What Inspired Bernard Sampson To Create His Main Characters?

I'm a sucker for old-school spy drama, so when I dug into this I was thrilled to find a concrete adaptation rather than just hearsay. The Bernard in Len Deighton's novels — usually spelled Samson in the books — was adapted for television in 1988 as the series 'Game, Set and Match', which pulled from the trilogy made up of 'Berlin Game', 'Mexico Set', and 'London Match'. It was produced for TV (Granada for ITV) and Ian Holm took on the role of Bernard; his performance is the thing I keep telling friends about when I want them to try Deighton. I haven't come across any feature films based on Bernard Samson. After the TV run there hasn’t been a major cinematic take or a modern streaming reboot that reached wide audiences. The novels that followed, like 'Spy Hook', 'Spy Line', and 'Spy Sinker', also never got the big-screen treatment. If you like slow-burn, morally grey espionage, the old series and the books still feel rewarding to revisit — even with a few dated touches — and I often wish someone would do a smart limited series reboot now that those formats are in vogue.

When I went digging for early short stories by Bernard Sampson I treated it like a little detective case — and that helped. First, double-check the spelling: sometimes the surname appears as 'Samson' (one p) or with middle initials, and that can totally change search results. Start with library catalogs like WorldCat and the British Library, because they often list magazine appearances and obscure chapbooks. Then hit online archives: Internet Archive, HathiTrust, and Google Books can surface reprints or scanned magazine issues that don’t show up on retail sites. If that still comes up dry, try periodical indexes such as the FictionMags Index or newspaper archives like 'The British Newspaper Archive' and Newspapers.com. Small presses and old literary magazines are common homes for early work, so search for the author's name in conjunction with likely venues — for example, 'The New Yorker', 'Granta', or regional journals. Finally, don’t underestimate used-book marketplaces like AbeBooks and eBay; I once found a story I’d thought lost in a battered anthology listed by a seller in the Netherlands. Happy hunting — tracking down early pieces is half the fun.

I've always loved tracing literary family trees, and when I think about the narrative approach tied to Bernard Samson (if you meant Len Deighton's weary spy protagonist), a few heavyweights jump out at me. On one level I hear John le Carré's whisper — that patient, morally ambiguous realism where espionage is a job soaked in bureaucracy and regret rather than glamorous action. Graham Greene rings through too, with his priest-and-sinner moral puzzles and landscapes of compromise; you can practically feel that ethical fog in Samson's interior life. Then there are the older thriller craftsmen like Eric Ambler, who made the ordinary man-in-peril believable, and Raymond Chandler for his bleak, witty asides and evocative similes that make even dull rooms feel cinematic. All of those combine into a voice that's sardonic, world-weary, and intimately observant. On a smaller scale I also sense influences from concise modernists: terse dialogues, layered flashbacks, and a preference for showing bureaucratic paperwork as character. When I reread parts of the series on a rainy afternoon, those strands—moral ambiguity, procedural detail, and noir-flavored prose—feel stitched together into the compelling, lived-in voice of Samson.

I get where you’re coming from — audiobooks are my go-to on long commutes and rainy afternoons. I checked around because the name 'bernard sampson' isn’t super familiar to me as a widely circulated author, and that makes a difference: smaller or niche authors sometimes don’t have audio editions. My first tip is to double-check the spelling and whether you mean someone else (for example, the character 'Bernard Samson' shows up in Len Deighton’s spy novels, and those do have audio editions). If you really mean works by Bernard Sampson, try these steps: search Audible, Apple Books, Google Play, Libro.fm and Hoopla with the exact author name in quotes; look on WorldCat and your local library’s catalog (Libby/OverDrive); and check Goodreads or the author/publisher website for audiobook listings. If nothing turns up, consider asking your library to purchase or requesting the publisher for info — sometimes rights or budget hold things back. I’ve had luck getting obscure titles added just by asking the librarian once or twice, so it’s worth a shot.

