Last night was the final session of the Roll20 ETU campaign we've been running since October 2017 (final blog post coming soon!). What's next for the Roll20 Gang? Here's a clue:
That's right, not content with exploring portals to alternate dimensions in ETU, the Roll20 Gang is headed for RIFTS Earth! But wait, there's more... starting with character creation, the gang and Happy Monster will be podcasting the actual plays of RIFTS for your audio enjoyment! Look for the first podcast sometime after our upcoming Kickstarter campaign for Legion of Liberty: Superheroes of 1776.
One significant worldbuilding challenge for Legion of Liberty was deciding how much the existence of superhumans would have changed history. Early on, we decided that superpowers were confined to the New World, meaning that they would have had no significant effect on European history until 1492. Afterwards, however, would the history of colonization have gone in a different direction if the Europeans were facing native superhumans?
Some of the answer to this dilemma came from the power levels of the campaign. The superhumans in Legion of Liberty are relatively low-powered compared to classic comic book heroes. Alone or in small groups, they are formidable, but by no means a match for a regiment of musket-wielding infantry. Further, the history of European colonization of the Americas is full of native groups siding with the Europeans for their own purposes. As an example, Cortes would have had a much more difficult time conquering the Aztec Empire had client states of that empire like the Tlaxcala not sided with Cortes as a means of (they thought) obtaining their independence. Of course, the history of colonization is also full of examples of the Europeans double-crossing their native allies as well.
As a result, we decided that European colonization would have proceeded more-or-less as it did historically. The one significant difference was the conscription of superhumans, which in Legion of Liberty is common to all of the colonial powers. While superhumans are not decisive on the battlefield, they have a significant psychological impact on morale for any side fighting against them. It's one thing to face a line of men with muskets just like you; it's another thing entirely to be blasted with lightning from a woman flying fifty feet over your head.
The conscription of superhumans into European armies made it unlikely that most historical figures of the American Revolution would have been superhumans. A few, however, notably Paul Revere (the Silver Speedster), could have bought their way out of conscription. Purchasing your way out of the draft is less bizarre than it might seem to modern ears - at the time, commissions as officers in the British Army could also be purchased, and, at least theoretically, all of the regular army soldiers were volunteers.
The forces that drove the American Revolution were therefore the same with or without superhumans: the British crown’s attempts to impose more burdens and greater order on colonies that had previously been left more or less to their own devices. The addition of conscription of young superhuman men and women simply adds another causus belli to the list of grievances raised by the colonists.
Having made it to Malifaux at last, Anna Mae, Bal, Bernard, Providence, Zai, and the escaped convict Cesar (who is posing as the dead puppeteer, Vito Sessa) have been detained by the Guild for questioning about what happened to the other passengers on their train from Earth. As they wait, hot and irritated, Malifaux City shimmers like a mirage to the south, and a northbound train belches to a halt at their feet. Out pops another group of Guild guards and a corpulent man in a uniform that stinks of stew and beer. “I’m Captain Dashel,” he says, punctuating his self-introduction with a burp. “You’re coming with me to the Guild Enclave.” Dashel leers at Zai, up and down, and smirks. “The boss is going to love you.” Though she is masked, and therefore expressionless, Zai lifts her chin and turns, a phantom ignoring a turd.
The train bound for Malifaux City passes through the fortified city center on its way to Industry Station on the other side. The Governor-General’s palace is the tallest building in the Guild Enclave, and directly across from its spiked gates, a hanged man dangles from a twisted black tree. Out the other side of the fortified city center, Industry Station squats among warehouses and factories, but a small, elegant café, Le Chat Blanc, sits just across the street. Bernard lurches toward the smell of coffee, a green, caffeine-wantin’ tornado. Between the thumping rifle butts of the Guild guards, and Dashel’s hasty promise of refreshments at the Governor’s palace, Bernard is reined in, but with much resentful muttering. Seated al fresco at Le Chat Blanc is a huge, broadly built blond man in clockwork armor, sipping at one of nine espresso cups arrayed before him as though drinking from a thimble. Propped by his leg is a backpack-mounted flamethrower. He watches the detainees with interest over the rim of the tiny cup.
