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Showing posts with label Dave Morris. Show all posts
Showing posts with label Dave Morris. Show all posts

Monday, 6 February 2023

Ohnoitshimagain

If you can stand another interview with me about gamebooks, roleplaying games, comics, and so forth -- and if you haven't heard it all already -- then here I am talking to the good folks at Refugio Seguro, aka Safe Haven. (Non-Spanish speakers could use Google Translate, but if you scroll down you'll find they have given the full interview in English too.)

Sunday, 29 August 2021

It's that man again


I was interviewed by Olly McNeil of the Storymaster's Tales for International Gamebook Day 2021. Lots of good questions meant that I didn't have to repeat my limited store of Games Workshop anecdotes too much. You can get the video here and buy Olly's Weirding Woods game here.


And the very same day, Martin Noutch joined Olly to talk about the Steam Highwayman books, my own favourite of all the successors to Fabled Lands -- not least because the action starts out in a corner of Buckinghamshire that happens to be where I was born and where a lot of my family live. And Martin shares my preference for low fantasy, the English landscape, and personal-scale stories, as he expatiates on here:

And our friends at Cubus Games will shortly be releasing a Steam Highwayman mobile game that looks absolutely amazing. Great music too. (And is that Boris Johnson I spotted in the NPC rogues' gallery there..? Worth stoking up your steam motorbike just to hold him to account, I'd say.)

Friday, 19 January 2018

A rare personal appearance


If I was a little more au fait with audio tech then I'd probably do podcasts rather than a blog. After a day spent writing, a blog post is often the last thing I feel like buckling down to. And podcasts are a natural fit for me anyway; I much prefer talking to writing, as anyone who's sat at a table with me and some wine bottles can attest.

My appetite for podcasting whetted by the Fictoplasm special about Lyonesse, I welcomed an invitation from the good folks at the Tekumel Foundation to appear on the Hall of Blue Illumination. We talked about my early roleplaying experiences, about various game systems, a little bit about Fabled Lands, the design choices in Tirikelu, and of course extensively about MAR Barker's amazing creation, Tekumel.

You can download or listen to it here.

Friday, 5 August 2016

Things within the shape of things

To round off our excerpt from The Mage of Dust and Bone, here's where Forge first sets off to study at Dweomer. I liked the idea of magic being about power, and power of course corrupts, which is where I was going with it. But the Fabled Lands agent (probably correctly) deemed that young readers want likeable characters. I find likeability is over-rated - and in any case Fabled Lands LLP hasn't got the resources to pay for this to get written - but just in case it should ever get completed and published, I've stuck to this flashback because it contains no real spoilers.



THE MAGE OF DUST AND BONE
(excerpt)


In the kitchen, after a silent breakfast, it had suddenly hit him. Going away! Not to sleep in his own bed or ever again have porridge the way his mother made it. He saw all his future as a stone rolling to crush his happiness, blotting out the timeless days of playing in the sunshine outside their little cottage. He ran to his mother.
‘I don’t want to go,’ he cried. ‘I’ll never see you again.’
‘It’s a week’s journey at most,’ said his mother. ‘You’ll see us so often you’ll be sick of it.’
She stroked his hair, but he knew the calm manner was just her way of dealing with distress.
Through his tears he saw the Arch Mage looking at him. ‘I don’t blame the lad. But, Forge, you’re a magician born. That’s not a hook you can ever get out.’
His sobs became quieter. He was old enough to feel both the terrible wrenching heartache and also the humiliation of being thought a overwrought child. The older Forge, revisiting this sweetly painful memory, was glad he’d had that tantrum. He often felt guilty that he’d been too eager to leave his parents, but that scene in the kitchen must have made it clear he did love them. Now, in the present, with Lord Grazen’s threat hanging over them, that was more important than anything else.
‘It is the last time you will see him as the child he is now,’ the Arch Mage had told his parents. He was never one to coat the truth, however much it hurt. ‘The next time you may see him is in a year and a day, and by then he will have begun his journey on a new path.’
The way to the crossroads lay across Hetch Greyson’s fallow field. ‘There’s no coach due,’ his mother told the Arch Mage. Not for days, Forge knew. But he also knew it wouldn’t matter. They set off right after breakfast, through the gate (ninety-two swings now) and across the stile that was still darkly wet and slippery from a rainfall in the night. Forge was over and running, letting the long wet grass slap his legs, the Arch Mage following with Forge’s father carrying his pack. After his outburst at breakfast he felt free. He was ready.
He drank it in, not knowing when he’d be back. The way the sun’s rays awoke a million pinpricks of light in the dew. The thick shadows, liquid black under the hedgerows, and the dazzling blaze of coming day that haloed the trees. The rich reek of dung in the fields, the fragrance of honeysuckle, the drifting scent of wood smoke and cooking from surrounding farmsteads. He watched the Arch Mage’s robes swish through the long grass, the dampness on his silver-buckled boots.
‘The shimmer,’ said the Arch Mage, answering his unspoken thoughts. ‘Things within the shape of things, that’s what you’ll learn to see.’
His manner was more aloof now. He swept on across the field, not looking at Forge as he spoke. In the years to come, Forge was often to seek his approval, and sometimes earned it. But they would never again have that near-fellowship they had briefly shared in the early hour before the dawn.
The older Forge, watching it all in memory, was conscious of this as the last morning of his childhood. All the things he took for granted, that swept out behind him as he ran. Sensations that tumbled past, disorderly as dreamtime, never noticed but always there. These things were coming to an end. He was on the brink of a world where all phenomena were recorded, catalogued, studied and manipulated. The age of his innocence ended now, and the age of power began.
The Arch Mage had left his other cases to find their own way home. ‘They’re too impatient for a leisurely trip,’ he’d said. He carried only one small wooden box. As they reached the crossroads, he slid back the lid and took out a black-lacquered toy coach.
‘Travel a long road, you might as well travel in style, eh?’ He set the toy coach carefully down in the middle of the road, where the finger-post pointed to the coast. Crouched over it, he whispered some strange lilting words to it, the disquieting lullaby you might sing to a changeling. Straightening, he took Forge’s arm and turned him round. ‘Look over there a while. A thing like this is like pots boiling. It never happens if you watch.’
Forge’s mother hadn’t come. His father’s stolid calm was better suited to goodbyes. He put Forge’s pack down by the roadside and scratched his head. ‘A year goes faster than you’d think,’ he said. ‘And we can write.’
‘I could stay,’ said Forge, a little daunted as he felt a tingle of magic in the air. ‘I could be a blacksmith like you, Poppa.’
His father laughed. ‘Reminds me.’ He pulled a book out of his pocket. ‘Left this in the forge, you did, while “helping” me.’ He pretended to clout Forge on the head with it, then stuffed it into the pack.
‘Poppa – ’
‘It’s right for you, son. Some people are too big for the village. Not me, though you wouldn’t think it to look at me. But your mother nearly is, all five foot three of her. She just about squeezed herself into this way of life, but you couldn’t. Right from when you were a toddler I knew that, even before the Arch Mage came to tell us.’
The scrape of a hoof on the stones. Turning, they saw an elegant coach. The team of four horses stood silent but with an air of pent-up ferocity, as if ready for a race. The driver, hooded and unspeaking, gestured impatiently for them to get aboard.
‘Come.’
The Arch Mage already had Forge’s arm and was leading him towards the coach. The pack was in his other hand. Forge cast a look back at his father. Suddenly there wasn’t enough time. The future was happening like plunging over a cliff.
The older Forge seemed to see this all from a view already inside the coach. His younger self could have broken away. The Arch Mage wasn’t holding him tightly, just hurrying him along. He could have run back and given his father a last hug. But, overwhelmed by the moment, he didn’t.
If only he could rewind time now. Yet that is what he was doing, only to watch it again as a helpless observer. His father stood, big and awkward, and the younger Forge was already eagerly climbing up onto the black leather seats, entranced by the drapes that had been thimble sized a moment earlier. The Arch Mage closed the door to shut them in.
A jolt. Forge wasn’t braced, and was thrown back in his seat as a glimpse of meadows and woodland went flying by. From outside came a shout of alarm, but by the time he’d dragged himself to the window there was just a tiny figure far behind.
He thrust his head right out. It was a hurricane! The countryside swept past like green and golden clouds. The road was a blur beneath the sparks struck from the horses’ hooves. An inn loomed and then fell away behind. He glimpsed a gawping group of pilgrims, forced to scatter as the coach came through.
The fields and trees gave way to scrubby heath. Salt tang and seagulls’ shrieks. No cottages here. No more inns or wayfarers. And then, his first glimpse of the grey immensity of the sea.
Dweomer came in sight then, with its crashing waves and ramparts of rock. He knew it as home at that first glimpse. He waited tense in the seat, teeth bared in the rush of wind as the carriage hurtled on, eager to jump down and rush in under the great rune-carved lintel.
It was only the older Forge, watching the scene in his memory, who realized he’d never waved his father goodbye.

