Warlock The Fighting Fantasy Magazine #10

8/11/2019 Warlock The Fighting Fantasy Magazine #10

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EDIICHIEF: S J & I L

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CONTENTS

Livingstone on Trial!

Bet that caught your attention!Actually its only Ian talkingabout his new gamebook!

Derek the TrollOoerr! Derek gets draughted!

Arcane ArchiveWhat, a load of new game-books to be reviewed? Neverfear heres Paul Cockburn tothe rescue!

Dereks QuillOur great and noble mastertakes a well-deserved restwhile Derek attempts to ans-wer your letters.

Arkenor & MaxIan McDonalds world comesto an end!

Paint Yer DragonRick Priestley gets tooled up

Out Of The PitAn awesome array of awfuladversaries to amaze even themost ardened adventurer!

Sheer ArtistryThe Warlock has his portraitdrawn by John Blanche

More Monster ConversionsGraeme Davis returns for moregamebook monster-swapping

Conventionally Speaking

Just what does happen at agames convention?

Dicing With DeathThe Warlock takes his life inhis hands by interviewing theinfamous Joe Dever

Rogue MageSomething new a solo adven-ture for both Fighting Fantasyand Dungeons & Dragons, bythe nearly-legendary GraemeDavis

Take That!Unarmed Combat in FF byJeremy Adamson

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Please mention Warlockwhen replying to advertisements2


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Which is one way of saying that wed like to

present Ian Livingstone talking about his newbook, Trial Of Fighting Fantasy Champions!

When Ian wrote Deathtrap Dungeon as the sixth bookin the Fighting Fantasy series, way back at the end of1983, no-one could have predicted that it wouldbecome the most popular gamebook of them all.When the idea for the book first came to him, it wasnothing more than a simple dungeon adventure. Bythe time the book was released it had grown in statureto such an extent that it had become the ultimatedun-geon, a veritable deathtrap which would test the skill

of adventurers like nothing had ever done before. Asa result, of course, it became the most populargamebook ever, and even now Deathtrap Dungeonstill heads most adventurers favourite gamebooklists. So how on Titan do you follow that, Ian?

There was no doubt at all that all of you wanted asequel to DD. The floods of letters from Warlock read-ers and gamebook fans around the world asking, nay,demanding that Puffin release a follow-up forthwithwere proof of that. Finally, in January 1985 I couldstand it no longer! Right, all you foolish adventurers, Ithought to myself, you want to go back to DeathtrapDungeon! Well now you can . . . but this time youllnever get out!!

The first stage was to work on a way of getting youback to Deathtrap Dungeon in the first place. It wouldhave been too easy to just start you off in Fang again,so I decided to be a little subtler. You may not beaware of it, but nasty Baron Sukumvit has a brother,the evil Lord Carnuss, who dwells on a small isolatedisland south of Fire Island and Allansias Skull Coast.Always jealous of his brothers fame, Carnuss nowplans to send his own champion to the Barons rede-signed Trial of Champions. Sukumvit has publiclydeclared that no-one will get through his newlabyrinth; Carnuss is determined to make him eat hiswords by sending a warrior of sufficient mettle to win

through to the other side and emerge victorious. Andguess who this warrior is going to be?

Before you can be selected as his champion, how-ever, you have to prove you are worthy of the task, bycompeting in Carnuss gladiatorial arena. The inspi-ration for this section came from the gladiatorialgames of the Romans, and in particular a very famousbook about them called For Those About To Die, byP. P. Mannix. A glimpse of the cover will show you oneof the enjoyable tasks that await you in the games walking blindfold around the arena, whirling a bal land chain around your head, hoping you make con-tact with your unseen opponents before they make

contact with you. I can confidently predict that youwill not like this section one little bit, and you will veryquickly come to curse the name of Lord Carnuss!

If you win through the games, you journey to Fangand the fun begins and if you thought the first sec

tion was difficult youll not want to play through theTrial of Champions itself. The whole layout has beenchanged so drastically that no-one will recognise any

of it so therell be no cheating from anyone who hasalready played Deathtrap Dungeon. The tasks youhave to perform are also very different even moreso because you are not actually told what you have todo to get out the other side! I personally think its thebest gamebook Ive ever written, and I have a feelinga few of you might agree with me too, if you ever getthrough it!