Dashel leads the grumpy group back through the massive fortification of the Guild Enclave, into a well-heeled Downtown district, and finally into the Governor-General’s palace, where he places them in a gilt and velvet drawing room. Bernard has had enough of this boring, snackless existence and, exasperated, Dashel resorts to the lazy man’s solution to everything; a bribe. If Bernard calms down, Dashel will send in a coffee cart. Dashel is horrified when Bernard insists they spit-shake on the agreement. When coffee arrives, Bernard, Providence, Anna Mae, and Cesar help themselves. Zai, having arrayed herself on a silk divan, turns up her nose, while Bal watches the others for signs of poisoning before taking a cup.
Soon a tall, imposing man in a splendid red frock coat and an ornate gold mask enters the room. He gives the group the once-over, taking a particular interest in Zai, and pompously introduces himself as Lucius Mattheson, Viceroy to the Governor-General. According to Lucius, train disappearances are rare, but passengers have never vanished from a train before. Normally, persons of interest would be sent straight to the Soulstone mines in irons. However, says Lucius, if they all agree to a probationary period of employment in Malifaux City (under close Guild supervision), and keep their noses clean, they will be released to pursue their own agendas. Immediately, not having a nose himself, Bernard wants to know why these conditions include noses; always with the noses! When Lucius asks about their occupations, Bernard identifies himself as a showman. When she doesn’t speak, Lucius asks Zai if she is a performer as well, and Zai is insulted in two parts: (1) that he has not heard of her; and (2) that he has lumped her in with the Gremlin.
Cesar studies his fingernails. His Vito Sessa disguise will end the moment he picks up a puppet.
“Not one, but TWO performers,” Lucius says. “Excellent. Have you by chance heard of the Star Theatre?”
“Of course,” Zai snaps before anyone else can speak. “We’re not idiots.”
Lucius nods. “We will proceed there at once. The owner and I have an…understanding, and I believe I can convince her to employ your whole group for your probationary period.”
Bal, silent over his coffee until now, interjects, “We are NOT a group.” Bernard complains that the shows at the Star Theatre will probably be too boring for his act. Anna Mae protests: she’s here on a research grant, not to sell tickets to the circus. Providence insists that she’s also there on a research grant, but less convincingly, because she isn’t.
But, all in all, the choice between the Star Theatre and the Soulstone mines is not a hard one.
Unlike the smoky, foul-smelling Industrial Zone, Downtown is well-tended and clean. Zai lags behind for a moment to whisper at Lucius, but only Providence notices. The Star Theater is an imposing and elegant building, sitting atop a flight of marble steps in a splendid fantasy of stained glass, teardrop crystals, and Belle Epoch filigree. Standing in the opulent lobby as though at home, Lucius dispatches Dashel to find the owner, Colette DuBois. Bernard has gone suddenly rabid with hunger: someone, somewhere in the theater is barbecuing pork.
The stunning woman who greets them is tall and slender, wearing an elaborate Marie Antoinette-style wig with an inset birdcage. From its perch in the cage, a crow squawks a barker’s patter: Step Right Up! Don’t Be Shy! Come See the Most Beautiful, Magical, and FLEX-ible Women in Malifaux! Colette’s knee-length frock is a maroon satin that shimmers above petticoats, back-lined stockings, and crimson boots. Gesturing at Zai and Bernard, she says “Captain Dashel tells me you’re performers. It’s too late to add you to tonight’s show, but you can audition tomorrow.” She assigns Providence and Cesar to the stage crew, Anna Mae to the ticket booth, and Bal to security, suggesting they might switch jobs later, if they end up permanently employed. Released at last, Bernard charges the concession stand to gobble BBQ ribs, chasing bites with shots of whiskey. Providence peppers Bernard with questions about Gremlins. Providence can ask questions nonstop, seemingly without breaking for air; it’s pretty impressive.
Insulted, Zai goes head to head with Colette and insists on auditioning immediately. Counter-insisting that tonight’s show is special and can’t be altered, Colette allows Zai to audition on the spot, hoping to appease her. Taking the stage with a mixture of ownership and reverence, Zai launches into her routine. She juggles real knives, adding illusory knives as her act progresses. Making every move seem effortless, Zai leaps through rings of flaming knives, and sends her flute-voiced blades into impressive formations that she dodges with a graceful yet athletic series of contortions. When she takes her bows, she pauses at the end to lift her mask and reveal her face. Only Anna Mae notices that Zai’s ethereally beautiful face looks slightly different than it did on the train. Colette, clapping politely, suggests that she and Zai may have some things in common, after all, they are both illusionists. But Zai slips her mask back into place and turns away, dismissing the praise as beneath her.
