Thanks for the reply!
Oh yeah I understand that, it’s just that via a combination of the onomatopoeia and the mention of the LMG at the end, the impression I got was that they were pinned down (which had started recently) as opposed to just being under fire. I guess there could be more description of the situation in general to prevent confusion amongst the reader. In general I think the concerns I have are largely the result of misconstruing things in the text.
The “exchange” I was referring to was mainly just the sergeant saying the water/ammo/morale things out loud, as in the following mini-scene (“Glancing around…”) part of that is described there anyway.
My point was more along the lines of “why are they in a firefight in the first place”, which isn’t entirely explained short of a few comments after they take the house. And I suppose technically when ordered to take the town their company could be ordered to take a particular landmark or district. Though I fully agree with your point.
You could play the confusion into the plot or part of the MC’s internal monologue. For instance, ostensibly they’re meant to do X, but Y needs to be done beforehand and nobody has told them so they have to go and do it. Alternatively, they’re meant to take objective A, but that’s turning out to be impossible and they’ll have to settle for sub-objective D.
The MC’s bitterness towards these mistakes could play towards the possible reactions or flavour text, too.
Fair enough, I also forgot about that and also probably figured the rooms were a bit more cramped.
As an addendum to the weaponry things, perhaps capturing the LMG (as opposed to making it inoperable due to RPG fire, grenades etc) could give the MC’s platoon a bonus of some sort? It doesn’t seem like they have an LMG (they probably should, but it’s not mentioned), and I figure that might add some further variability to the various routes though it might also lead to an “optimal route” thing, which isn’t necessarily so bad.
As it is, I prefer how some sounds are described in the text as it is now. Bullets whizzing past, thumps, barking etc. Arguably, the onomatopoeia is to a degree already superfluous. If you wanted to do the more narrow-POV thing, you could focus upon things like ringing ears, or heavy breathing I suppose.
You don’t necessarily have to get rid of the narrator in that situation, just one with a more limited POV, as an option.