Monday, 9 March 2015

Title fight

When Sylvester Stallone brought back his two most iconic characters a few years back, the movies in question were technically Rocky VI and Rambo IV, but they were released as Rocky Balboa and Rambo. The difference? Probably an extra 50% at box office.

Book publishers have long known that you don’t put numbers on the covers of a book series. This occasionally irritated me when, in younger days, I had to look inside to find which Elric or Ellery Queen book to read next. The publishers didn’t care because they already had me hooked; it was the non-fans they needed to attract. If somebody saw “James Bond book 5” on the cover and hadn’t read the first four, they wouldn’t bother to pick it up. If you number a series too conspicuously, the law of diminishing returns soon kicks in.

Some series can buck the trend. Toy Story and Star Wars movies don’t mind adding the weight of a Roman numeral to the poster. That’s because those series have already broken through to the real mainstream. If you’re going to see the next movie, it’s a dead cert you already saw the earlier ones.

This all came up recently in a discussion with the chaps at Megara Entertainment, who may be running a Kickstarter for a new Fabled Lands book later this year. Perhaps I should add a word of caution here before I overstimulate the hopes of FL aficionados. The problems I've already cited with Kickstarter haven't gone away. (Short version: even if you raise $50,000, after printing and shipping all those hardbacks you might have less than $5000 to pay for writing, art, editing and typesetting.) So we're still just at the discussion stage, figuring out how it could be made to work. Megara may decide to run a Kickstarter campaign for something else this year. Paul Gresty, who has volunteered to write the thing for nothing but love and praise, may yet come to his senses and focus on paid work instead. There are no guarantees in life.

If there are answers to the Kickstarter Paradox, they can only be found by a group of people proposing and debating different strategies, refining the best ideas, and all getting behind an agreed plan. I started this particular discussion off by saying that, given the twenty-year gap, we could hardly sail in with, “Here’s book 7” like nothing had happened. Most of the people we’ll be talking to would never have heard of Fabled Lands. And even for the fans – well, think of Sherlock Holmes. Does anybody want yet more formulaic adventures of the dear old bod? Even his creator was sick of those. When a new Holmes book comes out, what we look for is something interesting like Moriarty or A Slight Trick of the Mind. Nobody but a Baker Street Irregular is going to want Sherlock Holmes V – and they’d just swipe a copy without paying and then use it to cosh a tramp.

Anyway, here’s what the Megara team had to say. Joining in are Mikael Louys and Richard S Hetley, Megara’s CEOs in Europe and the USA respectively; Paul Gresty, the author of the new book whatever it ends up being called; and me and Jamie, as the ones to blame for all this FL stuff in the first place.

So: do we follow the lead of movie series like Bourne, Batman and Star Trek - and books like Tintin, Peter Wimsey, A Song of Ice and Fire, etc - in dropping the numeral?

Richard S Hetley: “That is an interesting possibility. Sure, the Way of the Tiger worked out very well, but ‘rebooting’ a series is often a peculiar thing psychologically. After all this time, why not act as though it were a standalone book? Part of the point is that they already are "standalone" in the sense that you can start from anywhere. So, ‘We acknowledge that it's been years and the initial plan of twelve books isn't getting completed. We are returning to the Fabled Lands for this one book. Sure, it connects with all those books, and it draws from the missing 7-12 domain, but we know things are different 25 years later and this book is its own thing.’”

Jamie Thomson: “I just don't see the value of not calling it FL 7. It's a series of linked books, each playable on their own anyway. Mucking about with it at this stage will only confuse people. Is it Fabled Lands or not? Or some new spin off? There's no need to complicate a fairly simple idea. There's a bunch of fans out there who want more in the series. We just give them the next one. Then we find out whether there's enough of them to justify the work, but hopefully there will be. And if so, they'll want the next, and we could even keep doing that until they don't want to fund any more. I can't see where the gain is. It sounds like we'd be saying, 'This isn't book 7, although actually it is.’ Unless we did it as a stand alone title, but it referenced all parts of the world, and wasn't just set in the Feathered Lands. You'd just have fewer adventures, but spread around a bit. It wouldn't actually be book 7 then.”

Mikael Louys: “The fans want it to be a Fabled Lands book not a standalone. I've heard this often enough over the last few years.”

Richard: “There was a recent movie called Tron: Legacy. It was not called Tron II. They didn't even try to get people to watch the original Tron first. That's what I mean by ‘standalone’.”

Paul Gresty: “Looking over the FL reprints, they aren't really called 'Fabled Lands 1', 'Fabled Lands 2' etc. The pertinent number appears on each book's spine, but that's the only place it does appear. The cover of Book 2, for instance, says: Fabled Lands: Cities of Gold and Glory. So, for the Kickstarter, it's easy enough to drop the 7. By the very nature of the FL series, The Serpent King's Domain could easily be considered the first book you play anyway.”

Dave Morris: “That’s what I’m saying. The fans already know The Serpent King’s Domain is the seventh book in chronological order of publication. They also understand they can start in any book. But somebody who has never played Fabled Lands before but does have an interest in gamebooks and is willing to support a campaign on Kickstarter – I submit that could be a respectably large set of potential backers, for whom seeing it described as ‘book 7’ will only put them off.”

