Soldiers Three

H G Wells was a wargamer. Everybody knows that. And when you read something like this (from "With the Main Guard") you could almost believe Rudyard Kipling designed his characters as if they were going into a GURPS campaign:

In the Soldiers Three stories, Mulvaney, the Irishman, is the most interesting. He understands people instinctively and knows how to gin them up and calm them down. He is also subject to bouts of "the black dog", has a drinking problem, and reacts to violence by throwing up, all obvious GURPS disadvantages/quirks. Ortheris, the sharp-as-a-pin Cockney, is small and prickly but a crack shot. Learoyd, the Yorkshireman, is slow but strong. The character sheets write themselves.

The British Raj would make a great setting for a roleplaying campaign. Though I can't see SJG getting around to publishing a sourcebook any time soon, and even Osprey's books of the period seem to be out of stock, here are some weapon stats to get the ball rolling.

We can estimate Ortheris's shooting skill, incidentally. He says he can hit Mulvaney five times out of seven at 800 yards with a slightly substandard rifle. Assume an Accuracy of 4 (1 less than a brand new Lee-Enfield .303). Ortheris can aim for three rounds to get an extra +3 bonus, so he's rolling at +7 in all -- less the range modifier, which is -16. And let's give a +1 to hit Mulvaney because he's a big fellow. So the overall modifiers add up to -8. Ortheris is hitting 71% of the time, so his Guns (Rifle) skill must be 20.

Amazon US

Soldiers Three

GURPS Basic Set: Characters
GURPS Basic Set: Campaigns

Amazon UK

Soldiers Three

GURPS Basic Set: Characters
GURPS Basic Set: Campaigns

Critical IF cover design

Following on from the previous post, here are the cover briefs I sent to Jon Hodgson when Fabled Lands LLP decided to republish the Virtual Reality books overselves rather than partnering with Osprey to do them.

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These are my initial ideas. I’m open to any suggestions or changes, as the briefs were originally prepared on the assumption I’d have to hand them off through a chain of editors and art directors at Osprey and would get no direct communication with the artist. Hence I’ve probably over-managed the details... however, here’s the cover Osprey intended for Down Among the Dead Men so you can see why I’m getting a tad control-freaky.

The top third of each cover will need to be for the author and title, and the logo extends about 2.5cm from the bottom. Maybe we should have the background and main foreground elements on separate layers, so that a hydra’s head or a sword could partially overlap the title lettering if necessary.

Ideally each book should each have a unique palette with one predominant colour to help it stand out.

Necklace of Skulls

I based the new design on the original Virtual Reality cover with these changes:

• Removed the second (kneeling) figure. Now it's just the warrior.
• The warrior is holding a flaming torch and a sword.
• The view is straight-on from directly behind the warrior to make the threat of the hydra more dramatic.
• I've put the warrior on a raised ledge of rock a few feet above the desert floor. This allows the hydra to be nearer to him and to appear to be rearing up out of a chasm.

But... it would be better not to be looking at the back of the hero’s neck. If (unlike in my sketch) one of the hydra heads were further forward, the hero could be partly turning to keep an eye on it, giving us the opportunity for a partial or full profile – just to create more engagement with him as a character:

Background and palette - as we’re looking up past the hero with a slightly low-angle shot, I think the background should be a midnight blue night sky dotted with stars. It reinforces the desert setting and astronomy is part of the mythological context of the adventure. The hydra dark-scaled. The torchlight picks out the blaze of colour (feathered head-dress, etc) in the warrior’s garb and his glistening skin, the yellow light picked up in the sand and rocks where he’s standing.

The Maya sword is made of hardwood with sharpened spikes of knapped flint or sharpened volcanic glass fixed along the edges. Just the thing for killing a hydra.

Down Among the Dead Men

A pirate fantasy adventure, a little bit earlier in history than Pirates of the Caribbean – think Elizabethan/Jacobean period. It’s pretty obvious how I’ve changed this one from the old Virtual Reality version:

• The zombie pirate is looking straight at us.
• He’s closer, more threatening.
• He’s already climbed halfway over the rail.
• The rail tilts up left to right rather than down as on the VR cover - more dramatic that way.