My next gamebook is provisionally entitled Crypt OfThe Necromancer, or The Howling Tunnels; I cantdecide which what do the Warlock readers prefer? Itis set on the southern edge of the Moonstone Hills,near the small town of Chalice, where very strange

things have been happening. I cant tell you morethan that without giving the whole game away,except that it will be released around January 1987.Before this, hopefully this Autumn, Casket Of Soulswill have finally burst onto an unsuspecting world. Ithas been a long time coming to fruition, but I thinkyou are really going to like this one. Iain McCaig haslaboured for nearly two years on the full colour illust-rations. They are quite simply the best fantasy paint-ings Ive seen, and make the wait very worthwhile.The book has developed from a quest to more like anillustrated short story, though it does still have thegame element. In other words, you dont have tosolve the puzzles to enjoy the book, though it will be

a lot more satisfying if you do. Until then, all thatremains is far me to wish you happy adventuring, andmay your LUCK roll never fail you!

as told to Marc Gascoigneat Birmingham Dragonmeet.


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CAN YOU WIN THE

If you have already read the opposite page, you will know all about Ian Livingstones latest

Fighting Fantasy book, Trial of Champions. Everyone who has seen it so far reckons thebook a sequel to the amazingly popular Deathtrap Dungeon to be the great mans finestwork, so the Warlock thought a few of you might just like to win a copy of it when it steamshot off the presses in mid-June.

Our brave and fearless master got on the old crystal ball and consulted with several minionsof the unholy Puffin Lord, and between them they came up with the following prize compet-ition, which none of you will want to miss out on!

All you have to do . . .

. . . is work out the answers to the eleven cryptic questions which are listed below. They areall taken from Fighting Fantasy gamebooks, though some answers may be a little easierthan others.

1. In which book will you find Aakor, Bhor-ket and Demonspawn?2. Yaztromos Tower is situated close towhich colourful river?3. You and the crew of the starship Travel-ler might meet the Rain Lord here.4. Where would you meet Throm the Bar-barian?5. Possessed by the foul Gonchong, it rulesover Fire Island.6. The might of the alien Arcadian Empire

is being resisted by which secret Earthorganisation?7. Just who is the Titanium Cyborg?8. What was the name of the magical bladestolen by Ikuru, Master of Shadows?9. Zanbar Bone has a nick-name. What isit?10. This star system is home to thesmugglers of Satophil-d.11. Which elfs aid is invaluable in defeatingthe Snow Witch?

Once you have eleven answers, take the first letter of each of them. Juggle them around abit until you have a word or two words which spell a villains name, and send this answerto us. You do not need to send us the answers to the questions.

The first entries pulled out of the Warlocks battered old pointy hat after the closing datewill win the following fantabulous prizes:

FIRST PRIZES2 complete sets of Fighting Fantasygamebooks, including the very latest one,Trial Of Champions, each signed by SteveJackson and Ian Livingstone!!

SECOND PRIZES30 copies of Trial Of Champions, signed byIan Livingstone!!

RUNNER-UP PRIZES50 Fighting Fantasy posters plus50 T-shirt transfers!!

Send your answer to:

TRIAL OF CHAMPIONS,

WARLOCK MAGAZINE,GAMES WORKSHOP DESIGN STUDIO,

ENFIELD CHAMBERS,16-18 LOW PAVEMENT,

NOTTINGHAM NG1 7DL.

Your entries must reach us by Monday, July

28th. Please remember to include your

name, age and full address; wed also like

you to tell us the name of the shop whereyou bought this copy of Warlock. So get your

thinking helmets on, and get those entries in

. . . just think, a complete set of signed FF

books . . . maybe I should enter myself . . .


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ollowing my article in the last issue, the Warlockhas commanded that I should reveal more of myguarded secrets treasures of knowledge built up

over millennia of designing, collecting and painting fan-tasy models. No one in their right mind ever argues withthe Warlock, so this time I have selected a few choicetopics especially for readers interested in modellingtechniques and converting metal miniatures.

