RIP Jean Marsh

News has sadly broken that the British actress and producer Jean Marsh has passed away at the age of 90. She is best-known as the creator and star of the classic British TV series Upstairs, Downstairs (a rare UK show which was a big hit in the USA), and for playing the role of Doctor Who companion Sara Kingdom.

Marsh was born in Stoke Newington, London in 1934. Growing up during World War II, she showed an aptitude for acting, singing and dance, especially ballet. She attended theatre school and trained hard for an acting career, with her parents' blessing. She made her screen debut at 18 in the British TV movie The Infinite Shoeblack (1952). She made numerous appearances on British screens and stages through the 1950s before going to the United States in 1959 to star in a John Gielgud play on Broadway, a fresh take on Much Ado About Nothing. Whilst in the States she appeared in some American TV episodes, including an episode of The Twilight Zone. In 1963 she played Octavia in the Elizabeth Taylor version of Cleopatra.

In 1965 she was cast in the role of Princess Joanna, the sister of King Richard the Lionheart, in the Doctor Who serial The Crusade. She impressed the production team with her performance so much they invited her back later that year to play Sara Kingdom. Although she only appears in one story, The Daleks' Masterplan, that story (made up of twelve episodes) is the single longest Doctor Who story ever made (the 1986 season was made up of a single fourteen-episode serial, but in reality that was four separate stories presented under a single title with a linking device). Her nine-episode run was longer than that of previous companion Katarina. Sara Kingdom was an unusual companion, being a futuristic, 41st Century special forces operative introduced by killing the Doctor's ally Brett Vyon (Nicholas Courtney), having been tricked into thinking he's a traitor. The Doctor convinces Sara of his good intentions and recruits her into helping in his battle against the Daleks. In a shocking move, Sara is brutally killed in the final episode when the Daleks' "Time Destructor" is activated and ages her to death (the Doctor is caught in the blast but survives due to his much greater lifespan, though fanon would later suggest it contributed to his first regeneration the following season).

As one of only three companions in the show's history to be definitively killed off, Sara would occasionally be mentioned in later stories, even in the comeback era, as an example of when the Doctor gets things wrong.

In 1989 she returned to Doctor Who to play the role of the evil "sorceress" Morgaine; she was reunited with Nicholas Courtney, now playing his traditional Doctor Who role of Brigadier Alastair Lethbridge-Stewart of UNIT. Courtney greeted her by saying, "We've both been in Doctor Who before and you killed me!" Marsh later had a cameo on the show's 50th anniversary special An Adventure in Space and Time about the real-life genesis of the show.

In 1970-71 Marsh worked with fellow actress Eileen Atkins on creating a new TV project, with the idea of focusing on the lives of a posh family in a period drama and their lower-class servants. Upstairs, Downstairs launched in 1971 and was an immediate, huge hit. The show ran for five seasons and 68 episodes. It aired in the USA as part of the PBS Masterpiece Theatre slot and became a critical and commercial success, a huge rarity for a UK show. The show won eight Emmy Awards and a Golden Globe, as well as two BAFTAs and a Peabody. Marsh created and produced the show, and also starred as Rose Buck, the head maid of the house.

In 2010 the show was relaunched as a sequel and ran for two seasons and nine episodes, with Marsh reprising her role. However, the show was overshadowed by the launch of Downton Abbey on an opposing channel, which went on to be a much bigger success with a very similar premise. Marsh reflected on the situation: "It might be a coincidence, and I might be the Queen of Belgium!" Marsh had previously worked with Downton Abbey creator Julian Fellows on Julian Fellows Investigates: A Most Mysterious Murder.

In 1991 she co-created the television series The House of Eliott, about fashion designers in the 1920s. It was a big success for the BBC, running for three seasons and 34 episodes, though it is probably more fondly remembered for the long-running French & Saunders comedy skit mocking the show, House of Idiot (in the final instalment, the entire cast turns up and berate the pair for their irreverence). Marsh created the show and contributed ideas, but declined to appear.

Marsh had numerous other roles of interest; her other primary genre contribution was probably playing Queen Bavmorda, the main villain of the 1988 movie Willow. She briefly reprised her role in the 2022 TV sequel series. She also played the role of Mombi in Return to Oz (1985), as well appearing in Jane Eyre (1970) and The Eagle Has Landed (1976). Her TV roles were vastly more numerous, appearing in both British and American shows including Danger Man, The Saint, I Spy, Adam Adamant Lives!, Department S, UFO, The Persuaders!, The Waltons, Hawaii Five-O, The Love Boat, Murder She Wrote, The Tomorrow People, Holby City and Sense & Sensibility.