Put a few wisps of mist in the foreground, picking up the fog in the background. Also the original colour scheme is a bit of a dog’s dinner. We need a more limited palette to give the image more impact.

Once Upon a Time in Arabia

The classic Thief of Baghdad type adventure. It’s not even worth looking at the original cover – I never liked it. So, on to new ideas...

This drawing is a bit sketchy, so I’d better explain what’s going on. It’s a aerial shot above an Arabian Nights city looking steeply down at the towers and domes below.

Our hero is flying on a magic carpet, the wind whipping at his clothes. In one hand he has a sword. From a ring on the other hand he has called forth a genie - the swirl of smoke curls out of the ring and under the carpet, solidifying into a giant demonic figure who is ready to assist the hero.

I don’t think the hero should have a full beard (though the genie can). He should either be clean shaven or have a little hipster goatee. Or it could be a heroine (no goatee in that case). The traditional Douglas Fairbanks Arabian look, ie flowing white like the Prince of Persia used to wear before he went all moody black leather.

I envisage the genie as taking shape out of smoke that looks like a storm-cloud – dark violet/black shot through with inner flashes of lightning suggesting violence and magical power.

Overall colour palette: how about that haze of golden yellows and ochres that you get in hot, dusty climates as the sun is close to setting? If that suffuses the background, we can then pick out some bright colours (the carpet, jewels on the hero/heroine) and contrast that with the white flowing clothes of the hero/heroine and the black, billowing smoke of the genie.

Heart of Ice

The idea here is we’ve got a guy slogging through a blizzard out on the Saharan Ice Wastes towards a city in the distance. Deep snow. He’s dressed in arctic weather clothing: parka, fur-lined hood, snow goggles, etc.

He’s heard something and he’s turning back to face us to shine a flashlight at whoever or whatever is coming. (So he’s twisting at the waist, insofar as his bulky clothing will permit.) In his other hand (held out to the side so we can see it) is a barysal gun - the raygun of the 23rd century.

In the background is the place he was heading for – the city of Du-En, abandoned and empty for a hundred years. A bit Gormenghast, a bit Mountains of Madness. Massive walls, so hazed by distance and snow that the architecture (half sci-fi, half ‘30s futurist fascist) seems to render our human endeavours and dramas insignificant. We can’t see the city walls and towers that clearly because of the snow-haze.

This is a variant cover I did. Disregard the image/concept here, but I do like the colour scheme of the background. I’m thinking that this one can be the most monochrome of the series - all icy blues, whites, greys. Even the figure shouldn’t be too colourful, and possibly the only variation might be a bit of backlight from the flashlight reflected in his tinted goggles or something.

By the way, that figure - he could be the hero, he could just as easily be one of the adversaries. This is quite a morally ambiguous book and the anonymity of the figure reflects that.

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The brief isn't the end of the story. Just like with game design, where you come up with an initial plan but then have to work out during development how to implement that and which parts work and which need changing, the cover concepts go back and forth before you arrive at something that everybody's happy with.

Take Once Upon A Time In Arabia. Jon's first sketch featured a female protagonist in historically credible but determinedly unsexy garb. Well, fair enough; we're not in the 1980s now. As Jon said:

"I went for a female character on Once Upon a Time in Arabia, which I'm kinda regretting - maybe a male would have more appeal to the readership, and I'm not keen on making a 'sexy' female character."

I agreed that a young male hero might be better, not least because I thought Jon might be more comfortable making him attractive and athletic. I went on to say:

"His clothing probably needs to be as much like the Fairbanks-style stereotypical 'Arabian adventurer' costume as you can bear to go. I know it's not historically accurate, but I'm minded of what Jonathan Miller said when staging Anthony and Cleopatra: 'I'd like to dress her in Greek-style clothing, but audiences think it's wrong if she's not in Hollywood's idea of Ptolemaic fashion.' Also, the image is going to work better if the flying carpet is moving left to right. And can we add the jinni's taloned hands for extra impact?"