Firstly, let me kick off by saying that everybody whopaints and collects metal miniatures is, to some extent,a modeller. All models require trimming with a sharpknife and/or files, and may need fixing to a base for dis-play. I have heard rumours that there are some sickly,degenerate creatures who buy and paint models, butnever bother to trim mould-lines or flash, and refusestubbornly to undercoat before painting. I cringe to thinkof the finished result of such uncaring behaviour!

Similarly, I am constantly being told that people arentinterested in attempting even the most rudimentary ofmodelling tasks. I dont believe this for a minute! Whathappened to the spirit of endeavour that gave us spacetravel, satellite communications and shrink-wrappedcheese? Every Citadel figure designer started off bend-ing metal arms into new poses, swapping weapons andchanging heads even the experts had to make a begin-ning sometime. Modelling should not be thought of aseasy, it does require a degree of talent but nothingbeyond the scope of anyone who already paints. A fewtools are essential, but these are inexpensive and easy toobtain. Some readers will already have a selection oftools, but for those new to the hobby Im going todescribe the various items and their use.

Work area

The area you use for painting will also do for modelling.You should find a good solid work surface such as asturdy tabletop, sit on a comfortable chair, and try toensure everything is at a comfortable height. Alwaysmake sure you have a good layer of newspaper over thesurface, with a piece of board or stiff card at hand to useas a cutting-board. Keep the general area as tidy andclean as possible there is nothing so frustrating as los-ing the model you are working on under a pile of dis-carded chip wrappers and mouldering food. The workarea must be well lit: during the daytime it shouldreceive good natural light, and you will need to supple-ment this with a desk type spot light for evening work.

Knife

You will need a good modelling knife this is yournumber one essential modelling tool and there is no wayof substituting anything else or doing without. It doesntmatter which of the commercially-available knives you

choose; all do the job equally well. At this point I muststress how important it is to take care with all modellingtools, especially knives. It is easy to cut yourself if youare careless, and for this reason modelling shouldremain a prerogative of older, more sensible readers.Make all cuts away from your body, always support theitem on the table, and never apply too much pressure tothe blade or it will snap.

Pliers

A small pair of pliers will enable you to reposition armsor legs, turn heads or make minor adjustments to afigures posture. Metal figures are, to some extent, quitebendable, being made from a mixture of lead and tin cal-

led white metal. Pliers are much better than fingerswhen it comes to bending this material, as you havemuch finer control and a greater degree of leverage.Ordinary small pliers will do, but those with a long noseare better, as they are specially made for fine work.

To avoid damaging the soft metal, wrap the arm (orwhatever) with apiece of tissue. Now grip the limb at thepoint where you want to move it, and gently bend to theposition required. Only practice will tell you exactly howfar you can bend the metal before the metal snaps. Imafraid you must be prepared for the odd mistake, sopractice on a few old figures first.

Epoxy glue

Epoxy glue comes in 2 parts, a resin and a hardener,which are mixed together to produce a fast-setting andextremely efficient glue. Araldite Rapide is good, butother brands can be used to equal effect. Mix small

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amounts at a time (figures arent very big) in accordancewith the instructions on the packaging. Tinfoil makes agood disposable tray, and matchsticks are recom-mended for mixing an application.

Glue is very useful stuff-for one thing you can stick backall those arms youve broken off by over-bendingfigures with your pliers! Slottabased figures can beattached to their separate base by this glue, and it is the

best fixative for all multipart kits. Before gluing twometal surfaces, it is a good idea to roughen them justcut a few nicks in the metal with your knife. This providesa rough surface for the glue to grip, and makes the bondstronger. Pieces likely to come apart should ideally bepinned, which I will describe below.

Saw

A small hacksaw enables you to efficiently removelimbs, hands, heads or completely cut a figure in two.Special modellers or jewellers saws are best, becauseordinary hacksaw blades are rather thick and willremove too much metal. Knives shouldnt be used forheavy work like this as the blades will snap, which is notonly expensive but also dangerous. It is important tosupport the model whilst cutting. Many modellers use avice, but this is only really necessary for larger modelssuch as dragons or other monsters. If you are going touse a vice, place tissue padding where the vice grips thecasting to avoid damaging it. Generally speaking, a firmsurface and a steady hand will suffice so long as you takecare.

