This is already pointed in the right direction. Its strongest insight is that *$@!L $tr8 n2 the $toRm* is not one work with supporting collateral; it is a **shared narrative system expressed through music, film, 3D space, physical artifacts, scientific argument, and live activity**. The attached draft gets that fundamental architecture right. The main thing I would change is **precision**. Right now “OMC object” sometimes means “an actual OMC 2.8 entity” and sometimes means “anything we want represented in our graph.” Those cannot be interchangeable once this becomes a source of truth. OMC natively gives us Creative Work, Context, Character, Narrative Location, Narrative Object—including vehicles—Narrative Wardrobe, Narrative Scene, Depiction, Assets, Effects, Special Actions, Participants, Production Scenes and related structures. It also explicitly supports CG models, costumes, production vehicles, maps, shots, storyboards and concept art as Asset functional types. That leads to several corrections. The **Storm Jacket is primarily Narrative Wardrobe plus one or more Costume/Asset depictions**, not inherently a Creative Work. The **3D world is primarily a `cgModel` Asset or CG Composition** unless we actually publish an interactive experience as its own Creative Work. The **treatment should not be called a Script**—MovieLabs specifically distinguishes treatments from scripts. The XPRIZE application is naturally a structured-document/reference Asset unless we intentionally wrap the published experience around it as a supplemental Creative Work. “Doctrine,” “Threat,” “Claim,” “Evidence,” “Activation,” “Technology” and “Design Language” are excellent CSS concepts, but should live in typed Context/customData or a connected ontology rather than masquerading as standard OMC classes. The second change is product architecture. **The internal registry should be exhaustive; the public archive should not be.** Every meaningful entity should have an identifier, but only entities with narrative consequence, cross-work recurrence, evidence value, or genuinely strong visual/physical identity need a fan-facing dossier. MovieLabs' interoperability guidance also strongly supports separating durable identifiers from URLs/file locations, using a common data model, preserving relationships and building automation around changes rather than hand-wiring each surface. The current Customer Story Studio system is already heading this way with Collections, Contexts, site metadata, evidence, infrastructure profiles and production recipes, so Storm should extend that pattern rather than create a second architecture. The third—and biggest creative addition—is that **lyrics, scenes and evidence need to become the spine**. We already developed six major visual environments for the music-video language: storm vessel/prow, flooded luxury interior, industrial Bay/dock/rooftop, underwater ruin, server/infrastructure/grid and mythic San Francisco overwhelmed by waves. We also previously framed the video-development loop around finding lyrical bars whose visual/emotional impact could earn consensus 10/10 scores from an evaluator panel. That material should survive into the archive as a permanent “why this image exists” layer. Here is how I would rewrite the whole thing. # THE $TORM ARCHIVE ## Everything connects. *$@!L $tr8 n2 the $toRm* should not be presented as a portfolio containing a song, a trailer, a music video, a 3D model and an XPRIZE application. It should be presented as a **world with multiple ways into it**. The song states the doctrine. The film makes that doctrine physical. The music video turns it into iconography. The 3D model gives the imagined city coordinates and mass. The XPRIZE work connects speculation back to reality. The garments make geography wearable. The activations allow people to physically enter the system. Underneath all of them is one graph. The product is therefore not “a graph of creative projects.” It is: > **THE $TORM ARCHIVE** > Explore every person, place, machine, garment, scene, lyric, image and piece of evidence inside *$@!L $tr8 n2 the $toRm*. The governing principle is simple: > **A work is an entrance. An object is a rabbit hole.** --- # 1. THE MASTER IDEA The master subject is not weather. It is **what people do when the models, institutions and inherited assumptions telling them where safety lies begin to fail**. The Storm operates simultaneously as literal climate event, autobiographical memory, technological failure mode, institutional test, psychological threshold and moral doctrine. The central proposition is: > **Do not organize your life around avoiding the storm. Become seaworthy enough to sail directly into it.