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My Kind of Scum - Jabba the Hutt, Dewback Riders and more...

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The new figure packs for Star Wars Imperial Assault are a rich harvest. I've already shared some pictures of Luke Skywalker, and now I want to share the others: Jabba the Hutt, Captain Terro, the Dewback Rider and the Alliance Rangers.

When I first saw the new miniature for Jabba the Hutt, I was not impressed. His smile seemed moronic and his pose static. But once my washes had disclosed the true topography of his face, I realized that the sculptor (Thomas Sincich) had precisely captured the half-melted malevolence of the Hutt. It just goes to show that it's a mistake to judge a miniature before its painted. 


"If I told you half the things I've heard about this Jabba the Hutt, you'd probably short-circuit."

Jabba is also a game-changer for the skirmish version of Imperial Assault. Appropriately, he will rarely enter combat (in fact, he will rarely move) but by squatting in the rear he can hatch plans, terrorize his underlings and order hits on his opponents. Once again, the IA rule makers (Daniel Lovat Clark, Todd Michlitsch and Paul Winchester) have done a splendid job of capturing the essential flavour of the personalities that they bring into the game.




Dewbacks, of course, are the great reptilian mounts that we see briefly in A New Hope when the Empire is hunting for the droids (Here is an interesting documentary on the making of these creatures). Fantasy Flight Games released one Dewback pack with two different potential riders: Captain Terro (carrying a flamethrower) or a generic Dewback Rider (carrying a shock lance, like the mounted trooper in Episode IV). You can see both version in the photo above, with Captain Terro on the right.




True to the cinematic originals, I decided to make my riders dirty and battleworn (mainly with the help of oil paint and white spirit). I also spend a lot of time trying to get the colours right on their backpacks, which were sculpted by Dave Ferreira with a great attention to authentic detail.


Dewback Rider with Shock Lance and Binoculars


Captain Terro with Flamethrower

As with Jabba the Hutt (or the Rancor), I tried to create a sense of life in the Dewback by employing glazes of oil paint and white spirit to deepen the skin tones. Getting better and braver in my use of oils is one of my primary goals for 2017 (That and returning some library books that I borrowed in 2016).




And finally we have the Alliance Rangers -- special ops forces of the sort we met in Return of the Jedi on the moon of Endor. As far as I know, these are the first rank-and-file soldiers in Imperial Assault that are female. Well, you should have a healthy respect for their grrl power. I recently played a great skirmish game at For the Win Cafe in Toronto (some people are starting a friendly biweekly skirmish group there) and these Alliance Rangers shot me all to hell.






Thanks for stopping by. And you can find my galleries for all the Imperial Assault miniatures here: 








Imperial Assault Conversions for Jabba's Realm

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In order to spice up the miniatures for Jabba's Realm, I created some new conversions and home-brews, including Mutant Weequay Pirates and a miniature for Salacious Crumb, Jabba's court jester.


I wanted some Mutant Pirates so that Jabba's gang would have the strangeness and diversity that it deserves, Usually I do my conversions using "authentic" Star Wars races, but this time, I thought the odder the better. Thankfully I have recently discovered Ristul's Extraordinary Market (a great resource for any conversion work) and so ordered their excellent set of mutant heads. I replaced the original Weequay heads and substituted heavy blasters for the knives that the original models were carrying.





Above, we have Old One-Eye, and below is his boon companion, Many-Eyes. I guess, in my own way, they are my tribute to Fritz Leiber's timeless wizards, Ningauble of the Seven Eyes and Sheelba of the Eyeless Face.





Jabba's Realm also introduces new rules for an "Indentured Jester", a clear reference to the Hutt's evil muppet, Salacious B. Crumb. But unfortunately, Fantasy Flight Games provides no miniature to represent this cackling sycophant -- and indeed finding any kind of a 28mm miniature for Salacious is nearly impossible. So I set out to do something I've never done before... create my own miniature using greenstuff.

As it turns out, I am a terrible miniature sculptor. I realized that the raw sculpt might look passable, but that all of its faults and implausibilities reveal themselves once the painting starts. 




Apparently, Salacious is a "Kowakian monkey-lizard". 




According to Star Wars lore, Salacious B. Crumb is a sort of Scheherazade character, with a situation not unlike The Thousand and One Arabian Nights. His deal with Jabba is that he must make the crime-lord laugh at least once every day... and if he does not, Jabba will eat him.  

But there's something that no one can explain. What does his middle initial stand for? My guess is "Bread". Well, in any case, as far as I know, Salacious is one of only two Star Wars characters with a middle name. Do you know who the other character is?





Imperial Assault - Diala Passil variant miniature

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Diala Passil, an aspiring Jedi from the Twi'lek race, is one of the original heroes from Star Wars Imperial Assault. She's also one of my favourite characters from the game. Like Mohammad Ali, her fighting style is all about footwork. This emphasis on agility marks her out among the other Jedi and makes her a uniquely elegant warrior.

The only problem is that I always loathed her official model (pictured below on the right). Since it's made out of the soft plastic that's used in all of the Imperial Assault miniatures, her clothing is chunky, her lightsaber droops and her face wears a bland expression. Nor does the sculpt conjure up the sense of mystery that I associate with a a Force user. With its twirling cape, it seems to owe more than the dancing Twi'lek of Jabba's Palace than to the order of Jedi Knights.




So I decided to create a new, more ass-kicking Diala Passil. However, since Jedi Twi'lek miniatures are in short supply, I had to kit-bash my own. I love the sculpting style of Kev White at Hasslefree Miniatures, and his work is in precisely the same scale as in Imperial Assault, so I started with one of his models: the HFH110 Dynamic Lenore pictured below. She's a dramatic miniature and sports a Jedi-like cloak. Her thigh high boots seem a little salacious for a warrior-monk, but that's nothing that can't be toned down through painting.



My modifications to Lenore were not painful (at least for me). I amputated both her arms and replaced them with some extra limbs from my kit box. Her right hand belongs to an old plastic Scout Trooper from Wizards of the Coast, complete with a Hold-Out Blaster. For her left hand, I fashioned a lightsaber out of greenstuff and copper wire. 

I also used greenstuff to make her head-tentacles.  I'm sure you will not be surprised to learn that there's a name for these protuberances in the expansive Star Wars Universe... they are called Lekku. (If you ever feel like ruining your day, you can try Googling "lekku porn", but don't say I didn't warn you.)




I wanted my paint job to hearken back to the clothing in the pictures of Diala, so I tried to use the same colour palate and arm-wraps. My goal was to combine the femininity of Kev White's original sculpt with the air of mystery and mastery that accompanies every hooded Jedi. 


    Thanks for looking!




    Fear and Loathing in Unknown Kadath

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    We were somewhere around Celephaïs on the Cerenerian Sea when the drugs began to take hold. I remember saying something like “I feel a bit lightheaded; maybe you should steer. …” And suddenly there was a terrible roar all around us and the sky was full of what looked like huge bats, all swooping and screeching and diving around the ship, which was sailing about 10 knots with full sails to Kadath. And a voice was screaming: “Holy Nodens! What are these goddamn animals?”
    Hunter P. Lovecraft, The Dream-Quest of Unknown Kadath is Decadent and Depraved


    The current state of US politics is giving me the fear. The usual explanations explain nothing. And so we must look to literature and fantasy to understand our new reality. And when it comes to the deep weirdness that lies at the heart of America, there are only two authors that really knew the score: H.P. Lovecraft and Hunter S. Thompson


    Hunter S. Thompson
    Although these two authors are not often mentioned in the same breath, they are startlingly similar in tone. Both used violent and overblown language to communicate a sense of moral decay that transcended the ordinary boundaries of acceptable thought. Both sought to portray how a reasonable mind twists and melts when exposed to a horrific reality. Both saw barbarism beneath a hypocritical veneer of American modernity. 

    And both H.P. Lovecraft and Hunter S. Thompson were past masters at portraying altered states of consciousness. For Lovecraft, this came in his Dream Cycle stories like The Dream-Quest of Unknown Kadath (1926) or The Silver Key (1926). For Thompson, it was his drug-fueled romps like Fear and Loathing in Las Vegas (1971) or the under-appreciated gem, Fear and Loathing in Elko (1992). In these works, Thompson and Lovecraft drag their benighted narrators through a phantasmagorical landscape populated by monsters and madmen. Indeed, sometimes it's hard to tell the two authors apart. But maybe that's the drugs talking.