Paul: “I think it would be particularly tricky to reboot Fabled Lands, given how interconnected the books are – far more so than, say, Golden Dragon. The as-yet-unpublished Lone Wolf 29 apparently takes place twenty-five years after Lone Wolf 28. A quarter of a century has passed in real-life, and it has passed in the life of the book's protagonist as well. Could something similar be done with Fabled Lands? For the moment, I'm failing to see how. As I say, the books are too interconnected, and non-linear, to make that sort of thing easy.”

Dave: “I don't think anyone is advocating an FL reboot. And I like the sound of what Joe Dever is doing there, letting the 25-year hiatus be a feature not a bug, but we can’t really do it with Fabled Lands because we don’t have a central character in that way. Short of adding show tunes or pop-up maps, what can we do to make this, not a reboot, but more than just ‘here’s more monsters and treasure’?”

Jamie: "I think we just have to say it’s book 7! You know what will happen if we don’t: ‘Is this book 7 in the series?’ ‘Can I go straight from one of the earlier books to this one?’ ‘Why isn’t this the next in the series’. ‘What is this?’ ‘Can I take my old Fabled Lands character into this book?’ ‘Is this set in the same time period as the original series?’ ‘This sounds interesting, but I really just wanted the next in the series’ and so on, and so on.


It seems the debate will rage on and on. Should the book be trumpeted on Kickstarter as "Fabled Lands Book 7" or as "Fabled Lands: The Serpent King's Domain"? Or should it even be a single volume that wraps up the whole Fabled Lands series once and for all? A lot depends on whether we are willing and able to reach out to a new bunch of readers, and thus inject the series with a fresh lease of life, or whether the market for Fabled Lands books is going to stay restricted to those players who have stuck around for the last twenty years. What do you think?

Thursday, 18 September 2014

Four squared gamebooks

Not that anybody asked, but here are the gamebooks or interactive stories that I've personally written or co-written, displayed in order of how well they turned out, starting with Heart of Ice in #1 position and reading across.

The only one missing is the salmagundi that is The Walls of Spyte - which currently isn't even on the chart, but for the new edition I'm stripping out the engine and reconditioning the whole thing so as to try and get it up into the third row at least

No Keep of the Lich Lord? So you spotted that. It's tricky, because I'd put the original Fighting Fantasy edition at around #15 on the list, but the revised edition that's coming out next month might just edge up into the third row around #10 or #11. Maybe I'll revisit this list once I've got enough books to fill another row, then.

All the above my opinion only, of course. Everyone will have their own favourites, though I doubt if many would dispute Heart of Ice's primacy on this list. Take a look at reviews for the top row and see what you think:

Heart of Ice (review by Andy Wright)
Frankenstein (review by Laura Miller)
Down Among the Dead Men (review by Per Jorner)
Necklace of Skulls (Per Jorner again)

(Incidentally, reviews are pretty much the only way books can get noticed these days, so let me thank all of the above-mentioned reviewers, as well as Stuart Lloyd, and Mrs Giggles, and Demian Katz, and Ed Jolley, and everybody else who takes the time to review not just my gamebooks but any in the genre. That flame won't go out as long as you keep blowing on it, guys.)

And the nice thing is, not only is the whole of the second row now back in print, but I'm currently involved with digital projects based on all four of the top row titles. The first of those is out tomorrow, so come back then.

Monday, 31 December 2012

Castle of Lost Souls part four: "The Evil Eye"

Maybe you were playing the original White Dwarf version of The Castle of Lost Souls and you thought I'd forgotten all about you? It has been over a year since the last instalment, after all. Well, um... Better late than never. Oh, and happy New Year. Jamie and I are looking forward to the spring, because 2013 is when a lot of our gamebooks are coming back into print - not to mention digital formats. Exciting times ahead!

INTRODUCTION


You are the Champion of the Greengosh family, chosen by its head, Hogron. He hired you to rescue his father’s soul, captured and taken to the castle of the demon, Slank. To do this Hogron told you that you needed some magical boots, a teardrop, a fragment of armour from the most chivalrous knight, a four leaf clover, the ashes of a saint and the hair of a nun. All these items you have collected in your journeys and have already undergone many hardships to reach the castle of Slank.

If you have not played previous instalments in this adventure (go here for part one, part two and part three) you will begin this instalment with an Honour score of 7, and should note on your Character Sheet that you have: chainmail armour, a sword, a dagger, a bow with six arrows, a lantern, flint and tinder, a Potion of Healing, 40 gold pieces, magical boots, a little girl’s teardrop, a fragment of a chivalrous knight’s armour, a four-leaf clover, a saint’s ashes, a crystal ball, and a nun’s hair. If you did play the earlier instalments then, of course, you have the equipment and attribute scores earned there.

The rules are here. When you are ready to begin, go to 1.

1: You stand at the very threshold of the Castle of Lost Souls. The mists of the swamp seem to shrink away from it. Its presence is awesome. You cannot grasp any sense of its size; it seems endless, eternal. The walls tower dizzyingly above you into the glowering, dull red sky. Perhaps in the castle’s unreal and inhuman architecture you glean something of the twisted mind of its master, Slank. You notice a twinkling light. A solitary candle burns in one of the windows – to the left of the doorway, apparently on the first floor. All else is shrouded in darkness.

The castle is not guarded. None of the tortured souls that enter ever leaves. With weapon in hand you advance slowly across the drawbridge. You reach out – does your hand tremble just a little now? – and push open the heavy mahogany door. Turn to 12.

2: After a short distance the corridor turns to the right. At the corner there is a low, fire-blackened door with a pewter handle. If you wish to open the door, turn to 73. If you wish to ignore it and carry on, turn to 6.

3: You dip your hand into the pool and take the stone bottle. Will you remove the stopper from it? If so, turn to 63. If not, note it down and turn to 44.

4: Your eyes are off him for only a moment as you reach for your backpack, but when you look again he is no longer there. Strange and inexplicable things are obviously commonplace here – you will have to be vigilant. You turn back; go to 41.

5: You double up in sudden and intense agony. For long minutes you crouch there by the fire, incapacitated by the terrible pain. At last you are able to rise, but you have permanently lost a point from your initial Constitution. You can now open the larder (turn to 22) or go through to the next room (turn to 58).

6: A little further along the corridor you come to a large oak portal with an iron latch in the shape of a bat. You push it open and survey the room beyond. Directly opposite is a high arch leading from the room. Staring down from above this arch is a rather noxious bas relief of a sneering inhuman face.

A low whimpering draws your attention to the occupant of the room – presumably one of the poor souls Slank torments for his pleasure. She is a slender woman with light brown hair, her wrists bound by leather thongs to a wooden beam above her head. Her feet rest on a red-hot metal plate. You can see the sick ingenuity of the arrangement. She is able to lift her legs clear of the plate, but eventually her arms ache so much that she has to stand on it again and get burned. She sees you and starts pleading for you to release her. If you do, turn to 53. If not, turn to 37.

7: Did you leave either the clover or the teardrop on Slank’s mask? If so, turn to 75. If not, turn to 43.

