I’ve been spending time finding an illustrator to work on the internal art for Steam Highwayman III: The Reeking Metropolis, writing briefs and reference documents and leafing (digitally) through portfolios. It’s a tough job, as I’m having to build new working relationships and plan for a wide range of outcomes to a new Kickstarter. The affordability, quality and deliverability of the illustration is the primary concern of my campaigns, since I do my best to have the book written before hand.
One thing is clear – there are some great illustrators out there, ready and keen to work in gamebooks. Which is great, because the more gamebooks that are being published, of all kinds, then the more exposure the medium will have, and the greater chance of new readers discovering my own project.
And less selfishly, it’s plain to me that a high proportion of readers of choice-based fiction have dabbled in writing it too. Even if it wasn’t at school, like through my Write Your Own Adventure programme (which I used in class last week and will take to a neighbouring yeargroup on Thursday), there’s a good chance of your average reader of gamebooks being a hobbyist writer too.
Over the last few years I’ve met many of the people engaged in independent gamebook writing and publishing, largely based around the Fighting Fantasy fan community. Among them, Steam Highwayman Backer #5, Mark Lain, has today launched his own Kickstarter Campaign to raise £3000 to produce his gamebook, Mistress of Sorrows. Last year I enjoyed the first volume in what he’s called the Destiny’s Role series, and if you’re interested in reading more or in supporting the independent publication of gamebooks, why not head over to the campaign page to take a look? He’s working with some talented artists and seems set to fund in a very short time.
I’ve been writing the Steam Highwayman’s encounters and adventures with His Imperial Majesty’s Nethundical Corps over this weekend: nice to broach an original subject. Steampunk submarines are their own subgenre, chiefly focused around different interpretations of the Nautilus from Jules Verne’s 20,000 Leagues Under the Sea. However, Vadim Voitekhovich’s interpretation of a steampunk sub is much more to my taste than the baroque, pointy sort of thing I often see. Like his airships, Voitekhovich’s subs are weighty, bulbous, and curiously animal. It’s something like this that I imagine moored in rows off Deptford Creek, just along from Greenwich, where moonlit launches carry troops and supplies out under the cover of darkness.
If you haven’t come across Voitekhovich’s work before, do look him up. His particular perspective has crept into Steam Highwayman in all sorts of places: particularly his street scenes, his steam road vehicles and his juxtaposition of old and new. There’s also something reminiscent of Sean Tan’s fantasy cities and technologies, such as drawn in The Arrival, in his work. He’s a sought-after painter as well as a military re-enactor, so no wonder his images have such realism.
But back to my own work: The Reeking Metropolis has been paused for a few weeks while I started a new job (as you can see from this graph) but a combination of deep thinking and reading some other gamebooks has spurred me on to create some new, steamy, and really original content for the book. I’ll be disappointed if I’m essentially just redrawing a Victorian London, so things like the invention of a submarine navy are helping me stay excited about such a long project!
At Fighting Fantasy Fest III (which I attended a few weeks ago, and which still deserves a write-up) I picked up several gamebooks, including Oliver Hulme’s Valley of Bones. I’ll produce a full review sooner or later, but it’s the first of the books from FFF3 I’ve been working through and it’s given me a lot to think about. Like Steam Highwayman, it’s written in homage to Fabled Lands (or to rip it off, as Jamie Thomson joked when he saw us side-by-side) but there are many differences. Reading someone else’s parallel take on an open-world gamebook has really helped me to see what is special about Steam Highwayman, and what I love about it, so thanks to Oliver for that extra burst of semi-competitive enthusiasm!
I’m very pleased to share the cover for Steam Highwayman: The Reeking Metropolis. This gorgeous digital painting by Piotr Jamroz takes Ben May’s concept of the Ferguson velosteam and the mysterious, tricorne-wearing hero, and develops it in a darker, more smoky direction, perfectly suiting the atmosphere of the third volume of the adventure.
I discovered Piotr’s online portfolio a short while ago and he expressed a real interest in creating this cover. We spent some time refining the brief and agreeing terms and he set to work with a will. In another post, I’ll write in more detail about the process of editing and refining the cover, but let me say that from Piotr’s very first sketch, I was sure that I had the right artist for the job.
There is a back portion to this cover too, but you’ll have to wait a while before I release the full image…
You’ll probably ask why I have a new artist working on the cover. Sadly, Ben hasn’t had the availability to feel that he could do justice to Steam Highwayman III this year, simply due to his other commitments. Instead of trying to find an artist who might create a perfect style match, I decided that a new look would complement the first two volumes. Piotr’s done that really well.
I’ll announce dates for the next Kickstarter Campaign soon, when you will be pledge to fund your copy of The Reeking Metropolis, as well as for some other goodies I’ve been preparing. If you’re worried about missing the boat, simply subscribe to my blog here or like the Steam Highwayman page on facebook. So, until then, YOU are the Steam Highwayman!
