An art pass. Every summon the Eidolon Caller can roll now arrives as a painted plate instead of an abstract bloom, and the moment it arrives lasts long enough to look at.

The map catalog is now six FFT-traced environments, and nothing else

Every battlefield in the game is traced from a Final Fantasy Tactics original, each playable small and large. Twenty-six maps down to eleven.

	Traced from	Small	Large
Town	Magic City Gariland (#22)	Highspire Quarter	Highspire Canals
Fortress	Zaland Fort City (#35)	Gatestone Ward	Gatestone Bastion
Desert	Zeklaus Desert (#76)	Sunscar Wash	Sunscar Mesa
Crypt	Limberry Underground Cemetery (#17)	Gravewater Crypt	(1v1–5v5)
Temple	Hall of St. Murond Temple (#3)	Hallowmere Chapel	Hallowmere Hall
Woodland	Sweegy Woods (#74)	Wealdcrown Copse	Wealdcrown Rise

Two are new this release. Hallowmere is a building, and it fights like one: a basilica floor plan is already a tactical diagram, with a sunken nave running the length of the hall, raised aisles down both flanks looking into it, and pillars breaking those aisles into bays. The nave is the fast lane and the low ground at once.

Wealdcrown has no architecture at all — one wooded plateau in open ground, where whoever stands on top has the height bonus over everything below. What stops that being "whoever arrives first wins" is that the hill is cut away east and west, so the only ways up are the ramps north and south. Both armies start on a ramp and arrive from opposite ends at about the same time. You take the top by winning the top.

Retiring the originals needed one piece of groundwork: every mode from 1v1 to 8v8 still resolves to a hand-authored map. 1v1 previously existed only on three of the retired boards, and 1v1-army is a launch quickmatch queue, so each traced map now declares the full range its spawn rows can actually seat.

Ledges are carved rock now

A tile standing two or more steps above its neighbour hangs a cliff face on that edge, so a drop reads as cut stone rather than a stack of tinted boxes. This is the first piece of theming that looks at a tile's neighbours rather than only at the tile.

Outdoor themes take it; dungeon and temple deliberately don't, because a crypt wall is masonry and a rock face there reads as a cave-in.

The woodland set also grew — the Forest Nature EXTRA terrain landed, roughly tripling that pack's props and giving the forest theme real ground.

All sixteen summons are drawn

Ifrit, Shiva, Bahamut, Leviathan, Carbuncle, Ramuh, Fenrir, Titan, Cyclops, Salamander, Sylph, Golem, Faerie, Hearthlight, Lich and Odin — painted in the same house style as the job portraits, and cut to alpha so each one stands on the battlefield rather than hanging there as a framed painting.

They're caught mid-action rather than posing, because the plate flares at the instant the eidolon lands its blow — a creature standing at rest is a creature that arrived and did nothing. The four that heal, shield or reflect (Hearthlight, Faerie, Golem, Carbuncle) are drawn giving their blessing or raising their guard instead, matching the valence the effect layer already reads off them.

The attack is body language, never emitted energy. No breath weapons, no beams, no glow off the hands — the engine already draws the magic, tinted by the ability's own element, and a plate that drew its own would both double it up and fix in paint a colour the palette is entitled to change.

The summon now holds on screen

There was no dwell at all before: the fade-out was chained straight off the arrival, so the thing the whole effect exists to show was never once on screen at rest. The rune, the rising gate and the scatter were build-up and aftermath around a moment that lasted zero seconds. It now holds, scaled off the ability's own timing so Bahamut lingers longer than Hearthlight — and it costs the turn nothing, because that part of the effect was always trailing.

Two skeletons, tried and replaced

Odin and the Lich shipped for one release as rigged KayKit skeletons that walked and swung, as a genuine trial of the other approach. The paintings won, so both are plates now. The code that drives a model is deliberately kept: a summon can be pointed back at one in a single line.

The icon is an icon now

The game's icon — window, taskbar, exe, browser tab — was the crown-blade render: a luminous gold sculpture on near-black that is a smudge at 16 pixels, which is the size an icon actually lives at. It has been replaced with a hand-pixeled 8-bit crest in the classic console style: a gold crown over an upward sword, hard outline, gem and grip in brand red.

Two master drawings, not one image resampled — 16x16 and 32x32 are authored pixel-by-pixel (tools/gen_app_icons.py), and every emitted size is an exact integer blow-up of one of them, so the art stays hard-edged everywhere: the exe icon, the Godot window icon, the site favicon (a real .ico with per-size art, replacing the single PNG the browser had been squeezing into the tab), an apple-touch-icon, and the Discord server icon (updated live on the server, master kept in branding/discord-icon-pack/). The render isn't gone — it remains the splash and title art, where it has room to breathe.

Also

Sylph was redrawn close-up. Three small fae scattered down a tall frame was the one plate that couldn't be read at board zoom.
Cyclops has one eye, which took three attempts. Saying an eye sits "in the centre of its forehead" is how a third eye gets described, so it kept the usual two and added one.
++ dressed in the FX previewer plays only the summons that have art, read from the art table itself so a new one appears without being listed.

Sixteen Eidolons