ground comes from ground2.py POOL CORNER out.png --cx 0.50 --cy 0.62. In Blender the backdrop gets its own spot light and the scene uses the Standard view transform, because the default washes out saturated print. study: one hue lit like a studio backdrop is the best-scoring ground in the set; plan; tools report; brightness computed from the plan's hex values

The object keeps one soft shadow, and that shadow is rebuilt for the ground it lands on. Mockup shadows made for white paper nearly vanished on teal, so they were deepened about three times (a21, q3b), and on yellow the shadow is multiplied in a warm brown, since black turns it olive (q1a). Pure black shows no floor shadow at all. There the object needs light along its edges or a faint glow behind it (a27, a34). Flat pages take a 1.2% monochrome grain and renders take none. build notes

A render gets its shadow from the scene. More than half the tiles are 2D composites in which the shadow is drawn, and these are the values that were used. In the offset column the first figure runs sideways and the second down.

plan; build notes

3Type

Anton sets titles, large numerals and the logo, and it sets no running text. The Barlow family sets everything else. copy bank: decided 4 October 2026; pins: heavy condensed capitals lead nine of about thirty title pins

Tracking is 0.12em, opened to 0.14em for a single line above an object and to 0.2em on a sideways panel. Five tiles set their small line in Bold (a04, a13, a15, a26, a35), and the weight is unified at the next rebuild. plan

The build moved two of the plan's measures. Margins became 60 px on every side, because the profile grid shows a 4:5 post cropped to 3:4 and trims about 34 px from each side. Three tiles were not moved and still run to 40 or 43 px: the wordmark of a17, the title and small line of a35, and the group of a24. They take the 60 px margin when rebuilt. The second measure is the floor for type. No added type is smaller than 22 px, since 18 and 20 px fell below what reads on a phone, while print on an object may be smaller as long as the object's name still reads. The one size a build note names for that check is the tile viewed 432 px wide (a25), so that is the test to use. build notes on a04, a08, a10, a18, a25; measured on the tiles of a17 and a35

Title constructions that work

Behind the object

The title runs the full width in two lines and the object stands in front of the last letters, with its shadow falling on them. The object hides between a fifth and two fifths of the last line, and the first letter of each line stays whole. The box of a01 hides about a third of TILE. Bertha hides 19% of BOMB and 29% of SHELL on a09, Virus covers 23% of the wordmark on a15, and the knight hides about two fifths of CASTLE on a35. Read the word once the object is in place, because at the planned sizes three tiles spelled TII, FIREWAIL and CAST, and each was fixed by moving or shrinking the object. his words; pins B04, B07, B10; five stars a09, a15, a35; four stars a01, given twice, as a01 and as q1b

Across the object

The word crosses the object at its middle and overhangs it on both sides. On a17 the wordmark spans nearly the full width over a toy 842 px wide, and its shadow falls on the toy only. That wordmark is Jean Jullien's brush katakana, placed as a picture. No tile tried a Latin word across a real object, so this construction is proven once, and in Jean Jullien's drawing. pin B12, in katakana; five stars a17

Around the object

A ring of Anton capitals sits on the wizard's hat on a11. The ring is 620 px wide and tilted 12 degrees, and its letters stand 74 to 84 px high. The back half passes behind the tip of the hat and the front half crosses the cone, ending above the brim so the face stays clear. pins P30, P42; five stars a11

Letters as solids

With no object on the tile, the letters become the object. On a26 the tagline stands in three stacked lines of black capitals with a 278 px cap height, and each letter carries a 36 px extrusion to the lower right in cream with a 4 px black edge. On a04 a sentence leans back in perspective, turned 30 degrees about its vertical axis, with a hard near-black extrusion. A smaller dose gives a stripe poster its depth, as on a10, where the top of the numerals overlaps the last band of the ramp by 32 px and throws a hard shadow onto it. pins B25, B27, B28, B30, B40; study: black with yellow is the one Latin type recipe that reached 4 stars; five stars a04, a10, a26

Overprinted and sideways

On a20 the numerals fill the upper half in one colour ink and the drawing prints over them in black, so the black wins wherever the two meet. On a02 the fighter's name reads from bottom to top beside her with a 239 px cap height, and her arm and boot overlap its letters. pins B39, P27; five stars a02, a20

The plain band

A title in a band above the object, with no overlap, is the weaker version, and he saved one such poster. No tile uses it unbroken. The headline of a12 comes closest, and even there the wizard's staff rises into the B. pin B37; addendum, correction 2

Statements, labels and chips

A statement tile is one lockup of a few words stacked in up to three lines until the letters cover a quarter of the tile or more, and the letters are built as solids. Both statements in the grid follow this, one in capitals (a26) and one in sentence case (a04), and which case a statement takes is open. The copy bank asks for an object or a reader beside a statement about the studio's values. Neither tile carries one and both took five stars, so that caution stays open as well. study: letters under a fifth of the tile score 1.1 stars below their source; copy bank; five stars a04, a26

The largest lettering on a sleeve or a label is a name or a true number, the way a blank tape prints E180. The proposal used 103 for the count of Bombshells, 22-25 for the dates of SPIEL Essen, and 01 to 06 for the reel formats, a numbering he has still to confirm. pins: a model code is the largest lettering in 14

A chip holds a fact the copy bank lists with its source. For a game that source is the rulebook or the box. For the studio it is the hub profile or the fairs tracker, which is where FOUNDED 2025 and 15 m² come from. A fact marked "not stated" gets no chip. addendum 2.2; copy bank

What fails

One small word or a logo alone on an empty tile fails. Thin type fails for the same reason when the tile around it is empty, although a thin line above a lit object did as well as a heavy one. Plain specimen text, a face shown as a sample, is what he called anonymous. That flat type needs depth or a carrier is this document's reading of that remark together with the pins and Q3. study: 16 tiles led by a mark or a wordmark alone, three liked, none above 3 stars; his words; pins; Q3

4Objects

A hero object is a specific, finished, printed piece that exists as a photograph, a 3D model or a print file. An illustration counts when it sits on its card (a30, a34), stands in front of lettering with a shadow (a09, a15), prints over numerals (a20), leads a game page (a02) or carries interface marks on a lit ground (a22). The proposal never showed a drawing bare on a flat colour, which is the version the votes go against. study: colour drawings shown bare outside Games Omnivorous were never loved in 44 pictures; five stars on all seven

Staging

One upright object is seen from eye level or just above, turned three-quarter, through an 85 mm lens (a01, a23). A group, an open box or a lying object is seen from 37 to 40 degrees above (a07, a27, a31, a36). The camera looks straight down only for a flat lay of an opened kit or of papers (a29, a33), and dead front only at flat pieces such as a spine row, a card in a bag or a screen. pins: high three-quarter in about 13 object pictures, no box shot dead front; build notes

The light is one soft key from the upper left with a weak rim light. On a01 the key threw the shadow where the camera could not see it, so a second and softer light at the front right now casts the visible one. A black object on a dark ground needs a much stronger rim, about four times the default on a23. study: soft even light is ahead in 10 of 13 sources and hard shadow behind in 9 of 10; build notes

A single object covers a fifth to two fifths of the tile with air on every side, and the ones that took five stars run from 26% (the sleeve of a21) to 37% (the bag of a34). The two smallest, at 16% on a01 and at 19%, measured by outline, on a25, are among the three fours. That is a hint and no more, since the study's best band starts at 14%. Two cases fall outside the band. A single card fills about half the tile (a14, a30). A figure in front of a title stands 940 to 1,200 px tall, most of the tile's height, with its feet near the bottom edge (a09, a15, a35). study; pin P25 for the card; build notes

Groups, the card grid, open and closed

Several pieces work when they read as one mass. The ten stickers of a19 overlap into one cluster of about 60% of the tile, and on a36 the loose pieces were pulled in against the tray until box, cassette and tray shared one outline at 34%. The six toys of a24 are a different case. They stand apart in two loose rows, 1000 px wide, with lilac between them, and they took five stars as they are, so a24 is no proof of the one-outline rule. When it is rebuilt the group moves inside the 60 px margin, and the rule would also close the gaps, which needs a frame with the toys nearer to one another. study: heaps took three of his eight 5-star votes on the moodboard, busy grids of equal parts were rejected 73% of the time, and separate figures in a line dropped to 1 or 2 stars inside one account; five stars a19, a24, a36

