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Showing posts with label maps. Show all posts
Showing posts with label maps. Show all posts

Friday, 29 March 2024

Maps of the mind

Martin Noutch, author of the wonderful Steam Highwayman books, is a true scholar of the craft of gamebook writing. One of the reasons his own books are so good might be because he has thoroughly analyzed the works of other writers in the field. The shoulders of giants and all that.

So that you can benefit from his studies too, Martin recently posted his story maps of the Fabled Lands books. Looking at those prompted me to dig out some of the maps I used to plan the books. Astonished that I still have this stuff after 30 years? I'm working on that hoarding obsession.


Trust me when I say that you haven't seen the full possibility of storytelling married to open world gamebooks until you've played the Steam Highwayman series.


And if you like the idea of steam-powered vehicles and picaresque adventures in an early 19th century setting (or style thereof), I recommend Keith Roberts' seminal SF novel Pavane. (It is SF, incidentally, and not steampunk, which is really a branch of fantasy because physics, but I don't want to give any spoilers. Read it and see.)

Friday, 1 September 2023

The Hole in the World

A few months ago we were looking at some of Russ Nicholson's magnificent oeuvre and Jamie mentioned how one of the iconic features of the Fabled Lands came about:

"Russ was doing a map and blotted it by accident. Me and Dave immediately came up with 'The Hole in the World' so it looked like it was deliberate."

That came about because Russ drew the first ever tidied-up version of our world map. For some reason the publishers didn't want to hire him to draw the world map for the books, but they finally gave way and admitted his map was much better than the one they commissioned. Naturally.

Russ needed to draw the whole world first because he was doing all the regional maps and wanted to be consistent about how they looked. Jamie and I used Russ's sketch map for planning all the books. That's why the copy below is covered with our annotations.

Friday, 19 August 2022

Cities in a jiffy


How long do you think it took me to draw that city? A split second, in fact, using the Medieval Fantasy City Generator. You can customize the look and it also gives you the population and the number of buildings. A handy little resource for the harassed referee.

Friday, 1 July 2022

Lovecraft country

If you are thinking of running a Cthulhu roleplaying campaign in authentic New England surroundings, this site by John Ott has to be your first port of call. He's developed the Miskatonic railway line and in particular the city of Arkham as an amazing set of scale models. Show these pictures to your players to create a suitably eldritch mood.


For other things nameless and redolent of the outer darkness, try:
Or even this write-up of our 1890s campaign, which (I am told) was loosely based on "The Night of the Jackals", a scenario in later editions of Cthulhu By Gaslight.

Thursday, 16 December 2021

A cartographic conundrum


Here's a mystery that maybe you can solve. While clearing out (aka moving files of old papers from one shelf to another) I came across these two maps. Both rather nice, I think you'll agree. But what are they?

My best theory is that they were samples sent to us by the editors at Pan Macmillan when the Fabled Lands books were originally in the planning stage. For some reason the editors didn't want Russ to do the world maps, perhaps because they were concerned at his workload as he was doing all the interior illustrations and the colour maps of the regions.

Jamie and I looked at various map artists, all the while arguing that we really wanted Russ for the job. These two must have been our favourites. I can't remember who the editors hired in the end -- neither of these guys, by the looks of it. And then they printed the west and east sides of the world the wrong way round in Over the Blood-Dark Sea. Stab me vitals.

By the time The Court of Hidden Faces came out we finally had Russ drawing the world map as we'd intended all along. But, as Frost said about ice, these other contenders were also great and would have sufficed.

And yet -- what's niggling at me is the stadium at bottom left in the second map. Tékumel gamers like me are bound to look at that and think: Hirilákte. Surely it couldn't be...

Does anybody recognize these or the artists who drew them?

Friday, 3 March 2017

Expressionist dancing zombies

Leo just sent me the colourized images he's been doing for Megara Entertainment's limited hardcover edition of my second-ever gamebook The Temple of Flame, originally published in the mid-eighties. This picture of undead warriors caught my eye because I'd recently found the original art brief I sent to Leo. I was inspired by Steve Ditko's story "The Spirit of the Thing" in Creepy #9. He showed a corpse coming to life and wresting itself up out of the soil with galvanic convulsions of muscle you could almost feel.


Ditko is of course the master of portraying physicality in a picture - look at those extreme poses Spidey adopts as his momentum flings his limbs in all directions. The horrifying idea of those athletic, almost dance-like, cadaveric spasms stuck with me, so I sketched them for Leo and let him do his thing.


Megara's edition of the book will be shipping soon to the hundred or so Kickstarter backers, and of course the paperback is still available to everyone else.



