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Everyone let's cultivate a little joy amongst ourselves today. Either send me an ask or reblog this post, with anything on your mind about your OCs, your OC-ified canon characters, anything at all about your creations that you've been excited about but might not have had the chance to yet. Here's some ideas you can share but don't limit yourself to them alone, you can answer one, none, all, and/or come up with your own
Favorite niche canon character/headcanon for them
A piece of personal worldbuilding to expand on an untapped canonical aspect
Obscure OC fact
Concept art that you're working on, can be as vague as you want
OC/story song(s) (bonus if it's one you stumbled on recently and had a lightbulb moment about)
Character dynamic you haven't talked about as much as you wanted to
Recent idea that you're unsure will stick
Ready set go, show me your brainworms, let's have some fun
i was looking for a post but i guess i’ve never really talked about why i think skyrim’s ambient(1) soundtrack is objectively, scientifically so good? i think about it a lot. ok here goes
I Have A Playlist From The Skyrim Soundtrack That I Listen To In The Background At Night Sometimes—Here’s What I’ve (Over)thought About It.
i'm gonna sort of infodump so i'm putting the extra credit knowledge in endnotes, but that's where i'll include specific tracks you can listen to if you want to hear what i'm talking about.
so like the reason the soundtrack music is (in my opinion) great is it mimics the visual experience of being in the world. for example, the tracks 'aurora', 'dawn', 'tundra', 'white river', and many others named for physical aspects of the environment are constructed such that the movement of the music FEELS like the subtle way the aurora moves, the rising sun breaking over the snow, looking up at the moons out in the wilderness, being surrounded by steadily falling snow... chef kiss jeremy soule. that sure is what it feels like to look at a frozen river. that part of it is totally my opinion, but like. i’m right.
if you look at the titles of the tracks, a lot of tracks that evoke some of the more epic experiences are appropriately epic musically as well. but to me the less opinion-y part: have you ever noticed that a good chunk of the music “sounds” cold? musically, it sort of is cold.
so. cold, right? the thing about it that you learn in high school science is that it slows the movement of particles—it’s why water freezes, for example.
it’s also why sound is less resonant in the winter. you also learn in high school science that sound needs movement to be transmitted, first the initial motion that creates the sound, then it requires a medium through which to travel, and vibration to convey it. for example, sound travels better underwater because water is denser than air. particles smack together more easily, so a little vibration creates more waves and conveys the sound a greater distance. on the other hand, sound is less potent in winter bc the air is colder and therefore, there is less physical movement/vibration of the air. it doesn't go as far or last as long.
a lot of skyrim’s ambient soundtrack is quiet/slow, that part of the take is obvious.(2) so beyond that.
firstly, a lot of the more epic parts of skyrim’s soundtrack are traditionally-structured orchestral music with cohesive melodic throughlines and tempo. but the 'cold' music has little continuous tempo or melody; a lot of it is loosely organized musical phrases more than a structured piece of music. this is also a characteristic of ambient music, as in the genre. the choice of stylistically-ambient music is a perfect ‘cold’ choice—it’s sparser; it moves like water under ice, the louder parts of the mix are long, held chords that change and move slowly, fluidly, and without a lot of rhythm, with different rates of movement underneath in the quieter parts of the mix. sounds flow into each other gradually, like there's a part in 'frostfall' where the solo cello fades seamlessly into a solo boy soprano(3), which later fades seamlessly into english horn. that technique is everywhere in the soundtrack, often you can't hear the beginning or end of the notes because the gradual shift from one voice to a completely different one is the interesting part of the sound. the big changes in volume are relatively sudden and short a lot of the time, the way sounds are shortened in the cold because they resonate less. all of these stylistic choices sort of mimic the way sound physically moves in the cold—less overall movement, physically more sparse.
another way it sounds cold is the choice of what voices get to stand out. just informally, going by what i can hear, skyrim’s soundtrack has at least: a large SATB choir, a boy soprano choir, the fullest symphony orchestra you could assemble, grand piano, harp, harpsichord, i'm pretty sure there's synths and maybe a theremin, and a few other sounds too. i could probably watch a video to find out the exact instrumentation instead of speculating, but it’s not important to the overall point: there are a LOT of different instruments and human singers, a lot of sounds that could be chosen to stand out in the mix. sometimes the ‘cold’ mood and the ‘epic’ mood overlap (4), but a lot of the time it’s one or the other. the ‘epic’ parts with the dramatic music are often melodic, strings-and-chorus forward, which is kinda how soundtracks tend to deliver big emotional swells (and skyrim's soundtrack does plenty of it). our ears and brains love that shit, so it totally works.