A whole game follows one arrangement. The boxes stand upright at the back, the board lies flat in front of them with the miniatures on it, the card stacks sit at one side and the small pieces at the front, and every piece stays at least 70 px inside the edge. The plan wanted the board to lead. The arena covers 16.7% of the tile on a27 and a31, and the three tall boxes still cover more. pins P07, P19; five stars a27, a31; build notes

A box lying on a tidy grid of its own cards is in. The grid is turned 30 degrees, the gutters are 6 mm of black, and 64 cards touch the frame, 43 different faces and four backs among them. The box lies across the middle at 50 degrees to the rows as the calmest piece in the picture, at 23.5% of the tile, and the camera looks down at 55 degrees through an 85 mm lens. This overrides the study's warning against a box on a carpet of its cards, which still covers cards scattered loose and as loud as the box. Q5: 4 and 2, "the grid is better"; pin B31, the only pin he saved twice; build note q5a

Showing the box in use is the third way to stage it. The cassette slides 44% out of its sleeve on a23, the kit is opened and laid out from above on a29, and the closed box stands beside its open tray on a36. pins: ten show a package open; five stars a23, a29, a36

People and hands

No tile shows a person, and none shows a hand, because no hand exists as an asset. If a person ever appears, the face is printed in one ink with a 3-star target, and a talking head never becomes a tile. A hand may hold or move a piece, close in or at the edge of the frame, and it never presents the box to the camera at arm's length. study: 100 face pictures, none above 4 stars, and 11 of 13 forearms holding a product up were rejected; pin P20

Photographs and renders

A photograph, a render that passes for one and a stylised render stand on one level, and the choice follows what exists. The proposal used photographs and photoreal renders, and no stylised render is in the grid. Renders of the real DOOMTILE models carry most of the object tiles, and he called the mockups rendered in Blender "really well made". The JUJU's Castle tiles are studio photographs of the toys, cut out from their white seamless and laid on a new ground with the photograph's own floor shadow. The sleeves of a21 and a25 are the stock cardboard mockup filled with real cover art, standing in for a studio photograph of the real box, which the Drive does not hold yet. The sleeve of q3b is the same mockup carrying the reel-format design. his words; tools report; build notes

What each game has to show

• DOOMTILE is the one finished game. Its box has four parts, and this document always calls them by these names. The sleeve is the printed cardboard, 3.0 × 11.7 × 22.5 cm; a closed sleeve seen from outside is called the box, and a sleeve sheet is its flat print file. The cassette is the moulded plastic piece that slides out of the sleeve. The tray is the insert inside the cassette, and the label is the sticker on the cassette. All four exist as 3D models, and the box takes any of the six 2026 sleeve sheets. The game also has four miniatures, crystals, dice and a chest, 49 card faces from the 2025 print files and the arena tiles. The four production miniatures of 26 September 2026 are the sculpts to use, and three approved tiles still carry older ones (section 10).
• Bombshell has the baked card faces from the hub, illustration cut-outs on transparent grounds and its wordmark. It has no box: no cover art, dieline or model exists, so any box in a post would be invented.
• JUJU's Castle has studio photographs of Jean Jullien's toys and the packaging sheet with his brush lettering. The real box is a castle, its model is still grey, and no tile uses it.
• Hunger Chain has the Hunt Quest poster, the diary page, a card back and a white logo only 394 px wide. SALVAGE has one finished illustration, the purple mecha on its dark panel.
• The studio has its logo set, the rounded screen, the burst, the swords, the static pattern, the rating icons, six reel formats that have not been shot, and SPIEL Essen on 22 to 25 October 2026.

Gaki Race, Takeover and the team-only games stay out of the feed. copy bank; plan; asset reports

5The kit of devices

Stripe ramp

Five flat bands of 54 px touch with no gap, with yellow first on the upper or outer side. On a32 the bands are 50.5 px, because the first one had to end in the gap between the numerals. On a18 the ramp crosses a dark sleeve front on the diagonal at 45 degrees. On a10 it enters through the left edge at 45 degrees, turns once at a mitre and runs level, and on a32 it falls out of the numerals as a trail to the bottom edge. The title or the numerals stand in front of the ramp and drop a shadow on it, hard on a10 and a18 and soft on a32. The first layout of a10 shows why, since its shadow lay on the dark ground only and the poster had no depth. 14 ramp pins, seven of them opening with yellow; five stars a10, a18, a32; build notes

Spec chips

A chip is a box 44 px high with a 3 px outline, 14 px of side padding and one to three words in Barlow Condensed Bold capitals at 24 px. Three to five chips sit in one row from the left margin, 10 px apart, with their foot on the bottom margin. The built rows read 2 PLAYERS, TAROT SIZE, RULES V3.0 on a10 and OCT 2026, 15 m², CORNER on a32. The studio icon stands alone at the right margin, on a solid chip of about 80 px with its foot on the same line (a10, a18), because inside a 44 px chip the one-colour icon was a blot. On a32 it still sits in a 44 px chip at the end of the row, and that tile takes the larger chip at its next rebuild. The owned clock icon is fixed at 25'/40' and stays off every tile. 14 chip pins; copy bank; build notes a10, a18, a32

Numbered labels

A face label is a landscape rectangle a little over twice as wide as it is high. It is drawn at 940 × 428 px with 26 px corners, a notch of 120 × 16 px in the middle of the top edge and a 30 px white die-cut border, then scaled to 872 px wide so that its tilted corners keep the 60 px margin. The name sits in the left 46%. The numeral is Anton with a 430 px cap height at the drawing size. It starts at 55% of the width and its baseline lies 36 px below the label's bottom edge, so it runs off the bottom or the right.

A spine label of 940 × 118 px lies under the face label, with the number on a chip of 130 × 118 px at its left end. The two are centred at y 558 and y 910, and both turn 6 degrees anticlockwise, so the right end rises. Their shadow falls 26 px straight down with a 46 px blur, at 45% on cream and at 85% on near-black, where 45% could not be seen. Under the name stand one line in Barlow Condensed SemiBold capitals at 22 px, a hairline, and the maker's two lines beside a 76 px outlined box that holds the studio icon. The four corners of the page read BANANA JOE GAMES, the number, MILAN, ITALY and BE YOU. REPLAY.

Each label uses near-black, cream and one more colour, and two colourings were built. One has a near-black field with a cream name and a yellow numeral on a cream page (a08). The other has a yellow or orange-red field with a black name and a near-black numeral on a near-black page (a28, q2a, q2b). pins B44, B05; five stars a08, a28; Q2 for the pair; plan; build notes

Sleeve fronts and spines

The studio's own covers are drawn the way a blank video tape's sleeve is drawn. A sleeve front is drawn at 1709 × 3054 px and a spine at 439 × 3054, the sizes the mockup takes. The front carries the name as its largest lettering. Around it sit one ramp, a ruled table, a chip row and a sideways panel. The spine is simpler: a number chip at the top, the name reading from bottom to top, a colour bar and the icon at its foot. The design works flat as a poster (a18) and printed on the mockup sleeve (q3b, a13). There the small print shrinks to about 7 px, so the title, the number and the ramp have to carry it. about 20 tape and screen pins, a fifth of what he saved; Q3: 4 and 4; five stars a13, a18

The lit screen

The studio's rounded screen shape floats in pure black at 80% of the tile's width and glows from banana yellow at its centre to a duller yellow at its rim, with scanlines inside the screen only. One dark mark sits in the middle with three bars on either side, and a line of on-screen text in cobalt sits at the top left after a play triangle (a03). As a window, the same shape is drawn as a black frame on teal, objects stand inside it, and one object and a sticker break its top edge (a13). Recipe 7 holds the measures of both. Four windows in a grid hold the miniatures of a12, which was the single test the addendum allowed for a grid of equal windows. pin B32 for the lit screen; pins P11, B34 and P02 for the window; five stars a03, a12, a13