The crow in Colette’s wig shouts, “COME SEE OUR MIRACLES AND WONDERS!”
While the Star Theatre prepares itself for the evening show, Anna Mae searches for someone interesting to talk to, settling on the head usher. In vain, she tries to diplomatically ask if any Neverborn or Gremlin people come to see the show. The head usher burbles cluelessly on about the famous various people of Malifaux who attend. When Anna Mae finally makes it clear what she’s asking, the usher casts a grim eye at the small green omnivore devouring BBQ at the concession stand and spews a bunch of ugliness about the Bayou People, how crude, stupid, and inferior they are, and how they rarely come to Malifaux City. On the subject of Neverborn, the usher just shrugs, bored, and bustles away. Anna Mae is left with her mouth open, which she clamps shut into a tight line. This is nothing more than she expected, but it’s still disappointing.
Dragging along his faithful old rifle, Bal cases the area for good vantage points and power positions. The theater has three types of viewing areas; the open floor area for standing-room audiences, two galleries of bench seats flanking, and the mezzanines and balconies above, the prime box seats reserved for the Governor-General and his guests, where Lucius now sits talking quietly with Colette. Having made note of the exits, Bal settles in by the main entrance to the lobby, seeming to nap, but watching everything.
It takes a while to fill the seats, but soon the house is buzzing with guests. The lights dim, the noise settles, and then the show begins. The first act is a dark and strange ballet, where a dozen ballerinas float on novel toe shoes: some on wrought iron fence spikes, others on chrome six-shooters, golf clubs, marlin spikes, and even a set of old-fashioned clothing irons. In the finale, a ballerina with knives on her feet carves a crackling roast into slices that she flings via pirouette into the audience. Bernard, standing in the “splash zone”, leaps into the air, catching and gobbling as many slices as he can.
Next, a series of musicians play unrecognizable instruments made of bone, brass, skin, animal hair, and other strange materials. A harpsichordist plucks at mother of pearl keys, each of which is attached by a thread to the leg of a bird; when signaled, each bird chirps its note in a twittering Chopin impromptu. With a saucy grin at the audience, the harpsichordist occasionally punctuates the piece with a magpie, which jolts upright and screams, “THAT’S WHAT SHE SAID!” After the musicians, a purple creature (more likely a human in costume) tells jokes that sends the audience slapping their knees and howling, but the heroes sit confused; every punchline is a Malifaux City in-joke--AM I RIGHT? AM I RIGHT? During this act, Anna Mae takes copious notes, intending to understand every single pop culture reference.
When Colette takes the stage, the crowd, already jubilant and noisy, loses their collective mind. Colette accepts their fealty with regal nods and calls a stunningly beautiful blonde to the stage as a volunteer. Yanking a leather case from the blonde woman’s reluctant grasp, Colette demonstrates to the audience that the case is empty. The blonde woman turns a pasty, shocked white. Colette closes the case, sets it on the stage, and bends coquettishly over to open it, turning her rear end on the audience and showing them her frilly culottes and petticoats. When she crouches and opens the case, Colette herself showily climbs up out of it as though ascending stairs. The original crouching figure stands and turns around; the figure is now Colette’s mannikin, obviously a construct. The replacement between the real Colette and the mannikin Colette, executed right before the eager eyes of the audience, was flawless and the house erupts with applause. With a radiant smile, Colette hands the leather case back to the blonde woman, who looks inside, goes crimson in the cheeks, and rushes the case offstage.
The moment Bal laid eyes on the blonde woman, he left the lobby and stood outside the front exit, looking for trouble. Though he felt prepared for anything, he’s shocked enough to merely step aside when a wave of pale and greenish people shamble past him into the theater lobby; however, Bal doesn’t get off that easily. Two of the lurching zombies divert from the main mass to attack Bal with sharp claws, one scoring slashes across the veteran’s sturdy leather brigandine. Bal draws his revolver and dispatches both zombies, each with a quick shot to the skull.
The Malifaux crowd, clearly accustomed to strange happenings and dangerous events, slips out the Star Theatre through side and backstage exits like the ebbing tide. Most of the zombies storm out the rear exits after them, but a few are distracted by Anna Mae, Zai, and Bernard. Zai casts a cloud of smoke, flips into the balcony, and then leaps up into one of the Star’s many crystal chandeliers. Three zombies approach Bernard in the splash zone. Delighted, Bernard yells, “Time for the show!” Drawing back his mighty, rope-wrapped punching hand, Bernard punches a zombie in the head, knocking the skull clean off. Another zombie gets past Bernard’s defenses to claw through his lopsided but precious, Gremlin-modified doublet. Now entirely, verdantly enraged, Bernard wails, “My fancy outfit!”
