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• David Casteel

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Sheny Yeary • Chief Creative Officer: Matt • Creative Manager: Ed Bourelle • Project Bryan Cutler • Lead Developer: Jason Soles • : Kris Aubin • Development Manager: David Carl • Production Manager: Mark Christensen • Studio Director: Ron Kruzie

••• Editor-in-Chief: Aeryn Rudel Hobby Manager: Rob Hawkins Editorial Manager: Darla Kennerud Editing: Bryan Cutler, Aeryn Rudel Proofreading: Phil Chinzi, Jared Green, Cody Ellis, Wul Hungerford, Jen lkuta, Thomas Marshall, Ben "Wombat" Sanders Playtest Coordinator: David "DC" Carl Continuity Editor: Jason Soles Graphic Design: Kris Aubin, Laine Garrett, Josh Manderville, Stuart Spengler StaffWriters: Simon Berman, Douglas Seacat Studio Miniatures Painting: Matt DiPietro, Ron Kruzie

••• CONTRIBUTORS: Simon Berman, Ed Bourelle, David "DC" Carl, Matt DiPietro, Rob Hawkins, Adam Huenecke, Aeryn Rudel, Douglas Seacat, Jason Soles, Will Shick, Matt Wilson

••• ILLUSTRATIONS: Carlos Cabrera, Mariusz GandzeL Luke Mancini, Nestor Ossandan, Neil Roberts, Brian Snoddy, Andrea Uderzo, Chris Walton, Matt Wilson

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his special issue of No Quarter 171agazine commemorates the ten-year anniversary of Privateer Press the same way we do everything else: bigger and better. We've packed it with awesome content, and here you'll flnd super-sized editions of your favorite articles, including the Battle Report, Guts & Gears, and Terrain Building. This issue is more than just an oversized installment of the magazine, though; it's a celebration of an incredible company and the fantastic world and games it has created.

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Between these covers we'll explore both the history of Privateer Press and the history of one of its greatest creations, the immersive world of the Iron Kingdoms that serves as the setting for WARMACHINEand HORDES. A Decade of Distinction illustrates the development of Pt·ivateer Press through a ten-year timeline covering the company's catalog of award-winning products. Then, lead writer Doug Seacat offers a revealing glimpse at some of

the pivotal events that shaped the Iron Kingdoms, with an epic tale that centers on an up-and-coming Asheth Magnus during a key battle of the Scharde Invasions. Following that, Gavyn Kyle compiles a weighty dossier on two of the Iron Kingdoms' most iconic characters: Alexia Ciannor and her eldritch blade the Witchfire.

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No Quarter is in many ways a chronicle of Privateer Press, recording the groundbreaking exploits of the company through the years, and I am honored to be at the helm of the magazine that celebrates such an important anniversary. In ten years, Privateer Press has established a legacy of which I am proud to be a part, a legacy that continues to grow with each new release and one I am quite fortunate to document in the pages of No Quarter Magazine.

Aeryn Rudel Editor-in-Chief Ever Khad

eo years is a long time. For me personally, it's more than a quarter of my entire life. It's a lso the single longest tenure of employment I've held anywhere. (One of the benefits of working for yourself is that you're not likely to get fired, though there are days . .. ) So how can it have gone by in the blink of an eye?

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Over the past ten years, Privateer has gone from a company literally operating in a basement to a mainstay game manufacturer in the tabletop game industry. Up until the release of WARMACHINE Mk II-and occasionally even since then- I was frequently amused by the public speculation as to whether Privateer Press would be around for the long haul or would disappear in the night like so many game companies before us. As we celebrate a decade of making great games, my hope is that we have earned the confidence of customers who can now sleep more soundly at night assured that Privateer Press is indeed here to stay. That said, I'll miss that scrappy, underdog image people have of the company, because I think that at our core, that's really who we are. Privateer is made up of a bunch of like-minded people w ho enjoy rolling up their sleeves and taking on a challenge just for the personal pride that comes with accomplishing something others-or even they themselves-thought might not be possible. (See the 2010 Mk II book publishing schedule for just one example!) We're often praised for our market savvy a nd shrewd business model, and p eople want to know: How have we managed to stay afloat in the turbulent seas of a fickle marketplace? How could we forecast accurately enough to sustain a long-range plan for the growth and development of Privateer Press? In truth, the evolution

of this company has been far more organic. Within that lack of rigid structure, I believe, is our strength . As a company that is first and foremost dedicated to the pursuit of creativity, we have always charted our course from the heart. Being independently owned and free from the restrictions of investors, shareholders, or a board of directors, we have remained agi le and responsive and have enjoyed the luxury of being able to indulge our creative whims beholden to no masters other than our customers. Truthfully, the one prevailing strategy we have employed is to make firstrate products that inspire our players to explore the imaginary worlds we enjoy living in every day. At the risk of giving up the recipe to our secret sauce, I'll disclose the single most important ingredient to any of our plans: keep making great products so we can keep making great products .