but the cold music features things like… oboe and english horn, french horn (and fluegelhorn, I think?), the extreme right hand of the piano and upper strings of the harp(5), and the boy sopranos.(6)
all of those are low-vibration sounds. in the case of the harp and piano, the actual physical strings that vibrate are physically the smallest, most taut, least resonant strings on those instruments—they vibrate far less than the strings at the other end whose job is big low sounds. in the case of the wind instruments (which includes the voices), those particular instruments are known for their ability to sound dope with very little vibrato, producing a clear, full tone—the style is called straight tone, written in scores as 'senza vibrato'(6). (think of the singing style that's colloquially called 'gregorian chant' and you'll know what i'm talking about.) straight tone seems?(7) unusually common in the skyrim soundtrack overall(8).
another cold-evoking thing: when straight tone is done well in harmony (like in 'aurora' and many other places), the tones are more likely to produce overtones—like a sound that resonates above the main chord, not made by the instruments themselves, but the waves of their notes crashing together produces its own secret third sound, kind of a ringing you can feel more than hear. the effect is sort of like a sound without sound, the feeling of a big open space. a lot of times it can feel dissonant, so orchestral music usually endeavors to avoid it, because it feels bad (physically, to your ears and brain) when otherwise things are melodic and in tune. but it can also be used intentionally, and once you listen for it, you'll hear it everywhere in the skyrim soundtrack (sometimes emphasized with the use of synths) (9).
additionally, percussion is used very very sparingly. it's largely reserved for those jingly snowflake-sounding filigrees--represented by bells (lil metal xylophone-like thing) and the high pitched tinkly chimes that are played as a cascading sound, idk what they're called. otherwise, when the percussion is audible, it's usually played in the least percussive way possible--mostly i hear the big low cymbals and timpani (low, textural sounds), played with soft mallets, sloooowly fading in and out. they're there to underscore the overtones (if you will), rather than provide rhythm or embellishment.
anyway. there's a lot of highlighting the clearest, purest-sounding tones of the ensemble, the tones that have the least vibrato, the least movement. it's sparse and wintry, and the big ringing resonant sound in the 'colder' tracks is reserved largely for overtones rather than the instruments/voices themselves. the overtones give that feeling of like... emptiness, highlighting what isn't there, resonance without echo, otherworldly stillness.
tl;dr, one of the biggest ways the physical environment of skyrim is reflected in the music is the 'cold' sounds: the stylistic choices and the physical mechanisms of the music (the actual ways the sounds are produced by the instruments and voices) mimic the way sound moves in cold weather. so in a way: music that is cold.
idk i just think it's neat!
-----------
idk if i’m using the term ‘ambient’ correctly—idk video game terms sometimes. i mean the music that plays when you are out in the environment and not in combat or another special situation with its own specific music
what's not as obvious: it is challenging to play wind instruments (including vocals) both quietly and well, and very difficult to remain in tune. especially considering some of the high and clear notes the singers and some of the brass players are hitting, it's incredibly fucking impressive--higher notes and clearer (less vibrato) tones require more breath support to produce, and therefore to sing/play them quietly takes a high level of control and endurance. so for the whole chorus to sing quietly, in tune, with clear tone, and LONG held notes takes a TON of skill, like it takes every single person in the chorus listening and modulating their own tone. the cold parts of the skyrim soundtrack are filled with technically challenging music that sounds effortless and calm. just in case you weren't already impressed by the skyrim soundtrack!
idk if this is a thing people are familiar with but since it’s gendered i want to explain: usually a boy soprano is a specifically amab person who is pre-pubescent, often specifically a couple of years before their voices start changing w/puberty. it achieves a unique timbre that's different than a young child's soprano voice and different than an adult soprano. idk if it’s true that that is only possible w/amab people (you can wikipedia it and i will later if i remember); i’m using it bc it’s the understood term for the style of singing too. they’re all over the soundtrack but if you want a good example of the very distinctive sound, imo you can hear it pretty well on “tundra” as a choral sound, and as a solo voice it's prominent in parts of 'frostfall'
the track ‘wind guide you’ is my favorite example of it.
