Science fantasy gets a makeover

It was Empire of the Petal Throne, not D&D, that hooked me on roleplaying, and the reason for that is I was into sword-&-sorcery and science fantasy rather than the Tolkienesque strain of epic fantasy that caught on through the late 20th century. You know how a duckling follows the first thing it sees when it hatches? Ten-year-old me discovered fantasy through Mike Moorcock’s Mars books and A Planet Called Krishna by L Sprague de Camp. There was no looking back – or forward – from that point on.

Genre is slippery, so bear with me, but technically those books belong to what is now defined as sword-&-planet or planetary romance:

‘Planetary romance is a sub-genre of science fiction that has a close relationship with fantasy in the sense that the cultures that are described are very frequently pre-industrial. The pseudo-medieval warfare with bows and arrows and swords is frequently reminiscent of medievalist fantasy, but this is also a space in which some writers explored American notions of the primitive, mapping the mythology of the American West on to the plains of another planet.’

- Farah Mendlesohn & Edward James, A Short History of Fantasy

Usually spacefaring humans arrive – or better still, get stranded – on a planet at an ancient or medieval level of technology. Sometimes, as in Vance’s Planet of Adventure series, the indigenous civilization has technology of its own. Then it can shade off into Flash Gordon territory, if the natives fully understand their advanced devices, or Tekumel, where the remnants of ancient technology are rare and thought of as magic.

Outliers here (I can’t resist a digression) include Arthur Landis’s Camelot novels, which I basically agented to Don Wollheim back in the early ‘70s. That has some tropes you’ll see recurring: human operative dropped into a more primitive world with just a few bits of kit to give him some magic powers. Swords, princesses, mystic powers, and high adventure – the familiar ingredients of Star Wars, but drip-fed rather than delivered by fire hose.

I call it science fantasy because I don’t seem any intrinsic difference between those planetary stories and, say, Lin Carter’s Thongor books, which are set on a lost continent in Earth’s distant past but still have all the familiar elements. Likewise our own Abraxas setting.

As science fantasy stories are set in ‘exotic’ civilizations, there’s usually a lot of world-building. That could explain why science fantasy has been largely superseded by the Tolkien/Game of Thrones/Witcher variety, in which the settings are more-or-less identikit medieval Europe. We in the West seem to be less enamoured of other cultures than we used to be. In the last century, exotic customs were occasion for surprise and delight. We found them intriguing, and the more troubling elements like suttee looked like they’d been safely banished by modern secularism. Nowadays the news tends to focus on the less quaint features of other cultures: morality patrols, girls being denied education, ancient artworks being blown up, the demonization of gays and albinos, gang-rape of low-caste women, 'honor' killings, and mobs murdering people of other religions. Is it a coincidence that many Westerners have retreated into a genre of fantasy that depicts a cosy cosplay version of their own past? A kind of fantasy where bad things are only done by bad people, so as not to have to face the different and disturbing ways that a whole society can behave? Of course, actual medieval Europe wasn’t a bit like the Middle Ages of most fantasy literature and games, but the difference is it is comfortably dead and gone so fiction can feed us the denatured version.

I’m only speculating as to the causes, but certainly there’s little interest these days in all the cultural minutiae we were presented with in games like Empire of the Petal Throne. In most Tekumel games these days, the participants no longer bother to try roleplaying Tsolyani. What grabs them is all the science fantasy stuff. They want to stand apart, to be the clued-up modern folk luxuriating in a sense of superiority over all those 'primitive' NPCs.

If you've hung around here long enough you'll know that the rich diversity of human culture is precisely what I personally find enthralling; and when it comes to fiction, the more different from modern Western democracy the better. But I've also noticed that the books, movies and games I like are not usually the million-sellers. In this post I'm trying to figure out the kind of makeover science fantasy needs to avoid bombing like John Carter. What does it take to turn it into the opposite of the kind of niche culture-gaming that can barely muster a cult following? It seems that if Tekumel were ever to break out of its ever-shrinking ghetto, those Star Wars style mass-market fantasy tropes mentioned above are the strengths it should play to.

What would that look like? Imagine Star Wars several centuries on. A single planet isolated from the rest of the empire or republic or whatever. Science is largely forgotten, apart from a few Christopher Johnson types who everybody else thinks of as wizards. If you find a light sabre it’s like picking up a magic sword. Droids are tantamount to elves, immortal and nonhuman. The Force is – oh well, that’s always been about black and white magic.

So this reboot of Tekumel would take its cue from Star Wars, blurring all the ethnographic particulars and instead foregrounding the elements that are easy for modern audiences to grok:

• Alien powers that have set themselves up as gods
• Remnants of near-magical super-science
• Shapechangers meddling in human affairs
• Secrets of the ancients known only to a few
• Robotic guardians that are dangerous but can be reprogrammed to become servants (Terminator, golems, etc)
• Swordplay and derring-do
• A world in which a few people can make all the difference

Culturally it would retain only the specific Tekumel USPs that might resonate with modern audiences:

• Non-white societies
• Women, gays & trans characters are fully accepted and equal
• Stereotypical nonhumans are there for flavour (the Stepin Fetchits of modern fantasy)

The weird linguistics would need to be downplayed. I've spent four decades listening to D&D players sneering at Tekumel's "unpronounceable names". Gamers can't be bothered to figure out consonants like tl and ts, never mind ng and nd. In any case, most Tekumel players already don't say the name of the planet correctly. It should be TAY-koo-male; they tend to pronounce it TECH-you-mell.

A reboot like this wouldn’t  involve entirely abandoning the more obscure bits of Tekumel culture. They just wouldn't get mentioned. It can be useful for any fantasy setting to have those ‘iceberg details’ supporting it, as long as they don’t get in the way of the 95% of players who want to ignore them. Given easy docking points for new players and a familiar rules system, maybe it could avoid the demise that Steve Foster predicted and prescribed for thirty years ago.

Why I think Tekumel would be worth such a reboot is because it has dwindled to barely a cult interest, and yet it does have those USPs and it’s a truly American sui generis of fantasy, something original in a field where almost everything else is a mutant strain of Lord of the Rings. Also, it has a champion in Steve Jackson, who once offered to publish a set of three GURPS Tekumel books. M A R Barker, who I think everyone agrees had extremely poor judgement, turned that down for a publishing deal with Lou Zocchi to release an RPG that nobody even remembers anymore. Tekumel has become in effect the obscure but authentic R&B that achieved breakthrough success only when diluted and dumbed down to become white rock & roll (think Numenera in this analogy). Maybe there’s a way to give it one last shot, even if that means chucking out most of what diehards like me cherish about it.