Jean Marsh had a minor stroke in 2011, which she recovered quickly from but did limit the roles she chose to take on. Towards the end of her life she was diagnosed with dementia. She passed away at her home in London.

Jean Marsh was an extremely-respected British actress and producer. Her performances were always memorable and powerful, and co-creating two hit TV shows is a very impressive achievement, not to mention "blatantly inspiring" one of the biggest TV shows of all time. She will be missed.

Mighty board game series COMMAND & COLORS licences STAR WARS

The mighty Command & Colors board game series has licensed Star Wars for a themed game from Days of Wonder. Remarkably, this will only be the second time the series has licensed a property for a tie-in game, after the superb 2010 Song of Ice and Fire-themed variant Battles of Westeros.

Command & Colors is a board game/wargame hybrid. Players command two factions that engage in battle. The board is divided into three sectors and, after a deployment phase, order their armies using a randomly-drawn hand of cards, with instructions like "all units on the right flank to advance," or "one unit in each sector advances." The players' armies have different weapons and vehicles with different capabilities.

The most well-known and biggest-selling game in the series is Memoir 44, a World War II variant, followed by BattleLore, a high fantasy version of the concept. Other variants include Command & Colors: Ancients and Command & Colors: Napoleonics, covering the ancient world (Romans, Greeks etc) and the Napoleonic Wars respectively; Samurai Battles, featuring warfare in Japan; Tricorne, about the American Revolution; Battle Cry, about the American Civil War; and The Great War, which covers World War I. The most recent game in the system I played was Red Alert: Space Fleet Warfare, which was superb but extremely demanding in the amount of table space it required.

Days of Wonder have recently announced a revamp of Memoir 44, although sadly this does not appear to be an in-depth second edition that fans have been requesting for years, but a mild revision with new artwork and tokens. The new focus for the game appears to be the Star Wars tie-in game. Days of Wonder's official screenshots indicate this will be a land-based game, with the base game focusing on the Battle of Hoth, with Imperial and Rebel forces fighting for control of the planet, presumably with snowtroopers, rebel troops, snowspeeders, scout walkers and AT-ATs. I imagine if it's a hit, expansions will follow and maybe a space-based variant.

Days of Wonder are promising to release new information, such as a release window, soon.

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Iconic fantasy cartographer Karen Wynn Fonstad's maps are looking for a new home.

In interesting news, the map collection of fantasy cartographer Karen Wynn Fonstad is being digitised and is looking for an academic home.

Karen Wynn Fonstad was one of fantasy cartography's biggest names, best-known for her two editions of The Atlas of Middle-earth (1981, 1992). This was an attempt to create an atlas spanning the entire history of J.R.R. Tolkien's fantasy legendarium, including detailed maps of the lands explored in The Hobbit, The Lord of the Rings and The Silmarillion. The revised edition drew on Unfinished Tales and the twelve-volume History of Middle-earth series to flesh out the map collection. The Atlas had a lot of fans, with Christopher Tolkien writing warmly about its accuracy and Tolkien artist Alan Lee talking about how it was used as a reference for the making of Peter Jackson's Lord of the Rings movie trilogy.

Mrs. Fonstad herself paid tribute to earlier pioneers of Middle-earth cartography, including Pauline Baynes' A Map of Middle-earth (1970), which had the advantage of enjoying feedback from Professor Tolkien himself, and Barbara Strachey's more contemporary Journeys Frodo: An Atlas of J.R.R. Tolkien's The Lord of the Rings (1981).

Mrs. Fonstad also created other fantasy atlases, notably The Atlas of Pern (1984) based on Anne McCaffrey's Dragonriders of Pern series, and The Atlas of the Land (1985), based on Stephen Donaldson's The Chronicles of Thomas Covenant, the Unbeliever sequence. She then collaborated with TSR, Inc. on the Dungeons & Dragons projects The Atlas of the Dragonlance World (1987) and The Forgotten Realms Atlas (1990). The Forgotten Realms Atlas remains, as far the creator of the Forgotten Realms world Ed Greenwood is concerned, definitive. Many of these maps, or portions thereof, were reused in later projects like video games and novels.

Mrs. Fonstad resumed work on real-world geographical projects and did not create any more fantasy maps, but she did write a proposal for a project called The Atlas of Narnia, based on C.S. Lewis's Chronicles of Narnia sequence, including creating some sample maps. The Lewis Estate regrettably passed on the project.

Karen Wynn Fonstad passed away, far too young, in 2005 due to cancer. It was always a supreme regret of mine that she never got a chance to work on maps for more recent fantasy series such as The Wheel of Time, A Song of Ice and Fire or The Malazan Book of the Fallen. My own Atlas of Ice and Fire website project was directly inspired by her work.

