Roll the bones

We've talked here before about whether gamebooks need dice, and what place there is for randomness in interactive stories. Paweł and I thought a lot about this for our upcoming Cthulhu gamebook, Whispers Beyond The Stars, and here we are talking about it. I'll just add there's a week to go on the crowdfunding campaign for the book, and the advantage of being an early backer is you can reserve a full-colour hardcover edition rather than waiting for the paperback.

More what you'd call guidelines than actual rules

It's always gratifying to get a review for one of my books, doubly so when the reviewer mostly liked it. Here's one for Down Among the Dead Men, the first book I wrote in the Virtual Reality series, that uses it as a design inspiration for Twine games. As James (the reviewer) points out, "Virtual Reality" was just an empty marketing title, which is why I changed the name to Critical IF when I relaunched the series.

If you just want a playthrough, there's a good one right here. (I'm "a fine old man", apparently -- thanks for those kind words, Jueri!) And below the astute, erudite and relatively youthful Mr H J Doom delivers his verdict on another Critical IF book, Heart of Ice.

While we're on the subject of old gamebooks, somebody said to me at Fighting Fantasy Fest that he thought you could only win in my 40-year-old gamebook The Temple of Flame by diving off the walkway into the shaft. I don't believe I'd have written an unbeatable path through the book, but it's a long time ago now and I might be wrong. Those who have played it more recently than 1984 may be able to shed some light on this?

And talking of FFF 5, if you weren't able to attend here's my and Jamie's talk along with discussion panels from later in the day:

Keep it simple

This is a quick and simple RPG system that lets players focus on imagination and roleplaying without getting distracted by constant dice rolls. Dice are only used when the referee decides a roll would add drama to a situation. It is possible to play the game without ever rolling a die.

Attributes
Each character is rated in Strength, Health, Speed and Intellect. Scores in these attributes range from 1 to 10. An average man has a score of 5 in all attributes. The referee assigns attribute scores in consultation with the players, or they can be generated randomly (roll 2d10 and halve the total).

Skills
Skills take precedence over attributes. Thus a character who is trying to dodge a falling rock, for instance, uses ACROBATICS rather than Speed. Only consult attributes when a feat is attempted that does not fall under any of the ten skills, or when two characters of equal skill-level are competing. The ten skills are:

• ACROBATICS
• COMBAT
• MARKSMANSHIP
• SEAMANSHIP
• SORCERY
• STEALTH
• SURVIVAL
• THIEVERY
• TRACKING

A character’s ability in each of the skills is rated according to four levels: Basic, Advanced, Master or Grandmaster.

Normally the referee will simply pre-assign a level of difficulty to any task, and only characters at that level of ability have any chance of success. For example: the player characters are searching for someone lost in the slums. The referee decides this calls for TRACKING to at least Master level.

Use of dice is optional, but may be preferred in life-or-death circumstances —a daring leap from an upper window, etc. Dice can be used to see if a character utilizes their skill (or attribute) effectively. The player rolls 2d6. The roll needed for success depends on the skill-level: Basic 2-4, Advanced 2-6, Master 2-8 and Grandmaster 2-10.

Melee procedure
First compare the COMBAT skill-levels of the two fighters; the higher wins.

If they both have the same skill-level, compare attribute scores—Speed in case of weapons, Strength if a fistfight. If both have the same attribute score, compare the weapons being used (a sword is better than a dagger, dagger better than a cudgel, etc).

For circumstances involving more than one combatant, Assume that each skill-level is twice as good as the one below it. (Thus a Grandmaster warrior would be exactly a match for eight Basic warriors, other factors being equal.)

Wounds
Both combatants lose a set amount of Health depending on the opponent’s weapon: fists 1, cudgel 2, dagger 3, sword 4, two handed sword 5.

The winner of the melee has the option to increase the loser’s injury by 1 point for each skill-level that their COMBAT exceeds the loser’s. Alternatively, if they have a shield, they can reduce their own injury.

Shine Points (if any) can then be spent to reduce damage.

Lastly, armour reduces the injury: 1 point for light, 2 points for medium, 3 points for heavy.

Missiles
At Basic Level, MARKSMANSHIP allows you to automatically hit a stationary target in good light at short range. Each higher level allows you to cope with one more negative factor from this list:

• poor light
• small target
• moving target
• long range
• undergrowth

Damage is sustained off Health, ranging from 2 points for a thrown dagger, 3 points for a javelin, 4 points for an arrow, 5 for a crossbow bolt. (Check to see if armour is effective by rolling a d6: 1 for light, 1-2 for medium, 1-3 for heavy.)

Moments of excellence
Shine Points are awarded by the referee when a character achieves fulfilment of a vow, has great success in an adventure, does something clever, receives a blessing or magical boon, gains the respect of others, etc. Shine Points represent the character gaining the confidence to occasionally surpass their normal limits.

