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Messages - Drul Morbok

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Totally awesome man!!!
The coastline looks a lot more scraggly (not sure if this term really fits), I'm really impressed, it looks much more "realistic". Well, of course the mountains and just everything else also look better and more realistic, but I'm most impressed by the coastline  ;D

And I'm all the more impressed when I think that is was not created by "Google Khoras" or some other highly equipped stuff, but by a single person as a hobby  :o

Miscellaneous / Re: Gaming Inspiration from Material Culture
« on: April 18, 2018, 02:24:41 PM »
I totally agree that the Silmarillion is more properly compared with epos than with novels.
Also the Silmarillion made me think of a way to classify the term "verisimilitude":

To me it seems that a central aspect of it is the fact that notable deeds can not be repeated. The whole story wouldn't make sense if it was possible to create the next set of Silmarills, or to plant the next Trees of Valinor. There is no general need to assume things work that way - on the contrary, modern science might be paraphrased as "if it happens once, it will happen again, given time", and industrialisation seems to be based on the concept that if you can build it once, you can build it all over again. So I think that that principle that things will not work the same way twice is part of the "intrinsic" verisimilitude of the Silmarillion. It is a consistent factor within the story, and the story probably wouldn't even work without it, but from the outside, it is not needed.

The law of conservation of energy, on the other hand, would be an aspect of "extrinsic" verisimilitude when applied to magic. To put it slightly inaccurate: If a mage casts a fireball, will the rest of the world get colder? If not, why would magic not lead to a kind of industrialization that dwarves the impact the steam engine had in our world?
The Silmarillion avoids having to answer this question by restricting magic to entities beyond human way of thinking, but any system that allows for magic users as generic classes would have to cope with those questions for me to attribute verisimilitude to them
I'm not saying I only like fantasy scenarios that include a sophisticated answer to questions about the law of conservation of energy, or some equivalent thereof. I'm just giving an example for what I'd classify as extrinsic verisimilitude.

Also I' not trying to make a binary's more like two ways of looking at the same thing.

So those are my thoughts when asked about what I think abut verisimilitude  ;D
I always strive for it, but don't find it easy to say what it exactly is.

Miscellaneous / Re: Gaming Inspiration from Material Culture
« on: April 17, 2018, 12:08:17 AM »
OK, next try ;-)

I'd say I'm very much into verisimilitude, at least when sitting in front of pen and paper. In a video game like Diablo, I don't mind opening a dungeon door to a room full of monsters unable to open doors. At the gaming table, this would be a no-go.
Beyond such obvious blunder, I tend not to like story and adventure hooks where the players get their jobs from figures of feudal authority, like the king or a prince. Or rather, such scenarios fail to convince me of why such an important figure would trust the PCs.
And what I mentioned in another thread about modern values in medieval settings could also be considered an issue of verisimilitude.
I also tend to invent races and names especially for my game world. I think it could be also considered an aspect of "pure fantasy" if players enjoy defeating Medusas or snarling at Wotan's wrath. Keeping out common names and concepts like Medusa and Wotan also can lead to more verisimilitude, because since you already start spending time on creativity, you might as well put some thoughts in background and therefore consistency (but this does not necessarily have to be so).

That said, my strife for verisimilitude and for fantasy rarely conflict. Khoras for example has a very high degree of verisimilitude, and still you might find a demon lord escaping from an inter dimensional prison.
The more you move away from Earth-based assumptions and implications, the more effort has to be put into verisimilitude (as a general rule), but I think it's always worth it.

Edit: I just wanted to add that I think that verisimilitude depends a lot more on how you play and a lot less on what you play. Let's take the terrible cavalier with an incredibly high-stat steed. I think this is mainly a.problem in what I called "stochastic" gameplay where you essentially bring your stats into position. I can easily imagine some "reluctant hero" scenario, where the rider isn't a noble heroic cavalier at all, but everyone assumes he is, a bit like like Rincewind on Discworld..maybe a coward thief that stole the steed and now is bond to it and has to play his role I'm getting ideas for NPCs...

About Superman: Yes, he's a superhero, but nobody would care about the story if all he did was using superpowers. Not sure if this qualifies as verisimilitude, but I think the important thing is his double identity, and the contrast between larger-than-life and quite ordinary.

And one final thought: I think its hard to talk about roleplaying as we know it without talking about Tolkien.
Not sure if there are many D&D fans that do not stand in awe before the Silmarilion. But I wouldn't attribute much verisimilitude to LOTR. It's a great story, but it's driven by the fact that the author wants it to happen, rather than being resolved by action of the protagonists.

