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 Post subject: K'veer across time
PostPosted: Wed Jul 03, 2013 7:31 am 
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Shorah everyone,

Since it appears we have finished discussing Yeesha's "tattoos" for now, here is another April entry.

===

Sunday 7 Apr 2013

K’veer Across Time

In continuing to investigate the Yeesha tattoo and timeline mystery, I am noticing the related differences in K’veer across time. The K’veer we can visit in Cavern today no longer contains the Keep and has a D’ni KI pedestal and Nexus Linking Book. The former prison contains Atrus’s old desk, a lamp and some empty bookshelves, with the Myst Linking Book on a central pedestal. The doorway between the two areas is accessible, with the door appearing to have been removed completely.

[Reveal] Spoiler: K'veer "cathedral" today
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[Reveal] Spoiler: K'veer prison area today
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[Reveal] Spoiler: Atrus's desk today
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[Reveal] Spoiler: Prison doorway today
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During the time of Watson’s quest, K’veer contained the Keep and had no D’ni KI pedestal or Nexus Linking Book. The former prison area contained Atrus’s old desk, a lamp, some empty bookshelves, with the locked Myst linking book on the desk. The doorway between the two areas was accessible, with the door having a handle and being in good working order.

This would imply that Watson visited K’veer some time during its past, before the last days of D’ni, when the KI system was installed for public use. Yet Atrus was trapped in the prison area well after the fall… Would this mean that the KI pedestal there was installed by the DRC rather than by the D’ni?

[Reveal] Spoiler: K'veer "cathedral" during Watson's quest
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[Reveal] Spoiler: K'veer prison area during Watson's quest
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[Reveal] Spoiler: Atrus's desk during Watson's quest
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[Reveal] Spoiler: Prison doorway during Watson's quest
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There is an earlier version of the prison area, which I could see only fleetingly just as I completed The Path of the Shell. As Yeesha congratulated me on my success in finding K’veer, she linked me out again so rapidly, I could walk about only briefly. In this version, Atrus’s desk has only a lamp and there are two unidentified red fabric objects on the bookshelves. The doorway appears to have been blocked by a rockfall, which collapsed both of the doorway pillars and felled the doorway’s firemarble lamp. A hanging firemarble lamp over one of the other doorways has gone out. There is no alternate means to gain access to the lower area, making it impossible to learn if the Keep or the KI pedestal and Nexus Linking book are there.

[Reveal] Spoiler: Atrus's desk during Path of the Shell
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[Reveal] Spoiler: Prison doorway during Path of the Shell
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[Reveal] Spoiler: Atrus's bookshelf objects during Path of the Shell
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[Reveal] Spoiler: Prison firemarble lamp during Path of the Shell
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After Yeesha finishes showing me the glowing arch in the Cavern, she links me back to yet a different version of the Kveer prison area. Here, Atrus’s desk has a lamp, a letter from Yeesha to Atrus, a Relto page and one of Atrus’s old shirts, while the bookshelf still contains the two red objects. The rubble at the doorway has been mostly cleared away, including the fallen pillars; all that remains of the fallen lamp is its flickering firemarble. The door itself is either broken or locked so once again, it is impossible to access the lower level and see whether the Keep or the KI pedestal and Nexus Linking books are present.

[Reveal] Spoiler: Atrus's desk after Path of the Shell
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[Reveal] Spoiler: Prison doorway after Path of the Shell
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[Reveal] Spoiler: Atrus's bookshelf objects after Path of the Shell
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[Reveal] Spoiler: Prison firemarble lamp after Path of the Shell
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Judging from the state of the connecting door, the rubble marks the earliest version of the prison area with the broken door marking the next earliest. Watson’s quest would be some time after, with the present day version obviously being the most recent. The changes between these versions make linear sense, with one exception—the short red column, which collapsed by the connecting door. It is present at the earliest version but missing in the next yet reappears in the later two. I have been puzzling over what this might mean. I can think of no logical reason for someone to have removed it only to place it back again in its former collapsed position.