Shine Points are spent to achieve tasks that would not normally be possible for the character, such as hitting a target at long range if you’re only a Basic Level in MARKSMANSHIP. Hitting that same target at long range in poor light in heavy undergrowth would cost 3 Shine Points. As mentioned above, you can also use Shine Points for other things like shrugging off damage. Once you’ve spent the Shine Points, they’re gone for good – until you earn some more.

Magic
SORCERY in this system generally takes longer to use than in most roleplaying games, but with effects more like you would expect in fantasy literature. For instance, a Grandmaster could teleport himself from city to city. Being opposed by the will of another sorcerer makes a spell more difficult.

Basic level effects include (eg) silent mirages that disappear when touched. Higher skill-levels then allow improvements up to full solid illusions at Master. The number of spells a sorcerer can maintain is one at Basic, two at Advanced, etc. Note that SORCERY can always be used to achieve an effect equivalent to another skill two levels lower. For instance, a Master can employ magic that achieves the effect of Basic TRACKING, MARKSMANSHIP, etc.

* * *

If you're familiar with the Critical IF gamebooks (originally published as Virtual Reality Adventures) or even with Knightmare book five: The Forbidden Gate you'll recognize the genesis of these rules there. I originally published them as Kashtlanmüyal in my and Steve Foster's Tekumel fanzine The Eye of All-Seeing Wonder - the spring 1995 issue to be exact. (The title? It's a Tsolyani word that means "epic dramas", or if freely translated could be "blockbusters".) I'd been serializing Tirikelu in the fanzine back then, and this was at the opposite pole of complexity. Or so I thought, for I had yet to encounter GURPS!

A faerie contest

Talking the other week about Mark Smith's Virtual Reality gamebooks reminded me that I was also called in to do some editorial work on the first one, Green Blood. In the original version, your only chance of dealing with the elves was if you'd picked SWORDPLAY, SPELLS or UNARMED COMBAT at the start of the book. Given that you create a character by picking four out of a list of twelve skills, that means that more than one in four randomly chosen characters wouldn't be able to complete the adventure.

Mark's argument was that a player would be crazy not to start with at least one of those skills, but I was more used to roleplaying games like RuneQuest, and there the whole point is to customize the character by picking skills. It's never a given that you have to be a fighter or a wizard, as in D&D. Even one of the pregen characters in Green Blood (the thief) couldn't have finished the adventure.

It's really no fun to learn halfway through a gamebook that you never had a chance, so the publishers asked me to create some other contests you can use to best the elves using FOLKLORE, CUNNING or ARCHERY. You can play that sequence of the book here -- start at 21, and if you don't use any of the options I added then you'll eventually be sent to 18, which was the entirety of the original contest. 

You can also read the whole book here or try Stuart Lloyd's version Ravages of Hate, which weaves Green Blood into the material of Coils of Hate.

Ravages of Hate

It started with a throwaway remark that both of Mark Smith's Virtual Reality gamebooks are set in the same universe. Stuart Lloyd had got Mark's permission to revise the books and he mentioned that he was taking the opportunity to develop the part of Green Blood that takes place in the city of Godorno: "I'm going to let the character be able to explore Godorno and everywhere on the map before heading to the forest."

To which I replied: "If you’re bulking up the Godorno sections, and Godorno is also the setting for Coils of Hate, maybe there’s the opportunity to combine the two?"

"To make one mega book where the character can both save Godorno from Hate and the forest from the Westermen?" said Stuart. "It isn't beyond the realms of possibility. In Coils of Hate, the character has to flee the city due to the anti-Judain rhetoric. They then wander the surrounding area for a bit then go back. Maybe wandering the surrounding area could turn into a quest to save the forest as well? Then the character comes back? There are similar themes in the sense that human greed and hate are ruining things for everyone."

From that little acorn was to grow the magnificent blockbuster that is Ravages of Hate. You can get the first draft of the book here, and Stuart and Mark plan to run a Kickstarter to fund a print edition with new illustrations -- by real human artists, you'll be glad to hear, not Bing.

There was a third book, which I have mentioned before. I offered to help Mark flowchart that one before he plunged into the writing. I'll admit I had a little bit of an agenda when I made that offer. The publisher had made me fix the flowchart for Coils of Hate, or try to fix it, and I'd had to work on that while a deadline was looming on another book. So I was pretty frazzled after that, and given only two weeks before it went to press I hadn't really been able to make the flowchart work properly anyway. I dreaded having to do the same thing all over again, so thought the best thing would be to help Mark with the flowchart of the next one. At least that way I'd know how the story was meant to fit together, just in case the publisher expected me to clean up that one too.