    Well, in any case, listening to the audiobook of Thompson's Fear and Loathing on the Campaign Trail '72 has given me some solace in understanding the last American election. It's also kept me busy while painting some miniatures for The Dreamlands, the latest expansion for Eldritch Horror, the Lovecraft themed board-game.

    As usual, I try to find metal miniatures from Citadel's Gothic Horror line to match the heroes from the game. Here's what I've come up with...


    Darrell Simmons, the Photographer


    This is my ode to Hunter S. Thompson. With his shorts, cigarette, revolver and high socks, I tried to capture Thompson's odor of violent and disreputable journalism. The miniature is not really from the Gothic Horror range -- originally, he was "Nyudo" (1985) from Citadel's Judge Dredd line. Nyudo was an almost unbelievably racist miniature in his pristine form. Apparently an Asian tourist, he featured slanted eyes and buckteeth. Well, so much for that - I cut off Nyudo's head and hand, replacing it with bits from a Citadel gangster. I think Hunter would be proud.



    Amanda Sharpe, the Student



    Amanda's miniature is the "Office Girl" (1987) from Citadel's Gothic Horror range.



    Carolyn Fern, the psychologist



    I'm close to exhausting Citadel's fund of female heroes, so this miniature is a GN7 "Gun Moll" from Copplestone Casting's Gangster line.



    Gloria Goldberg, the author


    I'm glad that Fantasy Flight Games has continued the long tradition of Jewish investigators in Cthuloid activities. Gloria's miniature is another Copplestone Casting, from GN11 "Swell Dolls".



    Kate Winthrop, the scientist



    Some days you eat the bar and some days the bar eats you. When it came to creating a miniature for the scientist Kate Winthrop, I got eaten. Jesus, this is a bad conversion. She started out as another Copplestone GN11 "Swell Doll" but after I replaced a number of her limbs, she now looks more like a goiter with big hips. At least she's wearing a lab-coat so that you know that she's a scientist. She an expert in science.



    Vincent Lee, the Doctor


    Although this miniature isn't a particularly good likeness of Vincent Lee, it's such a beautiful sculpt that I can't resist using him in this role. The mini is "the Doctor" from Wargames Foundry's Old West City Slickers range.



    William Yorrick, the gravedigger



    God gave me a gift. I shovel well. I shovel very well. And I intend to use my shoveling abilities to fight the Great Old Ones.

    Whatever. Poor Yorrick's miniature is the "Man" (1987) from Citadel's CC1 Gothic Horror Range.



    Luke Robinson, the Dreamer


    Luke Robinson is clearly a stand-in for Lovecraft's dream-questers like Randolph Carter, Kuranes or Raoul Duke [ed: fact check, pls].

    His miniature is one of the rarities from Citadel's Gothic Horror range, the Illuminati (1987). Variants of this miniature also appeared as Wu Jen in Citadel's Oriental Heroes range. This is one of my favourite miniatures, and I'm pleased with the way his bright colour scheme worked out.

    Turning Pro.


    There is no way to explain the terror I felt when I finally lunged up to the sentry and began babbling. All my well-rehearsed lines fell apart under that woman's stoney glare. "Hi there," I said. "My name is ... ah, Randolph Carter ... yes, on the list, that's for sure. Free lunch, final wisdom, total coverage. ... why not? I have my attorney with me and I realize of course that his name is not on my list, but we must get into Kadath, yes, this man is actually my driver. We brought this red shark all the way from Leng and now it's time for the desert, right? Yes. Just check the list and you'll see. Don't worry. What's the score, here? What's next?" 
    The woman never blinked. "Your chamber's not ready yet," she said. "But there's somebody looking for you." 
    "No!" I shouted. "Why? We haven't done anything yet!" My legs felt rubbery. I gripped the desk and sagged toward her as she held out Silver Key, but I refused to accept it. The woman's face was changing: swelling, pulsing ... horrible green jowls and fangs jutting out, the face of a Moray Eel! Deadly poison! I lunged backwards into my attorney, who gripped my arm as he reached out to take the Key. "I'll handle this," he said to the Moray woman. "This man has a bad heart, but I have plenty of medicine. My name is Nyarlothotep. Prepare our chamber at once. We'll be in the bar."
    Hunter P. Lovecraft, The Dream-Quest of Unknown Kadath is Decadent and Depraved




    The Discrete Charm of Speed-Painting for Mansions of Madness

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    As a miniature painter, every once in a while, it's fun to gird your loins, drop your standards, and get ready for some CRANKHEAD SPEED PAINTING. Enter the arena of complete shamelessness. If you find your resolve weakening, huff some fumes from your can of Army Painter Strong Tone and turn up the Motorhead. Lemmy doesn't care if your miniatures looks like shit. Just. Pump. Them. Out.





    My excuse for speed painting was Fantasy Flight Game's 2nd edition of Mansions of Madness and its expansions. They comprise three large box teeming with cheap, plastic miniatures of Lovecraftian monsters: Shoggoths, Nightgaunts, Byakhees, Deep Ones... even the Dunwich Horror makes an appearance. But given all the other projects I want to get done, I gave myself only 2 weekends to paint about 50 miniatures, including some very large and tentacular monsters. No Sleep Til Hammersmith, indeed!

    My technique is tried and true. Slap on a basecoat. Do some quick dry-brushing. Saturate the miniature in a glaze of Army Painter Strong Tone, Citadel washes, or a solution of human spittle and peanut butter. Add a detail or two, like the eyes on the Shoggoth or the mouths on the Dunwich Horror. And then, move on and repeat until you run out of Benzedrine.


    Deep One Hybrids

    The results vary from dingy to morbidly poor. But that is besides the point. The point is the sheer joy of production: to paint miniatures like a horse shits or R.A. Salvatore writes novels.

    And so, without further ado...


    Byakhee


    Child of Dagon


    Zombies (polite looking zombies, no?)


    Cult Leader


    Deep One


    Cthonians


    Ghost


    Dark Young of Shub-Niggurath


    Riot


    Shoggoth


    Star Spawn of Cthulhu

    The Dunwich Horror


    And finally, the worst miniature I've ever painted...


    Priest of Dagon


    *   *   *


    WARNING: People who visit Oldenhammer in Toronto are too nice. Complimentary or even polite comments on these miniatures risk summary deletion. In order to make this easy on you, reader, I have pre-written some appropriate remarks that you can cut-and-paste into your own comment:

    Did you paint those miniatures or surgically remove them from the stomach of a sea turtle? 

    Your miniatures are bland, and your prose is over-written. There's a typo in the first paragraph. Worst of all, your celebration of "edgy" drug culture is both vulgar and laughably disingenuous, given the implacable bourgeois odor of your blog, your hobbies and indeed your life. Well, try, try again. Signed, Mom. 

    Sux!!1! Lol



    Investigators for Under the Pyramids

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    The strangest episode in H.P. Lovecraft's real life literary career was when he ghost-wrote a story for Harry Houdini. "Imprisoned with the Pharaohs" (1924) was an allegedly true account told in the first-person about how Houdini got lost in caverns beneath the Great Pyramid of Giza and witnessed certain monstrous rites in praise of a dark god. This story is revived and brought to the gaming world with Under the Pyramids, an expansion for Eldritch Horror. As usual, I've painted up metal miniatures for each of the 8 characters in this set.





    "Imprisoned with the Pharaohs" is a neglected gem -- it is rarely ranked among Lovecraft's top stories and is often omitted from his anthologies. And yet, it features some of his best writing. The descriptions of Cairo are filled with lively detail that convince the reader that the writer was really there. The worst (best?) of HPL's baroque language is saved for the very end, and truly lends force to the climax. Most importantly, in assuming the voice of Houdini, Lovecraft created a fully-fleshed narrator with a sense of personality that far outstrips his customary wan, hapless and bookish heroes.   

    Even if it's not read as often as it deserves, "Imprisoned with the Pharaohs" had a lasting influence on the gaming world. It was a primary influence on The Fungi from Yuggoth (1984) by Keith Herber, which is (in my view) the best adventure ever written for the Call of Cthulhu roleplaying game. So I'm happy to see Fantasy Flight Games carry on this tradition with Under the Pyramids (which was, by the way, Lovecraft's first name for "Imprisoned with the Pharaohs"). 

    Well, on to the characters!





    Above we have Hank Samson, the farmhand. FARMHAND? I guess Fantasy Flight Games is running out of ideas for characters. After all, there is only so often that you can re-use the idea of an Irishgangster.

    In any case, Hank's miniature is the Citadel's CC1 Gothic Horror "Peasant" (1986).




