In The Ashes is a solo roleplaying gamebook written by Pablo Aguilera and published by Devir. Pablo was kind enough to send me a couple of copies. It's a handsome hardback with rich colour illustrations adorning almost every page and I’ve spent some immersive hours diving into its beautifully intricate world. 

First off, as you can see in the video, this is by no means your typical gamebook. The story itself is classic high fantasy, taking place on the magical island of Obor and beginning with a scene of great dramatic force and horror: a public execution. You assume control of several different characters over the first three (of four) acts, with the game introducing you to each in turn. While the plot remains mostly linear, your actions still matter, influencing how events unfold in later acts.

One of the standout features of the gamebook is its deck-building mechanic. Yes, deck-building -- In The Ashes integrates cards into its core gameplay. You’ll begin with a small set of cards and gain more as you progress, and those cards are all laid out on the page. While you never physically shuffle them, you’ll strategically choose cards during encounters, making for a uniquely tactical experience.

In fact that's a unifying feature of the game: everything, including your tactical moves, is written directly into the book, right there on the page. Another example: the symbols that you mark on later pages. These are like keywords in a book like Vulcanverse, but with a more subtle affect. You'll reach that page, see that you've marked a symbol, and immediately you know that what's about to happen is a consequence of an earlier choice you made. You can see why you might want two copies.

Though the gameplay is dense, the prose is clean and to the point, keeping the pace brisk without sacrificing the richness of the world. This is crucial for a gamebook that wants you to focus on its mechanics and tactical decisions as much as its story. You’re not just reading—you’re strategizing, managing your resources, and executing complex plans, all while the narrative unfolds.

The variety in character mechanics, the tactical depth, and the smooth integration of board game elements make In The Ashes an experience worth savoring. If you're a fan of solo roleplaying games, especially those with a classic fantasy quest structure and a focus on strategy, this book is definitely worth seeking out.

And while I'm doing the recommendation thing, a couple of other juicy items are, firstly, The Casket of Fays #15 -- the usual superb Dragon Warriors/Legend gaming material. It's pay-what-you-want but don't be stingy. I especially liked Tom Clare's article on doppelgangers, which begins:

"Sometimes, at particular hours on particular nights, one looks into a candlelit mirror and gets the distinct feeling that the person reflected there is somebody else. This is a sign the veil between our world and the murky, warped otherworld of the mirror people has grown thin. And if in that moment the mirror is touched, there is a chance that the gossamer barrier will yield and one’s double will step out into the real world. (Highly reflective ponds count as mirrors for this purpose and, if touched in bright moonlight, have an even greater chance of releasing a double.)"

That's very Legend, that. But I said two juicy items. The other is Travelling at Night, a luscious-looking character-driven CRPG from Weather Factory. It's set in a skewed alternate Cold War period. I've recently been drawn to The Thaumaturge and have been incubating a mid-20th century game of my own involving politics, espionage and ideological tensions, so maybe it's an idea whose time has come. (Relatively speaking, that is; I'm sure orcs and fireballs will continue to hold the top spot for most gamers.)

Tension and excitement fill the room as A Thunder of Dragons begins! Players take on the role of these mighty flying reptiles, soaring above a sprawling 15 by 15 playing board filled with raging rivers, perilous mountain ranges, treacherous swamps and dark forests. Castles, villages, towns, and abbeys are dotted about the game board. Such settlements offer rich pickings for the dragons. But beware! These havens of prosperity are guarded by garrisons of bowmen, knights, foot soldiers and wizards alongside powerful heroes. Bigger and richer settlements are even more fiercely defended. Players swoop in to pillage these strongholds for their treasure and relics: coins, jewels and magical artifacts of great power. They will need crafty tactics to bypass or obliterate the defensive units that stand in their way or else they risk being driven off into the wilderness to lick their wounds. As dragons claim victory they return to their lair triumphant and laden with booty, growing ever richer and stronger. But other players won’t just sit back and watch; they can unleash potent spells from afar in an effort to thwart dragon attacks and aid NPC defenders.

