Game Fantasy — Omega War

1. Stage 1 Approval Record approved 2026-06-10

• Every comparable sells a commander-role fantasy attached to a hot-war scenario ("the ultimate World War III battle simulator", "COMMAND YOUR ARMY. FIGHT YOUR BATTLES.", "Live the thrilling career of an army commander… in a massive online World War III"). Scale/brutality adjectives are genre furniture. The under-sold emotions across the whole set are persistence and consequence — only EndWar (career) and SD2 (role ladder) gesture at them. That is Omega War's emotional white space: a war that remembers what you did.
• The lived fantasy players report differs from the marketed one in a useful way: marketing says "you will dominate"; players prize "I barely held it together" — fog-of-war dread, radio-chatter chaos, tension/relief, and plan-comes-together payoff ("really does feel like controlling a real battle zone"; recon helicopters "snuffed out of existence by an unseen enemy grouping").
• The operational-commander fantasy has named beats: front-line ownership, encirclement satisfaction ("defeat the enemy without incurring severe losses"), husbanding tired veterans, and — critically — the layer handoff is where the fantasy lives or dies (SD2 Army General praised as a "revelation" yet damned as "an entirely other game" when the layers don't talk; WARNO AG: "zero incentive to actually fight the battles" carried).
• The Operation Unthinkable premise is natively sober, not pulpy: the name itself, planners' verdicts ("hazardous", odds "fanciful"), Churchill's documented distrust and fear of Stalin, five decades of secrecy, and war-weary armies that "wanted to go home". Where the premise is sold commercially (Hollandspiele) it is framed through apprehension and menace, not triumph. Commercial fiction (Conroy's Red Inferno: 1945) already contains Omega War's exact faction drama — a Wehrmacht armistice and re-armed Germans fighting beside the Western Allies. Tone recommendation: grounded "war-room gravity" (F-A2 supported; spectrum in §9).
• Hook patterns in niche-strategy capsules: scenario-in-a-sentence + role ("The Cold War has gone hot… Lead your Regiment through the fires of conflict and the fog of war"), pedigree + role, hybrid-complexity claim ("combines the complexity of joint-forces wargaming with action-packed real-time tactics"). Marketing guidance says lead with what is unique in ~300 characters. Omega War's uniqueness ranks premise > two-layer persistence > deck×base hybrid > browser → premise-led hook (F-A3 supported). Recommended hook in §7.
• The two-sided "spark" framing is both historically available and the genre's proven lore pattern (added in the 2026-06-10 revision): WARNO's own lore is real history until an April 1987 hardliner coup against Gorbachev, then two years of escalation into a 1989 hot war. The Niš incident (7 Nov 1944) is a real US–Soviet shooting engagement — a Soviet general killed, an air battle fought, then both governments hushed it. Operation Unthinkable's second study was defensive — the planners themselves feared a Soviet first move. The premise does not need a unilateral Allied attack — and the 1946 arsenal that barely fought (Centurion, Pershing) is part of the fantasy. Evidence in FRQ4 Claim 4.2; divergence choice gated in §4.
• First-session science is consistent: first 15 minutes must be "engaging, rewarding, fun, and foreshadow the rest of the game" (Meier); missions want a 3-act shape — calm intro, wrinkle, big battle (Browder); 5 minutes is the hook unit (Zukowski); the genre's documented failures are onboarding cliffs, 60-minute saveless missions, and "supernaturally capable" AI carried. The minutes-0–30 promise in §8 is built directly against these.

All URLs accessed 2026-06-10. Confidence tags: high medium low. carried = reused from approved research/game-audience.md, not re-collected.

FRQ1 — What fantasy does each comparable sell? (F1)

Claim 1.1 — The genre's marketed fantasy is "be the commander of the hot war," dressed in scale and brutality adjectives. high