A close look at the Vulcanverse books

People have been asking about the Vulcanverse gamebooks (in a few cases even with a slight whiff of dudgeon) so I thought now would be a good time to answer a few FAQs.

Why are you writing these instead of getting on with more Fabled Lands?

The short answer is that the funds are simply not there to pay for everything required to do a Fabled Lands book. Even if we found a few spare months and wrote one, there’s also all the checking (oh, those flowcharts!), editing, and typesetting. And then we have to drum up cash to pay for artwork, a map and a cover.

The difference with Vulcanverse is that it’s funded by a multimillion-dollar company with blockchain transactions constantly pumping cash up its arm. The gamebooks are barely even small change to them, the equivalent of handing out bags with your brand logo on. They can afford to knock out five books – or rather, to finance Fabled Lands Publishing to do the books.

I get why people are disappointed. Obviously I’d rather work on my own thing than on somebody else’s IP, and you usually get a better book when the writer is free to let their imagination fly. But it doesn’t have to be one or the other. Paul Gresty is already working on Fabled Lands book 8. If I don’t find any paid work after finishing my stint on the Vulcanverse books, my first priority is the Jewelspider RPG, but right after that I figure I may as well start writing a new gamebook. That could be the long-planned Shadow King or it could be something else.

I’d need to run a Kickstarter to finance the art and production, and believe me the very thought makes my heart sink. Marketing and all that businessy stuff appeals to me about as much as drain-cleaning. But there’s no other way to raise the funds, so I’m just going to have to bite the bullet. Or do I mean plunger?

There's another lifeline for future Fabled Lands books, which is the CRPG from Prime Games. If that rekindles interest in the books and wins over new fans, completing the series could become a commercially viable proposition. We're hoping...  

Still, aren’t you doing a George R. R. Martin on us?

GRRM is certainly rich enough to just plough on and write all the Song of Ice & Fire books. I assume he takes time out to work on other things because he wants to stay creatively fresh. If he just tore through to the end it wouldn’t be very good. (You’ve seen the TV show? Like that.)

I hate abandoning a project. Backers on Patreon of my Jewelspider RPG have been patiently waiting a whole year for that. Jewelspider is emphatically not abandoned, but it has had to take a back seat to paying gigs. Still, the Patreon is financing artwork and at least when Jewelspider appears it will look all the better for the delay.

More heart-wrenchingly, I was unable to go on with my Mirabilis comic. Art is the killer cost there, and the publishers who were willing to take it on wanted indentured servitude and ownership of the IP forever. Other projects that are patiently waiting for my time: Abraxas and Tetsubo. They sit there half-completed but don't even enjoy the small but dedicated fanbase of Fabled Lands. Like my Brexit gamebook they are things that I'd be devoting my energy to if I could pick and choose my projects, but like Leonardo I have to work on what patrons demand, not on what pleases me.

If you are miffed about Vulcanverse gamebooks coming out when Fabled Lands is still unfinished, let me offer two arguments in consolation. First, FL is not unfinished in the way A Song of Ice & Fire is. There is no single storyline in FL, so it’s not like you can’t complete it. There are a very few quests from future books that tie back into books 1-7, and those aside the effect of having more books is simply to extend the borders of the explorable world. It’s like expansions on a videogame.

Also, unlike poor Mirabilis, FL is dormant rather than extinct. The last open-world gamebook I wrote was back in the ‘90s. Since then the only gamebooks I’ve done are Frankenstein and Can You Brexit? So you could see the work on Vulcanverse as me getting back into training. And by the way I needed it – my first Vulcanverse book overran by 900 sections and those sections are far wordier than FL. I’m learning again the brevity needed to pack a lot of quests into a 750-section open-world gamebook. So when I come off The Pillars of the Sky in theory I'd be fighting fit to tackle The Isle of a Thousand Spires. GRRM uses the same defence; the only difference between us is talent, wealth and looks.

 

How similar are the Vulcanverse books to Fabled Lands?

The rules are like a stripped-down FL system. You have four attributes: Charm, Grace, Ingenuity and Strength. Your scores in those typically range from -1 to +3, and you may have an item that gives a +1 or +2 bonus. Faced with a task like rolling a heavy stone (Strength) or sweet-talking a sentry (Charm) you roll two dice, add modifiers for your attribute score and any attribute-boosting item, and you need to equal or beat the difficulty.

Yep, you spotted it. Success is equalling or beating the difficulty. A slight difference from FL there. Also, a double 1 is always a fail and a double 6 is always a success.

What about Stamina? It doesn’t exist. In Vulcanverse you are either wounded or unwounded. When wounded you deduct 1 from attribute rolls. Told you it was FL-lite.

Another difference is how blessings work. You can have up to three blessings at once, and they are good for a single reroll on any failed attribute check.

How easy is it to die in the books?

Very hard. Hey, we know it’s not the ‘90s anymore. If you do get killed, resurrection is automatic except on a very few heroic quests, and you always get fair warning if you’re on a mission that you might not come back from.

 

What about the Vulcanverse world?

It’s not like Fabled Lands. Well, it’s probably quite a bit like FL book 10, in that the Vulcanverse is based on Greek and Roman mythology; you can read about that in earlier posts. It’s definitely FL-adjacent because the myths have been filtered through the brain of Jamie Thomson. (On the other hand, did Paul McCartney’s work with Wings feel like it was 50% Beatles, or was it something altogether different? The debate could go on for years.)

Jamie and I have worked separately on these books, as we did on Fabled Lands too; I wrote FL books 2, 3 and 6, he did the others. In the case of FL the end result was relatively seamless, but my and Jamie's Vulcanverse books are entirely different in tone, content, gameplay, writing style, structure and flavour. That's partly because we didn’t develop the groundwork together, but mainly because we’ve worked on our own distinct projects over the years. If you’re familiar with the Dirk Lloyd and Wrong Side of the Galaxy books, you’ll find Jamie’s trademark comedy genius running through The Houses of the Dead and The Wild Woods. Those also feature the D&D-ish high fantasy action-adventure momentum that made the Way of the Tiger books so memorable. (By the way, did I mention there's a Dirk Lloyd TV show on the way? It'll be the smash hit of 2022 and you heard it here first.)

