This is a tricky haiku constraint because TESTY is emotionally exact but not naturally image-rich. A poem can flatten if everything before the final line merely explains irritation. The stronger entries solve that by creating a small pressure-system first, then letting TESTY name the mood already formed. Mark’s “GREAT gem, guards surround / THIEF waits, first TENSE, now bored / Getting TESTY now” is a good example: the constraint words are absorbed into a compact narrative of delay, so the final word functions as tonal payoff rather than summary. Across the set, the better poems hide the prompt-solving by making annoyance emerge from scene mechanics — waiting, tangled motion, social friction, unreadable texts, work fatigue — which gives the ending real bite.