* * * *

There are some records to be found from even earlier times, before Yeesha was born. The Stranger visited Atrus in K’veer twice that we know of, the first time to rescue him and the second time to assist him in rescuing Katran from Riven. Though the image records for the second visit are scant, it appears that at that time, the bookshelves contained the red fabric objects, though in the images of the bookshelf we have, the bookshelf objects are quite blurry and dimly lit.

[Reveal] Spoiler: Atrus in K'veer during Riven
Image

The image records are more extensive from the earlier visit, which make it clear that at that time, the red objects were on the bookshelves, the pillars were in a collapsed state, the firemarble lamp was broken and on the floor, and there was no other damage in the prison area. That is, the floor, wall, doorway and stairway cracks had not yet occurred; and the other firemarble lamp had not yet burned out.

[Reveal] Spoiler: Atrus in K'veer during RealMyst
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[Reveal] Spoiler: Fallen firemarble lamp during RealMyst
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[Reveal] Spoiler: Level of wall damage during RealMyst
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[Reveal] Spoiler: Hanging firemarble lamps during RealMyst
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* * * *

So what can be inferred here?

Regarding the prison area:

The red fabric objects on the bookshelves seem to be associated with Atrus. We see other signs of his presence in the prison area through the end of Yeesha’s Path of the Shell journey.

There is a progression of damage to the room. The pillars collapsed at the doorway to the cathedral area are the earliest damage, which remains a constant across time although the rockfall is gradually removed. Sometime between the events of Riven and Yeesha’s Path of the Shell journey, additional damage occurred, causing significant damage to the walls, ceiling, some steps and a doorway.

Atrus seems to have used this area regularly as an office, for the lit lamp remains there throughout and the desktop items change over time. Although Atrus was able to leave the prison once the Stranger first arrived there, he continued working on the Riven Descriptive book there after that.

One of the hanging firemarble lamps went out, possibly from damage by the same event that caused the severe cracking in the prison area. This lamp seems to have been repaired after the Path of the Shell events using the parts from the downed lamp at the doorway with the collapsed pillars.

The seven doorways there evolve over time. They begin as stone niches during the times of the Stranger. During the times of Yeesha’s Path of the Shell, they have been transformed into intricate metal doors, though none of them work; they are either broken or locked at that time. During the time of Watson’s quest, the door to the cathedral area has been repaired and is usable, enabling access to the Keep for the first time. Currently, all the rest of the doors are still broken or locked, but the usable doorway has been completely cleared out, the door itself now being removed and so leaving a stone passageway. This is the most puzzling aspect of the prison area. Who changed the doors? Why? How?

Regarding the cathedral area and Keep:

During the time of Watson’s quest, the Keep is present and the Nexus linking pedestal is missing. In current times, the Keep has been removed and the Nexus linking pedestal is both present and in working order. Presumably the Bahro removed the Keep once they were freed; but who installed the pedestal? It is an exact match for the ones throughout Ae’gura which were installed by the D’ni shortly before the fall. The only sensible explanation is that the DRC (specifically, Laxman) installed it in K’veer, yet I’m still puzzled. The installation appears seamless, with the pedestal niche being carved into the stone wall flawlessly. I can easily believe a D’ni capable of such skilled stonework, but the DRC?

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PostPosted: Wed Jul 03, 2013 9:50 am 
Well, considering that the Bah'ro may have created a duplicate Descent for Dr. Watson, is it possible that they made a duplicate K'veer for the Keep, and Dr. Watson somehow arrived in that one?


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PostPosted: Wed Jul 03, 2013 2:03 pm 
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Shorah Kath,

Indeed!! The more closely I look at events and questions involving Yeesha and/or the Bahro, the more it looks like they use time "instancing" regularly, perhaps even constantly. :shock:

I'm beginning to wonder if this is a natural characteristic of Bahro behavior and reality, and which Yeesha co-opted when she learned from them in her youth. I wonder if the Bahro see us as strange little creatures who are caught up in the limited "reality" of linear time...

Now, if only I could cross-examine Yeesha about this... Or even Phil... Or Dr. Watson...

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PostPosted: Wed Jul 03, 2013 4:47 pm 
Relto, Kadish Tolesa, Ae'gura, Eders Delin and Tsogahl...