Miscellaneous / Re: Gaming Inspiration from Material Culture
« on: April 15, 2018, 03:13:42 PM »
These are the people playing a gritty military campaign with a heavy tactical focus

I've come to call this the "stochastic" type of game: If you repeat the random experiments often enough, the outcome will diverge towards a "fair" game system, i.e. a system that offers you choices that influence your chances in a different way  where a "good" player is good at figuring probabilities.
If you perform each random experiment just once, nothing is "fair".

From what I know, D&D started from a strategy game named "chainmail", so it seems natural to me that it started as the "stochastic" kind of game.
However I think that such a system works best for "versus" situation, with opposing players, so if you play D&D in a "narrative" style that is not about the players overcoming a GM that wants to destroy them, but about a good story, you have to go away from the strategy, whether you admit it or not.

Let me give you an example:
Back at university, a fellow student was fond of the warhammer game, and he like to tell about a battle where a minor artillery hit combined with very poor moral rolls resulted in half of the skaven army running away from battle. I can easily imagine the players involved laughing their donkey of when this happened at the table...if you play skaven, such things can happen, and it's what I called a "versus" game, and also a "stochastic" game meaning that that chances of such an event are balanced against all other numbers.
So while I never played warhammer myself, I can easily imagine that this part of what makes the game fun to play.

However I can rarely imagine a modern D&D party telling a story like "do you remember when we all rolled a natural 1 and our whole party was cloudkilled? Boy, that was fun".
In a video game, it would be a "load save game" situation, and video games might have influenced RPG systems so that they now have such things as "fate points" you can use to re-roll a terrible result and therefore have your players survive bad luck. Either that, or the GM "cheats" dice rolls, introduces some "deus ex machina" intervention that solves a situation that would mean instand defeat, or stops using things like cloudkill alltogether.

So my personal conclusion is that I either want to play consequently stochastic, which I think is also called "rogue-like" (where a cloudkilled party is a realistic part of the game)...or use a system that uses dice to decide how the story will go on, but does not even pretend to decide if it will go on (i.e. a system without hit points and the like). I recently discovered "Fate" as such a system, but didn't play t yet.

Hmm, reading all over things again, I think I haved somewhat moved from your original question. But I do not want to delete what I wrote, but will come back to your points soon.
And I will also whatch your video ;-)

The Art of the Game Master / Re: The omniscient holodeck
« on: April 06, 2018, 03:04:24 PM »
Well, somehow I think Star Trek has often been somewhat..vague on a high level.
They have an enormous knowledge on why some things don't work (yet?) in our universe so they just declare it's suddenly working in the future.

But actually I don't know that much about explanation within the series. My claim was more about logical restrictions:
In your example, I would assume that whoever created the holodock had to know that it was possible to convert energy pulses into Kreiger radiation...and what exactly happened if you did so.

I mean, if the holodeck "creates" energy pulses, it has to "know" what energy pulses are. Even if the creator of the holodeck did not explicitly know about Kreiger radiation, the holodeck created energy pulses in such a way that they had the inherent property of being convertible into Kreiger radiation.

So either the holodeck has access to some "lexicon of the Universe" where it can "look up" what it is expected to reproduce (and here I think the term omniscient applies) or what you described only worked because the holodeck creator knew it worked that way.

And yes, in any case, my idea is not about "right or wrong" within Star Trek canon, but about the idea of a holodeck that "knows" more than the society using it.
If the holodeck does have a divine component or if it is an artefact of an immensely advanced civilization from the past...well, no need to decide which one is true, as long as people in the game world believe either.

The Art of the Game Master / The omniscient holodeck
« on: April 02, 2018, 01:22:09 PM »
For my game world I also integrated an idea based on Star Trek's holodeck - which I assume to be known enough not to explain.

I came up with the conclusion that the holodeck could not be used to find out something unknown to its creator/programmer
 I could enter the holodeck and say "build a particle accelerator", or I might go to some console and specify. Then I might conduct experiments and measure results.
But I might as well look into source code of holodeck software.
The result of an experiment within the holodeck should have a deterministic outcome based on its algorithm and the data I enter.

So a society that builds a holodeck can not gain knowledge from it.
At least that's the way I see it, but I might be any case, I wanted to build a story around a holodeck without this limitation.