I’ve been working on everything but the stories of Steam Highwayman III recently – other writing contracts, preparations for my next Kickstarter, school work, and learning to change nappies and recognise the different cries of my baby daughter. But at last I’ve been able to spend a steady couple of days with my mind in the world of Steam Highwayman, and the results have been exciting.
When I spend too long at a stretch trying to hack out plot for Steam Highwayman, I can really dry up. The style and structure of gamebook writing means that there is a constant need for new ideas – alternate possibilities, fresh starts, new encounters. But after having a break, I can find that all sorts of ideas have percolated through from my subconscious, creative mind and are ready to type straight up.
I’ve been writing the sequence that might bring the whole Steam Highwayman saga to a close – if you choose it. Revolution is pretty much a one-way street and even for a nimble velosteam rider like yourself, there are events from which there are no going back.
The questions that will face you are challenging ones: do you consider the Compact for Worker’s Equality trustworthy in their intentions and methods? Do you think their preparations are sufficient and their plan likely to succeed? Are you personally ready to put aside the life of the road and put yourself at the service of the people?
Or was your alliance with the Compact only ever cynical and self-serving? Is it time to cash in your chips, take a reward from the Constables and see the whole bunch of these dangerous anarchists locked up?
I love the little, strange options that you encounter riding through the villages. But in the City, you’ll have to face bigger questions with much bigger, more permanent consequences.
One of the innovations that I – and many others – really respect in the Fabled Lands series is the way in which Morris and Thomson connect narratives across volumes. As a reader, I’ve always found it incredibly satisfying to travel to a new land, a new city and a new volume and find that the events there respond to my choices made hours, days or weeks previously, in a different book, on a different continent and in a different context. Obviously this was also one of the techniques I have chosen to mimic in Steam Highwayman and one I am very proud of getting to work. When I explain how a gamebook works to new readers, they may make impressed noises, but when I explain that choices made in one volume have consequences in other volumes – volumes later, or even earlier in the series – then I see that mindblown look.
I don’t just do it to feel smug. I really consider this one of the most exciting and interesting ways of using interactive narrative, because there’s a lot more to the technique than simply recording progress with a codeword and checking for that codeword in another passage – although that is exactly the mechanism the authors of Fabled Lands and I use. The skill comes in writing just enough linking reference that the reader remembers what sparked the narrative development off – but not too much, giving the reader the mental task of drawing connections and causal links between events. Sometimes the book can make these links explicit, but at other times I prefer to leave them mysterious and tantalising. People rationalise the same information in different ways and I love to hear my readers explaining their understanding of what caused what.
But now to the nitty-gritty. Writing these things is challenging – another reason I use them! For the volume currently under construction, The Reeking Metropolis, I have notes and references for more than forty narratives of different sizes that overflow from the other volumes into this one. All roads seem to lead to London, at the moment. Some of these are short references – characters that you met in Smog and Ambuscade that mentioned they were trying to reach London, where they hoped to make their fortune. A single passage can resolve this story, as you discover whether they really did strike it rich. Others are much larger, multi-plot strands of story that I haven’t even really decided how I want to use, like the Revolution narrative that powers your interaction with the Compact for Workers’ Equality. Then there are the stories that I ran out of space to tell and the mysteries I haven’t thought of answers for yet.
But the fascinating thing is that some of these are the very first pieces of Steam Highwayman that I ever wrote – pieces like the redemption of the workhouse orphan, who ran away from his master to try to reach the big city. I even created a plot within Smog and Ambuscade that could only be reached after beginning a quest in Volume III, which has taken me two years to reach.
As a reader, I know that the more time that passes in the real world between a choice and the consequence, the more mystery and intrigue it holds for me. I can’t wait to hear what my readers think when, on receipt of The Reeking Metropolis, they realise that decisions they may have made two years previously are still limiting their options, or opening doors for them.
The photo above, by the way, is a piece of attractively peeling plywood hoarding along the Crossrail (Elizabeth Line) site a short distance from where I live. I get really excited by the way the process of decay creates textures far more complex, and yet balanced, than any human imagination could achieve.
Something wonderful happened when I handed over design of the Steam Highwayman’s constant mechanical companion to Ben: I lost control. I’ve detailed the process by which Ben and I worked out what the velosteam could, then might, and finally should look like, elsewhere, but for a lone-wolf like myself, this was a massive step forward in my creative process. Typically I’m something of a perfectionist and that prevents me bringing projects to completion. Sharing ownership helped me to break this cycle.
The appearance of the machine was always going to be important. It would have been a complete cop-out to publish Smog and Ambuscade without a velosteam on the cover, and although I’m happy to leave a lot to my reader’s imaginations, including the appearance and much of the backstory of the hero of my gamebooks, the intentionally realist steampunk style I chose to borrow from Keith Roberts’ Pavane needed a velosteam design. It didn’t have to be completely plausible, but it did need to be unambiguous, legible and characterful.
