[projectaon] Re: Fwd: <>--- PETER ANDREW JONES PUBLISHING : H&V update ---<>

  • From: Simon Osborne <outspaced@xxxxxxxxxxxx>
  • To: projectaon@xxxxxxxxxxxxx
  • Date: Wed, 26 Mar 2008 16:04:04 +0000

Jonathan Blake wrote:
Attention Simon. :)

As our resident PAJ expert, do you have any further questions to ask of him?

Eh-heh! ;-)

OK, I have a couple of questions:

1) According to Solar Wind, a compilation of works from 1974-1980, you had an interest in science-fiction. However, by the 80s and 90s, you were probably much better known for your fantasy artwork. Was this change a conscious decision based on your own changing interests? Or was it down to fantasy being more popular at that time, forcing you to move to where the work was? Do you still have an interest in science fiction literature, TV, or films?

2) The majority of the UK gamebook authors know each other reasonably well, since most of them worked for Games Workshop at one time or another. Did the artists and illustrators for these books have a similar fraternity? Or is being an artist even more of a solitary existence than that of an author?

3a) Does "Heroes and Villains" contain the black and white illustrations you created as the internal artwork for "Starship Traveller"? How do you feel they compare to your colour artwork?

3b) Does "Heroes and Villains" contain the artwork for the "Fantasy Questbook" "Starflight Zero" (by David Fickling and Perry Hinton)? Do you have any memories on painting these works to such a tight brief from the authors? What sort of leeway did you have in creating these works?

4) Are you aware of any inappropriate or bizarre usage of your artwork without permission?

5) Are you aware of any up-and-coming young fantasy artists whose works we gamebook fans should check out?

That's all I can think of, really. Feel free to edit/exclude or amalgamate these with the others below. Thanks for posting this to me, Jon. :-)

Simon Osborne

---------- Forwarded message ----------
From:  <paj@xxxxxxxxxxxxxxxxxxxx>
Date: Wed, Mar 26, 2008 at 3:23 AM
Subject: <>--- PETER ANDREW JONES PUBLISHING : H&V update ---<>
To: Jonathan Blake <blake.jon@xxxxxxxxx>

        Hi Jonathan,

        re: your idea of complimentary/alternative questions to the
Italian site.

        Below is the Google translation

 and here are the questions >


Hi great Paj,
interview is ready! :)

Thanks in advance, obviously.
For first i apologize if some question is not very well wrote.
If you don't agree someone of these, don't worry. Don't reply and
subtract 1 magic point :D
Ok, let's start:

1) Who is Peter Andrew Jones?

 2) When did you begin drawing? What was your artistic path?

 3) Who are the artists, current or belonging to the past, that you
look up the most (both in the epic/fantasy genre and in other genres)?
Is there any colleague you take inspiration from in your style, and
who are, in your opinion, the colleagues whose style matches yours the

 4) How did you get to know Lone Wolf? When, and how, did your liaison
with Joe Dever begin? Are you still in touch with each other?

 5) The drawings you made for the LoneWolf gamebook series are some of
your best known works. Do you think they are some of the better, too?

 6) What do you think your masterpiece is, both among your every work
and regarding gamebooks only?

 7) Why did you stop drawing covers for the LoneWolf gamebook series?

 8) The covers for LoneWolf 1 to 12 were not originally set aside for
the english edition of the books;
 infact they appeared on the italian and french editions, and only
from 1990 on they were used on the english reissues; the subjects of
those twelve covers have no obvious relationship with the contents of
the books, unlike the covers for volumes 13 to 20. Were those covers
commissioned specifically for the french and italian editions of Lone
Wolf, or were they works planned for different purposes and then
adapted as covers for Lone Wolf? How can be the almost-no relationship
of some of the covers with the book contents be explained? Who or what
does the humanoid "monster" wielding a broadsword on the italian (and
Red Fox) cover for Lone Wolf no. 1 represent?

 9) For what other products, in the field of role playing games and
other fields, were you commissioned illustrations? In what other
gaming products (board games, role playing games, videogames...) of
the past, the present, or the future, is there a piece of your art?

 10) The famous cover for Warlock of Firetop Mountain faced the
publisher with a few problems, because the space reserved for the
title was at the center of the picture, instead of on the top of it.
Was it a deliberate choice, or was the drawing made while following an

 11) Which gamebook series would you like (or would have liked in the
past) to illustrate?

12) Are you playing/have you ever played gamebooks? What is your
opinion about this kind of games?

13) while surfing on your website, we noticed that Heroes & Villain, a
sort of portfolio which should include all your covers and artworks
for RPGs, gamebooks, and videogames, should be published very soon.
Can you give us a little preview of it? What should we, as gamebook
fans, expect from this kind of work?

14) If you could be the one to decide, what would the subject of the
LAST cover art for the Lone Wolf gamebook series be?

15) In your opinion, why have gamebooks as a form of reading and
entertainment had such a critical period since the middle nineties?

16) What kind of future do you foresee for the illustration world and
illustrators as workers? In particular, what does an old-school
illustrator like you think about such a heavy usage of digital
colouring software in your field? Is that a new frontier, a new
resource or just an impoverishment of an artist's personality?

17) Why do several publishers change the cover art when they have to
localize a gamebook series? Has that ever happened for any of your
works? If so, how did you feel as an artist illustrator?

18) Have you ever thought about drawing a graphic novel based on a
subject on your own?

19) Have you noticed many differences in motivation between the works
you create as an indipendent illustrator and those that are
commissioned to you? How is usually your relationship with your
commissioners...do you prefer them giving you a detailed idea of the
illustration, or to be given carte blanche?

20) One last question : are you satisfied with your job and your
career? If you could go back in time, would you change anything or
would you do everything the same way? Have you got any regret or

---End of interview---

        To avoid any misunderstandings (through language
misinterpretations etc) > the interview took a very great deal of
input on both the part of the fans, and me (as you will see from their
comments in their site) so they are understandably quite proud of what
they have put so much effort into (I am very flattered to say the
very, very least . . . . . . .) so sensitivity is called for here -
the best way forward would be for the Aon site to concoct alternative
questions to put into the book but, if you do in any way utilise what
the Itaiian fans have constructed it is their polite request that you
respect their extensive effort by giving them a proper quote in
recognition of their efforts.

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