In some other thread I wrote about a religion claiming science as its faith, and they revere a God that provides the holodeck (of course its not really a holodeck in my game world) with all the knowledge he has about the world...well, only scientific knowledge, its not an oracle, its more like a simulator to create laboratory conditions. A perfect science lab, not limited by issues like energy consumption, able to provide 100% pure elements and shutting of all external influence like gravitation and background radiation.
But as with the original holodeck, you can not take anything out of it, so the society would feature a huge gsp between knowledge and synthesis. They might know the theory of mass defect and about the speed of light, but not use electricity or the steam engine in their daily live.

So for me the whole thing has two purposes:
Thinking about how such a society might develop...and which roleplaying stories might arise
And creating alternative physics...I mentioned the mass defect as an example, but that does not mean my gamecworld mechanics will use the atom model.

Gaming Tales / Re: Players at wordbuilding
« on: April 02, 2018, 08:07:01 AM »
For what I mean, I just came up with the term "Schroedinger campaign" where the state of the game world is undefined until the players look at it.
But I do not mean improvising a campaign, making up things as we go. More like retroactive wordbuilding.
Let's call it applying Ockham's Razor to Khoras until a minimal game world remains, putting all other great Khoras ideas on a Schroedinger stack to get back at them as needed, but making no assumption about it until you need it.

If the players do not seem to like the idea of searching the artefact for too long, I might decide that is was build by a crazed loner who had the geniality to build it, but lacked any ambition or creativity to see its potential, so it spent its whole time in a chest in an unknown laboratory only a few days travel away from War Vale.
In this case, there would be no need that there ever was the Great War, so "suddenly" there never was one. At least not until it might come in handy at a different long as there is no need to know whether the Great War ever happened, the question of whether it happened is in Schroedinger state. Same about Aggradar and Qeshir.

Since I'm a big fan of the Sarthak, I might take away Duthelm and replace it by the Trosolli Dominion. But this would be a surprise for my players. All they knew was that there was a huge area full of Goblyns whose raids used to be a constant borderland nuisance until they stopped a year ago. Nobody knows why. And as might have been guessed, the "why" is in Schroedinger state ;-)
The campaign might get really interested by an organized large-scale invasion by abominations from the Trosolli Dominion. Will the players take the chance for separation, knowing that Rukemenia would not want to fight a two-front-war - at the risk of dooming first Rukemenia and than War Vale to be invaded by an overwhelmingly powerful enemy, which would have been defeated by joint forces?
But maybe the players will come up with the idea of making Rukemenia invade the Goblyn wildland in the first place - in this case I might decide that there never were any Sarthak.

And so on...

The Art of the Game Master / Re: Metaphysical sidenote: space and time
« on: April 02, 2018, 06:38:45 AM »
You know, the more I think about it, one axis of temporal dimension also is pretty heady ;-)

And also kind of a cultural issue:
Of course a stick in the ground can make for a primitive sundial, by mapping measure of time to measure of length (I.e. quantify time by the distance the shadow "moves").
But the idea of time as a linear dimension is a lot more sophisticated...a bit like the difference between counting apples, and postulating the Peano Axioms, even though both is about natural numbers.

I think that thea idea of a time scale is not " natural", but became a necessity with the concept of interest and compound interest.
If lending is about "I give you ten gold pieces if you give me eleven gold pieces next spring", a rudimentary circular time concept would be enough, only defined by the change of sessions.
Only if it starts with "I lend money at 10% interest per what if I lend money for 9 months?"  there comes the need for linear time measure.

So in some way, the saying "time is money" might have a deeper truth than what is commonly meant by saying it ;-)

In any case, my main motivation is playing with the idea that if culture was different, the concept of time also would be different, and that the idea of one time axis is a model among many, but it does not mean that time IS like this.

Gaming Tales / Players at wordbuilding
« on: March 31, 2018, 07:17:52 AM »
Unfortunately I plan a lot more than I actually play, so most of what I write here about ideas and settings still waits to be met by actual players. But here's a new idea I already found interested potential players for:

It seems to me that in many settings, players are expected to react rather than act: If the players do not step in, someone else will reach his goal (or sometimes not reach it), and this would be bad for the game world.
I want the players to be the initiators: If they do not step in, things will go on as they are, but they do have an ambition to change it.

