A Risszeichnung — the technical cutaway plate of a European pulp-SF magazine: one apparatus in section or ordered explosion, drawn at obsessive density — every deck, conduit and fastener present, drawn to be READ for an hour (detail is load-bearing, not noise). Exactly one component is visibly organic — wet, mortal, slightly comic — and the linework treats it with the same engineering seriousness as the bolts. Numbered legend down one side, technical lettering, scale notes, registration marks, slight ink misregistration. Print variant b: NEGATIVE plate — hot pink (#ff2d55) phosphor linework glowing on a near-black ground, circuit-light logic, neon strictly as structure. A dry joke hides in the parts list and a second one in the margin note. Mood: affectionate engineering; the draftsman loves the machine and suspects it knows. Subject: NEGATIVE plate: a nested loop organism as exploded cutaway, hot-pink phosphor linework glowing on near-black — concentric loop housings in ordered explosion, a spinal token-reflex actuator at the base, tool-call tendon linkages, and the goal organ as the one organic component, rendered as a darker wet mass the phosphor lines wrap around rather than through. A gloved hand at the frame's edge threads a single bright orchestration wire into the stack. Numbered legend in phosphor lettering; margin note: the technician's maxim about loops that call you back. Portrait orientation, 4:5 aspect ratio. The subject occupies 60-70% of the frame. The Bureau's filing layer sits over the image: numbered callouts with thin pointer lines and a small plate-number block — the frame has been FILED, not designed. Ceremonial frontality is welcome: staged, centered, symmetrical compositions read as ritual; the filing layer and one quietly wrong detail break the symmetry. Keep all marks at least 6% inside the frame. The body stays in the frame. Hold both ends: grotesque AND tender; dark is allowed, cold is not. Hauntology of the print itself: film grain, slight color drift, a frame duplicated too many times. No portrait faces — faces stay obscured, masked, turned, partial or distant. Hard constraints: no CGI polish, no stock surrealism, no premium textures, no cold abstraction, no earnest gloom without wit, no neon as decoration, no real-world logos or film references.