Ben put a lot of hard work into that design and his solution of mantling the front portion of the vehicle was an inspired solution: it leaves a lot of the actual workings (including an improbable steering system, power transmission, water tank, boiler and firebox) to the imagination, but clearly communicates that this is a heavy, ironclad, steam-powered bicycle. And when he completed the alternate cover images for Smog and Ambuscade, I realised that the machine itself would become an iconic – perhaps the iconic – image associated with my stories.
Meanwhile, as Ben and I were hammering out the metaphorical boilerplate on the anvils of our imagination, two graphic novelists called Vincenzo Ferriero and Ray Chou were developing Skies of Fire. Like Steam Highwayman, Skies of Fire is a crowdfunded, steampunk (or arguably dieselpunk) publishing project. Whereas Steam Highwayman is of course a gamebook series, Skies of Fire is a compelling and attractive series of graphic novels, with a steadily growing international readership. I’ve been watching their Kickstarters from the sidelines with considerable interest, and if you’re interested in indie publishing, steampunk or graphic novels, I really recommend you do too.
In July 2018, Ray Chou posted a fascinating short article about his project. It included photographs and an account of the modelling of the Zephyr – the starring airship in Skies of Fire. I read this article over and over again, and then decided to do something really out of character: I reached out to the modelmaker who had built their airship and asked him whether he’d be interested in doing something similar for me.
Lo and behold, Captain Seekerman got back to me in a steampunk flash. He immediately recognised the quality of Ben’s designs and so we began discussions of what sort of model I might like, what purpose it might serve, how functional it could be – and the very practical matters of time and money. I had complete confidence in his ability to produce something that would do justice to my story world and the existing illustrations, particularly because of Ray’s blog.
I’ll be posting again about the details of Nate Seekerman’s process in turning the two-dimensional designs into an eighteen inch, three dimensional, smoking, LED-lit model, but for now all I want to do is to honour his professionalism, artistry and craftsmanship. We messaged frequently over a period of several months and just a few days ago I received the completed model. I haven’t been able to stop grinning since. It’s currently standing on my bookshelf here in our living room, quietly biding its time.
First of all, this is a display model, so I really look forward to bringing it with me to future Steampunk Events, conventions and readings, to give existing fans another look at the design and to catch the eyes of potential Highwaymen-to-be. It won’t be living packed away in a box. But the Seekerman velosteam also has a function as an inspiration to me as a writer. It is the physical proof of the quality of one of my own ideas, first transmitted to an artist to draw, and now to a modelmaker to sculpt. To see it riding out of my book and into reality – however small – is a wonderful feeling.
My current plans to exhibit the model do have a few limitations, however! My wife and I are expecting our first child this summer and I’ve turned down several invitations to read and appear at June or July steampunk events. This means that my next appearance for sales (and possibly reading) will be at the gamebook convention, Fighting Fantasy Fest 3, on the 31st August in West London. This may well be the first public unveiling of Nate Seekerman’s work. It’ll be great to see any gamebook readers or enthusiasts there – watch out for a lot more about FFF3 on here soon.
If you want to see more of Nate Seekerman’s work or you’re inspired to see him bring your story to life, have a look at the Seeker Design Group. And if you’re interested in finding out more about this model, where it goes or how it was made, just watch out for my next updates here on the website.
This morning I completed a series of passages that allow you to ambush the vehicles of the Atmospheric Union. An early start, kicked off by the glorious sunshine streaming into our flat, meant that I managed to increase my passage count despite it being a busy school day. On Thursdays I travel to Islington for some regular supply work in a Primary School, follow that with an after-school club based on Native American crafts and stories and then often tutor GCSE English in the evening.
So it’s really nice to disrupt the pattern with a few ambushes.
The Union are one of the larger factions in the world of Steam Highwayman. They play quite a large role in Highways and Holloways, in which you can take work aboard one of their craft or rob them in the skies. In The Reeking Metropolis they have a main landing field at Parliament Hill and there’s a good chance of meeting their supply vehicles or passenger transport carriages on the roads around London – particularly if you have a telescope.
Put this all together with my modular event designs and you can stop their carriages using several of your talents, rifle their supplies or rob their passengers, fight their officers and even, if you come prepared, blow up their immobilised engines. Why you might want to do that, I haven’t quite defined yet, but it’s probably something to do with inter-Guild rivalries.
The image heading this post is a rendering by deviantart user awiz that I found some time ago. Airships of the sort that are fun for my narrative are not particularly realistic, but this design has created something relatively original and it certainly appeals to me. The high-class promenade deck and banded funnels resemble something out of 80 Days, although all of their steampunk vehicles are pictured in silhouette.
