The log.

Before any asset was built for the world, the tools were chosen by tournament. Five transparent cutouts from the film's kits went through six image-to-3D models at matched mesh budgets, thirty jobs, judged on silhouette, texture, what each model invented on the unseen back, topology, orientation and time. Ten more jobs settled which image model made materials. Every job declared before it ran, every receipt in one ledger.

The same day the implementer built the first world: real-metre geometry from a scene spec written from Love and the Fort's plans, code-owned placement of 2,632 instances, three era states from one scene, the fort geometry authored in Blender rather than generated.

The coordinator judged it that night at 3 of 10 against the look-lock and 7 of 10 on historical conformance. The verdict said the substrate was sound and the process exemplary, and that most of the distance was camera scale, sun angle, ground and water shading, vegetation density and settlement grain, not the asset library.

A first world that scores 3 is the honest start. The judgment became the next brief.