I'm curious, what would your ideal FE be?
And do you have any particular FE concepts in mind?
So, fun fact: I actually talked about this a while back.
...and by 'a while back,' I mean 'five years ago,' because time is soup.
So because that's a heck of a lot longer than I remember and a lot changes in that amount of time, let's come at this fresh and see what changes and what doesn't.
So I still really want to keep the lead character concept: dual sword/mage older sister and priest younger brother (with natural promotion to dual healer/mage) is a nice shift on the usual Fire Emblem formula, where we rarely see female Lords in the lead who are set to inherit the throne or male healers (and I can't recall the last time one was a prince, barring Brady with Chrom as his father and I guess Forrest though he's not in the immediate line of succession since he's Siegbert's cousin meaning Xander and Siegbert would need to be removed from the equation before he'd be in line for the throne but since Leo's a prince I think that technically akes him one too and now I'm just going down a rabbit hole of technicalities).
Intro/tutorial would be fairly run-of-the-mill, border skirmish type thing against a small incursion from a neighboring nation and going out to take care of it. But something I think would be fascinating is an expansion on the usual mid-battle recruitment and the option to spare foes that we saw at times in Three Houses: I want every main chapter enemy to have a name and unique portrait. I want there to be a frankly ridiculous number of characters who could theoretically be recruited depending on who approaches them, and I want every enemy to have an option to spare them even if they're not recruited.
Think of it: you go into battle and you see that every enemy is an individual. Every enemy is someone you can engage with. And you can approach any one of them with any of your units and talk to them. As you play, you start to get to know the different personalities of your units: someone may have a kind and gentle approach that's more likely to convince someone who's not exactly keen on fighting -- but that same approach might get steamrolled over by another person that's more set in their ways. Conversely, one of your units might be blunt and straightforward, and could butt heads in a constructive way with someone like that, but whose approach would scare off a more timid foe. Maybe approaching another unit with a character just recruited in the same battle can be helpful -- one of them bringing a friend or close ally over, because they don't want to hurt each other -- or maybe it can backfire spectacularly, with the enemy unit accusing your new ally of stabbing his comrades in the back, which shuts down all attempts at conversation.
It could be an interesting risk/reward system that encourages getting familiar with your various units beyond just their mechanical strengths and weaknesses: knowing their personalities and being able to employ them to take enemies off the field and bloodlessly thin the ranks could be a lot of fun -- plus, it's something that's not required. You don't have to try and bring them to your side -- you can breeze past those little dialogue snippets and just take them out if you want. And at the end of combat, if they weren't recruited, you have an option to spare them or kill them. If you spare them, you might see them again in another battle, and maybe they'll remember you: maybe you'll have another chance to recruit them, and more success the second time around because your actions challenged their preconceived notions about you. If you kill them, though, you might run into someone else later on -- a sibling, a relative, a friend -- who can't be reached at all because their quest is one of vengeance against the one that murdered someone they loved.
And then: what if that built into Supports. What if recruiting units off the battlefield had long-running effects based on how that unit was used? If someone was initially hesitant to join you, and then you bench them permanently, maybe they desert your force after a while because they felt isolated and lacked any kind of community since no work had been done building a new support network for them. Maybe someone else was a little too eager to join based on their impression of your army, and if you build out their Supports it becomes clear that their character has goals that are entirely at odds with the main characters' -- but because those Supports also gave them an understanding of the disconnect, they end up betraying you at some point to get what they want. Recruitment becomes a mechanic that needs to be considered, rather than just a 'collect them all' thing, because indiscriminate recruiting can backfire on you down the road.
With that many characters, of course, it would be completely insane to have all of them as combat units -- so what if some recruits unlock camp options. Maybe they're hesitant to fight against their own people directly, but they want to help and learn more about your force, so they offer non-combat skills: cooking, hunting, fishing, foraging, various sorts of combat/weaponry training, medical aid, merchant services. Similar to Three Houses monastery activities, you can pick a couple of combat units and send them to do different tasks that help keep your forces in fighting shape, building support bonds and learning things about the non-combat units in the process.
