Games and interactive story apps are media in which it's easy for the wrong people to get the credit while genuinely valuable input may be overlooked, so I'm going to spell out the creative provenance of The Frankenstein Wars for all to see.
The original concept of a world in which Victor Frankenstein's discovery was used to create an army of resurrected men dates back to around 1999. Martin McKenna and I cooked up the idea as the basis for a PC strategy game while freelancing on Plague (later released under the name Warrior Kings) at Eidos.
Martin and I tried various routes to getting the concept, which we called Frankenstein's Legions, started up as a game, movie or comic book. Martin is not very keen on drawing comics - which is a pity, as he's really rather good at it, but instead we roped in Russ Nicholson to work up some rough pages. (I'd say pencils, but Russ never uses pencils.)
Lots of people liked the story premise. Iain McCaig suggested that Victor Frankenstein's discoveries should extend far beyond the secret of life and death. I'm not sure if there are any greater secrets than that, but Iain is a creative powerhouse and so I'm always willing to listen to what he has to say. Martin's friend Jamie Mathieson, writer of Frequently Asked Questions About Time Travel, thought it was a mistake not to have one of Victor's descendants at the heart of the story:
"I am reliably informed by Martin that Frankenstein left no heirs as far the original novel is concerned. I also understand that Dave is not keen to invite any Young Frankenstein ridicule. However, if we make our central character/s descendants of Frankenstein's assistant I think we lose quite a bit of dramatic potential. They have no Frankenstein blood in their veins, they're not cursed down the ages, they're not fated to repeat their ancestor's mistakes etc; they're just unlucky enough to have a grandfather who did odd jobs for a nutter and nicked his stuff after his death. I realise that if we invent a son for Frankenstein, we're directly contradicting the official novel continuity, but given that we completely change the outcome of the Napoleonic War, I've got no problem with such a comparatively small tweak, that will reap potentially much bigger dramatic rewards. It also a much simpler sell – potential audiences/buyers would get it instantly. “He's Frankenstein's grandson.” is much easier to get across than “He's the grandson of Frankenstein's assistant.” “Why?” “Well, Frankenstein had no children in the novel, but this guy's granddad was there, he helped him ...wait, no, come back with that big fat cheque.”Henry Clerval had never been Victor's assistant, in fact. In the novel he's just his best friend, knowing nothing about the experiments Victor has been doing, but in the 1973 movie Frankenstein: The True Story he is the real originator of the life-creating process. The reason Henry's son was one of the main characters in my Frankenstein's Legions story is because he might credibly stumble across notebooks that Victor have left in Henry's care.
I didn't much like Jamie Mathieson's suggested approach myself, for much the same reason that I didn't want to see Davros come back in every Dalek story after Genesis. It turns it all into a pantomime. If I'm creating a story about nuclear destruction, I don't need to have Oppenheimer's great-grandson poised over the button, or Einstein's great-great-granddaughter swinging into action to thwart him. I wanted Frankenstein's Legions to feel like reality with fantastic elements. But it should be noted that at this stage (2005 or so) I still had never read Mary Shelley's novel, so I was still largely churning through half-remembered Universal and Hammer horror flicks. I still supposed Victor was a baron, for one thing.
While out in LA following the collapse of Elixir Studios, I mentioned the concept to movie producer Michael Levy and, with the help of a games documentary maker called Olly Quinn we made an audio demo to pitch to studios.
When I handed the commission to write the Frankenstein's Legions novel to John Whitbourn (we're into 2006 now) I said I'd stay out of his way and I did. Nothing kills a creative project faster than having too many hands on the tiller. John drew his inspiration more from the Hammer movies than Mary Shelley's story, in that the resurrected soldiers were nearly mindless monsters rather than the perfectly human but inhumanly mistreated wretches that I'd envisaged. He also had Frankenstein's nephew front and centre - though with the ironic twist that young Julius Frankenstein had inherited absolutely none of his uncle's scientific genius. Other people just assumed there was something in the Frankenstein blood and so they were all chasing after a piece of him - figuratively, that is.
Shortly after that I encountered the Muse while out walking in the fog on Hook Heath - her usual kind of reverse mugging, in which she stuffs my head with unwanted ideas - and returned with the plot for Frankenstein's Legions reimagined as a YA trilogy. The problem was, it had gone all airships and steam-weapons, the focus now really on girl genius Ada Byron rather than the whole Frankenstein thing. Young Adult literature has more than enough steampunk trilogies already, but try reasoning with the Muse.
On to 2010, and Michael Levy had hooked up with a comic book company called Ape Entertainment. We had a whole lot of Skype calls about a Frankenstein's Legions comic, I did a draft script of the first issue, and even started to rethink the story in a US Civil War setting, but it came to nothing.
How does all this connect with my Frankenstein interactive novel app? Not at all, is the answer. In 2011 I pitched the idea of interactive classic novels to Michael Bhaskar, who was then digital director at Profile Books. I didn't particularly want to adapt Frankenstein, having had enough of it (or so I thought) over the last twelve years. But when Michael said that was the one he really wanted, I decided I'd better finally get around to reading the Mary Shelley novel. That was an eye-opener. Instead of the crackly Gothic body-horror nightmare presented in the movies, I found a fresh, modern psychological drama of a divided self - more David Fincher than Herbert West.
Nobody else had input into my Frankenstein app. I used Inkle's markup system to write it all, but the Inkle team had no role in the concept, design or writing. Nor did I get any feedback from Profile's editors, as they couldn't parse sentences like this:
The fiend can cut the knot of my happiness, but {demonize:it|he} cannot unpick this truth: that we were wed, {victor_empathy < -1:as my mother desired|and loved each other}.Getting left alone to write is just fine by me. After doing this job for thirty years I don't really need a copy editor, and I always have my Fabled Lands cohort Jamie Thomson to bounce story ideas off to see if they work. (Jamie and I were originally going to write the Frankenstein book app together, but in the end he was busy working on the Dirk Lloyd series.) As I recall, the only suggestion from Profile and Inkle was to put a Twitter button at the end of every chapter of Frankenstein so that the reader could tweet things like, "I just helped Victor Frankenstein steal a body from the morgue." Thankfully we authors have something called the moral right of integrity, which basically means you get to tell people to keep their hands off your work. The app was released sans Twitter buttons.
(Oh, fun fact: I wrote the whole of Frankenstein standing up because of a back injury. And I fixed the problem of how Clerval's body gets from Orkney to the very beach in Ireland where Victor's storm-tossed boat washes up. Mary Shelley had thirteen years to work on the second edition and she didn't spot that, so booyah.)
And that, friends, is the definitive list of credit where credit's due in the long patchwork story of The Frankenstein Wars. And there's still time to pledge for it on Kickstarter - but don't delay, those criminal brains are counting on you.
