Book VI Narrative maps art and audio

Campaign introductions use a dispassionate historian’s documentary voice. They explain causes, named commands, concentration and operational manoeuvre, then stop at an unresolved situation. Mission briefings provide the immediate commander’s task and tactical detail.

Narration

Keep game mechanics, decklists, unlock thresholds, performance formulas and design decisions out of the campaign narrator’s language. Explain operational facts: a formation is assembling, equipment is scarce, a government has released support, or a road must remain open. Do not predetermine the player’s route or claim a victory or defeat that the saved world contradicts.

Historical attribution and in-world uncertainty matter. Patton’s accusation remains unproved. A fictional command appointment must be dated and plausible. Names and ranks need verification; the draft’s use of “General Alexander Galloway” avoids treating an unverified 1946 rank as settled.

Map hierarchy

Begin with Germany and the surrounding theatre. Show army and corps responsibilities, then divisional and brigade concentration, then the entire campaign board with its independently movable battalion/regimental cores and support. Air commands appear at theatre scale; groups, bases and coverage at intermediate scale; relevant squadrons and allocations at campaign scale.

Use geographically continuous, north-up transitions. Broad manoeuvres establish context; individual road connections and tactical implementation do not organise the whole intro. The last frame must use the same branch-specific opening record as the campaign map. A parent aggregate resolves into children without adding stock.

Use period-style paper cartography and restrained coloured overlays. The agreed marker combines a verified formation emblem, NATO-style branch symbol, echelon and short title at one anchor. Move that marker as one object. Do not return to displaced title boxes connected to units by arrows. Movement arrows may show actual or intended manoeuvres; distinguish those meanings.

NATO-style symbols are a viewer-facing production convention, not evidence that NATO exists in 1946. Unverified insignia need a disclosed parent/national fallback. A fictional German badge is not a recovered historical emblem.

Scripts and storyboards

The working script register holds the current imported review drafts for all five campaigns. Four derive from verified Opus 5.5 authorship with separate continuity edits; the southern draft reflects the retained-Austria direction. They are drafts, not unconditional canon. Full branch clauses, dates, force-source gaps and map variants remain to be reconciled.

Concurrent cinematic source, recorded audio and previous storyboard renders are implementation/evidence surfaces. They do not independently amend the Bible. Future script changes are made in the working script register and this book, then exported into production assets. The generation step must record the Bible state it used.

A complete scene specifies narration, visible geography, map level, displayed formations, movement start/end, ownership, camera transition and evidence/asset status. The old rendered previews omit some intended insets, overlays and camera treatment; a written direction is not a finished effect.

Epilogue presentation

Use the three-slide structure in Campaigns: ground, cost, next operation. Show actual territory and surviving formation identities. Reserve result labels for the result presentation; the next historian narration explains military consequences in ordinary language.

Visual identity and assets

Use the canonical Omega War brand kit: the selected Omega emblem and outlined title lettering, with horizontal or stacked layout appropriate to the format. Preserve aspect ratio and clear space. Do not revive the superseded rail/compass identity or substitute faction insignia into the logo.

Models should have the correct silhouette, weapon, crew, mobility and national identity. Generic proxies, static crew and missing animations remain explicitly incomplete. For equipment adaptations, explain mounting, ammunition, crew duties, firing arcs and tradeoffs. Original low-poly/procedural assets may be stylised while remaining physically coherent.

Period photographs, films and emblems require traceable sources and use rights. Source identity and licensing are separate from visual acceptance. Geographic boundaries, placement approximations and authored routes remain visible in production metadata.

Audio

In-game briefings may use TTS. Social and showcase exports may not contain synthetic, TTS or cloned speech, including speech captured from the game. Use effects/music/captions or verified human recordings for those exports. This policy does not disable permitted in-game audio.

Combat, movement, loading, impacts, repairs, environmental sounds and UI cues need verified correspondence with action. A sound labelled recorded, foley, designed or surrogate retains that provenance. A catalogue entry or an audio track does not prove that it was listened to, synchronised or approved. Captions and silent fallback must remain usable when audio fails or autoplay is blocked.

Production owns verification and handoff status; archive receipts remain historical evidence.