The cobblestones of the Stolen City shiver with agitation and discontent. The people march, and riot, and sing songs about angry men. There is a sentiment of anger in London, just as there is in Paris…Berlin…Moscow…Washington. The air is filled with the scent of revolution.
Liberation! Egality! Fellowship! goes the cry. Socialists and anarchists, suffragists and syndicalists, postluminalists and communists alike conspire against the tyranny of the Masters. Some wish to restore London. Others wish to reform it. And others, still, wish to destroy it. But all hold fast to the end of the Master’s reign of terror, and how it may be accomplished. Be it bombs, words, or antilaw, the Masters will fall and London will be freed. To this end, revolutionary groups all across London meet – in secret spaces, in public forums, through popular discourses – to accomplish their goals.
Beneath an abandoned church somewhere between this side and that way of the Stolen River, one such group meets to plot destruction most devastating.
They have come from all walks of life and all directions, each individual entering the church separately under cover of darkness that no other person may guess from where they came. They meet at the heart of the church, around a meeting table that was once an altar, and sit in backward-facing chairs to await the striking of the fallen clock. In the chairs, they are liberated by darkness: each as equally unknowable and uncertain as the other. But when they come to meet around the table, they will be illuminated by the soft glow of the false-stars that shine bright over a gaping hole in the church ceiling. When the fallen clock chimes midnight (or the lie that is midnight, down here), they shall come to meet. All this will ensure that those present are filled with a sense of Importance and Gravitas, for it is well-known that a proper secret meeting requires theatrical use of lighting and timing to be truly important.
Upon the altar-turned table, numerous sheets of paper scrawled with plans, diagrams, and idle sketches lay out the plot: a four meter tall brass statue of a Master (or at least, a Bohemian impression of one) stands in the center of a small square just off Elderwick. The statue’s robust and well-endowed form is symbolic of the Master’s supremacy over London, and to damage the Masters symbolically the statue must be destroyed…physically. But this is not an easy task: the statue is solid brass and resistant to mere toppling, the untended overgrowth that surrounds the statue is difficult to cut through, and the square is surrounded by honey-dens, bat-groomers, candied fungus bakeries and tobacconists – all noted haunts of the Bazaar’s agents. Only a sufficiently overwhelming application of explosives and gunfire will be enough to destroy the hated statue and provide a victory for the Revolution. Only a well-oiled team of professionals and enthusiasts will be able to pull it off.
Far distant, the midnight chime rings.
The first chair turns. The silence in the meeting-hall is replaced for a moment by the distant sounds of roaring and bestial howling and the sounds of impossible birdsong. Light glints off a mostly black pith helmet - cosmogone glasses – Dauncey’s-cut suit – an ammo bandolier. The figure rises and leans forward into the light, revealing himself as both a well-tailored and well-armed gentleman bedecked in ribbons and hunting mementos. Eyes filled with passion behind the emotionless glasses, he raises a fist upward and opens his mouth as if to give an impassioned rallying cry…and accidentally sends a number of derringers hidden in his tailcoat scattering across the table. As he fumbles to retrieve them, more guns spill out. Pistols and revolvers fly across the room.
…THE DEBONAIR SHARPSHOOTER! (HE’LL BRING THE GUNS)
(OOC: How hard can it be to blow up a statue, anyways? All interested for a short and sweet adventure about Revolution, Bombings, and Things Going Wrong are encouraged to participate. To join in, introduce your character in a suitably cinematic manner and describe the role they will publicly play in the powder-keg plot – will they bring extra explosives, bodies, a distraction, something else? Even more importantly, tell me [via a private message] something that Will Go Wrong during the execution of the plot – be it the Constables, a Clay Man uprising, a Master interceding, anything short of a major setting-affecting disaster – and at some point during the bombing attempt, it Will Go Wrong…
Interested parties have til the Sunday of June 25th to put in their characters and make plans/plots/collusion with each other. Come election season and the 26th, the bombing plot kicks off!)