Maybe an example would do best:
I might ask my friends "Hey, what about a campaign where the protagonists get access to an artefakt that gives total control over a race of shapeshifters created by said artefact?" (I guess the source of inspiration is obvious  ;))
One of them might say "Why, yeah. This sounds like a perfect tool for someone who wants to take over rulership in his kingdom, realm, whatever"
Another one might say "Yes, but maybe not take over rulership, just control the current rulership because we think ist is weak. We are loyal to our nation, including whatever current authority, but we dream of restoring former glory. Less petty struggles"
Than I might say "Well, in this case, I already thought of something called the War Vale. Wanna hear?"
The might say "yes, this would be a cool campaign: Using this artefact to somehow unite the War Vale. Not becoming rulers of it, more like a paramilitary secret service...never seen, but able to install a nation-wide legal system and military, getting people to get their identification from being citizens of War Vale and not of their duchies."
I might say "Wait, wait, the Rukemian Empire might get nervous about a unified military. Come to think of, it, they might prefer the current state and already be actively working on keeping it that way."
They might say "OK, in this case out goal is independence from Rukemenia"
I might say "Well, I can't promise success, but you DO have a powerful artefact, and it sounds like something that someone in the game world might try, and if we stretch the campaign over decades of ingame time, inserting time lapse periods,...and you know, even failure could make for an interesting story. Let's do it.
Oh, by the way, did I say that you DO have a powerful artefact? Well, that's not quite true. You DO have pretty certain indications of where to find it, but doing so would be the first part of the campaign.
So now let's talk about what group of characters might secretely come together to plan and conduct all of it."

And so on. In any case, much of was planned before could be changed sooner or later thereby deviating from Khoras canon. The fact that I used some Khoras names above is to (somehow) properly credit my source of inspiration, and because it comes with a lot of information I'd otherwise would have to first invent and than write in my post.
Ocean travel might seem too much, so I (or rather *we*) might do away with all geography, history and so on that comes from Khoras. A whole race of shapeshifters might be too much, so we might change it to an artefact that can create and keep alive a small number of shapeshifters at a time.

And of course the players might make different decisions in the first place. Maybe they want to use the artefact to incite a "savage" race to an uprising, centering the campaign around the Mandalar.

In any case, I'm looking forward to trying such a (at least for me) new approach, since my former approaches were more like first creating the world and the strory hook, an than presenting it to players who made their characters without knowing much about what awaited them.

The Art of the Game Master / Metaphysical sidenote: space and time
« on: March 31, 2018, 05:12:13 AM »
I just wanted to mention something I came up with for my game world:

Within it, people believe in a 5-dimensional world. Or, as they'd say, there are five directions, three of wich can be walked either way, and two that can only be walked one way.
The first three are spatial (up/down, forward/backward, left/right), the latter two are temporal (earlier, later).

So past and future are independent dimensions, rather than forward and backward on the same axis.
This effectively removes all kind of time travel paradoxa - if you first "travel" one minute into the future, and than one minute into the past, you do not end where (or rather "when") you started, but sqrt(2) minutes away from it (by the theorem of Pythagoras).
There is no such idea as to "turn back time" - time only turns forward, either into the past or into the future.

This might be hard to imagine for someone used to think of time as one axis, but someone used to think of it as two axes and never coming up with the idea of one axis could live consistently in this worldview, at least in a fantays word. And he would in turn find theidea of one axis rather strange.
And to be honest...I'm not even sure if modern real-world science could easily prove the idea of two time axes wrong (there even might already be such a theory of two axes, but if so I do not remember it).

Gaming Tales / Re: The Prismate – Story idea
« on: March 30, 2018, 10:38:35 AM »
I edited a less short version of the creation into my last post. Now for what it has to do with the Prismate:

Wortklaubers work with the primal echo of the rune words. So their powers are older than the Gods, and people are more afraid of Wortklaubers then they are of the Gods. Also the goals of a Wortklauber are more alien to mortals then the goals of the Gods.

One rune word is carried only by one Wortklauber at a time.
There is a prophecy that one say, there will be the Word War, where all Wortklaubers will fight each other until only one remains. This will be the end of the world as it is known.

In the campaign I intend, people will see the characters' encounter with the Prismate as a sign that the Word War has started.

Gaming Tales / Re: The Prismate – Story idea
« on: March 09, 2018, 02:41:48 PM »
I'm glad you like the idea.
In my game world, there'd be a saying that „you don't master magic- it's magic that choses you to wield it“.
It's symbiotic and individual..there'd be no „fire mages“ as a generic class, there'd be one „fire wortklauber“ somehow inspired by superheroe scenarios where there's one character for one supernatural power.
Everything about the character would fit with the superpower, and vice versa.