But Mark couldn't work that way because it didn't fit with his creative process. He always took a novelistic approach to the writing, and having the plot constrained in gameplay terms from the outset would have hampered him too much. I didn't want to spoil that -- I've already said that I think the maturity of Coils of Hate's storyline and the richness of its characters are way ahead of anything I've seen in any other gamebook.

So when the publisher asked me, as I feared they would, to evaluate and edit Mark's third Virtual Reality book (titled The Mask of Death) I had to turn it down. I was still a nervous wreck from trying to knock Coils of Hate into shape. The manuscript went to VR series editor Ian Marsh. Had it come to me I would have kept a copy, being an inveterate hoarder, but sadly neither Ian nor Mark did, and now it's lost forever. (Unless, like one of those missing episodes of Doctor Who, it turns out that the publisher still has it in a desk drawer somewhere.)

It's a shame because Stuart could have included all three books in his magnum opus. Still, he's created a 1330-section gamebook as it is, so he deserves a break. Please let him have any playtesting comments (contact details on his blog) and be sure to back the Kickstarter. Maybe if the funding goes well, reconstructing that third book could be a stretch goal.

Completely unrelated to all the above, but as we're on the subject of old gamebooks, some readers of the blog have been asking about the HeroQuest series. The third of those is quite possibly the book I was meant to be writing when I was suddenly given the task of fixing the Coils of Hate flowchart. You can get them here: The Fellowship of Fear (book 1), The Screaming Spectre (book 2), and The Tyrant's Tomb (book 3).

Caught in the coils

The Coils of Hate was one of the two books that Mark Smith wrote for our Virtual Reality gamebook series. Even thirty years on, my feelings about it are conflicted. By the time Mark handed it in, I’d moved on to another project for another publisher. Then the editor at Mammoth Books, who published VR, called me to say the book needed some work. Actually, a lot of work. Some links were missing. Others were doubled up. Some of it wasn’t typed, just handwritten on bits of paper. You could get a découpé sense of what was meant to be going on by just reading through the manuscript, but you couldn’t actually play it.

I spent the next two weeks trying to reverse engineer the flowchart and fill in the missing sections. I had my other deadline to worry about, so you can bet I was fuming, but it wasn’t all Mark's fault. The flowchart-planning side of gamebooks had never been his forte, and during the writing of this book he had the additional problem of two young kids who had been thought to be merely boisterous but had recently been diagnosed as autistic. Given the pressures, he produced a marvellous piece of writing. The characters came alive with their own hopes, fears and weaknesses. The setting was so vividly evoked you could taste the fog rolling in at night, smell the river-water lapping against lichen-spotted stone bridges, feel the fear lurking down narrow alleyways. And the theme was serious and meaningfully explored. It would have made a superb fantasy novel.

Mark is a big fan of Fafhrd and Gray Mouser, so I shouldn’t have been surprised to discover (as I did quite recently) that The Coils of Hate was inspired by Fritz Leiber Jr’s short story “The Cloud of Hate”. But although Leiber may have had the original idea, Mark did it better. Leiber’s story is really just about anger and violence. Mark drew on his own family’s horrifying experiences in the ‘30s and ‘40s to show what hate is really like once it takes hold of people’s minds.

I said that Mark struggled with flowchart design. Jamie tended to take care of that in their Way of the Tiger and Falcon books, just as I took more of the weight of game mechanics and logic off Oliver Johnson's shoulders for our collaborations. But to be fair to Mark, the structure of The Coils of Hate was especially ambitious. You can undertake multiple activities: opportunistic thievery, investigation into what’s going on, organizing the victims of the pogrom, making sure your friends are safe, and so on. And all that while events are unfolding over time. It’s even more complex than Can You Brexit.

While I was writing a new gamebook for Jamie’s Vulcanverse, I got to thinking how I’d have structured The Coils of Hate. To start with, you’d need keywords that would “remember” how far you’d got through the overall story arc. Say the action is split into four acts. So Keyword_Act_Two tells the book you’re in the second act. (It wouldn’t be called that, obviously; it would be Libation, say. Something that didn’t draw attention to the fact that it’s a time-counting logic flag.)

After completing a subquest, you’d be directed back to a “time counter” paragraph that would then route you to the current act. Something like this:

What about those subquests? The book needs to remember how far you are through them, but that might not (often will not) be linked to what’s going on in the overall arc. For example, maybe you’re calling on your friend Lucie. The first time you meet her she is blithely dismissive of danger. The second time she’s had a bad fright and wants your help. The third time there’s a chance she might betray you to the Overlord’s secret police. So that could work something like this:

And within each option there could be a filter that checks which act you’re in. For example, Lucie might conceivably betray you in the third or fourth act, but not before that. So entry 180 in the example here would then ask, “Do you have the keyword Proteus or Kindly?” and if so you’d get routed to the betrayal storyline; if not there’d be a different encounter with Lucie.