Pin vice

The name of this particular tool has always struck me assomewhat inappropriate in that it is neither a pin nor avice. In fact it is no more than a small hand drill which istwirled between the fingers to give a drilling action. The bit

can be changed and various sizes can be used, a 1mmbit being most suitable for our purposes. A pin vice is notan essential item for basic modelling, but it is one of themost useful things you can buy and I would recommendanyone who is serious about modelling to get one theyare quite cheap and can be had for a little over a poundin most good hobby shops. A pin vice is used, quite sim-ply, to bore holes in metal; a steady hand is needed butthe process is easy. So, I hear you ask, who wants to borea hole in a model? Well, if you are going to swap heads,arms, hands or other major features, youll find it is notenough to just glue the new pieces in place. No matterhow careful you are, the bit will always drop off sooner orlater unless you pin it.

Pinning

Pinning a new head, arm or hand in position will ensurethat the new bit stays put. You will need all of the basicmodelling tools described above, plus wire (a piece of apin or paper-clip will do, though copper wire from model

shops is better). If your pliers lack a cutting edge youllalso need wire cutters.

Lets imagine that you have a model fighter brandishinga sword, but you want a model with an axe. First youllneed to find a suitable transplant donor, a model bran-dishing an axe-this might be an old model or anothermodel you are using for spares. Proceed as follows:

1 Separate the hand from the arm of both models. Youmight be able to do this with your knife, but if themetal is thick a saw is better.

2 Dri ll a hole into the arm stump of your fighter andinto the hand bearing the axe.

3 Cut a piece of wire of about the length of the dri llholes. 3-4mm is usual, but the actual depth of boreswill depend on the figure itself.

4 Mix a lit tle epoxy and dab the mixture into the armhole. Holding the model firmly, press the wire intothe hole. Because the metal is soft you should beable to press the wire in quite firmly, where it willhold until the glue is set.

5 Once the glue is set make sure the wire is firm andthat the hand will fit comfortably onto it. If the wireis loose re-glue it, if too long shorten it.

6 Mix a lit tle more glue and fix the hand into thedesired position, press firmly into place as before,

and let the whole thing dry. Excess glue can betrimmed with your knife. The conversion is nowcomplete.

The same techniques are used to swap heads, torsos,complete arms, or to fix on additional items such asbackpacks, water-bottles and so on. More ambitiousconversions can take the form of creating your ownmulti-headed, multi-limbed chaos beasts, using bits ofold models to make something new and original. If youare very skillful you can even model new heads directlyonto the wire pin-but once you can do that you are wellon your way to becoming a designer.

Next time I have promised to reveal more of the secretsof fine painting as learned by watching over the shoul-ders of the Citadel mages. However, I would hope to begiven the opportunity to disclose more on modelling ina future article, including tips on using modelling puttyand making your own monsters and adventurers.


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Have you ever been to a games convention? If not,read on and well tell you how much fun they are!

Up until recently, there were only two ways you could get togo to a games convention. Either you lived right in thecentre of London, or you had the worlds best parents whowere so nice they would drive you hundreds of miles just toplay a few games! Quite obviously, not all the gamers in theUK live in central London, and surely no-ones got parentsthat nice?

Well all that has changed, with the introduction of things

called Regional Dragonmeets, which are organised everymonth in different parts of the country by Games Work-shop. The first one this year was in Manchester in March,and the photos on this page come from the most recent (atthe time of writing), which was held in the New ImperialHotel in Birmingham, on the 5th of April. Other Dragon-meets are set for the 10th of May, in London, and the 8th ofJune, in Sheffield, with more to be finalised nearer the date.

So what actually happens at these conventions, I hear youask? Well, quite a lot more than you thought, actually. Tostart with, there are always a dozen or so trade stands,including the utterly vile Games Workshop Mail OrderTrolls, which will satisfy anyone with money burning holesin their chainmail. Many companies use conventions asexcuses to give new products a big launch, so youll alwaysfind a few brand new games making their first appearancesat a convention.

