![]() ![]() You do realise how many trebs would actually be needed for that?Ī single rank 1 trebuchet, using standard shot, destroyed a section of wall in under 90 seconds, using about 30% of it's ammo. If yes, then they're not "worthless" they're now doing exactly what they were always meant to do all along. Haven't had a chance to test try them out against settlements, but do trebuchets still knock holes in city walls in relatively short order? ![]() Few cannons and moving your troops in battles were totally unnecessary. I think that for most people cannons just made this game really really easy. If someone enjoy playing with cannons maybe game about 200AD warfare is not for him.Īnd yes, removing trebs and replacing them with artillery that actually existed 200AD would have been great, but I understand why CA didn't do it. I think it’s clear who is dramtising now? It’s not like the game force people to use trebs in every battle. Nerfing it completely remove the option for a certain group to enjoy the way it is. I bought the game using my own money ****. Vanilla game should be design to allow wide range of people an option to play the way they enjoy most without having a bunch of people telling you how it should/shouldnot be played. So why not totally remove the trebs to stay true to historical facts. This historical argument serve no purpose, selective argument at best and in no way could be link as an excuse to nerf trebs. Maybe some modder could add cannons, tanks and airforces for someone who like to have options. This should be historical game where available options are same that were available for historical generals. Not restricting options of others just to please certain group of people trying to impose the way the game should be played on other people. Treb is nerf way too much, bring back the original trebs.ĭesigning a game is all about giving options for players from a wide range an option to play how they want. 2K A Total War Saga: Thrones of Britannia.846 A Total War Saga: Fall of the Samurai.Through form and surface my goal is to communicate a sense of home and memory but also to evoke that feeling of wanderlust that has informed my own life and visual sensibilities. And how the relationship between function and ornament shift throughout the course of a day/week/year. By exploring and creating vessels kept within arms reach, I hope to communicate how an object’s significance can grow and change depending on the path of a person’s life. I hope to instill a sense of age, like one finds apparent in discarded objects, with the aim to infuse feelings of nostalgia and wanderlust in my ceramic objects. I rely on texture and color to create a sense of motion and time in my work. I want my work in clay to represent growth and accomplishment, in which I believe reminiscence and nostalgia play a part. At the same time, she is a completely modern potter with contemporary themes in her work. The foundation of Sunshine’s work is closely associated with traditions of historical ceramics. Sunshine likes to experiment with new and old functional forms and different methods of construction. Hitomi Shibata web-shop (Open at events only) Our clay path hasn’t been easy nor short, but taking a long way gave us lots of great lessons, and brought me wonderful opportunities and friendships in many places. Now I, my husband and my pottery business partner, Takuro Shibata, and our two sons live in Seagrove, North Carolina, which is the biggest pottery community in the USA. I learned ceramic art at Okayama University, which is located in a very active hand-craft area in Japan, established a professional career in Shigaraki which is one of the oldest potter’s villages, and got a scholarship and studied at University of Massachusetts-Dartmouth. I want to make beautiful clay works from simple and natural materials, improve my pottery making skill and knowledge, and work on wood firings with tenacity and curiosity everyday. It’s a very slow process to use wild clays and to work on wood firings, but I focus on every process, materials and quality of my clay work. Wood firing is also an important process to complete my work and it gives a sustainable energy into my work. My ceramic works are made from wild, local clays, and it’s really important for me to understand materials from nature. ![]()
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