Anna Mae stands by the usher’s station looking confused, wondering if this is all part of the show. When a zombie shambles up and claws at her, Anna Mae stutters, “C-can I help you?” Snarling, the creature rakes Anna Mae’s body, leaving long, bloody stripes in her blouse and the flesh beneath. Bernard yells, spontaneously adopting Anna Mae into his entourage (and under his protection): “And now I shall save my human assistant!” Bernard leaps to the usher’s station, confronts the zombie menacing Anna Mae, and punches the creature right through the chest, his rope-wrapped fist dripping gore down the back of the zombie’s legs. With the flourish of a true showman, Bernard yanks his fist out of the zombie’s torso, and shouts, “And thus, my human assistant is saved!”
Meanwhile, in the wings, Providence has taken up her shotgun and blasted two zombies into red and green mist. Sensing she’s urgently needed, Providence rushes over to Anna Mae and lays healing hands on her wounds, which immediately close up without a scar.
Having precisely planned a dramatic move, Zai drops from the chandelier onto the two remaining zombies, impaling one with a blade through the top of the skull, but only grazing the second. Drawn by the gunfire, Bal enters the theater, raises his pistol, and shoots the last zombie clean through the chest.
Zai glares at Bal. “You should at least have waited for me to get out of the way.”
Bal just gives her a look: Didn’t hitcha, did I, so quitcher bitchin.
The zombies vanquished, the sound of a slow clap echoes through the theater as Lucius descends from the Governor-General’s box. “Well done,” he drawls. “Best show I’ve seen in months!”
Colette emerges, unscathed, from the wings, and congratulates the crew, generously acknowledging that they might be more useful than initially anticipated. Cesar emerges from a hiding place under the stage, trying to look casual.
With the sound of bootheels clicking on the wooden floor, a figure strides into the orchestra section. His flowing leather greatcoat and broad-brimmed hat mark him as a Guild Marshall, but his face and hands, both of skeletal appearance, glow with blue-green flame. Chained to his back, the Marshall hauls a coffin wherever he goes, presenting an altogether alarming sight. Ignoring the gaping crowd, he kneels by the corpses, then relaxes, shedding the skeletal glamor to reveal a normal, wind-scorched, face. Appealing to Lucius, to the only authority figure in the room, he says, “Why, these creatures aren’t undead!”
Bernard, still hungry (always hungry), contemplates the newly established gastronomic value of the corpses. “Not undead? Hm. Might be good eatin’ after all.”
(Image property of Wyrd Games)
Developing a setting based on a historical, large scale war requires that the gamemaster consider how the players will participate in major battles. Fortunately, Savage Worlds provides a great starter framework with the Mass Battle rules. However, in the world of Legion of Liberty, superhumans are more powerful on a battlefield than, say, even a Veteran wizard in a battle between 5000 orcs and 3000 human knights. The question was then how to capture the importance of the presence of superhumans on the battlefield within the framework of the Mass Battle rules.
Late 18th century land warfare included a lot of formation fighting, mainly because of the horrible inaccuracy of muskets. While rifles were available at this point in history, they were extremely slow to load. A skilled musketeer could fire 4-5 rounds per minute; a skilled rifleman was lucky to fire once every two minutes. As a result, massed formations of infantry blasting musket volleys were the order of the day. An infantry unit could also form a square to defend against a cavalry attack, or spread out to minimize the effect of artillery fire (although the two in combination could be lethal, as the defense against one made the infantry terribly vulnerable to the other).
Where rifles were beginning to see use was in skirmishing. A skirmish force would spread out in pairs ahead of the main infantry formation. Their role was primarily to eliminate enemy skirmishers, followed by direct attacks on enemy leadership. Killing officers and sergeants could eliminate unit discipline and cohesion, and without the discipline of the formation, infantry generally broke and ran when attacked in force.
Superhumans, then, could act somewhat like skirmishers. We envisioned superhumans working much the same way – their primary responsibility would be to eliminate enemy superhumans, and then to strike at the main body of the enemy in whatever way best suited their powers. With this structure in place, a super-versus-super battle could be occurring in the midst of a larger scale battle. The setting rule we created has this individual combat affecting the morale of each side – losing a superhuman is a major blow, and if one side is more successful in defeating the other’s superhumans, the conventional forces might break and run.