Another curio from the writing of the book is this map of the catacombs within the pyramid. I remember being horrified when I playtested Oliver Johnson's Lord of Shadow Keep and discovered that he didn't bother with mapping - you might turn right and come into the same room reached by turning left. I think I actually sat down and rejigged the text so that it was consistent, although whether that mattered is another question. I assumed gamebook readers would make a map as they went along, just like a role-player would. What about you? Were you a map-maker or a barnstormer?

Friday, 13 May 2016

Do I gotta draw you a map?

Actually, you'll be glad to hear that the map is by Russ Nicholson, not me. (As if you couldn't tell, right?) This is the one you've been waiting twenty years for: the map of Ankon-Konu, soon to be opened up to exploration by The Serpent King's Domain, seventh in the Fabled Lands series. Paul Gresty is hard at work on that now and it's shaping up to be the best FL book yet. Don't take my word for it, try the demo for yourself here.

The Kickstarter campaign was planned and run by Richard S Hetley, our editor, line producer, and invaluable consultant on the series. I asked for his thoughts on getting this dazzling new map from Russ:
"As always, it's been great to see new work from someone who helped build our favorite game worlds. It's also been interesting watching the notes from Paul, which quite literally were a printout of the old Ankon-Konu map covered with marker and pencil doodles, iterate into something that gives a sense of place. There was only one spot where I thought there was a bit of a hiccup: in Smogmaw of the first draft, there was a mysterious plain triangle sticking out of the top of the city. Was it supposed to be a rooftop? Perhaps a misplaced decoration like a flying bird? Or a gigantic pointy-cap mushroom? Russ took this feedback (I didn't mention the mushroom bit...) with all the rest and made the final version you see here. It communicates very well."
I'm not showing the whole map in all its multicoloured glory here because I think it's only fair that the Kickstarter backers get to see it first - as they will in the hardcover edition to be published by Megara Entertainment. A few months later Fabled Lands Publishing will release a paperback version, but for that one you'll have to make do with black and white.Still looks pretty spectacular, though, wouldn't you agree?


Friday, 12 September 2014

Blood Sword redux: Doomwalk (part 2)

fantasy gamebook
More designer's notes in "the making of Blood Sword" series, this time another look at Doomwalk. (Part one here.) The covers of this and the previous book in the series, The Demon’s Claw, now credit me as the sole author. Originally Oliver Johnson and I signed to do all five Blood Sword books, but Oliver’s job at Random House meant that he had very little time to spend on them from the start, having to bail out altogether shortly after we started work on The Kingdom of Wyrd. He did return – sort of – for the final book, but one at a time, eh?

Between The Battlepits of Krarth and The Kingdom of Wyrd, a week or so has passed. Between the latter and The Demon’s Claw, the characters are implied to have been adventuring for years. But Doomwalk begins with a Bourne-style cut, following on immediately after the events of the previous book. There’s no particular significance in this. I usually avoided cliffhangers because books couldn’t be ordered off the internet in those days, and I’d learned the hard way about the vagaries of distribution when all the copies of Dragon Warriors book 1 went to the south of England and all of book 2 went to the north. So I tried to make sure you could jump into a series like Blood Sword at any point and if you missed out a book entirely it wouldn’t be the end of the world. Except in book 5, when it really was the end of the world. But, as I said before, more on that in a later post.

I was glad to have the chance to fix the maps, which in the 1988 edition were printed the wrong way round. So you were presented with a map of Sheol at the start of the book, and if you managed to get to the lands of the dead and if you were lucky enough to find the ancient carving on a monolith there, you would uncover… a chart of western Legend showing the location of the island you needed to find in order to reach Sheol in the first place. I was aiming for a certain amount of dream logic, but not in Lewis Carroll quantities. So after twenty-six years it’s nice to be able to put the maps back where they belong.

Talking of maps, I noticed that the artist (not Russ Nicholson; he wasn't the original map artist) had written “burrow downs” instead of “barrow downs”. I’ve never had much luck with artists and barrows. In one early gamebook I described the character crossing a desolate moor at night when an old man steps out from behind a barrow. That became a picture of a geezer with a wheelbarrow. But I digress… All this talk of barrows at least gives me an excuse to run one of my top favourite of all of Russ's pictures, the wights who come out for a meet 'n greet when you arrive in Sheol.

It’s not obvious why we didn’t make more use of codewords as logic flags in early series like Blood Sword and Way of the Tiger. Instead the reader would just be asked, “Did you meet the scarred scholar and ask him about the carved pillar…” or whatever. If you’re playing the book for the umpteenth time, it can be tricky remembering which incarnation of you did what, and codewords help with that. I’ve written a few into Doomwalk including one to keep tabs on whether you’re accompanied by Cordelia’s ghost as you cross Sheol. (The codeword there, incidentally, is WANDER – a little tip of the hat to Team ICO.)

One more part of this reminiscence of Doomwalk to come. That's in a fortnight, and then we're on to The Walls of Spyte and the big Krarthian free-for-all on the final day of all Creation. But what about next Friday's post, you ask? Ah, or should I say Arrrrr!