A Thunder of Dragons is a board game I've been designing with Nick Henfrey, co-creator of Conquerors and Spacefarers. (To be honest, all the heavy lifting has been done by Nick while I chip in with suggestions about game balance.) The prototype is a lot of fun to play, and I'm not saying that just because I won our first full game.

You start by shuffling and laying out terrain and settlement cards. This ensures the game board is different every time. Players establish their lairs and can either walk (slow but easy) or fly (fast but uses up power), picking on settlements which they can plunder for treasure, captives (princesses and princes too; no gender bias from us), and spells. You can hold cards to add to your hoard or hand them in to increase power. 

It's really rare for an early prototype of a game to play as smoothly as this. Normally what happens is you start fitting pieces into the rules jigsaw and it's all going well till you hit some part of the design that just refuses to fit with the rest. I've been struggling with something like that in my Jewelspider RPG design (nearly cracked it, though) and I thought Nick and I would have similar problems as we had with finessing the Zombomba boardgame. But no -- we laid out the map tiles and got playing and it all came together like Smaug swallowing a hobbit. One gulp.

My victory in the first game was a bit of a fluke. I began by attacking an abbey. Little did I realize that abbeys are really well-defended and when you're starting out there's a high risk of being driven off and/or being badly injured -- and if you use up all your power in the attack you'll have to try and get back to your lair on foot while pursued by the settlement's defenders and reinforcements. Luckily I survived and carried off a major relic, putting me way out in front. But even that didn't secure a sure victory, because the other players can see who is ahead and will team up to harass them with spells.

As you can see in the picture above, the dragon playing pieces are 3D printed models, making the game as visually appealing and tactile as it is fun to play. But the frustrating thing is we just don't know what to do with it. Patreon and Kickstarter would never raise enough for us to be able to sell physical sets of the game, and nobody is willing to shell out for PDFs of a boardgame. These days, the successful crowdfunded games are all by established games publishers. But if anyone out there can suggest a company we can team up with to turn A Thunder of Dragons from fantasy into reality, please shout it out in the comments.

You can follow A Thunder of Dragons on Facebook and Twitter.

Very long journeys often mean that a game-time period of many months will be skimmed over in a matter of a few minutes of real-time. However, it is not in the best interests of the game to be too quick about this. A sense of the ludicrous may creep into a game where the GM says something such as, ‘You ride south through Algandy, spend a few days in Ferromaine where you charter a ship, then you sail across the Coradian Sea and down the Gulf of Marazid until you reach the mouth of the Mungoda River after about a month. You find a guide and bearers and make your way inland through thick jungle, finally arriving at the ruined temple Sengool told you about three months after you set out.’

Such an introduction is implausible and does little justice to the adventure that is to follow it. I recommend that you never spend less than half an hour gaming each campaign month. Something of interest must happen in that time. Devise a meeting with officials in Ferromaine – are the player-characters stung for duty tax, or wrongfully arrested by the city guard? Embroil them in a subplot which may take up the whole gaming session (though try not to lose the impetus of the main adventure in doing so). As a last resort, at least throw in a pre-planned but ostensibly random encounter.

One useful trick that allows you to move through game-time at an accelerated rate is by means of a film-like montage. Wait for the players to begin a discussion amongst themselves – a plan of action, an argument over spoils, or whatever – then run them fairly freely through their journey, interjecting briefly sketched events or remarks from NPCs, such as the ship's captain, at intervals to show that time is passing. As in a film, a few minutes’ action can thus be made to seem to cover days or weeks. 

@JamieTgamebooks my son made a board game having read the Dark Lord TY. Big fan of ur wk. Will be taking to sch tmr. pic.twitter.com/pwUnvJicde

— Maninder Dev (@maninderdev) October 2, 2016

A big shout-out to Manvinder Singh Dev, creator of the Dark Lord board game! Jamie and I would love to play this.