** That idea should be the gravitational center of the archive. The 2017 Tubbs-fire experience functions as an origin layer: fire converts “security” from an abstraction into a temporary arrangement. Houses, mortgages, neighborhoods, models, forecasts and institutional reassurance are revealed as useful systems rather than permanent guarantees. The future San Francisco narrative pushes the same idea outward. By 2047, the question is no longer merely whether one person will sail toward uncertainty. An entire city has to decide which version of reality it trusts. Official reality says one thing. The water says another. The sensors disagree. The residents have quietly rebuilt systems the official model does not know exist. And then the storm arrives. That is the story engine. --- # 2. THE ARCHIVE HAS FOUR LAYERS The archive should distinguish four kinds of truth rather than flattening everything into “canon.” | Layer | Purpose | Example | | -------------- | ----------------------------------------------------- | ------------------------------------------------------------------- | | NARRATIVE | What exists inside the story world | Harbor Zero, ferry, drowned city, expeditionary drone | | PRODUCTION | What was built to create or depict that world | CG model, shot, concept art, jacket costume, reference frame | | REALITY | What anchors the project in evidence or lived history | Tubbs fire, bathymetry, climate research, XPRIZE claim | | INTERPRETATION | What the work means | The Storm, seaworthiness, institutional blindness, sail toward fear | This is crucial because a visitor should be able to move between these layers without confusing them. A fictional Harbor Zero pump can connect to a real technical principle without pretending that the fictional pump exists. A climate projection can inform a 2047 image without the archive presenting the image as prediction. A lyric can refer simultaneously to an autobiographical event and a fictional scene. That ambiguity is part of the art. The metadata should make the ambiguity legible rather than erase it. --- # 3. USE OMC 2.8 AS THE FOUNDATION, NOT AS A STRAITJACKET Customer Story Studio should use a **Storm profile of OMC 2.8**. Native OMC entities should remain native wherever they fit. Project-specific ideas should be expressed through controlled Customer Story Studio vocabulary, Context and `customData`. | Storm concept | Recommended underlying model | | -------------------------- | -------------------------------------------------------------- | | Song | CreativeWork with CSS `workType: track` | | Trailer | CreativeWork | | Music video | CreativeWork | | Harbor Zero | NarrativeLocation | | Drowned San Francisco | NarrativeLocation | | Ferry | NarrativeObject / `narrativeVehicle` | | Expeditionary drone | NarrativeObject / `narrativeVehicle` | | Storm Jacket | NarrativeWardrobe | | Physical Storm Jacket | Asset / Costume | | 3D Harbor Zero | Asset / `cgModel`, potentially CG Composition | | Trailer frame | Asset / Shot | | Music-video shot | Asset / Shot | | Concept image | Asset / conceptArt | | Bay-floor embroidery map | Asset / map | | Story scene | NarrativeScene | | Cyclone VFX requirement | Effect / visualEffect | | Marine action | SpecialAction / marine | | Drone filming or operation | SpecialAction / aerial where applicable | | Treatment | Structured-document Asset / creative reference | | XPRIZE application | Structured-document/reference Asset | | Storm doctrine | Context with CSS category `doctrine` | | Climate threat | Context with CSS category `threat` | | Scientific claim | Context/custom evidence profile or connected evidence ontology | | Activation | CSS event/activation profile attached to Context and Assets | | `$@!L` typography | CSS design-language Context plus associated Assets | The distinction between Narrative and Production objects is especially valuable here. There is one narrative Storm Jacket. There may be a clean jacket, soaked jacket, burned jacket, photographed jacket, embroidered prototype and merch edition depicting it. Likewise, Harbor Zero is a Narrative Location. The Blender geometry, concept art, trailer frame and map are different production depictions of Harbor Zero. That separation is exactly what makes the graph useful. --- # 4. THE TOP LEVEL SHOULD BE A COLLECTION **THE $TORM ARCHIVE** should be the top-level Collection that contains the project universe. Do not make every artifact compete for the same conceptual level. The visitor-facing home view can initially present five giant gateways: | Gateway | What it answers | | ----------- | ---------------------------------------------- | | SONG | What do we believe? | | FILM | What happens when that belief becomes a world? | | VIDEO | What does the belief look and feel like? | | HARBOR ZERO | Where does this world exist? | | REALITY | Why does any of this matter outside the story? | The current “3D World” and “XPRIZE Application” labels are implementation-oriented. For fans, **HARBOR ZERO** is stronger than “3D World.” And **REALITY / THE EVIDENCE** is stronger than “XPRIZE Application.” The underlying records can remain technical. The interface should speak human. --- # 5. THE SONG IS THE THESIS ENGINE ## `$@!L $tr8 n2 the $toRm` The release title should coexist with a plain-language title: **Release title:** `$@!L $tr8 n2 the $toRm` **Readable alias:** `Sail Straight Into the Storm` The typographic mutation is not merely decoration. It is part of the project's design language and should have its own history, rules and appearances. The song is where the universe's symbolic vocabulary is introduced. Its most important subjects include THE