Stickers

Each sticker gets a white die-cut border of 3.5% of its own width and a soft shadow. Ten of them, in black, yellow and white, tilt by up to 25 degrees either way and overlap into one cluster on pure black (a19). The stickers have not been printed, so the tile is a mockup of them. pin P36, the one sticker pin; five stars a19

Interface marks and pixel blocks

These go on a finished picture and never on work in progress. The marks are a 2 px white selection box with 10 px square handles set about 15 px outside the subject, a file-name tab at its top left corner, a cursor arrow of about 44 px, and one dialog window that half covers the lower part of the subject and holds a line from the copy bank (a06). The mosaic is a field of 46 px blocks, eight by six on a22, each the average colour of the art under it. The faint grid of a06, white lines at 10% on a 54 px pitch, is the one test of a ruled ground. 13 pins for the marks, nine for pixels, eight for a grid; untested in the study; five stars a06, a22

Halftone

Halftone stays a supporting finish at three stars in both of its forms, and no tile of the grid uses it. As shading, the object is traced in a solid 3 px black outline and the studio's banana halftone fills only its shaded side and its cast shadow (q4a). As the whole picture, a render is screened in round black dots on a 12 px grid turned 45 degrees, the darkest tone stops at 90% so that paper shows between the dots, and the label can no longer be read (q4b). The subject has to read at once in either form. Q4: 3 and 3, "both, by context"; study: 16 of 36 screened pictures liked, every one at exactly 3 stars

Devices no tile has tested

The addendum lists several devices that the proposal never tried as a device. The burst comes first, with eight pins and a drawing the studio owns, and it appears only as one sticker in the heap of a19. The dot matrix, tapered stripes, hazard stripes and a script line over capitals were not built at all. The footer strip was built once, on a12. Each is free for a test tile and none has a vote. addendum 2.2

6The sixteen post types as recipes

Five routes make these pictures, and each recipe names its route in these words.

• A Blender render runs in the background with Cycles at 128 samples, from a copy of blender_box.py. Real models are appended read-only, and the object is rendered with its shadow on a transparent ground and laid over a ground2.py ground. A tile rebuilds in 20 to 25 seconds.
• A mockup fill puts artwork into the stock VHS sleeve PSDs with fill_psd_mockup.py, with Photoshop closed, in 3 to 5 seconds.
• A layered page is HTML at 1080 × 1350 photographed by chrome_shot.py, or a stack of layers composed in Pillow.
• A photo cut-out takes a studio photograph on white, masks it and keeps the photograph's floor shadow as a separate layer.
• A studio-addon shoot drives the BJG Studio addon through bjg_shoot.py: Setup Studio, a look, a light scheme, the sliders, a three-second proof and a final frame in about 11 seconds. It was tested on 5 October on 16 frames, and the two that were usable as they came show the DOOMTILE box in Setup Studio. No tile of the proposal was made this way, so it is the tested alternative for one upright box. Covers came out about a quarter less saturated than the artwork, and the miniature needs a smooth-shaded model first. The driver does not compose groups. The box it loads still wears the 2025 sleeve, which prints 45'/90', and the driver has no option yet that puts a 2026 sheet on it. No background Blender script calls wm.read_factory_settings, wm.read_homefile or addon_utils.disable, because each clears the installed extension libraries.

tools report; shoot report and its corrections; his words on the Blender mockups

Since 5 October 2026 all 48 pictures also stand in one Figma file as editable frames, and that file is where a post is edited and where a new one starts. Duplicate the frame of the nearest built example, change its words and swap its pictures, and export the frame as PNG at 1x. Flat lettering is live text in Anton or Barlow there, and colours, type and shadows come from named styles. An object, a figure, a render and any lettering that is 3D, drawn by hand or printed on an object is a picture layer, so a new picture of that kind still comes from one of the five routes above. The page called Kit explains the file. his words on 5 October: "andiamo di Figma"; audit of the file, every frame within 1.6 levels of its approved picture

All five were run on Andrea's Mac, with Blender 5.1, Chrome, and Python with Pillow, numpy, OpenCV and psd-tools. The scripts carry that Mac's paths for the Drive, for Anton and for the baked Bombshell faces, so on another machine those paths change first. To make a new tile, copy the folder of the nearest built example from BJ - MK - FP - Sources/<id>/, change its art and words, and run its build script. Types 9, 10, 11, 14, 15 and 16 are flat pages and can also be drawn by hand in any design program from the measures here, at 1080 × 1350 px.

Every recipe has the same eight lines. A measure with no id after it holds for every tile of the type. A measure followed by an id is what that tile was built with, and a new subject starts from the nearest one and moves until the picture reads.

1Title behind the object

a09 Bertha before three layers of letteringa15 Virus stands before the Bombshell wordmarka35 Juju knight before the Anton titlea01 DOOMTILE box before its 3D titleq1a Question 1 yellow as the ground

• ShowsThe game's name fills the width and the object stands in front of its last letters.
• Works forAny game with a cut-out figure, a toy photograph or a 3D box. Bombshell, JUJU's Castle and DOOMTILE were built, and SALVAGE's mecha would fit. Hunger Chain has no such object yet.
• Layers, back to frontA lit ground, the title, the object's shadow on the letters, the object, and one small line.
• Sizes and placesThe title is fitted to x 60 to 1020. A two-line title takes half to three quarters of H, with its top at y 160 to 180 and 30 to 42 px between the lines (a01, a09); a35 starts at y 60. A one-line title is the game's wordmark at 960 px wide and 316 px tall, under a quarter of H, with its top at y 177 (a15). A figure stands 940 to 1,200 px tall with its middle between x 716 and x 815 and its feet at y 1296 to 1330 (a09, a15, a35), and a box stands 712 px tall (a01). The shadow on the letters lies 22 to 26 px sideways, away from the light, and 10 to 26 px down, with a 34 to 40 px blur at 35 to 45% black.
• Ground and inksThe title is yellow or cream on a deep ground and black on a light one, and a wordmark file keeps its own colours. The built pairs are yellow on teal (a01), cream on warm near-black with one pink line (a09), the white wordmark on violet (a15), black on coral (a35) and black on lit yellow (q1a).
• TypeAnton capitals, or the game's wordmark file. The small line is Barlow Condensed SemiBold capitals at 24 to 32 px, at x 60 with its baseline near y 1290, white or cream on deep grounds and black on light ones.
• Make itFor an illustration, a layered page: copy Sources/a09 and run build.py. For a toy photograph, a photo cut-out: copy Sources/a35. For real 3D letters, a Blender render: copy Sources/a01 and run build.sh, which stands letters 3 cm deep 10 cm behind the box.
• Built and voteda09, a15 and a35 took five stars. a01 took four, twice, and q1a took 4. his words; pins B04, B07

2Title across or around the object

a11 Wizard toy inside ring of capitalsa17 Eggo crossed by Jullien's brush wordmark

• ShowsOne word crosses the object at its middle, or a ring of capitals circles it.
• Works forOne toy or figure and a short phrase from the copy bank. Only JUJU's Castle toys were built, and no Latin word has crossed a real object yet.
• Layers, back to frontFor the ring, the ground, the back half of the ring, the toy with its floor shadow, the front half of the ring with its shadow on the hat, and one small line. For the crossing word, the ground, the toy, the wordmark with its shadow on the toy, and a small Latin title below.
• Sizes and placesThe ring is 620 px wide, tilted 12 degrees, with letters 74 to 84 px high, on a toy 820 px tall (a11). The crossing wordmark is 994 px wide and about 231 px high, centred at y 716, over a toy 842 px wide (a17).
• Ground and inksA lit ground with black lettering, the pink of the packaging on a11 and studio azure on a17.
• TypeAnton capitals for the ring, and Jean Jullien's own drawing, placed as a picture, on a17. The small line is Barlow Condensed SemiBold capitals at 26 px.
• Make itA photo cut-out. Copy Sources/a11, whose ring.py renders the ring in Blender as two layers, or Sources/a17.
• Built and voteda11 and a17 took five stars. his words; pins B12, P30, P42

3Box on a lit set

a21 Forbidden Lore sleeve on lit teala25 Druid & Witch sleeve lying on tan sweepq5b DOOMTILE box with three cards, tealq3b Question 3 the graphic on object