Once youve spent all your return bus-fare on games andfigures you didnt actually need but thought you ought tohave, there are still plenty of things to do. There aredemonstration games, where game designers show offtheir new games, maybe even playtest some which are stillbeing developed. Even better are the participation games,where you can play all those weird rolegames youvealways wanted to have a go at. There are live role-playingdisplays, where a bunch of complete and utter looniesdress up as adventurers and monsters and smash the hell

out of each other all afternoon.There are panel discussions and slide showsabout figurepainting, game design and magazines like Warlock andWhite Dwarf. Games personalities like Steve Jackson, IanLivingstone, Rick Priestley and even your humble editor,Marc Gascoigne, are around all day to answer questions orjust to chat. Add to this painting competitions, the regularGames Workshop vs. Citadel Miniatures Dragonmeet Quiz,and much, much more, and youve got a day full of the bestin gaming entertainment.

If theres a convention in your area, why not pop along andenjoy yourself? Who knows you may even meet the War-lock himself there!

For more information about Regional Dragonmeets andGames Day see the adverts in Warlock and White Dwarf.


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The Warlock takes his life in his hands, and goes and gibbers with Joe Dever about his earlyyears, the Lone Wolf saga, and his ghastly revulsioninspiring alter-ego Judge Death.

Well, sitting around in an opulent throne-room at the topof a gravity-defying tower doing nothing all day can bepretty boring sometimes, cant it? Occasionally even Ifeel the need for a bit of inhuman company and a chin-wag. One day recently I was moping around the dun-geons, in a bit of a sulk because I hadnt turned anyoneinto anything recently (not even that execrable gout ofsputum Thomson I must be losing my touch), when Isuddenly thought of a way of entertaining myself for afew hours. Without a second thought I flapped over toold Judge Deaths hovel on the back of my personal car-

rier-vulture for a chat. What a mistake!How did you first become interested in fantasy gaming,and how did this interest develop, oh deathless one?

I think my interest began when I was about seven yearsold . . .

You mean, you actually had a childhood? You werentpulled fully-formed from the spawning vats?

Er . . . yes. Anyway, I was a fan of a comic strip called TheRise and Fall of the Trigan Empire which appeared in amagazine called Look & Learn. I remember buildingarmies of Airfix Roman soldiers, and converting theirspears into laser rifles, and my friends and I used to fightbattles with them and pretend to be characters from thecomic strip. This was long before the advent of fantasygames as we know them today.

One Christmas I was given a book called WarGames byDonald Featherstone, and our games began to get a bitmore sophisticated. We started to use dice in our bat-tles, instead of marbles and tennis balls which we usedto throw at the figures.

So to you wargaming was really just an excuse to com-mit mindless violence upon an army of innocent sol-diers? Perhaps I ought to take it up . . .

In my early teens I used to play wargames mostweekends, and I was also a keen fan of Michael Moor-cocks Hawkmoon novels which were then being pub-lished for the first time, and of course Tolkiens The Lordof the Rings and The Hobbit, which I was reading atschool.

Which writer, do you think, best captures the spirit ofthe fantasy you create, and who would you recommend

to new players just discovering the hobby?My work has mostly been influenced by J.R.R. Tolkien,Michael Moorcook and Robert E. Howard. The detail andhistory of Middle-earth inspired me to create my ownworld of Magnamund, and the excitement and pace ofthe Moorcock and Howard novels have certainly influ-enced my approach to writing. Id strongly recommendtheir books to anyone who has just discovered role-playing or solo fantasy adventuring.

You always seem to be spouting off about the quality ofsolo adventures these days. What do you consider to bethe most important aspect of a good solo adventure?

Its got to be EXCITING! To my mind, any adventure thatlacks excitement isnt really an adventure at all. Also, Ithink a good way of judging the merit of any sologamebook is to see how long the author can maintainthe excitement and pace of the adventure. Many aretempted into the trap of pitting the reader against anendless stream of monsters whenever inspiration startsto flag, and slip into what I call the Open the door, kill themonster, close the door syndrome. A couple ofyears ago this might have been acceptable, but person-ally I feel that gamebook fans now want and deservebetter than that.

My post-bag is always crammed with letters from read-ers complaining about the subject matter of their

favourite gamebooks. Of all the major themes fantasy,science fiction, horror, etc which do you most enjoy?