Keywords are needed when something has changed globally that needs to be checked for in multiple places. For example, if the Judain (the persecuted community in the book) are all ordered to wear yellow patches on their clothes, that's something you might see or discuss in several different branches, so I'd use a keyword.

Tickboxes on the other hand track local changes. For instance, the first time I visit an informant some militia come in and smash up his shop. On subsequent visits the book needs to know that the shop is shuttered and there's broken glass on the floor, but a tickbox will do because that's not a condition that makes any difference anywhere else. (We try to minimize the number of keywords because the reader has to check through a whole list every time one is called.)

What triggers the next act? That could be accomplished by tickboxes like we saw in the last example. So the hub section for one of the acts would look something like this:

Taking the prison option, for instance, you’d get into a series of adventures, at the end of which you’d reach a section like this:

Thus, after undertaking four subquests in the current act you're routed through to the next act via section 499 where you'd be given the keyword for that act*. If you were already in act four (as you are in this example) that would lead into the endgame for this book, which involves a showdown with the embodiment of hate as depicted on the cover. Various items and keywords acquired during the adventure would steer the outcome of that battle.

I'm not planning to rewrite The Coils of Hate (Stuart Lloyd already did that) but I am occasionally tempted to revisit the Shadow King storyline that Jamie and I cooked up over twenty years ago. That has the main character trying to stay alive in a world devoid of life but infested with vampires -- sort of an H G Wells take on I Am Legend. I'd definitely need keywords to globally track the passage of time, and tickboxes to record how far you are through various subquests. But is there enough demand for gamebooks these days? Not like there used to be, certainly.

• Coils of Hate on Amazon
• Swords in the Mist by Fritz Leiber Jr

*Any subquest that can only be accessed in the current act would route you back to the hub section for that act (100, 200, 300 or 400) but subquests that can be accessed in more than one act would need to send you back to the master hub, ie 555.

For hardcore collectors (of paperbacks)

Getting one of my old '80s and '90s gamebooks back into print involves a pretty laborious process. I have to take a Stanley knife to the book, scan each page, put the scans through an OCR program, reconstruct and fix the flowchart, typeset and edit the text, and finally run off an "editing proof" copy to do a final check before publishing.

That last stage means there's a one-of-a-kind copy of each book. As the cover art usually isn't ready during editing, and yet I'm too OCD (not OCR) to print a book with a blank cover, I grab some art online. The end result is too nice to just sling in the bin, but I'm having to declutter my bookshelves, so these two proof copies of Heart of Ice and Down Among the Dead Men are looking for a new home.

If you'll excuse the hard-sell, another thing that makes these copies unique is the filler artwork, which was never used in any other edition. I thought of holding the books back as rewards in a future Kickstarter campaign, maybe for Jewelspider, but to be honest running a Kickstarter is more effort than it's really worth, so in the end I just handed them to my wife and told her to put them on eBay. If you're a gamebook collector and you want a genuine one-and-only, here (and here) is your chance. And, if you're just interested in playing the books, they're still on sale on Amazon and at all good bookstores.

Pitching a gamebook series

A real curiosity today. When Mark Smith and I were pitching the idea for the Virtual Reality gamebook series, we had between us already written about two dozen gamebooks. Even so, publishers wanted to see a sample; it's like a knee-jerk reflex to them. So we quickly cobbled together a jailbreak scenario to show how the diceless VR game system would work.

This little sequence was my part, and I have a feeling that Mark was going to develop Leshand and the undersea kingdom, at least to get the total up to fifty sections. Whether he did so or not I can't remember. We sold the books to a publisher called Mammoth and they did moderately well, but the gamebook craze was already tailing off. We should have done them a few years earlier. I remember the series with mixed feelings. On the one hand it inspired me to write two of my best books (Down Among the Dead Men and Heart of Ice). On the other hand, I had to help out with editing and rewriting Coils of Hate, and memory of that still has me waking up in cold sweats.

VIRTUAL REALITY Adventure Books

(original pitch)

The rules

All you need do in order to play these adventures is choose four skills from the list given below. These four skills will determine your options during the adventure.

In addition, at the back of the book we will provide sample characters for those who wish to begin play straight away. Here is an example:

The Soldier

Skills: ARCHERY, SWORDPLAY, WILDERNESS LORE and AGILITY.

Life Points: 10

Possessions: Bow & arrows, sword, and a money-pouch containing 20 gold pieces.

Profile: Your character is a roving mercenary. You put more trust in your own skills than in friends, of whom you have few. A self-sufficient and perhaps somewhat intimidating individual.

