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Elijah Moore
Elijah Moore

Dragon Blade Open World RPG Mine All Ore's !EXCLUSIVE!



There are eight basic resource types (Food, Horses, Copper, Cotton, Hides, Iron, Stone and Timber) to be found in the open world. With the exception of Food and Horses, these can be further categorised by quality, from Common (represented by white text), Uncommon (green), Rare (blue) to Epic (purple).




Dragon Blade Open World RPG | Mine all Ore's



Occasionally you will find Rock Walls marked on your mini-map by yourmineral tracking ability. These can be opened by Miners, and inside you can findspecial secrets and ore mines or herbs!


Along the south wall, a copy of History of Raven Rock, Vol. I is on the floor between two benches, with two sacks beneath one of the benches. Along the north wall, a small shelving unit on a table holds two loose coins. To the left of the table is a set of shelves holding various items of clothing, two leather helmets, and copies of Lives of the Saints and The Red Year, Vol. I, with a fish barrel to the left of the set of shelves. A flight of wooden stairs leads up to a loft. Under the stairs are more barrels, crates, and open boxes, one of which contains a sample of iron ore. One of the crates has a pickaxe on top, and three more pickaxes hang from a row of six weapon racks in the northwest corner. In the loft, mechanisms for lowering and raising buckets into and out of the mine below are on the walls. In the southwest corner is a grindstone, and in the northwest corner is a table holding a copy of The Poison Song, Book III. An East Empire Company strongbox is beneath the table, and a sack is to the left of the table. Three more pickaxes hang from racks between the grindstone and the table.


In the next room, two upright sarcophagi are ahead to the left, with a filled common soul gem on a plinth between them. The path twists around to the west to a raised area with two draugr corpses seated on thrones and two embalming tables between the thrones. One of the corpses wears an ancient Nord helmet and holds a honed ancient Nord sword, and the other corpse holds an ancient Nord bow. On the tables are two more draugr corpses, two random potions, a random strength potion, a random soul gem, a sample of frost mirriam, a deathbell flower, a bowl of vampire dust, a sample of scaly pholiota, and a random poison, with a large urn to the left of the table on the left. Between the two tables is an upright sarcophagus containing a stalhrim deposit, which you can mine if you have an ancient Nordic pickaxe. Mining this deposit reveals another draugr corpse. An alchemy lab is around the corner along the east wall, with an ashen grass pod and two bowls of netch jelly on top. The lab is between two sets of shelves. The set of shelves on the left holds a sample of emperor parasol moss, a luna moth wing, a salt pile, a bowl of frost salts, a sample of scathecraw, a sprig of dragon's tongue, and a burial urn. The set of shelves on the right holds a bowl of void salts, a pot of spawn ash, a potion of waterwalking, a sample of ash creep cluster, another luna moth wing, a bowl of fire salts, a boar tusk, and a burial urn.


The path continues to the north, climbing to a plateau with two Sparks spellcaster traps flanking the path. Knocking out or removing the filled soul gems will disable the traps. The path then descends into shallow water to a pair of wooden doors. Beyond the doors is a multi-level room with shallow water covering the floor. At the east end of the room is a waterfall, behind which is an apprentice-locked door leading to a single tiny room within Bloodskal Barrow. This room features an upright sarcophagus containing a stalhrim deposit flanked by two large urns; once mined, the deposit reveals a draugr corpse. There are no other exits from this room in the barrow. Returning to the mine, a raised area is to the left along the south wall, with a patrolling draugr wandering along it. Engaging the patrolling draugr will cause up to five additional draugr to converge and attack you. Climb up the wooden ramp to a balcony with four upright sarcophagi, two of which have been opened. Along the south wall is a lowered portcullis, and at the east end is a lit fireplace, with a wooden walkway next to the fireplace crossing to the north over the room below. On the far side of the walkway is another balcony. In the northwest corner is an arcane enchanter on a sideboard, with an expert-locked chest beneath the enchanter and a potion of waterwalking and a weapon on the floor nearby. Near the edge of the balcony to the south is a plinth with a handle that opens the portcullis on the other side.