Back in the 1980s I designed a few simple boardgames for Discovery, an educational partwork magazine for children published by Marshall Cavendish. This game, "Survival of the Fittest", was included in their Charles Darwin issue.

I don't make any great claims for this. I designed it in a day or two and it was only ever intended as a fun play-around with the concept of evolution. Judging by the illustrations on the counters (not included here) the editors seem to have assumed the player was taking the part of a species. In fact you are playing different biological domains (if not entirely different DNA codes) although on any given turn you are playing a species within that domain. Easy enough to survive in warm tropical oceans, but can you make it all the way to the South Pole? If you do you'll probably be lichen, but at least you'll be the winning lichen.

If you want to try it out, you can download the game board and attribute cards here. The rules are below. And happy Christmas!

1. Migrate
2. Mutate
3. Roll for a Global Change

1. Environmental catastrophe threatens extinction. Each player takes one card from the Gene Pool. If one of the colours on the card matches a colour you already have, discard your current card(s) and play on with the one you have just drawn. If none of the colours match, you become extinct and start again in OCEAN DEEPS with a new species.
2. Loss of ozone layer wipes out higher life-forms. Every player is reduced to a simple organism (one card). Players who previously had two cards miss a go, but can choose which of their two cards they will discard. Players with only one card play on.
3. Ice Age. All players with complex organisms (two cards) move backwards three spaces to avoid the spreading glaciation. For each of the following characteristics that you possess, move back one less space: Fur, Fat and Hibernation.
4. Solar activity promotes genetic changes. Every player puts a card back into the Gene Pool and replaces it with a new one drawn at random.
5. A fierce new predator develops. Any player who does not currently have a red- and/or green-coloured characteristic must move back four spaces.
6. Disease ravages whole populations. Any player who does not currently have a blue-coloured characteristic must move back a number of spaces determined by rolling the dice.

You know what’s wrong with violence? It’s too easy. Sure, violence solves problems. But not in an interesting way.

Hobby boardgames are a great source of game design ideas. That’s because you can see just how the rules fit together to create interesting gameplay. And the very best hobby boardgames come out of Germany – classics like Adel Verpflichtet (rivalry and theft in the antique-collecting world), Intrigue (Renaissance courtiers) and Settlers of Catan (colonists).

What these great games have in common, apart from the meticulous logic of the Teutonic mind, is that none of them is based on violence.

There’s a good reason for that, of course. Modern Germans are not as a rule very fond of games of war. Consequently, designers of hobby boardgames in Germany have been denied the easy solution of violence. So they have been forced to make their gameplay really good instead.

Think about how that might work in computer games design. First-person shooters, say. There have been plenty of excellent, innovative FPSs, but the core factor in almost all is still violence. You run around and you aim to snipe away the other guy’s hit points without losing your own. But what if you had to design a first-person shooter without the shooting? There are plenty of themes to choose from. Let’s think about a Swinging Sixties paparazzi FPS where you have to scoot around town getting snapshots of all the celebrities.

In the absence of violence, we’d need to find other factors to make the game interesting. What are the resources? You can’t be everywhere at once, so time is an obvious one. Another is film. Maybe I need to get my scoop in for the late edition in order to pick up another roll of film. So do I go back for another roll, or delay until I get one more shot? Should I develop my film (pre-digital, remember) in a back alley, risking sabotage from other paparazzi, or do I take it safely to the lab?

Okay, I don’t doubt you can come up with a dozen better ideas than this. The point is that, if you can’t fall back on violence, whether in a videogame or a gamebook, you will be devising choices that have to be really rewarding in their own right. Afterwards, if you like, you can plug the violence back in. But not because you need it for easy gameplay, only because it’s fun.

No, not that Lone Wolf project, this one. This one has Gary Chalk art. Oh, but so did the other one. I'll tell you the first thing that sprang to mind:

"Nigel gave me a drawing that said eighteen inches. Now, whether or not he knows the difference between feet and inches is not my problem. I do what I'm told."

