The Chronicles of the Magi

A lot of people said that the Blood Sword series would make great novels, so in 1997 I took the plunge and revisited the gamebooks in order to convert them into regular fiction. If I'd anticipated the writing being a cakewalk - just a cut-n-paste job, right? - it only took a few days to demolish that notion. I needed to add a lot of text, for one thing, because in between the options in a gamebook there's an implied train of thought process and action that is left entirely to the reader's (ie player's) imagination. For a novel all that has to go onto the page.

And then there was the little question of a protagonist - or two. I rejected having a complete party of adventurers. I didn't want it to feel like a game write-up, for one thing. These were supposed to be proper novels, and having too many characters tends to throw a story out of focus. You've seen X-Men: The Last Stand, you know what I'm talking about. In the end I imported my own character Caelestis, a Vancean rogue who had appeared briefly in Tim Harford's Legend campaign, but on realizing that he was too much of a reprobate to serve as standalone lead in a middle grade series I created a "warrior monk" character (a sort of Capellar-in-training, I guess) called Altor who could come out with all the traditionally heroic lines.

A few weeks into the writing, I accepted Ian Livingstone's offer of a job as game designer at Domark (later Eidos Interactive) which made writing the Chronicles of the Magi trilogy a bit of a juggling act. I enjoyed it, though. Solving problems is my thing, and every scene threw up plenty of those. For instance, to get around the way the first Blood Sword book was really detached from the rest, being effectively a gameplay tutorial, I moved the opening scene of The Kingdom of Wyrd to the start of the first Chronicles novel. That got us right into the quest - though with rather more plot-twists along the way than the gamebooks needed to have. Here's (almost) the moment our two heroes first meet:

Altor reached for the banner, but just then there came a loud outcry from the far side of the square. He looked up to see the young dandy he had encountered earlier. His cloak swept out behind him like a bat’s wings as he ran, and hot on his heels were several guardsmen of the night watch.

‘Stop that thief!’ bawled the irate sergeant of the guards as the young man came racing past the booth.

Altor stepped forward without thinking and put out one arm. The dandy skidded to a halt in front of him and glanced up in surprise. For an instant their eyes locked, and Altor saw a look not of panic but of agile cunning. Then the young man ducked under his outstretched arm and reached for the last pennant. Altor lunged for it too. They both gripped the shaft at the same time.

The guardsmen pounded to a halt and began to fan out. ‘So, villain,’ gasped the sergeant, ‘will you come quietly?’

The dandy looked at him in disdain. ‘Villain, you say? I am Caelestis, the champion of Magus... of Magus...’

He turned to Altor who, although bewildered by the turn of events, found himself saying, ‘Magus Balhazar.’

‘Champion?’ The sergeant tucked his thumbs in his belt and rocked with breathless laughter. ‘You’re no champion, lad. You’re just a pickpocket and I’m taking you in.’

Caelestis stared back at him defiantly. The other guards hefted their cudgels and stood glowering. For a moment there was a tense silence, then the steward cleared his throat. ‘The youngster’s right. You can’t arrest him now he’s taken Magus Balhazar’s banner.’

Altor suddenly realized what was happening. Tugging the banner away from Caelestis, he said, ‘I was here first. Rightfully it is I who should be Magus Balhazar’s champion.’

‘Aha!’ cried the sergeant in triumph. ‘As I thought. Arrest him.’

Two of the guardsmen stepped closer. Caelestis wove away from them and snatched back the banner. ‘Not so fast. The banner is mine. How can this oaf be the magus’s champion? He doesn’t even have a weapon.’

It was true. Altor had left his sword buried in Magus Byl’s black heart. Rather than go into that now, he simply planted himself in a solid stance with his big arms folded across his chest. ‘I need no weapons. The monks of my order are trained to fight with empty hands if need be.’

‘Indeed?’ Caelestis cocked an eyebrow. ‘I doubt whether Magus Balhazar will be impressed.’

Altor snorted in derision. ‘Do you think he’ll be impressed by having a pickpocket as his champion?’

The sergeant flung up his arms in exasperation. ‘Enough!’ He turned to the steward. ‘What is the law? Are both these youths now employed by Magus Balhazar? Frankly I’d be happy to arrest the pair of them.’

‘I have committed no crime!’ protested Altor.

