The Elder Scrolls Traveler: Issue 3
A new issue will come out every Sunday (or Saturday, for those in the US).

  • Latest News
    Bethesda give their fans a few things to chew on.
  • Mod Talk
    A great tutorial to get you started.
  • Game Guide
    Knights of the Nine -- Shrine of the Crusader
  • Traveler Talk
    An interview with Oscuro, author of Oscuro's Oblivion Overhaul.
  • Bug Fixer
    Send them in!
  • Mera's Maps
    Bleak Flats Cave and Mongrel's Tooth Cave.
  • The Loremaster
    Xui'al's "Basic Guide to Telvanni Construction".



LATEST NEWS

The latest installment of the Bethesda Softwork's Newsletter has confirmed that the Shivering Isles (SI) expansion pack will be released this month. Most of the gaming media is citing the 26th of March as the release date, though Australia and other non-US countries may have to wait until the 30th.

Bethesda's promotional wheels have started to turn, though a little late I think. They've given us trailers for both SI and Oblivion for PS3, released a new SI wallpaper and six new SI screenshots. Unfortunately, all of these new screenshots have been available on various gaming sites for a few weeks -- if you've been keeping up with previews and interviews your probably will have seen them before.

Those of you who're eagerly awaiting the release of Oblivion for PS3 have been gifted with six new Oblivion PS3 screenshots. To me, they look like regular Oblivion screenshots, but hey, that's not a bad thing.

As most of the prominent gaming sites have already conducted their hands-on previews there have been no new ones this week. On the interview front, the dedicated users of the TES forums have conducted a fan-interview and asked many questions about the SI expansion pack. Check it out here. Official Xbox Magazine has a vodcast with Pete Hines, while Gamer Tag radio has met up with Design Director Bruce Nesmiwth to chat about SI -- over podcast, of course. Everyone is getting very high-tech, don't you think?



Screenshot of the Week -- the Land Dreugh's evil-er twin.




MOD TALK:
A great tutorial to get you started

The Elder Scrolls Construction Set Wiki is the Bible of Elder Scrolls modding. It looks quite intimidating at first, and might have discouraged those of you who have had the desire to mod but felt it seemed too difficult.

I think this story will be familiar to a lot of modders. My character was traipsing through Cyrodiil and happened upon a particular area of the wilderness which struck me as very beautiful. It was an island with trees around the edge and a clear space in the middle, looking over a pristine stretch of water. I thought... gee, would I love to have a house there! I decided I might try to bring my vision alive by learning how to mod a house for my character.

Opening up the CS and trying to work out how to do things from scratch might be possible but would certainly take a whole lot of time -- a whole lot more time than I, and most of us, have. I've been using this excellent tutorial, located at the CS Wiki. So far I'm finding it really easy to follow and quite a bit of fun! It, in the course of a few hours, turned me from a complete and utter n00b to someone who could build and furnish rooms, place exterior buildings, navigate through the cell window, and so on. Of course, my house is nowhere near finished, but I feel like I now have the means, and I only need to find the time. I'll update you all on how it goes.

If you've ever wanted to get started with the CS, this tutorial is the place to do it!



GAME GUIDE

Knights of the Nine -- The Shrine of the Crusader

When you pray at the last Wayshrine you'll receive a vision of a misty realm and be approached by the spirit of Pelinal Whitestrake, the warrior who killed Umaril. He tells you the location of the Shrine of the Crusader, where you can recover one of the relics. The location will be marked on your map.

You'll find the marker just north of a long bridge near where it says 'The Upper Niben' on the map. Dive under water and look for a few ruined Ayleid structures on the bottom of the river. Swim among them until you find a door to 'Vanua'.

Follow the blue line on the maps below as follows [click on maps to view full size]:




Once inside Vanua, head forward until you hit a room with four Welkynd stones arranged in a square. Hit the switch on the left-hand wall and follow the blue line until you hit a door to the Shrine of the Crusader. Once you enter the Shrine, follow the blue line until you reach Sir Amiel's body. Take the journal, ring and key from his body. Keep following the line until you reach the door to the Lost Catacombs. Once in the catacombs, follow the blue line until you hit a door back into the Shrine. You'll find yourself in a new section of the shrine, one which you couldn't reach before. Follow the no. 2 line to the Crusader's Helm and take it.