    Professor Harvey Walters is, well, a professor. At least that's a proper Lovecraftian career -- an expert in the field of crypto-antiquitarianologicalism. His miniature is the CC1 Gothic Horror "Sir Charles" (1987). He's been slightly modified by yrs. truly -- I added the impressive side-whiskers. I have a soft spot for Harvey Walters because he predates Fantasy Flight Games by many years and originates with the the Call of Cthulhu roleplaying game, where he was the sample character in the rulebook:





    Notice how his player's name is given as "Sandy" -- presumably, this is Sandy Petersen, the author of the game.





    Above is Joe Diamond the private eye. His miniature is the CC1 Gothic Horror "Professor" (1986). With his studious crouch, this miniature looks less like a professor and more like Sherlock Holmes -- after all, we know from stories like A Study in Scarlett that Holmes would crawl around the floor with his magnifying glass. I'm not sure, however, where Holmes would have found the scroll for summoning a Star Vampire.





    Above is Mandy Thompson, the researcher. I really love this miniature -- she's Citadel's CC1 Gothic Horror "Rancher's Lady". She's got a great stance and lovely details like her sweater vest. But when it came to paint her face, I realized that her mouth is formed into a very circular scream. It makes her look like she's "smiling like a donut".





    Above is Minh Thi Phan, the secretary. Never trust a secretary who reads The King in Yellow -- she's apt to jam straightened paper clips into her eyes at inconvenient times. Well, in any case, Minh's miniature is the Gothic Horror's "Betty" (1987). 




    Above is the infelicitously named "Monterey Jack" -- the archaeologist. God I hate that name. Well, he gets a cool miniature -- the CC1 Gothic Horror "Rancher" (1986).





    Above is Rex Murphy, the journalist. Coincidentally, here in Toronto there is a real life journalist named Rex Murphy, who's always looked to me like he's seen his fair share of cosmic horrors:





    Citadel has not produced any sufficiently writerly miniature for Rex, so his miniature is "The Reporter" from Foundry's City Slicker's range. 




    Finally, above is Sister Mary, the nun. Non-sexy, non-gun-wielding nuns are hard to come by in 28mm, but I finally tracked down a suitable figure from RAFM -- an excellent producer of Lovecraftian miniatures (and other delights) based here in Ontario. Sister Mary is the RAF02908 "Holy Sister" from the Cthulhu range.




    "If only I had not read so much Egyptology before coming
    to this land which is the fountain of all darkness and terror!"



    Stay tuned for next week when I'll be looking at Carcosa and the King in Yellow...



    Nucleus of a Vacuum: the Investigators for Signs of Carcosa

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    Welcome to another batch of Cthulhu investigators! These are heroes for Signs of Carcosa, a small expansion for Fantasy Flight Games' excellent Lovecraftian adventure game, Eldritch Horror. Chronic readers will recall that one of my long-term projects is to find metal miniatures for each of the investigators in this game.




    Carcosa is a white rabbit that runs through the past 130 years of horror fiction. This fictional city originated in Ambrose Bierce's short story "An Inhabitant of Carcosa" (1886). To my knowledge, this is the first literary work to portray a haunted and amnesiac main character who discovers to his horror that he is a ghost, and that the flitting shades around him are actually live people (for another example, see the 2001 feature film The Others). For Bierce, Carcosa was a bricks-and-mortar place, perhaps the French city Carcassonne or some Middle-Eastern town. The details are not important because Carcosa was just an incidental element with an exotic name.


    Robert Chambers made Carcosa immortal when he borrowed the name for his book of short stories The King in Yellow (1895). Chambers reimagined Carcosa as the dreamy setting of a play  -- also called "The King in Yellow" -- which drives insane anyone who reads its script or sees it performed. Lovecraft incorporated passing references to Chamber's work in The Whisperer in Darkness (1931) and the Dream Quest of Unknown Kadath (1927), but it took August Derleth to firmly instantiate Carcosa into the Cthulhu mythos in The Return of Hastur (1958). And in 2014, the HBO series True Detective gave new notoriety to Carcosa and the King in Yellow.

    Carcosa and the King in Yellow have a haunting power. Isn't it scary to think that merely watching a play can drive you insane? It's not unlike the cursed video in The Ring(2002) or "the Entertainment" in Infinite Jest(1996). All of a sudden, a work of art is a lethal virus, and there's no way to protect yourself.

    For my part, I think the seed of Robert Chamber's perilous concept for Carcosa is the idea (prevalent in the late 19th and early 20th centuries) that works of art could wreak permanent moral or psychological harm on the public. This was the age that saw puritanical condemnation of Aubrey Beardsley's periodical The Yellow Book(1894-1897), violence at the premier of Stravinsky's Rite of Spring (1913), and outrage at Oscar Wilde's play Salome(1891), which was banned from the English stage for 40 years. Indeed, with its dream-like poetry and decadent plates by Beardsley (see right), Salome has always seemed to me to overlap with Chamber's play The King in Yellow. 




    It's also worth noting the importance of the colour yellow -- it's not accidental that the King in Chambers' play wears rags of that shade. Authors like Dickens or Charlotte Bronte had long used yellow to suggest decay. But in the 1890's, yellow came to stand for a particular kind of decay -- the spiritual decay of modern ideas. During the late Victorian era, French fiction (often racy French fiction) was imported into England in distinctive yellow covers. Yellow became associated with decadence and avant-garde arts -- so much so that the 1890's garnered the name "The Yellow Nineties". Such associations were exactly why Aubrey Beardsley named his anti-establishment magazine "The Yellow Book". Such a name perfectly captured the idea of decadence, freedom and artistic extremism.

    Most importantly, five years before Chambers published The King in Yellow, another writer was imagining a fictional book with hallucinatory powers. In A Picture of Dorian Gray (1890), Oscar Wilde writes about a "poisonous book" in "yellow covers" that induces corrupting dreams in anyone who reads it. Indeed, it's difficult to read Wilde's description of the book and not see it as the direct inspiration for Chambers'King in Yellow:
    The heavy odour of incense seemed to cling about its pages and to trouble the brain. The mere cadence of the sentences, the subtle monotony of their music, so full as it was of complex refrains and movements elaborately repeated, produced in the mind of the lad, as he passed from chapter to chapter, a form of reverie, a malady of dreaming, that made him unconscious of the falling day and creeping shadows.
    Speaking of creeping shadows, let's get on to the miniatures for Signs of Carcosa!





    Above we have Dexter Drake, the magician. His miniature is "the Ripper" from Citadel's CC1 Gothic Horror range (1986). To make him slightly less homicidal, I removed the dagger concealed beneath his cape. I also inserted a rabbit under his hat. Can you see it?





    This is Jenny Barnes, the dilettante. The Call of Cthulhu role-playing game (1981) introduced the "dilettante" as a class of investigator, and I'm glad that Fantasy Flight Games carries on this tradition. I have had a soft spot for this career ever since my brother introduced a new character into our long-running Call of Cthulhu campaign as "Belmont Labante-Delmonte, who's a bit of a dilettante."

    Jenny's miniature is "the Young Girl" from Citadel's CC1 Gothic Horror line (1986). I tried to leaven her air of innocence by painting a creepy eye-shaped amulet on her neck.





    Here's Michael McGlen, the gangster, one of the dozen or so gun-wielding Irishmen to grace Eldritch Horror. His miniature is "the Hood" from the CC1 Gothic Horror line (1986). 

    Observant readers may note that I cannibalized the head and hand from a duplicate Hood miniature to create my likeness of Hunter S. Thompson a few weeks ago.






    Finally, here's Wendy Adams, the urchin. There are no children in Citadel's Gothic Horror line (and few in the entire range of Citadel miniatures), so I turned to Hasslefree Miniatures, who produce some excellent youth for the modern era. This miniature is HFA030 "Alyx", a wonderful multi-part kit that lets you customize the girl with a wand, teddy bear, pistol etc. 

    Well, I started with Ambrose Bierce, so let's give him the final word. Here's his proto-Lovecraftian definition of 'reality' from The Devil's Dictionary (1911): "REALITY, n. The dream of a mad philosopher. That which would remain in the cupel if one should assay a phantom. The nucleus of a vacuum."







    Painted Vikings for Saga

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    Behold the warband of Gaukur Trandilsson! This is a 4-point Viking army that I painted for Saga, the Dark Age skirmish war game. These are 25 mean, nasty, ugly-looking people on the bench there. Mother rapers. Father stabbers. Father rapers! This week I want to introduce you to the rank-and-file warriors (or Bondi) in Gaukur's force, and next week we'll meet Gaukur himself and his elite hearthguard.