Of the first Heart of Ice sketch I said:

"I like the icy colours in the cover, but would like to get a real raging blizzard. It makes the situation more life-or-death -- will this lone figure even survive to reach that city..? -- and injects some doomy apocalyptic feeling into the scene."

I'm very pleased with the end result, but you can judge for yourself whether our cover creation process was a success - Jon's final book covers are here.

A noose of light

I probably don’t have to declare at this stage that I’m kind of an admirer of Russ Nicholson’s artwork. I’ve wanted his illustrations in my books since way back in 1984, when I had to track him down to Papua New Guinea to get him to supply the drawings for Eye of the Dragon.

And everybody knows that as far as the Fabled Lands series is concerned, Russ is “the third author” (it’s like being the Fifth Beatle, only with less hair). His imagination made it real, gave it substance, and that’s not just my and Jamie’s opinion – just look at how the apps drew on his original art.

Likewise Leo Hartas, not just an artist who is brilliant at conveying charm in his quirkily imaginative scenes, but one of my closest friends and, of course, my creative partner on projects like Mirabilis.

As I was lucky enough to get these guys as the illustrators of my Virtual Reality books in the mid-90s, you can bet that I wanted to retain their illustrations in the new incarnation of those books under the Critical IF imprint. And yet, Once Upon A Time In Arabia (the book formerly known as Twist of Fate) does not feature Russ’s great pictures, instead relying for visual embellishment on the more obscure (these days) William Harvey. No, not the blood guy.

I am very conscious that gamebooks are all about the nostalgia. Switching things around is as welcome to most gamebook aficionados as a bacon sarnie to a Salafi. So why the change?

To explain that, first I must ask you to cast your mind back – or, indeed, just click the link – to the announcement that Fabled Lands LLP would be partnering with Osprey Books to bring back Virtual Reality in digital format. Because the original plan to do them in HTML5 was deemed too expensive, we decided to go with EPUB3 format, which we thought would be cheaper. (It wasn’t, but that’s a detail.)

It soon turned out that we wouldn’t be able to have much interior artwork in any EPUB3 versions. As in, no art at all once you were past the prologue. So each book was to have two or three black and white illustrations. These were not by Russ or Leo and I wasn’t involved in commissioning them. No big deal, I thought, as I could still use the original artwork in the print editions. Then it turned out there were to be no print editions after all, only the ebooks.

Dry your tears. For various reasons, the planned partnership was abandoned and the ebooks canned. Still, we had the books all edited and ready to go – and Createspace makes it very easy to publish paperbacks and distribute them via Amazon. So, after quickly striking agreements with Russ and Leo, we were back in business.

Except… These are pictures you don’t want to mess up. Only sharp high-resolution images would do. I finally got the best quality my scanner is capable of by razor-blading copies of the VR books to pieces and scanning at 600 dpi. It worked out fine for Heart of Ice, Necklace of Skulls and Down Among the Dead Men. The snag is that I had no spare copy of Twist of Fate (I hope you’ll forgive me not wanting to mutilate the only one I had left) and it would cost $150 to buy a spare on Amazon. Hence the decision was taken to resort to the illustrations of Mr Harvey, which had the benefit of being (a) specifically drawn for the Arabian Nights and (b) out of copyright for seventy-seven years. Oh, and pretty good. Not Russ or Leo quality, but evocative enough.

As Scheherazade’s beleaguered heroes are fond of saying, God alone is all-powerful. OK then. But I managed three out of four, and I can live with that.

Necklace of Skulls

This is one of my very favourite Russ Nicholson illustrations for one of my favourite gamebooks. It's a Maya nobleman who tries to commandeer your boat to evacuate his family after the fall of Teotihuacan in Necklace of Skulls.

Two days' sailing brings you to Tahil, a busy trading settlement on the far coast. The others squint warily as they bring the vessel in to the harbour. You can see at once there is trouble here. Instead of the stacks of trade goods that would normally be piled up along the quayside at a port like this, there are milling crowds of refugees carrying everything they own on their backs. As you tie up at the quay, a man whose elegant clothing marks him as a lord of the Great City comes striding towards you.