STORM, seaworthiness, fire, water, inherited security, institutional reassurance, prediction, official models, fear, boats, survival, status, ordinary people under extraordinary pressure and the transformation that occurs when someone stops optimizing entirely for safety. The most important new system should be a **Lyric Concordance**. A meaningful lyric should be addressable. Its record should know where it occurs in the song, what it refers to, whether that reference is autobiographical, metaphorical, fictional or mixed, what images depict it, what scenes develop it, and what evidence—if any—sits underneath it. The visitor experience becomes: **hear the bar → click the bar → understand the reference → see its visual interpretation → enter the corresponding place/object → discover its reality layer.** That is much more powerful than a lyrics page. --- # 6. THE MUSIC VIDEO SHOULD BE THE CROSSOVER ENGINE The music video should not become a separate aesthetic universe. It should be the **highest-density collision point** between the doctrine of the song and the physical world of Harbor Zero. The visual language already has six major production modules. | Visual module | Narrative function | | ------------------------------- | ------------------------------------------------------------ | | STORM VESSEL / PROW | Choice, forward motion, seaworthiness, confrontation | | FLOODED LUXURY INTERIOR | Failure of inherited security and status | | INDUSTRIAL BAY / DOCK / ROOFTOP | Human adaptation, labor, machinery, Bay specificity | | UNDERWATER RUIN | Memory, drowned assumptions, archaeology of the old city | | SERVER / GRID / INFRASTRUCTURE | Models, networks, official knowledge and technical fragility | | MYTHIC SAN FRANCISCO + WAVES | Scale, awe, consequence, the city becoming the metaphor | Every major shot should eventually resolve against a lyric. Internally, maintain a **Bar Impact Ledger** containing the lyric fragment, song timecode, shot or visual treatment, emotional mechanism, narrative object/location involved, visual-impact scores, evaluator disagreement, selected canonical frame and reason the winning image works. That preserves the intelligence generated by the video-evaluation process. Publicly, this can collapse into a tiny button: **WHY THIS SHOT?** Click it and the archive shows the bar, the underlying idea and the connected objects. --- # 7. THE FILM WORLD IS HARBOR ZERO The trailer establishes the largest narrative space in the universe: **San Francisco, 2047.** Harbor Zero is not simply “a flooded future city.” Its distinctive idea is that adaptation has occurred faster and more messily than official knowledge has captured. Known working-canon elements include the eastern waterfront, towers, canals, wetlands, floating workshops, submerged infrastructure, black water, older city fabric beneath the adapted city, water-control systems, sensing networks, altered currents, district isolation, ferries, expeditionary drones and communities maintaining an unofficial second layer of infrastructure. The central dramatic conflict is epistemological before it is meteorological. **Which city is real?** The city represented by the official model? The city detected by the sensors? The city altered by years of undocumented local work? Or the city the water itself is now revealing? The cyclone merely forces the argument to resolve. That is a far richer concept than “climate disaster.” --- # 8. HARBOR ZERO NEEDS MICRO-GEOGRAPHY Harbor Zero should eventually contain enough internal geography that someone can have favorite places inside it. The current macro-world should be decomposed into named districts, routes, infrastructure zones, drowned landmarks, social boundaries, currents, transit lines and local slang. Do not invent these names casually. They should emerge from actual story function. A district deserves a name because characters live there, because a system serves it, because a route passes through it, because its flooding history matters or because it has become culturally distinct. A good test is whether a character could plausibly say: > “Don't take the ferry through ___ after dark.” When Harbor Zero reaches that level, it becomes a place rather than scenery. --- # 9. THE 3D WORLD IS THE SPATIAL MEMORY OF THE PROJECT The Blender/world-model work is not merely a rendering pipeline. It can become the place where narrative identity, visual reference and production geometry finally resolve into the same object system. The most important architectural rule is: > **Model semantic things, not anonymous meshes.