One of which is to introduce the setting and the other is to give the first part of the scenario. The Witchfire Trilogy Book One: The Longest Night though, has something of a split personality. It gave The Witchfire Trilogy Book One: The Longest Night and the Iron Kingdoms a singularly recognisable look and that cover would win the ‘Best Cover Art Gold ENnie Award’ in 2001. But then, so did the back cover blurb! What strikes you second about The Witchfire Trilogy Book One: The Longest Night are its internal illustrations, heavy pen and ink pieces by Matt Wilson and Brian Snoddy which brought the industrial gothic of the Iron Kingdoms to life. The cover promised much, and whilst the scenario would deliver in terms of story and plot to match the cover, the cover also revealed the villainess of the piece. It is an incredible piece by Matt Wilson, depicting a young woman wielding a black two-handed sword crackling with energy whilst she is surrounded by the undead.
What strikes you first about The Witchfire Trilogy Book One: The Longest Night is the cover. Some, but all of this would be introduced in The Witchfire Trilogy Book One: The Longest Night. Third, the tone of the setting is fairly grim, there being an island to the west, Cryx, where the sorcerers have long experimented with combining the undead with Steamjacks and Warjacks, and have long planned to invade the Iron Kingdoms.
Second, the prevalence of technology, in particular, the use of firearms and Steamjacks and Warjacks, steam-driven robots with magical brains, used in heavy industry and on the field of battle. There are no Halflings or Gnomes, and even the Elves are different to those of more traditional Dungeons & Dragons-style fantasy. First, its interesting mix of races-Gobbers, Ogrun, and Trollkin alongside the traditional Humans, Elves, and Dwarves. The Iron Kingdoms is notable for three things. The trilogy would be completed by The Witchfire Trilogy Book Two: Shadow of the Exile and The Witchfire Trilogy Book Three: The Legion of the Lost, all before being collected as The Witchfire Trilogy in 2005. In 2001 though, the Iron Kingdoms was very much a roleplaying setting, The Witchfire Trilogy being written for the d20 System and thus compatible with Dungeons & Dragons, Third Edition. The edges can be sharpened, the HRC can be adjusted to the buyers preference.The Witchfire Trilogy Book One: The Longest Night was published in 2001 by Privateer Press and introduced the Iron Kingdoms, the Steampunk and high fantasy setting best known for its miniatures combat game, Warmachine: Prime. The sword is not subject to some of the law restrictions in some countries.
A training sword – thicker edges (2-2,5 mm) and POB closer to the crossguard.50 HRC.ģ. A battle sword – historical POB and sharp edges. The grip is covered in genuine leather.ĭepending on your preference the sword can be made in III versions:ġ. Parts o the grip and blade are made from surgical steel S300. The sword has been forged from 50 HF spring steel and hardened The crossguard has been made with carbon steel soldered with brass. The inscription is a witcher classic: Dubhenn haern am glândeal, morc’h am fhean aiesin – My gleam cuts through darkness, my light disperses the shadows. A precise replica of the witcher sword shown in the promo materials of Witcher 3 Wild Hunt.
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