Ever since I was a kid, I've always been fascinated by the Arthurian Legend, and, you know, the notion of nobility in battle and the - the notion of chivalry.
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Growing up in England, I was constantly surrounded by the Arthurian legend.
There are Arthurian legends in 14 or 15 medieval European languages. They are the product of no one time or place. On the contrary, in sum they represent a tremendous mine of human understanding, rather as the Bible does.
King Arthur was one of my heroes - I played with a trash can lid for a knightly shield and my uncle's cane for the sword Excalibur.
Pretty much every society, every culture in the world has some version of the Arthur legend, so everybody knows it; certainly in the western world, everybody knows King Arthur, but nobody knows what happens next.
I had been obsessed with the Arthurian legends all my life, and I knew that that would work its way into any trilogy I wrote. I was fascinated by the Eddas, the Norse and Icelandic legends, Odin on the world tree.
The institution of chivalry forms one of the most remarkable features in the history of the Middle Ages.
I did a game at Atari Research called 'Excalibur' about the Arthurian legends. At the time, it was very, very complicated, very involved and so forth and actually still looks better than some of the modern games in terms of its richness and involvement.
When I was in high school, I started writing a serial novel, longhand, set in the Arthurian mythos, and influenced not incidentally by Marion Zimmer Bradley's 'The Mists of Avalon.'
I've just written a very gritty, non-magical take on the King Arthur legend, 'Here Lies Arthur,' and I'm currently toying with some other historical ideas, as well as working with the illustrator David Wyatt on some sequels to my Victorian space opera 'Larklight.'
We love fantasy novels in which the characters think that they're peasants but turn out to be princes and kings.
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