all of these things are grouped together bc they're versions of the same thing. a fluegelhorn has a similar sound to a french horn, but can more easily achieve higher tones. an english horn is similar to an oboe but can produce lower tones. harp and piano are essentially the same instrument played differently. etc etc. i think??? there’s a piccolo trumpet (for example in ‘ancient stones’), idk for sure what that instrument is, but it's on the same sound spectrum as the french horn and fluegelhorn, and can play higher notes. all of that to say: for an orchestra to have allllll of those alternate instruments available is like. this is a huge and talented orchestra. (10)
'without vibrato'. some musical instruments can’t really produce this sound without sounding bad, but most human voices are capable of it in the upper-mid parts of their register. it’s most common to hear it written for altos and sopranos (since they represent the upper-mid range of the human voice), but you can hear a baritone do it beautifully in the track ‘masser’ :). it also sounds like the whole chorus is doing it in parts of ‘aurora’. yet another very impressive but subtle thing.
i’m not sure bc i have just the right amount of knowledge about music to sound like i know what i’m talking about to people who don’t know much, and sound like an overconfident amateur to people who know far more than i will ever know or care to know. but that’s probably true of most topics i could talk about so 🤷 music understanders feel free to correct me!
to my ear(11), it sounds like just about every sound in the ensemble gets to do it at some point, including some instruments that don't typically do it--in parts, the string section plays very legato, clear-toned notes. it's another quietly impressive thing, as strings can only sort of approximate the straight tone sound at all (since their entire deal is vibrating). i'm not a hundred on this, but in 'aurora' there's a rising melodic line that sounds like the whole cello section playing in unison, where on top of the clear tone, they're all playing the same notes (harder to hide being out of tune). it would sound very wrong in other contexts, but imo totally works for the towering, ethereal feel of the aurora.
a really good example that sounds like it might be achieved both with chorus and synths (not sure) is 'under an ancient sun'. listen for the waves created by the tones overlapping. you can hear it done with (i think) mostly synths in 'beneath the ice' (which has the lower-pitched strings underneath the synths, which is perf)
btw, the skyrim-themed tracks in the (base game) eso soundtrack use pretty much the same instrumentation--synths, boy sopranos, french horns, overtones, it's all there. :) ty brad derrick
i am absolutely thrilled to announce that i've finally found my obscure skyrim npc whom i have become strangely attached to
please meet my beautiful wife angi skyrim. she can give you six levels in archery, lives alone in a remote shack in the mountains, has a totally healthy relationship with grief, and has killed two men at least. i look forward to sharing the angi skyrim lore i've invented. thank you for your time
I want to play an Evil Game where I trick you beautiful TESblr inhabitants into telling me about your TES OCs. So, you can reblog this or comment with your responses.
Here: tell me 5 things you like about your OC and also 5 things you dislike about them.
If you can't come up with 5 things, you still need to even out the likes & dislikes amount so that it's balanced. For example, if you respond with 5 things you like and 3 things you dislike, you lose my Evil Game.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
This clip is from the Morrowind Argonian greetings sound clip folder, meaning every Argonian with a high enough disposition will greet you like this. The developers really shouldn’t have had the Argonians use the honorific “muthsera” for everyone because Dunmeris has way too many honorifics, and they all imply different things about the person being addressed, the speaker, and the relationship between the two.
Muthsera is a highly formal, gender neutral term of respect similar to “master” or “mistress”, used only to address people who the speaker considers to be of a much, much higher station than the speaker. It is a term that an apprentice would use for their master, someone in the service industry would use for someone they are serving, or a low ranked servant or slave would use for someone who isn’t also a servant or slave. It can be used as a form of flattery, sarcasm, or to convey that the speaker feels the highest possible respect for the person they are addressing, to the point that they do not consider themself to be of the same class. Because of its formality, it is also used on legal documents.
Sera is an everyday, gender neutral term of respect similar to “sir” or “ma’am”, used between peers. For example, two merchants would use “sera” to address each other, but a slave addressing a merchant like this, or a merchant addressing a member of the nobility like this would be considered disrespect. It is the most commonly used honorific.