8: You could try to heat the knife using your lantern, which might help to cut the ice. If you do that, turn to 86. If you have a jar of salt, go to 55.

9: You find a twisting flight of steps leading up out of the dungeon. To your immense relief, the door at the top is not locked and you emerge into the candlelit entrance hall. You decide to try the stairs-turn to 34.

10: It is exhausting work, but you eventually manage to dig the mask out of the ice. Turn to 35.

11: The rauchwurm dissipates into the smoke from which it formed. You reach out and grasp the golden hilt of the sword you have fought for. Certainly it is a worthy prize: as you swing it through the air it follows your intentions with an almost sentient precision. You add 1 to your Fighting Prowess while fighting with this weapon. Seeing nothing else of value in the room, you decide to leave - and you are incidentally saved from electrocution a second time by your magic wristband. Turn to 6.

12: You step into a shadowy, cloistered hallway that reeks of funeral incense. All is bathed in the guttering, smoky light of myriad black candles. A wide staircase leads up to the first floor. Over to one side of the hallway you see double doors carved with arabesque designs. Will you open the doors (turn to 49), or proceed up the stairs (turn to 34)?

13: You walk along a short tunnel and enter a circular room with a pool in the middle. There is one other exit from the room: a door to your left. You can go back and take one of the other doors – either the one with the copper plaque (turn to 88) or the one with the bronze plaque (turn to 70). Or you can cross the room (turn to 83).

14: You leave the newt’s eye in the eyeslit of the demon mask. There seems to be nothing else you can do here, so you cross the icy floor to the archway and step through. Turn to 18.

15: You gulp back the magic potion. For the duration of your fight with the undine, you can strike three times in every combat round. Turn to 50.

16: Before you can go further you need a source of light. Will you take down the pine torch (turn to 25), or would you prefer to light your lantern (turn to 67)?

17: You can use the crystal ball (turn to 66) or the three strange silver coins (turn to 24). If you have neither of these, or decide not to use them, turn back to 37 and open one of the doors.

18: You are at the foot of a rough stone stairway that winds up around the walls of a narrow, circular tower. Staring into the gloom, you discern a crimson glow far above. You climb up and up – hundreds of feet, it seems. At last you reach the top of the tower. There is only one door off the landing -a heavy iron portal with a glowing, gloating red face inscribed into it. It swings back as you approach and you pass through into what must be the topmost chamber of the tower. Outside you can see massive, ponderous storm clouds against the starless night sky. There is a curtained alcove on the other side of the chamber. As you cross over to it, a sibilant voice seems to speak from within you, extolling the virtues of an eternity in service to the demon. If you have any Honour, try to roll equal to or less than your Honour score on two dice. If you succeed, turn to 46; if you fail, turn to 27. If you don’t have any Honour, turn to 74.

19: Chuckling humourlessly, he closes his grip on you. You cannot move. ‘Quite wrong,’ he says. ‘Clearly your riddling skills leave much to be desired, but perhaps they will improve when you’ve been a guest at my castle for an eternity or two!’ By his duplicity, the archfiend Slank has captured you. You are his prisoner forever, and the adventure ends here.

20: Do you have the ashes of a saint? If so, you scatter these over the demon’s body; turn to 89. If you don’t have any ashes, turn to 84.

21: He reaches into a pouch at his belt and produces a number of wicked-looking devices. ‘Pilliwinks is a game played with the fingers,’ he explains as he fixes the thumbscrews onto you. Paralysing pain shoots up your arms. Through waves of agony you see the figure before you dissolve and alter. He is no longer an old man, but a tall figure clad in black robes.

‘A generous soul is a lost soul,’ says Slank with a demonic smile. ‘Allow me to welcome you as my castle’s latest guest.’ Your adventure has ended, but the torment is just beginning...

22: Human torsos dripping with gore hang on rusted meat hooks along the larder walls. You can see maggots crawling on some of them. Slank obviously likes game adventurers. Ranged on wooden shelves you can see a number of jars and bottles. You lean closer to read the faded labels; they contain all manner of ingredients. There is a jar of newt’s eyes, another of frog’s toes, one contains a pickled dog’s tongue and the next holds fillet of fen snake. One bottle has no label, but its contents are unmistakeably lizard legs. Among the more normal ingredients, you notice red pepper, parsley and salt. You can take up to three jars if you wish - note them down on your Character Sheet. Feeling your gorge rise at the sight and stench of the demon’s awful larder you continue on your way (turn to 58).

23: ‘Oh. Well, at least you must have the ashes of a saint?' If you do, turn to 72. If not, turn to 33. (Gorbran was not a saint, by the way, if you met him in the previous instalment.)

24: You toss the three coins down on the floor in front of you. One lands with the unicorn’s head uppermost, the other two with the serpent’s head. Does that give you any ideas? You can retrieve the coins if you wish, then turn back to 37 and choose which door to open.

25: As you take the torch from the bracket, you set off a trap! A hatch you had carelessly failed to notice opens beneath you and you plummet some thirteen feet onto a cold stone floor. Somewhat dazed, you stagger to your feet and look around. In the bleary light and choking dust you can just make out a figure chained to the wall. As you approach with the torch you see he is an old man with a clouded, sightless right eye.

‘I am Vimbol Greengosh,’ he tells you. ‘Are you the champion my sons have sent to rescue me? If so, help me out of these chains and your reward will exceed anything you can imagine.’ If you wish to do as he asks, turn to 60. If you would rather leave him chained up, turn to 9.

26: You pull the folds of the rug around you. It is comfortably warm and you are glad you had the foresight to bring it. Will you now try to get at the mask (turn to 77), or leave through the archway (turn to 18)?

27: Slank is trying to convince you to serve him. You dimly realize that he is probably using magic, but you cannot resist. You have always been the sort of half heartedly unethical person who is easily led by those of strongly good or evil character. Slank is very definitely in the latter category. He steps from the alcove and you feel the last of your will desert you as you kneel before him. Now and forever, you are his cringing thrall...

28: You pound the door with your fist, producing a booming echo. After a few moments a small panel is slid back and the occupant of the room examines you. You see his eyes alight on the talisman Hogron gave you; immediately he gives a cry of delight and starts to clear his barricade from the other side of the door. You wait nervously in the passage, praying that all this noise won’t alert the demon. Finally the door opens and the old man ushers you in. The place is a vast, vaulted library with books and pamphlets lining every inch of the walls from floor to ceiling.

‘You’ve come at last!’ says the old man, crying with joy. ‘I knew my lads wouldn’t let me down –I’m Vimbol Greengosh, of course.’ He shows you to a leather armchair by the fireplace and thrusts a glass of tawny port wine into your hand. Obviously, although Slank’s prisoner, he is not completely without creature comforts. He takes down a musty tome and opens it at a chapter headed Dealing With Demons. ‘Now listen carefully, for there isn’t much time. You should have a number of items, and this book describes how each item will affect Slank. Firstly, a four leaf clover will have much the same effect on him as a crucifix has on a vampire – he won’t want to touch it or go anywhere near it. Second, if you throw my daughter’s teardrop into his left eye you’ll blind him completely, as I’ve already managed to destroy his right eye. Now, do you have the fragment of knight’s armour and the hair of a nun?