Fantasy is by far and away my favourite . . . *crunch!*squeal!* . . . Having spent the better part of eight yearsdeveloping . . . *gnash!*slurp!* . . . the world of Mag-namund, I suppose its only natural . . . *mmm!*slob-ber!* . . . that I should find writing fantasy the most com-fortable of all the gamebook themes . . . *aah!*grunt!*

(I feel it necessary to point out here that Joe was a littleoccupied sucking the innards out of a small furry animalvia its ears at this point, so his attention wasnt reallyconcentrated on his answers. However, l persevered ...)

Do you consider solo adventuring a riskier and moreskillful business than group rolegaming? What advan-tages do the two methods of play have over each other?

I feel that in many ways the two are comparable. Bothrely heavily on the creative skill of the author or Dun-geon Master for the basic challenge of the adventure,yet in both cases the enjoyment derived from the adven-ture is dependent on how well the player interpretsinformation he or she receives. The big advantages ofgroup role-playing are the fun that can be had whenplayers interact during a game, and the greater choice ofoptions available in any given situation. Group gamesscore over solos when players interact during a game,and the greater choice of options available in any given

situation. Solos score over group games when it comesto practicality as few of us have the time or opportunityto organise group games at a moments notice.

Crikey! There were a few long words in that lot, Joe;that snack must have really woken you up! Lets get


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23

down to some really in-depth stuff now. . . Many of ourmore experienced players complain that combat andmagic are treated too simply. Do you agree?

I think it boils down to a question of realism versusplayability.

What?

Realism versus playability. For example, in a hand-to-hand combat with weapons there are many factors that

will determine the final outcome the strength anddexterity of the combatants, their weapons, theirarmour, morale, wounds, positions, intelligence, wis-dom, training, encumberment; even the size and time oftheir last meal could affect their performance . . .

Your last meal has obviously affected your perfor-mance.

The question is where do you draw the line, which fac-tors do you consider and which do you ignore in order todetermine a result, bearing in mind that the more factorsyou decide to keep as essential will slow down the gameand reduce its playability? Yet a system that is too sim-ple can be just as dull. Say, for example, you have a sys-

tem where the strengths and weaknesses of the fightersare ignored and a result is merely obtained on the toss ofa coin or the roll of a dice, youll find that all sense ofrealism is soon lost and combat, which should be anexciting part of the game, becomes boring. A good sys-tem is one that achieves a balance between realism andplayability.

Ahh! The old realism versus playability ploy again, eh?You know, Joe or may l call you Revolting? the thingI admire most about gamebook writers is their ability tocreate all kinds of weird and wonderful monsters. Doyou have any advice for our contributors to Out of thePit?

One method I use to create new creatures is to start withthe premise that they are shaped by their environment,that their physical appearance has evolved and changedto enable them to survive in their natural habitat. Asmuch as polar bears would be out of place in the SaharaDesert, so too would a warm-blooded, thick skinned,giant worm in a fantasy ice-land. Then I consider foodchains what does it prey upon, and who or what preysupon it? Then come special abilities and special weak-nesses. By asking yourself questions of this sort youllfind that you can start to build up a composite picture ofa creature that hopefully is not only an original creation,but one that is also believable.

Gazing into your crystal ball for a moment, do youforesee any new developments in the world ofgamebooks, or has the hobby reached the limit of itspossibilities?

Not only in the UK, but all over the world, gamebookshave now reached a phenomenal level of popularity,and consequently I feel sure that two things will start tohappen. Firstly, all the book publishers who have in thepast dismissed gamebooks as a fad, akin to skateboardsand deely-bobbers, will now be scrambling to climbaboard the gamebook bandwagon. Secondly, thosepublishers and writers who have established them-

selves at the top of the gamebook hobby will be the firstto develop new types of gamebooks and book-formatrolegames. This will benefit gamebook fans in twoways: increased competition will raise the standard oftraditional format gamebooks giving readers more vari-ety and better value for money, and the gamebook for

mat itself will expand to encompass new developmentssuch as multi-player adventures, books with aboardgame element, historically-based solos, and moresophisticated puzzle books.

As a highly moral, responsible citizen, what do youthink of the worries voiced by some parents about theeffects of a number of gamebooks on younger readers?