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PostPosted: Wed Jul 03, 2013 4:53 pm 
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With Regards to the damage increase between Riven and POTS, I think it's safe to say that Atrus himself caused this when his excavation team began carving through the debris as seen in Book of D'ni.

I don't have the exact quote on hand due to not having the book with me, but I definitely remember reading that there was an accident with the rock carver that caused damage to the roof.

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PostPosted: Wed Jul 03, 2013 8:14 pm 
When Atrus tried to free himself, shortly before reading the Riven book.


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PostPosted: Sat Jul 06, 2013 4:47 am 
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Overall a very fascinating series of ideas. I especially liked the thoughts on the tattoos however I feel I must point out an alternate explanation for much of the speculation concerning inconsistencies in architecture and character design. To fully explain this I must briefly step OOC for a moment.

There is a fundamental difference in Myst and URU games. In the URU universe there exist Myst games and novels published by Cyan and the Miller brothers. The DRC contracted Cyan to develop these for the purpose of spreading the idea of D'ni and Linking to the general public before opening the cavern to explorers in 2003. The books were based on events described in Catherine's journals that had been recovered by the DRC during an expedition to D'ni. The novels were 'plauged' by Wingrovianisms where details regarding D'ni are purposefully inaccurate to prevent people from discovering the cavern too soon. What's more, the events in these novels are third handed at best as they many of the events would have been relayed to Catherine via Ti'ana or Atrus before being written down in her journals, translated by the DRC, and filtered by the Miller brothers and David Wingrove.

As I understand it, the events of the games is not necessarily meant to reflect historical accuracy but more to provide entertainment while spreading the idea of Linking all the while introducing Atrus's family and ultimately Yeesha. For example, RAWA has stated that the actual Myst island is much larger than what we have seen represented in Myst and RealMyst. In addition, there were more structures and the spaceship used to reach the
[Reveal] Spoiler:
Selenitic age
is not actually a spaceship. He has stated that the image of a spaceship was chosen for the first game to represent an object of 'alien' design.

Another common misconception is that there is a Stranger. The truth is: The Stranger is a fabrication of the explorer community and was never intended by Cyan to be a character. This is confirmed by Robyn Miller http://mystonline.com/forums/viewtopic.php?f=1&t=25154. Long story short, the Myst games are not accurate representations of the events that unfold within while the events of URU are treated as factual.

What makes this incredibly confusing is that the events of End of Ages make the game an URU installment (not a myst game) as Cyan was trying to tie up loose ends due to their financial situation resulting from their partnership with Ubisoft. The only reason it was titled Myst V was because URU had flopped financially and attaching Myst to the game would result in more favorable sales. So, as we know, the events of Myst V follow RAWA shortly after the cavern has closed in 2003 and yet, in Yeesha's journals we find reference to a Stranger who had visited Atrus many times before. Here we find a blurring between Myst and URU games as we seem to find a confirmation of the existence of a Stranger even though we have the word of the developers that He never existed.

Myst V is fairly incomplete as far as Cyan productions go. As such, it is possible that many of the inconsistencies found between URU and Myst V were the result of lack of time to complete or a conscious effort to blend the Myst and URU styles. It is possible that the differences in room design were the result of 'instance' linking (such a thing is possible under the many worlds interpretation of quantum mechanics) while it is also possible that the details were missed due to development issues.

Phew, I hope I got my point across. I'm going to be searching for more references to back up some of my points should you request them. :D

P.S. One last thing. I love that this community spends as much time thinking about these things as I do.

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PostPosted: Sat Jul 06, 2013 7:54 pm 
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Esto Centura wrote:
There is a fundamental difference in Myst and URU games. In the URU universe there exist Myst games and novels published by Cyan and the Miller brothers....As I understand it, the events of the games is not necessarily meant to reflect historical accuracy but more to provide entertainment while spreading the idea of Linking all the while introducing Atrus's family and ultimately Yeesha.