Friday, 5 September 2014

Living on the Edge

In amongst all the news about the Way of the Tiger last year, you won't have failed to notice that my own favourite Kickstarter goal was the one to have Leo Hartas draw an original fantasy map for the world of Orb. Well, my real favourite Kickstarter goal would have been for my and Leo's Mirabilis project, but you know what I mean.

The stretch goal having been reached, Leo has been hard at work on a map of Irsmuncast-nigh-Edge, a city of the Manmarch. If you're going to Fighting Fantasy Fest you might even get the chance to buy the original artwork. I asked Leo and Orb's creator, Mark Smith, about the creative process.

DM: Mark, when designing a city, do you start out by drawing a rough map or do you prefer that to come later?

Mark Smith: I would do things slightly differently now- but this is how it worked back then. When designing a city I first took into account its geography – and proximity to other significant places – and the reasons why people would either immigrate or emigrate. Then I introduced the random factor of assigning temples from the Pantheon of Orb, and I will only modify that roster of temples if it is absolutely necessary – meaning I can't find a plausible rationale and back story for how and why the temples were founded there in that mix of temples.

DM: Can you tell us a bit about how the city got its name?

MS: Irsmuncast Nigh Edge is a shortening of what was originally 'The first camp of men near to the Rift’ (aka the Edge) and, understandably, it is not that close to the Edge. It’s the first settlement that you would come to in the Manmarch if you were journeying away from the Rift.

Since the Rift is like the edge of the world and spews forth evil and danger we can guess a few things about the nature of the Irmuncast inhabitants These tend to be either hardy or hopeless folk who can/must live under the shadow or threat of an incursion of evil. Some couldn't find success in safer places so had to make a go of it in Irsmuncast. Over time Irsmuncast became stronger- more able to defend itself and was able to sustain or attract wealthy and privileged people like Golspiel and others. The farmlands that supply the city are all to the west of the city as any to the east would be t0o easily despoiled by Orcs and so on.

I noted in the books that it was a city of 20,000 souls. I now think it is more likely it has around 35-40,000 inhabitants. but has reached the maximum sustainable by the farmlands to the west and so food is not overly plentiful.

DM: Leo, your maps have got a real feel for the place - what techniques are you using that give them that edge over other fantasy maps?

Leo Hartas: Illustrated maps, whether of real or imagined locations, must fulfill the necessity of practical use and readability while also be entertaining, adding atmosphere and style to the world.

With the Irsmuncast map, I was provided with a detailed sketch and copious notes to work from. Often the maps I did for Fighting Fantasy had to be based on barely more than a scribble on the back of an envelope. I am happy to work with either so long as there's enough information to do a pencil rough to submit to the publishers and authors. At that point it is easy to see what needs adding or changing and which spelling mistakes I've made (and I always seem to make them!).

To get to that point I lay out the components of the map in pencil on the paper I'm going to paint on (Bockinford 180 lb hot pressed watercolour) to have a pleasing composition and be clear and easy to read. I always have a dilemma at the beginning of any project about going traditional or digital, as I can work in either or a combination. For the Irsmuncast map, I decided on entirely traditional because I felt it should exist as a physical object, giving a little tactile authenticity to a fantasy world.

DM: What sources do you find inspire you when making a fantasy map?

LH: The Way of the Tiger world is loosely oriental, so I started looking online for old Japanese and Chinese maps for ideas of the look. The ones I found were rather short on decorative motifs so I widened my search to include all kinds of Eastern art. In the end I'd not found anything specific so just started doodling possible ideas, building a mash up of all kinds of influences into something that hopefully is new but contains the right cultural "feel". My whole thinking process is pretty fluid in that I don't have much of a plan and change stuff all the time. Even when the colour goes on, although I'll have a rough idea of what I am aiming at, half of it will be experimenting on the paper and trying to rescue it from cock-ups. This gung-ho way of working is probably why I went grey early! During all of this I listen to audiobooks. Somehow the half concentration unlocks an intuitive streak, while at the same time I get to plow through hundreds of novels.

Sunday, 26 January 2014

Things to come

A couple of works-in-progress from the production juggernaut that is The Way of the Tiger. Above, a detail from Leo Hartas's map of Irsmuncast-Nigh-Edge (the finished piece will be in colour) and below an illustration by Mylène Villeneuve for the third book, Usurper, of a priestess of Time and the ranger, Glaivas.

There are more pictures on Mylène's site and you can follow the schedule of the full-colour hardbacks on Megara's site. The first two paperbacks should be released by Fabled Lands Publishing in early March. There's also an Orb roleplaying game in development.

Over in this other corner, I'm working on the entirely ninja-free Blood Sword - but more of that in due course.