** A building should not merely be `Building_047`. It should be an identifiable Narrative Location or Production Object with provenance, versions, relationships and story function. A pump station should know which district it serves. A ferry should know its route. A drone should know what it discovered. A submerged structure should know what it used to be. A camera should know what narrative view it is trying to depict. The 3D system should therefore preserve two parallel goals: **REFERENCE FIDELITY** asks whether the world accurately recreates established geographic and visual evidence. **NARRATIVE FIDELITY** asks whether the world meaningfully embodies the story we are trying to tell. Those goals are related but not identical. This is important because the 3D project has already taught us that endlessly forcing geometry toward a single reference frame can produce technically obedient but creatively impoverished results. The graph can let us be strict about facts while creative about depiction. --- # 10. THE PRODUCTION HISTORY IS PART OF THE ARCHIVE The 3D work has already generated valuable production history: champion representations, challengers, reference frames, camera poses, coverage views, evaluations, hypotheses and iterations. Do not throw that away. Internally, preserve the lineage: **reference → hypothesis → build → render → evaluation → decision → champion → next hypothesis** A final trailer frame should be traversable backward to the model and references that produced it. This turns the archive into something unusually valuable: not only a record of a fictional universe but a record of **how an AI-assisted universe learned to become itself**. A fan-facing “BUILD THE WORLD” mode could selectively expose this material without overwhelming the basic story experience. --- # 11. THE XPRIZE MATERIAL IS THE REALITY BRIDGE The XPRIZE application should not simply sit in the archive as a PDF. It should be decomposed into addressable assertions. The useful conceptual units are CLAIM, QUESTION, REQUIREMENT, EVIDENCE, ASSUMPTION, TECHNOLOGY, METRIC, EXPERIMENT, RESULT, RISK and SOURCE. These do not all need to become native OMC entity classes. They need durable identities and typed relationships. The key visitor journey is: **fictional storm image → real phenomenon → technical question → supporting evidence → design response → fictional manifestation** For example: **Harbor sensing failure** → real sensing/interoperability problem → XPRIZE claim → supporting source → technical approach → fictional city system → trailer scene. The archive should distinguish **FACT / PROJECTION / SPECULATION / FICTION / METAPHOR**. That prevents science fiction from borrowing authority from real evidence while still allowing evidence to enrich the fiction. It also makes the project much more credible. --- # 12. THE STORM JACKET IS A MODEL OBJECT The jacket is one of the best pieces of connective tissue in the entire project. Its known design includes a black waterproof Aramark base garment, glow-in-the-dark teeth around the hood, an embroidered tide map on the front and Bay-floor/bathymetric geography on the back. Treat the jacket as **Narrative Wardrobe**. Treat each fabricated version as a Costume/Asset depicting that wardrobe. Treat its maps as addressable map Assets. Treat photographs of it as Depictions. Treat merch editions as production/product variants rather than silently replacing the narrative item. Most importantly, connect the embroidery to actual geography in the universe. The jacket can literally become a navigational interface. A visitor clicks the back of the garment. A bathymetric contour highlights. The archive opens the corresponding Harbor Zero location. That location opens a submerged structure. The structure opens a scene. The scene opens a lyric. The lyric opens the real Bay-floor source. That is **Everything connects** made tangible. --- # 13. CHARACTERS ARE THE BIGGEST CONTENT DEFICIT The world currently contains more systems than people. That is the largest storytelling weakness. We need a small number of durable named characters who recur across scenes and own the objects we are already designing. At minimum, the dramatic system needs human equivalents of the Witness, Builder, Operator, Navigator and Counterforce. The Witness carries the original experience of surviving catastrophe. The Builder understands the unofficial adapted city. The Operator represents the institution and the official model. The Navigator physically moves through dangerous geography. The Counterforce embodies the worldview that safety comes from maintaining control, status, permission or procedural certainty. These are roles, not finished characters. They should not become canon until they have names, voices, histories and specific relationships to the story. A finished character record should possess a face, place, wardrobe, object, vehicle or tool, worldview, scar or memory, relationship network and timeline. Once those people exist, dozens of currently abstract graph edges become emotionally meaningful. --- # 14. VEHICLES SHOULD HAVE NAMES AND HISTORIES A world about sailing toward danger should care deeply about transportation. The ferry and expeditionary drone are already strong anchors. The world should eventually include vessels whose identities matter: ferries, workboats, improvised craft, autonomous watercraft, emergency vessels, drones and possibly underwater vehicles. A named vehicle is especially powerful because it naturally connects Character, Location, Object, Scene, Special Action, Production Asset and 3D Model. The vehicle becomes a moving graph hub. The best vehicles should be identifiable in silhouette. --- # 15. OBJECTS MAKE THE WORLD COLLECTIBLE The Storm Jacket demonstrates why physical objects matter. The universe should eventually contain a restrained set of memorable objects with real narrative ownership: navigation tools, radios, notebooks, sensors, ferry credentials, patches, emergency markers, maps, drone parts, recovered artifacts and pieces of old San Francisco. The governing rule is not “invent merch.” It is: > **Give characters objects they would fight to keep.