Read Sir Amiel's journal to learn the details of what you must do next. You'll find that Amiel, in life, was a member of the Knights of the Nine, an order dedicated to discovering the Crusader's relics. The Knights were based out of the Priory of the Nine in the West Weald. The journal also says that other members of the KotN are buried in the priory undercroft. The Crusader's Cuirass, unless it has been taken should be there too. The way to the undercroft is currently sealed, though it can be opened with Amiel's ring - now in your posession.

A guide to the next mission, Priory of the Nine, will be detailed next issue.



TRAVELER TALK
An interview with Oscuro, modder,
author of Oscuro's Oblivion Overhaul.



Could you introduce yourself?
Sure. My name is Jorge Salgado, also known in the TES community as “Oscuro.” I was born in Spain and lived there until I was about 20. Then I moved to the USA to study and have spent the last almost eleven years here. I have studied Philosophy and History for my undergraduate career and am currently finishing up a thesis for my Masters degree. That is the cut and dry part.

I am also an avid outdoors fan, traveler, enthusiast of wilderness, martial arts, fine arts, architecture, literature, cuisine, world cultures and an all around party animal—though most of my unrestrained boogieing is a bit past behind me now, for the relief of my family and friends.

I also have a long-standing passion for computer games. I have played them since very young, from a small keyboard connected to a tape player and a TV (spectrum 24k) to the latest hardware. I started modding back in Jedi Knight's early days, crafting levels for Dark Forces II: Jedi Knight. That was in 1997 (I suppose the attempts at programming games in Basic when I was 12 years old should not count—they did not turn out so well).

How and when did you first discover the Elder Scrolls games?

I discovered TES when playing Daggerfall. That was the second game in the series, after Arena. I was instantly captivated by the open-ended-ness of its game-design, by the intricate storyline, by its characters and lore, and, finally, by its RPG character advancement system.

After Daggerfall, I eagerly awaited for the next chance to jump into the world of Tamriel. That became possible with the release of Morrowind. In my view, Morrowind was a much better game, in so far as game-play mechanics and overall design, than Daggerfall. It did not have the type of adult-oriented, richly developed storyline of Daggerfall, but it was very close in that department—except for the obvious toning down of adult content, which I regretted. I understood immediately that Bethesda was opening up to a wider audience, and the more raunchy aspects of the previous games went largely out of the window. It became a trade-off. Less appealing story and atmosphere, but greater reflection of one's actions in the world and greater complexity of game-mechanics (of course, with more eye candy, better 3D engine, better sound and score, etc, etc).

Morrowind was truly a beautifully crafted game. It served as bar and example to all games attempting to create an open-ended world. Although there are things I would have done differently with it, I regard it as one of the best RPGs ever made.

After that experience, I was overjoyed to hear that a new TES game was in the works. That's how the long wait for Oblivion started.

What attracted you to the Elder Scrolls modding scene?
I was prepared to tackle Oblivion mods thanks to my previous modding efforts for games such as Jedi Knight, Unreal, Rune, Blade of Darkness and Jedi Academy, coupled with my prior experience in modding Morrowind (for which I made a complex mod to re-balance much of the game—since I was fairly disappointed with its short life-span and lack of challenge for higher level encounters—basically, it had too little game-play content for the scope and length of its story and quests).

At first, I never imagined that I would become so active in TES modding. It was not the above reasons what prompted me to mod as a member of the TES modding community. What really attracted me to the scene, per-se, was the enthusiastic and widespread reception that the release of Oscuro's Oblivion Overhaul had.

I started OOO for myself, because as soon as I realized that Oblivion had glaring problems with its use of “leveled” game-design I started to change it to fit my vision of what it should have been. My first experience with Oblivion's vampires was eerily reminiscent of what I experienced with Morrowind's vampires. They were pushovers. A beginner player had no troubles in defeating a whole lair-full of them. That hinted, immediately, to the larger problem: Oblivion would not satisfy the desires to explore the world it offered; it would not reward the ingenuity and skill of the player, but, rather, it would dispense the “carrots” according to an abstract and cold measure—the player's level.

That was, I thought, a huge mistake. It ran counter to what I envision as an RPG model: that the character is supposed to struggle in order to succeed, that rewards need to be appropriate to the risk, that character-development needs to be checked against what the “world” expresses. That what the player experiences needs to be richly enveloped in a consistent world brimming with excitement, with problems to solve, with suitable rewards and with the possibility to truly understand one's character as someone special, as someone who has evolved, grown and earned its reputation.