    I've fallen pretty hard for Saga over the last few weeks. What makes it so good? In my view, there are two things. First, it is an extremely violent and deadly game. Once opposing units crash, they mutually annihilate each other like subatomic particles. Both sides are constantly rolling handfuls of dice and flicking figures into Valhalla. When you combine this with a simple but realistic mechanic for fatigue, the results are brutal. Soon you are left with a few survivors who fight out the climax in an agony of limping exhaustion. It's glorious!

    A Saga battle board
    The second thing that distinguishes Saga is it's use of "battle boards". In conjunction with special six-sided Saga dice, you use the boards to activate your units and trigger special abilities unique to your faction. The Viking's board usually makes melee even more bloody, whereas (for example) the Welsh board makes that faction more adept at hit-and-run raids. And so, these boards add a lot of faction-specific flavour to the game, and ensure that the way you play your army fits in with its historical model. 

    But besides the flavour, there's another element to the battle boards that I enjoy. Many historical war games boil down to "advance to meet the enemy and then fight until one side breaks". Such games can be fun (especially when the lead is well painted) but there's not a lot of meaningful choice. And in my view, meaningful choice is the key to making any game truly interesting.

    That's where Saga excels. The battle boards add lots of options, by giving your units access to special bonuses and devastating attacks. The game hinges on how each player exploits these advantages at the crucial moment. At the same time, the battle boards limit your choices -- if you roll poorly with your Saga dice, you may not be able to activate all your units. And thus, the player is always presented with fun but difficult choices that go well beyond "how far up will I move my troops". 

    Not that Saga is a perfect game. The rules for moving into combat are unnecessarily fiddly. Cavalry is not handled well. And the battle boards add a level of complexity to the game that make it hard for newcomers. But once all those Vikings start fighting and dying, it's all worth it.

    Well, enough talk... here are the Bondi of Gaukur's warband...






    All my Viking Bondi are metal miniatures from Gripping Beast. These are superb sculpts -- they contain lots of personality and interesting details. The most realistic touch is that many of the warriors wear hesitant expressions or carry their weapons in oddly tentative poses. They hide behind their shields and otherwise convey the idea that they don't relish the idea of having their limbs hacked off.






    All my shields feature transfers from Little Big Men Studios, who have a line customized for Saga. I've never used transfers before (and I guess there's a part of me that thinks that they're cheating), but I couldn't be happier with the gorgeous patterns. I added some battle damage and cracks to the wood to give them a less pristine appearance.






    My goal was to paint these Viking warriors in a historically accurate way. They favoured bright or embroidered clothes, and were concerned with cleanliness and personal appearance. Apparently, combs are frequently found in archaeological sites. So even if they're Dark Age warriors, there's no call to make them "grimdark".






    Above we see that standard of Gaukur Trandilsson, the "Bölverkr" (or 'Bale-Worker', one of the epithets of Odin). From the Channel Isles to Iceland, so war-banner is more feared. Stay tuned next week when we'll take a closer look at Gaukur himself...






    Thanks for looking!



    More Painted Vikings for Saga

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    Here's the second half of my Viking warband for the skirmish game, Saga. Last week we looked at the rank-and-file warriors ("Bondi"), and today features their warlord, Gaukur Trandilsson, with his inner circle of elite warriors: four hearthguard ("Hirdmen") and four raving, inadequately-clothed berserkers. 

    Gaukur is the only miniature in my warband that wasn't made by Gripping Beast. I wanted a very special miniature for my leader, and eventually I found just the right lump of lead over at Wargames Foundry: "Big Lud Headsplitter" from their Viking range. He is a giant among 28mm miniatures, with a shaggy head of hair that merges into two overlapping bearskins. He immediately reminded me of the prodigiously large and strong Egil Skallagrimsson from Egil's Saga. But what I loved most of all is his phlegmatic countenance (something I tried to highlight by giving him a heavy-lidded and almost weary expression).



    Gaukur Trandilsson, Viking Hersir


    I've named him "Gaukur Trandilsson" because Gaukur's Saga was an important Icelandic Saga, but it has been lost to history. We know almost nothing about the real Gaukur, so it gives me a broad canvas to recreate his history. As I see it, Gaukur  grew up in Norway around 1000 ce, the son of a wealthy "hersir" (or war-leader). Despite his great size and strength, Gaukur was considered an "ash lad" -- that is, a drowsy loner who seemed more interested in stirring the ashes in the hearth than helping around the estate or playing at ball-sports. 

    However, when his father was exiled for resisting the Kings of a unified Norway, Gaukur finally roused himself, slew some of the King's men, and led his father's old retainers on a series of profitable raids around the Channel Isles. My games of Saga will chart Gaukur's progress on these expeditions.

    So let's meet some of these retainers! They may be older, but they are also violent and crafty.



    Halfdan the Black, Viking Hirdman



    Tosti the Deep-Minded, Viking Hirdman



    Ottar Far-Travelled, Viking Hirdman



    Asbjorn Alfsson, Viking Hirdman



    As Gaukur's inner circle of lieutenants, I wanted to convey experience, wealth and status with these miniatures -- hence the bright colours, trimmed fur and thoughtful expressions. 

    At the other end of the spectrum, however, we have the four berserkers. These are also elite hearthguard in the game, but true to their mythical descriptions, they fight in their negligee. As Snorri Sturluson writes in the Ynglinga Saga, such men "rushed forwards without armour,were as mad as dogs or wolves, bit their shields, and were strong as bears or wild bulls, and killed people at a blow..".



    Hrok, Hrolf, Ulf and Vog, the Viking Berserkers




    Now we just have to find Gaukur and his boys some opponents... hmm, I wonder what they will find waiting for them when they go to raid the Channel Isles?



    Thanks for not looking too closely!


    Saga Revenants - zombies invade the Dark Ages

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    Saga Revenants was a limited edition set that Gripping Beast produced in 2015 for its skirmish game, Saga. It introduces zombies as a playable faction, letting them battle alongside Anglo-Danish huscarls and Viking Bondi. It's charming to inject a small dose of the supernatural into a historically-based wargame. Indeed, Saga Revenants slots right into the world of Saga since Scandinavian and Celtic mythology all feature some form of the reanimated dead. (As a child, one of my favourite myths was the story of Hel, Norse goddess of the underworld, arriving with her army of corpses at the battle of Ragnarok in "Naglfar", a giant ship fashioned from dead men's toenails). 




    For Oldhammer aficionados, Saga Revenants has an extra grip because the 50 or so zombie miniatures that come with the set were all sculpted by Bob Naismith, the lead sculptor at Citadel in the mid-1980's and the man responsible for many of Warhammer's most iconic designs (see Axiom's excellent interview with Bob for some wonderful insights into the man and his influence).


    Bob Naismith's sculpting talents are on full display with these miniatures. As Barks said in his recent post about Revenants, they are a "blend of horrific and comical". Although some of the details (especially tattered clothes) are a chunky, the sculpts more than make up for it with an overall sense of personality and movement. Many of the zombies are palsied and limping, with crimped hands and twisted limbs. Their faces vary between friendly smiles and grimaces of insufferable pain. In other words, these are emotive zombies, not the sullen, expressionless corpses that you usually get nowadays (I'm looking at you, Walking Dead).

    I speed-painted 48 zombies in a few weeks. My recent experience with speed-painting have been spotty at best (cough, cough, Mansions of Madness, cough), but I think I'm slowly improving. My technique for painting these miniatures owes a lot to Sorastro's tutorial on painting zombies. I blocked in a few simple colours (medium green fleshtone, khaki clothes, terracotta accents, etc.) and then enhanced these with a sloppy layer of highlighting. The whole package was then covered in Army Painter Strong Tone - and when that was dry, I added blood, rust, facial details, and more blood.

























    Above are the "Grave Pits" that come in the Revenants set. These are wonderfully sculpted eruptions of zombies clawing out of the ground -- the Revenant player can use these Grave Pits to attack his opponent from below. It's not pretty.

    A warband of Revenants is led by a Necromancer. But I didn't paint the Necromancer included in the set -- that would be an insult to my own Lichemaster. Yes, Heinrich Kemler shall take his rightful place at the head of my legion of undead. But he will need a Saga appropriate identity. I dug around my library and found a wonderful typed monograph called "Legends of Icelandic Magicians" (1975) by Jacqueline Simpson. It contains some fascinating legends about an evil wizard named Gottskalk the Cruel who  "gathered together all the black spells, which had never been used since heathen times, and wrote them all down in a magic book called Red Skin." Sounds about right.

    So please meet Gottskalk the Necromancer...