‘And I myself am merely a suspect,’ added Caelestis, ‘until my case comes to trial.’

The steward leaned on the rail in front of his booth and stroked his beard thoughtfully. ‘Both took the banner at the same time, so both are eligible to serve the magus. Consequently they are immune from prosecution.’

At this the guards gave sighs of disappointment and started to wander off. The sergeant spat on the ground to show his opinion of the steward’s judgement. Fixing Caelestis with a beady stare, he said, ‘Just you wait, lad. I’ll be waiting outside the Battlepits for you, and if you fail then you won’t be able to count on the magus’ protection.’

‘If he fails,’ said the steward laconically, ‘then he’ll be past caring about the laws of mortal men.’

The Chronicles of the Magi books are due to be republished on Kindle by Fabled Lands LLP at the end of the month and you can pre-order them now at a special introductory price:

The Sword of Life
Amazon US
Amazon UK
Amazon Spain

The Kingdom of Dreams
Amazon US
Amazon UK
Amazon Spain

The City of Stars
Amazon US
Amazon UK
Amazon Spain

The first glimmer of the Fabled Lands MMO

I was talking recently about the RTS game Plague that I worked on with Sam Kerbeck and Richard Fletcher at Domark (later Eidos). Around the same time, Jamie Thomson and I were trying to convince the Domark/Eidos management to start development on a multiplayer CRPG based on our Fabled Lands gamebooks.

This was around May/June of 1996. The Fabled Lands Otherworld Game, as we called it, was destined to mutate considerably over the next couple of years as the technology advanced by leaps and bounds. We changed to an all-new setting, the continent of Abraxas, which you can read about here. We massively expanded the scale of the game into a true MMO and we abandoned the top-down isometric view for true 3D. We began to use Propprian theory to develop the idea of a "referee AI".

It was all too ambitious for the Eidos senior management, who by then may have spotted that they didn't need to develop games to make money. Many internal teams were hived off into private companies like Black Cactus, the FL team was laid off, and the Fabled Lands MMO never happened. But, for no better reason than historical curiosity, here is the original pitch document that Jamie and I showed to Ian Livingstone in mid-1996.

Fabled Lands "Otherworld" Gaming

We say "role-playing" when we're talking about solo explore-and-level-up games, and "adventure gaming" when we really mean boring old crate-stacking and puzzles, which means that when it comes to real role-playing for the PC games market we don't have a term left. So let's call this "otherworlding": realtime multi-player role-playing, given a new lease of life by the medium of software to create a new kind of gaming experience.

The Fabled Lands Otherworld Game anticipates the gaming styles that will have become current two years from now, while not abandoning traditional gaming forms. I'll start by describing how the game would play in its solo form and then go on to cover future innovations.

The Solo Game

On the surface FL won’t look much different from a traditional CRPG. You choose a character from a gallery of races, classes and clothing styles and assign starting skills. (These are mix-&-match to allow multiple options, eg in favourite weapon.) Then you set out on your adventures, your adventuring persona represented by an animated sprite on isometric city streets and landscapes. Dotted around the world are many lost ruins, wizard's towers, haunted castles and other areas where you can gamble risk against reward. In the cities you can spend your treasure on new equipment and magic, resurrection deals, buy a townhouse or castle – or even ships to go trading and privateering across the sea.

Where it differs from ordinary CRPGs is in having a number of special partially-scripted adventures that a campaign "referee" (in the form of the game's AI) can bring in to liven things up whenever your character is having too easy a ride. These adventures are templates with slots to accommodate friends and enemies you've picked up in the course of your travels.

For example: you take a bounty hunter's job and go hunting bandits. You round up most of the horde but the leader, Black Nat Varley, escapes. Later, while implementing a random attempt on your life, the AI fills in the assassin's identity as being Black Nat. If Nat survives your second encounter, he'll eventually show up in another encounter and so on. (Adversaries who survive more than three encounters are classed as "dear foes" and have their own level increases tied to yours so as to always give you a good battle.)

And the referee AI will also take account of your character class, deity, etc, when introducing new missions and encounters. It can also randomly generate adventure locations as needed. This means that every campaign will be unique.

The Home Campaign

A bunch of friends arrange to get together and play a Fabled Lands Otherworld campaign on a regular basis. Say I'm the campaign manager; this means the campaign data is kept on my machine. Players come round once a week with their laptops, or maybe they dial in – or the campaign might be run on an office network a couple of evenings a week.