(No~ see, technically I should probably fire myself for disclosing such a closely held company secret. But being the sole proprietor of this enterprise, I enjoy a degree of immunity from such infractions of conduct.)

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With its 400+ pages of detailed hi-s tory on the Iron Kingdom s, the World Guide could easily have been tbe sta nd a rd textbook for Hi story 101 at Corvis University. Need to kn ow w he n th e Second Tro ll kin War occurred or how many rail lines a re in Cygnar? Turn to this undi sputed authority o n a ll things Iron Kingdoms. The World Guide put onto the page in expli cit detail the defining histo1·y of western Imm ore n, beginning w ith a hi storical overv iew and timeline that covered eve nts ra ng in g from Immoren's pre-history through the onset of wa r described in WARM!ICHJNE: E.tcaLation. Follow in g this overview was a n exte ns ive exa minat ion o f the industries, inst ituti ons, a nd soc ieties of the va riou s lron Kingdoms nations a nd an exam ination of each kingdom in detail. No deta il escaped the notice of the W'or!d Guide: currency type and exc ha nge rates, population densities, and important locations and persons were a ll discussed w ithin its pages. The ex ha usti ve tome provided an a maz in g reso urce for GMs w ho wanted to create the most authentic and compelling IK ca mpa ig ns for their players. It co ntinu es to be the primary refe rence tod ay for Privateer Press staff w 1·iting abo ut the Iron Kingdoms. From mechanikal weapons a nd too ls to Cyriss tec hn ology to warjack co nstructio n, the Liber 1/llecbanika , released in 2 005, provided players an d GMs eve ry thing they needed in orde r to immerse themselves in the wo ndrou s art of mecha nikal artifice an d stea m- foo le ry. This is the book that t urned the mag ic of mecha nika into the sc ience of mec hanika w ith its presentation of the ins-a nd -outs of mec ha nika creation, including prosthetic limbs a nd steam-powe red armor as we ll as myr iad weapons a nd other equipme nt. Next, Fi11e FingerJ: Port of Deceit provided a st ree t-l eve l v iew of one of the most infamous cit ies in the Iron Kingdoms . Fi11e Fin.fJerJ contained detailed acco unts of life w ithin the city as we ll as plenty of N PCs for GMs to use in their ca mpa igns. Perhaps one of the more unu sua l aspects of t he book was the section that discussed the conspiracies, collusion s, a nd cabals of F ive F in ge rs. ln a ddition to descriptions of the major players and variou s ite ms, this section act ua lly inc luded cha rts d etailing the feelings eac h coll aborator had a bout the other conspirato rs. T he fina l book released und er the open ga min g Iice nse, !11onJternomicon VoLume Jf· Tbe !ron KingdomJ and Beyond, took a step back from western lmmoren a nd brought the exot ic c rea tu res a nd emp ires of eastern Immore n to the fore . Fi ll ed w ith inform at ion on the Skorne E mpire, 1/llonJtem omicon VoLume 11 gave playe rs a nd GMs access to a treas ure trove of inform ation for ca mpaign s se t w ithin this ancient a nd hars h world.