• WARNO — "the ultimate World War III battle simulator from the masters of strategy… command hundreds of units on a beautiful and brutal battlefield… Outsmart, outfight, and lead your forces to total victory"; Army General: "a devastating, techno-thrilling World War III in Western Europe" (store — verified this sweep; consistent with carried audience capture).
• Wargame: Red Dragon — "larger, richer and more spectacular than ever… 1,450 units… meticulously reproduced… intense battles of unequaled tactical depth… varied, ultra realistic battlefields… thrilling in single-player mode with its new dynamic campaign system" (store).
• Steel Division 2 — "COMMAND YOUR ARMY. FIGHT YOUR BATTLES." and an explicit role ladder: play "as a General in the 1:1-scale turn-based Dynamic Strategic Campaigns… as a Colonel in the epic Real-Time Tactical Battles… as a Weapon Expert in the brand-new Deck Building System" (store). Closest shipped analog to Omega War's two-layer + deck promise — SD2 sells it as three distinct player identities.
• Broken Arrow — "combines the complexity of joint-forces wargaming with action-packed real-time tactics gameplay"; "over 300 units and more than 1,500 possible combinations" carried + verified (store).
• Company of Heroes 2 — "Take command of the iconic Red Army… repel the Nazi invaders in the most brutal conflict of World War 2"; CoH3 — "combines heart-pounding combat with deeper strategic choices in a stunning Mediterranean theatre of war" (Steam store copy via search results — the store pages sit behind an age gate; exact full-text verification is a documented gap, §12).
• EndWar — "Live the thrilling career of an army commander and lead your army to victory in a massive online World War III!"; "a unique third-person camera that puts you in the heart of the battle"; "Watch the devastation unfold as hundreds of units engage the enemy on fully destructible battlefields" (store).

Inference: commander role + named hot-war scenario is table stakes; spectacle/scale adjectives are undifferentiating. Persistence ("thrilling career", divisions that evolve) is the rarest marketed emotion — EndWar's career framing and SD2's role ladder are the only gestures at it. Omega War's marketed fantasy should fuse the two: every altitude of command, in a war that remembers. medium-high (pattern across six store pages, but trailer frames not analyzed, §12).

FRQ2 — What do players actually feel in the games they love? (F2)

Claim 2.1 — The lived vocabulary is tension/dread, managed chaos, and cinematic awe — not domination. medium-high

• WARNO Steam reviews (via review aggregation):
  "This game has an amazing vibe to it, the game play feels great and not to mention its incredibly cinematic" · "This game really does feel like controlling a real battle zone" (WARNO reviews via search snippets)
• Softpedia WARNO review:
  "Radio traffic… really adds to the feeling of being in the chaos, as enemy sightings and reports of contact abound, all realistically voiced. The overall feeling is one of truly being on the field" (Softpedia)
• SUPERJUMP WARNO impressions:
  "Once combat is joined, the spectacle is a sight to behold" · fog-of-war dread: "It is very easy to send a helicopter on a recon trip and have it be snuffed out of existence by an unseen enemy grouping" · sound as anchor: the A-10's cannon "sounding so spot-on it's as if it was lifted directly from battlefield videos" (SUPERJUMP)
• Wargame: RD press: "the battles are just as intense, the multiplayer as exhilarating and stressful and it continues to offer tactical complexity and depth that its peers simply don't"; "sudden moments, with surprise attacks causing players to react while knowing it might be futile" (review roundup incl. PCGamesN, WeTheNerdy — via search snippets).
• Company of Heroes (2006), GameSpot:
  "depicts all the violent chaos of World War II with uncommon intensity… takes its cues from Saving Private Ryan, by portraying both the sheer brutality of the war as well as the humanity of its combatants" (GameSpot)
• World in Conflict (spectacle pole of the genre): "so fast-paced, cinematic, and instantly gratifying that it could almost be mistaken for an action game… a thrilling game about destruction"; "the best-looking mushroom clouds in gaming" (roundup incl. GameSpot, Metacritic — via search snippets).
• carried Spectacle-skewed creator titles ("STUNNINGLY BEAUTIFUL engagement shows TRUE COMBINED ARMS!") and motivation register (roster identity, "total war board" feel) from research/game-audience.md.

Inference: the marketed/lived gap is exploitable — players' peak moments are almost losing control and holding the line anyway, plus the cinematic payoff of watching their plan execute. Omega War's pillars should target tension→relief and plan-payoff explicitly rather than power fantasy. medium (press + review snippets; direct Reddit thread quotes were not retrievable this sweep, §12).

