You can think of a battlefield map like a blueprint, not a painting, but if you’re going to compare it to art, I’d say it’s a high‑contrast sketch with a heavy emphasis on symmetry. Every line has a purpose, every shade indicates a potential threat, and the composition is designed to guide the eye to the most critical points. When I plan, I’m looking for balance and flow, just like a good composition, but instead of color I’m using movement, timing, and force distribution. If the map were a painting, it would be a very precise, functional portrait of chaos controlled.