Like Dwemer airships, Sload airships have gasbags (not magical sailships like those of the Ayleids). The name of these ships are Sload Floaters. Unlike the Dwemer however, Sload Floaters appear to be made of organic materials (going by the concept art).The Sload are the most famous Necromancers, but little is known of their native Thras. In Tamriel, Sload only practice Necromancy on other races. It is uncertain whether this is true in Thras as well. If so, it would explain the number of slaves that are purchased in Tear by Sload merchants and the rumors of Sload airships carrying corpses from Senchal.
Contraband description: Clockwork Brass Alarm said:Clockwork brass rooster that crows thrice at dawn, with three volume settings, from Swan's Grace Enchantments.
Contraband description: Clockwork Dragon Frog said:Firestarter Antique First-Era noble's novelty device, a clockwork dragon frog that spits a small puff of flame.
Contraband description: Clockwork Toy Soldier said:This wind-up clockwork toy was crafted by Telenger the Artificer himself, and was probably gifted to the child of a noble.
Contraband description: Intricate Clockwork Snowy Owl said:Windup brass and ceramic snowy owl that turns its head, blinks, and hoots raspily. Imported from Necrom.
Contraband description: Brass Windup Clockwork Frog said:Windup clockwork amphibian that croaks and shoots out its tongue at the sound of a certain tone.
Contraband description: Dancing Mammoth Music Box said:Music box that, when wound, plays "Threnody for King Eplear" as three clockwork mammoths dance around Treehenge.
Contraband description: Elaborate Clockwork Hurdy-Gurdy said:Fine string instrument that can be played with a bow, or cranked to automatically play the Camoran March.
Contraband description: Lay of Firsthold Music Box said:Clockwork music box of brass and tin that plays the "Lay of Firsthold" while tiny swan ships sail in a circle.
Contraband description: Windup Flying Nightingale said:Delicate clockwork nightingale that, when wound up, can fly across the room, singing; labeled "Galarniel, Firsthold Artisan."
Contraband description: Child's Wind up toy said:A tin wind-up toy made to resemble a mechanical Dwemer spider.
Contraband description: Colovian Cypher Device said:A brass cylinder of rotating disks, engraved with letters and connected by a central axle, used to decipher Colovian messages.
Contraband description: Copper Saltrice Steamer said:Copper-bottomed double-boiler steamer, engraved with the motto "The Finest Saltrice comes from Sathram!"
Contraband description: Crystal Quizzing Glasses" said:Crystal magnifying lens mounted on a long brass handle, microscopically inscribed "Davynu's Workshop."
To be sure, there are a number of unusual finds within the ancient Dwarven holdfasts. Towering machinery, shafts that allow sunlight to reach thousands of feet below ground, roaring waterfalls powering still-active and incomprehensible machinery … there are many ruins that are stunning to the eye and the senses.
None of them match Ragnthar when it comes to stunning the mind. For you see, Ragnthar has numerous entrances spread across Tamriel. It is literally a space-out-of-space, twisted out of reality. Its physical location is actually unknown! Observations made within the site suggest it once was situated within the mountains of Hammerfell, but a precise origin point has never been determined.
What is known is that by stepping across the threshold into Ragnthar, you leave Nirn. And no one knows why.
For indeed, the greatest question posed by Ragnthar is: why? Why would the Dwemer expend the enormous amounts of magical energy required to remove a complex from known reality? I call this effort a "Temporospatial Claudication," literally a twisting of time and space.
Arriving at Kynesgrove, Alduin's arrival heralds a snow storm. This has been the case with every playthrough of Skyrim I've done so far.
(http://imgur.com/WedtZ4T)
As Sahloknir wakes up, when still just a skeleton (which is weaker than his form with flesh) he throws the dirt and boulders of the dragon mound off him.
(http://imgur.com/s3vKZOH)
A dragon in skeleton form is weaker than when their skin and flesh rematerialize.
When Alduin resurrects Sahloknir, the two have a conversation in the dragon tongue. So yes, dragons can infact speak in their own language and cool downs are non-canon.
Alduin rebukes you for calling yourself Dovahkiin but not understanding the language of Dovah.
As Alduin leaves, the skies clear again.
(http://imgur.com/tsidQPY)
Unrelenting Force shout (with just two words) sends large chunks of dirt flying and knocks Sahloknir back.
(http://imgur.com/6IxEmYa)
You perform a takedown move on Sahloktar.