** Merchandise can come later. --- # 16. THE STORM ITSELF SHOULD BE A MASTER CONTEXT THE STORM is not a Character, Prop or Location. It should function as a master conceptual Context connecting multiple phenomena. It can encompass literal weather, the Tubbs fire, ocean warming, institutional failure, information conflict, uncertainty, fear and transformation. Within production, individual storm appearances can have Effect records associated with particular Narrative Scenes. Within interpretation, THE STORM remains the master motif. This allows the same concept to operate across the autobiographical, fictional, scientific and metaphorical layers without pretending those layers are the same thing. --- # 17. THE PROJECT NEEDS THREE TIMELINES A single timeline will eventually become confusing. Use three synchronized chronologies. | Timeline | Example | | ------------- | ---------------------------------------------------------------------------------------- | | WORLD TIME | Tubbs memory → adaptation era → 2047 Harbor Zero → cyclone | | CREATION TIME | song writing → treatment → concept art → 3D builds → trailer → music video → activations | | EVIDENCE TIME | source publication → research → experiments → XPRIZE claims and updates | A user can move the same object through all three. The Storm Jacket might be designed in Creation Time, appear during a particular point in World Time and use bathymetry sourced at a particular point in Evidence Time. That is much more powerful than a single date field. --- # 18. CANON STATUS NEEDS MORE THAN ONE BADGE The proposed CANON / DEVELOPING / CONCEPT / INFERRED / OPPORTUNITY badges are useful, but they currently mix different questions. Separate them. | Dimension | Suggested values | | -------------- | ------------------------------------------- | | CANON STATE | released / working-canon / concept | | EVIDENCE STATE | verified / inferred / unsupported | | VISIBILITY | public / internal / embargoed | | REALITY MODE | real / projected / fictional / metaphorical | This allows something to be, for example: **working-canon + verified source + internal + fictional** or **released + verified + public + autobiographical** without forcing one badge to do four jobs. --- # 19. PUBLIC PAGE-WORTHINESS Not every internal node should become a public dossier. A public page is warranted when an entity has strong narrative consequence, strong visual identity, significant recurrence across works, collectible/physical importance, spatial significance or evidence value. A camera LUT probably remains metadata. The Storm Jacket gets a page. A generic seawall segment probably remains metadata. A seawall segment whose secret modification saves a district gets a page. This distinction allows the internal graph to become extremely detailed while the public experience remains authored. A sensible initial target is roughly **30–45 high-quality public dossiers** backed by perhaps **80–120 internal entities**. Depth is preferable to a wall of dots. --- # 20. THE HOME PAGE SHOULD NOT BEGIN WITH A GRAPH Do not open with a giant hairball visualization. Open with myth. Open with the Storm. Then offer entry. The graph is something the visitor discovers after becoming curious. A possible first experience: **THE STORM IS COMING.** **SONG** — Hear the doctrine. **FILM** — Enter 2047. **VIDEO** — See the bars become images. **HARBOR ZERO** — Explore the city. **REALITY** — See what is true. From there, every page can expose its connections. The topology emerges through use. --- # 21. THE CORE EXPERIENCE MODES The same underlying graph should generate multiple views. **STORY** presents the universe narratively. **GRAPH** shows relationships. **MAP** shows geography. **TIMELINE** shows chronology. **3D** makes spatial entities navigable. **EVIDENCE** distinguishes fact, projection and fiction. **BUILD** exposes production history, references, versions and evaluation. The important architectural idea is that these are not separate websites. They are different projections of the same underlying object graph. --- # 22. EVERY IMPORTANT NODE NEEDS A DOSSIER A strong dossier should answer, in one screen's worth of hierarchy: **What is this?** **Why does it matter?** **Where did we first encounter it?** **Where else does it appear?** **Who uses, wears, owns or operates it?** **Where is it located?** **What depicts it?** **What is its canon state?** **What is real, speculative or fictional about it?** **What can I explore next?