    Stay tuned for some battle-reports to see how Gottskalk and his Revenants fare in the age of the Vikings... 



    The Investigators of Mansions of Madness

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    A couple weeks ago, I rolled around in the shame and disgrace of shoddily painting all the monsters from Mansions of Madness 2nd edition, the Cthulhu-themed dungeon crawl game. This week, in order to redeem myself (in my own eyes at least, and the eyes of Crom), I present painted versions of all the investigators from the Core Set and all 3 expansions: Recurring Nightmares, Suppressed Memories and Beyond the Threshold




    These are 26 investigators in total. As usual, I have discarded the shoddy plastic miniatures that FFG provided in favour of metal substitutes. Where possible, I've used the beautiful Gothic Horror miniatures that Citadel produced in the 1980's when it had the license for the Call of Cthulhu role-playing game. To fill in some gaps, I use miniatures from Copplestone Castings, RAFM, Foundry and Hasselfree Miniatures. 

    Loyal followers will notice that some of these miniatures have already appeared in my posts about Eldritch Horror. That's because FFG always uses the same stable of characters in all their Cthulhu boardgames. But there are a few new faces, like Agatha Crane, Father Mateo or Carson Sinclair.



    Mansions of Madness Core Set


    Agatha Crane, the parapsychologist painted miniature
    Agatha Crane - the parapsychologist



    Carson Sinclair, the Butler painted miniature
    Carson Sinclair - the butler



    Father Mateo, the priest painted miniature
    Father Mateo - the priest



    Minh Thi Phan, the secretary painted miniature
    Minh Thi Phan - the secretary



    Preston Fairmont, the millionaire painted miniature
    Preston Fairmont - the millionaire


    Rita Young, the athlete painted miniature
    Rita Young - the athlete



    Wendy Adams, the urchin painted miniature
    Wendy Adams - the urchin



    William Yorick, the gravedigger
    William Yorick - the gravedigger




    Recurring Nightmares


    Ashcan Pete the drifter painted miniature
    "Ashcan" Pete - the drifter



    Gloria Goldberg author painted miniature
    Gloria Goldberg - the author



    Harvey Walters the professor painted miniature
    Harvey Walters - the professor



    Jenny Barnes dilettante painted miniature
    Jenny Barnes - the dilettante



    Joe Diamond private eye painted miniature
    Joe Diamond - the private eye



    Kate Winthrop the scientist painted miniature
    Kate Winthrop - the scientist


    Michael McGlen the gangster painted miniature
    Michael McGlen - the gangster



    Sister Mary, the nun painted miniature
    Sister Mary - the nun



    Suppressed Memories



    Amanda Sharpe - the student


    Bob Jenkins the salesman painted miniature
    Bob Jenkins - the salesman


    Carolyn Fern psychologist painted miniature
    Carolyn Fern - the psychologist


    Darrell Simmons photographer painted miniature
    Darrell Simmons - the photographer


    Dexter Drake magician painted miniature
    Dexter Drake - the magician



    Mandy Thompson Researcher painted miniature
    Mandy Thompson - the researcher



    Monterey Jack archaeologist painted miniature
    Monterey Jack - the archaeologist



    Vincent Lee doctor painted miniature
    Vincent Lee - the doctor



    Beyond the Threshold



    Akachi Onyele shaman painted miniature
    Akachi Onyele - the shaman



    Wilson Richards handyman painted miniature
    Wilson Richards - the handyman


    Thanks for looking!



    The Day the Vomit Died - an adventure in Mordheim

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    I just played my first game of Mordheim! Travis, the proprietor of the superb video blog Hot Dice Miniatures, invited me to his lair to film a battle for this classic fantasy skirmish game. Travis just posted the action-packed video of my orcs clashing with his Marienburgers, and I hope you enjoy the spectacle of two lads with high spirits and higher blood\alcohol levels going at each other hammer-and-tongs. But I warn you, it's not a happy story... for that day in Mordheim was the Day the Vomit Died. 

    My orc warband derives from my 3rd edition Warhammer Fantasy Battle army, Krapfang's Backwood Bandits. Loyal readers may recall General Krapfang's adventures, including The Bridge over the River Sty and the Battle of Cold Crumpet Farm. Clearly, Krapfang has fallen on hard times, since he has gone from commanding an army of greenskins to leading a small gang of Mordheim thugs. I figure he was the victim of a mutiny -- not altogether surprising, given the fact that he was never a capable general or a brave warrior. 

    After his ejection, what would be left to do but assemble a threadbare rump of loyal followers and bring them to the ruins of Mordheim, hoping to make a fortune gathering wyrdstone?


    Krapfang's Rump, an Orc Warband

    Heroes

    Krapfang Toothshyte, Orc Boss with sword, shield and helmet


    Grogeye the Incontinent, Orc Shaman


    Curtiss Blackdung and Clarence Blackdung, 2 Orc Big 'Uns with halberds


    Henchmen

    Sludgewit the Troll


    Smarmy Spiteater, Goblin with short bow


    Ragwort Toothshyte, Orc with axe


    I've never designed a Mordheim warband before, but once I realized that the orcs could hire a Troll, everything fell into place. Krapfang's "cunning plans" always revolve around finding a big, hungry monster and then hiding behind it until the enemy is safely ensconced in its digestive tract. I rounded things out with a shaman, two elite warriors and some paltry missile support (in the form of Smarmy the Gobbo). Unfortunately for Krapfang, I had just enough points left over to include Ragwort Toothshyte. She is Krapfang's long-abandoned wife, and she's fastened to him like a hungry leech now that he lacks a phalanx of troops to keep her away.





    We played on Travis' fabulous table (pictured above) representing the ruined outskirts of Mordheim. He scratch-built much of the terrain, including sprawling trees, plaster-cast towers and a vast mansion. Not only was it beautiful, but it was the best-lit wargaming space I've ever seen, which made photography a joy.

    My opponents were a well-supplied band of Marienburgers named "The Yuppies" who were led by Knock-Out Ned, a fashionable warrior armed with two dueling pistols.




    The Day the Vomit Died

    We randomly determined the scenario and came up with "Chance Encounter", meaning that the two warbands stumble upon each other while they are both trying to escape from Mordheim with a trove of wyrdstone. There's no turn limit, and each side is trying to bash the other into a rout.

    The Marienburgers set up first. Their vastly superior complement of missile troops (a hero with a bow and two henchmen with crossbows) occupied some ruined buildings with a wide field of fire. The rest of their forces fanned out, hoping to root out the orcs.


    The orcs bunch up and hide

    For his part, Krapfang decided that cowering was the best strategy. There's no way he was going to walk out into the open ground and get shot to hell. So he and his cronies hid in a darkened corner of the ruins, hoping to gank the Marienburgers one by one. Sneaking up on people is not so easy when you have a drooling Troll in your midst, but Krapfang was finally able to creep up on the Marienburger's left flank. As Smarmy ineffectually shot his short bow, Krapfang shoved the Troll forward, hoping he would pass his stupidity roll and mount a charge. 


    The orcs continue to hide while Smarmy the Goblin shoots his bow

    Things seemed to be looking up for Krapfang -- the Troll was shuffling forward, his shaman successfully cast "Ere we go", and the Marienburger crossbows had not found them. Hoping to overwhelm the enemy, he called for a general charge.

    And that's when things went to pot. Sludgewit the Troll failed his stupidity check and forgot to attack the enemy, even as Krapfang and his orcs had committed themselves to an assault. In the building above him, the crossbowmen began to rain down bolts. And the Marienburg leader, Knock-Out Ned, surged forward to help his men.


    Sludgewit forgets to remember that he is charging the enemy

    The rest of the battle was one confused melee, as Knock-Out Ned sought to contain the orc charge with reinforcements and missile support. For his part, Krapfang was hoping to keep himself alive long enough for the Troll to wake up and save the day. 

    And wake up he did! On the next turn, Sludgewit came to his senses and hurtled into the fray, facing Knock-Out Ned himself. Krapfang had every reason for optimism, because Trolls have one nearly irresistible attack: they can regurgitate on their enemies. A Troll's gastric juices will melt a fully armoured man like a wax candle. 

    In the coming turns, as the orcs were gradually beaten back, Sludgewit puked again and again on Knock-Out Ned. But the horrendous attacks only succeeded in stunning Ned, or I would roll a 1 on the injury rolls and not even achieve that. There was so much vomit. But all that vomit was for naught.