Yeah.. I thought of that after my first tattoo post: technically, in the 'Uru' universe the images and events from the Myst games are 'historical fiction'. The differences in Yeesha's tattoos & appearance between EoA and Uru could be something as simple as the fact that when visiting the cavern we see images of the 'real' Yeesha, while the Myst 5 images are of actress Rengin Altay dressed in character as Yeesha, for a game based on RAWA's experience.

Quote:
Another common misconception is that there is a Stranger. The truth is: The Stranger is a fabrication of the explorer community and was never intended by Cyan to be a character.


True; but probably unimportant. As the author of the fanfic 'The Stranger's Story' I'd have to protest, because "Beauty is truth; truth, beauty" and this statement-- not being beautiful-- is therefore not true.

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PostPosted: Sat Jul 06, 2013 8:53 pm 
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Shorah Esto,

Glad to see you are finding some of this stuff interesting! To answer some of your comments here will be a bit tricky since this is indeed an IC conversation. I'll speak to what I can but would prefer that if you want to continue an OOC conversation, we split the thread (or just go to PMs); I'd prefer that the thread itself not get derailed.

First off, I started this particular journal for the express purpose of exploring the challenge RAWA has laid before the community, to dig to the deepest level of the world of the D'ni. Here's one of the ways he expressed this (from that same conversation where you quote Robyn):

Quote:
...The beauty of it all, IMO, is that there is no single right answer that has to fit for every person.

For those who just care about Myst and Riven as stand-alone, immersive experiences, you can do that. They were designed specifically to provide that first-person experience with as little as technologically possible to distract from it, like few other games have ever attempted, let alone achieved. (“You are you.” “Act and react as if you were actually there.” “the adventure that will become your world” “You’ve just stumbled on a most intriguing book.” and all that.) In that light, as far as the games themselves are concerned, they are “just games”. YOU found the Book, what are YOU going to do now? Lose yourself and enjoy, please!

If, however, you want to dig deeper into the story behind those games, the novels are there.

If you want to dig even deeper, To D’ni, PreAfter, and Uru were/are there.

If you want to dig deeper still... study the history of New Mexico, brush up on your quantum mechanics, and grab a shovel.

You are free to pick the one you enjoy the most. Or none of the above, for that matter. I think it’s really cool that Myst/Riven/D’ni can provide that range of experiences for those who want them (or not for those who don’t. .) Selecting the option that is right for you doesn’t have to detract from anyone else who selects a different option. Variety, the spice of life, and so on.

In any event, Robyn, Rand, and I all completely agree that having questions (mysteries) is always more interesting than having “all the answers”. May you always have mysteries to ponder.

RAWA
CYAN - Richard A. Watson
Sun Oct 09, 2011 8:02 pm

That entire thread is a very interesting read. One of the nuggets I glean there is that although Robyn sees The Stranger as a retcon, RAWA does not. So far as I can tell, the explorer community coined the name "The Stranger", but the historical reality of his/her existence is part of canon. Myst, Riven, Exile and Revelation are described as recreations of historical events in the form of computer games, with some artistic license taken to make them do-able and manageable with the technology available at the times of their development. My own take is that the gist of those stories are true to the known historical records. It is up to us to sort out which bits are "license" and which are historically accurate. RAWA gives us a few guidelines about this in his commentary, but for the most part, we don't happen to know where the line is truly drawn within each of those stories.

From your comments, I gather that you prefer the first of the four views that RAWA describes. I also gather that Robyn prefers this view as well, so you are in very good company! :)

My own interest here is along the lines of the fourth view, to understand the D'ni story in the same detail and from the same historical POV as RAWA. I view this as an enormous-scale puzzle that RAWA and the Millers have laid out before us. Robyn has expressed his disappointment that the D'ni world has taken a "historical" turn at the expense of what he calls the "magic". I'm sure this expresses very well his reaction to this apparent "change" in the development and backstory of the Myst saga. However, there are some of us that don't see it as a loss of magic or imagination at all. At least for me, this simply deepens the mystery and gets me more personally involved with the story. It rekindles my imagination and sense of excitement as I realize this is a complex and layered web that exists within my daily waking world here in New Mexico, awaiting someone to explore it.

