Alternate versions of Heart of Ice

This post isn't really an April Fool, but it tickled me. Somebody told me they'd asked ChatGPT what The Warlock of Firetop Mountain might have been like if Oliver Johnson and I had written it. I could tell it that for starters the book wouldn't have sold a tenth as many copies, but it concentrated instead on the stylistic aspects:

"If The Warlock of Firetop Mountain had been written by Dave Morris and Oliver Johnson, it would likely have taken on a more complex, story-driven, and atmospheric quality, with a richer interplay between narrative and character choice. The book would be darker, more sophisticated, and immersive, with a layered story and morally complex characters that invite readers to question the nature of heroism, villainy, and fate. It would keep readers enthralled not just with the challenge of surviving the mountain but with the depth of the world and characters they encounter."

First thought: spare my blushes. But maybe ChatGPT always finds the upside in any comparison? I tried asking it what Heart of Ice would have been like if written by the éminences grises of UK gamebooks. Its reply:

If Heart of Ice had been written by Ian Livingstone and Steve Jackson, it would likely have had a distinctly different tone, structure, and gameplay focus. Here’s how:

1. Emphasis on Combat and Skill Tests

Livingstone and Jackson’s style, particularly in the Fighting Fantasy series, leans heavily on combat encounters and skill tests. Instead of the intricate social interactions and strategic planning that Heart of Ice focuses on, there would likely be more dice-based combat and stat checks woven throughout. Encounters with mutants or dangerous factions might involve straightforward fights rather than diplomatic or strategic solutions.

2. Simplified Storyline and Character Interactions

Heart of Ice is known for its branching paths, character-driven plot, and complex narrative. If Livingstone and Jackson had written it, the story might be more linear and driven by clear objectives rather than complex interpersonal choices. NPCs would be more likely to serve as allies or adversaries without much emotional depth, focusing on the immediate stakes rather than broader story themes.

3. Collectible Inventory and Traps

Livingstone and Jackson often include item collection as a key part of their gameplay, with a particular focus on specific items needed to progress through the story or defeat major challenges. If they had written Heart of Ice, players would probably need to collect certain artifacts to reach critical locations like the chamber of the Heart, and there might be more hidden traps and hazards along the way, requiring particular items or choices to avoid disaster.

4. Greater Focus on Luck-Based Outcomes

Jackson and Livingstone's works often incorporate luck as a major mechanic, where random rolls can dramatically impact outcomes. Instead of just weighing the risks and rewards in Heart of Ice, players might face outcomes that hinge on a luck stat or a random roll, affecting their survival or success.

5. Increased Use of Instant Failures and Dead-Ends

Heart of Ice has a reputation for being fair in its approach to player agency and choices, allowing for a range of ways to succeed. In contrast, Livingstone and Jackson might introduce sudden death options more often, which could increase the difficulty and frustration. This could potentially make Heart of Ice a more challenging but also more punishing journey.

6. A Clear-Cut "Big Bad"

While Heart of Ice presents a nuanced story where antagonism isn’t always black-and-white, a version by Livingstone and Jackson might feature a single, clearly defined “villain” character. This villain would be more traditional, with the player's final objective involving a climactic showdown or battle, in line with the classic fantasy narratives they’re known for.

So, the gamebook might end up as a harsher, combat-heavy adventure with a strong, linear quest through a dangerous landscape rather than the layered and atmospheric narrative exploration Dave Morris crafted.

I haven't read enough Fighting Fantasy books to know how accurate that is, but it sounds pretty impressive. I couldn't resist asking it about other gamebook authors' possible take on the book:

“A Joe Dever version of Heart of Ice would likely be an immersive, heroic journey with a noble character, structured progression, and clear moral and strategic choices—capturing both the danger and the higher purpose of the quest in a more heroic fantasy style. He’d likely weave in a sense of duty, encouraging players to act for a greater good rather than personal gain.”

“In Jonathan Green’s hands, Heart of Ice would become a grimdark, horror-fantasy adventure, filled with visceral details, deadly encounters, and moral ambiguity. Green favours action-packed scenes and deadly encounters, so his version of Heart of Ice would feature frequent, high-stakes battles and physical challenges. It might involve collecting key items to reach the Heart or unlock special advantages. He’d likely add a layer of treasure-hunting, where players need to acquire specific artifacts or resources scattered throughout the wasteland to succeed. He loves a grand finale, so his version would likely end with an epic, high-stakes confrontation at the Heart.”