Another appealing set of airship designs come from the Kickstarted comic series, Skies of Fire.These have a dieselpunk-steampunk look and the writers have spent a huge amount of time on their world-building, which I respect. Although I love a tight, balanced narrative, I suspect I’m really a world-builder at heart, but maybe Steam Highwayman has already told you that!
You know I love a graph. Here’s my interactive record of Steam Highwayman III: The Reeking Metropolis as a draft. I have to track which sections are reserved or complete – or partially complete – on my spreadsheet as I go along, so graphing it is a natural development. Maybe it’s procrastination too.
The graph will be live on this post, also on the new SH3 page on this site, which at the moment looks pretty bare.
I’m hoping to finish a draft by the end of the summer. And that will probably be 1500-200 passages in length.
If you’re interested to see what other sorts of things I write, I posted a sci-fi short story earlier, set on the moon. I wrote it a few months ago and I’m pretty pleased with it.
There’s a brewery in Steam Highwayman III that would like to expand. That’s nice, isn’t it? So your friendly ale-drinking hero is going to get involved, of course.
But how involved, exactly? If the Director is keen to offer independent pubs contracts and pay you a generous commission for each signature, would you do his bidding? What side will that put you on, exactly?
This is the question at the heart of my recent chunk of writing. I’ve passed 130 complete passages and have reserved a further 300 reserved: these are early days in the writing process, but so far I’ve sketched and reserved the vast majority of street and hub locations, written a large proportion of the ambushing and random traffic passages, and spent quite a lot of time creating some interesting pub interactions, particularly in Hampstead and Highgate.
There are a couple of complete quests in and a few loose trailing ends, but the cast majority of the story is to come. I’m thinking about a complete range of quests and interactions – tiny, spontaneous stories on the streets, quests that involve travelling across the map, larger ones that involve several decisions and then a couple of big stories you will keep bumping into. Behind the scenes, you see, are the great unwashed crying for Reform or Revolution, just as they really did in the 1830s. Then there’s the rivalry between the Guilds and the powerplay in court and Parliament. Nowhere is closed to our silver-tongued, sharp-bladed adventurer!
What would you like to see in the adventures of the Steam Highwayman? Let me know!
Now that my gin is bottled, I’ve been putting in some time sketching passages 301-400 of Steam Highwayman III: The Reeking Metropolis. Like with the two previous volumes, I began by laying down a web of interlinked location passages. This portion represents the east central portion of the map: Bethnal Green, Shadwell, Whitechapel and Shoreditch.
There is so much to write here in an alternate, steamed-up East End. Body-snatching, sweat shops, front-room industry, the London Docks… and the slums.
In 1896, a now-forgotten novelist called Arthur Morrison published an angry and brutally honest story called A Child of the Jago, set in a fictional slum based very closely on streets immediately adjacent to Old Nichol Street in Shoreditch. It follows the fortunes of Dicky Perrott, who scrapes through childhood and into a criminal survivalism that seemed unbelievable to polite readers of the day. This was at the end of the Victorian period, when the bad old days were meant to have been left behind. But they hadn’t been.
The text is available online and it makes tough reading. I don’t find it over sentimental or graphic – just frank. Morrison was trying to rub his reader’s noses in the reality of desperate poverty just streets away from their own lives, much in the way that we see independent documentary makers nowadays. But one result is that it really prevents me from being too sentimental or simplistic about the depiction of the poor in my own gamebook. There’s no way I can do justice to those realities in the little passages I use, but at least I hope to avoid cartoon poverty.
If you go looking online, you may find that there is a Covent Garden tailor that uses the name of Morrison’s book, which I find really quite distasteful, as I don’t think a romanticisation of the criminal dandies implicit in the clothing on sale is at all helpful. Or you may find one of the little maps that show the location of the Old Nichol. It was located on one edition of Booth’s Poverty Map, but by the publication of the more widely available edition, the Old Nichol had been cleared and replaced with social housing… that the original inhabitants could not afford, displacing them to other slums and destroying what community they had. Plus ca change, eh?
One more little detail: do you notice the thick red lines on the left? Shoreditch High Street. Up the top, St Leonard’s Church, whose bells say ‘When I grow rich…’ in the East End rhyme Oranges and Lemons. That’s a interesting place in itself, as the burial place of Shakespeare’s business partner and fellow actor, Richard Burbage. But you might recognise it as St Saviour’s from Rev, in which Tom Hollander did his best to minister to a desperately poor inner-city parish.
Shoreditch is entirely different nowadays, though, isn’t it? Hipsters and hamburgers and cold-press coffee and cycle shops. Well, to be honest, I think there’s still a lot of hidden needs and poverty in Shoreditch. It’s enough to make me wonder what the unseen, spiritual dimension is behind all of these stories. There’s something desperate there.