One can view the apparent differences between the Yeeshas and the K'veers as simply poor communication, bad planning, taking shortcuts, lack of funding or carelessness on the part of the developers. RAWA himself has acknowledged that most people will dismiss such things as retcons. However, this is also where he hints that from his POV, this is most certainly not the case and the deeper story can be found should explorers care to do the work of digging into it (in the example quoted below, regarding the topic of the Cleft location).

Quote:
...So, where is the Cleft? It depends on how deeply you want to dig into the D'ni story.

Those who played Myst and Riven as self-contained games: Cleft? Who cares where it is? It isn't in the games.

Those who dug deeper and read the novels: The Cleft is probably somewhere in the Middle East.

Those who have dug deeper still and participated in the online/real-world stories (To D'ni and Preafter): The Cleft is in New Mexico and always has been. Reports to the contrary were mis-direction by those who didn't want D'ni discovered by any except "the Called" who would be able to find it even with the mis-direction.

This is all well and good, until we get to Uru, which is the story of those "Called" going to D'ni (as Zandi tells you at the Airstream). That being the case, Uru has to take To D'ni and Preafter into account, because the "Called" only exist at that deepest level, even though Uru is available to those who didn't dig that deeply for whatever reason. Those people will have to decide how they want to resolve the paradox: learn more about the larger story of D'ni, or dismiss it as "retcon". I would love it if people would choose the former, but am resigned to the fact that most will choose the latter.

Hope that helps,

RAWA
* No, I won't give any hints. The rock-cutter is patient. I waited seven years for the connection between the D'ni letters and numbers to be discovered by the fans. Other "seeds" have been planted that may never be discovered. I'm ok with that. :)

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CYAN - Richard A. Watson
Wed Mar 10, 2010 4:53 pm

So in the case of the differences between the different K'veers and the Yeeshas (as well as the other things I write about in this journal), I am interested in exploring how these apparent anomalies fit in with RAWA's understanding of the D'ni and their history. I will probably never know if I'm anywhere near the mark with my ponderings, but these are the questions I'm interested in exploring.

I realize that this perspective and exercise is not everyone's "cup of tea", which is all well and good. :) Explorers have pondered countless questions here and in the Cavern since the beginning, all of which is part of the Uru experience. In having conversations about our own wonderings, I think it's important to acknowledge (and accept) the varying "base" views others might have.

So there you have it! Enjoy exploring your own interesting questions!

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PostPosted: Thu Jul 11, 2013 10:12 am 
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Of course, this begs the question:

Where do the four pillars and the golden tablet fit in? Did the bahro build the pillars and tablet, and the D'ni stole them? Or, did the D'ni build them to effectively control/imprison the bahro? (There is a lot of intricate carving on the tablet, and I doubt it was purely decorative!)

Also, at least from what I gleaned in Sharper's journal, the slaving operation was an illegal one.
("Hiding from Maintainers, I suppose.") Did the general population know, and turn a blind eye? (That might explain the trashing of Negilahn.) I wonder how many Ages the bahro worked on? (My guess is, since Guild rules didn't allow the editing of Books, some Writers used bahro slaves to do the dirty work of "fixing" their mistakes.)

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PostPosted: Fri Jul 19, 2013 7:34 am 
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TOOO wrote:
Of course, this begs the question:

Where do the four pillars and the golden tablet fit in? Did the bahro build the pillars and tablet, and the D'ni stole them? Or, did the D'ni build them to effectively control/imprison the bahro? (There is a lot of intricate carving on the tablet, and I doubt it was purely decorative!)

Some very interesting questions! I've often wondered about the pillars... why four? Are they connected with the four/five Journey Ages because Yeesha found it convenient to do so (they had been restored and released by the DRC so Yeesha could get the explorers to begin the great Bahro emancipation), or is there some deeper meaning to it? Why pillars? Yeesha describes them as containing/releasing the soul of single Bahro. I gather that the act of returning the pillars to the Bahro cave(s) in the Cavern ceiling is akin to Watson returning the Tablet to the Bahro as a whole. Visually, the pillars strike me as Bahro design (particularly the use of the four horns at the top of each), so would this mean that each individual Bahro created his own pillars? Do they work similarly to the horcrux in Harry Potter's world (though presumably less perverse)?