• ShowsOne box stands three-quarter with one soft shadow and one thin line of type above it.
• Works forDOOMTILE only, until another game has a printed box. On that day the generic Box of the asset kit takes the new cover through blender_box.py, which no tile has done yet. A studio design can take the mockup sleeve already, as q3b does.
• Layers, back to frontA graded ground with its pool at 0.50/0.62, the sleeve with its shadow, and one centred line.
• Sizes and placesThe line is centred at y 170. The sleeve stands 850 px tall, 26% of the tile, with its foot near y 1180 (a21). Lying down it spans 800 px, 19% by outline, centred at y 760 (a25).
• Ground and inksTeal, pool #1798A3 and corners #0B545C, with a white line (a21), or tan with a #17150F line (a25).
• TypeBarlow Condensed SemiBold capitals at 32 px, tracking 0.14em.
• Make itA mockup fill. Copy Sources/a21, replace front.png and spine.png and follow the steps at the top of build_a21.py, which also deepens the mockup's shadow for a colour ground. A Blender render of the real box is the second route (Sources/q5b).
• Built and voteda21 took five stars and a25 four. The rendered box with three cards, q5b, took 2 beside the card grid. study: a game box on a graded ground was liked 7 times in 10 across four sources

4Whole game on one colour

a27 Whole core game on black stagea31 Whole core game on graded blue

• ShowsThe whole game in the arrangement of section 4, seen from 40 degrees above through a 70 mm lens.
• Works forDOOMTILE only, the one game whose components exist in 3D.
• Layers, back to frontThe ground, then one render of the whole scene with its shadows. On a27 three short lines of type are added.
• Sizes and placesEvery piece stays at least 70 px inside the edge, and each box stands a full thickness plus 2 mm behind the one in front. The arena covers 16.7% of the tile.
• Ground and inksGraded blue, pool #2463BF and corners #123873, with no added words (a31). Build the blue version first. The black one (a27) is the exception of rule 5, and on it only the shadows of the miniatures on the arena can be seen.
• TypeOn a27, three lines in white Barlow Condensed SemiBold capitals at 32 px, right-aligned at x 1000 at the top right.
• Make itA Blender render. Copy Sources/a31, move the pieces in a31_scene.json and run build_a31.py. The miniatures in that scene are the older ones and are replaced first (section 10).
• Built and voteda27 and a31 took five stars. pins P07, P19

5The box in action

a23 Cassette sliding out of its sleevea29 Open card kit seen from abovea36 Closed box beside its open tray

• ShowsThe box opening. The cassette slides out of its sleeve (a23), the opened kit is seen from straight above (a29), or the closed box stands beside its open tray (a36).
• Works forDOOMTILE only, because no other game has a box that opens.
• Layers, back to frontA lit ground, then the group with one soft shadow.
• Sizes and placesThe group covers about a third of the tile by outline, 33.5% on a23, 32% on a29 and 34.3% on a36. On a23 the sleeve stands 860 px tall, the cassette is 44% out and the camera sits 8 degrees above eye level with an 85 mm lens. On a29 the pieces lie inside x 95 to 985, y 243 to 1117. On a36 the camera looks down at 37 degrees through a 70 mm lens and the group is 856 × 956 px, centred at 540, 740.
• Ground and inksSlate #3A4652 (a23), lilac grey #C0BBC1 (a29) or light blue #6FC9E1 (a36). The black cassette on slate needs a rim light about four times the default.
• TypeNone is added, because the pieces print the name.
• Make itA Blender render. Copy Sources/a23, Sources/a29 or Sources/a36 and run build.sh, where --plastic sets the colour of the cassette and the tray.
• Built and voteda23, a29 and a36 took five stars. pins P20, P13, P10, P40

6Pile of one kind

a19 Studio stickers heaped on pure blacka24 Six toys grouped as one massa05 Six DOOMTILE spines edge to edge

• ShowsOne heap or one row of a single kind of thing.
• Works forA game or the studio with several finished pieces of one kind, such as the JUJU's Castle toys, the six DOOMTILE boxes or the studio's stickers. Heaps of cards did worse in the study (3, 3, 2 and two rejections), so cards go to type 13 or to the card grid.
• Layers, back to frontThe ground, the photograph's shadows and the group (a24); black and ten stickers (a19); six boxes and nothing else (a05).
• Sizes and placesSix toys stand apart on graded lilac, 1000 × 555 px at x 40 to 1040 (a24). Ten stickers overlap in one cluster inside x 110 to 970, y 240 to 1110, tilted between -20 and +25 degrees (a19). Six spines stand edge to edge in a row 1112 px wide, so 16 px of each outer spine falls off the tile and no ground shows, seen dead front through a 135 mm lens (a05).
• Ground and inksLilac, pool #B99AC6 and corners #7F5F96 (a24); pure black (a19); none (a05). The sticker heap took five stars on black in the grid, and by Q6 a teal or blue ground is the one to try first.
• TypeNone is added.
• Make itA photo cut-out (Sources/a24), a layered page (Sources/a19, make_stickers.py and then build.py) or a Blender render (Sources/a05, build.sh).
• Built and voteda19 and a24 took five stars and a05 four. study: heaps; pins B46, P36

7Lit screen

a03 Studio mark on lit yellow screena13 Six format tapes in screen windowa12 Four heroes vintage ad on teal

• ShowsThe studio's rounded screen glows yellow in black around one dark mark (a03), or the same shape becomes a window with objects standing in it (a13).
• Works forThe studio, for its logo, a reel cover or the six format sleeves. A game's pieces can stand in the window, as the miniatures do on a12.
• Layers, back to frontOn a03, pure black, the screen with its gradient, the outer glow, the scanlines, the mark with its bars, and the on-screen text. On a13, bright teal, a darker teal inside the frame, the spines, the frame, the pulled-out sleeve, the sticker and one small line.
• Sizes and placesThe lit screen is Screen 4x5.svg at 864 × 1080 px, with scanlines every 4 px at 8%. Its mark is 480 px wide, and three bars of 104 × 16 px stand on each side with their inner ends 215 px from the centre (a03). The window is Screen 4x3.svg drawn as a 32 px black stroke with its outer edge at x 65 to 1015, y 410 to 1123. In it stand five spines of 580 × 86 px and one pulled-out sleeve 790 px tall, which rises 58 px above the frame, and a sticker 240 px wide sits on the frame's top edge (a13).
• Ground and inksBlack #000000 around a screen that runs from #FFCD2D to #D3B153, with a glow of #FFCD2D at 18% and a 60 px blur (a03). Bright teal #28AA8E with #0F6B73 inside the frame (a13).
• TypeThe on-screen line is cobalt Barlow Condensed Bold at 36 px, at the top left after a play triangle, with a second line at the bottom right at 30 px. On a13 the spine names are Barlow ExtraBold.
• Make itA layered page. Copy Sources/a03 or Sources/a13 and run build.py. The spines and the sleeve of a13 come from mockup fills.
• Built and voteda03 and a13 took five stars. Whether a logo-only tile belongs in the feed is still open (section 10). pin B32; pins P11, B34, P02

8Dense object on a quiet ground or a black stage

a07 DOOMTILE cassette with its printed labela33 Hunt poster and diary on blacka34 Frejus card in a clear bag

• ShowsOne small printed object with a great deal on it.
• Works forAny game with one finished piece dense with print, such as the DOOMTILE cassette, a Bombshell card or Hunger Chain's printed sheets.
• Layers, back to frontThe ground, a glow or a shadow, and the object. On a34 the card comes first and the bag photograph lies over it at 90% opacity.
• Sizes and placesThe cassette measures 730 px along its axis, 29.6% of the tile, seen from 40 degrees above through an 85 mm lens (a07). The card is 455 × 780 px in a bag of 581 × 940 px, 37% of the tile, tilted 7 degrees and centred at 540, 675 (a34). The poster is 600 × 841 px, 35% of the tile, and poster, diary page and card back tilt by -5, +9 and +18 degrees (a33).
• Ground and inksLit teal, blue or a quiet neutral is the first choice for all three. The cassette lies on teal-blue #4585A3 with the pool at 0.50/0.72 (a07). The two black tiles (a33, a34) are exceptions he has not yet tied to a context, and the same card on teal took 4 stars against 2.
• TypeThe object's own print is the only type, except on a33, where the game's logo (280 px wide) and one line at 24 px stand below the sheets.
• Make itA Blender render for the cassette (Sources/a07, build.sh). A layered page for the card in its bag (Sources/a34, or Sources/q6a for the teal ground) and for the sheets (Sources/a33, build.py).
• Built and voteda07, a33 and a34 took five stars. In the pair the card took 4 on teal and 2 on black. pins B47, B45, P22; study: dense objects sit 0.65 stars above their source; Q6