Friday, 8 February 2013

Here be dragons

Jamie and I have been thinking a lot about maps lately, what with six gamebooks being released in a few months in the Infinite IF series we're publishing with Osprey, and hopefully another couple of dozen after that if they prove popular. We began with the plan of just doing black and white maps, and those are fine for the print books but they're hardly going to excite on a tablet. (I prefer the term slate, but must bow to the common usage, I guess.) Colour will be needed. Lots of it.

Anyway, that's just by way of a preamble. Out of the blue, and completely unconnected with the Infinite IF books, Dragon Warriors player Lee Barklam got in touch to ask about our maps for Tetsubo, the Oriental version of Warhammer that never got published. Lee creates his maps using Profantasy's Campaign Cartographer. (And I might well have to look into that for the Infinite IF series, unless somebody knows of a really good fantasy map artist?) You can see Lee's maps of Legend and of Yamato, the setting for Tetsubo, over on his site The Cobwebbed Forest.

So, I mentioned to Lee that my own Legend campaign is currently set in Crossgate Manor, the sort of disaster-prone fief whose level of violent death would reduce Brother Cadfael to carrying a repeating crossbow. Crossgate is in western Ellesland close to the Albion/Cornumbria border (the red dot on the map). And lo! Lee came back only a day later with this rather super colour version based on my scrappy original sketch below.

Crossgate was the setting for "Silent Night", my Christmas special adventure in December 2011, and I'll run that on the blog next Christmas. In the meantime, here's an overview:

The manor of Crossgate is the largest of three (the others are Moyses and Garrow End) held by the Keppel family from Lord Maldupine, Marquess of Westring, whose lands stretch from the Cornumbrian border to the Vindar Hills.

The Keppel family are originally from central Albion, but took over these lands from the original lords almost a century ago. Many still refer to them as “the new lords”. The last of the old ruling family was Lord Duruth, who was killed 90 years ago.

The priest overseeing the local parishes of Moyses (where he’s based), Crossgate, Garrow End and Torstum (a village in the manor of Sir Eustace of Viridor, a neighbouring lord) is Father Lanarius, a cousin of the Keppel family. The rector of the small church at Crossgate is Father Gules.

Across the Stonestruck Lake is Redfern Abbey, with a mixed (segregated) community of about thirty monks and nuns.

Crossgate is a village of about three score households. The population of 300 comprises 10 manor servants, 40 freemen (including the priest and sexton), 200 villeins and 50 cottars. Notables of Crossgate are:

  • Sir Palagius Keppel, “Lord of Crossgate and Moyses”, 29 years old
  • Lady Perdita – Sir Pelagius’s wife, 19 years old
  • Lady Olivia – Sir Pelagius’s mother, 55 years old
  • Ryger – Sir Pelagius’s cousin, a squire, 25
  • Ogen – the steward, a little over-familiar in a daft-headed Luna Lovegood way
  • Hywel – a blind Cornumbrian bard, about 40
  • Rodwulf – the reeve (spokesman for the villeins) huge shock of red hair, burly, intelligent 
  • Father Gules – village priest




Thursday, 30 August 2012

The Land Below the Sunrise

Want to pick up a big, sumptuous full-colour map of Akatsurai to go with the newly reissued FL Book 6: Lords of the Rising Sun? Thought so. Well, hit the link and it's yours. Mythic cartography courtesy of Russ Nicholson as usual.

While you're at it, and if that low, low price of free appeals, why not grab a copy of Tetsubo, the Oriental-themed RPG that Jamie and I wrote originally as a Warhammer supplement. We delivered our first draft the day the commissioning editor left Games Workshop, so it ended up cast into the oblivion of a Nottingham filing cabinet. (Or so I like to think. More likely it just lay on the floor under a desk for a year.) It's only a work-in-progress, and it's full of all that Dungeons and Dragons stuff like alignment, ho hum, but there's enough there to get an Akatsurai role-playing campaign going if you're so inclined.

The Oriental RPG I'm really waiting for is Paul Mason's Outlaws, based on the exploits of the Water Margin heroes. I ran my own Kwaidan variant of Outlaws at just about the time I was writing Lords of the Rising Sun, so (as usual) a lot of the ideas for the gamebook came from our role-playing sessions.

Friday, 27 August 2010

The town of Brymstone

A very rough-n-ready look here at Robert Dale's superb campaign setting, Brymstone. This barely gives you a taste of what it was like to walk those winding streets and be caught up in the intrigues being spun within the local lord's household and between him and the city guilds. And that's not to mention the return of the repressed, in the form of a very malevolent protean creature called the Brollachan.

Apologies for the scrappy maps, which I only intended as guides for our DW mapmaker, Geoff Wingate. You should still be able to make out the key, anyway - or see the much better version prepared by Lee Barklam of The Cobwebbed Forest website. What follows is Robert's description of the town, and although it is enough for any GM to flesh out some adventures there, it barely scratches the surface of his extensive campaign, which took in local landmarks such as the abbey at Inis Manistir. It would have been almost enough to fill DW Book 7 on its own - but that, alas, was not to be.

