I don't know whether it will be possible to buy a copy if you weren't one of the original backers, though I'm hoping so because I want to finally read it! If and when I find out more I'll post it here.
While we're all waiting, there's always the five Blood Sword gamebooks and the tactical maps book to while away the time.
Now all we need is The Cursed King to be released and it'll be a veritable autumn windfall for Legend gamers.
Worldbuilding matters if you're creating any sort of ongoing series, but especially if it's fantasy or SF. Think of the problems that have bedevilled writers of Doctor Who or Star Trek when they try to remember what's been established in the show's canon. Or even if you're just writing a novel and you introduced a minor character a dozen chapters back and now you have to go searching for what you said about them.
Thankfully it's not as hard as it used to be in the days of typewriters or even fountain pens -- I still have no idea how Anthony Trollope kept track of everything that was going on in the Barchester books while also holding down an important job in the UK postal service. But now we're on the cusp of AI making it much easier. Google's NotebookLM takes your books and can generate a timeline, story outline, FAQs, contents list, and can answer questions about the text with references so you can find the relevant section.
Here's what it had to say about my book Heart of Ice:
Power Corrupts in a Frozen World
Players choose a character with unique skills and navigate through a perilous post-apocalyptic world. The story centres on the search for the Heart of Volent, a powerful artefact believed to hold the key to ultimate power. Players must make choices and engage in combat with other characters and dangerous creatures, navigating through a frozen wasteland to reach a ruined city full of buried secrets. The game's mechanics are detailed, including skills, weapons, and items, allowing for a diverse range of play styles. The text provides a narrative experience with specific instructions and outcomes based on player decisions, culminating in a final confrontation for the Heart of Volent.
The narrative of Heart of Ice explores the themes of power, ambition, and the nature of humanity by placing characters with diverse motivations in a race for an artifact of immense power, the Heart of Volent. The story portrays a bleak future where humanity is on the brink of extinction due to a new ice age and the legacy of past conflicts.
The narrative suggests that the pursuit of power can warp even the most well-intentioned individuals, leading them down a path of destruction. This is evident in Baron Siriasis's transformation from a seemingly rational individual to a power-hungry schemer willing to sacrifice the universe for his own rejuvenation and immortality.
The story's focus on a dying Earth further emphasizes the dangers of unchecked ambition. As characters fight for control of the Heart, the fate of humanity hangs in the balance, suggesting that the pursuit of individual power can blind individuals to the collective good.
Finally, the narrative uses the concept of a "heart of ice" to symbolize the ruthlessness and lack of empathy that often accompany the pursuit of power. This recurring motif underscores the story's cautionary message about the potential for power to corrupt even the most humane instincts.
I then asked it a specific question: "Who is the 'gene genie'?" NotebookLM said:
"There is a character named Malengin who is referred to as a 'Gene Genie'. Here's what the text says about him:
What I liked most of all was that NotebookLM can (in mere minutes) generate a podcast-style discussion about the book(s). It's not exactly In Our Time but it's a sign of great things to come. As long as you have a Google account you can listen to the Heart of Ice discussion here.
Achievement unlocked.
It's a great thing to see, but only when it's earned. If the world can be saved just by stumbling through an adventure picking options at random, where's the sense of reward? At the same time, gamebook writers are aware that a lot of readers don't have the patience to go digging after clues. If they don't get a pat on the head every few minutes they'll lose interest. We can't please everyone, so what's the answer?
Every gamebook series has to find its own balance. For example, Vulcanverse:
"No one is holding your hand. There is no main quest at the beginning, and at times you will find yourself wandering around looking for clues, treasures, and quests to accomplish. This can be frustrating, but the rewards are for those who persevere and who keep an eye out for the signs and clues you find. One of the coolest moments in these books is when you discover that a clue you found makes sense and reveals a new adventure or a way to solve a problem."
(Review translated from Spanish.)
In those books your decisions can completely change the world, deciding the fate of empires, permanently altering the landscape and the people in it. As another review (also translated by Google) put it: "You have a lot of adventures ahead of you -- not because Vulcanverse has no end, as in other open-world series, but because the stories follow one another and intertwine seemingly without end."