(http://imgur.com/YBNBZ7B)
A late comeback I know, but I've been watching a good few more lore videos recently and Fudgemuppet is among them.@Stocking Anarchy Do you follow Fudgemuppet on YouTube? They post tons of Elder Scrolls Lore videos.
I primarily follow them for their Skyrim roleplaying builds. Right now, I’m taking a break with my High Elf for a build based on this one: The Avenger
Character goes perfectly with my usual roleplaying of a Thalmor hating rebel. Awesome backstory and playstyle and Krosis + Glass Armor just looks badass.
Going to follow the above but probably mix in some One-Handed too. Just doesn’t feel like a proper Warrior without some kind of melee skill.
Miraak and Vahlok tearing Solstheim from Skyrim is stated by the same book to be 'pure fantasy' so this feat isn't reliable. In terms of feats, Miraak and Vahlok scale to much better (and in the case of Miraak, have better feats outright), so make of you will if splitting Solstheim is legit or not. A friend of mine has pointed out there's places where the landscape of Soltheim matches that of Morrowind and Skyrim, so that's some support of the argument in case of (which I may look into later).So great and terrible were the forces unleashed in this contest that Solstheim was torn apart from the mainland of Skyrim. Here, the myth clearly descends into the realm of pure fantasy.
So not only is he hearing this secondhand, but he admits that he came here to learn more of the legend in the first place.Certain that this myth is rooted in history I set out to learn what I could and perhaps piece together a presumptive account of the events that gave rise to the legend.
The tale is remembered best by the shamans of the Skaal, that unique tribe of Nords whose culture evolved along an entirely divergent path than that of their brethren in Skyrim.
I spoke at length to the shaman of Skaal Village, a wise and hospitable man named Breigr Winter-Moon. He described an age long ago when Dragon ruled over the whole world and were worshipped as gods by men. Presiding over this cult of dragon-worshippers were the Dragon Priests, powerful mages who could speak the dragon language and call upon the power of the thu'um, or Voice.
The author says that the fight is meant to be representative of a greater struggle between good and evil. While this still may be the case (TES is a world of Metaphors made Manifest), we can confirm that not only are both Miraak and Vahlok real, but they did infact fight.The Guardian, whom the legend presents as a paragon of loyalty and nobility, finally defeats the despicable Traitor, who seems to represent all that is corrupt and evil in men. Their epic duel is clearly representative of a greater struggle between good and evil. Perhaps it is this timeless quality that has kept the tale alive for so long.
The book says that the All-Maker may be a distant echo of Alduin the World-Eater. To iterate, the All-Maker is a belevolent all encompassing being who created everything, while Alduin is the dark devourer of the world. The two are nothing alike. But it gets even more blatant, as the Skaal already have their own version of Alduin, who's an aspect of the Adversary, the enemy of the All-Maker and the Skaal.There are other tantalizing clues, though perhaps these connections strain the bonds of credibility. For example, is it possible that the Skaal deity, the All-Maker, is some distant echo of mighty Alduin, the World-Eater of the ancient Nord pantheon?
So despite Tharstaag being the World-Devourer for the Skaal, who eats the world at the End of Seasons, the Lucius Gallus still equates the All-Maker to Alduin (for the reason that all I can make out, because their names both start with 'A').In a time before now, long before now, when the Skaal were new, there was peace in the Land. The sun was hot and the crops grew long, and the people were happy in the peace that the All-Maker provided. But, the Skaal grew complacent and lazy, and they took for granted the Lands and all the gifts the All-Maker had given them. They forgot, or chose not to remember, that the Adversary is always watching, and that he delights in tormenting the All-Maker and his chosen people. And so it was that the Adversary came to be among the Skaal.
The Adversary has many aspects. He appears in the unholy beasts and the incurable plague. At the End of Seasons, we will know him as Thartaag the World-Devourer. But in these ages he came to be known as the Greedy Man.
Which is of course, completely wrong, as summoning storms and slowing time are powers we can directly see in the games themselves (which Dovahkiin can use).The more fanciful tales have them summoning storms and even stopping time. These should be discounted as myths and faery tales.
The magical nature of Nirnroot makes it more susceptible to climate shifts.To surmise, my two proposals are certainly linked. The plant needed to survive, and therefore used a byproduct of its destructor to do so. No other plant in nature has ever come close to this metamorphosis. I feel the Nirnroot has accomplished in a relatively short amount of time what it would take other species millions of years to complete.