It’s harder for me to identify my own style; Robbie Burns talked about that. I tend to go in for low fantasy, character relationships, dreamlike weirdness, surreal encounters, dry humour, horror and tragedy. Possibly you’ll notice those on display in The Hammer of the Sun and The Pillars of the Sky, my own contributions to the VV series, though less so in the latter because I’ve been asked to include more tie-ins from the Vulcanverse collectible card game. Still, you’ll be able to get a sense from these books, and particularly from The Hammer of the Sun, how any new FL gamebooks by me might play out.

Is there actually any purpose to your adventures?

Some people have grumbled that Fabled Lands doesn’t give you an objective to aim at. There, the whole point was that you’re living a life in a fantasy world and defining your own goals. What was I saying about it not being the ‘90s now? These days, the trend is to have a defined task like in a computer game.

With Vulcanverse, we’ve tried for a Witcher-like happy medium. There are lots of quests set in an open world like in Fabled Lands, and you can usually pick a side in any conflict. For example, in The Hammer of the Sun it’s possible to join the nomadic Amazons, and you can become their champion, and even take the throne the way Conan would (if he identified as female). But you can also get banished from the tribe, and if you reach a position of authority there are decisions you’ll make that will have a lasting effect on the world and the people in it.

Alongside all of those side-quests there’s a main storyline that connects across all the books and culminates in Vulcan City in book 5: Workshop of the Gods.

When are they out?

Hopefully very soon. The first two should be on sale a month from now (early September) and the next two before Christmas. And for once I'm leaving comments on, so if you have any other things you want to know about the Vulcanverse books, now's your chance.

"Elf-struck" (scenario)

This is an adventure seed rather than a scenario. I threw it into my campaign as a monster-of-the-week episode while the player-characters were making their way across Dark Ages France en route to Wessex. I make no claims for the scenario except that it could work in pretty much any setting right up to modern times. The presence of the ulembi, incidentally, connects it canonically to the lost continent of Abraxas that Jamie and I created for an MMO.

THE THING IN THE FOREST

On the way to Rouen, the characters pass through the forest villages of Ury, Fons Bliaudi (later Fontainebleau) and Barbizon. In each village they encounter a local idiot. The behaviour is the same: the man stares at them, points, and mouths inarticulate sounds.

Locals will say: “Don’t mind ‘e, ‘im be Hugo/Peter/Will, been like that fer years. The duende took ‘is wits, left ‘im cabbage-brained.”

The story is that these three were woodsmen, but each ventured too close to Oldtooth Dell where the fairies (duende) live and came home half-witted.

At Fons Bliaudi

The inn is run by a young woman, Tarqua (23) who is pensive and distracted. It turns out that her husband, Uril, went to Barbizon to sell a bay mare three days ago and has not come back – though the journey there and back could be done in a day.

Tarqua may try to bribe or seduce the characters into helping find out what has happened to her husband.

If they ask, locals tell them it’s unlikely he would have run off. Tarqua and Uril were sweethearts from the age of 5. They are even known as “Uril’s Tarqua” and “Tarqua’s Uril”.

Could he have fallen prey to bandits? The miller scoffs: “He had his cudgel with him. No dozen bandits could take on Uril with his cudgel.”

At the inn, they see one of the idiots hanging around under the eaves as if surreptitiously listening in on their conversation. (He’s actually making a recording.) Having already seen one in the previous village, they should now be wondering why there should be two such individuals in such a small area. If not, running into the third idiot in Barbizon will surely tip them off.

Their Perception vs the idiot’s Holdout of 13 to spot the box he’s carrying. He won’t want to show them what it does, but if forced it plays back sounds that may be recognizable (IQ-5) as the rhythms of their own words from a few minutes earlier, only with unfamiliar substituted sounds at a deeper frequency than speech.

The idiot follows them along the road to Barbizon.

Oldtooth Dell

A steep wooded valley. A stream runs down to a pool that you have to wade through to enter a cave. They could be guided here by Podraig and his truffle-sniffing pig “Trimmer”. Along the way, if very observant, they might spot birds and animals watching them more intently than usual. (The Ulembi is looking through the animals’ eyes, though Podraig would of course attribute it to faerie influence.)

Inside, the cave smells musty and lair-like, but with a faint ammoniac trace behind that. It narrows to a cleft in the rock about forty feet back from the entrance – a high, sharp-roofed tunnel that narrows to about six feet wide.

After about forty feet, the tunnel turns and there are paintings visible on the walls. Hand-prints on the right (made by blowing dye around the right hand) and on the left a procession of animals, then of men in hide clothing, and finally something that looks like a huge inverted tree (or perhaps roots of a tree) that dwarfs the human figures. This is a prehistoric depiction of the Ulembi.

By now the ammonia stench is sharper, and characters should roll IQ to notice a very faint headache (located in the forehead, if anyone asks).

Approach to the innermost cave

The tunnel narrows to what at first looks like a fire-blacked chimney. From here, a low passage stretches up. It requires characters to crouch, and they can only proceed by discarding armour. (Characters of Lifting ST 16 and up must discard under-armour too.)

As they move on, they start to experience a greater pressure in the head, accompanied by flashes of visions – or memories. They can fight this with Will-5. Anyone who succumbs or willingly allows the memories to flow will get the flashback.

The flashback

In our Immortal Spartans campaign the characters remembered themselves as 16-17 year-olds patrolling in the Krypteia, and learned something they had all been made to forget over a thousand years earlier. The idea is that the ulembi’s ESP set off something in their minds that allowed them to penetrate the mind-block that had been placed on them then. Substitute whatever important flashback or psychic insight will enhance your campaign – or disregard the flashback entirely if you prefer.

The cave

At first just see the device. Uril is here, with wires leading into his head. He rolls his eyes if spoken to, but seems not to understand them.

The ulembi is splayed low, and therefore at first unseen by the characters (assuming it makes its Stealth roll) then rises up amid the rocks – possibly getting surprise.

This creature has been here for thousands of years, periodically hibernating while trying to build a transmat device to return home. This device, only about three-quarters finished, is an array of wires, crystals and silica panels salvaged from its crashed ship.

The recordings it has the idiots make are played into the device in order to tune it to human brainwave frequencies. When complete, the device will draw on energy from everyone within fifty miles, mind-wiping them in the process.