"But you're not as confused as him, are you. I mean, it's not your job to be as confused as Nigel."

Actually it's really simple. The other crowdfunder was for a new series of gamebooks set in Magnamund but not starring Lone Wolf. This, on the other hand, is a boardgame and it does star Lone Wolf, along with other famous characters from the books such as Giak Kootak and Rotzon the Cener. (I think that's him below with the big old book and the curtain rod.)

Confused? Maybe you should read Richard S Hetley's guest post about the Lone Wolf Boardgame on Lloyd of Gamebooks. That will explain everything. Go ahead, I'll wait.

What makes this special enough to be worth your hard-earned shards? Well, even if you're not a fan of the Lone Wolf gamebooks, any boardgame designed and illustrated by Gary Chalk is a must. Here's the guy who created the look and feel of Magnamund, who shaped the imagination of a generation of tabeletop gamers with his Games Workshop artwork & game design, and who has illustrated scores of beautiful books. On top of that he's a genuine gaming enthusiast himself with that rare combination: passion and talent, both turned up to 11.

For this Kickstarter campaign, Gary has teamed up with Megara Entertainment, who we might have mentioned before, and Greywood Publishing, the publishers of the very short-lived Fabled Lands RPG. The campaign has just one week left to run, and with your help it can still reach its target. Find out all the details here.

Of all the Fighting Fantasy inspired gamebook series of the 1980s, the most innovative was probably the Way of the Tiger. Mark Smith had created a vivid world steeped in intrigue and adventure, and he and co-author Jamie Thomson didn't rest on their laurels. Soon tiring of the traditional find-the-quest-item-in-the-dungeon structure, they began to introduce elements from the wargames and boardgames they loved so much. In one book you had to juggle competing political factions while managing a city. In another you had to muster an army and choose the tactics that woul carry it to victory. Here, to mark the reissue of Way of the Tiger book four in paperback, author David Walters describes what it was like to play through those classic books when they first appeared, and he asks Mark Smith to look back at what inspired him to create them:


When I read the Way of the Tiger series back in the ‘90s, I started with book four, Overlord. I do not recall why I chose that particular one, maybe it was the Kraken on the cover, or maybe the other books were in short supply that week in the bookstore, but the book remains my favourite of the series to this day.

The opening was simply electrifying for me. For a start, I was the ruler of a city, which I had never experienced in a gamebook before. I was used to being a lone warrior on quests in gamebooks, and sometimes even winning a position of power at the end of such a book, but I had never been in a position of wielding that power from the start of a gamebook. In Overlord, the crown did not rest easy on my brow, for I had to get on with the difficult decisions of ruling a city split by competing interest groups on whom I had to rely for support, and a people divided by racial and religious schisms.

Then I got to pick my advisers from a choice of varied and interesting characters, including those who had once allied with my (tyrant) predecessor, yet who represented a large part of the city. Dangers were everywhere. It would be just as threatening to my rule to rely to much on new allies as it would be to trust potential enemies.

(Incidentally, if anyone has calculated all of the possible safe routes via the councillors you can select, please do comment below. The editor in chief of the series is very interested to confirm all the permutations!)

As well as political intrigue, I had to survive an assassination attempt, endure a siege and undertake a perilous quest that would lead me to the very den of the evil ninja of the Way of the Scorpion and beyond. Interestingly, I was not only powerful in my position as a ruler, but also as a deadly ninja. In this game book the reader was allowed to feel personally and politically powerful, yet still experience threatening situations and enemies.

It was only after this book that I went back to the beginning of the series and played through them all, enjoying the journey from a young unproven ninja setting out on an epic quest. For me, Overlord set a benchmark in innovation, in characterisation and sophistication that I had never seen before in a gamebook. I'd recommend you to give it a try, and hope you enjoy it as much as I did. But watch out – it may inspire you to become a writer as it did with me!