“Martin Noutch’s version would be a complex, playful, and layered adventure, balancing whimsy with emotional gravity. It would be a unique experience, inviting readers to engage with the story on multiple levels, both as an adventure and as a philosophical exploration of resilience, identity, and purpose in a world gone cold. He might include interactive features like tracking character traits, shifting perspectives, or even a system for moral ‘weight’ that changes based on choices. Noutch would probably play with the medium, encouraging readers to see the book as more than a story—perhaps introducing puzzles or mechanics that reflect the icy world’s desolation and the player’s perseverance.”

“If Paul Mason & Steve Williams had taken on Heart of Ice, the gamebook would be a surreal, philosophical journey, focused on introspection, symbolic encounters, and moral ambiguity. Rather than a straightforward adventure, it would feel like a dream-like, psychological exploration, where the destination matters far less than the journey itself. Their works often explore identity and transformation, so players might undergo changes based on their choices, affecting their skills, personality, or even memories. The players might evolve, not just in ability but in character, with each decision subtly reshaping the protagonist’s sense of self and purpose. The character’s motivations for seeking the Heart might also shift over time, depending on the journey's transformative impact. Instead of a straightforward victory or defeat, the journey might conclude with an open-ended, introspective finale, leaving players to interpret what they’ve achieved or lost. The Heart could be something far more abstract—maybe a philosophical revelation or an understanding about the nature of humanity and survival. The ending might reflect the choices made throughout, leaving players with questions rather than answers.”

“Jamie Thomson & Mark Smith are known for their sometimes irreverent style. Heart of Ice under their pen would probably include more dark humour and satirical elements, especially in character dialogue and descriptions of the setting. It might lean into the grim aspects of the post-apocalyptic world with a slightly tongue-in-cheek twist, letting players confront both the desolation and absurdity of humanity’s downfall.”

There are many other talented gamebook writers, of course, but let's keep this under two thousand words if we can. Also, many of the above examples make some kind of sense as Jamie, Mark, Oliver and Paul were all players in the Tekumel campaign that inspired Heart of Ice.

Finally, as a tonic against mortal hubris, I asked ChatGPT how it would improve on my original book:

To enhance Heart of Ice by Dave Morris, we could build on its strengths—the compelling world-building, intense survival themes, and open-ended structure—while adding new dimensions to enrich the experience. Here are some ideas:

1. Enhance World Interactivity and Dynamic Environment

Expanding the world’s responsiveness to player choices would amplify the sense of a living, evolving environment. For example, the harsh ice-covered world could react to the player’s presence in ways that change terrain, reveal hidden paths, or shift alliances among factions. This could make survival not only about enduring the environment but also influencing and adapting it.

2. Expand Character Development and Relationships

Adding a system where the protagonist's choices influence traits or relationships could deepen player immersion. Perhaps the player could develop unique bonds with NPCs, leading to varied endings or special advantages based on trust, alliances, or rivalries. This would make each choice carry more emotional weight, emphasizing both the loneliness and connection found in such an isolated world.

3. More Nuanced Morality and Consequences

The original story features morally ambiguous choices, but expanding these even further could add complexity to the player's journey. Introducing choices with delayed consequences that unfold in unexpected ways would heighten the stakes and allow the player to see the broader impact of their actions—either in aiding certain factions, using resources, or making ethical compromises.

4. Introduce Mysteries with Long-Term Payoffs

Building in hidden mysteries that only reveal themselves through multiple playthroughs could enrich the lore and encourage exploration. For example, obscure clues found throughout the icy wasteland might hint at ancient technologies, or the true nature of the Heart of Volent might only become clear through carefully pieced-together discoveries. Each run could reveal new layers of history or insight.

5. Expand Mechanics for Resource Management and Survival

Given the harsh, resource-scarce setting, adding more nuanced survival mechanics could make the journey more immersive. Players might have to carefully ration food, water, and warmth or deal with shifting weather conditions, making travel more strategic and emphasizing the environmental dangers of this world.

6. Player-Driven Goals Beyond the City of Du-En

Expanding the story’s focus beyond reaching the Heart itself would add depth, especially if there are varied side quests or goals tied to the protagonist’s backstory. For instance, players might choose to pursue knowledge about the world’s origins, help rebuild a faction’s community, or take on a personal mission with high stakes. These could offer alternative endings based on different player-defined motivations.

7. Deeper NPC Lore and Factional Storylines

The factions and characters in Heart of Ice are intriguing, but expanding on them could add richness. Each faction could have its own lore, unique goals, and internal conflicts that unfold through interactions. Aligning with different groups might lead to varied story paths, and the protagonist could gain insights into the world’s history, politics, and culture.