Ulembi

Creatures from a star cluster beyond the Coal Sack, who came to Earth millennia ago by psychically broadcasting themselves through outer space to escape their own dying world.

Ulembi have large heads whose hard ridged integument resembles a walnut. This skull protects the creature's huge brain. A ring of dark globular eyes protected by deep recesses allow the ulembi to see in all directions at once. There is a short neck and then the ulembi's trunk bifurcates, the two stout limbs resembling large serpents. At the end, each limb divides into four tentacular fingers. The ulembi can balance on one limb or on its "elbows" while holding something in the fingers, but rarely needs to do so because all ulembi are able to manipulate small objects by telekinesis.

When fully reared up on its limbs, an adult ulembi's head can be as high as eight feet off the ground. But it can also splay its limbs out low, moving with ghastly stealth through undergrowth no more than a few feet high. In combat the ulembi is able to bristle its scales, giving the limbs a rough jagged surface like pineapple skin. This allows it to flay the skin off an unarmored opponent. Young adults sometimes wear bronze vambraces on the lower limbs, with which they can deliver powerful whip-like blows. Older ulembi disdain physical combat altogether, preferring to use their psionic power to instill a feeling of dread and despair in a foe.

Given a short time with a subdued victim, the most powerful adepts of the ulembi can psionically rewire his brain so that he will serve as their agent. This can even take the form of subliminal commands, so that the victim does not know he has been affected. Eventually tumors form in the brain of the victim, however, and madness and death soon follow.

The transmat device is sufficiently functional to create a levitation effect within the cave. It takes three rounds to power up, then suddenly gravity seems to cut out. Initially roll HT to avoid nausea; fail means -2 skills, -1 active defence. Every round while weightless, Free Fall (default DX-5) sets an upper level on your skills (except block/parry).

Afterwards

Uril can be freed if the wires are broken, but his mind is too far gone to be saved. He has become like one of the idiots they met earlier.

Salvaging treasures from the sunken continent

I've been looking through our material for the world of Abraxas recently. This, if you've just joined us, is the science fantasy setting that Jamie and I created for a massively-multiplayer online game we were developing at Eidos about a decade ago. No orcs, no goblins, no elves... Instead we had psionics, flyers, prehistoric civilizations, alien foes and vril-powered rifles. It would have been different from the usual crop of CRPGs, you have to give us that.

Fortunately, when Jamie and I left Eidos, we had the foresight to get them to cede rights in the aborted design for the game, including ownership of the wonderful concept sketches and maps that Russ Nicholson and Darren Horley had done for the game. So now I'm looking for a way to get that material out into the world. But it needs to be in a form that will encourage people to use it, sticking something up for free on the internet being a quick way to consign it to the contempt of over-familiarity.

Abraxas is available as a Kindle book but you don't have to splash out $1.99 because it's also available right here on the FL blog. I've been thinking of publishing it as a paper-and-pencil role-playing game, adapting the Tirikelu rules that I originally designed for the paragon of science fantasy - and indeed of fantasy world-building in general - namely Professor M.A.R. Barker's magnificent creation Tekumel. But would today's gamers be interested in a setting that lacked all those cherished tropes (see orcs, above) that have been enshrined in fantasy by descent from Tolkien via Tad Williams and then Dungeons and Dragons and finally gamebooks? I guess there's only one way to find out.

The opal altar and the golden spire

There was such an enthusiastic response to our special free offer on the ebook edition of Frankenstein's Legions that we thought we'd do it all over again this week with Abraxas, the science fantasy world that Jamie and I devised for an MMO back when we worked at Eidos.

In fact Abraxas has been free all along right here on this blog, but now you can get the Kindle edition for nothing too. It's on Amazon US here, UK here, Germany here, and... well, if you live elsewhere, just change the suffix in the URL to your local Amazon and you'll find it.

The offer lasts all this week, Monday to Friday inclusive (Pacific Standard Time). You don't just get the Abraxas world background, fauna, exotech items and Russ Nicholson's concept drawings, you also get a rare poem by the king of ancient world fantasy, Robert E Howard himself. Crom himself wouldn't give you a sweeter deal.

When Earth was a planet with rings of vril

This blog has had a lot of coverage in the past of Abraxas, the lost continent that Jamie and I originally developed as a massively-multiplayer game world. It's definitely a setting that inspires us and we'd like to do something with it - though whether as a series of fantasy novels, a roleplaying game, a comic book, or something else remains to be seen.

In the meantime, while thinking of the best way to use it, we've put together an overview of Abraxas on Kindle - UK edition here and US edition here. Devotees of the blog will find no new material in the Kindle version, unless you count the poem by Robert E Howard, but if you want it all in one place in a form that's easy to cart along to a game, there it is. The cover blurb will tell you whether it's your cup of chumetl. (Sorry, in-joke there; don't worry if you don't get it.)

Abraxas is a lost continent from before the dawn of history. A place of high adventure, flashing swordplay, wild jungles, deserts of black sand, floating cities, classical temples, primordial animals, exotic wizardry and evil psionic aliens. When Abraxas finally sinks below the ocean, survivors will reach the mainland and seed the great civilizations of antiquity.

Who are the heroes?

Mighty swordsmen, gladiators, statesmen, scientists, explorers, barbarians. And wizards who watch the stars to predict threats to their homeland and their ideals. Some – the noble champions of the five city states – are born to greatness. Others achieve it despite humble beginnings, and even Neanderthal heroes are possible.

What do they do?

On the mainland, new young races of men (both Cro-Magnon and Neanderthal) are populating the world. Our heroes are destined to be remembered in legend as tutelary deities who guard and guide new cultures in the difficult struggle to survive. At the same time, they strive to confound the prophecies that say Abraxas itself is doomed.

What threats do they face?

Alien beings whose own worlds are dying have designs on the young Earth. Projecting their psyches across the gulf of space, they can influence the minds of weak mortals who worship these beings as if they were gods. The most powerful aliens such as the Churuk – and the Ulembi, whose home lies beyond the Coal Sack – are capable of physically manifesting themselves in our world.

How does magic work?

First of all, it's not really magic. First there is Thaumaturgy. In this period of the distant past, glittering rings like those of Saturn still encircle the Earth – remnants of a second moon that exploded. Adepts trained in the use of Thaumaturgy can draw down psychic energy from these rings. It is a form of magic that is powerful but unpredictable, based as it is on the solar-magnetic “weather” within the rings.