Serjo is a formal, gender neutral term of respect similar to “my lord” or “my lady”, used to address nobility. It can also be used between two non-noble peers as a form of flattery or very high respect. It is occasionally used by servants of high status to address people they are not serving.
Ser has the same connotations as “serjo”, but it is used only in informal and private settings.
Sedura is a gender neutral term of respect similar to “sir” or “ma’am”, used to address people who are wealthy, and who are generally not nobility. (Note: it can be used for nobility, but “serjo” is more appropriate.) Using this honorific can be tricky, because you have to 1) determine that the person you are addressing isn’t a member of the nobility, or else you may offend them for your failure to use “serjo”, and 2) determine that it is an appropriate time to acknowledge the wealth of the person you are addressing, and that they aren’t touchy about the status of their wealth, or else you are likely to offend them for drawing attention to their wealth. As a result, it is not used nearly as often as the honorifics above. It is often used by servants and slaves to acknowledge people of higher socioeconomic status. It can also be used between two wealthy people to acknowledge the other’s wealth. Appropriate times to use this honorific also include introductions, business transactions, and whenever referencing someone’s wealth is relevant.
Kena is a gender neutral term of respect similar to “doctor” or “professor”, used to address wizards, scholars, and tutors–especially Telvanni.
Khan is a term of respect used to address Ashlander leaders. It is also used as a suffix in words such as “Ashkhan”, “Gulakhan”, or “War-khan”. It is not inherently gendered despite the rarity of female ashkhans and gulakhans. It is also occasionally used to address leaders and councillors in the Great Houses.
i was looking for a post but i guess i’ve never really talked about why i think skyrim’s ambient(1) soundtrack is objectively, scientifically so good? i think about it a lot. ok here goes
I Have A Playlist From The Skyrim Soundtrack That I Listen To In The Background At Night Sometimes—Here’s What I’ve (Over)thought About It.
i'm gonna sort of infodump so i'm putting the extra credit knowledge in endnotes, but that's where i'll include specific tracks you can listen to if you want to hear what i'm talking about.
so like the reason the soundtrack music is (in my opinion) great is it mimics the visual experience of being in the world. for example, the tracks 'aurora', 'dawn', 'tundra', 'white river', and many others named for physical aspects of the environment are constructed such that the movement of the music FEELS like the subtle way the aurora moves, the rising sun breaking over the snow, looking up at the moons out in the wilderness, being surrounded by steadily falling snow... chef kiss jeremy soule. that sure is what it feels like to look at a frozen river. that part of it is totally my opinion, but like. i’m right.
if you look at the titles of the tracks, a lot of tracks that evoke some of the more epic experiences are appropriately epic musically as well. but to me the less opinion-y part: have you ever noticed that a good chunk of the music “sounds” cold? musically, it sort of is cold.
so. cold, right? the thing about it that you learn in high school science is that it slows the movement of particles—it’s why water freezes, for example.
it’s also why sound is less resonant in the winter. you also learn in high school science that sound needs movement to be transmitted, first the initial motion that creates the sound, then it requires a medium through which to travel, and vibration to convey it. for example, sound travels better underwater because water is denser than air. particles smack together more easily, so a little vibration creates more waves and conveys the sound a greater distance. on the other hand, sound is less potent in winter bc the air is colder and therefore, there is less physical movement/vibration of the air. it doesn't go as far or last as long.
a lot of skyrim’s ambient soundtrack is quiet/slow, that part of the take is obvious.(2) so beyond that.
firstly, a lot of the more epic parts of skyrim’s soundtrack are traditionally-structured orchestral music with cohesive melodic throughlines and tempo. but the 'cold' music has little continuous tempo or melody; a lot of it is loosely organized musical phrases more than a structured piece of music. this is also a characteristic of ambient music, as in the genre. the choice of stylistically-ambient music is a perfect ‘cold’ choice—it’s sparser; it moves like water under ice, the louder parts of the mix are long, held chords that change and move slowly, fluidly, and without a lot of rhythm, with different rates of movement underneath in the quieter parts of the mix. sounds flow into each other gradually, like there's a part in 'frostfall' where the solo cello fades seamlessly into a solo boy soprano(3), which later fades seamlessly into english horn. that technique is everywhere in the soundtrack, often you can't hear the beginning or end of the notes because the gradual shift from one voice to a completely different one is the interesting part of the sound. the big changes in volume are relatively sudden and short a lot of the time, the way sounds are shortened in the cold because they resonate less. all of these stylistic choices sort of mimic the way sound physically moves in the cold—less overall movement, physically more sparse.
