I don’t think this merits a featured post of its own, but it’s a curiosity that might interest dyed-in-the-wool gamebook otaku. Back when Oliver Johnson and I started writing the Golden Dragon gamebooks, we were learning the ropes about book production at the same time. Manuscripts had to be ready months ahead of publication, and cover copy and artwork were usually the first thing you had to think about.
Series editor Angela Sheehan asked me to come up with a cover idea for The Lord of Shadow Keep. I tend to prefer visual imagery to prose, in fact, hence the frequent references here to movies, television and of course comic books. But I had no clear idea of what was going in the book, and when inspiration fails it really tars and feathers you. Case in point, this absolutely epic fail of a cover concept. A back view of a dark lord gazing out at the countryside in contemplative mood? What in actual frell?
Luckily the cover artist Bruno Elletori had the sense to ignore my notes and instead fix us up with a full-tilt action scene which conveyed a sense of immediate danger. All I can say is that usually I did a lot better job of coming up with a cover concept – consider Lords of the Rising Sun, for instance, or all the new Critical IF gamebooks. But when you know what you’re doing, and you still drop the ball, that’s when it lands with the most resounding of thuds.Still, it could have been worse. Check out this cover of the Berkley edition that was released in the US.
Come back on Friday for the main post, in which we’ll be taking a look at the work of a classic science fiction author whose bravura world-building makes for great roleplaying campaigns.
Showing posts with label Angela Sheehan. Show all posts
Showing posts with label Angela Sheehan. Show all posts
Tuesday, 7 February 2017
Sunday, 20 October 2013
A neck romancer
I think of Crypt of the Vampire as my first gamebook, but it’s moot. I’d already written the magazine version of Castle of Lost Souls. That was serialized in White Dwarf in the summer of 1984, several months before the Golden Dragon series launched, and later got reworked as the sixth GD title. But Crypt was the first time I’d taken on a whole book.
Those were busy times. I had to turn down designing the PC game “Eureka by Ian Livingstone” because of all my magazine and book commitments. Maybe that was a mistake, as my friend Steve Foster, who wrote it in my place, told me he bought his first house on the proceeds. (The picture below, that's us back then in our slimmer days. I'm the one reading Captain America.) But at least with Golden Dragon I got my name on the title page. The road that’s grassy and wants for wear, you see.
Crypt and the later books nearly didn’t happen. In spring of 1984, while I was writing the first instalments of Castle of Lost Souls, Ian Livingstone and Steve Jackson offered me a contract to do a series of gamebooks for Games Workshop. I’d done bags of work for GW before – an entire role-playing game in 1980 called Adventure (never published; GW acquired the RuneQuest rights) and then in 1983 an entire Questworld campaign pack with Oliver Johnson (never published; GW lost the RQ rights). In the case of the gamebooks, though, they seemed to be serious. They were willing to pay an advance, and that was a first.
Except… it was £350 per book, which was a pittance even in the ‘80s. And it would have been an exclusive contract, meaning I couldn’t work with any other publisher. “Why would Ian and Steve want to compete with Fighting Fantasy?” I wondered. For whatever reason, I dragged my heels about signing and was mighty glad I did, as a matter of weeks later I went to see Angela Sheehan at Dragon Books, had a nice long chat, and walked out with a two-book deal.
Originally Temple of Flame was down as the first book in the series, and the contract describes the other as “Dungeon of the Undead”. I think it was probably my dad who said, “Put ‘vampire’ in the title, it’ll grab people more than ‘undead’.” The publishers wanted to call it Crypt of Dracula, but I wasn’t having that. These books would be read by kids, and I didn’t want their first experience of Bram Stoker’s creation to be in a gamebook. Dracula was already in public domain, Stoker having died seventy-two years earlier, but I believe writers owe a creative courtesy to each other that lasts a lot longer than the term of copyright – though, regrettably, not everyone shares that view.
For the new edition, I’ve revised the text slightly to excise the trad fantasy elements (a hobgoblin, an elf) that seemed most intrusive. Now the atmosphere is very slightly more Gothic, the setting less definitely medieval. “Ah!” the DW players will say, “but isn’t Wistren Wood in Ellesland?” And so it is, but my Legend games have moved on – past the Last Trump at the end of The Walls of Spyte, even – to a time of matchlocks and sabres*.
But that’s getting close to a foolish consistency. Whether or not Crypt of the Vampire is set in Legend, at heart it belongs to the lurid fairytale world of Hammer horror, where Cushing’s alert, flashing gaze locked with the fiery brooding in the eyes of Lee, and dark ivy-choked halls waited in the depths of darker woods. I like what Johnny S Geddes said about Crypt on Demian Katz’s gamebook page:
Those were busy times. I had to turn down designing the PC game “Eureka by Ian Livingstone” because of all my magazine and book commitments. Maybe that was a mistake, as my friend Steve Foster, who wrote it in my place, told me he bought his first house on the proceeds. (The picture below, that's us back then in our slimmer days. I'm the one reading Captain America.) But at least with Golden Dragon I got my name on the title page. The road that’s grassy and wants for wear, you see.
Crypt and the later books nearly didn’t happen. In spring of 1984, while I was writing the first instalments of Castle of Lost Souls, Ian Livingstone and Steve Jackson offered me a contract to do a series of gamebooks for Games Workshop. I’d done bags of work for GW before – an entire role-playing game in 1980 called Adventure (never published; GW acquired the RuneQuest rights) and then in 1983 an entire Questworld campaign pack with Oliver Johnson (never published; GW lost the RQ rights). In the case of the gamebooks, though, they seemed to be serious. They were willing to pay an advance, and that was a first.