I am a parent myself, and I feel its only natural thatparents should be concerned that the moral and emo-tional well-being of their children is not placed at risk bywhat they watch on TV, see at the cinema, or read inbooks. Fortunately, though, it seems that commonsense still rules for the vast majority of parents have rec-ognized the positive aspects of fantasy games andbooks. They encourage literacy, decision-making,deduction and intelligent reasoning, but above all theyare a harmless and very enjoyable creative pastime. Ithink its rather sad that some adults have chosen toattack a hobby which, in most cases, they know very lit-tle about.

Now, oh slimy one, be very careful how you answer thisquestion! What do you think of Warlock magazine?

I think it has steadily improved since Games Workshoptook over publication and began covering all aspects ofthe hobby. One thing I would really like to see is Warlockestablishing a yearly award, similar to the White Dwarf/Games Day Awards, where readers can vote for theirfavourite books, writers, artists, etc, as I think it will helpto foster higher standards within the gamebook frater-nity. There is always room for improvement and if War-lock strives to be impartial, informative and most of all afun magazine, I feel that it will continue to grow in popu-larity and achieve its aim as the forum for gamebookfans.

Last question, thank goodness. The highly sophisti-cated young people who read Warlock have come toknow you as Judge Death. Is this a gross exaggerationon the part of that insipid morass of quivering slimeknown as Jamie Thomson, or are the rumours aboutCastle Death true?

It all began when Jamie learned from my publisher thatI prefer to write at night, that I usually begin at aroundmidnight and work through to dawn. I think it must havegiven him the wrong impression, for early one morninghe arrived unexpectedly at Chez Mort (my ancestralhome), his porcine body festooned with cloves of garlic.I distinctly remember the wild look in his eyes as

through foam-flecked lips he began to rant, Go back toTransylvania, vile Prince of Darkness!

I tried to reason with him, but my pleas fell on deaf ears(three of them to be precise, which hadnt been sweptafter dinner the night before) and in desperation I wasforced to call down a flood of Crypt Spawn to chase himaway from the estate. Occasionally he sends wraith-likeminions to spy on me while Im working in my laborat-ory, but ever since that fateful morning I have beenspared further visits from The Vile-thong himself.

For which you must be truly grateful, I would imagine,as are we for being given the opportunity to see justwhat goes on in that brain of yours. Thanks Joe, it was

. . . interesting.

Next issue: Your roving reporter, The Warlock, sets apack of hellhounds on Andrew Chapman and interviewsthe result. Watch this space for details!


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by Jeremy Adamson

One thing that is sadly lacking from Fighting Fantasy isunarmed combat. Imagine, for instance, a bar-roombrawl, where if a weapon were drawn overly hastily the

room would be suddenly full of warriors bashing the heckout of each other, the town militia would flood in, thecharacters would be arrested and everyone would bethrown in jail. One recent instance, I thought, was thescenario The Tower Of Hades (see Warlock 8), in whichthere were numerous possibilities for a really good brawl!To combat this (no pun intended) I have devised a simplerule for unarmed combat which doesnt hinder, but indeedcomplements the existing rules, which already coverarmed combat quite admirably. What you do is this . . .

Firstly, an adventurer must determine his or herUnarmed Combat Factor (or UCF for short). This is achievedby comparing their total S K I L L+S T A M I N Aon the table below:

S K I L L +S T A M I N A Unarmed CombatFactor

23 and under 124 to 33 2

34 and over 3

Example:Player Ones adventurer, Boris, has a S K I L Lscoreof 12 and a S T A M I N Ascore of 23. This gives Boris a total UCFof 3.

Player Twos adventurer, Arlanthe, has a S K I L Lscore of10 and a S T A M I N AScore of 16, giving Arlanthe a UCF of 2.

Combat is now resolved as normal, rolling for AttackStrengths and comparing them to see who has hit whom.However, when a hit is scored, instead of causing 2 points

of damage to the injured persons S T A M I N A, you simplymove to the first box on the following chart, and for each hityou take after that, you move along to the nextbox.