Within the game, players can get together for adventures or split up and go their separate ways. Some magical objects allow you to spy on the progress of other players, possibly with a view to ambushing them and grabbing their treasure. The magic level is high, permitting frequent teleportation and communication at a distance. Alliances and rivalries are equally possible. The game moves more swiftly than old style pnp RPGs like Dungeons and Dragons. This allows players to move around the world quickly and have plenty of adventures every session. (The best way to explain this is as a combination of an RPG and an adventure boardgame like Eric Goldberg's Tales of the Arabian Nights.)

The Open Campaign

Almost a Multi-User Dungeon, except with the AI referee throwing in plenty of plotlines to keep the adventure fizzing. The way this would work is with a company picking up the licence to run a commercial Fabled Lands campaign. Such companies might have a couple of hundred participants in one game, all paying-to-play with a percentage coming back to Domark. (Distributed processing through the network would prevent the game from being frustratingly slow.)

The character-to-character interface will mean that when two adventurers meet they cannot immediately start typing messages to each other. To start with they have to go through a menu of greetings and responses, which will be decided by factors such as class, race and deity. For example, an elf meets a human. They're given possible messages and responses that, if followed appropriately, allow both players to reach a point where direct messages can be typed in. However, a human meeting a goblin would not be able to do this (the two races being mutually hostile) unless one or both was accompanied by a dwarf or other "neutral" race. This effectively provides a kind of "Turing Test" interface when first meeting a character whereby you cannot know if you're talking to another human player or a computer-controlled character.

What happens if you can't turn up (on-line or in person) for a game? This is the bane of the old-style roleplayers life, because his character misses out on treasure and experience awards. The way Fabled Lands solves this is to get every player to choose a Downtime Mode for his character when logging off. If you opt for "Sanctuary" then your character is retired from the game world until the next time you play. He gets no awards but cannot be attacked while you're off-line. "Training" means your character is in the arena or library. He gets some experience for any campaign time that passes when you're absent, but there is a chance of other players stealing from or assassinating him. "Adventuring" makes your character available for dungeon expeditions or other endeavours, making him an AI-run NPC for the duration, but although this means you can get your share of treasure and experience you also run the risk of logging on next time to discover your character has been killed in action.

Game mechanics

By basing the game on our Fabled Lands world – which we have developed over several years for radio plays, gamebooks and role-playing adventures – we make sure to avoid the cobbled-together warmed-over fantasy typical of the usual CRPG output. Fabled Lands is as detailed and unique a setting as you will find in any fantasy novel.

Begin by choosing your race (human, trau, merfolk, mannikyn people or whatever), country of origin (the four continents and many islands of the Fabled Lands world all have their own character), deity (there are over a dozen with a complex interplay of antagonisms and associations), and a name for your adventuring alter-ego.

Next the player sets his expertise in the five abilities: Combat, Magic, Charisma, Wayfaring, and Agility. Each of these governs your potential scores in the skills which are sub-groups of that ability. (For example, Wayfaring devolves to Sailing, Riding, Scouting, Survival and Streetwise.) By focussing in one field you can make yourself a master, but at the expense of your other abilities.

Higher ability scores bring in hero-level skills and spells that the player had no idea were possible, maintaining the excitement of discovery that is at the heart of the real role-playing experience.

The display is isometric and characters move in real time. A whole gallery of animated figures can be custom-coloured in the way that tabletop gamers like to paint their own figurines. In combat you can preset your fighting mode (ie, how much is put into attack and defence) or key in manoeuvres on the fly. More experienced adventurers can perform more effective fighting manoeuvres with just one keystroke, or unleash more devastating spells.

Expansion disks would introduce new quests, encounter areas, and characters while extending the map and including additional storylines for the referee AI to use.

Whereas CRPGs up till now have copied the sillier and more tedious aspects of early DnD (one dungeon level full of orcs, another full of lizard men, and so on...and on), Fabled Lands will emulate and expand on the things that made role-playing popular to start with. This means building up a character history: exploring exotic worlds, encountering friends and deadly foes, discovering magical artefacts and the excitement of researching ever more powerful spells. At the highest levels players can occupy their own castles, hire armies, wage wars or create their own "pocket universes" using the mightiest magic.

It will be a journey to a whole other world.