Dramatically, this works very well – the characters both have a major influence on the battle and get to duke it out with British superhumans in standard Savage Worlds combat. The result is a “best of both worlds” flavor that fits the setting and makes for fast, fun, and furious gaming.
Roasting in the noonday sun, passengers gather at the train station in the fortified Guild outpost of Breachtown. First, they had to finagle permission to board the Iron Ram, the locomotive that carries people and supplies through the Breach from Earth to Malifaux; now, they shuffle slowly through the security line. When the red-and-grey-clad Guild Guards arrest a guy caught hanging posters (Join the Miners and Steamfitters Union!), they shrink into attitudes of just-minding-my-own-business. Among those shuffling along are four passengers with a destiny they don’t know about yet: Zai, Anna Mae Hawkins, Providence McCoy, and Ole Man Balthazar. Unknown to these four, the fifth of their number, One Glove Bernard, boards the train as cargo.
Zai boards the Iron Ram first, taking one side of a booth-like arrangement near the middle of the third car. Drawn by an unknown force, Anna Mae, Providence, and Bal join her in the booth, Bal having to ask Zai to move her feet, which she does, reluctantly. Providence, ever the chatterbox, immediately regales the others about growing up in Australia, where she once encountered an Aborigine shaman conducting a magic ritual. Providence wanted to learn the ritual, but the shaman told her that the secret magics of his people were not for her; she must forge her own path. To the relief of her seatmates, Providence’s attention is drawn to an old man struggling to load a large case into the luggage rack. Usually the first to offer aid to the needy, Providence leaps to his assistance. Of small stature, but strong, she lifts the case into the rack with ease, noticing its brass nameplate: Sessa the Amazing. Providence switches seats and pesters Sessa the Amazing until he admits he’s a puppeteer hoping to find work in Malifaux City.
The train car is as hot as a sauna, and when the passengers try to open windows, they find them bolted shut. With the passenger cars now full to bursting, the Iron Ram is now boarding the unfortunate souls who have been sentenced to labor in the Soulstone mines. Once the convicts are loaded, the Iron Ram lurches into labored motion, and, having bided his time impatiently in the cargo compartment, Bernard picks the lock on his cage, slips outs, and jogs over the roof of the convict car as the train chugs into the Breach. Sweating, Zai, Bal, Anna Mae, and Providence look out the window at the shimmering blue-white portal of the Breach. Flanking the Breach are smoke-belching steamworks and multidirectional entrenchments; the Guild clearly fears attack as much from Earthside as from the Breachside. As the train proceeds into the transdimensional portal, a curtain of light passes the length of the passenger car. Everyone aboard feels a momentary blinding headache and most close their eyes against the light.
His small green head aching, Bernard stumbles out of the convict car and regards the strange outside space with puzzlement, seeing only weird shapes moving in the distance through the blue-white light. “I could get used to this,” he says. Unimpressed, he climbs back into the train and heads to the passenger car to see if his manager, Walt Mannic, can get him a snack. But all the cars are empty, except one, the car with Zai, Bal, Anna Mae, and Providence. All that’s left of the other passengers is the luggage packed into overhead racks. The blue-white light of the Breach pours in through the train’s locked windows, and the sound of the train wheels clacking, and the engine rumbling, have faded into a muffled silence. The case above Providence’s head starts to rattle and bang as though something inside is clawing to get out.
Frightfully curious, Providence hauls Sessa’s case from the luggage rack and pops it open to see what’s going on. Four sizeable marionettes–Punch, Judy, a Constable, and a Judge–pop out of the case, Punch with a shout, “That’s the way to do it!” As the marionettes spring at them, Zai leaps into the opposing luggage rack, out of reach. The judge swings at Providence, who draws a pistol and blows his head clean off in one shot. The Judy marionette attacks Bal, the old veteran, who asks, “What manner of spectre are you?” Not receiving an answer, Bal swings his trusty rifle and casually clubs Judy to the floor. Anna Mae, confused and reluctant to molest what seems a novel type of creature just following its nature, uses her massive three-barreled shotgun to nudge Punch away from her, saying, “Can’t we just have a conversation?” From her perch in the luggage rack, Zai casts an illusion, creating a ring of fire around Punch, suggesting the party spare at least one marionette for questioning. One Glove Bernard enters from the back of the car and without a single moment of hesitation, charges the Constable, crushing the marionette into splinters with a savage blow from his mighty, rope-wrapped punching hand. “I fought the law and I won,” Bernard crows, spinning to confront Punch.