    A confused melee, as the orcs stun but fail to kill their opponents

    Meanwhile, the Clarence Blackdung was felled by a crossobow, and then Krapfang himself was swept out of the game by two Swordsman. With Krapfang no longer there to prod him, Sludgewit had small hope of passing his stupidity checks, and would once again forget to fight. In order to save the rest of my warband (and the few pieces of Wyrdstone still in my possession) I voluntarily failed my rout roll and we ended the game.

    It was a splendid game: fast, eventful and filled with disgusting gastrointestinal drama. If you enjoyed Travis' video of the game, you should also check out some of his other work, such as his tutorial on building a Mordheim band or his other Mordheim battle reports





    For my part, I am excited about finally getting into this game -- it's no doubt the best thing that Games Workshop came up with after about 1989. And although Krapfang was knocked out of the game, he was not killed, so I guarantee: he will be back, and he will be as big a coward as ever.



    Jawa Scavenger, Hera, Chopper, 0-0-0 and BT-1... the new Imperial Assault miniatures

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    Here are my painted versions of the new miniatures for Star Wars Imperial Assault: the Jawa Scanvenger (from A New Hope); Hera Syndulla with C1-10P "Chopper" (from the Rebels TV show); and 0-0-0 and BT-1 (from the Darth Vader graphic novel). With these figure packs, (and the upcoming expansion) we can see that Imperial Assault is shifting its focus from the original trilogy of movies in order to portray characters from the larger Star Wars universe of prequels, comics, and TV shows. Good move or mistake? 

    What do you think?




    Above we have 0-0-0 (aka Triple-Zero), the protocol droid that first appeared in the superb Darth Vader comics written by Kieron Gillen. I may sometimes moan about Imperial Assault's shift away from the original trilogy, but boy am I glad they released this miniature because 0-0-0 is a splendid character. Like C-3PO, the role of 0-0-0 is to provide comic relief -- but unlike his golden-coloured twin, he does it by mixing extreme politeness with sadism.



    Painting 0-0-0 was a challenge because of his simplicity. Recently, Orlygg wrote about the problem with platemail, viz. it's boring to paint and to look at. This is also the problem with monochromatic protocol droids. Orlygg ended his post with a plea for innovative techniques, and so I decided to experiment with this miniature. I started with an undercoat of black and dry-brushed with Gunmetal, and then a lighter dry-brushing with Vallejo's Metallic Medium. So far, pretty normal. But then I applied a light glaze of black oil paint diluted with white spirit. For reasons that are not clear to me, this created an interesting stippled texture on the miniature which I find quite pleasing. You can see it best with a close-up of 0-0-0's tight buttocks:



    I finished off his metal casing by applying some highlights of Metallic Medium. I also tried to add some interest to 0-0-0 by painting on a subtle red glow to his eyes, and a blue glow to his electrically charged palms.




    Next up is BT-1, an assassin droid that can hide its weaponry in its shell in order to pass as a harmless astromech.




    If anything, BT-1 is even more crazy and homicidal than 0-0-0. As with the Death Star itself, both were developed within the Tarkin Initiative as secret weapons for the Empire. However, BT-1's anti-social programming was so powerful that he killed everyone in the orbital lab where he was constructed, blew up the lab itself and jettisoned himself into space. The only surviving being who speaks BT-1's unique Tarkin dialect of the binary language is 0-0-0, so the two must travel together. 




    The fact that the skirmish map included in the BT-1/0-0-0 Figure Pack is named "Tarkin Initiative Labs" is a nice homage to this backstory. 




    Above we see the Jawa Scavenger. I have mixed feelings about this miniature. On the one hand, it's nice to see such a classic figure. On the other, the scale of the Jawa is out of wack with other miniatures in the range -- it's not just that he's too tall for such a supposedly small alien, but he's much too fat. He looks more like a hooded dwarf than a lean desert scavenger. But I suppose problems in scale are an inevitable problem when you employ a diverse stable of miniature sculptors (there are 4 different sculptors for these 5 figures).

    On the Rebel side of things, first we have the droid C1-10P, also known as "Chopper". He's a highly kinetic droid, and I think this detailed sculpt by Niklas Norman captures his personality. It certainly shows him to be beat-up and patched-up.




    In the same figure pack as Chopper comes Hera Syndulla, the Twi'lek pilot and the final miniature in this series.


    Hera is captain of the Ghost in the Rebels animated series -- and if you listen carefully, you can hear her being paged at the Rebel Base in Rogue One, at which point she has apparently become a general. 

    Hera is another manifestation of the challenges that Imperial Assault faces in rendering a diversity of Star Wars characters in miniature. As a cartoon character, Hera's facial features (and even body proportions) are a steep departure from real life models like Carrie Fisher or Mark Hamill. You can see Hera's original face from the animated series (on the left) contrasted with a more realistic illustration of what she might look like as portrayed by an actor (on the right).



    The miniature sculptor, Gabriel Comin, has opted for a less realistic style that it more true to Hera's animated self. That's fine and well, but I don't think her big cheeks, triangular head and rounded body fit well with the rest of the Imperial Assault range. What about you?

    In any case, I love Hera as a character, and was happy to get a chance to paint her, no matter what her proportions. However, her head tentacles (aka "lekku") were a particular challenge because of their distinctive markings, and I took a lot of time trying to get the pattern right...





    Is it so wrong if I find her lekku attractive?



    Vikings versus Zombies - a Saga Battle Report

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    "Malevolent eyes watched the Northmen fill their ship with stolen gold. They had come from the frozen North, these reavers and raiders, slaughtering the priests of the Nailed God. What they couldn't know is that here the fat priests had built their refuge on a place of older, deeper magic; a place dedicated to Donn, the Dark One, Lord of the Dead."




    In order to test-drive my new "Revenant" faction of zombies for Saga, I recently hosted a game for two friends of mine. Konrad (a police officer) took command of the Vikings of Gaukur Trandilsson, and Matthew (a defense counsel) led the Revenants. I was to act as referee, bartender and official photographer. What followed was an evening of slaughter and tactical daring worthy of Ragnarok itself.

    For our battle, we chose Get to the Longship, which is the scenario included in the Saga Revenants set. A Viking warband has raided a defenceless monastery on an isolated island. What could be more right and proper? But unknown to the Northmen, the rites of the priests had been keeping back an ancient pagan evil. Freed from these holy constraints, the Necromancer and his walking dead rise and attack the nearest living things -- in this case, the loot-encumbered Vikings.


    Gaukur and his reavers

    In this battle, the Vikings must escape from the pillaged church (at the North end the board) back to their longship at the South end. (Because I lack a longship, we symbolized the escape by requiring the Vikings to cross a tidal river). They get victory points getting their units off the board, and extra points if they make out with special tokens representing their looted treasure. But the more loot a unit carries, the slower it will move.

    The Revenants, on the other hand, simply get points for slaughtering their opponents. Below you can see how I set up the terrain:




    The Vikings of Gaukur Trandilsson 
    (4 point Viking warband)

    1 Warlord
    4 Berserkers
    4 Heathguard
    8 Warriors (with 2 loot tokens)
    8 Warriors (with 2 loot tokens)


    The Revenants of Gottskalk the Cruel
    (4 point Revenant warband)

    1 Necromancer
    12 Revenants
    12 Revenants
    12 Revenants
    1 Grave Pit (which can transform into one unit of 12 Revenants)


    Sensing danger, the Vikings emerge from the church and form into a battle line




    Deployment

    One of my favourite things about Saga is how claustrophobic the game becomes. Although were were playing on a table measuring 48" by 36", it seemed much smaller, especially since both warbands decided to deploy in the centre of the table. The only thing separating them was a low hill crowned with a couple farmsteads. Although they were so close, this terrain would force both armies to break up their lines of battle.


    The Revenants swarm the bridge


    Strictly speaking, the Revenants had the first turn, but they used this move to do nothing but gather Saga dice and ready their special powers -- so I've written the report as if the Vikings had the initiative.






    Turn 1 - First Blood


    Sensing danger but unsure of what they face, the Vikings advance cautiously into the central farmsteads. They catch sight of the seething mob of corpses and are struck by "Bowel Loosening Terror", one of the special abilities that the Revenants can trigger using their Battle Board. This gastrointestinal assault requires the Vikings to choose between becoming fatigued or empowering the Necromancer with "dread tokens", which he can use to trigger other Black Arts (I love the way one side's special abilities in Saga often force the other player to make ugly choices). 








    On his turn, the Necromancer perceives a weakness in the Viking line: a unit of warriors isolated on the eastern side of the village. He launches one of his units in a surprise attack by triggering "Winged Death", a special ability that transforms his slow-moving shamblers into very fast zombies. Three of the eight warriors fall in the swift assault, but they fend off the ravening monsters.


