I thought I’d take a post to highlight how we’re getting to Orr! Charr zeppelins! I’m using this to highlight a number of design aesthetics that the charr tend to rely upon when building things. So this is something of a lore piece.
Charr design tends to be bulbous, often rounded in nature. I imagine this is because when they began metalworking, they cast their metals via bronzed devourer husks (and we know those things can get really big), so that stuck with them, and they don’t cast as we do. Due to this link with insects (devourers), the look of charr construction is also slightly insectoid.
It has a chitinous look to it, often constructed of interlinked plates, and with spikes added on because the charr love their spiky things. Grills and exhaust pipes are also prominent feature due to how many of the charr clockpunk contraptions are actually powered by steam, and steam needs to be permitted to escape. So we can see from those pictures that the propulsion system of that airship is indeed powered by steam.
And the charr use metals wherever they can as opposed to other materials. Even going so far as to prefer the use of light but strong metallic chains to do a job where we’d normally use ropes. And there are many chains present on that airship. These are all hallmarks of charr design, and the only other trademark of note is that the charr like circular, spinning elements to their designs, gears and elements similar to them.
If you look around the Black Citadel and at many charr inventions, they all share elements of what I’ve described above, it’s all down to how the charr methods of both aesthetics and construction work. Often, a design will be pragmatic first, only prettied up if that can be done in ways that don’t affect the underlying functionality of the device. (But the charr do have their own distinctive take on cultural art, such as their utilisation of purposeless gears. But they fetishise the gear as symboogy of their advancement and power. I can’t blame them, though. Gears are cool.)
This is just to highlight how charr production has evolved both aesthetically and functionally, and how it’s different to what we would consider a standard. Human construction tends to be cuboid by its nature unless we need to make something that isn’t. Charr design tends to be much more organic in appearance.
In light of the above, the various things we see in the Cathedral of Flames dungeon in GW:EOTN take on a whole new aspect. Even though the complex had been taken over by the Flame Legion’s Shamans, it’s pretty obvious that it was previously a combination of mine and factory. Levels 1 and 2 in particular are filled with mining and metalworking equipment, including what looks very much like a smelter or one of those things you see in steel mills (Bessemer something?) I suspect the place originally belonged to the Iron Legion, and that Pyre arranged for it to be returned to its rightful owners after the northern provinces (Grothmar, Dalada and Sacnoth) were liberated.
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