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Dexer Sirac never spoke openly about the Witchfire and clearly intended to use its power secretly for his own benefit. He "concealed" the sword in plain sight by utilizing it in the fulfillment of his office. When examining the cases in which he was involved, I found a marked increase in Sirac's personal involvement in the execution of sorcerers after 691 AR. Before that date, many of those tasks were handled by subordinates. The last and now most infamous case in which he was involved was the Corvis Cove~ Witch Trials in 593 AR where five women were executed with the blade-one of them Alexia's mother, Lexaria Ciannor. After examining the Tome of Defiance, I can safely conclude that Dexer Sirac was using the Witchfire to steal power and strength from gifted arcanists to bolster his own ability. Additionally, I think we are all very fortunate that the ritual he attempted at the Corvis Witch Trials was too much for him to handle and that Dexer Sirac lost possession of the sword. Clearly Dexer Sirac intended to reach similar levels of power as Akhet Zerosh-a frightening proposition for Vinter IV's Cygnar. I wonder if the Lion's Coup might have ended differently if King Vinter had access to such an ally. The events of the Corvis Coven Witch Trials are fairly well documented. However, the following account-from one of Magistrate Ulfass Borloch's personal guards-focuses on the executions themselves. The guard, one Darius Mosley, is currently spending the remainder of his life rotting in Bloodshore Island for his part in Magistrate Borloch's crimes. I managed to converse with him briefly, and he was quite forthcoming about the events of the Corvis Coven Witch Trials. The following account is a detailed transcription of the conversation I had with Mosley. In it, I think you will find some fascinating corollaries between Head lnquisitor Sirac's ritualized slaying of the five women accused of witchcraft and the slaughters perpetrated by Akhet Zerosh. -G.K.

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1 reall':1 should~'t talk a"Dout this. Borloc.h paid Vira~ to keep our mouths shut a"DolAt what happe~ed that ~ight . But ~ow I'm Loc.ked i~ here a~d almost ever1:1o~e else i~volved with that mess is dead . Ma1:1"De the':1'LL reduc.e m1:1 se~te~c.e it I tell 1:10u what I remem"Der. c.row~s

Those wome~ were guilt'? . I'm sure ot that. Whe~ Magistrate Borloc.h read aloud the List ot their c.rimes 1 I c.ould~'t wait to see their heads c.ome awa1:1 from their ~ec.ks. Still, it was~'t Like a~1:1 e)(ec.utio~ I'd ever see~ . Wh':1 we had to do it wa1:1 out i~ the woods 1 tor o~e, ~ever made se~se to me. We had e)(ec.uted witc.hes "Detore, a~d it was aLwa1:1s do~e i~ the pu"Dlic. square. People ~eed to see that ki~d of thi11'g . We dragged those wome~ out to the Widower's Wood to a plac.e that had "Dee~ prepared. lt was a grave1:1ard 1 a~d a reall':1 old o~e . Most ot the graves were just mou~ds c.overed over with moss. It o"Dviousl':1 had~'t "Dee~ used i~ c.e~turies. It was a~ eerie plac.e1 though. I remem"Der that muc.h . The i~quisitor was alread':1 there whe~ we arrived, a~d he had this "Dig "Dlac.k sword u~sheathed a~d was holdi~g it ac.ross his arms. It was a~ evil-Looki~g th i ~g . The wome~ were Lead i~to a~ area where the grass had "Dee~ "Dur~t awa1:1 1 a c.irc.ular c.Leari~g a"Dout te~ teet ac.ross . Vira~ a~d I were supposed to hold the wome~ dow~ so the e)(ec.utio~er c.ould swi~g the sword 1 "Dut it tur~ed out it was~'t ~ec.essar1:1 . The wome~ just k~elt dow~, "Dowed their heads, a~d Let him do it. It was as if the'? did~'t wa~t to Live a~1:1more. Ever1:1thi~g

a"Dout that e)(ec.utio~ was just odd . Duri~g the whole the i~quisitor was mutteri~g i~ some L'a~guage ~o~e ot us had ever heard . It was thic.k a~d guttural, a~d it almost sou~dedlike he was gru~ti~g rather tha~ talki~g . Eac.h time he Lopped ott o~e ot those witc.h's heads 1 he would mutter or c.ha~t Louder, a~d that sword of his glowed tor a sec.o~d or two. The~ the i~quisitor would stagger a Little, Like that glow was taki~g somethi~g out ot him . But it was~'t u~til the Last woma~-I remem"Der she was the prettiest ot the "Du~c.h a~d the o~l':1 o~e that would Look the i~quisitor i~ the e1:1e-that ever1:1thi~g we~t to hell. B1:1 the time the i~quisitor got to her 1 he was trem"Dli~g so "Dadl':1he c.ould "Darel':1hold 011 to the sworc\ 1 a11d his c.ha11ti11g was short a11d quic.k Like he'd ru11 out of "Dreath . Whel1 he n11all':1 did "Dehead the last witc.h 1 the sword "Durst i11to flames a11dhe tell to his k11ees. The i11quisitor stopped c.ha11ti~g at that poil1t1 a11d whe11 he did 1 the flames jumped from the sword o11to him a11d e11gulfed him c.ompletel':1 . The'? did11't seem to "Dur11 him 1 "Dut he sure sc.reamed Like the'? were. Fi11all':1 the flames we11t out1 a11d he pitc.hed over tac.e f,rst i11 the dirt 1 out c.old . thi~g