The other main form of magic is Wizardry. It is derived from the combination of the Four Substances (Earth, Air, Fire and Water – the “elements” as they were handed down to the ancient world) with the Four Essences (Aether, Life, Ur and Death). Wizardry is typically less epic in scale than Thaumaturgy, but more reliable and controllable. Think of it like technology is for us today.

What makes Abraxas unique?

Abraxas is very far from the usual quasi-medieval style of fantasy. There are no orcs, goblins and dragons. Every animal and nonhuman creature is unique to the Abraxas world, making it highly brandable and distinctive. Many of the fauna of Abraxas are mutated versions of mid-Tertiary animals that have survived on Abraxas itself until the time of the game, around 35,000 B.C. The cities of Abraxas are wondrous metropolises, mighty proto-civilizations of the great cultures of history such as Egypt, Babylon and Carthage.

Gold, silver, ivory, apes, and terror birds

If you were hanging around these parts a year ago, you will have seen the long string of posts about Abraxas, the fantasy setting Jamie and I created and were planning to use for our MMO at Eidos in the late 1990s. Abraxas is a continent of prehistoric civilizations, aircars, vril-powered cannons, cosmic rings around the Earth, neanderthal barbarians, psionic magic, and hostile intruders from other stars. A Princess of Mars rather than Lord of the Rings, say. While digging through some old floppy disks, Jamie came across this image of the Vadem Causeway gate outside Tamo Anchan, as depicted by our concept artist Darren Horley. Would've been great to materialize there and go charging your character through the city in realtime 3D... Sigh.

Windows on another world

First off, let me say that I’ve been merrily posting up examples of Russ’s brilliant artwork from the Fabled Lands books on the assumption that Fabled Lands LLP (the company that controls the book rights) had paid him for the artwork rights too. Not so, as it turns out; we acquired only the Abraxas art. Well, that’s my mistake so I shall stop putting up any of Russ’s FL pictures (other than by his permission) with this last glorious example, the purpose of which is simply to send you over to Russ’s own blog, where you can see plenty of his work both fantastic and otherwise. When you get to see the versatility of Russ’s talent beyond the areas of fantasy, sci-fi and horror in which he is the pre-eminent British imagineer, I think you’ll be amazed. I have sung his praises here often enough, so I won’t say more. His work, in any case, speaks for itself.

These front and back covers were for a proposed book to be published by Fabled Lands LLP - a visual guide to the FL world using Russ's images and text taken from the books. We got sidetracked by non-fantasy projects, but if anybody else wants to step in and do something along those lines then pop over to Russ's blog and see if a deal can be struck. In our view a retrospective like this is long overdue.

Abraxas: the Cabiri Archipelago

More background material from Jamie's and my Abraxas project today. You may wonder whether all this detail is actually needed for a massively multiplayer game, and indeed the short answer to that is it's not. MMOGs should be and are defined by the players themselves as the actual inhabitants of the virual world. Any attempt by the game designers to impose a culture is only going to go as deep as costume and architectural styles.

However, we never intend any of our projects to only be one thing. Our philosophy is to design for cross-media right from the outset. So Abraxas might have started as a MMOG, but the concept bible also allowed for it to be used in solo CRPGs, paper and pencil role-playing games, gamebooks, novels, comics - in principle, even as a movie. It doesn't take a whole lot more effort to design something that way (what we call "root class development") and it's certainly a lot less effort than having to go back and retrofit it to other media later.

And with that, on to today's topic:

The Cabiri are a seafaring people inhabiting a number of small city-states spread throughout an archipelago of many islands and white coral atolls. The Cabiri trade with the ports of the mainland, but to them property is less important than custom. Property can be lost, but the right to fish in a certain bay, etc, can never be taken away. Such rights descend through the female line and form the basis of the Cabiri economy.

Cabiri society is shame-based. To insult a Cabiri obliquely or even simply not to take his word for something is to shame him. To avoid disgrace, a man will choose blood feud, exile or even suicide. Cabiri who have been deeply shamed without possibility of redress will say "Lady Moon has turned her face away" (the Moon being one of their gods) and become fatalistic and withdrawn until some happy stroke of luck encourages them to fight for their good name.

There are twenty-four clans, each of multiple lineages. All clans are represented in every township. Nine of the clans comprise the Pelagian Cabiri, and these have responsibility for matters concerned with the sea: fishing, coastal trade and the navy. The other fifteen clans are the Chersonese Cabiri, who are concerned with matters relating to the land: farming, crafts, markets and the army. The township's two rulers are the heads of the paramount clan in each faction, and they rule on alternate days.

Each clan is responsible for certain rituals, many of them relating to government. Eg, for a city-state to declare war requires twenty-four rituals to be performed. War therefore cannot happen without the consent of all the clans. But a lesser state of aggression can be declared by only nine Pelagian Cabiri rituals, giving those clans considerable sway when it comes to foreign policy.

The people of the archipelago are human-like but recognizably not like other men. Their flesh, bone-white with a yellow tint, is luminescent and their pale-gold hair glows like gold. Somerset Maugham puts it best:

She glowed, but palely like the moon rather than the sun, or if it was like the sun it was like the sun in the white mist of dawn.

Cabiri society is matrilineal, with inheritance passing through the female line. The clans are exogamous: men marry outside their lineage and clan, going to live with their wife's family. As in old Celtic society, a man is usually closer to his sister's children than his own, as they are the ones who will inherit his family's responsibilities, rights and property.

Okay, that's the last Abraxas post for a few weeks. Dragon Warriors fans have been very patient, so we'll shortly be unveiling some more Invaders & Ancients material from the Ophis campaign, including a complete scenario. Don't touch that dial.

The archetypal lost city

The original Chorazin was a splendid oasis in the heart of the Akali Desert, its people impregnable from attack by reason of the leagues of scalding black sand that surrounded them. Pipes deep beneath the desert brought water from the Delenda Mountains to fill the city's cisterns. But Chorazin was destroyed when a meteorite laid a pall of poisonous iridium across the mountains, polluting the water so that the inhabitants became mad and fled into the desert.

Now there are two Chorazins. One is the half-buried ruin where bands of eremen(desert folk) make their lair. The scholar Zaverchand has speculated that it may be in imitation of the crested helmets of the ancient murals that the male eremen's dorsal fins have grown so exuberently large. The other Chorazin is a twin of the original, cut off in its own pocket dimension at the time it was abandoned. This Chorazin is the destination of wizards seeking a place to meditate and expand their arcane knowledge.