We're currently formatting this book, along with three other titles from the Virtual Reality series, for re-release in the autumn. These were originally supposed to come out as part of the Infinite IF gamebooks we planned with Osprey, but that turned into a digital-only venture and I think readers prize these books enough to want to own physical copies.

Fabled Lands LLP's agent is talking to other traditional publishers, because it would be great to get proper bookstore distribution - for as long as high street bookstores survive, anyway. If those talks go nowhere, Fabled Lands LLP will publish the books, the only difference being that you'll have to order them from Amazon.

The four books have all-new covers by Jon Hodgson and if Fabled Lands LLP publish them I'm going to spend some of my spare time cleaning up some crisp 600dpi scans of Russ's original drawings. After twenty years, the VR books are a bit yellow and blotchy (just like Jamie) so getting a good scan involves razor-blading them apart, followed by far too much time in Photoshop - and me an author, not a graphic designer, after all.

If you just can't wait, Russ has put up all the Necklace of Skulls images on his blog. And thanks to the magic warehouse robots of Amazon, you can still buy the original mid-90s edition.(That's UK; US readers go here.)

We'll never reach infinity

You can't keep a secret in the internet age. I'd barely heard the news myself when readers of this blog started asking why the Infinite IF gamebooks had disappeared from the Osprey Adventures site. Weren't we going to team up with Osprey to bring back the Virtual Reality and Way of the Tiger books in digital form? That was the plan last summer. So what happened?

Now it can be told. Fabled Lands LLP won't be partnering with Osprey after all. It was an amicable parting and we wish them huge success with the Osprey Adventures line. Think Nazi occult secrets, zombie hunting guides, Cthulhu investogators' handbooks, dossiers that lift the lid on Area 51 - all coupled with the awesome full-colour artwork you'd expect of any Osprey book.

It became clear that gamebooks didn't really fit in there. Personally I wish we'd realized that before I spent eight months writing tedious Javascript and pasting it tediously into Excel because that's the way the toolset for these books worked. Oh, and it was undocumented. And occasionally the syntax would change. So that was a lot of fun. But it wasn't anybody's fault. Sometimes you get into something - pointing a gun at an archduke, digging a trench in the Somme valley, and the next thing you know it's out of everyone's hands.

When we finally had breathing space to sit back and look at the almost-complete e-gamebooks, that was when we saw they didn't have a natural home alongside either myths and legends or dark Fortean stuff. Had I written all-new gamebooks it might have been different. I wish I had done that, in fact, because the Dark Osprey books in particular are a really cool genre to work in.

The silver lining is that this change of plan means there will be print editions of those books. The Infinite IF series was going to be epub3 only, but now that I have the edited and revised text of the books, it's not too arduous to set them up in paperback on Amazon. Those should be ready in time for Christmas. More news about that in a month.

If you actually prefer digital gamebooks, I have nothing to promise right now, but don't give up hope. Jamie is looking into various other ways to get those versions completed and published. Meanwhile, I'm just happy to swap Javascript for Serif PagePlus (my DTP software of choice) and to set up some covers featuring Jon Hodgson's glorious artwork.

Patience, grasshopper

The mad hunt for bugs in the epub code of the upcoming Infinite IF books has left me with no time for anything else, but hopefully this little taste of a certain famous gamebook series will make up for the dearth of posts.

Those covers, which you'll get to see in all their glory in just a few weeks now, are courtesy of Mikael Louys, sorcerer supreme at Megara Entertainment, and his talented artists Aude Pfister and Mylène Villeneuve. I've been looking at some of the advance material for Megara's Way of the Tiger RPG and it's looking pretty Orb-some.

To anticipate some of the questions about this series:

Will there be print versions?
Osprey are describing the series as "digital only" on their website, but you can bet I'm lobbying strongly for print editions. I don't believe ebook-only is a viable publishing strategy for any books, but most certainly not for something like this. You want something you can collect and keep. Well, I would.