** Internally, the same node can also expose IDs, versions, prompt assets, generation recipes, evaluations, provenance and implementation notes. --- # 23. USE DEPICTIONS AGGRESSIVELY Depiction may become one of the most important constructs in the project. Harbor Zero is not identical to its concept drawing. The concept drawing is not identical to the Blender model. The Blender model is not identical to a trailer frame. The trailer frame is not identical to the embroidered map on a jacket. They can all depict the same underlying place. Likewise, one Narrative Vehicle can be depicted by concept art, CG geometry, a close-up frame and a physical miniature. One jacket can have multiple costumes. One character can have multiple portrayals. Once this is modeled explicitly, cross-media consistency becomes measurable rather than subjective. --- # 24. BUILD STORM TO THE FORT KNOX QUALITY BAR Customer Story Studio has learned an important lesson from Fort Knox: a graph node should not arrive as a name plus a raw image prompt. The Storm world should inherit the richer pattern. Important Narrative Locations, Characters, Vehicles and Wardrobe should have page copy, relationship arrays, provenance and differentiated visual-generation roles. A location might have a mythic establishing image, material/detail study and social key art. A wardrobe item should have product hero, on-figure depiction, mythic image and social variants. A vehicle should eventually have object hero, engineering/detail study, inhabited action depiction and world key art. The generic runtime should grow to preserve this richness rather than collapsing Storm down to whatever the smallest image taxonomy happens to support. The graph is the source. The generation runtime serves the graph. Not the reverse. --- # 25. THE LYRIC–SHOT–OBJECT TRIANGLE IS THE SECRET WEAPON The most distinctive archive interaction may be the simplest: A fan clicks one line of the song. The line opens its visual interpretation. The shot contains a recognizable object. The object belongs to a character. The character occupies a place. The place exists in 3D. The 3D location contains a system. The system connects to an XPRIZE technical idea. The idea connects to evidence. Then the visitor returns to the line and hears it differently. That is not a portfolio. That is worldbuilding. --- # 26. THE NORTH-STAR RABBIT HOLE The finished system should be able to support a journey like this without editorial sleight of hand: **song lyric** → **Storm Jacket** → **Bay-floor embroidery** → **real bathymetry** → **Harbor Zero district** → **submerged structure** → **expeditionary drone** → **drone CG model** → **trailer shot** → **water-control system** → **official city model** → **conflicting sensor reading** → **XPRIZE technical claim** → **source evidence** → **back to the lyric** If we can build that one traversal convincingly, we have proven the product. --- # 27. BUILD ORDER The first phase should establish the canonical Collection, identifiers, status dimensions and the five major gateways. The second should perform a true breakdown of the song, treatment and trailer into Characters, Narrative Locations, Narrative Objects, Narrative Wardrobe, Narrative Scenes, Effects and key Contexts. The third should build the lyric concordance and connect the strongest bars to existing and planned music-video shots. The fourth should map Harbor Zero's semantic objects into the 3D world so geometry and graph identities share durable IDs. The fifth should atomize the XPRIZE material into the Reality layer and explicitly classify real facts, projections, speculative design decisions and fictional manifestations. Only then should the public graph visualization become a priority. The data should create the visualization. The visualization should not determine the data. --- # 28. THE IMMEDIATE CONTENT PRIORITIES The most consequential missing material is no longer “more media.” It is **identity**. Harbor Zero needs named people. Its important vessels need names. Its districts need meaningful names. Characters need objects they own. Scenes need canonical IDs. Lyrics need references. Visual frames need semantic subjects. Scientific claims need evidence. Physical objects need provenance. The 3D world needs to know what its geometry means. Once those things exist, the archive becomes inevitable. --- # PRODUCT DEFINITION > **THE $TORM ARCHIVE** > The navigable canon of *$@!L $tr8 n2 the $toRm*: every consequential person, place, machine, garment, scene, lyric and piece of evidence connected across music, film, 3D space and reality. **Everything connects.** And the final design principle should be: > **Don't show people the graph. Give them a reason to fall through it.** This version also gives you a much stronger technical north star: **OMC 2.8 underneath, a Storm-specific CSS profile above it, and multiple public experiences generated from the same entities and immutable relationships**. That matches the direction MovieLabs advocates around common data models, resolvable identifiers, reusable integrations and software-defined workflow automation. The next artifact I would make from this is not a homepage PRD. It is a **Storm canonical graph-change package** containing the first 30–40 high-value nodes, their typed relationships, canon/evidence states, and the first lyric-to-shot concordance. That would give Codex something concrete enough to instantiate across the archive, 3D world and media workbench rather than designing the UI around placeholder concepts.