The disasterous Red Mountain eruption of Sun's Death in First Era 668 and the falling ashes across Tamriel forced a change in the very makeup of Nirnroot.According to the records of the noted Imperial Herbalist Chivius Regelliam, the Nirnroot once flourished and could be found all over the country, but he suspected a cataclysmic event severely stunted their growth. Although many scholars reject the proposal that the Sun's Death event of 1E 668 catastrophically affected plant life, Chivius feels that the Nirnroot's lineage was damaged by the lack of sun for a full year. Whereas other plant species tend to "find a way," the Nirnroot's mysterious magical nature made it especially susceptible to this climate shift. While this may or may not be the case, it's certainly true that the recorded sightings of Nirnroot are declining as the years pass.
The answer, my fellow alchemists, is nestled within Chivius's own notes. Although he spends a great deal of time with the Nirnroot in his laboratory, the one thing he neglected to test at a high enough level of detail was the soil. As stated previously, Chivius felt that the Sun's Death, the eruption of Red Mountain, contributed to the demise of the Nirnroot. Agreed. My amendment to that proposal is that the ash that fell from the sky that entire year mixed with the soil, and again, due to the magical nature of the root, contributed to the aforementioned changes. The ash became a catalyst of sorts, forcing a change in the very makeup of the Nirnroot. Although very little ash from that dark time remains, I have done tests on newer ash samples sent to me from Vvardenfell. They show little to no magical properties, certainly none of which could affect a plant to that magnitude. However, the rare occurrence of what's known as Ash Salt in the normal ash does contain very potent magical abilities. In fact, some native Dunmer are said to harness that ability to create a cure for the Blight, which pervaded their realm many years ago. I feel this magic, meshed with the Nirnroot's inherent magic caused the radical change... in essence; the root "healed itself."
Playing the Dawnguard DLC and it's surprisingly funDamn, now I want to replay Skyrim just talking about it. Time to start a new playthrough lol
Dawnguard was my absolutely favorite part.Playing the Dawnguard DLC and it's surprisingly fun
Jonah calls Alduin a "world-eating dragon."A lot of people don't know this, but I originally designed the Giant to look like my father, Jim Lobe (you can google him if you like, he's a journalist). With his weathered features and weary demeanor, the Skyrim Giant was meant to convey a profound feeling of oldness, of a long life lived in the sun. I wanted players to feel like children again, small, in awe of the largeness of our parents as they moved around the house. To create this, I referenced the art of Adam Adamowicz (obviously - he was the concept artist there at Bethesda Softworks!), farmers from around the world (to get that creased-skin look) and African tribal scarring (blended with a Celtic influence).
The model, fully-clothed, weighs in at around 12k polys. Watch out for that club - it'll send you into orbit.
(Fun-fact: We at Bethesda identified that physics bug in the game almost right away... and then decided it was too hilarious to take out!)
In regards to a draugr, Jonah wanted to portray a feeling of great strength, saying he wanted it to feel as if knocking on their skin would be like knocking on wood.Alduin nearly ruined my career.
I was 27 when I created Skyrim’s world-eating dragon, which meant I was young and considered myself damn-near immortal (I still do, but we’ll leave my blood-of-the-innocents diet for another day). I was behind schedule - as I often am - bogged down as I was from the sheer amount of detail I had sculpted into the mesh. I pushed myself for days and then weeks, until - just one day before I predicted he’d be done - my body gave out completely. My wrist was in *agony*, and I found out after weeks of physical therapy that I’d given myself a savage case of tendonitis. I was out for weeks, and my work suffered for many, many months. In fact, ten years later, I’m still suffering the effects — I need to stretch daily and take frequent breaks to hold it bay.
Ah, mortality. I shall find a way to best thee yet...
I loved creating the Draugr for Skyrim. Undead are always fun to make, but when I saw the many pages of concept art that came off the desk of Adam Adamowicz, I immediately fell in love. The Draugr are not sagging, rotting, shambling undead, and they're not horrors - not exactly. They are soldiers and warriors of legend, sworn to the undying task of guarding the resting places of their people - they are strong, and angry, and the dry, frozen catacombs have caused their skin to shriven into petrified leather.
In modeling and texturing the Draugr, I wanted to convey a sense of power and ferocity, and that feeling like if you tapped the skin with your knuckle, it would sound like knocking wood. And the suit of armor that he's wearing - with its straight angles and beaten bronze-age appearance - helped me establish a metalwork style that I then propagated over to all the other armor sets I did, like the Dragonbone and Dragonscale armors. I just love that hand-made look...
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