In my game world, the wise-guy from above would now continue with a lesson on words:
„In short:
In the beginning, there was the word.
Than there was the sentence.
Then there was the question.
Than there was the story.
Than there was you.

In long:
In the beginning, the world was bijectively described by the runes inscribed into the scales of the Black Dragon Norazûhl: There was no aspect of the world that was not described by exactly one rune, and there was no rune that did not describe exactly one aspect of the world. Our scientheologists speak of this as the world-word-monade, but this is rather inaccurate, as there are what we call words that do not refer to aspects of the world, like "as".

Than there was The Ancient Gnome Mother Ms. Chief, and She read alout each word on each scale, and the echoes of the words rose up and flew around and about. Our scientheologists call this the word-echo-dual, and since then, the world is described by the echoes of the words. It is also often called the beginning of time, despite the obvious inner incoherence of such an idea.
What today we call "demon" is actually such an echo, a manifestation of a prime aspect of the world.

And the words mixed and joined together. Our scientheologists call this the word-sentence-multitude, but the term "sentence" has somehow changed its meaning and today mostly refers to a sequence of words. Originally it named what we might call the fabric that hold the words together.
What today we call "Gods" are actually those sentences, as they built words into terms.
And yet, it was still such that sentences described the world, if only in an infinite multidude.

But there was one sentence that was not satisfied with this dualism of describing and creating the world. His name was Retmayeb an he started describing the Gods. He actually mocked them, claiming that while they where able to shape word and worlds at their will, they still where "all shape and no content".
So the Gods grew angry and worked together to cast Retmayeb into what they considered a miserable shape with a torso, two arms and legs and a head, and forced him to reproduce livings of his own alike for all eternity, and they ripped of his eyelids so he had to  watch his creation forever.

And here we are, His creation, taking pride in it and our duty:
Retmayeb mastered infinity once by describing all Gods, and he will master eternity and rise again.
We are scientheologists, knowledge is our faith, since the day we, his creation, have described the the whole world, He will be all there is to say about the world, making Him truely Everything and Always."

[GM note] Remember that this is not a "true" creation myth of my world, it's some guy talking to the player characters. First and foremost this means that he is translating the myth into their language, and as we all now, you can't translate without losses. For example, the relationship between "sentence" and "God" can only poorly be translated into the language of Earth dwellers.
Also this guy tends to get carried away. At first he tries to stick the long version to the structure of the short version, but he doesn't keep it up.
When interrupted, he insists on finishing the story first, but after that, he will try his best to make things clear by elaborating vague points. [GM note off]

Gaming Tales / The Prismate – Story idea
« on: March 03, 2018, 03:14:39 PM »
I had the following idea as a part of a rather special setting for my campaign.  I present it with the hope that parts of it might be used for any campaign – and because I like the sharing of creativity around here ;-)
I should add that the idea is based on idioms and metaphors that work in German. I try to translate them when I feel confident about it, but some of it can't be least not by me. I will mention and explain any borders I meet.

The idea assumes a setting where it s considered normal that supernatural beings take natural forms. Human form, animal form, but also the form of a spring, a cloud, a rainbow and the like.
Mortal beings within the setting tend to keep their heads low, as speaking and even thinking of those beings only attracts their attention – the attraction of beings with purposes beyond human reasons and reasoning, beyond human values. Bad idea.
Most importantly, players can not assume to find out what „really“ happened, since even the GM would not necessarily know whether the recent encounter was a god, a ghost, an illusion or anything else.
At least that's how I encorporate it in my game world. Feel free to do everything different ;-)

The encounter:
At the beginning of a campaign/adventure, the players meet a strange figure. It looks like a human-sized and -shaped jester, with a fool's cap, a venetian-style mask and gloves, so that no skin is visible. The garment is black and white only in some „symmetrically complementary“ way (not sure if this expression fits – I mean that it is black on the left where it is white on the right, and vice versa).
The being is oddly prismatic/angled: No matter where you look at it, you always seem to look at a flat surface. Quite obviously, there need to be edges or roundness, but you never seem to able to put your glance on them.
The being talks in a pleasant voice, always in complete and rather sophisticated sentences. It likes using metaphors involving sight, light, and the like, and whenever it does, „eyeholes“ in the mask glow in a color that's...well, it's a color, but impossible to tell which color: For example, when players make a comment about it, it will call them „bright“ or talk about it „dawning on them“ or them „seing daylight“, always accompagnied by emitting light fro the eyeholes.
At some point, it will use an axpression about it „looking through“ the players, emitting light that just seems to pass through the players.

