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Post by thealmightymudworm on Oct 31, 2013 0:28:31 GMT
From TUFFF... OK, after deep thought I think this one has to come out on top of the FF world. There's so much that is good; the feeling that events are totally out of control, fitting with Bythos' army heading towards Kallamehr; spooky instant deaths; and your hero blundering to potential success. After all, surely it's more logical to wander up a dead end and not bother with solving a mission than luckily hitting the right path and going to the finish. Only fair that the Reaver comes in to redress the balance. Literally. And so many untold stories that fall outside the book. What IS the deal with that fist amulet? Who is Bythos and whence does he come? Who is Aletheia? What do you do next with your superpowers? And the whole thing twists and turns like a twisty turny thing. Lots of subplot and interest...
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Post by thealmightymudworm on Oct 31, 2013 0:29:33 GMT
From TUFFF... There is so much about this book that is fascinating. The Abyss is top of the list, but also the mysterious buzzing monster, the traitor of Kallamehr, the Reaver, Bythos himself...
It's a difficult book, because it's easy to miss something important (like going back to Kallamehr), and there are a lot of ways to die (particularly when you do go back to Kallamehr), but the quality of the writing and the scope and imagination of the book ensures it never gets dull and rewards repeated reads, even though the adventure itself is very linear.
It's beautifully illustrated, too.
With the possible exception of Portal Of Evil, I'd say this was the last great FF book before Jim Bambra and Stephen Hand came along. A firm favourite.
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Post by thealmightymudworm on Oct 31, 2013 0:30:12 GMT
From TUFFF... It's one of my favourites, too. One thing I particularly like is the way the text never spells out the whole business with the impostor. Enough clues are provided, and Mason and Williams trust that the reader is intelligent enough to deduce what's been going on. Back in the late 80s, when I was writing some gamebooks of my own, I rolled up a character to playtest one of them, and got 12-24-12. Recognising that a hero of such stature deserved a better adventure than the one I'd written, I sent him through SotA. He died.
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Post by thealmightymudworm on Oct 31, 2013 0:33:26 GMT
From TUFFF... Alright, so SotA was another new book for me, one I probably dismissed in the past due to it's cover. I know, I keep saying that, but the thing is, I kind of always loath the original Bela Lugosi Dracula design. Something about it just hits me the wrong way. So whenever I see some character on a cover looking like Dracula, I pass. Which is probably what happened with this one (and that goes for stuff like Vault of the Vampire, Siege of Sardath and others too...). Okay, but now that that sad period of my life is over (well, I'm still not fond of the Lugosi design, but I'm able to rise above), I've had the opportunity, and pleasure, of discovering what I missed all those years. A damn good cup of coffee. Sorry, I mean, that must be where pies go when they die. Sorry, I'm watching Twin Peaks these days and it has a tendency to sneak up on me. So back to the actual review. From what I've read so far, and counting the fact that I haven't played the books using dices, this one has to be one of my new favourites, and from what I'm reading from you guys, it's not just me being looney. Nearly everything feels rights from that book, and from the start too. I think what works the most is that, contrary to most FF, where it's a simple matter of being set on a mission (retrieve the artefact, slay the bad guy, win), this one is laid out as a mystery. You go about unaware of what you're up against, what form it will take, etc. You're clueless, a virgin, with everything left to learn. This keeps the suspense tight, gives the story moments of high tension and breathes fresh air in the FF world. Plus this is not a simple story. Twist and turns abound, with mysteries left unsolved, rightly so (for the mood, the sense of wonder and the desire to do it all again) and a general ingenuity often unmatched. The vistas are painted in a wide variety of colours, making sure this adventure is complex and never boring. Well I'll stop with the compliments. Most of you already know what I'm talking about anyway. Going back to the cover I now think it's well done and fits the story quite well but I'll never be amazed by it, though. For the inside illos, Bob Harvey is not amongst my favourites, but he did a pretty good job overall. Can't help but wonder how some of those Lovecraftian creatures would have look like under the hand of a Ian Miller, though, or even McKenna. Very pleased with this book, I must say. Speak in extremes, it will save you time.