The Akali Desert itself is an unwelcoming region whose jet black sand forms huge rolling dunes. Tors and crags of blinding white stone stand above the desert, blasted by the wind into baroque shapes. Who knows what ruins lies buried under the sand, or what creatures dwell in the interior of the desert? No explorer has ever gone there and returned to tell of it.

Abraxas: the Vadem Causeway

Now that I've started rooting around for Abraxas material, I'm amazed how much concept work we did. I've hardly even scratched the tip of the iceberg so far, what with the clothing and architecture for each city-state, the flora and fauna inspired by Dougal Dixon's book After Man, the adventure locations, history, NPCs, and on, and on.

Neill Blomkamp's written-off concept work for the aborted Halo movie apparently cost several million dollars, and although we didn't get anywhere near that figure, the principle of concepting in games is the same as in movies. It makes more sense to get these details worked out before you set 100 coders, modellers and animators working away on the thing.

The idea behind the Vadem Causeway was so that players in the MMOG could rapidly move between the main "safe" locations (the five cities) but, if they wanted to travel to smaller towns or go exploring off the beaten track, they would need to strike out on foot or get hold of a sky car.

The Vadem Causeway is not a physical road but a network of teleportation routes extending between archways close to each city. The Vadem gates consist of raised platforms with steps leading to a circular arch of ancient star-metal. Each gate transports the user to the next on the circuit, allowing rapid travel from city to city. A rapid burst of light is seen streaming away from the arch after a person steps through.

As the Vadem Causeway is a potential problem in wartime, each city has its own safeguards against an influx of enemy soldiers appearing outside its walls. Utesh is protected by the straits that cut it off from the mainland. Vertis has constructed a grille that can be dropped across the archways. Argistillum has a dam that, if opened, floods the vicinity of one archway; the other is kept dead in the sights of the city's one plasma cannon. Tamo Anchan has surrounded its archways with high walls with only a narrow gate out; Eibon relies on its own city walls and the fact that any invading army would have to endure the scouring desert winds.

Days of glory

Jamie and were flattered last week to be invited to be part of bit-tech's Made in the UK Week. Editor Joe Martin has written a brilliant article about development of the Abraxas MMO and also conducted an in-depth interview that covers our early gamebooks, our Eidos days, and plans for future products from the Fabled Lands Studio. But go over and look at the other goodies Joe has on offer too. The survey of the UK's top games, for example, is a fabulous reminder of some of the great original content this country has produced - and still could, if the government would really get behind the games industry.

Btw, if you saw the Eurogamer review of Joe's article, I should probably just make it very clear that Jamie and I did not say that World of Warcraft swiped the Abraxas art style. How could they when they never saw it? And Joe didn't ever say we said that. The simple truth is that we were considering a bright, slightly cartoony look to the Abraxas characters - and that's where some fantasy games like WoW and Torchlight have gone since. Simple as. But not as sexy a story when put like that, is it?

Some fauna of Abraxas

Today we look at a few of the most dangerous creatures of the continent.

Munigant

A carnivore with a long proboscis, triangular membranous wings and strong kangaroo-like hind legs. The munigant lopes across the plains dragging its wings, which are fringed with long bristles like primitive plumage. Spying prey, it leaps aloft and snaps its wings out to the side, gliding forward at great speed while bringing its legs forward and extending its claws. If the prey fails to dodge it is seized with the wing-hooks while the strong clawed legs inflict a lethal wound. The munigant then injects a chemical that softens the bones and proceeds to suck them out, leaving only the skin to dry in the sun. (Abraxaens have a superstition that a person slain by a munigant becomes a ghost-skin that will slither under the door at night to wrap itself around the living.)

Derophyrs

Arboreal creatures with very powerful hind legs and smaller forelimbs used for grasping branches. The derophyr's torso slopes downwards from the hips to its heavily plated head, the forequarters being counterbalanced by a short flattened tail. The overall height of the creature (when standing, measured from feet to pelvis) is about four feet. Its distinctive rattling call - braap, braap, braap - which echoes for miles through the forest, is created by rapidly vibrating the face plate while blowing through the mouth and nose.

A derophyr's legs propel it vigorously through the trees. On the ground it has an ungainly gait, hopping and strutting awkwardly. During the mating season it is not uncommon to encounter derophyrs out of the trees, disorientated by a midair collision of heads which is the ritual of male competition for females.

Derophyrs subsist on a diet of leaves, berries, insects and small game. They are dangerous to humans not because they would normally tackle prey as large as a man, but because when gazing down from the trees they can mistake humans for smaller animals. Additional danger occurs in the mating season, when dazed male derophyrs will leap at and headbutt anything on two legs.

Elytrums

Creatures of primordial but earthly origin, elytrums are solitary hunters whose intelligence is not definable in human terms. They display forward-planning and a high degree of vicious cunning, but appear to have no ability to develop language or speculative thought.

Elytrums consist of a central soft body sac covered with globular eyes. From this extend many thin multiple-jointed limbs of varying lengths, resulting in a creature something like a spider.

The elytrum can hang in cover (above a door, in trees, etc) waiting to drop on prey that passes below. More commonly it forms its limbs into a framework structure, pumping them with fluid to hold the shape, and then weaves a thin waxy integument around this framework. The wax can be different colors, allowing the elytrum to impersonate inanimate objects, other creatures - even humans. They can also mimic sounds or simple phrases, making the disguise complete.

Two tell-tale signs may give warning of an elytrum in disguise. The creature cannot increase its weight, and at only 30 kilograms or so it is far lighter than a real adult human. Also, the waxy integument does not perspire, and over time is liable to harden and crack.

Abraxas: curiosities and ancient artifacts

Having run through our lightning survey of the land of Abraxas in the last few weeks, this is a good point to give proper credit to Russ Nicholson, who drew stacks of fabulous concept art for the project. I've said before that working with Russ is not just a question of briefing him to do drawings. He's a true creative collaborator, feeding back ideas at least as fast as Jamie and I send them to him. Many of the nice cultural touches in these pictures were dreamed up entirely by Russ.

I only wish we could have turned it into the amazing MMOG it would have been, but unfortunately Eidos closed down their internal game development in early 2000 and that was the end of the Abraxas project. Luckily we recovered the rights, so we may yet find something to do with it all.

Anyway, today's feature is a look at some of the "magical" oddities of Earth circa 38,000 BC.