BRYMSTONE
Map key and description of buildings

(1) Penda's Fort
This comprises the citadel (which commands the estuary and the entrance to the southern basin), associated barracks, storehouses, and workshops beside Military Way. All buildings between the Delf Stream and the sea are inside the military compound, and much of the southern basin is given over to the navy.

(2) Courthouse
The administrative centre of the town, including civic archives and library, and a small lock-up. Administration was moved from the much older Guildhall (53) because of lack of space.

(3) the Minster
In addition to the Church of All Saints itself, this complex includes a walled garden, school, large guest wing, and library. The permanent staff includes: Archdeacon Gothi; his secretary, Markun; six priests; four chaplains attached to the naval garrison and the court; sixteen choristers; eight clerks; a master and usher of the Minster school; fifteen scholars, and twelve servants. The Minster was founded just over three hundred years ago, following the conversion of Brymstone to the True Faith. It had become somewhat dilapidated, but restoration work has now begun.

(4) Custom House
The compound where one may find the offices of the customs authority, the house of the comptroller of customs, and a number of bond warehouses. Duty is mostly imposed on luxury goods - including silks and spices off ships out of Ferromaine or Crescentium. The comptroller also collects harbour dues and regulates the entry of strangers into the town.

(5) Post House
For the rapid delivery of important dispatches and the rapid (and safe) transport of dignitaries. Messengers and officials can obtain fresh horses or take lodgings here. Reputable adventurers may wish to hire on as guards.

(6) civic granaries
The town is obliged to maintain a store of corn to feed the people in the event of a seige or bad harvest. These granaries are used as a central clearing house for Brymstone's grain requirement.

(7) naval boatyard
This is a small repair yard attached to the citadel. There are two slipways, a sailmaker's loft and a timber store. It is not a construction yard, though light vessels could be built here in an emergency. (There are a number of professional boatbuilders in the town, but their yards and the ropewalk lie just beyond the walls to the east.)

(8) Lord Erek's townhouse
The home of the lord of the fiefdom outside the town walls, including a formal garden, stable block and servants' quarters.

(9) the Theatre
Seating up to two hundred (but not necessarily in spacious comfort), the theatre features mystery plays and other quasi-religious ceremonies. In theory it has strong connections with the Minster, but in practice many of the younger actors are not all that devout in their adherence to the True Faith. Elements of pagan belief creep into many of their performances, and it is not uncommon for them to satirise (insofar as the medieval state permits satire) the Guilds, the Church and the liege lord.

(10) the Gymnasium
One of the places where the cultural "mafia" hang out, the Gymnasium is used for more than just weapons practice. The senior instructor, a hot-tempered giant of a man called Torvald Woodcleaver, gives training in the use of two- and one handed axe and sword. In game-terms, a Knight or Barbarian of 6th rank or less will gain 1d4-1 experience points a month under Torvald's tutelage. He charges 21 Florins a week. Nevertheless his classes are not oversubscribed because of their high casualty rate: roughly one pupil in six goes out with a nasty wound each lesson.

(11) inn: The Whale Road
The town's best hotel - frequented by wealthy traders, recently enriched adventurers, or others who have no connections in Brymstone. Rooms cost 25 silvers a night.

(12) watermills and windmill
There are three mills within the town walls (and many more outside). Two of the three are under civic control, but the third - built against the wall close by the South Gate - is owned by the town's brewery and provides malt for it.

(13) Lighterman's Wharf
This building, a clubhouse where food, drink and other services may be obtained, is the meeting place of the powerful Guild of Fishermen and Lightermen.

(14) warehouses and dockside equipment
There are seven major warehouses which deal in a variety of imported goods. They are mostly owned by the shipping firms (opportunities for profiteering abound), but individuals can sometimes obtain storage space in the Citadel or in Lord Erek's storehouse - at commercial rates, of course!

(15) bakeries
There is one bakery in Lord's Walk and another in Bakery Lane. These provide bread for the Citadel, stores of biscuit for shipping, and quality bread for the wealthy as well as rye for the not-so-wealthy.

(16) brewery
Supplies all the ale consumed within the town, selling to private individuals, ships, inns and taverns.