FRQ3 — Emotional beats of the operational-commander fantasy (F2)

Claim 3.1 — The operational fantasy has four named beats: front ownership, encirclement payoff, husbanding, and consequence handoff. high

• SD2 Army General, Wargamer: "it's hard to overstate the revelation… a wargame that can count among its influences such heavyweights as The Operational Art of War and Gary Grigsby" (Wargamer) carried, re-verified.
• Encirclement as the mode's signature satisfaction: "If you manage to encircle an enemy formation completely… their logistical lifeline cut… a great way to defeat the enemy without incurring severe losses" (SD wiki + Steam discussions).
• Player voice, SD2 AG review thread:
  "AG is awesome and the best part of the game… It's essentially Total War in a WWII setting" coexisting with "Feels like you are playing an entirely other game… AG should have made the core game shine. Instead, you find yourself playing a totally different game" (SD2 AG thread)
• carried "a strategic layer reminiscent of board wargaming… balancing fatigue, reinforcing broken units, managing fronts" (Reality Remake); WARNO AG "4/10 — zero incentive to actually fight the battles… AI either gets steamrolled or slaughtered".

Inference: the fantasy's load-bearing emotion is continuity of consequence between map and battle. When the handoff works the player feels like a theater commander; when it doesn't, the layers read as two disconnected games and the fantasy collapses. Omega War's one-war promise ("front lines emerge from where formations actually stand") is aimed at exactly this beat. high on the beat structure; the design fix is inference.

FRQ4 — How is the Unthinkable / WW3-1945 premise framed emotionally? (F3)

Claim 4.1 — The premise's native emotional register is sober: dread, distrust, audacity, war-weariness — plus forbidden-what-if fascination. high

• The historical record's own language: the plan was named "Unthinkable"; the Chiefs of Staff judged the offensive "hazardous" and Britain's defensive odds "fanciful"; Churchill ordered it out of fear that Stalin was "unreliable" and alarm at "the enormous size of the Soviet forces deployed in Europe"; the study stayed top secret until 1998 (Wikipedia).
• Commercial board-game framing, Hollandspiele cover story: the design "was drawn up out of Churchill's deep-seated distrust of Stalin"; the cover deliberately places Churchill in the "defensive" corner (apprehension) and Stalin in the "threatening" corner (menace), with an atomic explosion for stakes — wariness and fear rather than confidence (Hollandspiele blog).
• S&T #333 frames it investigatively: "intended to investigate the strategic parameters… had the Anglo-Allies and Soviets gone to war against each other starting on or about July 1945" (retailer copy).
• alternatehistory.com tone (dedicated tag, many threads): serious plausibility analysis — Allied airpower vs. 2.5:1 Soviet ground superiority — tempered by human texture: Allied armies "might have mutinied in late 1945… they wanted to go home rather than fight the Soviets" (tag index, threads incl. "was it really unthinkable?").
• Fiction: Robert Conroy, Red Inferno: 1945 — a 1945 US–Soviet war in which "the remaining Wehrmacht forces… sign an armistice with the Western Allies and agree to fight with them against the Soviets" (Wikipedia). Omega War's most sensitive faction element already exists in commercial fiction as morally-weighted drama, not hero-washing.
• Tone ceiling reference: TNO (The New Order) proves the alt-history audience embraces heavy registers — "compelling and bleak… an entrancing world of gloomy cassette futurism", "grim narrative" (Wargamer) — but TNO is a narrative grand-strategy experience; an RTS does not need (and the low-poly art does not support) that much darkness.
• Creator validation: AlternateHistoryHub and Armchair Historian both made Operation Unthinkable videos, plus historian-reaction videos on those videos (example, example) — the premise is established video-essay material carried: AlternateHistoryHub ~2.33M subs.
• carried "Clean Wehrmacht" criticism environment (Frictions, Vice, Wikipedia; HOI4 named worst mainstream offender) — guardrail A-R5/F-A4.

Inference: pulp/camp framing would fight the premise's native register and the clean-Wehrmacht guardrail; grim TNO-dread would fight the genre's spectacle joy and the diorama art. The natural fit is the middle register — §9. high that the native register is sober; the fit conclusion is inference.

FRQ5 — Hook patterns for niche strategy titles (F4)

Claim 5.1 — Successful capsules follow scenario+role, pedigree+role, or hybrid-claim formulas, and marketing guidance says lead with uniqueness in ~300 characters. high