One thing I definitely want to see though is a reversal on the stereotypical Divine Dragon and Evil Dragon dichotomy. I want the main characters to talk about their Divine with absolute reverence, I want them to refer to their Divine as their protector and guardian, I want them to make their Divine out to be so kind and compassionate -- and then at some point deep in the game, I want it revealed that their Divine is the one that's seen as that world's Ultimate Evil. I want their Divine to look incredibly daunting, too, big and dark and toothy and terrifying -- but the main characters have nothing but respect for it, and it's eventually proven (maybe through calling it for aid against the threat of the neighboring nation's Divine) that their faith is not misplaced nor mistaken, and their Divine is everything they claim it is.
I still really like the split narrative concept, too, with the two siblings having different stories and different objectives: the kidnapped brother would likely have missions emphasizing escape or endurance (which takes advantage of his status as a healer), while the questing sister would have more objectives to rout an enemy or defeat a particular foe. Odds are that the narrative would begin with a single straightforward story, then split at the kidnapping, and only join together again at the very end before the closing chapters (so you could bring your favorites from both sides of the story to the final confrontation, but wouldn't get all the out of battle/camp stuff).
And above all: I wouldn't want it to be a story that ends with unification under a single banner. A lot of Fire Emblem games have this as their 'ideal' final state, and that's just never worked for me. I would want every nation to remain independent -- maybe with more connections, an openness to diplomatic discussion and free trade, possibly some leadership changes -- rather than having one country dissolved into another.
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Simplified Design Process: Crafting Exceptional Spaces with Cagayan de Oro Architectural Design Services
Embarking on a journey to transform your vision into reality with JMG Construction & General Merchandise involves a simplified design process that ensures a seamless experience from concept to completion. Here's an overview of our Design and Build services, presented in three easy steps.
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2. Design Development and Documentation
Once the conceptual design receives your approval, we move on to the detailed planning stage. Here, our focus is on refining the design, selecting materials, and creating comprehensive documentation for the construction phase. Detailed plans, blueprints, and specifications are meticulously crafted to provide a roadmap for the construction process. This stage involves a collaborative effort between architects and engineers, ensuring a cohesive and well-documented plan for the realization of your project.
3. Construction and Implementation
With the design solidified, it's time to turn plans into reality. The construction and implementation stage is where contractors and builders take center stage. They execute the construction plans with precision, overseeing critical tasks such as site preparation, foundation work, framing, and finishing touches. Throughout this phase, project managers closely monitor progress, coordinate with subcontractors, and address any unexpected challenges that may arise. This hands-on approach ensures the smooth execution of the project and the timely realization of your vision.
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What Is Architecture? What Are the 5 Senses Of Architecture?
What Is Architecture
Buildings or other structures may be planned, designed, and built in a process called architecture. Buildings that are the physical manifestation of architectural works are often regarded as works of art and cultural icons. Architecture from past civilizations is often used to define them now.
The custom, which dates back to the ancient past, has been employed by civilizations on all seven continents as a means of displaying their cultural identity. Because of this, architecture is seen as a type of art. Since antiquity, books about architecture have been written. The Roman architect Vitruvius’ book De architectura, written in the first century AD, is the first known work on architectural ideas. Vitruvius claimed that a good structure includes firmitas, utilitas, and venustas (durability, utility, and beauty).
Centuries later, Leon Battista Alberti expanded on these concepts, considering beauty to be a property of structures that can be determined by their proportions. In his 16th-century book Lives of the Most Excellent Painters, Sculptors, and Architects, Giorgio Vasari introduced the concept of style in the Western arts. Louis Sullivan said that “shape follows function” in the 19th century.
The term “function” started to take the place of the traditional “utility,” and it came to mean not simply something useful but also anything with artistic, psychological, and cultural components. In the latter half of the 20th century, the concept of sustainable architecture first emerged.
Asia as a whole was inspired by Indian and Chinese architecture, and Buddhist architecture, in particular, included several regional influences. In reality, throughout the European Middle Ages, cathedrals and abbeys in the Romanesque and Gothic styles evolved on a pan-European scale, but the Renaissance favored Classical forms used by renowned builders.