In a traditional gamebook, challenges must be addressed linearly and each one must be dealt with before you progress to the next. That means the individual challenges can't be too hard, because if the player is stumped it's not as if they can go and tackle another quest while they're thinking about it. In other words, challenges can't involve the player thinking, "OK I don't have what I need for this right now, but if I come back with item X and clue Y maybe I can do it." There's the strength of open-world gamebooks right there.
When the rewards have to do with saving an entire civilization, the effort on the part of the player has to be such that it feels earned. That's why Vulcanverse isn't the kind of loosely open-world game in which you can drift around with one eye on something else and still expect to pile up heaps of treasure and accomplishments. To save a universe you have to be prepared to work at it. One reviewer remarked on how he'd been playing for hours, getting a whole bunch of things set up in The Hammer of the Sun, and finally he was able to carry out a ritual that completely changed the whole realm of Notus, unlocking lots of new quests. That cascade of new opportunities, he said, was an achievement worth waiting for.
I was reminded of all this when talking to an old friend about Gunslinger, a tactical RPG-ish boardgame by Richard Hamblen that we used to play a lot back in the 1980s. The best way I can describe it is to say the game would reliably throw up moments as vivid and dramatic as this:
"Remember what incredible stories we'd have to tell after a Gunslinger game," I said. "Why don't we still play that?" My friend shrugged. "Because each game lasted a couple of hours, and nobody has the patience these days for anything that takes longer than Exploding Kittens."
(I can't argue with that, as these days I'd be much more likely to spend a couple of hours playing Fights in Tight Spaces, which has a lot in common with the tactical gameplay of Gunslinger but with much less set-up time and snazzy animations too.)
Quick and simple play for spoon-fed rewards? Or mighty triumphs that you have to work at achieving? There's no right answer to this question. Vulcanverse's hard-won victories are certainly not to everyone's taste, but if there's any gamebook approach that caters to everyone's taste then believe me I'll write it.
French-speaking readers may want to pick up a copy of Le Marteau et l’Enclume issue #12, which is devoted to the launch in France of Forge Divine, the French name for Vulcanverse. Candidly I sometimes wish we'd called it something like that in English too, as the implied connection with the online crypto-based game has probably done little but confuse potential players of the gamebooks. So just for the record, you don't need to know anything about the online game to play the gamebooks -- and vice versa.
Scared yet? If you'd rather retreat from the real world into adventures with entirely imaginary bugbears, here's your reminder that Can You Escape The Vampire's Lair? is still on sale at the special Halloween price of £7.99.
Tomorrow we'll shoot forward to the end of the 23rd century. Come to think of it, I might stay there for the next four years.
Forty years ago I wrote my first gamebook. I was a roleplayer and board gamer. I’d played the Fantasy Trip solo adventures, and even wrote a short solo dungeon for my friend Steve Foster (designer of Mortal Combat) when he had to spend a week in hospital, but I’d hardly noticed the growing kids’ gamebook craze until Ian Livingstone asked me to write a serialized solo adventure for White Dwarf. That was The Castle of Lost Souls.
It wasn’t long before almost everyone I knew was signing up to write a gamebook series. Joe Dever and Gary Chalk left Games Workshop to do Lone Wolf. Jamie Thomson too, teaming up with Mark Smith (who was another stalwart of our Tekumel campaign) to create Way of the Tiger and Falcon. You can see why Ian Livingstone and Steve Jackson (UK) might have felt a bit miffed. They’d started a trend and now half their workforce was deserting the ship to jump on the bandwagon – if that isn’t mixing metaphors.
I used to freelance for White Dwarf a lot in those days, but once Jamie quit the editorial chair I didn’t have as much reason to show up at the office. Then Steve Jackson asked me to come in to talk about a series of gamebooks that he wanted to publish. He and Ian were committed to doing more Fighting Fantasy for Puffin Books, so these would be Games Workshop’s own series.
Steve was always coming up with fascinating game mechanics. He told me about a little tactical combat system he’d thought of when stuck in a motel in the middle of America. You had a tactical diagram that showed which actions were permitted in a combat round. So from EVADE you could move to DEFEND, REST or NORMAL ATTACK. From DEFEND you could only move to EVADE or NORMAL ATTACK, and so on.