• Regiments:
  "Regiments is a Real-Time Tactics game set in Germany 1989. The Cold War has gone hot, and the inferno is raging. Lead your Regiment through the fires of conflict and the fog of war." Follow-up verbs sell the beats: "Break through the lines, call in artillery, maneuver, feign retreats, stage defenses, counter-attack. Do not relent." (store)
  Reception note: "a single player only experience… kind of refreshing… as real-time strategy style wargames often prioritize the competitive multiplayer aspect" (WW2-Weapons via search snippet; also Matchsticks for my Eyes).
• Sea Power: "From the lead designer of Cold Waters, Sea Power lets you control NATO and Warsaw Pact forces in modern naval conflict campaigns" + tension promise: "an advanced game of cat and mouse on the high seas" (store).
• OpenFront: "an intense PvP battle-royale where hundreds clash on a vast map, forging alliances, amassing wealth, and unleashing nuclear strikes to dominate the world" (store) — notable: the store copy doesn't lead with "browser"; instant play is the product experience, not the pitch.
• Broken Arrow hybrid-claim: "combines the complexity of joint-forces wargaming with action-packed real-time tactics gameplay" (store).
• Guidance: a short description must "communicate your hook instantly in roughly 300 characters… leading with what makes your game unique rather than generic genre descriptions" (How To Market A Game / Chris Zukowski corpus).
• carried Audience-approved hook material: "the RTS about the WW3 that almost happened in 1945 — playable in your browser."

Inference: Omega War's uniqueness ordering is premise (unmined, creator-validated) > two-layer persistence > deck×base hybrid > browser delivery. OpenFront's example suggests browser belongs at the end of the hook as a friction-remover, not the lead. Supports F-A3 (premise-led). Candidates in §7. medium-high — survivorship-biased patterns, per approved limit.

FRQ6 — What must the first session deliver, and where do genre first sessions fail? (F4)

Claim 6.1 — The first 15 minutes must deliver the core fantasy and foreshadow the rest; 5 minutes is the hook unit; missions want a 3-act shape. high

• Sid Meier (GDC, via Game Developer): "the first 15 minutes of a game have to be engaging, rewarding, fun, and foreshadow the rest of the game" (Game Developer).
• Dustin Browder (Blizzard) mission structure: "a low intensity intro (usually a story briefing), then an unforeseen wrinkle or complication, and a final big battle before mopping up" (Game Developer, single-player RTS design).
• Chris Zukowski on demos: the demo is a marketing asset that must excite without giving everything away; five minutes is the natural hook unit — "just one more try, it's only five minutes" (GDC: Game Demos Done Right + interview corpus).
• Genre failure register carried: Eugen onboarding cliffs (decks the hardest part); Broken Arrow's 60-minute missions without mid-mission saves; "supernaturally capable" PvE AI; tutorial-format creators exist because onboarding fails.

Inference: Omega War's first session must reach first meaningful command decision inside ~5 minutes, first plan-payoff by ~15, and must show the deck×base hybrid rather than explain it. Mapped to the vertical slice in §8. high on the principles; the mapping is design inference.

FRQ7 — Vibe references for the aesthetic-emotional register (F3+F4)

Claim 7.1 — The genre's emotional ancestors are explicit, and stylization has precedent for licensing distance from grimness. medium-high

• CoH's war-movie lineage is critic-canon: "takes its cues from Saving Private Ryan… brutality… and the humanity of its combatants" (GameSpot, FRQ2). Band of Brothers / Saving Private Ryan are therefore legitimate register anchors for the tactical layer's human scale.
• World in Conflict is the spectacle ceiling: "a thrilling game about destruction" (FRQ2) — borrow the awe, not the action-game pacing.
• Toy Soldiers (diorama aesthetic) shows stylization framing violence at a remove:
  "The style is great and the blend of fantasy with authenticity drives home the theme that despite all the carnage, these battles aren't real" — IGN's Matt Casamassina (via Wikipedia)
  Directly relevant to Kenney-low-poly: the "living diorama" read softens grimness without going pulp.
• Premise-side anchors: the declassified Unthinkable documents and their framing language (Wikipedia/National Archives carried); Hollandspiele's apprehension-and-menace cover grammar; Conroy's Red Inferno: 1945; Churchill-war-room imagery (Darkest Hour register) as the strategic layer's tonal face.
• Audio as immersion anchor (evidence-backed, FRQ2): authentic weapon audio and "realistically voiced" radio traffic are the two concrete sound elements reviewers single out — matches the idea brief's basic-audio-from-slice-one scope.
• Tone-music inference (no direct sourcing — flagged): restrained period orchestration + Cold-War radio/signal textures fit the war-room register; treat as a direction to test, not a finding (§12).

Inference: the vibe stack is "war-room gravity above, war-movie humanity below, living-diorama stylization throughout." Full reference set with borrow-notes in §6.