Following the tunnel as it twists and turns, you will emerge on a small ledge overlooking a large cavern far below. A large, strange door is visible to the north at the far end of the room between two waterfalls, and a stream cuts through the cavern. Jump down from your perch to the rocky landing below and proceed to the door. In front of the door are the skeletal remains of Gratian Caerellius lying on a bed roll, with the remains of his assistant Millius at the base of the short set of stairs nearby. Gratian's remains still hold his journal and the Bloodskal Blade, a unique two-handed greatsword. The journal reveals what Gratian had learned about the blade and how it may be used to open the strange door. Next to Gratian's remains is a satchel and an elixir of vigor. Also in the cavern are three dead draugr, as well as a chest to the southeast in the alcove at the end of the stream. Three small cages hanging in front of the door contain a burnt corpse, a draugr corpse, and a skeleton, all of which can be looted.


Once you have completed all seven of the required attacks, the door will open into a long wide corridor lined with seven sets of three swinging blades in a row. Similar to some traps in Dwemer and other ruins, these blade traps are triggered entirely by proximity, and cannot be disabled by the lever at the far end of the corridor, which only operates the nearby portcullis. The blades will stop after the player has reached the lever. If the blades are again approached from the far end, regardless of the state of the portcullis lever, the blades will once again begin swinging, making it very difficult to bring followers past the blades unharmed.


Updated on March 10, 2023, by Ritwik Mitra: It's genuinely impressive just how much Skyrim is still being played to this day. This open-world RPG set a new standard for open-world games when it was launched and continues to be one of the biggest games around simply because of how prevalent the mods for this game are. Of course, Skyrim's base array of weaponry is still so expansive that most people won't mind messing around with it, and here are the strongest weapons in the game that the Dragonborn can use to completely decimate their enemies.


When your world first enters Hardmode by defeating all the first main bosses, the Pickaxe Axe will be one of the four pickaxes you can acquire that will be able to mine the newly spawned ore, Chlorophyte. It has the third-highest pickaxe rate of all pickaxes.


A not-so-subtle nod to Kingdom Hearts, this sword allows you to wield the power of the Keyblade in the world of Terraria. It exists only in Hardmode after the boss Plantera has been defeated. It comes with strong knockback and fast attacking to keep multiple foes away efficiently.


In video games, an open world is a virtual world in which the player can approach objectives freely, as opposed to a world with more linear and structured gameplay.[1][2] While games have used open-world designs since the 1980s, the implementation in Grand Theft Auto III (2001) set a standard for the concept which has been used since.[3]


Games with open or free-roaming worlds typically lack level structures like walls and locked doors, or the invisible walls in more open areas that prevent the player from venturing beyond them; only at the bounds of an open-world game will players be limited by geographic features like vast oceans or impassable mountains. Players typically do not encounter loading screens common in linear level designs when moving about the game world, with the open-world game using strategic storage and memory techniques to load the game world in a dynamic and seamless manner. Open-world games still enforce many restrictions in the game environment, either because of absolute technical limitations or in-game limitations imposed by a game's linearity.[4]


An open world is a level or game designed as nonlinear, open areas with many ways to reach an objective.[6] Some games are designed with both traditional and open-world levels.[7] An open world facilitates greater exploration than a series of smaller levels,[4] or a level with more linear challenges.[8] Reviewers have judged the quality of an open world based on whether there are interesting ways for the player to interact with the broader level when they ignore their main objective.[8] Some games actually use real settings to model an open world, such as New York City.[9]


A major design challenge is to balance the freedom of an open world with the structure of a dramatic storyline.[10] Since players may perform actions that the game designer did not expect,[11] the game's writers must find creative ways to impose a storyline on the player without interfering with their freedom.[12] As such, games with open worlds will sometimes break the game's story into a series of missions, or have a much simpler storyline altogether.[13] Other games instead offer side-missions to the player that do not disrupt the main storyline. Most open-world games make the character a blank slate that players can project their own thoughts onto, although several games such as Landstalker: The Treasures of King Nole offer more character development and dialogue.[4] Writing in 2005, David Braben described the narrative structure of current video games as "little different to the stories of those Harold Lloyd films of the 1920s", and considered genuinely open-ended stories to be the "Holy Grail we are looking for in fifth generation gaming".[14] Gameplay designer Manveer Heir, who worked on Mass Effect 3 and Mass Effect Andromeda for Electronic Arts, said that there are difficulties in the design of an open-world game since it is difficult to predict how players will approach solving gameplay challenges offered by a design, in contrast to a linear progression, and needs to be a factor in the game's development from its onset. Heir opined that some of the critical failings of Andromeda were due to the open world being added late in development.[15] 041b061a72


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