If you have both these items turn to 64. If not, turn to 23.

29: Somehow you manage to drag yourself the last few yards and slump through the archway. The coldness is presumably a magical effect restricted to the last room, for after a few minutes you stop shivering. Rubbing the circulation back into your sword-hand, you look around you. Turn to 18.

30: ‘That’s right!’ he says,’ his tone of surprise veiling a slight irritation. ‘I didn’t expect you to get that one. All the same, I don’t see how you could have cheated, so I suppose I’ll have to let you go for now...’ Suddenly he spits in your face! You blink and rub your eyes, and when you look again he is nowhere to be seen. You go back to the top of the stairs and try the other direction. Turn to 41.

31: As Slank flails about blindly, you raise your bow and shoot the specially prepared arrow straight into his evil heart. He falls dead at your feet. Turn to 20.

32. You descend a flight of stairs into what seems to be a pillared ballroom with a floor of polished white marble. There is a shadowed archway across on the other side of the room. However, as you walk warily towards this, you make a startling discovery – the floor underfoot is not marble at all, it’s solid ice. Several inches below you, frozen in the ice, you can see a bizarre demonic mask. As you peer down at this you suddenly realize how cold the room is getting. Your hands are turning blue and your teeth chatter uncontrollably. Do you have a bearskin rug? If so, turn to 26. If not, turn to 59.

33: Vimbol shrugs. ’Too bad. Still, maybe you can finish Slank off anyway. You’ll just need to be that much more careful. Now, I wish you good luck.’ He shows you to the library door and the two of you shake hands. As you continue along the corridor you can hear him replacing the barricade on the other side of the door. Turn to 2.

34: You climb up to the first floor landing. From here you can go left (turn to 41) or right (turn to 61).

35: The mask is of black-laquered wood decorated with silver, and could be a fanciful representation of a demon’s face. You have seen its like at several masquerade parties, although never crafted with such chilling effectiveness as this. Curiously, the mask has only one eye – the left – and that has a quartz lens set into it. Will you touch the mask (turn to 47), take out one of your items (turn to 79), or depart through the dark archway (turn to 18)?

36: You pour a little of the oil from your lantern onto the surface of the pool, thereby calming the troubled waters. The undine immediately becomes quiescent and sinks back into the pool. You cautiously dip your hand into the still water to take the stone bottle. If you wish to unstopper this now, turn to 63. If not, note it down on your Character Sheet and turn to 44.

37: After a brief, uneasy : glance at the bas relief, you pass through the arch and make your way along a narrow, twisting passage that leads deep into the heart of the castle. You pass through a succession of gloomy chambers and finally climb a worn flight of steps to a landing where three doors face you. Each of the doors bears a plaque with an inscription on it:

Copper plaque – To slay me you must pass through this door.
Bronze plaque – You should not pass through this door.
Lead plaque – The correct path is not beyond the copper-plaqued door.

You grit your teeth. The demon is obviously toying with you. His mistake. You could open one of the doors–the door with the copper plaque (turn to 88), the one with the bronze plaque (turn to 70) or the one with lead plaque (turn to 13). Or you could take an item from your backpack (turn to 17).

38: You enter a large, low-ceilinged room with no other doorways. In the centre of the room stands a tall man in voluminous robes. He wears a patch over his right eye and stands by a pool of blood which is flowing from a gash in his arm. If you want to talk to him, turn to 82. If you want to take an item from your backpack, turn to 4.

39: You lift the ladle and sip a little of the mixture. Roll five dice – if you score equal to or less than your Constitution, turn to 5. If you score greater than your Constitution, turn to 68.

40: You stand over the fallen body for several minutes, half expecting Slank to rise a second time, and ready to renew the battle at once if he does. But he used the last of his sorcerous power against you; this time he stays dead. Turn to 89.

41: You advance along a narrow corridor illuminated by the amber glow of oil lamps. Shortly you come to a door in the left-hand wall. You can try the door (turn to 51) or continue on along the corridor (turn to 2).

42: Do you have the Wristband of Lightning? If so, turn to 62. If not, an electrical discharge as you try to step into the alcove hurls you back across the room. Deduct 4 points from your Constitution; if you are still alive you decide to leave and continue along the corridor – turn to 6.

43: Smiling viciously, Slank steps from the alcove and stands before you, huge and awesome and casting no shadow. You hear the rumble of the approaching storm, drowned out by Slank’s laughter. His surcoat and boots and vambraces are as black as the night and trimmed with silver; his pale skin has a translucent gleam. At first glance the face might almost be considered handsome – but then you see the clouded, sightless right eye, the face around it scarred and mutilated by terrible burns. The good eye shines with an awful, corrupt light and the expression twisting those fine features is one of utter evil.

Slank holds a lacquered mask in his left hand, and he brings this up now to cover his face. The mask has a quartz lens which shields his good eye, so even if you have the teardrop you cannot use it. Neither is there time to draw your bow–you must fight him. Turn to 48.

44: Will you leave the circular room through the door to your left (turn to 58), or will you return to the landing and open the door with the copper plaque (turn to 88) or the door with the bronze plaque (turn to 70)?

45: Which of the following will you use against the undine? The Ring of Light (turn to 80); the Potion of Dazzling Speed (turn to 15); your lantern (turn to 36). If you decide not to try any of these, turn to 50.

46: Slank is using his foul magic to try and persuade you to serve him, but no demon will ever corrupt an honourable and undaunting spirit like yours. Grimly, you push the curtain aside. Turn to 7.

47: The mask is so cold that it burns your fingers. You try to wrap it in your cloak, but you can still feel the unnatural chill of it sapping your body heat. You cannot take it with you, then. Will you take an item from your backpack (turn to 79), or leave the room (turn to 18)?

48: Slank advances on you -. with a panther’s grace, his robes fluttering in the breeze. There is a cold, damp, earthy smell like a waiting grave. The talons of his right hand are almost a cubit long; they sparkle like crystal and are razor-sharp.
SLANK: Fighting Prowess: 12; Constitution: 23; 3-pt armour.
If you manage to defeat him, turn to 20.

49: Beyond the double doors you see a dimly lit room. A pine torch burns in a bracket on the wall. The same heavy incense you noticed before lingers here. At the far end of the room you can just make out a darkened archway. There is blackness beyond. Will you return to the hallway and go upstairs (turn to 34), or cross the room to the archway (turn to 16)?

50: You are fighting an undine, or water elemental. Every time you hit it you must roll your Magical Fortitude or less on two dice – failure to do this means you lose 1 point from your Fighting Prowess, down to a minimum of 4:
UNDINE: Fighting Prowess: 6; Constitution: 5; no armour.
If you win, turn to 3.

51: The door seems to be barred or barricaded shut. Will you knock (turn to 28), or carry on to the end of the corridor (turn to 2)?

52: The correct answer is ‘peerless’. If you answered this, turn to 30. If you answered anything else, turn to 19.

