By Tim Lees

"It's an ideal circle, Chris. The god gets his viewers, the grid gets the power—and we remove darkness from Chicago."

After the perilous retrieval of a long-dormant god from Iraq, Chris Copeland—professional god hunter and corporate troubleshooter—is approximately able to hand over his task. yet his employers on the Registry produce other plans… plans to construct an influence facility at the shorelines of Lake Michigan. Adam Shailer, a emerging big name on the Registry, thinks he can cage the god, drain its strength, and gear the city.

It's Chris's activity to ensure not anything is going incorrect. And at the beginning, every little thing turns out positive. nice, even. but if ecstatic devotees begin leaving human sacrifices at the seashore close to the god-house, it fast turns into transparent that the god isn't as contained because the Registry could have everybody think. The devil's within the wires, and there's no turning again now.

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Additional resources for Devil in the Wires (Field Ops, Book 2)

Sample text

For the silver thread, we’ll use Neutral Grey (992) as the base colour (Figure 72). The highlights will be painted as with Drouot, but using Light Grey (990) for the first highlight (Figure 73), Sky Grey (989) for the second highlight (Figure 74) and Mithril Silver (61-55) for the final metallic touches (Figures 75-76). 3. We’ll paint the other colours to complete the figure (Figures 77-79). As Napoleon’s Orderly, Gourgaud’s uniform has to look brighter and more impressive than, for example, a Bavarian private.

This will absorb most of the paint … but not all of it. This way, there will still be some paint on the brush, but it won’t run or drip off. Now go to the figure and ‘wipe’ the whole area to paint with the brush (Figure 13). As the brush is mainly dry, the little paint that remains on it will highlight only the raised areas (Figure 14). Given its simplicity, the drybrush technique is perfect for a fast paint style, but not suitable for a quality finish except to work on very specific areas, either rough or textured (such as chainmail, terrain, furs or horses tails and manes) or especially plain (cannon or wagon woodwork).

Regarding the metals, the technique I use to paint bronze guns is very easy, but involves more steps than usual, and requires some drying time in between steps. Citadel Colour references are going to be used as, in my opinion, this company’s metallic paints are superior to Vallejo’s. I follow a five step process: (Figure 151) (Figure 152) 1. Base colour: Paint the gun barrel with several layers of watered down Citadel Shining Gold (61-63) to get a smooth result: we don’t want a rough or lumpy finish!

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