The skills

Fighting skills: ARCHERY, SWORDPLAY, UNARMED COMBAT

Trickster skills: CUNNING, AGILITY, ROGUERY

Sorcery skills: SPELLS, CHARMS, FOLKLORE

Travelling skills: STREETWISE, WILDERNESS LORE, SEAFARING

1

The guards strip you of your weapons and money but do not bother to take any other items you may have. Then they lead you through a maze of passageways whose walls of rough-hewn stone are blackened under centuries of grime. As you pass the heavy iron-barred doorways on your route, you hear the moans and pitiful shrieks of other inmates. “That’s how you’ll sound after a few years in this place,” remarks one of the guards. “Madness is the only escape from here.”

Shoving you roughly into a small cell, they slam the door. The scrape of the key in the lock makes a doleful sound in the gloomy cell. One of the guards slides open a panel in the door and sneers: “Don’t bother getting comfortable. You won’t be here that long.”

The panel bangs shut and you listen to their footfalls recede along the corridor outside. Apart from the rats snuffling about in the corners of the cell, you are alone.

Then the full horror of your predicament falls on you like ice water. They mean to execute you for a crime you did not commit! You must escape.

If you have ROGUERY, turn to 2

If you have SPELLS, turn to 8

Otherwise, turn to 14

2

The lock is child’s play for someone of your unique talents, You have the cell door open in no time.

Turn to 29

3

The old man who is the cell’s sole occupant thanks you for freeing him. He draws his tattered robe around him, managing to muster a shadow of the dignity he must have possessed before his long incarceration in this dreadful place.

“You go on without me,” he insists. “I’m too slow to keep up with a young blood like you, and in any case I travel best alone. But I won’t forget your kindness, and I want you to take this ring as a token of my gratitude.” He pulls a ruby signet out of the ragged folds of his robe and presses it into your hand.

“I can’t accept this,” you protest, perhaps not too adamantly.

“It’s nothing,” he says. “A trinket only. Someday I’ll repay you properly, though –

be sure of that.”

You nod, wasting no time on farewells. Make a note of the signet ring. If you have not previously done so, you can now try the door to the guardroom – turn to 25. If you do not want to go into the guardroom, or did so already, then turn to 29

4

You step through the door and immediately collide with a group of guards who have just finished breakfast. It takes them only a split-second to realise you are an escaped prisoner. One grapples you as the others pull their swords from their scabbards. Within moments you are embroiled in a deadly struggle.

Without martial training you have no hope of survival. If you have either SWORDPLAY or UNARMED COMBAT, turn to 23

5

Against a master of the sword, your strategy is simple suicide. He calmly parries your barrage of desperate attacks, finally disarming you with a deft twist of his blade. You feel his sword-point prick the skin of your throat. “Enough. I yield.”

Attracted by the commotion, a couple of guards rush into the practice halls “Careful, sarge,” says one. “That’s the escaped prisoner.”

The weapons instructor smiles at you. “Oh, not just a common thief, eh? In that case, let me escort your personally to the scaffold.”

It is a short walk across the courtyard, and an even shorter drop to the end of a rope. Your adventure ends here.

6

Escape is impossible. Guards pour down onto the beach and you are swiftly surrounded. Despite a valiant struggle, you  are recaptured and taken back to your cell, where a constant vigil is kept until it is time for your execution.

You are led out to the scaffold and the hangman slips the noose around your neck. You take a breath, see the grisly excitement on the faces of the guards, hear a panel drop away. There is a moment of weightlessness, followed by a blaze of light… and then silence, forever.

7

At last you succeed in, chipping away enough of the mortar to work one of the blocks free. By squeezing through the gap you have made in the wall, you could get into the corridor running behind your cell.

Glancing up at the narrow window-slit, you are alarmed to see that a pale silvery glow has replaced the velvet blackness of night. The guards will soon be coming for you.

If you want to leave the cell immediately via the exit you have made, turn to 13

If you have CUNNING and want to try fooling the guards, turn to 19

If you have UNARMED COMBAT and wait to fight them, turn to 24

8

You bide your time until, at last, you hear the footsteps of the gaoler bringing your supper. He slides open the panel in the door and raises a cup of gruel to the bars. Then you hear him give a gasp of surprise, for he has seen what your magic has wrought.

To your eyes the cell is as before – clammy, dingy, infested with vermin. But, by dint of your magic, the gaoler beholds a different sight: a vision of gold stacked to the ceiling, of glittering jewels and caskets full of rubies like giant drops of blood.

Excited fingers fumble with the key. The door is flung open and the gaoler rushes inside, laughing wildly, to hurl himself at the pile of filthy rushes that served as your bed. Presumably the spell causes him to see it as extravagant jewellery, for he holds each rush up in the torchlight and mutters, ‘Rich! I’m rich!” His rheumy eyes light up with greed, his tongue slavers across thin lips.