9Stripe poster

a10 Bombshell stripe poster with code 103a18 Banana Joerney sleeve as flat postera32 SPIEL Essen dates with ramp trail

• ShowsOne ramp, a name or a number as the largest lettering, a ruled table and a chip row.
• Works forAny game or subject with a name and true facts in the copy bank, the rules-only games included. Hunger Chain states no player count, play time or age, so its chip row would be short.
• Layers, back to frontA dark page or a cream page with grain, the ramp, the Anton title or number in front of it with its shadow, the name, the table, and the chip row on the bottom margin.
• Sizes and placesThree layouts were built. In the mitre layout the ramp enters the left edge with its upper edge on the line y = x, turns at (480, 480) and runs level from y 480 to 750. The number is 418 px tall at x 60 to 678 with its baseline at y 1136, and its top overlaps the last band by 32 px (a10). In the diagonal layout the ramp leaves the right edge between y 140 and 522 and runs at 45 degrees down to a side panel 140 px wide, and the title is fitted to x 180 to 1020 in two lines of 246 and 230 px (a18). In the trail layout the numerals are fitted to x 60 to 1020 at the top of the page and five bands of 50.5 px fall from the last two numerals to the bottom edge (a32).
• Ground and inksBombshell's near-black #160A10 with cream lettering (a10), warm near-black with cream (a18), or cream with #17150F (a32). On a10 the third and fourth bands are Bombshell's own #FF5337 and #FF2E6E. Both are warm, and a green band such as Hunger Chain's has not been tried in a ramp.
• TypeAnton for the title or number. On a18 each letter carries a #17150F offset of 10 px right and 12 px down and a 2.5 px outline. The name is Barlow ExtraBold at 59 to 92 px, and the table is Barlow Condensed SemiBold capitals at 22 to 28 px on 1.5 px rules.
• Make itA layered page. Copy Sources/a10 for the mitre, Sources/a18 for the diagonal or Sources/a32 for the trail, and run build.py.
• Built and voteda10, a18 and a32 took five stars, and a18 took 4 in its pair. 14 ramp pins; Q3

10Label series

a08 Exhibit A label on cream papera28 Footnote label in yellow and black

• ShowsOne face label with its spine label under it, lying tilted on a page.
• Works forAny game, format or subject with a name and a true number.
• Layers, back to frontA cream or near-black page with grain, a line of micro-text in each corner, the face label with its shadow, and the spine label with its shadow.
• Sizes and placesThe face label is 872 px wide on the tile, the two labels are centred at y 558 and y 910, and both tilt 6 degrees. "Numbered labels" in section 5 holds the full rule.
• Ground and inksNear-black, cream and one more colour. The two built colourings are described in section 5.
• TypeBarlow ExtraBold for the name, Anton for the numeral, and Barlow Condensed capitals at 22 px for the small print and the corners.
• Make itA layered page. The template is label.html with params.json and rebuild.sh in Sources/a28; change the name, the number and the colours in params.json and run rebuild.sh. Only two-digit numbers were built, so a three-digit number such as Bombshell's 103 has not been tried.
• Built and voteda08 and a28 took five stars, and the yellow and the orange-red label took 4 each. pins B44, B05; Q2

11Type tile with depth

a04 Sentence case statement leaning on reda26 Tagline as black blocks on yellow

• ShowsThe letters are the picture, built as solids.
• Works forA studio line from the copy bank or a game's tagline, in few words.
• Layers, back to frontA flat ground with grain, the extrusion, the letter faces, and two small lines along the bottom margin.
• Sizes and placesThree stacked lines with a 278 px cap height run from x 60 to 1020 and y 132 to 1135, each letter with a 36 px extrusion to the lower right and a 4 px black edge (a26). A block 685 px wide leans back by 30 degrees about its left edge, so that its faces land at x 60 to 939 and its extrusion ends at x 1020 (a04).
• Ground and inksBlack blocks with a cream extrusion on flat banana yellow (a26), or cream blocks with a #17150F extrusion on flat orange-red (a04).
• TypeAnton, in capitals on a26 and in sentence case on a04. The small lines are Barlow Condensed capitals at 28 px.
• Make itA layered page. Copy Sources/a26, whose gen.mjs draws the letters from Anton's own outlines so that every block shows its corner edges, or Sources/a04, and run build.py.
• Built and voteda04 and a26 took five stars. pins B25, B27, B28, B30; study: black with yellow; his words on specimen text

12Faux vintage ad

a12 Four heroes vintage ad on teala16 Vintage ad, the box is VHS

• ShowsA magazine page from the tape years, with a headline, the product and true small print.
• Works forDOOMTILE, whose box is a VHS cassette. Another game needs a product strip of real objects first.
• Layers, back to frontOn a16, a cream page, the headline, the product strip in front of its last line, three columns and a tick-box line. On a12, flat deep teal, the headline, four windows with one miniature each, and a footer strip with chips.
• Sizes and placesThe headline of a16 is three lines of 215 px, left-aligned at x 60, and the strip covers a tenth of the last line. On a12 the two headline lines are 254 and 129 px tall, the four windows are 468 × 351 px, and the footer strip runs from y 1256 to the bottom edge.
• Ground and inksPaper cream with #17150F (a16), or deep teal #0B5F5A with cream and a #17150F footer (a12).
• TypeAnton for the headline. On a16 the column heads are Barlow Condensed Bold and the text Barlow Condensed SemiBold, at 22 to 24 px.
• Make itA layered page around Blender renders. Copy Sources/a16 (scene_strip.py renders the strip) or Sources/a12 (render_minis.py renders the figures) and run build.sh.
• Built and voteda12 and a16 took five stars. pins B07, B34, B23, B35; study: six faux vintage layouts scored 4, 4, 3, 3, 3, 3

13One card large

a14 Mind Rend card, large and lifteda30 Thera card breaking its own edge

• ShowsA single card on a deep lit ground, tilted over one soft shadow.
• Works forAny game with a finished card face, which today means Bombshell's baked faces and DOOMTILE's print files.
• Layers, back to frontA deep lit ground, the shadow, and the card. On a14 the corner of a second card shows under it, and on a30 the illustration continues past the card's edge.
• Sizes and placesThe card fills about half the tile and tilts 5 or 6 degrees. On a14 it is 690 px wide, 51% of the tile, lifted 8 degrees off the floor, with the second card turned 10 degrees against it. On a30 it is 665 × 1140 px, 52% of the tile, centred at 568, 675, and the art leaves the card by up to 151 px.
• Ground and inksSlate #33414A (a14), or deep blue with pool #1B4FB5 and corners #0C2A66 (a30).
• TypeThe card's own print is the only type. The cost in the corner and the name have to read on a phone.
• Make itA Blender render for a real 3D card (Sources/a14, build.sh). A layered page for a baked face (Sources/a30, build.sh), where card_overflow.py matches the cut-out to the art on the face.
• Built and voteda14 and a30 took five stars. pin P25

14Game page

a02 Firewall fighter page on cream paper

• ShowsA hero sheet in one colour, built as the cover of a carousel.
• Works forA Bombshell fighter with a cut-out, a baked face and numbers from tools/cards.py. No other game has been tried.
• Layers, back to front (a02)A cream page with a 3 px frame inset 60 px, the name sideways, the cut-out crossing the frame by 40 px with a soft shadow, the widgets down the right, a band with one rulebook line, the skill in an outlined box, and two card faces and a ruled table at the bottom.
• Sizes and places (a02)The name has a 239 px cap height at x 83 to 322, the cut-out is 640 px wide, the six widgets are 84 px high and the two card faces are 186 px wide.
• Ground and inksPaper cream with #17150F and one colour taken from the fighter, steel blue #3C547C on a02.
• TypeAnton for the name and the numbers, Barlow Medium at 24 to 26 px for the rulebook line and the skill, and Barlow Condensed SemiBold capitals for the table.
• Make itA layered page. Copy Sources/a02 and run build.py --layers; every position is a variable at the top of that file.
• Built and voteda02 took five stars. pins P15, P24, P14, P21