People feel rewarded when they accomplish a task into which they have put effort. An epic story is not so simply because of the magnitude of the events surrounding it. Something is “epic” because of the struggle that ensues whenever those events are confronted and resolved. Oblivion, by itself, was anything but epic, it did not require effort, ingenuity or skill in order to succeed—instead, it rested on the assumption that the scenario and events create the emotion, rather than on the difficulty of carrying out the necessary actions within those events in order to resolve them.

Also, a lacking sense on the need, or desire, to explore was linked to the above problem. Since all (or most) rewards were leveled to the player, it did not really matter where one adventured. A trivial dungeon right by the Imperial City would have the same chance at dispensing high-level rewards than a mysterious and hidden cave buried deep in remote mountains. The leveled nature of the game-design, the lack of uniqueness in the type and relevance of action-locations was, ultimately, at fault for this.

Finally, the same system was at fault for some of the incoherences in the presentation of Tamriel as a believable “world.” For example, despite the leveled nature of the design, it was utterly unnecessary to give certain characters unrestrained leveled “lists.” These lists are responsible for the type of equipment that a given character uses and gives as reward. Thus, low-life bandits would appear in the game with increasingly more powerful items, until their presentation reached the absurd. Why would a common cut-throat run around the wilderness stalking travelers from whom to steal a measly 100 coins given that the bandits themselves wore armor and weapons that only princes would have been able to afford? Why would an archery shop only sell silver arrows after the player reaches level x and not before?

Those are just a couple of examples, there were many more. Not only did this hurt the need to encourage exploration, but it also made patently obvious that the world was changing according to the player, that the designer's hand was behind the sudden transformations. A world needs to appear consistent in order for players to suspend their disbelief and become truly immersed in the game-setting. A world needs to appear as if it had no given design, as if it existed independently of the player or the game-makers themselves.

OOO was a response to this situation. It started as an effort to make the game playable, for my tastes. Noticing the discontent among PC users with the flaws outlined above, I released the first version of OOO, which changed almost every single NPC, creature, equipment list, loot list and spawn list to appear more static, to not penalize high level players, to encourage exploration, to allow for more immersion and satisfaction in discovering and surmounting previously impossible odds. I also included a set of other changes to support those goals, even if they were not related directly to the “leveled” nature of the game's original design.

The response was overwhelming. At the time of its release, almost two weeks after the release of Oblivion, at least in the official TES game boards maintained by Bethesda (which are the main hub of mod activity for Oblivion and Morrowind), OOO appeared as the first mod to attempt such a task. It quickly grew in popularity and demand.

I was then encouraged to keep addressing game-design problems and potential enhancements. Eventually, it all led to the release of version 1.3, which included many extra features, new creature AI, new NPCs, well-made re-textures of armors, weapons, items and creatures, the majority of which were originally made as stand-alone mods and many other changes. OOO 1.3 included over 1GB of extra data. It rebalanced the vast majority of the game and has become one of the most acclaimed and popular mods for any RPG ever made.

That was never my initial goal, but after the success of OOO 1.0, I quickly released 1.2 and went on to create 1.3 for several months.

How much effort went into making the 'Ocuro's Oblivion Overhaul' mod?

It would be an understatement to say “a lot.” It took me over five months of time to get to the release of version 1.3. I worked on it every single day during those five months, often for the whole day, and sleeping only a handful of hours in between modding sessions, if I ended up sleeping at all.

I was in a privileged position at the time. I was done with my course-work for my Masters degree and was in the process of writing my thesis. I postponed it in order to work in OOO. Thus, I was able to dedicate all that time to research, testing, incorporation of third-party content into the mod, balancing of all the new and old content, writing quests and new texts, working on textures, AI scripts, new dungeons, etc, etc.

Re-balancing the “leveled” aspects of the game was done fairly quickly. By version 1.2, a month after the game's release, I had already accomplished that plus had added many new kinds of enemies, new items, and so forth. 1.3, however, took over four months to finish. I would have taken even longer had not a group of very talented people offered to help with the beta-testing of the mod. This group eventually did more than just beta-test. Some of them helped with re-textures of items and critters, some added a few new models, some helped to trouble-shoot certain scripts that were in charge of new features, some worked in the OOO trailers, and we even came up with an extensive compatibility list that encompassed hundreds of user-made mods. It was thanks to them that 1.3 came out relatively bug-free in a shorter time-span, for a project of that scope.