The tablet seems a bit less mysterious to me. When we view the "bad" ending of Watson giving the tablet to Esher, we can see Esher making use of the Tablet, which illuminates at least a bit how it seems to work. My take is that the patterns on the Tablet are akin to the symbols Watson learned to draw on the Age slates. The Tablet symbols are "hard coded" though and seem to be much more powerful. The slates strike me as being of Bahro design whereas the Tablet looks more like D'ni to me.

TOOO wrote:
Also, at least from what I gleaned in Sharper's journal, the slaving operation was an illegal one. ("Hiding from Maintainers, I suppose.") Did the general population know, and turn a blind eye? (That might explain the trashing of Negilahn.) I wonder how many Ages the bahro worked on? (My guess is, since Guild rules didn't allow the editing of Books, some Writers used bahro slaves to do the dirty work of "fixing" their mistakes.)

More excellent questions! Certainly having the caves hidden from the working areas of Teledahn is suggestive. There seems to be an important yet (to our eyes at least) somewhat subtle connection between the Maintainers and Teledahn. The Teledahn map on Sharpers desk shows a large Maintainer suit in the lower right corner, near an island that apparently houses a Bugarro colony. The fish tank niche in Sharper's third-floor office has some Gahreesen-like symbols along the niche edge, making one wonder what that niche must have been used for by the D'ni resident/overseer; and the desk there has a Maintainer helmet amongst the papers. Yeesha draws a clear connection between the slave operation in the Teledahn caves and the Gahreesen prison cells through the Bahro linking tablet in Teledahn.

Knowing what we do about the Bahro, it's a bit of a mystery how the D'ni could have kept them in the prison cells in Teledahn or Gahreesen. So perhaps this is where the pillars fit in. Another possibility is that the D'ni slavers were aware of the connection between the Bahro ability to link and the symbol etched upon their heads/necks.

My own suspicion is that the Bahro who became enraged at the millennia of injustice and oppression (the Bahro Noir) have very good reason to be angry. I've been wondering for a while now if the Bahro became enslaved by the D'ni through an act of treachery on the part of the D'ni (not necessarily the D'ni as a whole, but more likely the D'ni who crafted the Tablet). Pure speculation of course, but it would explain a lot in my mind.

RAWA has hinted in the past (in discussions about Linking Books and how much one can take along), that the D'ni had a simple means to move large loads between Ages, using pack animals. It's hard to tell if he was obliquely referring to the Bahro, but considering what the Bahro can do in Linking matters, I'm sure a single Bahro could transport whatever he was told. It's pretty clear that they do not have the same Linking constraints that the D'ni (and we) do.

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PostPosted: Sun Jul 21, 2013 3:36 pm 
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One more point I forgot to mention:

During the GameTap years, when Cate Alexander first placed the Ahnonay book, some of us made our way to K'veer, and into Atrus' former prison. At the time, the pedestal with the linking book to Myst hadn't been placed. I can't remember if it later appeared that day or the next, though.

I don't remember who else was there with me at that time, but there were a few of us. Is there anyone else here who remembers that?

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PostPosted: Sun Jul 21, 2013 5:37 pm 
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Shorah TOOO,

According to the authors of The Heritage Documents, the date in question is November 5, 2007 and immediately prior to Yeesha appearing in K'veer to give her last known speech, the Bahro teleported a book stand into the K'veer prison area and placed the Myst Linking Book upon it.

Again according to The Heritage Documents, Ahnonay was released a few days earlier, on November 2, 2007. The Heritage Documents authors are Malfhok, DimensionTravelerCalum and Carl Palmner, so they may be able to provide additional details about these events.

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PostPosted: Sun Jul 21, 2013 9:39 pm 
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Another April entry.

===

Saturday 13 Apr 2013

Teledahn Across Time

I talked with AlanD earlier about his Teledahn research and he pointed out that the three Age paintings in the Baron’s office are views of the known areas we can explore. We spent some time in Teledahn looking for the vantage points for each. All three images are from above the ground and so we were only able to approximate each vantage point at the time.