53: You slice through her bonds with your knife and carry her over to a corner of the room where you gently set her down. Gain 1 point of Honour for your charitable action. The woman nurses her blistered feet for a while, then looks up at you and speaks. ‘I was a witch, and I sold my soul to the demon in return for knowledge and occult power. For helping me, I will give you what little aid I can.’ She puts a catskin pouch around your neck – increase your Magical Fortitude by 1 above its initial level for as long as you wear this. She also gives you three silver coins. ‘These may show you the way,’ she murmurs cryptically. Each has a unicorn’s head on one face and a serpent’s head with a forked tongue on the other. You are about to question her further when you see that she has passed out. You moisten her lips with a little wine, then pocket the coins and leave. Turn to 37.

54: Curse the luck! Your knife breaks. If you didn’t have a sword then you are now without any weapon at all, and must subtract 2 from your damage rolls from now on until you find one. If you do have a sword, you are certainly not going to risk breaking its blade on the ice. You decide to leave the damned mask where it is and go through the archway. Turn to 18.

55: By pouring salt over the ice you lower its freezing point; it starts to melt, and you now have little difficulty in digging down to the mask with your knife. Turn to 35.

56: Before continuing on your way, you could take either the poleaxe or the now-lifeless rug. You cannot take both because they are rather bulky items. You then proceed to the double doors at the end of the room. Turn to 32.

57: You leave the teardrop in the mask’s one eye and then cross the room to the archway. Cross the tear off your Character Sheet. Turn to 18.

58: You enter a long, oak-beamed dining hall with fading portraits high up on the walls. Ignoring two smaller doorways, you make your way along the table towards the double doors at the far end of the room. You pass a wide stone hearth where a raging log fire crackles and spits. Over the hearth hangs a great poleaxe and on the floor in front of it there is a fine, white bearskin rug. You can either go over to the hearth (turn to 76) or carry on to the double doors (turn to 32).

59: You panic and run for the archway, but your feet slip on the ice and you scramble frantically on all fours. Roll four dice, attempting to score equal to or less than your Constitution. If you succeed, turn to 29. If you fail, turn to 65.

60: You have no trouble in breaking the rusty manacles from his wrists. ‘What a generous soul you are!’ he exclaims, favouring you with a rather peculiar smile. ‘How about a game of pilliwinks?’ Will you accept his offer (turn to 21), or decline to play (turn to 71)?

61: You walk along a short passage and come to a low door. If you want to go through this door, turn to 38; if you want to turn back and go the other way, turn to 41.

62: An incandescent bolt arcs across the alcove entrance as you step through it, but the energy is absorbed by your Wristband and you are unharmed. The sword hangs on the wall before you. The rubies glitter and the metal gleams in the wan light of the two braziers to either side of the alcove. As you reach for the sword, thick smoke billows up from these braziers and coagulates into a dark serpentine form in the air above your head. With a shock, you realize this smoke-creature is alive and intent on fighting you!
RAUCHWURM: Fighting Prowess: Constitution: 8; no armour.
If you win, turn to 11.

63: An emerald vapour issues from the open neck of the bottle. When it clears you find a tall figure with green skin standing before you. Arms folded across his barrel-like chest, he bows low. ‘Greetings, master!’ he booms. ‘I am Ghilbee, and for releasing me I can grant you skill, stamina or knowledge.’ If you choose skill, he will restore your Fighting Prowess to its initial level. If you choose stamina, he will restore 4 points of your Constitution. If you choose knowledge, he gives you a clue to defeating Slank (turn to 69 to find out what it is). After performing whichever of these services you request, he vanishes. Turn to 44.

64: Following instructions in his book, Vimbol affixes the sliver of armour to the point of one of your arrows. He then restrings your bow using the nun’s hair. ‘This will kill Slank at once if you shoot him through the heart,’ he explains. ‘Lastly, then, do you have the ashes of a saint?’

If you do, turn to 72. If not, turn to 33. (Incidentally, if you completed the previous instalment of this adventure and burnt Gorbran thinking he was a saint, you were wrong.)

65: You are only a few J. yards from the archway, but the terrible cold numbs your limbs and you slump down on the icy floor. You cannot feel any pain, but you realize you are dying. You note with dispassionate wonder the curious sighing sound your breath makes as it freezes on the air. Strangely calm, you surrender to the eternal dark.

66: The doors do not look any different when viewed through the crystal ball. Turn back to 37 and think again.

67: Holding up your lantern, you crossover to the archway – only to find that the passage beyond ends in a blank wall after only a few yards. You search in vain for a secret panel, but you are finally forced to accept that it is a dead end. Puzzled, you return to the hallway and try the stairs. Turn to 34.

68: The effect of the brew hits you like a poleaxe and you fall to the floor. This is the favourite soup of the demon, but to any mortal it is a virulent poison. The life ebbs from your pain-wracked body. Your quest has ended in failure.

69: Before he disappeared, the genie told you cryptically that ‘the eyes have it’ and suggested that you go back to the landing and try another of the doors. Turn to 44.

70: You open the door into what seems to be a kitchen. It is full of smoke and steam and is almost unbearably hot. Looking around, you see a cauldron bubbling over the roaring fire and a small doorway to one side that presumably leads to the larder. Directly across the kitchen from where you entered is a copper-bound door stamped with odd runic designs. You can look in the larder (turn to 22), look in the cauldron (turn to 85) or go to the next room (turn to 58).

71: He shrugs and seems to fade away into the shadows. You are alone. Go to 9.

72: ‘Excellent. After killing Slank you must scatter the ashes over his body. Now, I wish you good luck.’ You shake hands before taking your leave of him and continuing along the corridor. Behind you, you hear pushing the library furniture back against the door. Turn to 2.

73: The room consists of a hexagonal main chamber with a large alcove off the far end. Hanging on the wall in the alcove you can see a gilded longsword decorated with rubies. As you step closer, you notice an acrid smell in the room and a blue-white glow flickering across the alcove entrance. Will you step into the alcove (turn to 42), or continue along the corridor (turn to 6)?

74: You are one of the most disreputable and unprincipled degenerates of all time. Slank is trying to convince you to become his servant, but no way are you going to take orders from an upstart like him! You sneer and rip down the curtain. Turn to 7.

75: Smiling viciously, Slank steps from the alcove and towers over you in his robes as black as night. At first glance his face might almost be considered handsome – but then you see the clouded, sightless right eye, the face around it scarred and mutilated by terrible burns. The other eye shines with an awful, corrupt light, and the expression twisting those fine features is one of utter and inhuman evil. From outside the tower comes the rumble of distant thunder, and Slank answers it with triumphant laughter. If you have Perterra Greengosh’s teardrop, you can cast it into his eye – turn to 87. It you don’t have this item, you must fight him – turn to 48.

76: As you step forwards, the rug comes to life and rises up, challenging you with an eerie, hissing growl.
BEARSKIN RUG: Fighting Prowess 5; Constitution: 7; no armour.
If you defeat it, turn to 56.