15Two-ink print

a20 Vera printed over a pink 103

• ShowsA drawing printed in black over giant numerals in one colour ink, on a cream page.
• Works forAny game with a finished drawing and a true number. Bombshell's 103 is the built one.
• Layers, back to front (a20)Paper, the numerals, the drawing laid over them with the multiply blend, a cream box with a 3 px outline that holds one line, and one vertical label at the right margin.
• Sizes and places (a20)The numerals are fitted to x 60 to 1020 and stand 657 px tall from y 60. The drawing is 1100 px tall and bleeds off the bottom edge. The box runs from x 60 to 396 and y 1023 to 1290.
• Ground and inksPaper cream, black and one ink, Bombshell's pink #FF2E6E on a20.
• TypeAnton for the numerals, Barlow ExtraBold at 36 px in the box with a small line at 24 px, and Barlow Condensed Bold capitals at 30 px for the vertical label.
• Make itA layered page. Copy Sources/a20 and run build.py.
• Built and voteda20 took five stars. pins B39, P27

16Interface marks on a finished picture

a06 Gigi toy under four interface marksa22 SALVAGE mecha behind a pixel mosaic

• ShowsA finished photograph or illustration floats on a lit ground with the marks of a design program over it.
• Works forAny finished picture, such as a JUJU's Castle toy or the SALVAGE mecha. A work in progress never takes these marks.
• Layers, back to frontThe lit ground, the faint grid if there is one, the subject with its shadow, the selection box and its tab, the cursor, and the dialog window.
• Sizes and placesThe marks are measured in section 5. The dialog is 520 × 200 px with a 3 px border and a 44 px title bar, and the tab is 96 × 34 px (a06). On a22 the dialog is 520 × 210 px and the mosaic is eight by six blocks of 46 px.
• Ground and inksCobalt, pool #3478F9 and corners #1F4FC0, with a cream dialog bordered in #17150F (a06). The game's cyan with a white dialog bordered in black (a22).
• TypeThe tab and the title bar are Barlow Condensed Bold at 24 px, and the message is Barlow ExtraBold at 34 to 38 px.
• Make itA layered page whose marks are live HTML. Copy Sources/a06 or Sources/a22 and run build.py.
• Built and voteda06 and a22 took five stars. Whether the marks become a house device is still open (section 10). 13 pins

One picture sits outside the sixteen and is now in. It is the box on its card grid, described in section 4, and it works for any game with a real box and finished card faces, which today is DOOMTILE. It is a Blender render: copy Sources/q5a and run build.sh. Q5

7The grid

Object tiles and supporting tiles alternate like a chessboard. Types 1 to 8 are object tiles and types 9 to 16 are supporting ones, and the built grid holds 21 and 15. Because those numbers cannot alternate perfectly, three object tiles sit on supporting squares, and no supporting tile sits beside another. Every one of the 15 supporting tiles took five stars, so the split is kept, although the votes cannot say whether another split would do better. plan; addendum, section 4

No game sits on two tiles that share an edge, and no two such tiles share a ground family. Blacks count as one family, blues as one and teals as one. plan, checked by script on every build

A grid shows at least three games and the studio. The built one gave DOOMTILE 13 tiles, the studio nine, Bombshell seven, JUJU's Castle five, and Hunger Chain and SALVAGE one each. DOOMTILE leads because it is the one game with a finished printed object. addendum 2.9; plan

Tiles on which a viewer meets a DOOMTILE box, a cassette, a sleeve or a screen stay between a fifth and a third of the grid, which is 7 to 12 of 36. The addendum counted by type and found ten. This document counts by eye, since that is what someone looking at the profile sees, and by eye the built grid has 13: a01, a03, a05, a07, a12, a13, a16, a18, a21, a23, a25, a29 and a36. The grid took its fives as it stands, so Andrea either accepts 13 as the ceiling or one of them gives way in the next grid. addendum 2.9; plan

The approved grid put 19 tiles on a colour, 9 on cream or near-black, 5 on pure black and 1 each on flat yellow and flat orange-red, with the spine row of a05 showing no ground. The sources set no quota. A new grid that stays near this mix is on tested ground, and one that moves far from it is a new test. plan; measured on the tiles

a01 DOOMTILE, teala02 Bombshell, creama03 studio, screen in blacka04 studio, orange-reda05 DOOMTILE, spinesa06 JUJU's Castle, cobalta07 DOOMTILE, teal-bluea08 studio, creama09 Bombshell, near-blacka10 Bombshell, near-blacka11 JUJU's Castle, pinka12 DOOMTILE, deep teala13 studio, bright teala14 DOOMTILE, slatea15 Bombshell, violeta16 DOOMTILE, creama17 JUJU's Castle, azurea18 studio, near-blacka19 studio, blacka20 Bombshell, creama21 DOOMTILE, teala22 SALVAGE, cyana23 DOOMTILE, slatea24 JUJU's Castle, lilaca25 DOOMTILE, tana26 studio, yellowa27 DOOMTILE, blacka28 studio, near-blacka29 DOOMTILE, lilac greya30 Bombshell, deep bluea31 DOOMTILE, bluea32 studio, creama33 Hunger Chain, blacka34 Bombshell, blacka35 JUJU's Castle, corala36 DOOMTILE, light blue

The table shows the profile as it will look, with the newest post at the top left, so the grid is posted from the bottom right. a36 goes out first and a01 last. The SPIEL Essen tile, a32, is time-bound and has to go out before 22 October 2026, and it is the fifth post. Four tiles stand ahead of it and each waits on Andrea: a36, a35, a34 and a33 (section 10). Either those four are cleared in the 17 days before the fair or a32 moves ahead of them, and that choice is his. plan; tools report

Each new post moves every tile one place, so the grid exists as drawn only when the number of posts is a multiple of three. In between, the two tiles on either side of a row break come to stand side by side. The edge rules are therefore checked on the order of posting: a post shares neither game nor ground family with the post before it or with the post three before it. Posted one at a time, the built order breaks this at nine of its eleven row breaks. Three pairs share a game (a03 and a04, a09 and a10, a18 and a19). Eight share a ground family: the blacks of a09 and a10, a18 and a19, a27 and a28, a33 and a34, the teals of a12 and a13, a21 and a22, and the blues of a06 and a07, a30 and a31. Posting each row of three on one day keeps every pair apart, and moving one tile of each pair is the other way. plan; checked for this document against the plan's own list of ground families, which counts SALVAGE's cyan as a teal

8Words and credits

Every post is in English. The words on a tile and in its caption are quoted from the rulebook, the box or the sell sheet as the copy bank lists them, and a fact marked "not stated" there is left out. Check card names, counts and numbers on the day with tools/cards.py, because the hub is where they change. DOOMTILE has no hub page, so that check cannot be run for it. The card faces on a14, a27, a29, a31, q5a and q5b are the September 2025 print files, and Andrea checks their text, and which faces belong to the core box, before those tiles go out. The August 2025 press kit is used for dates only, since it predates the final rules. copy bank; plan; build notes a14, a29, q5a; project rule on card data

Names keep one form. The studio is Banana Joe Games in full and never "BJG". DOOMTILE and SALVAGE stay in capitals, and JUJU's Castle and Hunger Chain are written as shown here. The tagline is Be You. Replay. with its two full stops. The studio designs, makes, produces and ships, and it never "publishes" or "releases" someone else's game. copy bank; lexicon