Primary fantasy statement (written for the primary segment, per F-A1)

Rewritten 2026-06-10 per feedback — spark-driven and two-sided (FRQ4 Claim 4.2); written spark-agnostic until the Spark-Event Divergence gate below resolves. Changed passages highlighted.

Per-segment variants

• Campaign wargamers (primary): own the whole war. The "total war board" fantasy carried made real: front lines emerge from where your formations stand; every map decision becomes a battle you can fight; every battle outcome moves the front. Mastery without ladder anxiety — the opponent is the situation, not a ranked stranger.
• Deck/division tacticians (secondary): your division, your doctrine — and the arsenal that never got its war. The deck is your identity before the battle; the base is your doctrine during it — build order decides which parts of your roster come alive and when. Phase escalation is something you author, not a timer you wait out. And the roster itself is the premise's unique toy box: Centurions that reached Germany weeks too late, Pershings that barely fired a shot — late-war equipment that barely got to fight, finally fielded (FRQ4 Claim 4.2).
• Alt-history narrative enthusiasts (tertiary): step inside the forbidden what-if. The plan Churchill's own planners called fanciful, played honestly: exile formations fighting toward occupied homelands, re-armed German formations carrying real moral weight, a war nobody wanted told without hero-washing (F-A4).

Spark-event candidates new — 2026-06-10 revision

The feedback asked: "What was the Able Archer for Operation Unthinkable?" — the divergence that turns real history into the war. The revision mini-sweep (FRQ4 Claim 4.2) found four historically grounded candidates plus the genre's proven escalation pattern (WARNO: one divergence → two years of escalation → both blocs at war). The table below scores each; the gate underneath asks you to pick the canon.

Pillar 1 — Command weight

The player's decisions feel consequential because losses persist and information is incomplete. Evidence: fog-of-war dread (FRQ2), husbanding/fatigue praise (FRQ3), Sea Power's cat-and-mouse tension (FRQ5). Design implications: persistent veterancy and casualties across the campaign; recon genuinely matters; pausable real-time and mid-battle saves (genre complaint register) so weight never becomes hostage-taking; UI surfaces "what this battle cost".

Pillar 2 — The plan comes together

The signature high is authored payoff: the flank arrives, the encirclement closes, the phase-2 armor you gated behind your build order rolls out exactly when needed. Evidence: encirclement satisfaction (FRQ3), Regiments' verb copy ("feign retreats, stage defenses, counter-attack"), Browder's 3-act arc (FRQ6). Design implications: the deck×base hybrid is the payoff engine — build order = plan authorship; battles need at least one legible set-piece beat; the strategic layer needs visible payoff moments (pockets closing, fronts collapsing); the 1946 almost-weapons (Centurion, Pershing — FRQ4 Claim 4.2) are natural phase-gated payoff material — the arsenal history shelved is the reward shelf.

Pillar 3 — Spectacle with meaning

Cinematic combined-arms drama that reads at a glance — the CoH lineage ("brutality… and the humanity"), WiC's awe, WARNO's "incredibly cinematic" — delivered as a living diorama in stylized low-poly. Evidence: FRQ2 spectacle vocabulary; Toy Soldiers stylization precedent (FRQ7); creator clips skew spectacle carried. Design implications: readable silhouettes and tracer/explosion language over photoreal detail; a camera that rewards zooming in (clip-friendly = browser wedge synergy); radio chatter + authentic-feeling weapon audio from slice one; destruction/suppression states must be legible at diorama scale.

Pillar 4 — The forbidden what-if, honestly told

Sober fascination — dread, audacity, war-weariness — not pulp triumph. Evidence: FRQ4 (the premise's native register; Hollandspiele's apprehension/menace grammar; mutiny-risk texture; clean-Wehrmacht guardrail carried). Design implications: framing copy written in the war-room register ("the odds were called fanciful — you are going to try anyway"); faction text acknowledges what re-armed German formations are; exile formations carry the emotional spotlight; victory framing is "the war is decided", never "the war was fun for everyone".

Pillar 5 — Mastery without anxiety

Depth is the feature; the on-ramp is the bet. Single-player-first means the player is allowed to learn, pause, save, retry. Evidence: complexity prized carried; vs-AI as accepted on-ramp carried; SP-neglect as the genre's open wound carried; Regiments' "refreshing" SP-only reception (FRQ5). Design implications: difficulty that flexes without insulting; AI quality is a core feature not a mode; teach-by-doing first session (§8); no mechanics locked behind multiplayer ever (v1 has none — keep it a promise, not an apology).