another way it sounds cold is the choice of what voices get to stand out. just informally, going by what i can hear, skyrim’s soundtrack has at least: a large SATB choir, a boy soprano choir, the fullest symphony orchestra you could assemble, grand piano, harp, harpsichord, i'm pretty sure there's synths and maybe a theremin, and a few other sounds too. i could probably watch a video to find out the exact instrumentation instead of speculating, but it’s not important to the overall point: there are a LOT of different instruments and human singers, a lot of sounds that could be chosen to stand out in the mix. sometimes the ‘cold’ mood and the ‘epic’ mood overlap (4), but a lot of the time it’s one or the other. the ‘epic’ parts with the dramatic music are often melodic, strings-and-chorus forward, which is kinda how soundtracks tend to deliver big emotional swells (and skyrim's soundtrack does plenty of it). our ears and brains love that shit, so it totally works.
but the cold music features things like… oboe and english horn, french horn (and fluegelhorn, I think?), the extreme right hand of the piano and upper strings of the harp(5), and the boy sopranos.(6)
all of those are low-vibration sounds. in the case of the harp and piano, the actual physical strings that vibrate are physically the smallest, most taut, least resonant strings on those instruments—they vibrate far less than the strings at the other end whose job is big low sounds. in the case of the wind instruments (which includes the voices), those particular instruments are known for their ability to sound dope with very little vibrato, producing a clear, full tone—the style is called straight tone, written in scores as 'senza vibrato'(6). (think of the singing style that's colloquially called 'gregorian chant' and you'll know what i'm talking about.) straight tone seems?(7) unusually common in the skyrim soundtrack overall(8).
another cold-evoking thing: when straight tone is done well in harmony (like in 'aurora' and many other places), the tones are more likely to produce overtones—like a sound that resonates above the main chord, not made by the instruments themselves, but the waves of their notes crashing together produces its own secret third sound, kind of a ringing you can feel more than hear. the effect is sort of like a sound without sound, the feeling of a big open space. a lot of times it can feel dissonant, so orchestral music usually endeavors to avoid it, because it feels bad (physically, to your ears and brain) when otherwise things are melodic and in tune. but it can also be used intentionally, and once you listen for it, you'll hear it everywhere in the skyrim soundtrack (sometimes emphasized with the use of synths) (9).
additionally, percussion is used very very sparingly. it's largely reserved for those jingly snowflake-sounding filigrees--represented by bells (lil metal xylophone-like thing) and the high pitched tinkly chimes that are played as a cascading sound, idk what they're called. otherwise, when the percussion is audible, it's usually played in the least percussive way possible--mostly i hear the big low cymbals and timpani (low, textural sounds), played with soft mallets, sloooowly fading in and out. they're there to underscore the overtones (if you will), rather than provide rhythm or embellishment.
anyway. there's a lot of highlighting the clearest, purest-sounding tones of the ensemble, the tones that have the least vibrato, the least movement. it's sparse and wintry, and the big ringing resonant sound in the 'colder' tracks is reserved largely for overtones rather than the instruments/voices themselves. the overtones give that feeling of like... emptiness, highlighting what isn't there, resonance without echo, otherworldly stillness.
tl;dr, one of the biggest ways the physical environment of skyrim is reflected in the music is the 'cold' sounds: the stylistic choices and the physical mechanisms of the music (the actual ways the sounds are produced by the instruments and voices) mimic the way sound moves in cold weather. so in a way: music that is cold.
idk i just think it's neat!