If the players try to attack it, it will move in a strange fashion: a side of his face will...well, imagine the photoshop effect of drag&dropping a point of the face, so that the head will get cone-shaped woth the tip of the cone being several meters away, then sucking the being into that cone and reshaping below the tip of the cone (phew, hard to describe).
In any case, it will evade any attack.

Later, if the player talk to any „normal“ NPC about the encounter, some wise-guy will tell them the following:
„Do you know how seing and sight really work? You tend to say that you throw your glance at the world, but this is not quite true. In truth, it is Retmayeb's eye [GM note; he's pointing at what we would call the sun] is throwing its glance at the world, and the world is reflecting His glance into your eyes, so that you can perceive the world.
Light ist sight.
This in turn means that all knowledge about what ever happend in the world lies within the glance of Retmayeb, within the light.
The being you met, the Prismate, has control over the word 'light' [but see below]. Therefore, it commands truth as you know it. It is said that the Prismate can take away all truth from you, it can take away what you might call your past. What used to be truth earlier is no more.
It does so by 'looking through' anyone.“

GM note: In the minimal version, this is an ingame explanation for why player characters do not have a background story. Their past was taken away from them.
Also the metagame idea of „gaining Xps/levels“ could be turned so that the Prismate is giving the players back their past. Or it is turning whatever idea into players' reality. If you like this more than the idea of players getting more powerful by „experience“.

In my setting, the incorporation of this being into the game world goes much deeper, but it does not have to:
In German, there is a term „Wortklauber“ - „wort“ meaning „word“, and „klauben“ being a verb that might be translated as „to pick“, generally to pick something interesting/valuable from the floor from amidst rubble. A „Wortklauber“ is someone who uses words as it fits his own purpose...somehow pedantic, but there's more to it (online dictionaries translate the term as „verbalist“).
And there is an idiom that literally translates as „getting something/ a word into the wrong throat“ (maybe „taking something the wrong way“).

In my game world, mortals could literally „get a word into the wrong throat“, and the word would stick there, turning into a bitter lump in the throat. Some people trie to spit it out by force, and the word is mighty enough to tear those people into pieces. Others reach a symbiotic relationship with the word, and those are calles „wortklauber“.
The original idea was inspired by sorcerers from D&D 3rd, so a „wortklauber“ might be a mage whose magic is working on words and idioms rather than on schools of magic.
So the Prismate would be someone who "got the word 'light' into the wrong throat", but as the relationship is symbiotic, the very principle of light is commanding this being as much as this being is commanding light.

As a said, at some point the whole idea can not be translated. I hope my description is still at least interesting to read.
I will soon continue and elaborate why words do have such a great influence when they get stuck in throats ;-)

General Discussion and Questions / Re: Subterranean sailing?
« on: January 09, 2018, 02:46:48 AM »
Yes, good point, if the cavern is high enough...maybe a domed ceiling with an upward shaft in the air will rise above heat sources, and if it is moist air - let's assume water meeting lava at certain intervals - there might even be rainstorms.
I guess even lightning is possible if you're creative about iron ore deposits and the like.

Such caves might not be the norm, but they might be the most likely ones to be inhabited and therefore most relevant for shipping.

But yeah, steampunk dwarves rock, so early steamboats would be a lot cooler than sails  8)
Or a complex system of mithril ropes pulling ships across lakes and along rivers...powered by waterwheels and able to pull ships upstream.

General Discussion and Questions / Subterranean sailing?
« on: January 07, 2018, 01:36:27 AM »
Hi everyone,
reading the page about the dwarven race, I stumbled upon the following sentences:
"There are a number of underground rivers, lakes and even seas in the vast underworld of Khoras. The dwarves sail these subterranean waterways in squat, thick hulled vessels called durogars. These sturdy vessels have broad bellies, are typically three levels tall, are tiller steered and have two square sails."

This made me wonder about subterranean wind conditions.
I can easily imagine even strong winds in narrow tunnels, but I guess that a cavern would have to be rather huge to feature air circulation within it, and for air currents passing through a cavern, the narrow entrances should pose some kind of bottleneck for the amount of passing air, so in the wider sections of the cavern, there should be close to no wind.

But then again, my assumptions might apply only for rather regional underground complexes, and not for continent-wide underworlds, or I might fail to consider other wind sources like geothermal heat, magma reservoirs and the like.

As with all my questions, I aim for an open discussion about game world mechanics rather than for judging right or wrong.

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