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Roger Zelazny's Visual Guide to Castle Amber PDF

226 Pages·2011·24.56 MB·English
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Preview Roger Zelazny's Visual Guide to Castle Amber

MAGIC...MYSTERY...REVELATIONS WELCOMETOTHEFANTASTICAL WORLDOFAMBER! <*¥" > i y Roger Zelaznyand Neil Randall FULLYILLUSTRATED! ROGERZELAZNVS VISUALGUIDETOCASTLEAMBER _&*> t)Ck COL Ofdk. «5«L joe 1 RVOGIERSZEULAAZNLYS GUIDE TO CASTLE AMBER WRITTEN BY ROGER ZELAZNY & NEIL RANDALL PAINTINGS BY TODD CAMERON HAMILTON HBT' IteJ MAPS BY JAMES CLOUSE •V- AVON BOOKS NEW YORK 5S .-_JCJj >-'c*, OQOt 11 _«_<_.c_ja«»L-*-»•_W»-'— -J(JO k-- _«-._<—»CI*.*.a—Btai, --'aafii -o< s«-.>-_-.-•w_.»iC-_j.>oc-«a•J>C(*V"*.---(->*-c_-a»>iafB»XeS•SMi-Kk_H1-- i 'c-^O^ otOrJ 3Oc-L_.i-..^C»<t^exg»rnt jO< ><— o< 3(K»<f_cjOoO^u<-'•i_-_^_oJ<ga*•*3#\?-d.-'.f.Z--~—-"^--J—*a_?S*&.BflS&^f-<c-Oio—<=—>i—_!c•__.o_Lu>_.c-o£cdaSc£R?A:"'"S^23=££3U% ^NAS'^-**'- - - j-cy^^M ROGERZELAZNY'SVISUALGUIDETOCASTLEAMBERisan original publication of Avon Books. This work has never before appearedinbookform. AVON BOOKS Adivisionof The HearstCorporation 105 Madison Ave. NewYork,NY 10016 Copyright© 1988by Bill Fawcett&Associates, Inc. FrontcoverillustrationbyTodd Hamilton Published byarrangementwith Bill Fawcett&Associates, Inc. LibraryofCongressCatalogCardNumber88-18860 ISBN0-380-75566-1 InteriorBook Designby RobertT. Garcia InteriorProductionby Gerald O'Malleyand Ike Scott Allrights reserved, whichincludesthe rightto reproducethis bookor portionsthereofinanyformwhatsoeverexceptasprovidedbytheU.S. Copyright Law. For information address Bill Fawcett & Associates, Inc., 388 Hickory, LakeZurich, Illinois60047. FirstAvonBooksTrade Printing: November 1988 AVONTRADEMARKREG.U.S.PAT.OFF.ANDINOTHERCOUNTRIES,MARCA REGISTRADA,HECHOENU.S.A. Printed inthe U.S.A. DON 987654321 10 CONTENTS Introduction 7 Castle Exterior 12 Map 17 Main Hall 20 The Yellow Room and Front Sitting Rooms 22 First Floor Map 24-25 First Floor Guest Rooms and Treasury Room 26 Kitchen and Armory 28 Great Hall 30 Stairwayinto Kolvir 36 Guards'Stations and the Dungeons 38 The Dungeons and the Pattern ofAmber 44 Second Floor 46 Map 48-49 Apartments Guest 50 Merlin's 52 Brand's 54 Fiona's 56 Corwin's 58 Deirdre's 62 Martin's 64 Unused Guest Apartments and Dining Room 66 Llewella's 70 Caine's 72 Julian's 74 Gerard's 76 Bleys's 78 Benedict's 80 Eric's 82 The Library 84 Third Floor 88 Map 90-91 Apartments ofthe King and Queen 92 The Library 98 The Fencing Room and the Laboratory 100 Flora's Apartments 102 Fourth Floor Map 106-107 City 108 Map 109 The Greater Trumps 119 Benedict 124 Bleys 126 Brand 128 Caine 130 Corwin 132 Dalt 134 Dara 136 Deirdre 138 Eric 140 Fiona 142 Flora 144 Gerard 146 Julian 148 Llewella 150 Luke 152 Mandor 154 Martin 156 Merlin 158 Random 160 Vialle 162 Oberon 164 Dworkin 166 Ghostwheel 168 Shadow-shifting and Hellrides 170 Shadow-storms 178 The Pattern ofAmber 180 Courts ofChaos and the Logrus 184 Jewel ofJudgment 186 Dworkin 188 Rebmaand Tir-naNog'th 190 Lighthouse at Cabra 194 Arden Forest and the Hellhounds 196 The Arts 200 Crime and Punishment 204 Magic 206 Religion and Mythology 208 Floraand Fauna 214 Trade and Commerce 218 Appendix: The Families of Oberon 220-221 INTRODUCTION We invaded his house. It's a simple as that. For four days we occupied the peak hours of Roger Zelazny'sday. Dayswhenheshouldhavebeenwritingthe ninth Amber novel. Or something about unicorns. Or cats. Or maybe even lords and light. But he put up with us, all four of us. Todd Hamilton and Jim Clouse peppered him with question after interminable question about Castle Amber itself, and later about the art of the Trumps. Bill Fawcett, who organizeditall,extractedevenmoreinformation. Isatin the corner, reading the as-yet-unreleased Sign ofChaos. It was an honor, and I won't easily forget it. And with each new question Roger Zelazny would stop, and raise his hands, and then put them back down andletthewordspourforth. Oftenhewouldclosehiseyes ashetalked, recallingeverylastdetailabouttheworld he — — created or perhaps discovered over the course of eight extremely popular novels. Sometimes he would hesitate, as ifunwilling to tell us some Amberian secret, but in the end he would relent, and let us—know what h—e was thinking about. Those thoughts always confirmed his belief in his world. Then we all began writing and drawing . . . To read the artist's words is an unquali—fied privilege. But to watch an artist's mind at work now there's something worth being alive to see. To Roger Zelazny, our greatest thanks. For his help, for his hospitality, and for letting us watch him uncover the world he loves. — Neil Randall March 10th, 1988 ii Ill

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