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Post by thealmightymudworm on Oct 31, 2013 0:34:06 GMT
From TUFFF... I completed this book for the first time last night - wahey! It's definitely one of the best reads in this series, but its excessive linearity lets it down (I'm actually hard pressed to think of an FF book more linear than this one). Paul Mason's later books had plenty of interesting things to do on false paths - in this one generally a wrong choice will just shift you up to the next stage of the adventure, missing something vital en-route. It's extreme difficulty doesn't help matters, you can be so paranoid about trying something new that you repeatedly make the same mistake over and over because it seems to be the correct thing to do (took me ages to work out how to get the Spitting Fly for example). One question Spoiler: If you use the spitting fly on Bythos, do you lose your sword? The text is pretty unclear on that score.
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Post by thealmightymudworm on Oct 31, 2013 0:34:37 GMT
From TUFFF... Wouldn't you go and retrieve it from the still-quivering body?
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Post by thealmightymudworm on Oct 31, 2013 0:42:16 GMT
From TUFFF... I assume so. Although soon after you are repeatedly asked if you still have your sword. Is there a way to lose it that I haven't come across?
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Post by thealmightymudworm on Oct 31, 2013 0:43:11 GMT
From TUFFF... ***SPOILERS AHEAD - Especially in the third and fifth paragraphs*** There were a few books in the 20s of the range, such as Phantoms of Fear, which showed signs that Puffin were keen to attract more adult readers, moving beyond the basic storytelling of many earlier titles. Considering that the range was initially aimed at children, this was a bold move that could easily have backfired. At the time I didn't really appreciate the prose enough, just satisfying my curiosity about what laid ahead was generally enough to keep me happy. Kids these days are no different in this regard. The ones I teach currently are actually far happier playing the snappier Livingstone titles than trying to delve into the more sophisticated prose of the likes of Legend of the Shadow Warriors, Portal of Evil or Siege of Sardath. I can hardly berate them when I myself didn't 'get' the likes of Paul Mason until my late teens. As such, my first impressions of Mason's first bizarre FF adventure were not great. Court intrigue, armies with unclear objectives and dream-like dimensions which seem to hint at metaphors for something unfathomable... Nope, this was all too vague for my liking back in '88. These days I view Slaves of the Abyss (and indeed all of Mason's books) completely differently, and even enjoy the way that so much is left unexplained. As with Battleblade Warrior before it, the motives of the invading army from Bei-Han are never made clear. The fact that an invasion is imminent is deemed sufficient information to get the adventure rolling. This is the only mystery of the book which really is in need of a few more pertinent details. I love the ambiguities involving Bythos himself, but some details about his army's motives would've helped to fill in some of the gaps. Is it a religious war? A cult of personality who hang on Bythos's every word? Or simply a straight-forward expansion of influence and resources? The five nobles of Kallamehr are all introduced in the background section with the briefest of details, but that is fine at this stage as the court intrigue element of the plot doesn't come to the fore until much later. What would've been nice though, would be to have equal opportunities to encounter - and therefore weigh-up - the four suspects in the early stages of the adventure. Dunyazad and Sige the Silent both have their parts to play in the narrative before the hints of treachery become apparent, but the only time that we get to see what Madhaerious and Asiah Albudur are up to is when the option is given to peek into their windows. The detective game would have been a lot more involving if all four had been given equal coverage before the crucial funeral. Thankfully, this omission doesn't have a major impact on the story, partly because there is so much more going on besides the unmasking of the traitor. Others have discussed how difficult it can be to find the winning path in this book. As Wilf pointed out, the principal way that this is handled is in the necessity to return to Kallamehr half way through. This is a move that is unlikely to be chosen by a first-time player as it goes against what feels instinctively right. Turn around and head back home whilst a sinister and evil army is advancing? No, that doesn't sound productive at all and FF books usually punish you for 'cowardly' act such as turning and fleeing. As a kid, even with the element of cheating on my side, it must have taken me a good half dozen attempts before I finally twigged. Playing much later as an adult, I'd completely forgotten the 'true path' and had to scream at my map, "Well, where the hell can you learn this Spitting Fly trick?!!" a few times before the memory of the return route came back to me. The winning path is well hidden by using this simple subversion of instinct and it is a fair trick at that, with the reasons for the return to Kallamehr being made obvious quite quickly. It's a great deal fairer than the way the winning path is hidden in some of Mason's later adventures... Incidentally, the names are brilliant. Sige the Silent is such a memorable title - I continually change my mind as to how to pronounce the name, but that it part of its