Mrs. Fonstad's son Mark, now an associate professor of geography at the University of Oregon, has spent recent weeks at the University of Wisconsin-Madison's Robinson Map Library, digitising the hundreds of maps from his mother's collection for legacy purposes. The work is incomplete and it will take several trips to complete the project. Once it's done, Mark will be looking for an academic institution to house both the physical and digital maps for future generations to enjoy. It looks like the never-before-seen maps from The Atlas of Narnia proposal will be included.

Splendid stuff, and it would be amazing if the digital collection was available somewhere for everyone to enjoy.

NO LIFE FORSAKEN, the new MALAZAN novel from Steven Erikson, gets cover and release date

No Life Forsaken, the second book in the Witness quartet, has had its cover art and release date unveiled. The book will be released on 23 October this year.

The book picks up after the events of The God is Not Willing (2021) and sees the action switch to the Seven Cities subcontinent where, unsurprisingly, things are getting complicated for the local Malazan forces.

The official plot summary is as follows:

A goddess awakens to a new world, only to find that some things never change.

Amidst the ashes of a failed rebellion in Seven Cities, new embers are flaring to life.

There are furrowed brows at the beleaguered Malazan Legion headquarters in G’danisban for it would appear that yet another bloody clash with the revived cult of the Apocalyptic is coming to a head.

Seeking to crush the uprising before it ignites the entire subcontinent, Fist Arenfall has only a few dozen squads of marines at his disposal, and many of those are already dispersed - endeavouring to stamp out multiple brush-fires of dissent. But his soldiers are exhausted, worn down by the grind of a simmering insurrection and the last thing Arenfall needs is the arrival of the new Adjunct, fresh from the capital and the Emperor's side.

The man's mission may be to lend support to Arenfall’s efforts . . . or stick a knife in his back. 'Twas ever thus, of course. That a popular commander should inevitably be seen as a threat to the Emperor - such is the fatal nature of imperial Malazan politics.

And what of the gods? Well, as recent history has proved, their solution to any mortal mess is to make it even messier. In other words, it's just another tumultuous day in the chequered history of the Malazan Empire.

The good news is that Book 3, Legacies of Betrayal, is already complete and hopefully should be published in 2026.

Erikson is currently writing Walk in Shadow, the long, long delayed finale to his earlier Kharkanas Trilogy.

First trailer for MURDERBOT adaptation released

Apple TV+ has released the first trailer for Murderbot, their adaptation of Martha Wells' Murderbot Diaries novel/novella series. The show will launch on 16 May 2025 and will consist of ten episodes.

The TV show follows the story of the books, with an android SecUnit breaking its programming to "go rogue," though in this case that means doing jobs for hapless groups of humans between bingeing TV shows.

The show stars Alexander Skarsgard as the titular Murderbot, with David Dastmalchian, Norma Dumezweni, Sabrina Wu, Tattiawna Jones, Akshay Khanna and Tamara Podemski as the humans it has to constantly bail out of trouble. In an amusing device, the series will also feature show-within-a-show The Rise and Fall of Sanctuary Moon, with its own cast including Clarg Gregg, John Cho, DeWanda Wise, Jack McBrayer and Anna Konkle (interesting to see how big a thing this is, given that cast can't be cheap).

Murderbot confirms Apple TV's impressive commitment to the science fiction genre. The streamer is also hosting For All Mankind, Silo, Foundation, the genre-adjacent Mythic Quest and current hit-of-the-moment Severance.

The Murderbot Diaries consists so far of seven books: All Systems Red, Artificial Condition, Rogue Protocol, Exit Strategy, Network Effect, Fugitive Telemetry and System Collapse. These were recently reissued in omnibus editions.

Atomfall

Cumbria, 1962. An amnesiac awakens with no memory of their past or purpose. They are, somehow, in the security zone surrounding the Windscale atomic plant. In 1957, the plant suffered a partial nuclear meltdown. Thousands were evacuated, but hundreds decided to remain, with the military sent in to secure the area. But some of the locals have adopted strange beliefs, becoming raiders or "druids", conducting pagan rites in the forest. The memory-addled stranger may be a key to unlocking the mysteries of "the Interchange" and helping one of the numerous factions in the zone achieve victory and escape.

Atomfall is a survival action game from Rebellion, the team behind the Sniper Elite series and, way back in the day, the likes of Alien vs. Predator 2, as well as the owners of the 2000AD comic book and its numerous spin-offs (including Judge Dredd). The game is something of a change of pace from them, drawing influences from a huge number of pop media sources to create something that's interesting, though perhaps a little under-explored.

