Scenario's public catalog carries purpose-trained models per asset type (sprites, icons, props, tilesets, isometric scenes, pixel art, concept art) plus utilities for background removal, upscaling, and pixel cleanup. Discover by asset type, inspect the schema, generate, post-process, export. A sheet whose cells are one character's animation frames, and any walk cycle, loop, or GIF, belongs to . Connection and core loop: see the skill. If a sibling skill named here is missing from your available skills, ask the user to install it (); unattended, proceed from tool schemas and flag the gap.

Request: "four style-matched potion icons for an RPG inventory."

Restyling one approved component into a set (button, panel, popup well, icon family) fails on the reference more often than the prompt: the model treats everything composited onto the object as the object.

Verify the set by measurement, not by eye: compare each output's alpha bounding box against the source before accepting the batch.

Choose the grid before the style. A 2:1 diamond is a common game projection; a projected hex is a different footprint. Share one projection, placement anchor, light direction, and shadow side across a set. A tile's ground footprint is not its full sprite silhouette: trees and buildings rise above it and may overlap the tile behind. Never clip a tall object through the ground mask. Check a small assembled map for joins, path connections, occlusion, and visual quality before scaling the batch; a clean alpha boundary alone is not acceptance.

Use the isometric template guide to choose a neutral ground or slab reference and separate ground, side, and object regions. The JSON manifest records their geometry, filenames, and source hashes. The template builder, run by a maintainer or an agent needing local geometry, creates the PNGs and manifest. It generates geometry only, not finished game art. Keep the geometry reference separate from the approved style reference; neutral geometry must not force a palette or faceted look. Resolve uploaded assets and publish new versions through the skill's shared asset lifecycle; upload local inputs only when no matching asset is accessible.

Dedicated isometric members exist in the public catalog. with the user's tile need, then . Read the reference, mask, seed, and strength fields instead of assuming they exist or that low strength preserves geometry: conventions vary. Keep the camera and lighting wording fixed while varying the subject. Reuse a seed only when supported. If the model drifts in projection or light despite a consistent reference, use , then consider on approved tiles.

For a ground fill or content explicitly bounded to a shape, use masked . If the specialty pick has no mask field, again with and the mask need. Read mask polarity and any required base-image field from ( covers model-specific conventions). Template region images are white inside; adapt them to the model's convention, including alpha if required. The base canvas must match the mask dimensions and placement; an approved style reference does not replace it. When that canvas is opaque, preserve its background during the edit: asking for transparent output simultaneously contradicts the protected-canvas constraint. Extract transparency afterward. Use the ground region for terrain, and the taller object region for trees or buildings; the latter is editing space, never a final silhouette mask.

Run one tile first. Measure changes outside the edit region against the source canvas and inspect the result. A few-pixel overrun on a deliberately bounded ground fill can be clipped to its mask; extensive drift needs diagnosis of polarity, base canvas, and consumed references before retrying. For taller sprites, preserve the object silhouette with native alpha or background removal and verify the ground anchor separately. A deterministic ground mask cannot repair a wrong camera or a poor composition.

A "low-poly" look and a low-poly mesh are different deliverables. The look is a 2D style word on an image model. The mesh is : whether the image-to-3D pick (, ) exposes a polycount target or a topology choice is read off , never assumed, and when it exposes neither a separate remesh utility (its own billed run, found with , ) brings the count down afterwards. Either way the concept image feeding it wants flat shading, a clean silhouette, and a plain background so the geometry reads.

A parallax background is a stack of depth planes the engine scrolls at different speeds: an opaque sky or far plane, then two or three cutout planes with transparent gaps the planes behind show through. Two routes produce the stack; writing "layers" or "parallax" into one generation prompt produces neither, it returns a single picture of stacked layers, and on a style-trained model it returns several layers painted into one image.

Check the stack before exporting: (a fixed first-party id, Scenario's single deterministic image compositor, so discovery would only re-derive it) takes the planes as , each with (the asset id) and in depth order, over with numeric and and . Use the camera viewport dimensions, preserve each plane's source size, and position the shared canvas so bleed lies outside both viewport edges. Equal-width split planes work when that bleed covers each plane's offset range. A second composite with the near planes shifted a few percent in (a percent string) within its available bleed previews the parallax offset the engine will produce; a seam, a doubled horizon or a plane whose cutout edge shows a halo is visible here, before any engine work. Verify actual alpha, not just the thumbnail. Reject a stack with cutout seams, missing scenery, or foreground objects left in the rebuilt background: shifting the planes exposes those duplicates. Revise the separation or inpaint settings, or use the one-plane-per-run route, within the user's budget; otherwise report a failed preview instead of an engine-ready set. each accepted plane with (the far plane too, so the set shares one format), tag them with their depth order, and leave scroll speeds and looping to the engine.