allure. Barolo is also the name of a very tasty Italian red wine, although this seems to be coincidental. I'd love to know where the peculiar Maijem-Nosoth got its name; it appears to be a name that Mason invented, rather than an Arabic term (this is judged solely on a Google search though), but it certainly sounds as if it has been drawn from genuine mythology. Kallamehr and its surrounding countryside has a feel to it that is notably different to that of previous Titan adventures, but it has only dawned on me during my recent playthroughs that this has more to do with the illustrations than it does with the text. Bob Harvey's illustrations are unashamedly drawn from Arabian Nights territory and the like, full of scimitars, turbans, heavy robes, minarets and baggy trousers. Aside from some of the name choices, I found little in the text to suggest a culture that is inspired by ancient Arabic influences (in the same way that Sword of the Samurai wears its ancient Japanese influences on its sleeve). It feels as if Mason has taken Arabian Nights to use as his basic skeleton on which to base the culture of Kallamehr, but was either unsure of how to develop it further, or decided that further detail in this direction wasn't necessary. I don't see this as a serious fault with the book, more a missed opportunity to make the land even more involving and interesting. (Magehunter will later develop the Arabian Nights feel better with flying carpets, hookah bars, etc.) The court intrigue which really starts to surge forwards once you return to Kallamehr is handled with a subtle hinting of occurrences which have not been seen in the FF range for...ever. Granted, the evidence that the player has to base their eventual accusation on hinges on selecting the correct courtier's window to spy upon, but that single exercise in stealth is handled so well. Even the innocent courtiers' private moments are interesting to encounter, with Asaih's apparent burgeoning insanity, Dunyazad's hasty preparations for flight and Madhaerios's anxiety being overridden by his gluttony being presented with such care. Greenspine is spot on in praising the book for allowing the player to deduce who the traitor is without crude prompting. There are but a few items to add to your Equipment List here, but oh how strange and intriguing they all are. The item that always comes to my mind first is the abstruse golden fist statuette, whose properties and purpose are barely even hinted at in the book, adding to its creative magic. Its troubling aura is doubled when it is found again in Bythos's treasure pile - is it the original item or is it Memorex? (The clever, sequenced 'minor illustration' of this artifact definitely helps in its memorability factor). Sige's pomander is a GENIUS item to include though. There must be at least half a dozen occasions where the text asks whether or not you're wearing it and in each case it's always a difficult call to decide if it's going to be a blessing or a hindrance. Ian Livingstone could learn a massive lesson in equipment application from Paul Mason. Although hardly an item, the colour-changing wound is another ambiguous acquisition which heightens the book's ever-shifting purpose wonderfully. As with all of Bob Harvey's work, I was left cold by his illustrations for this book when I read it as a child, but admire them now that I have - supposedly - grown up. The best images are those which are pregnant with potential threats: the distant amassing army (95); Carolina's elaborate funeral (where the four suspects are a little too close to her corpse) (344); the slime-coated Mema with her blowpipe (37) and the nauseating impostor feeding on the ox (256). My favourite is the Quagrant pit though (175), which has an edgy Deathtrap Dungeon feel to it.
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Post by thealmightymudworm on Oct 31, 2013 0:44:07 GMT
From TUFFF... Nice review! Maijem-Nosoth is an anagram of Jamie Thomson (Way of the Tiger co-author etc., who worked with Paul Mason and Steve Williams at Warlock Magazine), and the monster turned up earlier in the Dreaming Sands FF RPG scenario in issue 13 (the final one), of Warlock.
Bob Harvey's artwork is certainly a grower. I especially like the simple boldness of the Hornet Assassin, the long-running antagonist and "deformed servant" of Sige who keeps doing horrible things to you and in your likeness throughout the adventure. Reminds me also of the insectoid antagonist Nissifer in the flying ship murder-mystery segment of Jack Vance's awesome Cugel's Saga.
cheers
Andy Impudent Peasant!
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Post by thealmightymudworm on Oct 31, 2013 0:44:55 GMT
From TUFFF... Nice anagram! Can't believe I never realised before. Two Words
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Post by thealmightymudworm on Oct 31, 2013 0:46:35 GMT
From TUFFF... The comments about the lack of Arabian 'feel' are to the point. The actual reason for this, as with the relative lack of Chinese influence in Black Vein Prophecy compared to The Crimson Tide, is that I was the one interested in cultures and backgrounds, and Steve Williams wasn't. With the exception of Maijem-Nosoth (homage to Jamie, who didn't work on Warlock but who had edited White Dwarf before I joined the staff, and who was already a legend) most of the names were from the books on Gnostic mysticism I was reading around this time. I thought Bob Harvey's work was really effective in many places. I was so happy when recently, in an Extensive Reading class, I noticed an illustration in a book one of my students was reading and immediately identified it as a Bob Harvey. Thanks for such a generous review.
