Warlock

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1. The Warlock of Firetop Mountain (Part I)
Authors: Steve Jackson (UK) and Ian Livingstone
Illustrators: Alan Craddock (cover), Maggie Kneen, Russ Nicholson, Tim Sell and Jane Walmesley (interior)
First Published: 1984
ISBN: 0 14 072.001 4
Length: 273 sections
Number of Endings: 3
Plot Summary: This is rather familiar -- you head into Firetop Mountain in search of glory and treasure.
My Thoughts: It is fairly well-known that The Warlock of Firetop Mountain was the only Fighting Fantasy book on which Steve Jackson and Ian Livingstone actually collaborated. This issue reproduces Ian Livingstone's first half of the story plus a little bit of Steve Jackson's segment. There are a few sections past the river (which marks the halfway point of the quest) plus some endings which are here by necessity due to the nature of the quest's final puzzle. In any case, this is nearly identical to the book version, though a few essential details have been jumbled around. The rest of the issue consists of an article on the role-playing origins of gamebooks, a map of Allansia showing locations from the first seven books, some "Out of the Pit" monsters, a rather unhelpful discussion of mapping (complete with blank graph paper) and the rules for an adventure-writing competition.

2. Warlock of Firetop Mountain (Part II) / Caverns of the Snow Witch
Authors: Steve Jackson (UK) (Warlock) and Ian Livingstone (Snow Witch)
Illustrators: Peter Andrew Jones (cover), Russ Nicholson, Tim Sell and Duncan Smith (interior)
First Published: 1984
ISBN: 0 14 072.002 2
Length: 127 sections (Warlock), 190 sections (Snow Witch)
Number of Endings: 2 (Warlock), 12 (Snow Witch)
Plot Summary: Once again, there are no surprises here for readers of the original Fighting Fantasy books.
My Thoughts: This issue includes the remainder of the slightly modified version of The Warlock of Firetop Mountain begun last issue followed by an abbreviated Cavern of the Snow Witch which ends right after the witch's defeat, skipping the tunnel sequences and other torments that follow in the full-length book, and features completely different (and largely inferior) artwork. The remaining content consists of a gigantic (100-entry) random encounter table, a profile of artist Peter Jones, a post-apocalyptic short story called "Sam, Cars and the Cuckoo," and a cartoon-drawing competition.