OOO 1.3 added hundreds of new armors and weapons (almost tripled the game's original count), it added hundreds of new items (which I included in lists and hand-placed into the world), it added dozens of new creatures, hundreds of new NPCs, it gave them variety in sizes and types, it gave them unique factions, unique item lists, unique dungeons, unique quests, it gave them new combat behaviors and a much more sophisticated AI behavior. Also, it rebalanced most of the game-play elements of the game, such as magic, thievery, combat, leveling rates and economy.

OOO also changed much of the appearance of the game by re-designing the presentation of the game's original NPCs (vampires had now four ranks with unique powers, female guards were introduced, new uniforms and ranks were given to the imperial legions, creatures were given unique environments rather than piling them all together as it was done originally, previous NPC factions were “woven” with the new factions and quests, etc) and it also changed the risk vs reward design of all of the game's dungeons, houses, castles, manors, and so forth—several hundred levels—by hand-changing spawn-points, adding bosses with unique stories and items, adding over two thousand new containers to properly reward exploration and struggle, adding creature raids against their enemies, etc. It also, of course, changed the thousands of lists dedicated to items and characters, plus it created over a thousand lists of its own in order to design the world in a much more static fashion.

The most time consuming effort was spent in researching new features, testing them and making them cohesive with the game's original atmosphere and TES lore. A main goal for OOO was to blend its balancing, changes and additions as much as possible with the un-modded game, so that players would be unable to distinguish were the game finished and the mod started, so that the whole would be made cohesive.

To do all of that in five months bordered on insanity.

Are you working on any mods at the moment?

Yeah, although at a much slower pace than before 1.3 came out, thankfully. OOO is more than well established. It has become a staple of Oblivion mods. Right now I have finished an update, version 1.32, which will be released shortly. After that I will work on 1.4, which is also fairly ambitious. This time around it will be more of a co-operative effort, otherwise it would take me years to finish it.

The focus of 1.4 will be about re-designing the planes of Oblivion, which were a bit lack-luster in their variety and possibilities. 1.4 will also expand upon the faction interactions of Bethesda's and OOO's NPCs, creating a much more responsive world to the player's actions. Basically, it will allow players to take on different role-paths, by becoming a servant and master of all old and new factions in a meaningful way. This is something I sorely missed in Oblivion from what was presented in Morrowind. Oblivion still needs a meaningful relation between action and consequence in how its world, and its inhabitants, react to the player's choices.

Of course, there will be more quests, items, texts, creatures, bosses, NPCs, etc, as it happened with 1.3, but now the focus will be about the players and the roles available to them, about expanding the sense of urgency and dread that Tamriel suffers under the assault of Oblivion's forces, about creating a much more immersive and compelling atmosphere for this great story.

For now I'll work on OOO upgrades, rather than stand-alone, smaller works. I am also dabbling on other game's engines, hoping to hone my skills in the latest generation of 3D engines, such as Unreal 2.5/3.0 and so on.

Do you have any advice for those who want to get into modding, but don't know where to start?

Of course! It helps to focus on a game shipped with developer's support, such as an editor, SDK, etc. But, in any case, the Internet is your best friend. Whatever game you decide to mod, it is certain to have a dedicated community that shares knowledge, tutorials, tools and message-board space where you can quickly become familiar with what is needed, or desired, for your project.

You can become acquainted with established modders, form beta-test groups, get feedback and support from these on-line communities. Also, you will find places linked where to release your work and follow their success. With a bit of time, and the aid of a search engine, getting into modding only requires one more thing—the will to create that of which you dream.

Thanks, Oscuro.

Visit the homepage for Oscuro's Oblivion Overhaul, where you can download it if you wish.



BUG FIXER

Please submit unsolved bugs or bug fixes to ledriver @ gmail dot com.
Unsolved bugs should be submitted in this format:

Quest name:
Description of bug:
Platform (PC or XBOX360?):
Have you downloaded the latest patch?:
Have you tried anything so far to fix it?:



MERA'S MAPS

Hi all. This week I have two maps for you. You'll see that the map of Bleak Flats Cave only has a single loot marker, and you're probably asking, why bother? Well, I was sent there by the Skingrad Mages' Guild to rescue an idiot Bosmer wizard, Erthor. He was holed up in a little room, surrounded by zombies, and wouldn't leave until I'd killed all of them for him. Nothing ticks me off more than a wizard incapable of defending himself. Why else would you study magic except to find out how to blast people to pieces?

