was not the first to use maps in a novel about strange worlds; among books that he was most likely familiar with, Jonathan Swift included maps in his 1726 Gulliver's Travels, and Robert Louis Stevenson followed in his 1883 adventure story Treasure Island. The frontispiece to William Morris's 1897 The Sundering Flood was a map showing the city on a great river, "The Wood Masterless", a "Desert Waste", and towns with English names like "Westcheaping" and "Eastcheaping". The map appears to have been the first fantasy map in the modern sense, defining a wholly invented world. Tolkien stated that he wished to imitate the style and content of Morris's romances, and that he made use of elements from them. Setting the standard Critics agree that Tolkien's maps set a completely new standard for fantasy novels, so that their use has become expected in the genre, which he largely created; Peter Jackson chose to use Tolkien's Middle-earth map in his Lord of the Rings film trilogy. Among later bestselling fantasy authors, George R. R. Martin has used maps in all his A Song of Ice and Fire books, starting with A Game of Thrones. Derived maps Iconic poster map In 1969, Tolkien's publisher Allen & Unwin commissioned the illustrator Pauline Baynes to paint a map of Middle-earth. Tolkien supplied her with copies of his draft maps for The Lord of the Rings, and annotated her copy of his son Christopher's 1954 map for The Fellowship of the Ring. Allen & Unwin published Baynes's map as a poster in 1970. It was decorated with a header and footer showing some of Tolkien's characters, and vignettes of some of his stories' locations. The poster map became "iconic" of Middle-earth. She was the only illustrator of whom Tolkien approved. Redraftings Campbell writes that the redrafting of the maps by the publishers HarperCollins for a later edition of The Lord of the Rings has made the cartography "bland, modern, professional illustration". In her view, this is "an unintentional reversion to decorative but technically inaccurate medieval-style maps", something that she finds misguided, as in his maps "Tolkien desired accuracy more than decoration". In addition, the redrafting loses what she calls "the illusion of Bilbo's own fair copies of older maps and which suggested a culture without printing presses or engraving", through Tolkien's own "charming hand lettering". Fan cartography The Tolkien universe has been subject to significant