Questions about Overlord answered by Mark Smith, creator of the world of Orb and co-author of the Way of the Tiger series:

DW: Were you concerned about introducing rulership into an action series? Is that why the whole book was not about ruling the city and involved a quest element?

MS: We did worry that if there was no standard gamebook adventuring it would disappoint and yes that's why it's not all about governing.

DW: What were your inspirations for the characters who seek to become your advisers in Star Chamber?

MS: Some of the characters had been pre-developed while role-playing. The Demagogue was inspired by Athenian history.

DW: What possible game mechanics did you consider or reject regarding the city management element of the book?

MS: I gave little consideration to game mechanics beyond striving for simplicity.

DW: Apart from Avenger, which character in Overlord did you most enjoy writing about?

MS: I enjoyed all of the characters but especially Golspiel, Foxglove, Force Lady Gwyneth, Solstice and the Demagogue.

DW: Looking back at the book, is there anything you would do differently now about it?

MS: I would do more checking for game balance.

DW: Were you concerned about ending this book on something of a cliffhanger?

MS: The cliffhanger was deliberate. I was happy with all the books except that in Inferno you need to take Foxglove with you for it to be good.

I’m often having a go at dice in digital gamebooks. It's a legacy feature, like having section numbers displayed. Might as well have the reader rub out text with their thumb. (Hey, that might actually be a cool thing on an iPad. Not in e-gamebooks, though, thank you all the same.)

Assuming a gamebook has skill checks and combats (and that’s an assumption worth challenging) the question remains: if not dice then what?

In an earlier post I talked about the combat mechanic in Inkle’s digital adaptation of Steve Jackson’s Sorcery books. This is similar to the system used in classic boardgame Apocalypse – and seeing as Steve is a hardcover boardgamer, and such a fan of Apocalypse (née The Warlord) that he published it in 1980, I wouldn’t mind betting that he came up with that.

The way it works in Apocalypse was that one territory attacks another. The attacker hides a number from 1 to 6 (not exceeding the number of units in the attacking territory) and the defender makes a guess. If the defender guesses the number right, the attacker loses that number of units from his territory. If the defender guesses wrong, he loses one unit from his territory and the attacker gains a reward (a segment of missile) for use later in the game. Also, if the defender’s territory is now vacant – that is, if he just removed his last unit there – the number the attacker selected is how many units he gets to move in and take the territory. A high number is good for holding the territory, but the defender knows that so it’s a will-he-won’t-he puzzle.

Nick Henfrey and I used a similar mechanic in our Lord of Light boardgame for Games Workshop. Oh, you don’t remember that one? That’s only because Workshop lost interest in it a few minutes after our first meeting. Nick and I didn’t get the memo, so we completed a rather good boardgame and if anyone would like to publish it (perhaps with Kirby concept art) the email address is right there in the sidebar.

Rather than waste a neat game mechanic, I recycled it as the Spiral of Gold, a pastime of the Magi in The Battlepits of Krarth. Here’s Grandmaster Klef explaining how it works:

The being spreads his hands over the surface of the table. As he draws them back, fourteen gleaming gold coins are revealed - seven in a line in front of him, seven on your side of the table. Beside each line of coins rests a six-sided die. All the coins are showing heads.

‘I am called Kief,’ says the mysterious being. ‘I am Grandmaster of this game, which the True Magi called the Spiral of Gold. Pay close attention as I explain it to you.

‘We play in Rounds, called Spirals. In the first Spiral I shall secretly select a number on my die, placing it under my hand with the number I have chosen uppermost. You do the same. Then we reveal and compare our chosen numbers. Suppose that I have the higher number. In this case you would lose some of your coins - equal to the difference between our two chosen numbers. I do not get the coins you lose; they just vanish. All right, so in our example you’ve lost some of your coins. I wouldn’t lose any, but the number I displayed on my die is the number of coins I have to flip over from heads to tails. So if I displayed a 4 and you displayed a 3, you’d lose one coin and I’d have to flip over four of my coins from heads to tails. 