8. Philosophical or Reflective Elements Linked to the Protagonist’s Journey

Introducing elements that invite the protagonist to reflect on their motivations could add a layer of introspection. Perhaps they occasionally encounter sites of historical significance that reveal more about the decline of civilization, prompting players to consider their role in this world’s legacy. These scenes could add depth and give a more philosophical tone to the player’s mission.

9. Expanded Narrative Endings with Layered Themes

Adding more varied, layered endings based on how the player has changed or impacted the world would reward exploration and role-playing. Endings could reflect the protagonist’s growth, alliances, and decisions, offering insights into what their journey ultimately means in the grander context of the icy wasteland.

With these improvements, Heart of Ice could evolve into a multi-dimensional experience that emphasizes survival, moral complexity, and a sense of both personal and environmental impact—deepening the world and the player’s journey through it.

Good points, but I'm not sure if I could have packed all that into 454 sections -- or 455 if you're going by the revised Kindle version. Thirty years ago even delivering a gamebook as long as Heart of Ice (which is about 70,000 words) was tricky to sell to a book publisher. If I were doing it today I'd love to go up to 120,000 words (like Can You Brexit?) or even 220,000 words (as in Workshop of the Gods) which would allow me to indulge all the backstories of the other characters and to put more detail into settings which in the 1993 edition I could only describe with broad strokes. With Russ Nicholson I planned a 2000AD-style comic story (called "Don't You Just Hate It When That Happens", if you really want to know) expanding on Chaim Golgoth's history with Harek Asfar, which was touched on in the book in just a few lines:

We'd have liked to do a comic for each of the main characters but abandoned the idea because there was nowhere in the UK to publish them. And maybe it's just as well. Economy in writing can be an asset even when it's forced on you by the publisher. Maybe Heart of Ice if twice as long, or bulked out with standalone comics, would just feel self-indulgent.

I do occasionally get an urge to return to Heart of Ice's roots and write the roleplaying mini-campaign. I'd probably use GURPS 4e for that, which might put a lot of people off but it's really the best fit. I certainly wouldn't make it any less bleak. Modern readers sometimes grumble about that, but imagine Brazil or Excalibur or Sunset Boulevard, say, with a happy ending. Ugh.

What I'd really like, given a ring of three wishes or a lottery win, would be to adapt it into a CRPG or a TV show. And if I ever should get to do that, I'm planning to enlist ChatGPT (or maybe Claude, or Perplexity, or DeepSeek, or all four) as a writing partner.

Dive into the Dune Sea

Fans of fantasy gamebooks will certainly have encountered Destiny Quest, Michael J Ward's epic adventure series. The latest instalment, The Raiders of Dune Sea, is currently on Kickstarter until February 11. See if this teaser whets your appetite:

"A lost race returns from the shrouds of time, armed with the powerful magics of Ragnarok to unleash their bitter vengeance on an unsuspecting world. The shifting sands of the southern desert will run red with blood as the robbers and pirate captains of the Dune Sea are dragged into a deadly war – one which could unravel time and change the destiny of all."

I don't normally get behind Kickstarters - well, not successful ones anyway. But I'm intrigued by the new character profession of aeronaut, having always liked the idea of piloting an airship of my own, as you'll have realized if you found the manta car in Heart of Ice. Blame Edgar Rice Burroughs and Mike Moorcock for that. And, all unbidden, Paul Gresty included some airship travel in The Serpent King's Domain, so don't miss that when it comes out in a week or so, will ya? Still, not to get sidetracked... the Fabled Lands team bearded Michael Ward in his lair and asked him about the new book (or maybe two books -- see below) in this exciting series.

"Michael, can you start by telling us a bit about what makes Destiny Quest unique?"

Like traditional gamebooks, you play the main protagonist and make decisions for that character throughout the story. However, in Destiny Quest, the choices you make also extend to the items and abilities that you choose for your hero. It has the familiarity of a typical gamebook but with the depth of a more involved role-playing adventure.

The Destiny Quest system takes its main inspiration from modern online RPGs (such as World of Warcraft) and hack-and-slash action games (like the Diablo series). In each book, you engage in multiple strategic battles, using your varied abilities to help counter those of your opponent. If you are successful in combat, then you get to choose from a selection of rewards (loot drop, yay!). These rewards will typically come in the shape of armour, weapons and trinkets, all of which can be ‘equipped’ onto your hero to boost their attributes and give them new abilities.

Each book has hundreds of unique items and abilities to discover, giving readers a huge amount of choice when it comes to outfitting and customizing their hero.