(17) smiths/armourers
There are three such, and since all cater to the needs of an urban clientele these are not places to buy blades of exquisite craftsmanship! The most that can be said is that their weapons are of workmanlike quality, their armour not unduly ill fitting. The workshops of Master Drenck, just off Black Horse Street, are perhaps a discerning adventurer's best bet. In addition to a variety of weapons and armour, the smithies perform the more mundane tasks of shoeing horses, mending agricultural implements, casting and forging a selection of hardware (domestic and "industrial") and supplying the town's shipbuilders with nails, spikes, cramps and anchors. These jobs usually get priority, so one must be prepared to wait for one's weapon/armour - or "induce" the smiths to speed their work (ie, add 20% or so when paying them). Better-quality weapons can of course be obtained by trading with merchants. For a scimitar of Crescentium Steel you would be talking about something in the region of 500 silvers, however. One of the exquisite kiriha swords of Yamato, if it were made available on the open market, would sell for 2,000 silvers or more. Such choice items are usually offered direct to a private individual.
[Note that it is to Master Trinton, the armourer in Cheapstreet, that one should go for crossbows (he sells but does not make them) - if you go to the bowyer's (51) for a crossbow you will get a very chilly reception.]

(18) banker
With Brymstone being such an important commercial centre, a trustworthy financier is a necessity. Guidon of Ashdown is a former Crusader of impeccable honesty. An elderly man, he retains the powerful stature of his youth and is also widely rumoured to have learned strange magic from the Marijah Assassins. All in all, thieves leave him alone. Very large sums of gold and silver are usually deposited in the strongrooms of the Citadel under official seal, but many people bring their letters of credit for Guidon to honour. He will also hold small valuables and can evaluate trinkets (magical and otherwise). Guidon's fees range from 3% to 10% per year, depending on the size and value of the item.

(19) inn: Wotan's Eye
Limited accomodation (ten rooms) of moderate quality (few rats) at reasonable rates (around 5 silvers a night). The food is good but unimaginative, complemented by a fine selection of wines imported from Kurland, Algandy and Chaubrette. There is no particular clientele, although less well-to-do youths tend to meet at the inn of an evening.

(20) inn: The First and Last
There are seven private rooms here, and stabling is available. The tariff is 5 silvers a night. The food is excellent - seafood is the speciality. The clientele is again varied. Farmers particularly favour this inn on market day, and you will often hear lively bargaining going on over a lunchtime pint.

(21) inn: The Cause is Altered
The odd name may be explained by a story that cattle would proverbially stop as they were brought through Cowgate; "The cows's 'alted," their herders would say with a glance at the pub, "so we may as well." The ten rooms offered are of low quality and price (3 silvers a night), and there is stabling. This inn is frequented by carters and drovers bringing cattle to the slaughterhouse next door. Food is cheap and cheerful, and the customers friendly. If you buy the landlord a drink he will bend your ear with various tall tales (including the apochryphal story about the inn's name). All is not necessarily as it seems, however, as strangers have from time to time disappeared mysteriously - probably to end up on southbound trading ships.
Presently in residence at The Cause is Altered is Makrof, a stooped fellow with a pot-belly who enjoys a nightly drink and a game of knucklebones in the taproom. He purports to be an antique collector, but in fact is a member of the Clan of Harbingers assigned to eliminate Cenncaradh the Painted Man.

(22) tavern: The Northern Cog
A quayside drinking-house used by fishermen and sailors off ships moored in the southern basin. Very much a nautical tavern.

(23) tavern: The Flying Horse
Provides food on market days, when it is usually crowded.

(24) tavern: The Painted Toenail
Frequented by the artistic (or arty) community, this small drinking establishment is viewed with suspicion by the authorities as a melting-pot for malcontents - political or otherwise.

(25) tavern: The Friend in Need
A quiet and expensive drinking house. It has links with The House of Pleasant Accomplishments across the road. It is the haunt of the sons and daughters of the guildsmen, and the owner, Fastalio Gunbratti (an expatriate of Ferromaine), has tried to recreate the atmosphere of plush eating-rooms such as one finds in the ports around the Coradian Sea.

(26) tavern: The Silver Net
Another haunt of sailors and fishermen. A bit seedy, but very popular with those who like that sort of thing. A "locals' pub" which does not welcome strangers.

(27) potters
Leaving aside the market traders, here are two major potters in the town. Ifran the Grey specializes in fine quality tableware, while Shimbek Wisphair (on New Row) concentrates upon specialist ceramics. The naval base draws most of its supplies from these two. Local clay is plentiful, and there are many tile-kilns situated along the river valley.

(28) stonemason
Drusin Rocksmith is the only true stonemason for miles, and gets a lot of business. He has close links with the lord, Erek Longsword, who has provided many commissions in the past - including the refurbishment of his local stronghold (two miles north of Brymstone, see map) and the renovation of the Minster.

(29) tavern: The Old City Arms
Another popular market tavern, the landlord is a keen musician and this is often the scene of impromptu musical gatherings.

(30) ships' chandlers
The two chandlers in the town are Kaltrak of Glissom and Borvul Shortbeard. They sell goods to trading vessels and also supply building materials and hardware. Despite the constant bickering that goes on between these two, they are in fact old friends in their own way, and jointly own the ropewalk beyond the walls. Characters who visit one of these places to buy candles will probably be disappointed. Borvul does in fact supply candles, but only by the crate. You will also have to listen to some nonsensical claptrap about cerumancy, Borvul's sideline-cum hobby and something that many ship-owners plan their schedules by.