Daedalanths

Powerful automata, usually bipedal, that a medieval observer would describe as an iron golem and to the 20th century eye might resemble a robot. Although entirely mechanical, daedalanths have a microscopic symbiote integrated into their metal lattice. This symbiote metabolizes minerals and metal from the local environment to maintain the daedalanth. Daedalanths are therefore enormously resilient and even "heal" if damaged - albeit very slowly.

Individual daedalanths vary considerably in appearance, according to the whims of their creators. A daedalanth built as an ancient potentate's bodyguard might be fantastically decorated and gilded, with a face like a mythological mask, while one built to quarry rock might not be even vaguely humanoid.

Daedalanths can sometimes be brought under control by wizards who know the magic words to alter their programming; otherwise they remain steadfast to whatever order they were originally given.

Xoanons

Sometimes also known as "gnarls", these are wooden automata, the result of a mutation in the micro-organism designed to structure daedalanths. Hydraulic muscles provide xoanons with great strength but sluggish reflexes. They are not living creatures any more than daedalanths themselves are, the wood recycled to construct them being dead. However, sometimes flowers and fungi take root in the xoanon's "bark" giving it a bizarrely organic look.

Emulants

Human-like androids constructed right down to the cellular level from life-simulating nanomachines. Emulants are not truly alive in the sense that individual cells are just tiny machines containing no DNA blueprint for the whole. Nonetheless the creature's metabolism parallels that of a truly living organism burning food for energy which is circulated to all parts of the body by means of fluids, etc. Emulants are often beautiful and can pass for human, except for tell-tale signs like the too-regular tint to the iris, the lack of perspiration, the absence of any blemish or callus on the skin, and so forth.

Living armor

Using the same organometallic microbe that sustains daedalanths, the wizards of ancient times created armor that conformed to the wearer's body and could self-repair any damage it took. The usual form of such armor is of a breastplate with neck flanges and articulated arms, one of which (often the left) ends in a blade weapon or long claws. Despite being organometallic, living armor suits are very regular, almost machine-tooled, in appearance and do not display the asymmetry customary to living things. (This results from the very precise non-mutable makeup of the sustaining microorganism, which comprises very large but stable spherical nucleotides. Not that even the most accomplished modern wizard would have a clue about such things.)

Advantages of living armor are that the blade weapon never needs sharpening and the protection afforded by the suit is far greater than normal steel. The armor augments the wearer's strength and, in those cases where it includes a helmet and visor, also gives enhanced vision and hearing.

On the downside, any other metal the wearer carries will gradually be digested to sustain the living armor. Moreover, these suits always leave the back unprotected - perhaps because the genetically modified soldiers for whom they were designed were never intended to flee from their enemies.

Not everyone can use living armor. It seems necessary for the wearer to attune the suit for it to function properly. In some cases the attunement takes so well that the armor cannot be removed. This is random (presumably geared to some dormant gene in the wearer) and not associated with any attribute such as strength or psyche.

Energy weapons

Weapons of the distant past which, by reason of their technology having been kept secret, are regarded now as magic wands. Various types exist: neural batons, photonic staves with lasing crystals, actinic and plasma lances that can be hand-held or mounted, larger ion cannon, and huge orbiting neutron-beam weapons. In most cases the weapon's power cell is inert, but some still have enough charge remaining for a few precious shots, and a few are rechargable by wizards who know how to channel cosmic vril energy into them.

Fliers

Functioning fliers are very rare today but were previously in common use by nobles throughout Abraxas. The styles are as diverse as the natures of the men who used them. Some are sky-yachts, often of wood or light metal. Others take the form of flying arks or palanquins. Some are even more fanciful: a circular terrace complete with plants and banks of seats around the rail; a glass-like floating bubble; a canopied bed borne aloft by cherubic mechanicae; a giant cupped hand of ebonite.

Controls also differ, so that the man who is adept in piloting one flier may have no idea how to operate another. The most convenient control systems involve an interlocutor - essentially an inbuilt neural net that pilots the craft according to spoken commands. Others use an assembly of globes, rods or dials that the pilot must learn to operate. (Item of interest: the current fashion in Argistillum is for wizards to acquire an autistic idiot savant to operate their flier, the functioning of the controls apparently coming naturally to such unfortunates.)

Dragon Warriors of the Lost Continent

In case you want to try out some of the Abraxas aliens (see yesterday's post) in your role-playing campaign, I've had a go at converting them into Dragon Warriors. Of course, these creatures don't really belong anywhere near the magic-steeped, purposely illogical world of Legend, and where I have likened their abilities to magic that's purely for the sake of the rules. The people of Abraxas do believe in magic (for good reason: it exists) but the "magic" of their world is actually the psionic manipulation of cosmic forces, and therefore much more of a science than the undefinable faerie arts of Legend.

VLIS

ATTACK 15
Spear (2d4+1, 5) or kick (1d6+3)
DEFENCE 8
Armour Factor 3 (innate: 1)
MAGICAL DEFENCE 3
EVASION 6
Movement: 12m
Health Points 1d6+10

STEALTH 11

PERCEPTION 8 ("elfsight")

These are the stats for a 1st rank fighter. Vlis sorcerers are also encountered. To make its screech attack, the vlis makes no attack in melee and and at the end of the round must roll its rank or less on 1d6. If a vlis preparing a screech attack is injured during the round, the screech is aborted. If the screech is made, anyone within 3m must roll Strength or less on 2d10 or be stunned (0 ATTACK, DEFENCE and EVASION) the following round. Even if the Strength roll is made, the character is disconcerted, losing initiative for the next 1-6 rounds. Vlis are powerful climbers and can leap twice as far as a human. The strong legs (strictly speaking, the arms) can strike backwards or forwards with equal force, and anyone hit will be knocked back 1-6 metres and must roll Reflexes or less on 2d10 to avoid falliing over.

ULEMBI

ATTACK 13
Vambrace strike (d6+1, 5) +1 vs unarmoured foe
DEFENCE 8

Armour Factor 2 (innate: 1)
MAGICAL DEFENCE 6
EVASION 7

Movement: 15m

Health Points 1d6+11

STEALTH 16

PERCEPTION 8 (darksight)

These stats apply to a typical 1st rank ulembi, though most encountered will also be mystics. The ulembi's psionic ability to instil fear is resolved as a fright attack equal to the creature's rank (+1d6 if it gets surprise) effective on all enemies within 5 metres. If the fright attack succeeds, the opponent drops his weapons and tries to flee - or surrender, if escape is impossible. Even if the fright attack fails, the opponent takes -2 from ATTACK and -1 from damage for 2-12 rounds. The ulembi is able to strike in melee while making the fright attack, but must treat it as a first level mystic spell for purposes of psychic fatigue. Humans captured by the ulembi can be slowly brought under complete mental control, rather like the mystic Enthrall spell but with unlimited duration.