"How about other things that distinguish the series? Can you share your creative 'mission statement' for these books?"

As I’ve already touched on, I wanted this series to have a ‘videogame’ feel, with more strategic combat and a heavy emphasis on customization. In addition to that, there is also the quest map system, which again harkens back to open world CRPGs such as World of Warcraft.

Readers use the maps in each book to select their quests (which are colour-coded for difficulty). There are also other locations you can visit, such as towns and cities, and legendary monster encounters – which are tougher opponents you can take on for extra special rewards.

There is also a career system, based on the three paths that you can choose for your hero – warrior, mage or rogue. By discovering career trainers or unlocking careers through special achievements, players can further customize their hero by specializing them in certain professions. As a rogue for example, you could become an assassin or a witchfinder – and each career has its own inherent special abilities which may influence the way you play and the items you choose to equip.

"Players take a new character in each book. Does that mean their former characters are done with, or might he/she return in later books?"

Each book has its own unique hero and story to tell, so they are essentially standalone adventures - so there is nothing stopping anyone jumping into the series at any point. However, when read together in sequence, they do tell a grand over-arching story with returning themes and characters. And yes, you might even encounter your hero from a previous adventure in a later book, but as an NPC who you will be interacting with.

In Book Two, there are also team battles, where you can team up with a hero from another book (either your own or perhaps even a friend’s creation) to battle a super tough boss monster!

"We've often heard DQ likened to Warcraft or Diablo. To what extent have videogames influenced your design decisions, compared to say tabletop roleplaying?"

Destiny Quest was very much born out of my obsession with World of Warcraft (and games of a similar ilk). I became so addicted to the latter that I was playing nearly fifty hours a week and it was starting to consume my life. I don’t regret a minute of it, but sinking all those hours into that experience made me wonder why no-one had really tried to capture that in a book format (admittedly, I wasn’t aware of the Fabled Lands series at the time!). So that’s why I sat down and planned how I was going to approach that type of experience – and the gamebook format was the obvious choice.

Of course, I’m a huge gamer and enjoy all types of gaming experiences, from CCGs to tabletop dungeon crawls. I love exploring different game mechanics and am constantly soaking up ideas and systems that I can tweak and incorporate into gamebooks. Destiny Quest is very much a melting pot of all my game experiences.

Sadly, I don’t really do any roleplaying nowadays, basically due to time and the difficulty of getting people together for that kind of sustained play – but I do remember my AD&D days fondly, and have spent far too much time than is sensible watching Pathfinder sessions and other RPG games being played on YouTube. Again, all fuel for the creative fire.

"Are there any plans to convert Destiny Quest into a videogame?"

Because Destiny Quest is so hugely influenced by computer RPGs, I feel as though the system would offer the perfect blueprint for a multitude of gaming experiences, from card and board games to a fully-fledged open world Diablo ‘hack-a-thon’. Sadly, I’ve not had any offers yet (!) but it’s certainly something I would be immensely passionate in supporting and contributing to.

"How do you map out the books? Do you do a full flowchart first or plan in sections as you go?"

Everything starts with the story, which may sound obvious – but worth stressing I think. Knowing where you want your story to go and the various key stages/moments of that journey, will make everything else a lot easier. Then I usually focus on the maps and the type of environment that will feature in each act of the story. From there, I work on each quest one by one – then add the choices into my master document once each one is complete.

I do create a rough flowchart as I plan up each quest, which helps with keeping me on course – but I rarely stick to it, and often drift off into a multitude of decision trees. I think you have to work quite organically and adapt, as you can never second-guess where your narrative can take you. But having that original road map to come back to is always useful, otherwise you can go overboard and suddenly your 5000 word quest just became a 20,000 word behemoth.

“What sort of work goes into balancing the game system? How do you balance the dozens of special abilities a player might use? (As well as the various possible player builds that emphasise, say, durability rather than speed?)"

A huge amount of work goes into the playtesting – almost as much as writing the book. During the actual writing of each story, I add in items, abilities and monster stats but there is a lot of guess work involved. It isn’t until the writing is done and I am happy with the text, that I actually sit down with a bunch of dice and get stuck into the game.

Some people are surprised when they discover I have no elaborate algorithms or programs that test the combats or streamline the itemization. I literally play through the book as a reader would – and simply do that again and again and again. It can drive you slightly mad, I won’t deny it, and there are frequent times when you just want to throw the manuscript out of the window! But there is also a huge amount of satisfaction in getting it right, when things click into place and everything becomes polished.