77: You attack the ice with your knife blade, but it is refreezing as fast as you can chip it away. If you are determined to reach the mask you will have to think of something else to try – turn to 8. If you are ready to give up and go through the archway, turn to 18.

78: Slank can scent your fear and almost hear your racing heartbeat. Although blind, he is yet dangerous. He lunges at you with the long, sparkling talons of his right hand, using them as a fencer uses a sword.
SLANK: Fighting Prowess: 7; Constitution: 23; 3-pt armour
If you defeat him, turn to 20.

79: If you have them, you can use: the four leaf clover (turn to 81); the daughter’s teardrop (turn to 57); a newt’s eye (turn to 14). If you do not have any of these, or do not wish to use them, you now leave the room (turn to 18).

80: Your ring emits a blinding pulse of light, but this has no effect whatsoever on the creature. It strikes you with a watery fist as you fumble for your weapon – roll one die to determine the damage from this blow, then turn to 50.

81: You leave the clover in the mouth of the demon mask. That should prevent Slank from touching it. You trudge across the icy floor to the archway and step through. Turn to 18.

82: He comes over and lays his hands on your shoulders – apparently in a gesture of friendship, but you feel as if you are bound in shackles of cold iron. He fixes you with his one good eye and says, ‘I have a riddle for you. My first is equality, my last is inferiority, and my whole is superiority –what am I?’ Decide on your answer (think carefully!) and then turn to 52.

83: You notice a bottle of grey-green stone at the bottom of the pool. Before you decide whether to reach in and take it or not, the surface of the pool starts rippling and heaving like a lake in a storm. Suddenly a watery being rises up out of the turbulent pool. Will you draw your weapon (turn to 50), or find some other way to fight it (turn to 45)?

84: Hushed, whispering voices seem to call from outside the tower. ‘Awake, master. Death cannot hold you.’ You go to the window and look out, but there is nothing but the night and the howling wind.

Something stirs behind you. You freeze at the sound, then slowly turn... Slank has risen again, but altered now to his true form – he is much smaller than before, stooped, almost frail. His face is grey and lined, twisted and misshapen such that the hollow sockets of his eyes are not level. The effect is even more horrible than his previous appearance.

‘I still have one life left,’ he snarls. The voice is a strangled, halting croak. His power is greatly diminished, but you will have to fight hard to prevail against him.
SLANK: Fighting Prowess: 7; Constitution: 18; 2-pt armour
If you beat him, turn to 40.

85: You gets whiff of the stuff in the cauldron when you are only halfway across the room, and it almost puts you off taking a look. When you do look, you wish you hadn’t – it is a green, slimy broth full of unmentionable ingredients. If by any chance you want to drink this foul brew, turn to 39. Otherwise you could continue on into the next room (turn to 58) or investigate the larder (turn to 22).

86: Roll one die. If you score 4 or less, turn to 54. If you score 5 or 6, turn to 10.

87: The little girl’s teardrop is like an acid to Slank. He screams in rage and pain and clutches at his eye. Did Vimbol Greengosh explain to you the purpose of the armour fragment and the nun’s hair? If so, turn to 31. If not, turn to 78.

88: You pass along a winding tunnel and enter a vaulted room lit with a sombre green radiance. A dark silhouette takes form in front of you. A tall, majestic woman. She is – magnificent. You stand in awe. A watery green hue dissolves from the room as she lifts the veil covering her face and you stare into the unfiltered light of her eyes. They shine like polished jade. You try to turn away, but, try as you might, you cannot break her mesmerizing gaze.

Mournful voices seem to echo in your head, greeting you  – the voices of a hundred stony victims entrapped by the gorgon to become her companions and lovers. They stand in shadowed alcoves all about. Your world is with them now. Share silence...

89: From an upper window, you watch the exodus of the thousands of souls Slank had kept imprisoned here, some of them for aeons. They file from the castle and out across the swamps, where they fade from your mortal sight as they pass into the afterlife. You scan the milling throng for Vimbol Greengosh, and finally catch sight of him – capering merrily, he dances away from the castle towards whatever fate the afterlife reserves for merchants...

At last you are alone in the castle. You descend through the empty halls and stride away across the marshes. You do not look back until you reach the Mungo Hills, and by then there is no sign of the castle.

As you make your way back towards the town, you find that seers and wizards have already learned of your success. Balladeers roam the villages singing epic songs which tell of the archfiend’s destruction and which refer to you as Demonslayer, or Knight of Souls, or several other rather flattering titles.

Hogron and his brothers have invited the whole town to an alfresco party in your honour. You are carried shoulder-high through the streets to the main square, where Hogron delivers a long-winded speech and then presents you with a chest containing 700 gold pieces and a suit of enchanted chainmail!

Your quest is ended. But keep your Character Sheet somewhere safe, for who knows what great deeds yet await you?

Monday, 10 December 2012

A Ballad of Times Past - part one

Among the beautifully produced and re-edited Dragon Warriors releases from Magnum Opus Press a few years back, you may not have noticed In From the Cold, an anthology of White Dwarf scenarios by me, Oliver Johnson and Mike Polling. The book is currently out-of-print (really, that can still happen even in 2012 – I was amazed too) but hopefully it’s only popped out into the snow to relieve itself and will soon be stomping back over to the fireside and ordering ales all round, courtesy of Serpent King Games, who inherited the DW publishing licence from the éminence grise of British gaming, James Wallis. In the meantime, somebody styling himself the Dark Cavalier has become the self-appointed “publisher” and is offering it to anybody who cares to risk a download from his site. (Cheers, Cav; hope I get the chance to nick your Blu-ray player and laptop some time.)

Still, while not necessarily subscribing to the cause espoused by the brethren of the coast, I can see that, at this time of year, yes, content does want to be free. And in that spirit – and incidentally as a roundhead, not a cavalier – in the run-up to Yule I’m serializing “A Ballad of Times Past”, a seasonal standalone scenario in a world with very little magic. Today we’ve got the background and cast of principal NPCs, then the adventure itself in three instalments over the next nine days, giving you plenty of time to arrange a solstitial RPG session.

The adventure is set in Beorsca, a small kingdom in a land very much like Dark Ages Scandinavia. The practitioners of magic are even scarcer in this world than in Legend: all sorcerer, elementalist, warlock and demonologist spells above 2nd level require, as the material component, a pinch of dragon dust made from the powdered shell of an unhatched dragon’s egg (in hatching, the fledgling drains the magic from the shell). As obtaining dust would involve getting past a protective mother dragon, magic is very rare. One whole eggshell would provide one hundred pinches of dust.

Players should be told that spellcasters are almost unknown, but not why. Characters should be generated specifically for this adventure, and are 5th rank. They can be knights or barbarians (retainers of King Athelred involved from the start). There is also room for one mystic and/or one assassin (from the local abbey and minstrel troupe respectively, who join in as indicated in the text). Mystic spells do not require dragon dust, but in this world there are no mystic spells above 3rd level.

Needless to say, if you're going to be playing in this adventure you should stop reading right now and come back after Christmas!