Unarmed Combat Damage Table

HIT BELT SMASH FALL CONCUSSED

Now your UCF comes into play! After a successful hit hasbeen scored against your opponent, if you have a UCF of 1you must Test your Skill. Using two dice, you must roll lessthan or equal to your current S K I L L score. If you succeed,your opponent should tick off a box as usual. If, however,the roll is unsuccessful, you have not delivered the blow withenough force to cause any noticeable damage to youropponent! The fight must continue.

If your UCF is 2, combat is undertaken as alreadydescribed, with no penalties or benefits.

If your UCF is 3, you should Test your Skill after makinga successful strike. If you make the roll, you have deliveredan extra strong blow, and your poor opponent must tick offtwo boxes instead of the usual one. If the roll is unsuccess-ful, he or she need only tick off one box, as normal.

Hit, Belt &Smash: These are simply the progressive stages

of damage which gradually build up to cause some injury tothe combatant. They carry no penalties (though there willbe some nasty bruises left after this fight see Long Term

Effects later).Fall: When Fall is reached, the victim is knocked to theground, and for the next round only anyone attacking himgets 2 added to their Attack Strength (there is also a +2 toany instances where an opponent must Test their Skill tocause damage against their prone adversary). Next roundthe victim may Test their Skill again to try and get up again.If they succeed they may fight on; if not, theyll just have tostay on the floor, and may only defend themselves (i.e. ifthey win an attack round they only hold off the damagewithout causing any themselves).Concussed:The victim falls unconscious for 1 to 6 hours(roll one die), and quite obviously they are out of the fightuntil the awake. They can, however, be revived, by some-one pouring a large bucket of cold water over them or slap-ping them round the face, though they will need to rest for2 to 12 rounds (roll two dice) before rejoining the combat.

Example of CombatArlanthe trips over Boris one night in the local alehouse,accuses the gruff barbarian of deliberately trying to trip herup, and attacks him! Their weapons were handed in at thedoor, so they will have to fight unarmed combat. Arlantherolls to attack and scores 17 (7 on the dice plus S K I L L10).Boris rolls a 15 (3 on the dice plus SKILL 12), and so Arlanthehas the first blow, knocking the hulking oaf back into sometables, sending mugs flying everywhere. Boris ticks off theHit box of his Damage Table. Next round, Boris wins theattack, with a massive swipe with his right hand. As he hasa UCF of 3, he must Test his Skill. Since his SKILL is 12, hedoes so automatically, and batters poor Arlanthe for twohits. She ticks off both the Hit and the Belt boxes of her

Damage Table. Battling Boris scores another two blows inquick succession, and Arlanthe is suddenly lying uncon-scious in a pool of beer on the floor! The barman drags herbody out of the door and throws her into the street hedoesnt like troublemakers!

Armour in Unarmed CombatIf someone attacks an opponent who is wearing Leatherarmour, they must reduce their UCF by 1 point, to aminimum of 1. An opponent wearing Metal armour, such aschainmail, can only be hit where he has no armour cover-age. Roll one die for where a blow will fall: 1Head, 2Chest,3Right Arm, 4Left Arm, 5Abdomen, 6Legs. If the area isarmoured, no damage is inflicted and unless the persondoing the hitting can Test their Skill they will receive a hitthemselves, ticking off the next box on their Damage Table!

Mixed CombatWhen one side is armed and the other isnt (even if theformer only have broken bottles and chair legs!), Games-Masters should use both combat rules, with the weaponscausing normal damage, and the unarmed side only caus-ing damage according to the Unarmed Damage Table. If thesituation is such that mixed combat is way beyond a GMscontrol, however, I recommend that he simply uses the sys-tem portrayed in Deathtrap Dungeon simply deduct 4points from the unarmed sides Attack Strength, and letthem fight as normal.

Long Term EffectsAnyone who takes any injury in an unarmed combat, froma Hit to fully Concussed, will have a 1 penalty to their S K I L L score until they are healed (by taking a Potion of Strength orSkill, for example, or by having a good nights sleep). Afterthe initial concussion period of 1 to 6 hours (or shorter ifthere is someone to revive the victim), the damage ratingshould be reduced to Smash, and then every two hoursreduces to the next category on the Damage Table, untilthey are healed.


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Documents

Warlock The Fighting Fantasy Magazine #10