(31) carpenters/wheelwrights
Within the walls there are three carpenters not associated with the Shipbuilders' Guild. They provide fittings and furniture for domestic use. Rospian the Red, the carpenter in Lord's Walk, acts also as a wheelwright and wood-turner. Fachor Birnath, in the New Cut, provides furniture of the very highest quality and there is a long waiting-list for his work. His style has the heavy practicality demanded by Elleslandic and Mercanian tastes, but often elaborately decorated with carvings of beasts, old deities and abstract designs. Show him a sketch of some bizarre demon from Marazid or Cosh Goyope and he will likely drag you down to the Wotan's Eye pub for a drink.

(32) music shop
Katani Goldentongue is a handsome woman who sells and repairs various musical instruments, dealing mostly with merchants and naval officers. She also stocks sheet music for part singing or consort playing. Lord Erek keeps his own consort of musicians - mostly at his wife's behest - and (for all the animosity that exists) most guilders try to emulate him. There are occasional musical events held at the theatre, formerly under the patronage of Erek or Alyne but increasing financed now by merchants who are more interested in the status of the occasion than in the quality of the musicianship.

(33) bookshops
The two bookshops deal principally in manuscripts by there are also some printed books (see 36). Literacy within the town stands at about 20% so there is a reasonable market. These are not walk-in-and-browse shops, of course; unless you have an appointment you will simply find a locked door.

(34) slaughterhouse
Virtually all the meat consumed within the walls passes through the slaughterhouse, along with most of that supplied to trading ships. Meat can be purchased direct or through an intermediary (usually a market trader). Hides are sent to the tannery, which is situated outside the town walls near the shipyards, and there the raw hides are processed for use by saddlers and other leather workers.

(35) the House of Pleasant Accomplishments
A large "floating" community of traders and sailors ensures that this establishment thrives. It is more than a brothel - not just sex is for sale within, but rather all the pleasurable adjuncts of civilization: conversation, music, wine and food, an appreciation of the fine arts, and simple companionship.

(36) printer
Kodo, erstwhile member of Bisley Abbey, has been operating as the town's printer for some years. This is not a movable-type press, of course: that technology will not come for centuries yet! Kodo makes his living from woodblock prints of sea charts, maps, and pornographic or religious icons. He still puts the skills he learned in the scriptorium at Bisley to good use, copying manuscripts as a sideline. He charges highly for his work (partly at the insistence of his former colleagues, who are not best pleased at the competition): between 100 and 300 silvers for copying a manuscript, and anything up to 1000 silvers for a map, depending on its rarity.

(37) jeweller-goldsmiths
There are two such professionals in the town: Iandor Longtooth on the New Cut, and Pangus Deepdraught on Bridge Street near the gate. Their work sometimes goes to the local market, but is more often intended for trade. Gold is mined about twenty miles west of the town.

(38) clothier/dressmaker/tailors
The larger of the town's two rag trade suppliers is on Strand Street, and deals in high quality garments - silk brocades, velvet, and furs. Few can afford such luxurious goods, which are usually shipped to the continent. The other supplier, Tracmanius Gloo, has two outlets - in the New Cut and the Crossway - and deals in more workaday garments. Characters are likely to go to him for their fustian robes, cloth hats and woollen breeks. Clothes may also be obtained from sempstresses, of whom there is an abundance in the town's poorer quarters.

(39) bootmakers
Strong boots and shoes are important to all walks of society, so it is no surprise to find three high quality cobblers in Brymstone. They get leather from the tannery beyond the walls. The shop most favoured by the wealthier merchants and gentry is that situated on the Backs, close to the Post House. Cobblers work to order only; there is no such thing as an "off the peg" boot.

(40) fine glass dealer
A specialist importer, dealing exclusively with the gentry and the Citadel. Glassware, exceptionally hard to come by, is as prized as silver.

(41) antiquary
There is a particular interest in antiques among the well-born naval officers, so although most citizens have little use for such things this shop continues to prosper. Magnus of Chorazin sells all manner of things: battered bronze spearheads, glassware and pottery from the days of the legions, small stone idols and pendants depicting forgotten gods, belt buckles and rings, even ancient furniture. Many adventurers snap up his wares eagerly, spending whole afternnons in the dusty interior of the shop, hoping they will one day be lucky enough to purchase a magic item. (But it is unlikely that Magnus - an accomplished mage despite his unprepossessing appearance - would allow a choice article to slip through his fingers.) He also buys any old trinkets that characters may salvage from ruins or burial-mound, of course.