The voice rules hold in every caption. There is no em dash, no contraction, no emoji and at most one exclamation mark, and hashtags appear only where reach needs them, at the end. The subject of a sentence is the game, the object or the reader, and rarely "we". A caption that invites a reply ends on a question, and no caption closes on the reader holding the object ("in your hands", "finally yours"). A call to action names the place or says nothing. Numbers from zero to nine are spelled out in prose, while player counts, sizes and prices are always numerals. A rulebook line that holds a contraction is expanded when quoted, as "It is a game of asymmetric powers" was. The banned words that tempt a games caption include fun, epic, unique, iconic, premium, experience, journey and community. copy bank; lexicon

Two built captions break these rules. One quotes the box with a banned word ("140+ unique cards", on a29, q5a and q5b), which needs his call. The other, on a25, spells out a player count, "up to nine at the table", and takes the numeral. plan; copy bank

A post that shows an illustration names the card and the artist, in the exact string the artist asked for, and tags the artist where they asked to be tagged. The built captions read "Bertha, art by 骨ニギー." (the credit uses the katakana ニ), "Vera, art by reddymarts." and "Frejus, art by Davi Araujo." Every JUJU's Castle caption ends "A Banana Joe Games production, by Jean Jullien." A tile whose artist is unknown carries no credit and waits. Handles live in the Bombshell Artists sheet, tab ARTISTS DB. copy bank; standing rule of 1 August 2026

Promotion of a specific game belongs on the image feed, and reels stay on the three subjects they are built on: where the inspirations come from, what the studio makes, and the studio and the people around it. A reel cover is designed as a title card and is never taken from a frame of the video. The invented examples in the reel scripts illustrate a register and cannot be printed as facts. copy bank, quoting the content strategy; study

9What must never appear

None of the following goes on a tile or in a caption.

• A phone shot of a table, booth or shelf stays out, and so do a frame from a reel and a talking head with burnt-in captions, because captured pictures were rejected seven times in ten. study
• A game on a wooden table in room light stays out with split two-colour grounds and hard sun shadows, since tables and rooms were rejected 66% of the time and none of the sixteen split sets was liked. study
• A box drawn as a flat rectangle, a blank object, a placeholder face and a broken stand-in stay out, because no placeholder mockup was liked and he asked for real or generic mockups. study; his words
• A rectangular JUJU's Castle box never appears, since the real box is a castle and its model is still grey. Neither does any Bombshell box, since no cover art, dieline or model exists. addendum, reminders; asset reports
• An object never sinks into black with no lit edge, and it is never cut out on pure white like a shop listing. The study has both among the pins he rejected. study
• A logo or one small word alone on an empty tile fails, and so does plain specimen text, a face shown as a sample with no depth and no carrier, which he called anonymous. study: 16 such tiles, three liked; his words
• Katakana or any other script used as decoration stays out, in his words "lame and weeb". his words
• A crowded spread of equal parts, a sheet of logo variants, a dieline and cards scattered loose under a box stay out, because busy grids were rejected 73% of the time. The tidy card grid of Q5 is the allowed case. study; Q5
• An illustration bare on a flat colour, framed creature art and a drawing shown as work in progress stay out, since colour drawings shown bare were never loved in 44 pictures. study
• Photocopy grit, eroded letters, torn paper, two bright inks overprinted and halftone that dissolves its subject stay out, as the textures his votes rejected. study
• A tile never carries a second ramp, and yellow never does two jobs on one tile, because the colour then reads as one flat field. a13 is the known exception until it is rebuilt. addendum 2.1; build note a13
• A garment is never the subject of a tile, and a countdown or a sale banner never appears. Of 26 garments 18 were rejected. study
• "BJG" never appears in public. Neither does a fact that the copy bank does not hold, a play time added as a chip or in a caption before he confirms 30'/90', or a credit in any string but the artist's own. copy bank
• Gaki Race, Takeover, the team-only games, paid course material and scans of third-party stickers stay out, because each is someone else's property or has not been announced. copy bank; addendum

10Still open

What only Andrea can settle before anything is posted

The order of posting comes first, because one tile has a date. The grid goes out from a36, a32 is the fifth post, and a36, a35, a34 and a33 each wait on a point below. Either Andrea clears those four before 22 October or a32 moves ahead of them. He also chooses between posting in rows of three and changing the order, since the built order puts nine pairs side by side when tiles go out one at a time (section 7). plan

Credits and permissions follow. Every JUJU's Castle picture is Jean Jullien's work and the Contracts folder is empty, so the five tiles (a06, a11, a17, a24, a35) wait for Andrea's word on what may be shown and on how Jean Jullien is credited and tagged. The toys are the art toys of the 2025 Nanzuka show, which are larger than the game's miniatures. The group of a24 includes a devil and a second knight for a game with four adventurers, and the packaging calls the wizard Lou where the rulebook says Lulu.

No file names who painted the DOOMTILE covers and cards or who sculpted the miniatures. File and layer names in that pipeline point to generative tools for some cover art and for the arena tiles, so Andrea says how the art was made before a14, a27 and a31 go out. For the same reason a25 was built with The Druid & The Witch, and its Merfolk version is kept beside it. The card faces need his eye too, as section 8 explains: DOOMTILE has no hub page to check them against, and no file says which faces belong to the core box.

SALVAGE needs its illustrator's name and a yes on showing a game co-marked with Hopes, the printer that manufactures DOOMTILE. Hunger Chain needs a yes and a credit for its teaser pieces. On Bombshell, "lysol jones" is a placeholder credit, cptHamburger's cards wait on the payment question, and the cards of a30 and a34 crop in on a pin-up pose, for which a Bertha version of each is ready. The sleeve PSDs and the clear bag come from stock packs with no licence note beside them.

DOOMTILE's play time has one current figure. The 2026 sleeves, the April 2026 labels, the sell sheet, the rulebook and the copy bank agree on 30'/90'. Eight tiles already show it because the sleeve prints it. The older figures are 45'/90' on the 2025 sleeve and 25'/40' in the September 2025 ads and on the clock icon. No chip or caption adds a play time until Andrea confirms the figure once, and JUJU's Castle and Bombshell state none at all.

Five tile repairs wait as well. a27, a31 and a36 carry the older miniatures and take the production sculpts before posting. The spine tear repaired on a05 needs his eye, and a05_sheets_as_on_drive.png shows the row unrepaired. The Bombshell faces on a02, a30, a34 and question 6 are bakes of 21 August, and the Firewall face prints no credit, so the bakes of 4 October replace them. The card names Bertha and Vera are confirmed on the hub on the day, because their files carry the old archetype names Hobo and Bouncer. Andrea names the official Bombshell wordmark among the six files. build notes a02, a05, a09, a12, a15, a20, a36

Four approved tiles break a rule of this document as built. a13 carries yellow three times, and the lettering or the group on a17, a24 and a35 runs to 40 or 43 px from the edge. All four took five stars. Each is corrected at its next rebuild, or Andrea records it as allowed.

A few smaller facts are open as well. The 3D file renders the cassette black and the factory sample is white. Seven tiles show the cassette (a07, a16, a23, a29, a36, q4a, q4b), and white alternates are built for four of them (a07, a23, a29, a36). The fourth hero is Warrior on the sell sheet and Samurai in the production file. The Hugo miniature renders orange where its Pantone reference, 116 C, is a yellow. The caption of a36 places a line on the back of the box that the 2026 back panel does not print. Captions write Bombshell while the rulebook writes BOMBSHELL, and Andrea picks one.

Capitals or sentence case is open as well. The lexicon asks for sentence case everywhere and excepts game names styled in capitals. Titles in Anton are capitals, and so is all small print in this system. A statement was built both ways, a26 in capitals and a04 in sentence case, and both took five stars, so the votes leave the question where it was. The same call is open for on-screen text in reels.

Two devices and one wordmark were tested by a tile and never answered in his words. Does a logo-only tile belong in the feed (a03)? Do interface marks become a house device (a06, a22)? Does JUJU's Castle call for its Japanese wordmark (a17, with a11 as the Latin answer)? Five stars on each lean toward yes and prove little. The reel-format covers add their own list. The numbers 01 to 06 are a proposal, the DAY line on a18 is blank because the studio's start date is open, the names of the three reel subjects would become public as small print, and none of the six formats has been shot.