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Post by thealmightymudworm on Oct 31, 2013 0:47:47 GMT
From TUFFF... Maijem-Nosoth is an anagram of Jamie Thomson Ha ha, and there was me looking for a connection to some obsure gem of Arabic mythology. I'd never have noticed that it was an anagram, especially as I was unaware of the connection that Thomson and Mason have. Are there any other anagramatical treasures lurking in the pages of FF gamebooks that we may have overlooked?
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Post by thealmightymudworm on Oct 31, 2013 0:51:25 GMT
From TUFFF... The comments about the lack of Arabian 'feel' are to the point. The actual reason for this, as with the relative lack of Chinese influence in Black Vein Prophecy compared to The Crimson Tide, is that I was the one interested in cultures and backgrounds, and Steve Williams wasn't. With the exception of Maijem-Nosoth (homage to Jamie, who didn't work on Warlock but who had edited White Dwarf before I joined the staff, and who was already a legend) most of the names were from the books on Gnostic mysticism I was reading around this time.
I thought Bob Harvey's work was really effective in many places. I was so happy when recently, in an Extensive Reading class, I noticed an illustration in a book one of my students was reading and immediately identified it as a Bob Harvey.
Thanks for such a generous review.
Thanks for the explanation. I know very little about Gnosticism and this probably helped to enhance the strange atmosphere of Slaves for me. It helps an adventure game enormously if some deeper research has been undertaken to help colour in the background convincingly. To have a 'feel' for a culture can often be enough to bring a gamebook to life - sure I may desire a bit more detail here and there, but this still brings your worlds above some other authors' works that I might mention... Having been away from this forum from several months, I hadn't realised that you'd joined until after I'd posted the Slaves review... I then worried that I might have made some harsh criticisms which may have upset you. (I mentioned in an early review that I am concerned that some authors and artists might be scarred over some of the blunter comments that readers like me can make). Thankfully, my more negative moments in the review at least sounded constructive. Like many others on this forum, I'll be heaping a great deal of praise on your later books when I get around to them, but I hope you don't feel too knocked when I have to explore some of the elements which didn't work for me (which will be quite hefty for certain aspects of Crimson Tide I warn you now...) What I'm trying to say is that I'm not going to pull any punches that I may need to swing when reviewing the more negative parts your books, but I'll always try do do so sensitively. The same will apply to Jonathan Green's books.
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Post by thealmightymudworm on Oct 31, 2013 0:52:38 GMT
From TUFFF... Jamie, who didn't work on Warlock but who had edited White Dwarf before I joined the staff So was Omens and Auguries written by somebody else, and just put out under his name for some strange reason?
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Post by thealmightymudworm on Oct 31, 2013 0:55:40 GMT
From TUFFF... So was Omens and Auguries written by somebody else, and just put out under his name for some strange reason?
There is a difference between writing a column for a magazine, and working for the company that produces the magazine.
Before I started at GW, Jamie was the editor of White Dwarf (the real editor, that is: it was only much later that they dispensed with the fiction that Ian Livingstone was involved: even his signature was forged while I was there). He left, and his assistant, Ian Marsh, took over. When I graduated from university, and despite being a mouthy fanzine editor who despised the commercial sphere, I joined as an assistant. Because Ian wouldn't let me loose on the contributions, I was also farmed out to Warlock (which Steve Williams had just taken over), and the two of us also did The Good Games Guide. We worked in an office with Marc Gascoigne, the office having formerly been Ian Livingstone's, and equipped with a plush green carpet -- which Steve W promptly ruined by playing golf one day with an umbrella, a scrunched up piece of paper as a ball and, most crucially, a bottle of tippex as the tee.
Anyway, Jamie had left GW to go freelance and write books. He had been friends with Dave Morris and played in Dave's game (as did Mark Smith), so the two of them collaborated (and still do, of course). Both Dave and Jamie continued to contribute to White Dwarf (during Jamie's tenure, Dave had contributed a lot to WD, not all of it under his own name) and Jamie wrote for Warlock.
After six months, Games Workshop relocated to Nottingham and began their inexorable slide out of role-playing games. Having just got a contract for The Riddling Reaver I decided to stay in London and sweat it out. Not the easiest of times, but at least I got to play in Dave Morris's Empire of the Petal Throne game. And I did the occasional contribution for Warlock and White Dwarf after I left, too, Marc having followed GW to Nottingham and taken over Warlock, while Paul Cockburn (former editor of Imagine, the TSR magazine which published my first professional work) had taken over White Dwarf for a while.