No dedicated gate — this table is approved through the Canonical Write gate (§13); use section feedback for line-item changes.

Pattern basis: FRQ5 (scenario+role lead; uniqueness first; browser as closer, not lead). All candidates assume premise-led per F-A3.

1. Recommended — premise + command totality + browser closer: (first clause revised 2026-06-10 — two-sided spark framing)
   July 1945: one spark, and the Allies and the Soviets turn on each other. Omega War is the RTS about the World War III that almost happened — command the whole European war, from the theater map down to every battle, in your browser.
   Short form: "The WW3 that almost happened in 1945. Command all of it — map to battlefield — in your browser."
2. Fantasy-led: Command the war history refused to fight — maneuver real armies across a living map of 1945 Europe, then fight every battle your maneuvers create.
3. Hybrid-claim (Broken Arrow formula): Deck-building wargame depth × Company of Heroes-style tactical combat × a persistent European war map — the 1945 WW3 hybrid the genre never built, zero install.
4. Segment-defiant (Stormgate-lesson): A single-player-first WW3 wargame that remembers your veterans, rewards your plan, and never asks you to queue.

Rationale for #1: it is the only candidate that leads with the unmined, creator-validated premise (strongest positioning finding carried), names the role fantasy in one clause, and uses browser the way OpenFront does — as the friction line, not the identity. #3 is the strongest store short description complement; #4 is community-post copy, not a capsule.

Scope honesty per F-A5: session one delivers the tactical slice (one battle: fixed-deck deployment, capture points, cover/suppression, base building, basic AI); the strategic layer is promised, not delivered. Approved through the Canonical Write gate (§13); use section feedback for beat-level changes.

Emotional checkpoints (testable in /game-playtest-metrics later): minute 5 = "I'm commanding"; minute 15 = "my plan worked"; minute 30 = "this war will remember me — I want the map." Mid-battle save must exist even in the slice (direct genre-complaint counter).

The fantasy statement, pillars, hook, and first-session copy above are all written in register B and would need revision if A or C is chosen.

1. Direct Reddit lived-emotion quotes (r/wargame, r/CompanyOfHeroes "why I love" threads): all targeted searches returned no-link results — same retrieval gap as the audience cycle. Press reviews + Steam review snippets stand in; confidence on FRQ2 capped at medium-high.
2. CoH2/CoH3 store copy verified only via search-result excerpts (Steam age gate blocks direct fetch; steamdb 403). Wording is consistent across two sources each but not verbatim-verified.
3. Trailer analysis is text-level only (titles/descriptions), per the approved source-plan limit — no frame-by-frame fantasy read.
4. AlternateHistoryHub / Armchair Historian Unthinkable videos: existence and titles verified; transcripts not analyzed (YouTube fetch unavailable). Tone attributed from titles + the broader essay-sphere pattern only.
5. Music/tone direction in §6 is pure inference — no sourced evidence was gathered on what soundtrack register this audience responds to.
6. Survivorship bias in FRQ5 hook patterns (approved limit): "what worked" patterns from successful titles; failed-capsule counterexamples not collected.

Search/fetch log (Stage 2, 2026-06-10, main session)

Store-page fetches: WARNO, Wargame: RD, Steel Division 2, Broken Arrow, EndWar, Regiments, Sea Power, OpenFront (8 fetched; CoH2/CoH3 age-gated — captured via 2 search excerpts each; steamdb fallback 403). Article/forum fetches: SUPERJUMP WARNO impressions; SD2 AG Steam review thread; Hollandspiele cover-story blog; Wikipedia Operation Unthinkable. Search batches (~18 queries): comparables' marketing language; player emotional language (WARNO/Wargame/CoH/WiC); Army General praise; Operation Unthinkable framing (forum/board game/fiction/video essays); TNO tone; hook/capsule guidance (How To Market A Game corpus); demo & first-session design (Zukowski GDC, Game Developer articles incl. Meier/Browder); low-poly stylization reception (Toy Soldiers); Regiments SP-first reception. Dead ends: 4 no-link Reddit-quote searches; boardgamegeek fetch 403; steamdb 403; CoH film results polluting CoH game-feel queries (filtered out — film reviews not used as evidence).

Post-approval route was decided at Stage 1 (read-only record): continue to /game-genre-map after the canonical artifact is written.

Approved terms are appended to research/glossary.md (flat mode) at Stage 3. Source: game-fantasy. Choose one option per term required.

15. Compile