Two sets of studio values are in circulation. Banana yellow exists as #FFCD2D and as #FFCF23, and black as #010101 and as #17150F. The proposal used #FFCD2D, #010101 for ink and #17150F as the warm dark ground, and one set has to be fixed. Dark tiles also need white and yellow versions of the current logo, which exists only with black lettering.

The Figma file shows where the type is not yet one system, because every setting had to be written down there. Seventeen text layers keep a setting that no other layer shares. The label series sets its name at 89 px and a32 sets it at 92. The small line tracks 14% on a21, a25 and a27 and 12% elsewhere, the table text is 27 px on a02 and 28 px in the series, and the chips of a12 are 23 px where the others are 22 or 24. Several tiles set the small line in Bold. Each of these can stay, with a style of its own, or snap to its neighbour, which moves type by a pixel or two away from the approved picture. Andrea decides, and align_report.json in the Tools folder lists every case with what would change. alignment pass and its check, 5 October 2026

Where the sources disagree

His pins put about ten objects on black, while the study found black working in two accounts only. In the pair he gave the card on black 2 stars and said teal works much better. In the grid the same file took five stars as a34, and so did the three other tiles on pure black. This document follows his words, with teal or blue by default and black as the exception. He has not said which contexts earn black. The four that were built are a sticker heap, a whole game, papers seen from above and a card in clear plastic.

The box alone on teal is the best-backed look in the study, and a21 took five stars, yet the box alone with three cards took 2 beside the card grid. The 2 may only mean that the grid is better, which is what he said. Type 3 stays, and whether it leads a grid is a question for him.

The study found yellow level with its source, and boxes on flat colour were liked 19% of the time. He then gave the lit yellow ground 4 stars. Yellow under an object is therefore allowed when it is lit, and it has not been tried inside a grid.

The study found no pastel ground liked. Four tiles on light grounds took five stars, three of them in hues taken from JUJU's Castle art and one in a light blue he had pinned, and the kit on lilac grey took five as well. A light hue is therefore allowed when it comes from the game or from a pin and is lit as a pool, and a tint chosen for its own sake stays out.

What the votes on the proposal cannot tell us

Thirty-three of 36 tiles took five stars, three took four, nothing was rejected and no note was left. Across the 906 pictures of the study he gave five stars eight times, so the scale was used differently here, on his own studio's material and after two days of steering it. The hub keeps the time of the last vote on each tile, and 35 of them fall within a minute and a half, with a02 about four minutes later. He may well have looked at everything before clicking. Either way the fives arrived as a run. Read together they say that the set is accepted and that none of the sixteen types is refused. They cannot rank one tile or one type against another.

The same file also changes its vote with its surroundings. The sleeve poster took 5 in the grid and 4 in its pair, as the card on black took 5 and 2. The study had already found that three of twelve pictures voted twice moved by two stars.

The three fours therefore prove very little. All three are DOOMTILE object tiles. The first, a01, is a Latin title over one box, a kind of poster the study expected 2 to 3 stars from. Its box is the smallest hero in the grid at 16%, and its four came twice, as a01 and as q1b, while three other title posters took five. The spines of a05 fill the tile with no ground, and the study has objects at half the tile or more rejected half the time, yet two cards at half the tile took five. The sleeve of a25 lies on a tan sweep, a ground that three pins use and the study never tested. Its nearest relatives in the study, pale grey and a wooden table, scored low. One vote cannot retire the tan, nothing supports building more of it, and the kit on lilac grey took five. Each four is worth one check when its tile is next rebuilt, and no rule in this document rests on them.

A ranking would separate the tiles, for example the nine he would post first and the nine he would drop, and so would posting them. Neither has been done, and the first is a suggestion of this document with no source behind it.

11Where everything is

All Drive paths start at Banana Joe Production/_CORE/ unless they say otherwise.

• The taste study, the addendum and the two pin sheets are in BJ - Marketing/BJ - MK - Content Creation/BJ - MK - Moodboard/, under the names BJ - MK - Moodboard Taste Study.md, BJ - MK - Moodboard Taste Addendum.md, BJ - MK - Moodboard Taste Addendum Pins Branding.jpg and BJ - MK - Moodboard Taste Addendum Pins Production.jpg.
• This document is BJ - MK - FP - Feed System.md in the Feed Proposal folder. The same text with the pictures beside it is at bjg-hub.web.app/feed-system.html, and build_feed_system_page.py in the Tools folder rebuilds that page from this file.
• The proposal is in BJ - Marketing/BJ - MK - Content Creation/BJ - MK - Feed Proposal/. BJ - MK - FP - Plan.md specifies every tile and BJ - MK - FP - Copy Bank.md holds the words and facts. The grid sheets are BJ - MK - FP - Feed Grid 1 of 2.jpg and 2 of 2.jpg, and the pairs are BJ - MK - FP - Questions 1 to 3.jpg and 4 to 6.jpg.
• The editable masters are in Figma, in the file www.figma.com/design/7tneNoRPsvgniK4jP03gdQ on Andrea's account: the page Feed grid holds the 36 posts, Six questions the twelve pair pictures, and Kit the styles, the five components and a note on how the file is organised. BJ - MK - FP - Figma file.webloc in the Feed Proposal folder opens it, and BJ - MK - FP - Figma Posts.jpg and BJ - MK - FP - Figma Questions.jpg show every frame as it renders there. BJ - MK - FP - Tools/figma/ holds what a script needs to add or repair a frame: kit.md (the guide), kit.json (every id), lib.js (the helper code), the build code of each frame under tiles/, the audit and the alignment report.
• The single tiles are in BJ - MK - FP - Posts/ (36 PNG files) and BJ - MK - FP - Questions/ (12).
• BJ - MK - FP - Sources/<id>/ holds what rebuilds each tile: the layers, the scripts, the Blender scene where there is one, and tile.json with the build notes. The alternates sit there too, such as the white-plastic versions and the Bertha cards.
• BJ - MK - FP - Tools/ holds report.md, which explains how the pictures are made, together with blender_box.py, fill_psd_mockup.py, compose_title.py, chrome_shot.py, ground2.py, build_feed_page.py and six asset reports. tests_sheet.jpg in that folder proves the tooling only. Eight of its frames show a rectangular JUJU's Castle box with BJG on the spine, so it is never shown as an example.
• The voting pages are bjg-hub.web.app/feed-proposal.html (keys a01 to a36) and bjg-hub.web.app/feed-questions.html (q1a to q6b). The 906 moodboard votes are at /moodboard.html and the nine earlier posts at /feed-mockup.html. Votes are stored in the hub database, in the collection contentratings, under <page>~<key>.
• The studio addon is BJ - 3D Files/BJ - 3D - Blender/BJ - 3D - BL - Addons/bjg_studio.py, with its guide beside it. The driver bjg_shoot.py, shoot_report.md, studio_api.md and the test frames are in bjg_studio shoot/ in the same folder.
• The DOOMTILE models are in BJ - 3D Files/BJ - 3D - Blender/BJ - 3D - Asset Library/04_Game Components/. The boxes are in KaganBoardGameKit/Materiale per Mockups/VHS Boxes/VHS-textured.blend and everything else is in Doomtile/Doomtile_asset.blend, where the open sleeve is called a slipcase. The generic kit for any other game is KaganBoardGameKit/BG - Asset Library DONT TOUCH.blend. The 2026 sleeve sheets are outside _CORE, in DOOMTILE/DOOMTILE - Assets/DT - AS - Textures/.
• The VHS mockups are in BJ - Branding/BJ - BR - VHS System/BJ - BR - VH - Mockups/. The logo exports are in BJ - Branding/BJ - BR - Logo/BJ - BR - LG - Exports/, and the screen, burst, swords, static and halftone are in BJ - Branding/BJ - BR - Patterns/BJ - BR - PA - Exports/.
• Anton is loaded from ~/Code/bjg-demo-reel/assets/fonts/Anton.ttf, and Barlow is installed in ~/Library/Fonts/.
• Card text and numbers come from tools/cards.py in BJG - Planner/bjg-hub-site/, and the baked Bombshell faces are in ~/.bjg-tools/headless-bake/out/bombshell/.
• The writing rules are grammar.md and lexicon.md in ~/.claude/skills/bjg-brand-identity/.