The whole t'ni11g seemed to sc.are the piss out of the magistrate, a11d · he ordered Vira11 al'ld I to pic.k up the e)(ec.utiol'ler a11d c.arr':1him. "Dac.J:c:. to Borloc.h's ma11se. We Lett the sword a11d the "Dodies where the'? were-the magistrate was i11 a11 awful hurr1:1 to get out ot there. I thi11k those wome11 deserVed to die 1 "Dut I tell 1:1ou trul':1 there was somethi11g "wro11g" a"Dout that e)(ec.utio\1. It was11't justic.e "Dei11g do11e · there; it was somethi11g else, somethi11g to do with that dam~ed sword a11d whoever the hell that i11quisitor was.

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e Last thi11g I remem"Der from that ~ight was also ver1:1 stra11ge. As were draggi~g awa1:1 the e)(ec.utiol1er1 I heard a Little girl c.r1:1i11g . kept sa1:1i11g 1 "Momma. Momma• over a11d over agai11 . I'm 11ot sure that was just i11 m1:1head or it she was ac.tuall':1 out i11 the woods us. I hope 11ot; that was 11othi11g tor a c.hild to see.

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4ft.er Dexer Sirac was dragged away from the execution site, Prelate Pandor Dumas and his Morrowan acolytes arrived and f ecovered the bodies of the five women. They also took possession off the Witchfire. Prelate Dumas was the brother-in-law ofe Lexaria Ciannor but had been cleared of any complicity with the witches during their trial. I believe Prelate Dumas had no knowledge of the blade's power. When conversing on the subject, he has claimed that he felt the sword was unwholesome due to its connection with the executions, and this was why he entombed it on holy ground near the body of his sister-in-law in the Grand Cathedral. He has been apologetic about the fact that she was buried there rather than in the less prestigious gravesite outside of town chosen for the other members of the coven. Such preferential treatment for the families of clergy not uncommon. ~

The now orphaned Alexia was sent to live with her closest living relative, Prelate Dumas . The Church of Morrow likely believed that Dumas would have a positive influence on Alexia and subvert any possible sorcerous "taint" passed to her by her mother. ISI1't like i11 the ~ci witc.hes 1ple 11eeci At

The following letter sent from Dumas to his superior in Fharin relates some of the difficulties he had with his young niece soon after taking custody of her. This letter and the testimony of Borloch's guard leave little doubt, I think, that Alexia actually witnessed the execution of her mother. I can only imagine what effect that had on her.

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With all of the building foundations in place and the side guards added, it was time 10 move on to the docks. The buildings over the central support would be tall stone guard rowers. so I added some extra support beneath them.

For the docks, I used foam core covered with cut popsicle sticks. The top layer of foam core is raised up from the surface of the table by a smaller pi ece beneath it. Before gluing the dock in place. I added vertical planks to form the bulkhead and covered the building with brick-textured styrene card . Th e edge of the dock was also covered with construction adhesive so the wood strips could be super-glued to it.

Basswood strips were glued to the side of the foam core dock. The tops were covered with popsicle sticks, and th e pilings I made earlier were placed around the outside. I placed some wood strips along the top edge of the bulkhead and built the ladder from brass and styrene rod inserted through thick styrene '"rungs.'" (The black goop in the detail shot is a water texture added in the later stages.) In No Quarter Magazine issue ' 23, I discussed a technique for making flagstone streets using cardboard chits and sand . I used the same method to detail the ground level and planned to repeat that over th e entire bridge. This method , while durable and very convincing, is very time consuming. I did have a deadline, after all , and needed a more efficient way of detailing the bridge.

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The process I came up with was to cut very thin slices of insul ation foam on the w ire cutter and tex ture th em mu ch the sa me way I appli ed the stone texture to the wa ll s. The sli ce is about 3!16- thick. Having a statio nary wire cutte r helps gr eatly wi th getting precise cuts. It would take a very steady hand to do this with a hand-held cuner. Here you can see t he sheets of sto nework goi ng onto the street. By cutting the edges with an irregular shape and fitting them together like a jigsaw puzzle I was able to avoid seams that wou ld create unrealistic lengths of per fect ly aligned sto nes. In t hi s shot, t he street is nearly co mpl ete, and you can see how the buildings will be positioned atop their foundations.