    The Viking Warriors are rushed by sprinting zombies but hold their ground


    Now it looks like the tables have turned. One of the units of Revenants is weakened and isolated. How will the Vikings capitalize on their advantage?



    Turn 2 - Warlord at Bay

    Seeing his chance, the Viking Warlord takes command of the nearby Berserkers and charges the lone Revenants. However, by triggering Bowel Loosening Terror and fatigue, the cunning Necromancer holds the Berserkers back so that the Warlord goes in alone. Nevertheless, the mighty Viking Lord invokes Heimdal's blessing and strikes down 3 more Revenants.



    Hoping to bring down the Warlord, the Necromancer casts another unit into the fray by invoking Winged Death. These surging undead inflict horrible wounds on the Warlord, and only the sacrifice of 2 nearby Berserkers keeps him from falling under the weight of numbers. But even with this desperate defence, the Warlord is pushed back and further cut off from his men.

    Gaukur the Viking Warlord is mobbed by Revenants

    At this point in the game, both sides seemed vulnerable. The Viking Warlord is cut off from his men. But the Revenants have been running into the fight in piecemeal fashion, and are getting defeated in detail.




    Turns 3 & 4 - Hold the Line!


    The next two turns passed quickly as both sides attempted to consolidate their position. The loyal Hearthguard charged toward their leader and cooperated with him in wiping out one unit of Revenants. At their side, the two remaining Bersekers fare much worse -- they plunge into the second unit of zombies but only destroy one due to the Necromancer's lucky saving throws.



    As the Vikings rally, the Revenants pull back to the river, hoping to concentrate their depleted forces. From the crest of the bridge, the Necromancer uses his mystic powers to slay a couple Viking Warriors from afar. He's the only unit in the battle with any missile attack, so he can make the Northmen pay if they keep their distance.

    The Vikings rally! Perhaps the crowing cock on the right gives them hope,


    With all their loot intact, it seems like only a short distance and a few zombies stand between the Vikings and a quick getaway.

    Marching forward with the stolen booty loaded onto horses.



    Turn 5 - The Mouth of Hell

    Sensing victory, the Warlord and Viking Warriors rush toward the bridge, but in their exuberance, they fall just short of attack range on the weakend Revenants. This blunder leads to the climax of the battle. The Necromancer had been accumulating Dread Tokens all game long and now uses them to open "The Gates of Hell". He moves the Grave Marker into the Warriors and transforms it into a new unit of Revenants, symbolizing an eruption of new zombies out of the ground.



    The new Revenants add to their blitz by invoking their "Relentless" ability and the Vikings counter by crying for "Valhalla", which sells the lives of their own soldiers in exchange for greater slaughter on all sides. 

    The Mouth of Hell yawns!

    The resulting melee is a confused bloodbath. The Viking Warriors are wiped out to a man, but the Revenants also take 7 losses.





    Turn 6 - The Dance Macabre

    To revenge themselves, the Vikings unleash "Ragnarok" on their Battle Board, a costly power that lowers the armour of all enemies. Then they throw themselves into one final push.



    The last Berserker kills himself and 3 Zombies. The Warlord makes a thrust for the bridge with his Hearth Guard behind him. And the closest thing the Vikings have to a reserve (the unit of Warriors attacked in Turn 1) march southwards in support.

    Scenes from Turn 6: a Berserker's last stand and a Revenant's feast

    The game now poised on a knife's edge. Most of the Vikings have been wiped out, but the formidable Warlord still stands with a few Warriors at his back. Can his ax cleave a path to the Necromancer through the soft flesh of the remaining zombies?



    Turn 7 - Lord of Undeath

    The answer to the question above is "No."



    The Warlord wades into his enemies and hacks them down right and left. But the fallen just rise again as Revenants invoke "Why Won't They Die" on their Battle Board to replenish their recent losses. 

    The last stand of the Warlord and his last Warrior

    The undead surge forward and overwhelm the remaining Hearthguard. Fighting desperately, the Vikings only have their Warlord and one Warrior, facing off against a full unit of Zombies.  The Necromancer snipes and kills the Warrior from the top of the bridge, leaving Lord Gaukur alone. By using "Overwhelm", the Revenants are able to mob the Warlord and finally bring him down. 

    The Necromancer wins!

    Reflections

    I'm consistently impressed with Saga. It's system of activation and fatigue gives players great flexibility to exploit errors or push individual units to heroic activity. And the Battle Boards (especially the Revenant's Battle Board) add a lot of flavour. Seeing the shuffling zombies sprint forward, erupt from the Grave Pit or rise from the dead was thrilling and thematic. But I also thought Saga was better for having a referee. The rules are sufficiently fiddly as to benefit from a neutral arbiter who can make snap rulings.

    Konrad and Matthew played superbly, leading to a game with many tactical twists and turns. For much of the game, it looked like Konrad was in control. But when his final charge fell short of completion on Turn 5, I knew that trouble was brewing for the Northmen. All game long, Matthew's choice to take a Grave Pit instead of a fourth unit of Revenants seemed to be holding him back -- but when he was able to steer the Pit into the vulnerable Warriors and wipe them out in one ghoulish cataclysm, was all worthwhile.

    What's next for the victorious Necromancer Gottskalk? Stay tuned and see...







    Zombie Bosses - Abominations for Zombicide Black Plague

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    We all have bad days, but can you imagine waking up every day as a morbidly obese zombie? They way people judge your eating habits? The dietary imperatives? The stigma? These were my thoughts as I painted the miniatures in the "Zombie Bosses Abomination Pack" for Zombicide Black Plague. The core Black Plague set contains one beefy zombie leader or "Abomination" -- but with this expansion you get three more: the Ablobination (pictured above), the Abominotaur and the Abominatroll.





    After painting all sorts of miniatures for Saga Revenants and The Terror of the Lichemaster, I was on a real zombie jag, and I started casting around for another game where I could use a few dozen Dark-Age undead. It didn't take me long to find Zombicide: Black Plague. And to know the game is to love it... it's fast, bloody and unpredictable. It plays well solo, and is just as fun with 4 or 5 drunk friends. It's also one of the best games I know for naturally breeding a sense of story. Every session seems to generate its own drama: last stands, sudden break-outs, cowardly escapes.


    The zombie bosses add a new peril to this sense of drama. They are enemies that are not so much to be fought as to be avoided at all costs. Indeed, they are often unkillable. Their power within the game is nicely mirrored by the miniatures themselves: they are gigantic and ripple with active, unbounded violence. Every muscle in the Abominotaur's body is coiled in one wrenching blow. And the Abominatroll moves with a wonderful sense of speed -- he is sprinting so quickly that his tongue is flapping behind him like a pennant (see the picture below).




    All these Abominations also all have a real sense of affliction. Their bodies are boiling with tumors and in places the skin lifts right off the muscles in gooey sheets. Spikes and bone spurs shoot through their flesh and limbs become grotesquely swollen. Games like Descent have made me quite skeptical of the plastic miniatures one generally finds in board games, but I have to say that these figures from Cool Mini or Not are top notch.





    Although the smallest of the three zombie bosses, the pièces de résistance is the Ablobination. The level of realistic anatomical detail in his sculpture is impressive and unsettling. His skin alternates between saggy wattles (as in his left arm) and chubby, almost baby-like curves (as in his knees and buttocks). 

    I had a ton of fun painting him -- the acne, the gore spilling out of his mouth, the cellulose, the varicose veins, the weeping goiters. 






    I hope you are disgusted!





    Complete Imperial Assault Galleries

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    After almost 3 years of painting and writing about miniatures for Star Wars Imperial Assault, I've decided to compile all my galleries, battle-reports and assorted debris so that other fans of the game can access them with greater ease. As I did with my Talisman miniatures, I've created a permanent menu on the left ------------------------->




    Here's what you'll find there...


    The complete painted miniature galleries for Imperial Assault:

    The Oldenhammer after-action battle reports for the Imperial Assault skirmish game:

    Conversions, homebrews and other variant miniatures for Imperial Assault:

    Essays on Star Wars:

    Oldehammer-in-Toronto elsewhere on the web:

    Other inspirational Imperial Assault painters:



    I hope you find something that interests you! Thanks for stopping by!





    Oldenhammer-in-Toronto in Germany... or They Gave me Hand-Cheese and I Gave them Music

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    I just got back from Germany - 10 days hiking up the Rhine valley and then a short stay in Berlin. It was a fantastic trip, and one that transformed the way I look at war-gaming and especially Warhammer.




