Yes, it's a viable storyline, Andy, It makes perfect sense from that point of view when you explain it.
I guess where I was coming from was that I have come to believe that that real "art" of effective composition in a dio is to be able to either convey a pretty clear storyline without the need for an explanation, Gosh, I pray that this doesn't sound "lecturing", and I sincerely hope that that doesn't sound too haughty or conceited--it's sincerely not meant to be!!
I'm just relating to you exactly what was told to me by an older, more experienced dio builder around my old hometiwn in Pennsylvania--his dio's were amazing in that you always knew exactly what had happened, ot in the case of a few, you were left with an unsettling sense of knowing that something very tragic or unsettling HAD happened, and that all there was left to feel was the residual, powerful emotion left in its wake. Very enigmatic and ambiguous, to a degree, but having a certain undefinable "something"....?
Did you ever see the amazing dio's by that guy Jean-Bernarde Andre? Look up "Wet Feet" by him. You can see what I mean by an "enigmatic diorama". I tried to capture that in my recent "Field Kitchen" mini-dio, where the soldiers are traveling by the abandoned bike. I tried to get the observer to ponder on why that bike was there, and to reflect on how the horses were possibly in fact a much more "reliable form of transportation". I hope I did achieve that, to a degree?
Maybe having somethng to convey the fact that there indeed was just an attack by a enemy unit--a dead soldier, or something of the like--in the front of the dio would convey that sense, and your idea, without needing to literally explain it? Or have I missed that? (probably! LOL!)
Just something to consider?