You're probably asking why I, Mera, am doing errands for the Mages' Guild? Because I want access to the Arcane University. Why? So I can learn some new, kick-ass spells. As I've told you, the fundamental point of being a spellcaster is learning how to blow people up. I don't care what anyone says. At the moment I'm only capable of blowing off a limb, a head, or other bodily extremities. I want full body explosions! So, that's why I'm running errands.

I decided to get some practice in before returning to Skingrad. I told Erthor to find his own way back, then set off, wandering the wilderness as I often do, looking for a festering pit of monsters. I soon found that in Mongrel's Tooth Cave. Not only did it contain lots of monsters that I could blow bits off, it also provided me with enough loot to pay this week's rent. As always I mapped both my adventures. Why? I guess I'm just a nice person. Click on the thumbnails to view the maps at full size.




THE LOREMASTER
This week's Loremaster is Xui'al.


Basic Guide to Telvanni Construction
By Clagius Galenus

When one is given opportunity to visit Morrowind Province, one will undoubtedly notice the strangeness of construction, the glaring differences in architecture from more familiar Imperial-style buildings. Foremost in unusual design are the almost wholly alien structures favored by members of the Great House Telvanni. While that House is considered among the more xenophobic, and members are generally unwilling to part with hard-learned knowledge, we have been able to piece together a great deal of information from various sources about the fantastic dwellings of the Telvanni.

Even the casual observer will note that Telvanni buildings are not, in fact, traditional buildings at all. Rather, they are totally organic structures grown into useful shapes to accommodate city life. Thick large vines curling about above merchant stalls and winding in curious paths overhead are common sights in any Telvanni town. Many hold the belief that Telvanni towers are plants, although that is technically incorrect; in reality, the structures are fungal in nature. The more curious will note the distinct mushroom shapes of the upper reaches of towers central in any Telvanni city.

Although one will encounter any number of dwellings in a Telvanni town, it might come as a surprise that all pod-houses in a town are part of the same organism (although some structures in some towns are separate, so technically it is not one fungus, but a small colony). Instead of being several smaller fungi scattered about the countryside, all are merely outgrowths of the incredible towers that rise from the heart of the village. Therefore, when one inquires as to how such a city is built, how the towers are grown is the question one is truly asking.

All Telvanni towers need magic and care to be properly grown, and require a great deal of expertise across multiple fields. It is necessary for one to be familiar with construction, primarily to select and prepare a site. Architecture, to understand what kind of shapes are appropriate for men and mer to live in, what growth patterns offer the greatest structural stability, and other such concerns. Magic, to be able to grow the fungus in the first place, and to guide its expansion later on. Mycology, again primarily for site selection -- it is vital to know under what conditions the fungus can survive, and to what extent it can be manipulated through magical means. Morrowind's generally inhospitable environs seem to offer the Telvanni fungus ideal conditions in which to thrive. Indeed, Many Telvanni towns are found along coastlines, where harsh rocky shores meet the salt water of the seas.

Telvanni cities can be grown from a single spore, and when one considers the grand scale of the resultant towers in which Telvanni counselors and elders reside, one begins to understand the sheer mastery of Telvanni sorcery. However, a single spore on its own is not enough for one to grow such a spectacular city. Spores require a magical catalyst in order to spur their remarkable growth. While it may be entirely possible for an especially powerful wizard to act as such a catalyst, it is virtually unheard of. Instead, one must procure at least two grand soul gems, and fill them with appropriately strong souls for this endeavor. Needless to say, this aspect of construction is much more dangerous than a more familiar gathering of wood and stone. The monsters whose souls are used -- usually some sort of Daedra -- are among the most powerful one will encounter in all of Tamriel. Less adventurous individuals could purchase the necessary gems pre-filled from enchanters or adventurers, although the price for these are, quite reasonably, astronomical. Of course, the person seeking to grow a Telvanni tower is almost always an accomplished magician, and is therefore much more capable of obtaining such items than a commoner.