Played from a first-person perspective, you guide your character - about whom you know exactly nothing, not even their gender (since the character is unvoiced) - through the four districts of the Windscale Exclusion Zone. The game makes a very bold and interesting choice by eschewing the normal quest system of such games, instead giving you "leads," bits of information relating to the situation at hand. These lands may tie into the main story, or various side-quests or faction missions (or some mixture thereof). You can follow a single lead to progress the story, but sometimes continuing your exploration may find other leads related to the same event or character, revealing more information. Someone who first appears to be a trustworthy ally may turn out to be ruthless and amoral monster if you compare notes from different sources. This is a very interesting idea which kind of works, though the game's diligence in tracking leads in your journal does sometimes start to resemble a standard quest log.

Although the game has been compared a lot to the Fallout franchise from the name and the retrofuturistic vibe, the game is not really an RPG. There are skill trees you can advance along but these are fairly limited. There are dialogue choices but often there's nothing stopping you from asking every single choice, without it blocking off progression (that only happens through your actions, not words). The vibe is a lot closer to the STALKER franchise, which recently celebrated a big hit with the splendid STALKER 2: Heart of Chornobyl. You have a very limited inventory, can only carry a small number of weapons and supplies, and you rely on crafting skills to create new items in the field. There are merchants in the game (at least one per zone), although there is no currency. Instead you have to barter items you have for items they have, which is a very interesting spin on things. 

Combat is serviceable, with a reasonable variety of weapons: you have the standard submachine guns, rifles, shotguns, grenades and pistols, as well melee weapons such as knives and, very appropriately, cricket bats. There is also a bow for stealth. Ammo is extremely scarce, meaning that you quickly have to master the art of melee combat unless you want to blow all of the ammo you've spent an hour scavenging in two minutes. Stealth is, unfortunately, not very good. The enemy can spot you easily in long grass from quite a distance (making the value of long grass questionable) and, at absolute best, you'll only take down one enemy from a group from stealth before the rest of their comrades are alerted. Given that Rebellion have a very robust stealth system in their Sniper Elite series, it's a bit baffling at how poor Atomfall's is. Still, at least stealth is not an overpowered insta-win button, which is the opposing end of the problem. Enemy AI is generally good though, as is usual, the human enemies are far more interesting to fight than the various mutated creatures. The game also technically allows you to pursue a nonlethal playthrough, although that is tough, or kill every single character in the game (tougher due to respawning areas). In both cases you can still finish the game.

An important part of the game is exploration. Leads don't take you to every corner of every map, and important side-quests can only be picked up by spotting an interesting building on the horizon and heading over to take a look. Curiosity is well-rewarded, with optional bunkers, cellars and ruins often yielding fresh supplies, though sometimes at the cost of more combat. Quests can determine the hostility of factions, and aligning with a faction leader can see their forces stand down and allow you to pass, or even help you against other enemies or mutants. The four districts are not huge, but each is very well-designed and dense with points of interest. The four maps are also linked by a central structure, the Interchange, a base of operations which sprawls with sub-levels and areas sealed off. Getting the Interchange up and running, and opening all the areas and wings, is very satisfying, reminiscent of the space station in Prey, though rather faster to accomplish.

The tone of the game is fairly serious, though there is a thin vein of black humour running through things. British cultural references abound: multiple nods to Doctor Who (including those terrifying gas mask enemies from the Empty Child two-parter), Judge Dredd, Quatermass, Dan Dare, When the Wind Blows and even Last of the Summer Wine can be detected. One moment the game is making you think of the utterly terrifying nuclear war TV movie Threads, and the next the bucolic cottages and winding country lanes are instead making you think of Postman Pat. Tonal variation is something the game does very well.

The game entertains and amuses, but only relatively briefly. I put the game away at just under 16 hours, including unlocking three of the apparent six endings (the others require replaying the last few missions again). Normally I'm the first to applaud a game which resists the temptation to be a 150-hour bloatathon, but Atomfall risks falling on the other side of the coins. A lot of characters, factions and backstory are decidedly under-developed, and the central mystery of who you are and what you are doing in Cumbria never really gets addressed. The identity of the mysterious "Voice on the Telephone" is only alluded to, and you only get a partial explanation for what happened during the original Windscale disaster. Atomfall often feels too much like an extended demo or proof-of-concept for a larger game which has more room to breathe. Still, the game's size does mean its focus and pacing is pretty good.

Atomfall (***½) has a lot to recommend it, with an interesting atmosphere, solid story, fun exploration, great art design and a lot of player freedom. But the combat is only ever serviceable, stealth is pretty borked and other game systems (crafting, upgrades, skills) are just okay at best. The short length of the game is refreshing in some respects, but asks a lot of the player in terms of things being left unexplained. Atomfall is solid but feels like it needs an expansion or sequel to start achieving more of its potential.

The game is available now on PC, PlayStation 4 and 5, and XBox One and XBox Series X.

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