Except… it was £350 per book, which was a pittance even in the ‘80s. And it would have been an exclusive contract, meaning I couldn’t work with any other publisher. “Why would Ian and Steve want to compete with Fighting Fantasy?” I wondered. For whatever reason, I dragged my heels about signing and was mighty glad I did, as a matter of weeks later I went to see Angela Sheehan at Dragon Books, had a nice long chat, and walked out with a two-book deal.

For the new edition, I’ve revised the text slightly to excise the trad fantasy elements (a hobgoblin, an elf) that seemed most intrusive. Now the atmosphere is very slightly more Gothic, the setting less definitely medieval. “Ah!” the DW players will say, “but isn’t Wistren Wood in Ellesland?” And so it is, but my Legend games have moved on – past the Last Trump at the end of The Walls of Spyte, even – to a time of matchlocks and sabres*.
But that’s getting close to a foolish consistency. Whether or not Crypt of the Vampire is set in Legend, at heart it belongs to the lurid fairytale world of Hammer horror, where Cushing’s alert, flashing gaze locked with the fiery brooding in the eyes of Lee, and dark ivy-choked halls waited in the depths of darker woods. I like what Johnny S Geddes said about Crypt on Demian Katz’s gamebook page:
“Every now and then around midnight, and especially when there's thunder outside, I go back and take another tread through the enchanted forest leading to a dark mansion.”That’s how I like to think of it being enjoyed. And, with Halloween almost upon us, here’s the chance to curl up with something creepy. The new edition also has Leo Hartas’s illustrations, incidentally – it was Leo’s first book as well as mine. Start as you mean to go on, that's our motto.
* Update 2024: In fact that gunpowder-powered version of Legend never came about, as I realized that the kind of campaign I was planning to run wasn't a good fit with the tastes of some of my players. So the Legend you'll see in my Jewelspider RPG is the original Dark Ages/early medieval setting familiar from Dragon Warriors.
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Sunday, 4 August 2013
All fired up
If you're a real gamebookwyrm (see what I did there?) you may be familiar with the cover below, but probably not the one on the left. It's the Danish cover for The Temple of Flame, my second-ever gamebook, published all the way back in 1984.
Oliver Johnson is co-credited but actually he had nothing to do with writing the book. I think the original plan was that he and I were to work together on both The Temple of Flame (for Golden Dragon) and The Lord of Shadow Keep (for the Fighting Fantasy series). Then, following a drunken evening in a Soho bar between Oliver and Angela Sheehan of Grafton Books, the Golden Dragon contract was extended from two to six titles. So I volunteered to write Golden Dragon 1 and 2 while Oliver delivered The Lord of Shadow Keep, then he and I would split writing duties on the other four.
Yeah, plans... What actually happened was that Shadow Keep got moved to being Golden Dragon book 3. I didn't know, and more importantly neither did Philippa Dickinson, the editor at Puffin in charge of Fighting Fantasy. The first I heard about it was an irate phone call. Luckily Philippa and I smoothed it over and went on, of course, to work together on Dragon Warriors, Heroquest, Knightmare, Captain Scarlet and Teenage Mutant Ninja Turtles.
I prefer the Danish logo. The dragon actually looks dangerous and reptilian, in contrast to the cute li'l puppy look on the British version. But Bruno Elletori's cover painting captures the spirit of the text better than Peder Bundgaard's more comic-booky depiction of Damontir the wizard.
People say Temple is a tough adventure. I have tweaked a couple of the combats to make them less punishing, but the biggest bone of contention has always been the fight with the hero's mirror-self. Surely a fifty-fifty duel? Not if you're smart - and that's all I'm saying.
The Temple of Flame is being re-released by Fabled Lands Publishing as part of our big republishing program. This time we've kept all of Leo Hartas's original illustrations, which means extra pages and so a slightly higher cover price than The Castle of Lost Souls and Curse of the Pharaoh. But well worth it if you want a classic example of a "dungeon adventure" gamebook from the heyday of the genre. Of course, I would say that.
Oliver Johnson is co-credited but actually he had nothing to do with writing the book. I think the original plan was that he and I were to work together on both The Temple of Flame (for Golden Dragon) and The Lord of Shadow Keep (for the Fighting Fantasy series). Then, following a drunken evening in a Soho bar between Oliver and Angela Sheehan of Grafton Books, the Golden Dragon contract was extended from two to six titles. So I volunteered to write Golden Dragon 1 and 2 while Oliver delivered The Lord of Shadow Keep, then he and I would split writing duties on the other four.

I prefer the Danish logo. The dragon actually looks dangerous and reptilian, in contrast to the cute li'l puppy look on the British version. But Bruno Elletori's cover painting captures the spirit of the text better than Peder Bundgaard's more comic-booky depiction of Damontir the wizard.
People say Temple is a tough adventure. I have tweaked a couple of the combats to make them less punishing, but the biggest bone of contention has always been the fight with the hero's mirror-self. Surely a fifty-fifty duel? Not if you're smart - and that's all I'm saying.
The Temple of Flame is being re-released by Fabled Lands Publishing as part of our big republishing program. This time we've kept all of Leo Hartas's original illustrations, which means extra pages and so a slightly higher cover price than The Castle of Lost Souls and Curse of the Pharaoh. But well worth it if you want a classic example of a "dungeon adventure" gamebook from the heyday of the genre. Of course, I would say that.
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