ROYAL ASSASSIN (1997) by Michael Whelan, cover for the second book in the Farseer Trilogy by Robin Hobb.
We’ve gotten a number of requests for this piece over the years. And we get just as many questions about why Michael only illustrated two covers in this popular series. You’ll see clues to that in the accompanying photos.
Even though Fitz wields an axe in the book, the sales department wanted a sword on the cover. The change was based solely on marketability, and for an artist who has always prided himself on accuracy to the author’s words, that created an artistic dilemma.
In the end, Michael made the requested change but opted not to return for the last installment of the trilogy. It’s a shame because these are excellent books.
Why was making an axe into a sword a dealbreaker but making him blonde was fine?
I started working with Michael around the time ASSASSIN’S APPRENTICE was released. The discussions we’ve had about these covers run across a couple decades.
It’s fair to say that the sword wasn’t the only issue that led to his break from the series. It was more the point he reached clarity that the process had gotten away from him.
There’s give and take throughout the process of illustrating a cover. The artist brings ideas to the table but as a professional there are always compromises as the art director provides feedback and eventually approval.
Ideally both the artist and AD are working to put the best visual on the author’s work. Strangely the writer generally isn’t involved once they turn in their manuscript.
Michael has always been very cognizant of their absence in the process. I believe that’s why he carries such a strong obligation to the source material. Sometimes that means he renders minute details pulled directly from the page. But more important is that he captures the essence of the story, translating not just words but inspiration into pictures.
My take on the situation is that Michael was walking a fine line trying to be true to his artistic vision as well as to the source material. It became obvious in the marketing direction that he wasn’t accomplishing either.
I wouldn’t assume he was happy with anything on this cover. It hasn’t seen the light of day for all this time because of his profound disappointment in the process.
I’m just glad that the years have allowed him to separate feelings for this painting from ASSASSIN’S APPRENTICE which is just brilliant.