Meanwhile, Anna Mae asks Punch who he is, trying, as usual, to defuse the situation with a calm and mutually respectful dialogue. The marionette cackles at her, “I am Punchinello, master of riot and ruin!” and attempts (and fails) to leap over the circle of flames. When Anna Mae asks him, her temperate voice raised over the ruckus, what the marionettes want, Punch replies “I want to beat you to death, mwa ha ha ha!” Still on her perch above the battle, Zai draws Punch’s attention and deliberately draws a sip of brandy into her mouth, making a menacing gesture as though to blow the brandy into the (illusory) fire and thus immolate Punch, but Providence walks directly through the phantom flames to inspect Punch. Bernard, who had steeled himself to leap (spectacularly) into the ring of fire, complains to Providence, “Hey, you’re ruining the show for the audience!” but quickly steps up to Punch and wallops him clear out of the ring of fire. Stalwart, Bal undramatically finishes the job with the butt of his trusty rifle.
Distraught at the sight of the dead marionettes, Anna Mae laments the lost opportunity. Gathering her resolve, she introduces herself, and asks everyone else to reciprocate. Zai says, “If you don’t already know who I am, I won’t bother to introduce myself.” Providence, as it happens, has seen both Zai and One Glove Bernard perform, and so she introduces herself, then Bernard, then Zai, in a breathless rush. Providence has also heard rumors of some trains disappearing when crossing the Breach, and without missing a beat, switches to asking Bernard if he’ll tell her everything about Gremlins. Providence also wants to learn magic from Zai, but as with most overtures made to her, Zai greets this one with disdain. Bernard makes it clear that he’ll tell Providence anything she wants to know, in exchange for moonshine and snacks. Many snacks. Meat would be good, any kind, really. Are there snacks here now? Anyone?
A shout from the back of the train interrupts Bernard’s panhandling. With a bored sigh, Bal puts his feet up and pulls his hat over his face, but Providence, Bernard, Anna Mae, and (reluctantly) Zai investigate. In the convict car, they find the smoldering body of a Guild Guard and a single convict, still in shackles, with blue-white energy pouring from his eyes. The convict identifies himself as Cesar and asks for help, suggesting that if freed he can help get the train restarted. Zai finagles a key from the guard and unlocks Cesar’s shackles. Bernard, true to his Gremlin nature, tears off a chunk of BBQ Guild Guard, prompting Anna Mae to say, “Part of me wants to stop him, but another part of me doesn’t want to interfere with his culture.” This earns Anna Mae silent stares from her new colleagues.
As the group passes back through the passenger car, where Balthazar is now snoring, Bernard chomps on his BBQ and Cesar snags a change of clothes from Sessa the Amazing’s leather suitcase. Once in the engine compartment, Bernard starts punching buttons and yanking levers, commanding the others to help stoke the steam furnace with coal. Out the large front windows, the heroes see tentacled shapes approaching from the blue-white light, and they set to shoveling coal with a will. As the engine sputters to life, Bal leans into the engine room to lend his expertise.
“Faster!” yells Bernard, dancing an impatient Gremlin two-step. “Let’s get this thing going faster!”
As the Iron Ram lurches back into motion, continuing on through the curtain of light, Cesar nervously and aggressively asks if any of the others will identify him as a convict. He says, “Somethin’ happened to me in the Breach that activated some kind of magic in me, and, knowing what the Guild does to mages that don’t toe their line, well, if you tell them anything about me, my death will be on your heads.” Anna Mae, Providence, Bal, and Zai agree not to rat Cesar out. One Glove Bernard, his manager Walt Mannic now disappeared with the other passengers, aggressively tries to make Cesar his new manager.
At Breachside Station, catching sight of a Gremlin and a bunch of passengers in the engine room, a Guild engineer hops on board, shoves them aside, and brings the train to a halt. Guild Guards storm on board and everyone’s papers, and when Cesar identifies himself as Vito Sessa, nobody says a word otherwise. The Guards march the six survivors into a holding area for further interrogation.
Our five heroes—with one extra along for the ride (for now)—have successfully crossed into another world: Malifaux. They’ve had to jump through a lot of hoops to get here, but, as they say, our heroes ain’t seen nothing yet.