I’ve always preferred not to give out my book to others to test (well, I did have a friend briefly test some sections of Legion back in the day) as it would just become too difficult to manage all the feedback and opinions. I feel, with three books under my belt now, that I have a pretty good handle on what works and what doesn’t, and a sense of the right level of difficulty to ensure the adventure is challenging but fun.

"A purely creative/writing type question. What are the main inspirations for your fantasy world?"

I’ve always been fascinated with history. I did two history A-levels (the equivalent of high school diplomas for those in the US) and a history Bachelor’s Degree, so I’ve had a varied experience of different time periods. Also my day job, when I’m not creating gamebooks, is writing educational materials for schools and I was quite heavily involved in designing creative lesson plans linked to the recent National Curriculum changes – most of which were history focused.

So, I think when designing worlds and telling stories, I always try and draw from the events, people and cultures that I have learned about. Perhaps less so with Legion of Shadow, which I’ll admit was quite a generic take on fantasy (owing to a lot of pressure to give the book as much mass/age appeal as possible), but later books have delved much deeper into themes such as religion, segregation, war, politics and so on. 

“On the theme of creative inspiration, what made you decide to base the new book in a desert environment – the Dune Sea?”

I’ve wanted to tell a story in a desert setting for some time. As previously mentioned, I have always loved history, and at one point in my life I was even considering becoming an Egyptologist – so I’ve always wanted to draw on my love of Egyptian culture and mythology at some point. Who wouldn’t want to imagine being Howard Carter or Indiana Jones, discovering a lost tomb or delving into a mysterious pyramid!

Interestingly, one of my biggest influences for the new book was the sci-fi film Hardware (1990, Palace Pictures). [Based on "Shok!" by Steve MacManus and Kevin O'Neill -DM.] For me, back in the day, it was a truly ground-breaking movie, which took a refreshing art-house style approach to the genre – and had a huge impact on me creatively (when I was considering a career in screenwriting and direction). I will never forget its evocative opening sequence of a Mad Max style scavenger trudging through an apocalyptic desert, a lone figure swept up in the crimson haze of a sandstorm. The character, known as the nomad, ends up discovering a piece of military hardware – the head of a robot, which he takes back to a ragtag settlement which passes for civilization in this post-war environment.

Amusingly, I actually misheard the line of dialogue in the ensuing scene when the desert nomad is asked where he found the parts. To me, he always sounded as though he was saying ‘Dune Sea’ but later, when I discovered a copy of the screenplay, he is apparently saying ‘Judas Sea’, which would tie in with the religious iconography and themes of the film. Nevertheless, in my ignorance, I was like ‘wow, Dune Sea… that’s cool’ – and always wanted to somehow incorporate that concept into a story.
 

"Previous DQ books have been notable for their dramatic, high-quality artwork. How closely do you get involved with that side of production?"

The stunning cover for Book Four [see above -DM] was created by a good friend of mine, Paul Cheshire, who did much of the artwork that you will see on the Destiny Quest website.

"When does the Kickstarter campaign run until?"

The Kickstarter is running until 11 February. I’ve been completely blown away by amazing support – a huge thank you to all those who have already pledged. We managed to reach our funding goal within just a few days – but now it’s all about the stretch goals and unlocking extra goodies, so if you are still on the fence, then now might be the time to take the plunge!

"There's always somebody who'll say they're interested a week after the campaign closes. For those who miss it, will the book be available on Amazon?"

First off, I wouldn’t be surprised if there is a late pledge option, so that those who missed the Kickstarter can still pledge for a book. Going forward, the book will be primarily available from the Megara Entertainment website (in both softcover and hardcover format). I also plan to sell some copies myself – perhaps through Amazon UK and/or eBay. Certainly, the book will be in plentiful supply after the Kickstarter so no-one need worry.

“And do you already have plans for Book Five?”

Book Five will actually be the continuation of the story told in this one, so I do have it mapped out in some detail. I ended up splitting the story across two books because I was simply running out of space and wordage to do the story justice.

That being said, I’m not sure when I will get around to starting Book Five. These books take a huge amount of time to write – and it’s difficult to fit other work around them, so inevitably I take a bit of a financial hit during the months when I am focused on DQ. So with Book Four near to completion, it will be back to the day job to hopefully swell the coffers again, so I can afford to write the next one. If only I could win the lottery or discover a rich gamebook benefactor.

“And if you could pitch Destiny Quest in one sentence?”

An epic open world videogame in a book – explore, battle and loot your way to victory!




And that Kickstarter link again. But don't drag your feet -- there's just one more week to go.