Later, the functions of engineers and architects were divided. After World War I, an avant-garde movement that aimed to create an entirely new aesthetic suitable for a brand-new post-war social and economic order centered on serving the demands of the middle and working classes gave birth to modern architecture. Modern methods, supplies, and geometric shapes were emphasized, opening the way for high-rise superstructures.
Due to the disillusionment of many architects with modernism, which they saw as anti-historical and anti-aesthetic, postmodern and contemporary architecture emerged. The practice of architectural building has grown to include anything from ship design to interior design throughout the years.
De architectura, written by the Roman architect Vitruvius in the first century AD, is the first extant written work on the topic of architecture. According to Vitruvius, a good structure should adhere to the three firmitas, utilitas, and venustas principles, which are also known as firmness, commodity, and luxury in their original Latin. An equivalent in modern English would be:
Durability – a building should stand up robustly and remain in good condition
Utility – it should be suitable for the purposes for which it is used
Beauty – it should be aesthetically pleasing
According to Vitruvius, the architect should make every effort to achieve each of these three qualities. In his work De re aedificatoria, which expands on Vitruvius’ theories, Leon Battista Alberti considered adornment as secondary to proportion in the pursuit of beauty. Alberti believed that the Golden mean, the idealized human form, was guided by the laws of proportion. The most significant feature of beauty, therefore, was founded on universal, recognizable truths and was an intrinsic part of an item rather than something imposed superficially. It wasn’t until Giorgio Vasari’s writings in the 16th century that the idea of style in the arts was formed.
5 Sense of Architecture:
Here is the list of 5 senses of architecture.
1. The Eye and Sight
Historically, the eye and sight have dominated architectural practice. The other senses, such as sound, touch (including proprioception, kinesthesis, and the vestibular sense), smell, and in rare instances, taste, have, nevertheless, begun to get more attention from architects and designers in recent years. The expanding knowledge of the multimodal nature of the human mind that has come from the area of cognitive neuroscience research has not yet received much attention.
The phrase has been used to describe the primal reaction elicited by the interaction of architectural components including form, material, size and proportion, light and shadow, color, building techniques, etc. Each sense makes a contribution that is both equal in strength and distinct from the others.
2. The Sense of Sound
Architecture is a complicated way of perceiving sound, and every structure has one. The sound of flipping pages is accentuated when one enters a silent library; in a church, muttered prayers are delicately recorded. Depending on the properties of the sound, materials, and textures with a tendency to reflect, change, absorb, channel, or enhance sound may help shape a place. Unlike eyesight, these omnidirectional biological phenomena are not confined; because of their fluid, horizonless character, it is free to wander anywhere it wants.
3. The Eyes of The Skin
This explains why humans see wood as a more aesthetically pleasing material and consider concrete to be a more harsh one. In the past, this phenomenon was only sparingly explored, and it is now mostly ignored in built environment design. But it still has a strong capacity to affect how space is perceived. The tactile world is also renowned for its capacity to hold onto memories from the past. Pallasmaa describes its potential as having a deep connection with history, custom, and vestige.
4. The Sense of Smell
The sense of smell is understood by all people, yet the feelings and memories it brings back are unique to each person. With only a tiny sniff, the nose is said to be the most effective memory creator, connecting the past and present. Some fragrances are deeply ingrained in our memory and difficult to recall on demand; they often need a trigger. This memory often fills the mind with memories connected to the particular fragrance; images that are ordinarily unreachable.
5. The Sense of Touch
The primary sensory organ for spatial awareness is thought to be the eye, which is notorious for being a “gullible” sense. Since ancient times, ornamentation, symmetry, strict proportions, rhythm, and patterns have all been used to address the visual sense in our constructed world. Making aesthetics the first priority results in structures that lack soul since the material selection is only justified in terms of aesthetic criteria and does not appeal to the senses of hearing, touching, or smell. Design that appeals to all the senses creates an experience that goes well beyond the visible.
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