What will the apps run on?
Technically they're not apps, they're fully interactive ebooks, and they'll run on any epub3-compatible e-reading software. Currently that means iBooks, Astri-Bee for Android devices, and Firefox's e-reader plug-in. (If you use that last one, you'll need to switch on Javascript; look for the cog icon at bottom left of the screen.)

What about artwork?
There are a few new filler pieces for the ebooks by Bruce Hogarth, and I'm currently designing covers for the four VR books. (Note to self: hire an artist.) If I get to set up the print books, and if Russ and Leo agree, we'll use their original artwork for those

Are there going to be more Way of the Tiger books?
What's the obsession with Way of the Tiger anyway? Maybe I should read them. If the first two are successful, we'll hopefully go on and do the rest and maybe even continue the series, which fans have told me ends with the hero stuck in a hellish cobweb about to be eaten. I expect Mark Smith had just been watching The Fly on TV or something. "Help meeeee!"

Will the Infinite IF series include any other classic gamebooks?
Fabled Lands LLP owns the rights to Falcon, Golden Dragon, Blood Sword and Duel Master. I can't see how we'd do the last two in this epub3 system - only something like Tin Man's gorgeous apps would do them justice - but Falcon and GD would be easy enough. (Just as long as I don't have to code them. The experience of writing all the Javascript for Frankenstein and four Virtual Reality books over the last seven months has been quite enough, thank you.)

What about all-new gamebooks?
Well, Undeadwood didn't happen. That's a shame, but it doesn't mean we won't try other new titles if the series takes off. Personally I'd like to push the envelope a bit towards the more mature character-driven approach I used in Frankenstein, as zombies and dungeon bashes have zero appeal to me compared to stuff like the Story Mechanics' 39 Steps, but the overall imprint for Infinite IF is called "Osprey Adventures" so I suspect that my own experiments in interactive fiction are more likely to come out elsewhere. Meanwhile, Jamie is going to be fully tied up on Dirk Lloyd and our new kids' series Starship Captain - which is what put the kibosh on Undeadwood. But there's no shortage of excellent gamebook authors out there who we can enlist. Hey, it worked for Jackson and Livingstone.

Infinite possibilities

And this week's Bookseller makes it official: now the outside world (well, the publishing world, anyway) knows that our Infinite IF series is launching in just eight weeks or less under the aegis of the Osprey Adventures imprint. The whole OA line is geared at that overlap between myth, legend, gaming, fantasy and history - and if that doesn't put a full charge in your barysal gun, I don't know what will.

I'm putting final touches to my four books this week, and Jamie is just finishing up on Avenger. While these new ebook editions are substantially unchanged from their earlier paperback incarnations, we are adding extra material. Heart of Ice has a new alternate ending (thanks to Romain Baudry for pointing out the need for that) which gave me the always-welcome opportunity to write another hommage to Blade Runner, and the other VR books also have a bunch of new sections. Once Upon a Time in Arabia even has an all-new prologue to reflect the change in tone and title.

The biggest bonus comes in the Way of the Tiger books, however. Because the ebooks don't feature dice-rolling (which regular readers will know is one of my pet hates in digital media) Jamie is writing all the moves and outcomes for the fights. So instead of a 3 and a 5, you get:

You crouch as if to wrestle with Gorobei who tenses, ready to throw his extra weight against yours, but then you jab unexpectedly towards his midriff - and hit home. Gorobei gasps, winded, but he's tough. He won't give up that easily.

These books are all about the narrative, you see. So despite Jamie's howls of protest, we're keeping him chained to the desk until he's written the flavour text for every single fight.

I could show you some of the colour art, but let's not spoil all the surprises. Let's just say that if Jeremy Clarkson doesn't end up wanting his own Manta car, I'll be very surprised.

Worlds of IF

I've been dropping enough hints that it will hardly come as a surprise to learn that the Fabled Lands LLP gamebook back catalogue (which includes Blood Sword, Way of the Tiger, Virtual Reality, Falcon and Golden Dragon) is the secret third strand in the new Osprey Adventures imprint.

The Critical IF series will comprise new versions of classic gamebooks by me, Jamie, Oliver Johnson and Mark Smith, alongside new titles such as the Wild West fantasy Undeadwood which Jamie will be getting back to as soon as he's finished writing Dark Lord book 3, our new kids' SF series Starship Captain, and a few other things.