There are a few clear routes that make Bernard hit like a truck in 'Baldur's Gate 3', and the fun part is choosing which one fits his vibe. If you want raw burst damage, lean into two-handed weapons. A greatsword or greataxe paired with the Great Weapon Master style is brutally effective — heavy hits, high crit potential, and when you get a surprise attack or get advantage, those big dice swings feel amazing. This route pairs best with Strength-forward builds and classes that get extra attacks: fighters, barbarians, or paladins. For barbarians, the greataxe is especially tasty because of Brutal Critical scaling and rage bonuses; for champions, more crits means more chances to proc huge damage. If Bernard is nimble and sneaky, embrace finesse weapons. A rapier or scimitar lets you use Dexterity for attack and damage, which is perfect if you're going for sneak attack or trying to stay out of heavy armor. Dual-wielding shortswords or rapiers (with the Dual Wielder feat) gives you more attacks per round and keeps sneak attack opportunities frequent. For a ranger or rogue-flavored Bernard, a hand crossbow plus Crossbow Expert is a phenomenal ranged option — it gives you a bonus-action attack even while engaging melee, and it pairs wonderfully with sharpshooter-like tactics if you take feats that boost ranged crits. For battlefield control and steady damage, polearms are ridiculously satisfying. A halberd or glaive with Polearm Master lets you grab opportunity attacks as bonus actions, and when combined with Sentinel you can lock enemies down while still dealing consistent hits. That setup is ideal for a tactical Bernard who likes to corner foes and prevent escapes. Also don’t underestimate magic weapons: anything that adds elemental damage, life drain, or a bonus to hit is worth equipping as soon as you find it. Finally, think about class synergies: paladin with longsword + shield and Divine Smite, warlock Hexblade using Charisma with a pact weapon, or a fighter/Battlemaster who multiplies maneuvers for extra damage — the weapon matters, but the class features and feats you pick will amplify it. Personally, I love swapping between a rapier for quick fights and a greataxe when I know a big hit will turn the tide; it keeps Bernard versatile and fun to play.

I still get a little giddy talking about cold-war spy novels, and one confusing-but-common bit of trivia I always clear up when chatting with friends is that Bernard Samson isn’t a real novelist — he’s Len Deighton’s grizzled MI6 protagonist. The books that really put him (and Deighton) on the map are the core 'Game, Set and Match' trilogy: 'Berlin Game', 'Mexico Set' and 'London Match'. Those three punchy, paranoid novels dug into bureaucratic treachery and personal betrayals in a way that grabbed readers’ attention in the 1980s. If you’re hunting the source of Samson’s fame, it’s those titles that did it. There’s also the prequel 'Winter' that fills in backstory and helps explain why Samson is the way he is, and a broader series that follows his career. But the initial splash — the books that made Deighton a household name and Bernard Samson a memorable fictional spy — comes from 'Berlin Game', 'Mexico Set' and 'London Match'. If you like slow-burn spycraft with messy personal stakes, start there and see why readers got hooked.

Great question — Bernard's romanceability in 'Baldur's Gate 3' is one of those tiny details that trips up many players, so I love diving into it. In the official, unmodded game Bernard is not a romanceable companion. 'Baldur's Gate 3' reserves full relationship arcs for a set of companions whose personal quests, camp scenes, and scripted interactions allow for a romance to form; NPCs that you encounter in the world who aren’t full party members typically have flirt or persuasion options at most, not the multi-act romances that come with cutscenes and epilogues. If you’re trying to romance anyone in 'Baldur's Gate 3' for real, you want to focus on building rapport: invite them to camp, make consistent dialogue choices that align with their values, and often complete their personal questlines. Romanceable companions like Astarion, Shadowheart, Gale, Lae'zel, Wyll, Karlach, and Halsin (among others added as companions) have structured paths that can lead to more intimate conversations and unique endings. For NPCs who aren’t companions — including Bernard if he’s a non-companion in your playthrough — you can sometimes get flirtatious lines or one-off scenes, but the game won’t treat that as a full romance. Those one-off moments can still be memorable, though, and I’ve had playthroughs where a single choice felt like a whole relationship. If you really want Bernard to be romanceable, the modding scene is where the magic happens. There are mods that convert NPCs into companions or add romance flags, and some creators specifically tailor romance arcs for characters who weren’t romanceable in the base game. Just be careful: mods can conflict with each other and with updates, so back up your saves and read descriptions and compatibility notes. For me, the delicious part is the roleplay — even when the game doesn’t officially let you romance a particular NPC, I’ll weave a story in my head or with friends in multiplayer where my character and Bernard become more than allies. Honestly, I’d love a canonical Bernard romance someday; until then I’ll keep flirting in the taverns and modding in my daydreams.

The twist in 'Pygmalion' is truly a moment that snatches your breath away. Throughout the play, we witness the charming transformation of Eliza Doolittle, a flower girl with a thick Cockney accent, into a refined lady capable of speaking like a duchess. This metamorphosis, orchestrated by Professor Henry Higgins, leads us to believe that societal acceptance is within reach for Eliza. However, as the story unfolds, we encounter a significant twist regarding Eliza's choices and worth. In the final act, after she successfully passes for a lady at the ambassador's party, Eliza confronts Higgins with a newfound confidence that ultimately exposes the hollow nature of his triumph. It's a powerful moment; instead of reveling in the acceptance she yearned for, she realizes that she has shaped her own identity rather than merely conforming to Higgins' expectations. This twist isn't just about societal roles. It unveils a deeper commentary on self-discovery and autonomy, inviting us to ponder what it truly means to be oneself in a world that often values appearances over authenticity. Knowing how much I love narratives that delve into personal growth, 'Pygmalion' hits home. The ending shows that identity is fluid and complex, and it's just as crucial to take ownership of who we are as it is to meet societal norms. It’s both enlightening and, dare I say, empowering!