When the player’s action was compared with the opponent’s, that gave the number of hit points each combatant lost. ‘Do you think you could use this for a gamebook?’ Steve wondered.
I went away and did a little work on it. I can’t remember how I handled the NPC adversaries, but this was a 1980s gamebook so there wasn’t going to be any AI. Probably the NPCs just acted randomly each round, and that was cross-referenced with the player’s action to give the outcome for that round. That would eat up a lot of paragraphs if every encounter had its own set of action entries, so I imagine I had a few dozen entries for each of several types of monster. They could be customized by SPECIAL ATTACKS, which would vary depending on the monster.
‘Looks good,’ reckoned Steve, ‘but I’d like to see a sample. Fifty or sixty sections, say.’
I went home, sat down at my Olympia Traveller typewriter, and began: ‘Dusk in Wistren Wood…’ and launched into a solo adventure in a vampire’s mansion. When I showed it to Steve he liked it and proposed a contract for Vampire Crypt, as it was then called. When the contract came it had a clause preventing me from writing gamebooks for any other publishers. I’m glad I never signed it, as if I had then my writing career would have been over before it began. (You may have noticed that Games Workshop never did get around to publishing their own gamebook series.)
Still, I was left with the beginning of a gamebook. When I signed with Grafton Books a few months later to do the Golden Dragon series, those fifty sample sections let me get a head start on the tight deadlines. Of course I couldn’t use Steve Jackson’s clever rule system, but Golden Dragon needed something a lot simpler anyhow. And thus Crypt of the Vampire was born – or spawned, or sired, or whatever the appropriate term is for vamps.
(Yes, these are the original maps and notes. I'm that much of a hoarder.)
And here we are at the 40th anniversary. To mark it I dug out a reboot of the book that I wrote for Amazon a couple of years ago. They wanted apps for Alexa (for some reason they call them skills) so I turned Crypt of the Vampire into The Vampire’s Lair, a consciously old-school adventure in audio form. Rather than retain the dungeon fantasy flavour of the original, though, I leaned into the influences of those Universal and Hammer monster movies I loved as a kid, when horror was delicious shuddersome fun and before it became synonymous with serial killers, torture porn and (yawn) demonic possession.
The text I wrote for that is now on sale for Halloween in a slim paperback with Leo Hartas’s original illustrations reworked in full colour. (My generous Patreon backers get to read it for free -- just sayin'.) It was Leo’s first book too. I’d seen his portfolio when he came into the White Dwarf offices one day, and when my editor at Grafton, Angela Sheehan, asked me if there were any artists I wanted for the series Leo's name sprang to mind. And because of that I began a close and dear friendship, a friendship which also now forty years old. If it were a marriage that means Leo and I would be celebrating our ruby anniversary – a very suitable hue given the blood-sucking tastes of the sinister count.
"A dangerous ambition more often lurks behind the specious mask of zeal for the rights of the people than under the forbidden appearance of zeal for the firmness and efficiency of government. History will teach us that the former has been found a much more certain road to the introduction of despotism than the latter, and that of those men who have overturned the liberties of republics, the greatest number have begun their career by paying an obsequious court to the people; commencing demagogues, and ending tyrants."
- Alexander Hamilton, The Federalist Papers #1.
Anyway, America, good luck; the world holds its breath for your decision next week. If you need some inspirational reading here are five novels that are no doubt far better than anything I'd have written. And here's some equally disturbing fiction about another possible future.
(Image by Diliff under CC BY-SA 3.0 licence.)
With the nights drawing in and Halloween approaching, it's time to think about reading matter for that snug little nook by the pub fireside. You're going to want a bit of fantasy, a bit of whimsy, some dry humour to wash down with a good pint, and just the occasional gust of spooky chill to make you appreciate the warmth indoors.
One of my favourites of my own books is A Minotaur at the Savoy. If that cuts no ice, let me just add that it's one of Jamie's favourites too, and he (along with Freya Hartas) won the Roald Dahl humour prize. You get fifty vignettes in the urbane fantasy genre in the form of correspondence to the Royal Mythological Society in the year 1901 -- when, as the cognoscenti know, a green comet stirred everything up by dissolving the boundary between the real and the imaginary. And that's no bull.
Previously documented incidents from the Year of Wonders include:
