Strategy Game Development 2

I've decided to change direction in development of Velox Et Astrum.
The game will be created under these development principles:
1.One Design - Multiple Implementations.
2.All aspects are reviewed by everyone.
3.No deadlines or concrete dates.
4.Each opinion and suggestion has to be proved and explained.(otherwise its discarded)
5.No restrictions on language/toolkit/libraries(see 1.)
If you have something complex to discuss is better handled by forum mentioned in my sig.

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http://xs135.xs.to/xs135/09042/av922.jpg
Velox Et Astrum gamedev forum: http://etastrum.phpbb3now.com
How do ideas come? What a question! If they come of their own accord, they are apt to arrive at the most unexpected time and place. For the most part the place is out of doors, for up in this northern wilderness when nature puts on a show it is an inspiring one. There seem to be magic days once in a while, with some rare quality of light that hold a body spellbound: In sub-zero weather there will be a burst of unbelievable color when the mountain turns a deep purple, a thing it refuses to do in summer. Then comes the hard part: how to plan a picture so as to give to others what has happened to you. To render in paint an experience, to suggest the sense of light and color, air and space, there is no such thing as sitting down outside and trying to make a “portrait” of it. It lasts for only a minute, for one thing, and it isn’t an inspiration that can be copied on the spot...

>>3 something wrong? Could you describe the exact error?



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http://xs135.xs.to/xs135/09042/av922.jpg
Velox Et Astrum gamedev forum: http://etastrum.phpbb3now.com
The crucial and monumental development in the art music of our century has been the qualitative change in the foundational premises of our musical language--the change from a highly chromaticized tonality whose principle functions and operations are still based on a limited selection, the seven notes of the diatonic scale, from the universal set of twelve pitch classes to a scale that comprehends the total pitch-class content of that universal set. We can point to the moment of that change with some precision. It occurs most obviously in the music of Scriabin and the Vienna circle, Schoenberg, Webern, and Berg, in 1909-1910, and very soon afterwards, though less obviously, in the music of Bartok and Stravinsky. I think it is safe to say that nothing of comparable signifigance for music has ever occurred, because the closing of the circle of fifths gives us a symmetrical collection of all twelve pitch classes that eliminates the special structural function of the perfect fifth itself, which has been the basis of every real musical system that we have hitherto known.