The weak-minded dolt. You put paid to him with a swift clout to the back of the neck, then hurry from the cell. You can take his keys if you wish. Turn to 29

9

Taking up the bow, one of the guards nocks on an arrow and shoots at your retreating back. You cry out as searing pain rips through your shoulder. Lose 2 Life Points unless you have CHARMS, in which case a rapidly-muttered protective rhyme saves you from injury.

Now turn to 26

10

You step into the steam, griddle-smoke and clamour of the prison kitchen. Almost at once, a burly man with arms as thick as beef joints stares. at you with an expression of fury. “Get out of my kitchen!” he bellows.

If you retreat as he demands, you can go either to the refectory (turn to 4) or down the passage beside the kitchen (turn to 17).

If you ignore him turn to 12

11

The weapons instructor’s skill is truly impressive. if he were a younger man, he would be one of the most dangerous swordsmen in the world. As it is, your best efforts at defence only just manage to hold him off. Taking advantage of a momentary lapse in your concentration, he breaks through your guard to inflict the loss of 1 Life Point. But by this time, his age and weight are beginning to tell. His breath comes in wheezing gasps and he is moving more slowly. “You wretch...” he puffs. “You’re good… but I’ll get you yet...”

“Sorry;” you reply, “but I’ve got to be off.”

You suddenly dodge away and race out into the courtyard. The weapons instructor is too out of breath to give chase, or even to shout for the guards to stop you. Turn to 22

12

As you press on towards the door leading to the kitchen-yard, you stumble into a pile of pans and bring them crashing to the floor. “I told you to get out,” roars the cook. “Now look what you’ve done.”

“Hey...” realises one of the servants, evidently more astute than his master. “That’s the prisoner they brought in last night!”

“Is it, by, all the gods?” snarls the cook, snatching up bloodied cleaver. He advances on you with several of the kitchen servants bringing up the rear.

You are forced to fight your way past them. Lose 6 Life Points. (Exception: if you have UNARMED COMBAT lose 4 Life Points; if you have SWORDPLAY lose only 2 Life Points.)

If you survive, the kitchen workers back off and allow you to escape past them to the open doorway. Turn to 18

13

You squirm through, emerging into a narrow passage from which two doors lead off. If you want to try either of the doors, will it be the first that you come to (turn to 20) or the one nearer the end of the passage (turn to 25)? If you carry straight on to the end of the passage without delay, turn to 29

14

You languish in the dank cell for several hours. Although cannot think of a way to escape, still your mind is awhirl and sleep will not come. Late in the evening, the panel in the door slides open. You are on your feet in a trice. Is the end to come so soon? But it is only your gaoler. He grins at you, displaying rheumy gums and cracked teeth. “Here’s your supper,” he says, pushing a bowl of gruel at you between the bars.

“But it’s nearly midnight.”

“I’ve been busy” he grunts. “Lodge a complaint with the management if you don’t like the service.”

With a jeering laugh he departs, but you don’t bother to hurl insults after him. Your attention has been caught by the metal spoon in your bowl of gruel. You glance at the stone blocks of the wall. The mortar is old. Crumbling. It will be arduous work, but it is your only hope. You set to work with the spoon.

Turn to 7

15

Snatching a sword from the weapons rack you stand in the doorway and let them come to you. That way they can only fight you one at a time.

The battle is short but furious. You lose 2 Life Points – but they lose their lives. You can now take the bunch of keys and also the bow if you wish.

If you have not already done so, and now want to use the keys to unlock the cell adjacent to this, turn to 3

If you carry on to the end of the passage to look for a way out, turn to 29

16

The presence of the shields and tilting-posts tells you that the building is almost certainly a weapons practice hall. A good place to pick up a sword, if you need one. On the other hand, can you spare the time to take a look?

If you enter the practice hall, turn to 27

If you make straight for the main gate, turn to 22

17

Since breakfast is not yet over, the scullery is almost deserted. There is only one maid here, who favours you with a bored look and a yawn before going back to her chores. The door beyond her is open, and the cool tang of pre-dawn air wafts in.

As you step past the maid, you notice a large cleaver resting beside the sink. At a pinch it would serve as a sword (allowing you to use SWORDPLAY if you have that skill). Take it if you wish, then turn to 31

18

You emerge into the open air. Grey pre-dawn twilight suffuses the sky. Seeing the main gate is open, you race towards it ignoring the sounds of pursuit. The two guards at the gate stir themselves, but you have run past before they realise what is happening.

Your headlong flight brings you to a. narrow strand of shingle. There are some boats a few hundred metres further along the beach, but you could never reach them in time.

If you have SEAFARING, turn to 28

If you have CHARMS, turn to 33

If you have neither of these, turn to 36

19

You conceal yourself under a pile of rags and lice-ridden blankets in the far corner of the cell.

To a casual observer it is as though the cell is empty – and indeed, when the guards arrive that is exactly what they assume. They are so startled by the sight of the gap in the wall that they do not so much as glance at your hiding-place.