CHURUK

ATTACK 15
Sword, etc (d8+1, 5)
DEFENCE 6
Armour Factor 5 (innate: 2)
MAGICAL DEFENCE 3

EVASION 4
Movement: 9m
Health Points 3d6+7

STEALTH 10

PERCEPTION 10 (panoptical)

These stats would be appropriate for a full complement of the three churuk morphotypes (Strider, Brain and Worker) fighting together, assuming the gestalt's skill was equivalent to 1st rank. Churuk are rarely encountered singly in any case, and are the most tractable of the intelligent nonhuman races inhabiting Earth in 38,000 B.C., though raiding parties are sometimes sent into human territory.

NEANDERTHAL

ATTACK 14
DEFENCE 6
Armour Factor 1 (innate: 0)
MAGICAL DEFENCE 1
EVASION 5
Movement: 10m
Health Points 14
STEALTH 13
PERCEPTION 4 (normal)

Neanderthals are a valid player-character choice. Although not native to Abraxas, they are found on other land masses and could have been brought to the continent as slaves or "barbarian" bodyguards, possibly leading to a Kull-style campaign. Neanderthals get +1 on Strength and Health Points, but roll only 2d6 for Looks (as perceived by other human races) and 1d6 for Psychic Talent. Play a neanderthal character as intelligent but lacking the capacity for abstract thought; your school gym teacher would be a good model. The major difference from other humans is that neanderthals do not think symbolically and therefore have not developed a high degree of art, science, politics or religion. They are superstitious and usually fearful of magic (which to a neanderthal means anything he doesn't know about). They live in small family groups and may be wary and/or contemptuous of the large, well-organized cities of Abraxas. The stats given are for a typical 1st rank fighter. Neanderthals usually fight with spears and wear leather armour.

Abraxas: the rivals of Man

Humans are not the only intelligent species in Abraxas. There are others, some of them well organized and genocidally hostile. The eventual ascendency of Man is not a foregone conclusion.

Vlis

An intelligent pre-human Terran race descended from pterodactyline ocean gliders. When the vlis's distant ancestor adapted to life on the ground, the powerful forelimbs evolved into its legs and the smaller hind limbs became its arms. Several hundred million years on, the hind limbs moved around through a widening of the pelvic girdle and the legs moved back. The creature thus has a low hunched stance with the thorax and head supported like a table-lamp on strong backward-jointed legs; the overall height is about five feet.

Possessions are typically carried in a pan or bag strapped under the thorax; the vlis's long slender-digited arms can easily undo the flaps, remove a needed item, and reseal it with horridly unhuman dexterity. Sometimes this pan will be found to contain a freshly-severed human head; the vlis are believed to collect such heads in order to restore them to sentience in their laboratories, where the head can be maintained in a vat indefinitely while the vlis subject it to interrogation and experiment.

The vlis are man's deadly rivals on Earth, regarding humanity as usurpers of their rightful supremacy. In addition to being skilled fighters, usually with a spear held in both hands, the vlis can use magic and have a sonic screech attack which can distract or stun an opponent.

Ulembi

Creatures from a star cluster beyond the Coal Sack, who came to Earth by psychically broadcasting themselves through outer space to escape their own dying world.

Ulembi have large heads whose hard ridged integument resembles a walnut. This skull protects the creature's huge brain. A ring of dark globular eyes protected by deep recesses allow the ulembi to see in all directions at once. There is a short neck and then the ulembi's trunk bifurcates, the two stout limbs resembling large serpents. At the end, each limb divides into four tentacular fingers. The ulembi can balance on one limb or on its "elbows" while holding something in the fingers, but rarely needs to do so because all ulembi are able to manipulate small objects by telekinesis.

When fully reared up on its limbs, an adult ulembi's head can be as high as eight feet off the ground. But it can also splay its limbs out low, moving with ghastly stealth through undergrowth no more than a few feet high.

In combat the ulembi is able to bristle its scales, giving the limbs a rough jagged surface like pineapple skin. This allows it to flay the skin off an unarmored opponent. Young adults sometimes wear bronze vambraces on the lower limbs, with which they can deliver powerful whip-like blows. Older ulembi disdain physical combat altogether, preferring to use their psionic power to instill a feeling of dread and despair in a foe.

Given a short time with a subdued victim, the most powerful adepts of the ulembi can psionically rewire his brain so that he will serve as their agent. This can even take the form of subliminal commands, so that the victim does not know he has been affected. Eventually tumors form in the brain of the victim, however, and madness and death soon follow.

Eremen

The offshoot of humans altered by an ancient wizard's genetic sorcery. Eremen are recognizably human in origin but have the features required for survival in the desert: large membranous ears, heavy brows, a limber frame, folds of fat around the belly, and elongated webbed digits. A dorsal fin that usually lies flat along the spine can be erected for temperature control as well as conflict and mating displays.

The genetic changes have caused some reduction in these creatures' intelligence: you might be attacked by one wielding a metal club it had found, the club actually turning out to be an ion pistol that it lacked the wits to operate.

Churuk

Hive-dwellers, the descendents of an alien race stranded on Earth in the far past. The churuk thrive best in the sulfurous atmosphere of volcanic rifts, but are hardy enough to tolerate normal air for days or weeks at a time.

The basic body form of a churuk is of a lozenge-shaped torso armored in chitin and with three limbs arranged around the rim. This form can develop in quite different ways, however, according to chemical jellies administered to the eggs during development. Some churuk hatch as Brains, others as Workers, others as Striders. The Striders have powerful legs. The Workers have one of their limbs developed massively for heavy labor or combat; for travel they can move slowly with their other limbs or latch onto the back of a Walker. The Brains are the most intelligent; they have only limited mobility but can latch into the back of a Strider or Worker and directly take charge of its cerebral ganglion (its eyes then close in sleep).

Mottling on the chitinous shell allows a churuk to identify the members of its hive and egg-clutch.