Initially this is because the pages of your manuscript are soon swimming with so many colors and suits that it’s easy to overlook an impending assault. For a play or two, it’s the simple act of seeing them coming. That’s probably the more important detail. The loser’s tiles are flipped face-down, consigned to obscurity. Once bound together by margins, text, and other tiles, these natural rivalries enter into divine battle. But angels and demons? Monks and rabbits? Hounds and squirrels? Such rivalries are fated to result in spilled ink. If a dragon butts up against a hound, nothing happens. In essence, both monks’ illustrations are liable to battle one another, but only against rivals from the same suit. I’d call this the most complicated aspect of Illumination, but in practice it never truly becomes all that knotty. Candles, wine, bells, that sort of thing.įar trickier is what happens across many placements. ![]() When a tile matches the color of an adjacent tile, the reward is a ritual token. When a tile matches the color of the quill on the page, its monk earns a sole coin, precious but not lucre enough to prevent anyone from passing through the eye of a needle. There’s an immediate reward for their placement. Over time, these illustrations will be inked onto the parchment of three shared pages. squirrels, plus some bonus tiles for earning coins. Both of the game’s monks, reverent and irreverent, begin with a stack of tiles depicting their half of a few contrasting suits: angels vs. Yet that basic structure remains essential, drawing everything back to the same root. Everything is built around a single mechanism, one that soon branches outward until it’s easy to miss the trunk for the foliage. ![]() Nowhere is that clearer than in Illumination’s overall structure. This is exactly how illuminated manuscripts look up close.įor all their individuality, Seegert’s designs leave familiar impressions.
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