After a moment of slack-jawed astonishment, one of them yells, “Escaped prisoner! Sound the alarm!” They run off to fetch their comrades, leaving the cell door open. You follow at a circumspect distance, slinking back into the shadows of a side passage as they come racing back with reinforcements.

Now, with most of the prison’s available guards searching for you through an escape hole that you never used, you are able to saunter out into the open unobserved. Turn to 31

20

It is locked. Hearing a moan from inside, you slide open the barred aperture in the centre of the door. You peer into a cramped cell where an old man cowers miserably in chains. “Eh?” he says weakly, looking up. “You’re not the regular gaoler.”

“I’m escaping,” you reply, raising a finger to your lips.

He nods, understanding. “The guardroom is directly adjacent to this cell,” he tells you in a whisper. “Be careful – and godspeed.”

If you have a set of keys and wish to free him, turn to 3

If you risk entering the guardroom despite his warning, turn to 25

Otherwise, turn to 29

21

The first guard comes straight at you, holding his sword back for a thrust to the vitals. You wait until the last moment, then grab the edge of the door and swing it half-shut as he stabs with the sword. His blade impales the wood, stuck fast, and you have no trouble despatching him with a kick to the jaw.

The others are harder now that they have seen enough to be wary of you. Even though you keep to the doorway, the narrow space cancelling out their advantage of numbers, it is a gruelling melee in which you lose 4 Life Points.

If you survive, you manage to overcome them all in the end. You can now take any or all of these items: a bunch of keys, a sword, and a bow. Remember to make a note of anything you keep.

If you want to use the keys to unlock the cell adjacent to this room (assuming you did not do this previously), turn to 3

If you carry on to the end of the passage to look for a way out, turn to 29

22

Huddling into your jerkin, you affect the exhausted gait of a servant returning home after working all night. The few guards nearby take no notice of you. Ahead lies a narrow stretch of shingle. Beyond, looming in the morning mist like a faded tapestry, you can see the towers and domes of Port Leshand.

If you have SEAFARING, turn to 28

If you have CHARMS, turn to 33

If you have neither of these, you will have to go in search of a rowboat - turn to 36

23

You push the first guard aside and block desperately as the others close in. The force of their attack drives you back despite your skill, and you give a gasp of pain as one -of their-blades lays open a gash in your leg.

Against such overwhelming odds, you are hard pressed. With SWORDPLAY (and a sword.) you lose 5 Life Points. If you have UNARMED COMBAT you lose 9 Life Points.

Assuming you survive, you manage to break free and race across the vestibule to the passage. It takes you through the scullery into the courtyard.

Turn to 18

24

You stand in the middle of the cell with your back to the door. Your concentration is intense as you prepare yourself for battle. At last your patience is rewarded by the sound of footsteps and the key grating in the lock. “Come on, you”, snarls a voice. “Haven’t got all dayZ

You ignore him.

“Not in any hurry to check over the scaffold?” asks another guard nastily. “But we had it built just for you!”

Seeing that you still remain immobile, one of the guards enters the cell. The scuff of his boots on the flagstones tells you his stance, left foot advanced towards you. You picture him in your mind’s eye: sword arm held back, reaching for you with his left hand…

The moment you feel his grip on your shoulder, you reach up to seize the wrist and apply a nerve pinch, twisting the arm around as you turn so as to block any possibility of a sword thrust.

When the other guard hears his companion cry out, he rushes in to give aid. Both have swords, but they are hampered by the narrow confines of the cell. You overcome them both with the loss of only 2 Life Points.

You can take one of their swords if you wish. Then turn to 29

25

The door opens and you stride boldly into a room where four guards sit playing knucklebones by the light of an oil lamp. They look up in surprise. It takes them a moment to realise you are an escaped prisoner – but only a moment. In that brief time you take in your immediate surroundings: the bunch of keys hanging beside the door and the weapons rack off to your left. A number of swords have been left there, along with one bow.

If you decide to run for it, you have time to snatch one item – keys, sword, or bow. Note which you take and turn to 30

To fight them, you will need either SWORDPLAY (turn to 15) or UNARMED COMBAT (turn to 21).

26

You sprint to the end of the passageway, emerging into a vestibule with several doors leading off it. A servant is just coming out of the door directly ahead of you. You shoulder him aside, upsetting the tray he is carrying, and race into the prison kitchen. All around you, huge pots emit the steam and reek of boiled vegetables.

Hearing the commotion in your wake, the cook and two of his helpers take up cleavers and run to intercept you. You have no choice but to fight your way through them as You try to reach the exit. Lose 6 Life Points. (Exception: if you have UNARMED COMBAT lose 4 Life Points; if you have SWORDPLAY lose only 2 Life Points.)