-----------
idk if i’m using the term ‘ambient’ correctly—idk video game terms sometimes. i mean the music that plays when you are out in the environment and not in combat or another special situation with its own specific music
what's not as obvious: it is challenging to play wind instruments (including vocals) both quietly and well, and very difficult to remain in tune. especially considering some of the high and clear notes the singers and some of the brass players are hitting, it's incredibly fucking impressive--higher notes and clearer (less vibrato) tones require more breath support to produce, and therefore to sing/play them quietly takes a high level of control and endurance. so for the whole chorus to sing quietly, in tune, with clear tone, and LONG held notes takes a TON of skill, like it takes every single person in the chorus listening and modulating their own tone. the cold parts of the skyrim soundtrack are filled with technically challenging music that sounds effortless and calm. just in case you weren't already impressed by the skyrim soundtrack!
idk if this is a thing people are familiar with but since it’s gendered i want to explain: usually a boy soprano is a specifically amab person who is pre-pubescent, often specifically a couple of years before their voices start changing w/puberty. it achieves a unique timbre that's different than a young child's soprano voice and different than an adult soprano. idk if it’s true that that is only possible w/amab people (you can wikipedia it and i will later if i remember); i’m using it bc it’s the understood term for the style of singing too. they’re all over the soundtrack but if you want a good example of the very distinctive sound, imo you can hear it pretty well on “tundra” as a choral sound, and as a solo voice it's prominent in parts of 'frostfall'
the track ‘wind guide you’ is my favorite example of it.
all of these things are grouped together bc they're versions of the same thing. a fluegelhorn has a similar sound to a french horn, but can more easily achieve higher tones. an english horn is similar to an oboe but can produce lower tones. harp and piano are essentially the same instrument played differently. etc etc. i think??? there’s a piccolo trumpet (for example in ‘ancient stones’), idk for sure what that instrument is, but it's on the same sound spectrum as the french horn and fluegelhorn, and can play higher notes. all of that to say: for an orchestra to have allllll of those alternate instruments available is like. this is a huge and talented orchestra. (10)
'without vibrato'. some musical instruments can’t really produce this sound without sounding bad, but most human voices are capable of it in the upper-mid parts of their register. it’s most common to hear it written for altos and sopranos (since they represent the upper-mid range of the human voice), but you can hear a baritone do it beautifully in the track ‘masser’ :). it also sounds like the whole chorus is doing it in parts of ‘aurora’. yet another very impressive but subtle thing.
i’m not sure bc i have just the right amount of knowledge about music to sound like i know what i’m talking about to people who don’t know much, and sound like an overconfident amateur to people who know far more than i will ever know or care to know. but that’s probably true of most topics i could talk about so 🤷 music understanders feel free to correct me!
to my ear(11), it sounds like just about every sound in the ensemble gets to do it at some point, including some instruments that don't typically do it--in parts, the string section plays very legato, clear-toned notes. it's another quietly impressive thing, as strings can only sort of approximate the straight tone sound at all (since their entire deal is vibrating). i'm not a hundred on this, but in 'aurora' there's a rising melodic line that sounds like the whole cello section playing in unison, where on top of the clear tone, they're all playing the same notes (harder to hide being out of tune). it would sound very wrong in other contexts, but imo totally works for the towering, ethereal feel of the aurora.
a really good example that sounds like it might be achieved both with chorus and synths (not sure) is 'under an ancient sun'. listen for the waves created by the tones overlapping. you can hear it done with (i think) mostly synths in 'beneath the ice' (which has the lower-pitched strings underneath the synths, which is perf)
btw, the skyrim-themed tracks in the (base game) eso soundtrack use pretty much the same instrumentation--synths, boy sopranos, french horns, overtones, it's all there. :) ty brad derrick
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
i'm still working on it and not happy with it yet, but i have made really good progress in creating the winterhold arch-mage's quarters in eso's housing!
i want it to still be recognizable as the same place, but i also want it to be much nicer in the second era than it is in the 4th era–it's a very different vibe. in the second era it has seating areas, study areas, fireplaces, and a formal office for the arch-mage, in addition to the living space, alchemy garden, and alchemy and enchanting areas that are also there in the 4th era. it's hard to see in the screenshot, but in the 2nd Era, the alchemy garden has running water, a working skylight, and a living tree. the story of how and why that changed is a major plot point in the fic i've been writing about it.
i will post more screenshots when i'm happier with the overall build, but i was excited enough to post this one for now :) the winterhold arch-mage's quarters is my favorite house in base skyrim, and this is my first time doing a full architectural build in eso. it's bothering me a bit that the scales in eso and skyrim are pretty different (ie the relative size of the PC compared to the game assets, like walls and tables and such), but what's bothering me the most is all that non-matching stone! i tried a lot of different things, but let a bitch know if you have ideas.
romaincrisis
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