‘We then start the next Spiral by recovering – that is, if either player has any coins showing tails, he can flip one of them over to heads again. Then we select numbers as before, and play proceeds until one player has no heads showing at the end of a Spiral. Then he’s lost.

‘There are three other rules you must remember. You cannot choose a number on your die that is equal to or greater than the number of heads you have showing. That means that we can each put any number from 1 to 6 on the first Spiral, since we start with seven coins, all heads up. But if at some later point in the game I had only five heads showing, I’d have to choose a number from 1 to 4. Secondly, if we both choose the same number then that Spiral is a draw and neither player loses anything. Lastly, when you have to lose a number of coins you must take them from the heads, not the tails, among the coins you have left.'

All of which goes to show you can have a combat system (or any conflicting skill resolution) without going to the fuss of having virtual dice rattle around on the screen of the phone, tablet or PC you’re running your digital gamebook on. If Jamie and I get around to doing digital versions of the Blood Sword books, that's how we'll work it.

What is it about magic and colour? At a role-playing convention years ago, Greg Stafford described to the breathless Glorantha groupies a scene in a RuneQuest movie that was pitched to the deaf ears of Hollywood. Something has happened to remove magic from the world, said Stafford, and the movie would show this by switching from colour to black-&-white.

It made me think first of A Matter of Life and Death (the difference between monochrome and colour is used more interestingly there) but the very next neuron to fire recalled SPI's 1975 boardgame Sorcerer, in which wizards attuned to different colour frequencies vied for power by enticing each other to battle in zones whose hue favoured their own magic. Sorcerer created quite a stir among us boardgamers because it was SPI's first foray into fantasy gaming - which, as they usually catered for the hardcore wargamer, was a crisis of confidence brought on, no doubt, by the growing success of grungy dungeon games. If you're interested, you can get a glimpse of the rulebook here.

A few years after that, in 1986, Mark Smith and Jamie Thomson came out with the Duel Master series - for me, their best gamebooks, and probably my favourite gamebooks ever. The first (and best) of these, Challenge of the Magi, involved two duelling sorcerers of the Rainbow Land (part of which unaccountably overlapped with Warwickshire and/or the poems of Thomas Lodge) whose magic obeyed a chromatic taxonomy:

• Red for fire
• Black for death
• Blue for illusion
• Green for nature
• White for... um, "holy" stuff

There were two books. Each player took one and you chased each other around the map of the Rainbow Land, trying to fake out your opponent so he didn't guess the colours on which you were strongest. OK, in the era of videogames that probably doesn't sound too impressive, but we had to make our own fun* in those days. And anyway, books are like radio: the pictures are better.

To this day I never figured out how Mark and Jamie made those books work. There was some kind of crazed obsessive-compulsive genius at work in the amazingly detailed rules (which were, nonetheless, easy to use) and the complex intricacies of the flowchart (likewise). And they were meaty, these tomes: 800 sections each. And you got a solo option.

They should have been a massive success, but the tragedy of gamebooks was that the craze didn't last long enough to really support any of the interesting things they were evolving into. That's why it surprises me when some modern revivals of the medium seem to aspire only to setting the clock back to simple dungeon-bashing. By the late-'80s gamebooks were already way beyond that.

(For the sake of balance I should add that there are plenty of modern gamebooks that have continued to innovate in terms of rules, setting and, most interestingly, the depth and quality of the storytelling - just look at the quality of most Windhammer Prize entries, for example.)

Fabled Lands LLP has the rights to the Duel Master books and they are cherry-ripe for conversion to apps. A little bit of handheld tech is perhaps all they needed to get the success they deserved. Twenty-seven years on, we'll see what we can do.


* Although, as Mamet says, everybody makes their own fun; if you don't make it yourself it isn't fun, it's entertainment.