THE CAST



Osric, the heir to the throne of Beorsca, is not quite 18 years old. A tall and handsome youth, he is probably the sort of warrior his father would have liked to be, for although Athelred has remained doggedly true to the new religion, he never has the effortlessly pure heart of his son. Osric’s long golden hair and grey eyes make him much like a younger version of his father, though he has not the king’s full beard or battle scars.


In his youth, Caedmon was a close friend of Athelred. When they befriended the dragon some 20 years ago, Caedmon was given fifty pinches of dragon dust. He now chafes at the fact that his former friend went on to win a kingdom while he lives in his tower in bitter and lonely seclusion. This resentment eventually drove him both mad and evil. He wants enough dragon dust to have a chance of taking over the kingdom, but failing that he will settle for enraging the dragon into causing widespread destruction.

Caedmon has not borne his 42 years as well as Athelred, He is frail and bent. His hair is sparse, and his complexion is unhealthily sallow. Only his eyes reveal the hidden energies within, for they are a clear and most startling sky-blue.


Erik is a slightly built man in his early thirties. He is of medium height with a handsome face and short, golden brown hair. A travelling mercenary, he came to Beorsca six years ago and fell in with Caedmon. He intends to help the wizard get the dragon dust (hopefully with minimum risk to himself ) and eliminate him once they have won the kingdom from Athelred.

Erik is utterly cold-blooded, and quite willing to dispatch anyone in the way of his plans, hence his nickname.

Erik’s sword, Ymir’s Fang, is a +2 two-handed sword. The sword has been passed down in Erik’s family for generations, but it cannot be possessed by an outsider. If Erik is slain and Ymir’s Fang examined, it will be found to be made of murky ice! It will then melt to a puddle of dirty water within minutes.


The dragon is 10 metres long with coppery-red scales along her body. She is only interested in guarding the egg she laid 18 years ago, which is now about to hatch. She can speak, is fully intelligent, if a little slow on the uptake, and can breathe flame.

Monday, 3 December 2012

Karate kick in the chest

Earlier this year, Jamie and I gave an interview to a Russian blog and it occurred to me that, as several of the questions touch on Fabled Lands, and as most of our readers may not speak Russian, it's worth posting up the answers here. (And with thanks and sincere apologies to the interviewer, who I would credit by name except that I now can't find the original email.)

When and where did you first meet? 

JT: Way back in about 1980 at a mutual friend’s house. I think I said hello to Dave by karate kicking him in the chest.

DM: That’s right. Jamie did a flying kick off a moving skateboard. It was impressive until he came back down to earth. The mutual friend was one of my gaming group at college, and he and Jamie had been at school together.

Why did you decide to make gamebooks?

JT: I ended up getting a job on White Dwarf magazine, at Games Workshop back in the early ‘80s. So I was working for Ian Livingstone and Steve Jackson who launched the Fighting Fantasy series, so when they wanted more titles, I was there to do it for them. And that's when it all started.

DM: There was quite a craze for gamebooks in the 1980s and every publisher wanted their own series. Jamie and I and a lot of other people we knew were all writing them. We’d go round to each other’s houses and there’d be flowcharts all over the floor.

Where did the inspiration come from for Fabled Lands?

JT: Dave and I used to play role playing computer games together, and that gave us the idea of doing a series of sandbox type books that were like computer games without computers, so we could have a huge world you can explore and also affect, but also with lots and lots of little stories that were nicely realized, which computer games aren't so good at – or weren't in those days. Writing the books was much harder than a standard game book, of course. Complex flowcharts and managing the codeword system was difficult.

DM: We used a lot of ideas and characters from our role-playing sessions in the Fabled Lands books. They probably were the hardest series to plan, but also the most fun to write.

How long did the six Fabled Lands books take to write?

JT: It took me about 3 to 4, sometimes 5 months to write an FL gamebook. Dave is much faster than me though.

DM: That is true, I will get everything done on time, but rarely with as much flair as Jamie will put into it. Part of me thinks, “Well, it’s just fantasy,” but Jamie gives it 100%. He has more difficulty with the real world than I do, though.

Have you other plans concerning gamebooks?

JT: We may see the rest of the series, but our current plans are to get them out on various digital publishing platforms like Android, iOS, epub and Kindle. If they sell well on these platforms, then we can write the rest of the series. We would like to do them, but it's time and money, and we have mortgages, and bills, etc etc.

DM: Yes, we have to make a business case for doing more. Sales in digital form could possibly justify completing the series, and even if Jamie and I are busy on other projects we have some great writers who we can get to work on Fabled Lands for us.

How many copies of revived Fabled Lands books were sold?

JT: I have no idea! But it's definitely a lot less than our other more successful series like Way of the Tiger and Golden Dragon. While we think the Fabled Lands are the best game books we've ever done, they came out when the game book craze was just dying out and computer games taking over, so the Fabled Lands series never sold as much as we would have liked. It has the most dedicated fan base now though, with a bit of a cult following. The other series we have, that sold much more all over the world simply don't have that kind of dedicated fan base. Well, with the exception of Dave's Dragon Warriors books, but they're not gamebooks as such.

DM: Yes, we often think about how great it would have been if we had written the Fabled Lands books five years earlier. We had the idea for them in the late ‘80s but no publishers were interested then because they were too innovative – they just wanted more traditional single-storyline gamebooks. But that could be exactly why they still feel quite modern. Certainly we don’t want the Fabled Lands apps and ebooks to be a backwards-looking nostalgia thing.

Would you agree if a Russian publisher proposed a translation of Fabled Lands?

JT: That is certainly a possibility. Fabled Lands is being re-published in Germany, there is a role playing game of the FL world published in English and French (though no actual gamebooks yet), and other possibilities on the horizon, so we are certainly open to it.

DM: We both enjoyed the movie Wolfhound (Волкодав из рода Серых Псов), which I understand was based on a novel by Russian author Maria Semyonova, so maybe her publishers would be interested. We’re very much in that same vein of fantasy adventure meets pragmatism and politics.

Which are your favorite gamebooks? Why do you think that they’re the best?

JT: My favourite of my own stuff is the Court of Hidden Faces in the Fabled Lands series, simply because I think it's the best I've ever done and I'm proud of it. Other gamebooks... Well, I don't know Having written so many, I really don't like to actually read gamebooksfor pleasure! I always end up automatically constructing a flow chart in my mind or thinking about what options there should be and so on.

DM: Not to swell Jamie’s head, but I also think Court of Hidden Faces is the best in the FL series. My other favourites are the Duelmaster books that Jamie wrote with Mark Smith. Those are amazing because you can play against a friend, each of you reading from one of a pair of books. I still don’t know how Jamie and Mark figured those out.

Do you think that game books have a future in 21st century?

JT: Yes, definitely, but not in old style print so much. On new platforms like smartphones, tablets and e-readers in general, then yes. Well, certainly in the next few years. Though how long it will last is another matter.

DM: I think they have a bright future if they evolve. I recently wrote an interactive reboot of Frankenstein for iPad, which was partly funded by our Fabled Lands company, and that’s structured like a gamebook but it does some very different things in terms of establishing an emotional bond between the reader and characters. That’s just dipping a toe in the ocean of possibilities.