To create the ripples in the water, a mixture of latex paint and sand was dabbed onto the tab le around the edges of th e docks and islands. When it came time to paint the water, these sandy ripples were drybrushed with Morrow White to resemble frothing waves. To achi eve the high gloss, a thin layer of Envirotex Lite was poured over the painted surface.

With the main bridge finished, it was time to move on to the sma ll er iron drawbridge. It all started with a sheet of foam core cut and laid across the central support. (Note, I'm using black foam core in these photos, but I recommend white. The paper surface of black foam core is more porous than white, and it tends to absorb super glue rather quickly, which made it difficult to glu e some of the styrene strips in place. It all worked out in the end, but I'll be using white foam core for future projects.)

The vertica l strips were glued in place.

To build the trusses, I started with three pieces of foam core taped together to create a channel. I measured the sides to ensure they were parallel. This channel would serve as a gu ide when building the truss so that it would be straight and even.

I measured and cut the support strips. The ends are clipped at a 45-degree angle.

After measuring the length of the bridge section the truss would fit into, I cut two l-strips of styrene and placed them in the channel.

To cover the joins, I used a rotary hand sewing punch to dimp le rivets into thin styrene and glued those pieces to the truss.

T p With the finished truss super-glued in place, I added some framing to the ends of the bridge with more L-strips and sheet styrene.

I made support scaffolding for the drawbridge control shed out or styrene. This was kept separate so the ground and stonework could be easily painted. With the trusses attached to the length of the bridge, I built the drawbridge. Its working hinges are made from aluminum tubing and modeling putty. When closed, the bridge rests on a styrene L-strip. I had to shave a little material off the trusses to ensure the drawbridge cou ld open and close without scraping the corners.

T I had scratch bui lt a locomotive and refurbished the 0-scale boxcar that had appeared in some or our older photography. These were the centerpieces for a train depot table that's been making the convention rounds as part or Iron Arena. I wanted the train to be usable on this railroad drawbridge, so I built the tracks to match its wheels. The railroad ties are popsicle sticks, and the rails are custom-made from strips or styrene formed to an inverted T.

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The railroad spikes are straight pins. Holes were first drilled through the styrene and wood, then the pin was inserted. The exposed nat head of the pin resembles a large rivet.

The remaining surface of the bridge was covered with styrene strips punched with rivets. This was when I started to wish I had used white foam core. The strips kept popping loose and needed to be re-glued.

To get the drawbridge to open, the ends of the rails were cut away to create a V-shaped notch at the hinge.

The guardrails were made in the same fashion as the trusses but with thicker styrene. As with the tracks, a V-shaped notch was left so the guardrail wouldn't interfere with the opening drawbridge. The drawbridge isn 't motorized, but it still needed to appear as though it had a functioning motor. I built a boiler assembly out of a P3 dropper bottle, styrene, and a Centurion boiler. Th e large gears are cast in plaster. With the bridge and tracks complete. I added some sand on the track bed.

Multiple layers of insulation foam are used to create the platforms connecting the ground level to the bridge. The steps were created by cutting a zigzag pattern into the foam. I always strive to make my terrain as playable as possible, so I keep bases on hand to make sure the models will fit on the walkways. By using landings and keeping the stairs limited to Oights of about five steps. units of models can move up the levels and remain in formation.

Here you can see the stone texture pressed into the foam . The last of the nagstones were then added to the street on the stone bridge. The sta'irs were cut out of insulation foam. Larger steps were situated to allow models to stand on the stai rs. The outer wall of the stairs was constructed from foam core covered with brick-textured styrene; a riveted plastic strip was added along the top edge.

Windows, doors, and other details were added to the stone foundations of the buildings and everything was primed black. The foam areas were covered with a layer of wood glue and then black latex paint before the other details were super-glued in place and sprayed with Formula P3 Black Primer. Covering the foam in this way ensured the aerosol would not dissolve all of my hard work on the stone ..

The building tops were detailed to match the rest of our Iron Kingdoms scenery. The walkway between the towers was constructed in the same manner as the iron bridge

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With a coat of paint and a few extra details, like streetlamps, the Black River Bridge is ready for battle! I hope this insight into the table construction has been entertaining as well as educational. Now it's on to my next project!

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