Hope this answers your question (probably more fully than you wanted).
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Post by thealmightymudworm on Oct 31, 2013 0:57:58 GMT
From TUFFF... Having been away from this forum from several months, I hadn't realised that you'd joined until after I'd posted the Slaves review... I then worried that I might have made some harsh criticisms which may have upset you. (I mentioned in an early review that I am concerned that some authors and artists might be scarred over some of the blunter comments that readers like me can make).
There's a thread somewhere where I express precisely this anxiety: that my presence here might affect the way people contribute. I absolutely don't want that to happen. I've seen plenty of harsh criticism of my books, and I can take it, honestly (some contributors here might recognise the expression 'sea water', which followed me around for some while). I'm a fairly harsh critic of my books myself. To be quite honest, I really appreciated the comments I read here before I joined, as well as after, and thought they were extremely kind to me: and the criticisms well-argued and reasonable. No writer can reasonably hope for more than that, and the overwhelming majority of writers get considerably worse than that, in the age of Amazon-review free-for-alls.
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Post by thealmightymudworm on Oct 31, 2013 0:59:07 GMT
From TUFFF... There's a thread somewhere where I express precisely this anxiety: that my presence here might affect the way people contribute. I absolutely don't want that to happen. Ah yes, I've found and digested that thread now. This will teach me for staying away from the forum for so long. I'm gradually catching up on the posts which have been made since I was last active (back in September I think!). Apologies to all if I accidentally cover ground that has already been discussed. Going back to Slaves though, does anyone have any theories as to what the spiritual significance of the fist statuette is to the priests of Fourga? It apparently rejuvenates them all - as well as having a temporary paralyzing effect on your character. If I remember correctly, Fourga is the God of pride, which fits with the youthing aspect, but why the fist shape? What do the priests do with the statuette now that it has been opened? I have a feeling that Paul may tell me that I'm searching for answers which aren't there, but then figuring out mysterious details like this is - I feel - part of the fun.
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Post by thealmightymudworm on Oct 31, 2013 1:00:02 GMT
From TUFFF... I have a feeling that Paul may tell me that I'm searching for answers which aren't there, but then figuring out mysterious details like this is - I feel - part of the fun.
No, I'm going to tell you that it's so long ago that I've forgotten. Sorry.
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Post by thealmightymudworm on Oct 31, 2013 1:00:34 GMT
From TUFFF... I thought it was an intriguing McGuffin, like how that bloke got the wax mask in your image. I've always pronounced Sige as "see-gay", as it's the Greek word for "silence" and they'd've pronounced it like that in ancient Greece. Lots of Greek words around; Enthymensis would mean "enspirited", in the sense of daring; Aletheia is "truth"; Bythos is "depth", which is nicely ironic as "abyss" literally means "without depth" and you meet him first away from his home. All very Gnostic. And as for Beihan? Would you believe that's Mandarin for North Korea...
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Post by thealmightymudworm on Oct 31, 2013 1:00:58 GMT
From TUFFF... I found this one strangely disquieting as a teenager. I think I still do a bit... And I've enjoyed working out where Paul got some of the names from (especially obscure bits and pieces from 1001 Nights - see some of the name links under Slaves of the Abyss in Titannica). I still haven't worked out if there's a source for the wonderfully named Keeper of the Fabled Fortune of Foraznak yet though.
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Post by vastariner on Nov 1, 2013 23:17:09 GMT
One thing about the SPOILER true path, in that you get rewarded for cowardice, is to me it points up one of the more appealing parts of SotA; your hero is not necessarily very good. The way to win includes getting lost up a dead end until a Reaver Ex Machina rescues you. It adds to the within-FF-realism of the whole thing, in that there's no need for a superhero to be there and then, and it falls on a fairly mundane adventurer to win through.