Within their own ranks, the Telvanni only offer to aid construction for members of a certain rank in the House, and require those seeking advancement into the upper echelons to have their own tower. While the Telvanni typically scorn outside interference -- even that of the other Great Houses -- it is considered good practice to begin growing a tower only after obtaining a construction contract from the proper Imperial authority. In addition to supplying a pair of soul gems, the prospective owner must also make a sizable financial contribution; the work on a tower is highly specialized, and requires a moderate number of laborers. On top of those standard necessities, at times key figures involved in tower construction will make their own demands. These unforeseen obstacles can range from simple male boredom (easily solved with the addition of women) to suggestions of enhancing security. In any event, the one thing that an ambitious wizard does not have to provide himself is the actual spore -- presumably, with all the requirements that go along with the whole affair, there is quite an oversupply of unused spores.

The spore is carefully seeded (an unusual expression, to be sure) along with the soul gems, and supervised over a period of time. Within a matter of days, a small number of mushrooms will have risen up from the site. At this point, one well versed in Telvanni construction will visit the burgeoning fungus, and, through some unknown means, allow the mushroom access to the power held within the gems it has grown around. It is believed that the Telvanni must wait until the fungus has enveloped the gems because only then that they can ensure the gems' power is being siphoned off by the fungus and is not consumed by some other avenue, or wasted. Further, it is also speculated that the Telvanni control the growth rate of the fungus by determining the degree of energy flow from the gems, explaining why new cities can sprout rapidly, while older ones remain more static. At any rate, it is at this point that the simplistic, familiar mushroom shape begins to change into the more exotic design seen in Telvanni cities. Even with the passive flow of power from the gem, it takes many craftsmen and architects to coax the fungus into creating the tiny buds that they will eventually later mold into large pods, which can then be hollowed out for Telvanni to use as housing.

As the tower grows and one can finally step inside it, one will undoubtedly find their attention drawn to the man-sized, purplish crystals which are often found in the lower, older areas of the tower. These may seem mysterious for a moment, but after considering the building materials, are altogether expected. The crystals are the remnants of the soul gems, their forms twisted and changed through Telvanni magic and their symbiosis with the fungus.

Those familiar with the lesser fungi of Tamriel might wonder how sturdy such a structure can be. A glance at a Telvanni town is show enough that the great mushrooms do not rely on accumbency to support themselves. Similar in effects to the less destructive mating of Telvanni and other, ‘foreign’ architectures is the town of Sadrith Mora on the isle of Vvardenfell. Here a Telvanni tower has been grown, and all around the Imperial-styled fortress there are clear signs of this, but no damage has been done to the original buildings. A true marvel of Telvanni construction and fungal growth is their capital city of Port Telvannis. The tower at Port Telvannis is one of the largest ever grown, and, appropriately, towers above the vertical city below. While the city's roots are firmly anchored in the soil most of the structures that the Telvanni dwell in are high above the ground, carved out of the massive shoots of the great tower. This gives the city an otherworldly appearance, given that its streets are many feet up into the air.

There are a number of advantages to the Telvanni's choice of living arrangement. A growing organism can be quite resistant to harm, and the magical nature of the arrangement means that it requires very little in the way of maintenance. The Telvanni do not have to concern themselves with damaged roofs or rotting timbers, or many of the other myriad problems associated with western houses. Many foreigners do not know this, but the fungus also has a limited capacity to remove salt from water, rendering it potable for mer and men. Many Telvanni towns are found along coastlines to take advantage of this ability. Though it isn't a tested theory, the abundance of moisture in Telvanni-controlled areas, in addition to the fungus's propensity for absorbing water, suggest that these structures would not face much danger from fire.

Some may find believe that living inside of a fungus that was grown with the soul of a creature unusual, but it actually quite effective. Inside, the air is often moist and faintly warm, but there is little indication that the structure around you is actually a living organism. The interior architecture is substantially different that of the other Great Houses, as there are often shafts that require levitation to reach to higher levels. This serves a dual purpose: taking less interior room in the tower, and preventing a good portion of the people of Tamriel from getting in, as the Telvanni -- particularly those on the mainland -- are not fond of outsiders. The tops of the towers are often flat, and this provides the resident a good view of all of those around, as well as a fairly secure summoning area.

Morrowind is well suited for the magicka based Telvanni buildings. The Telvanni Isles, Azura’s Coast and the Grazeland regions are excellent for maintaining Telvanni structures. House Telvanni also has holdings on Vvardenfell. Although towers have yet to be constructed within the harsh, ashy, Molag Amur region, it is believed that they will need more maintenance. Telvanni buildings are strong, well-built structures, and serve the Great House Telvanni and the people of Morrowind well.

* * *
Reproduced with permission from the author.


 
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