However, I was intrigued enough to return with some climbing gear to see if I could photograph a matching view for each painting. The results are quite interesting.

It’s impossible to know just yet how closely the Baron’s office is connected to Teledahn itself. Sharper doesn’t say anything in particular about this in his journals, nor does he mention whether the paintings were already on the walls when he found the office and moved in. At first I thought it likely that Sharper had taken some photos and got them printed as paintings and then framed. After all, he had climbed all over the Age during his restoration work.

But I’m not so sure that explanation is viable anymore…

I was able to climb rather precariously to two locations where I could move around a bit and find some near-exact matches for the outdoor paintings. However, the indoor image of the hut was more difficult. I was able to match the view pretty exactly, but only by suspending myself from the ceiling with a rope. It was a nerve-wracking experience and I was grateful for the safety net of my Relto book.

[Reveal] Spoiler: Baron's office painting of hut
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[Reveal] Spoiler: Current day photo of hut
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The view of the tower was also a bit unnerving as the rock face I climbed was quite steep. However, a slip simply would have landed me in the water, so I was able to spend more time moving about to achieve the best match I could manage. The mushroom on the left simply couldn’t be aligned to match the painting…

Another interesting dissimilarity is with the tower mechanical works. In the painting, it’s in a sad state of disrepair with many of the screws missing, the tower platforms with the control levers also missing, and the “umbrella” mechanism at the top being somewhat shredded. Sharper used a large shroom trunk to support and guide the screws which power the gate; my best guess is that he found it submerged in situ, for it appears to be the base for the partially submerged shroom cap which is present in both the painting and in our present time.

[Reveal] Spoiler: Baron's office painting of tower
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[Reveal] Spoiler: Vantage point for current day photo
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[Reveal] Spoiler: Current day photo of tower
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But the third painting was the most telling. I had to climb to the top of a large shroom just off the main catwalk to find the vantage point and even so, this required me to stand near the very edge of the shroom cap. This view clearly was looking toward the lagoon gate, yet the painting itself not only was from a time before the gate was installed, at that time, this part of the lagoon was filled with a forest of shrooms. Additionally, there is no sign of the “hidden valley” landform where it should have been, to the side of the shroom forest; and the landform to the left also is sized differently. Clearly this painting was done before Ventus had the gate installed, and back in the days before the shrooms were over-harvested. But how to explain the discrepancy with the landforms? Is there some sort of geologic movement at work? Is that landform rising?

This in turn makes it quite clear that these larger shrooms are quite ancient. They seem to be extremely slow-growing, for their shapes have changed little since the time of this painting.

[Reveal] Spoiler: Baron's office painting of gate
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[Reveal] Spoiler: Vantage point for current day photo
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[Reveal] Spoiler: Current day photo of gate
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Strange that the shrooms seem to be more constant across time than the landforms…

Might this have any connection with the mystery of the “luminary” racing across the sky here? Might it be providing geological stability in some way? In re-reading Sharper’s journals, he never mentions the “sun” or a “solar disc”. However, he does make a single noteworthy mention of something that he describes as weapon-like.

Quote:
5/28/2000 Found a new book today. A very special book.

Quote:
8/12/2000 Nick stopped by and we’ve got a little more information. Looks like there is some kind of weapon in our hands. At least it could be used as a weapon. After the lights.

At this point in the journals, Nick has been translating many of the D’ni writings Sharper had found in the upper shroom office and deliberately withheld from the DRC. Sharper’s new book seems to be different from all that, though. But it seems that a few months later, Nick’s translations make it clear that there is something in the Age that is powerful enough to be used as a weapon. Sharper seems to know exactly what it is, for his final short sentence indicates that he will work on it after he finishes repairing the lights. Yet as far as I can tell, he doesn’t mention it in the journals again.

Could these cryptic comments be regarding the “luminary” itself?

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PostPosted: Sun Jul 21, 2013 10:21 pm 
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Interesting on the paintings! I never knew the third one actually matched any physical locations of Teledahn as we could explore. I always thought it was of another area of Teledahn we couldn't get to.

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