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Post by a moderator on Nov 24, 2013 15:44:10 GMT
Salvaged from the 'Books in Order' thread:
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Post by cyranotheswordfish on Mar 28, 2015 16:12:49 GMT
It's been about three years now since I played any of my FF books and Slaves of the Abyss was my favourite at the time, so I was quite pleased when the Random Number Generator chose it as the first one to attempt on my recently-begun FF marathon, though also a little worried that a replay of it might shatter my fond memories somewhat. Thankfully, I was not disappointed. As with most of the books, I can remember some of the decisions I need to make to win, but by no means all which, whilst reducing the challenge somewhat, will hopefully create a nice balance between challenge and not having to play each book so many times that I become bored with it. Not that there's much chance of my getting bored with SotA. From the outset, my playthrough is pervaded by a suspenseful mix of mystery and menace, with extra little nuggets of oddness thrown in - the Golden Fist and the Priests of Fourga being and early example. Then there's a fairly unnerving encounter with someone feeding off a dead ox. Things seem to be relatively normal in the next village I come to until I'm locked in a hut and told that my coming was foretold and I will in some way save the village from its doom, but then the Riddling Reaver turns up, frees me and gives me a bottle containing someone's sense of humour. I think it's a testament to the quality of the writing in this book that this kind of structure of odd, disjointed events occurring (which is re-used in a more extreme and somewhat less successful form in the next FF to be released, Sky Lord) doesn't at all sit oddly with the player and in fact gives a sort of epic sense of events beyond your control. Anyway, I won't write about my whole adventure, but just say that each part of the book is as atmospheric and well constructed as the first (I particularly enjoy the second visit to Kallamehr) and truly satisfying to beat. I also found it well balanced, with no combats being unfairly tough (and the harder ones can be avoided or made easier in some way) and even many of the other ways of failing aren't totally unfair. In all, it took me 4 attempts to win, each ending as thus: 1. Imprisoned in Kallamehr 2. Lost in the forest 3. Killed by a caveman 4. Victory! The RNG's just given me 19 - Demons of the Deep to do next - I remember liking this one too
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vagsancho
Knight
Posts: 809
Favourite Gamebook Series: CRYPT OF THE SORCERER
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Post by vagsancho on Jul 23, 2015 14:53:37 GMT
Slaves of the Abyss is an amazing book. One of my favourites. Top 5. The ending is magic.
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Post by hynreck on Jul 23, 2015 16:58:24 GMT
But of course it is magic. All jokes aside it is a very good book indeed.
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vagsancho
Knight
Posts: 809
Favourite Gamebook Series: CRYPT OF THE SORCERER
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Post by vagsancho on Sept 29, 2016 11:08:53 GMT
I've felt and i've won Slaves of the Abyss yesterday. Fantastic book. Extremely complete. I do not agree with Paul Mason, at least with some opinion i've read from him somewhere, i think, calling this book weird. This is an amazing and fantastic book, by far his number one masterpiece. Bythos could be more charismatic, though.
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Post by lordomnibok on Sept 29, 2016 20:48:08 GMT
I've felt and i've won Slaves of the Abyss yesterday. Fantastic book. Extremely complete. I do not agree with Paul Mason, at least with some opinion i've read from him somewhere, i think, calling this book weird. This is an amazing and fantastic book, by far his number one masterpiece. Bythos could be more charismatic, though. I haven't read this book since I was a kid, and I have no memory of its plot at all. I just picked it up again on the basis of your enthusiastic post. I do love your passion for FF, Vagsancho, I hope you never loose your zest for it.
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Post by Akharis on Jul 24, 2019 12:28:03 GMT
Great gamebook and above average addition to the series in 1988
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Post by bloodbeasthandler on Aug 5, 2021 18:43:25 GMT
From TUFFF... And as for Beihan? Would you believe that's Mandarin for North Korea... I know virtually nothing of Chinese but I do know there's a Beihan in the Yemen. It looks like it ought to be situated north of Kallamehr doesn't it? But I don't know if the name Bei-Han was based on this place above or (more likely perhaps) on Chinese words. Bei (means north? eg Beijing) and Han from the Han dynasty or the Chinese people themselves, or something...
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Post by bloodbeasthandler on Sept 18, 2021 11:46:51 GMT
I don't know if this is the most suitable place to post this, or if it should be in the 'music and television' board, but I just noticed that a few years ago this book inspired the creation of some music. From Youtube: From a couple of albums called ABYSSIUM I and ABYSSIUM II Rather than copy and paste a load of text, you can look it further details by searching for Kallamehr and Cosmomoose, or going to cosmomoose.bandcamp.com/album/abyssium-chapter-i The first paragraph starts... In early 2016 I was asked by game designer, Glen Chudley, to compose a soundtrack to a computer game based on a fantasy adventure book "Slaves of the Abyss". This is one of those books where you are the hero of the story and you decide what to do next on your quest.
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