Assuming you survive, you reach the bloodied but unbowed. The guards are pouring into the kitchen behind you, but the debris of your battle delays them for a few precious seconds. Turn to 18

27

The practice hall is little more than a barn where guards can practice and take exercise when the weather is too wet to use the courtyard. You search around, soon finding a weapons rack with a few old swords resting on it. You check them for balance and the quality of the blade, and have just chosen the best of a fairly poor selection when a voice rings cut from the doorway behind you.

“You varlet! Stealing weapons, are you?”

You turn. A portly middle-aged, man is standing there, wearing the chainmail tunic of a sergeant-at-arms. He has a fine sword in his hand, its tip resting lightly on the ground in front of him. His florid face, bald pate and bristling grey moustache give him a somewhat comical look.

“Back off, grandad,” you say, shaking your head as you heft the sword you’ve just found. “Why stick your neck out when you’re so close to retirement anyway?”

He glares, then suddenly raises his sword-point, twirling it in an elegant flourish. Despite his girth, he moves into a perfect fighting stance. A cold realization hits you as he says, ‘It is your neck that is at risk, you dog.” Of course – he must be the weapons instructor here. Almost certainly he is a master of the sword!

If you have AGILITY, you might be able to get past him to the doorway. Turn to 32 if you want to try that.

Otherwise, you have the option to either fight defensively, keeping your guard up (turn to 11) or to battle furiously in an attempt to break past him and run off (turn to 5).

28

Peering through the morning mist, you can just discern the ghostly outlines of the mainland. It would be an impossible swim for most people, but merely arduous for an experienced seaman like yourself.

You plunge out into the waves, ignoring the biting chill of the water, and drive with swift powerful strokes in the direction of Leshand’s harbour mouth.

Turn to 37

29

At the end of a winding corridor you come to a vestibule with two doors leading off it. There is also a narrow passage beside the door nearer to you. Just as you are deciding which route to take, one of the doors opens and the smells and sounds of cooking waft out.

You dodge back out of sight just in time. A servant emerges from the kitchen bearing several bowls of porridge on a tray. He crosses to the other door and goes through. As the door swings shut, you hear a voice saying, “About time! Don’t you know we’ve got to be on duty in a few minutes?”

Obviously the further door is the refectory, and the nearer door must be the kitchen. The passage probably leads to the scullery or the kitchen yard.

If you enter the refectory, turn to 4

If you take the door to the kitchen, turn to 10

If you head along the scullery passage, turn to 17

30

You spin round and sprint along the passage. Behind you, the guards pour through the open doorway with shouts of rage. If you did not take the bow from the weapons rack, turn to 9. If you did take the bow, turn to 26

31

You emerge into the prison courtyard. A scaffold stands here with a noose strung from its crossbeams, no doubt awaiting your neck. You have every intention of avoiding that fate, however.

The sun has yet to rise, but the sky is now aglow with a limpid azure gleam, making  it seem like a startlingly clear ocean. The stars are fading, Two guards are at the main gate directly ahead of you, but they are lounging against the gatehouse and yawning. You guess they must be close to the end of their watch, so you may be able to slip by unchallenged.

You are halfway to the gate when you notice a long low building off to your right. There are a couple of stout wooden posts outside it, heavily scarred as if by sword-blows, and some wicker shields rest beside the open entrance.

If you have SWORDPLAY (whether or not you currently possess a sword), turn to 16

If not you hurry on towards the gate: turn to 22

32

You charge at the weapons instructor, sword raised high as if you intend to chop down at his head. As he lifts his own sword to deflect the blow, you suddenly weave to one side and go into a forward roll which carries you right past him and through the open doorway. Coming to your feet, you sprint off across the courtyard towards the main gate. The weapons instructor bellows a variety of curses at you as you go, but this seems to excite little interest from the gate guards. Presumably, if he is anything like the weapons instructors you’ve known, they are used to seeing him yell at people.

Turn to 22

33

You recite an enchantment that protects the caster from drowning, then plunge out into the chilly water. Waves surge up over your head, but you continue until you are completely submerged. No doubt if anyone saw you they will assume you have chosen to drown yourself rather than die meekly by a hangman’s noose. The truth, however, is that you are able to stride along on the sea bed with no discomfort to speak of. Fish glide past you, gaping stupidly at the sight. The ocean currents take some getting used to, since it is like walking in the depths of a dream, but your progress is amusing rather than difficult.

As you get your bearings, intending to strike out towards the quays of Port Leshand, you spy a glitter of myriad lights through the blue-green murk. Straining your eyes, you think to see shapes like towers of coral, out to sea beyond banks of eerily swaying seaweed.

If you have FOLKLORE, perhaps you have heard legends of an undersea kingdom – turn to 35. Otherwise, you can either head in the direction of the mysterious lights (turn to 38) or else continue with your original intention of walking back to Leshand harbour (turn to 37).