(42) vintner
Although the owner, Sefrassit of Lagunne, would prefer to restrict his clientele to the merchants and gentry, this shop is patronized by all classes. He has a particular distaste for travellers (including adventurers) and will treat them to a strong dose of sarcastic Chaubrettian humour. He stocks fine imported wines and some locally-distilled spirits and liquors. He will deal in bulk as well as by the bottle, supplying Lord Erek's cellar on the one hand and a rough tipple for a carousing sailor on the other.

(43) furrier
Krafthal Axelugger employs his own trappers to hunt in the foothils of the Pagan Mountains. Many furs go to the southern trade route, where demand is high, but the local market (given the harsh winters!) is no less profitable. Furs are not cheap; a typical cloak will sell for 600 silvers or more.

(44) "coffee" house
The drink sold in these three establishments is not, of course, coffee, though that is the nearest cultural equivalent. In fact it is an infusion of berries and herbs from Asmuly, which produces a sharp-flavoured stimulating drink called betch. The "coffee" shops are known by the names of their proprietors - Oslaf's, Weoxtan's and Big Ursula's - and flourish as meeting places for the poorer sort of merchant out to make deals, for rustics wanting a glimpse of "high society", for young bravoes, and for all kinds of faintly disreputable types (adventurers included). The most fashionable of the three is Big Ursula's, in Flying Horse Lane, but Ursula's flirtatious behaviour is not for the faint-hearted!

(45) perfumier & spice merchant
A luxury import house, dealing in spices, essences, perfumed oils and so on.

(46) shipping agents
There are six shipping agents. They act as brokers, hiring merchant ships or freight space to traders who do not own their own vessels. Such agents usually have connections with trading companies, so that ships are kept in continual use either by clients or by the owning company.

(47) surgeons
There are two surgeons who deal with any ailment from 'flu to broken bones. Most of the time their medecines are worthless, but they are fully competent in setting fractures and even manage a few simple operations. This is just as well, as there are some ailments - such as appendicitis and gallstones - that cannot be cured any other way. Their services are expensive and usually painful: anaesthetics range from a slug on the jaw to (if you can afford the full fee) a bottle of whiskey.

(48) horse hirers
Apart from the Post House, two agencies hire horses. These are agents for the large livery stables situated by Cowgate. Horses can be hired, bought outright, or stabled for short periods.

(49) game & poultry dealer
Other than the slaughterhouse, this is the only additional source of fresh meat in the town.

(50) timberyard
The source of seasoned wood used in carpentry and small-scale woodwork in the town. The timber is local, coming from the extensive forests around Brymstone.

(51) bowyer/fletcher
Quite a specialised craft, this, but on a small scale. The bowyer, One-eyed Archos, does not make short bows (they are beneath his notice) and can be fussy about customers. He will occasionally refuse to make a bow for one he considers unworthy of the distinction. He is a freeman (middle to upper-middle class, in modern terms) of Erek's demesne who has moved to the town. He is consequently courteous, quietly proud, and thinks that Erek can do no wrong and that most merchants are scum. If you are a merchant, he will not be so rude as to say this to your face, but you will surely be left in no doubt of it! Archos is a former Master Bowman (before the loss of his eye), and is thus worth cultivating as a friend. He gives free archery instruction to a few devoted pupils twice a week.

(52) waggon parks
Large waggons are not allowed on the town streets during the day, so there are two large parks where carts wishing to collect from or deliver to the docks can be marshalled. The parks are also convenient customs inspection points for incoming carts. A number of semi-permanent dwellings - flimsy shacks and tents - have mushroomed up around the parks, where one will find the motley crew of doxies and pedlars who cater to the waggon drivers' needs.

(53) the Guildhall
Meeting place of the guildsmen, of course, and another of the town's administrative centres. Many records are kept in this building, and the civic treasury lies below it.

(54) architect
A tall, broad-shouldered man with a bluff demeanour, Bosel of Erincester is a business associate of Drusin the stonemason, above whose workshops he has his rooms and office.

(55) saddler
Pacto the Cornumbrian will make saddles, leather bags, purses, halters, bridles and many other items.

(56) fishmongers
It comes as no surprise to find three thriving fishmongeries in a seaport such as Brymstone. Fish is considerably cheaper than meat, of course, and for the poorer townsfolk it is the most substantial item of their diet.

(57) apothecary
Lugdor the Stammerer produces an astounding array of brightly coloured and noxious smelling potions. The astounding thing is that they are almost all useless, and yet that people flock to buy them. The answer to this may lie in the fact that the vast majority of people could never dream of being cured of diseases by magic (even if player-characters expect it), so faith - or superstition - is really all they have. (Players should naturally not be told that Lugdor's brews are worthless. They may or may not discover this for themselves, and there is no recourse in law anyway; Lugdor displays a placard disclaiming responsibility for his potions' effects.)

Brymstone is copyright © Robert Dale 1985