As you can see in the video above, the longsword is one of the central weapons in the growing practice of what are now called Historical European Martial Arts. The very first character I made ran around as a sort of unstable blacksmith on the hunt for the secrets to crafting Skyrim’s finest greatsword.īut one thing I’ve discovered recently is that I’m not the only one fascinated by the potential of these archaic weapons. And with enough commitment to crafting, even one of the game’s basic iron blades becomes an effective partner in all but the deadliest dungeons. I’m a sucker for those kill-screen cinematics I guess. But Skyrim’s combat still leaves me feeling great. The game’s swordplay just isn’t that intricate. No one talks about the combat in Skyrim in the same kind of hushed, reverent tone so many save for something like, say, Dark Souls.
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The Death Gate Cycle is a series to lose yourself in. Survival in this environment then becomes a compelling force that drives the narrative the story. The actual ground has become a legendary place of wingless dragons and massive caverns the dwarves carve out of moss instead of stone. On a world bathed in constant sunlight, endless jungle forests have grown and created an almost unimaginably thick layer of vegetation. One of my favorite images appears in the second book and deals with Pryan, the fire planet. We again see the introduction of elves, dwarves, and men, as well as other races, but they are so defined by their geography-and the conflict this creates-that these familiar archetypes still resonate. These planets feature floating continents, mysterious machines, and yes, dragons. Following a cataclysmic event, earth is remade into four distinct realms, each primarily built around a single element-air, water, fire and stone. In a way reminiscent of Skyrim’s tendency to always push me to look below the surface, the Death Gate Cycle universe is anything but flat. The seven-volume Death Gate Cycle takes Weis and Hickman’s talent for fantasy world-building, so evident in their genre-defining earlier work on Dragonlance, and turns the dial up to 11.
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