The books will be released in both print and ebook editions, the latter being fully interactive. So the sections are not only hyperlinked, but your hit points are automatically updated, skills and codewords checked, and so on. It's a miracle of technology (what passes for a miracle in the ebook world, at any rate) courtesy of the master coders at Spirit Entertainment, who are also developing the new Fabled Lands apps. You knew that. I know you knew that.

We'll be launching in the spring with Heart of Ice, Down Among the Dead Men, Necklace of Skulls, Avenger, Assassin and Once Upon a Time in Arabia. Oh, that last one? That's Twist of Fate as was, finally blessed with a title I approve of.

These aren't the covers you'll see on the finished books. These are just mock-ups (courtesy of Pieter Bruegel and Maxfield Parrish) I did so as to have some working copies by my side while editing and revising the manuscripts. Osprey have their artists working on all-new covers, maps and interior fillers.

To whet your appetite, I'll leave you with links to Per Jorner's comprehensive, no-holds-barred reviews of Necklace of Skulls, Heart of Ice and Down Among the Dead Men, and Mrs Giggles' reviews of Assassin! and Avenger! There, I even put the exclamation marks in this time.

Get ready for Osprey Adventures

My own role-playing campaigns are frequently set in historical periods rather than outright fantasy settings. The research is half the fun, and usually the first place I'll look is Osprey's military books, a series I started collecting as a board wargamer. In the last couple of years Osprey have woken up to the overlap between wargamers, roleplayers, history buffs and SF readers, leading them to buy up punky sci-fi imprint Angry Robot. And now they're launching a couple of new series under their Osprey Adventures imprint.

Myths and Legends (quoting from the 2013 Osprey Books catalogue now) "examines the great stories that have echoed down through time and have helped to shape our cultures. Each title in the series focuses on a specific legendary figure, such as King Arthur, or upon a collection of myths, like dragon-slayers, and presents their story in a straightforward, entertaining style. Alongside the narrative is factual information about the history behind the stories and how these legends developed and changed over time. The books also contain Osprey’s usual array of illustrative material, including specially commissioned artwork plates."

This is actually almost word for word a concept that Jamie and I came up with fifteen years ago. We called it Legendary Sourcepacks (previously discussed here) and spent the better part of a year pitching it to publishers. In hindsight we would have had more success if (a) we hadn't started with medieval Japan, (b) had waited at least a decade, and (c) approached Osprey first! But every cloud has a silver lining, and the way it turned out we don't have to write the books, we can collect them instead.

The other series that's launching Osprey Adventures is Dark Osprey. These are titles such as The Nazi Occult:

"In the dark dungeons beneath Nazi Germany, teams of occult experts delved into ancient and forbidden lore, searching for lost secrets of power. Ordered by Hitler to discover new weapons that could be unleashed on his enemies, the occultists experimented with dark magics, mystical artifacts, and creatures thought only to exist in nightmare. This book tells the complete history of the Nazi occult programs, from their foundations in Hitler’s early esoteric studies and the quests for the Ark of the Covenant, the Spear of Destiny, and the Holy Grail, through their experiments with lycanthropes and zero-point energy. It also includes sections on the shadow war fought in the dying days of the Reich as the Nazis sought to stave off defeat through pacts with diabolic entities, attempts to preserve the Fuhrer’s brain, and the deployment of the strange flying saucers that battled to save the final Nazi stronghold in the Antarctic.  For years, the Allied governments worked to keep this information from reaching the public, and sought to discredit those few who dared to seek the truth. Now, using a combination of photography and artwork reconstructions, the true story of the most secret battles of World War II can finally be told."

Now, even in a fantasy, it's not really feasible for the Nazis, who were the batty New Agers of their era, to have got within a million miles of investigating zero-point energy, having kicked all the good quantum physicists out of Germany in the mid-thirties. But the other stuff sounds coherent and should fuel an alternate WW2 role-playing campaign if you like Hellboy or Iron Sky.