    In the weeks prior to my departure, I was playing a lot of the computer game Mordheim City of the Damned. Without hesitation, I'd say it's the best implementation of a miniature skirmish game into a digital format. It certainly captures the flavour of the Old World, especially the distinctive architecture of the Empire. The houses are all tall, half-timbered constructions bulging over the street, turrets sprout from even humble dwellings and ground floors are often completely open so as to allow free passage to the rear of the house.

    This architectural extravagance is part of a long tradition, stretching back to the early days of the Warhammer Townscape, carried on by countless homebrew projects, and brought to new heights in today's market by companies like 4Ground. Being from North America, I always thought these flights of fancy were a tacky caricature of German architecture. But... it's true. It's all true.






    Town after town in the Middle Rhine is crammed with half-timber buildings from the 17th and 18th centuries: inns, townhouses, convents, convents converted to inns, watch-towers and rambling mansions. Above you can see just a few examples of the specimens I found. It just goes to show that sometimes reality can exceed fantasy.

    And the wall art was magnificent, and will provide a lot of inspiration when I eventually start to model my own scenery...





    We started in Mainz, and walked west and north into the towns of Rudesheim, Bingen, Lorch, Kaub, St. Goar, Braubach and then ending in Koblenz. This stretch of the Rhine is a UNESCO World Heritage site, and no one can accuse the Germans of skimping in the castle department. Towers, fortification and fortresses overlook every curve in the river, ensuring that back in the day every Rheinish princeling got a taste from the merchants trading up and down the waterway. 

    Here's a picture of my friend, the composer Jascha Narveson, at Rheinfels Castle...




    Most of the Middle Rhine's castles are intact and open to visitors. Some even contain hotels, restaurants and spas. The most impressive is Marksburg Castle above Braubach, where painstaking efforts have been made to restore the medieval interior. It even smelled like a castle: a yeasty mix of old leather and damp wood, not unlike the barrel cellar beneath a winery. I was particularly impressed by their recreation of a historically accurate herb garden, including "plants of witchcraft, magic and superstition". Who knew that there's actually a plant called Trollblume?




    The Marksburg kitchen was also enchanting...




    The most delightful surprise of the trip came when our landlord in Lorch pointed out that we were hiking through the former territory of one of Europe's oddest microstates, the Freistaat Flaschenhals, which translates as the "Free State of Bottleneck". 

    After World War I, the Allied Powers established strict occupation zones in Germany. They divided their responsibilities by drawing compass circles on a map of the Rhine region. However, the circles for the USA and for France did not quite meet, leaving a bottleneck shaped area that was at once left to its own devices and cut off from the rest of Germany by militarized borders. The main villages in this area, Lorch and Kaub, declared independence in January 1919. They printed their own money and stamps (of which my Landlord had a beautiful collection). In fact, their 50 Pfenning note features a map with the two sweeping compass circles brought their country into existence.

    The Free State of Bottleneck seems like a wonderful playground for interwar wargaming. It has certain highly romantic elements. For instance, it was not permissible to trade across the military borders, so Bottleneck became a hotbed of smugglers who had to traverse the mountain trails and the misty Rhine to provide for all the country's needs. At one point, the Freestaters even had to hijack a French coal train in order to heat their houses.


    My host's collection of Free State currency

    Sadly, it all came to an end in 1923 following the French's occupation of the Rhur. Following that, the Freestate was incorporated into the Weimar Republic.

    The last thing that really struck me on my trip wargame-wise was the role of miniatures and dioramas in bringing history alive. In several of the castles and museums I visited, the curators created gorgeous models to open a window into the past. At the top of this post is a picture from the Blucher Museum in Kaub -- it's a diorama using hundreds of flattened lead miniatures to depict Field Marshal Blucher's surprise crossing of the Rhine in 1813 during the Napoleonic Wars.


    Detail of Blucher Diorama by Diorma by Robert Bednarek, Heinz Birkenheuer, Alfred Umhey, Gunter Berker and Rolf Siewert

    A couple of other mouthwatering projects were two different recreations of Rheinfels Castle, the first of which was the perfect scale for a Warhammer seige...


    Model of Rheinfels Castle by Jorg Kramb, Volker Kramb and Leoni Damm (2001)


    Unattributed model of Rheinfels Castle in 1:2000 scale

    Seeing these magnificent works gives me the ambition that someday I can model something with lasting educational value for a museum or exhibition or something like that. I suppose its not so crazy an aspiration - some friends I met at Hot Lead created a 28mm demonstration game of the Battle of Ridgeway (1866) for public display. Indeed, I got to play on their set-up a few months ago, and it was thrilling.

    Well, back to the Rhine. It was a wonderful trip with wonderful friends. But I have two pieces of advice for anyone who wants to hike the Rhein Steig trail between Mainz and Koblenz. First, enjoy the wine! It is so easy to find 20, 30 or even 40 year old Riesling in the towns along the Rhine, and the bottles are not expensive. For a lover of mature wines, it's paradise. Second, do not eat the regional dish, Handkäse ("hand cheese"). Just. Don't.

    Team Riesling on the Rhein Steig trail


    The Battle of Wretched Heathen Peoples - a Saga Battle Report

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    Welcome to another battle report for Saga, once again pitting a Viking warband against the zombies from the limited-edition Revenants expansion. My friend Lawrence took command of the Vikings and Matthew O. resumed control of the Revenants, while I officiated as game master, photographer and colour-commentator ("And that's a bad miss.")



    We happened to play our game on Easter Sunday, so I designed an ecclesiastically-themed scenario named "The Battle of Wretched Heathen People". The title comes from a famous passage in the Anglo-Saxon Chronicle:
    “In this year fierce, foreboding omens came over the land of the Northumbrians... there were excessive whirlwinds, lightning, and fiery dragons were seen flying in the sky. These signs were followed by great famine, and a little after those, that same year on 6th Ides of January, the ravaging of wretched heathen people destroyed God’s church at Lindisfarne.” (793 c.e.)
    In this skirmish, the two warbands show up to pillage an isolated British monastery at the same time. Awkward! As usual, the players get victory points for killing warriors from the other team, but they also earn points for hunting down the monks, with extra points points for despoiling the chapel or slaying the Vicar. As the scenario begins, most of the poor monks are hiding in a wheat-field, but the Vicar has stationed himself by his church, and he is prepared to deliver a stern sermon to the first person who tries to start any funny business.


    "From the fury of the Northmen, Good Lord Deliver us!"

    He was intending to preach a sermon on Brotherly Love...


    The Vikings of Gaukur Trandilsson 
    (4 point Viking warband)

    1 Warlord

    Gaukur Trandilsson
    4 Berserkers
    4 Hearthguard
    8 Warriors
    8 Warriors


    The Revenants of Gottskalk the Cruel

    (4 point Revenant warband)

    1 Necromancer

    12 Revenants
    12 Revenants
    12 Revenants
    12 Revenants


    Below is our gaming table, with the Church on the west side of the stream, and two wheat-fields (with a set of cowering monks in each field) on the east side. The Vikings entered from the north and the Revenants shambled up from the south




    Deployment

    The Revenants took initiative and occupied the centre of the board in a seething line. The Necromancer stood in the very middle, ready to cross over to either side of the stream as need should require.

    The undead prepare to march on the monastery.

    The Vikings, on the other hand, chose to refuse their right flank. They occupied the east bank in force, with the Berserkers ready to lead the charge.






    Turn 1 - A Bad Day to be a Monk




    The Revenants rolled poorly with their Saga dice, but the Necromancer was still able to invoke "Winged Death" in order to transmute the normally slow hordes on his flanks into swift, sprinting zombies. These undead swooped down upon the Vicar and one group of monks, slaying everyone but one bewildered monk who would, miraculously, survive into Turn 3.


    The undead show their appreciation for the Vicar's sermon.

    Meanwhile, the main body of Vikings on the east bank charged forward. The vanguard of Berserkers fell upon the last group of fria
    rs and massacred them all, although they lost one of their own men in the melee.


    REVENANTS = 13          VIKINGS= 11


    Turn 2 - Creeping Doom



    One of my favourite aspects of the Revenants is the fact that their player loses control of them if they are too far away from the Necromancer. When that happens (or any time the Revenant player doesn't give orders to one of his units), the feral zombies get a free move at the very end of the turn -- but all they can do for this free turn is slowly shuffle toward the nearest living thing. It gives the Revenants an unpredictable and brainless quality. And so, in turn 2, the Necromancer had hoped to get his west-most pack of zombies to despoil the unguarded church, but they were too far away to obey his commands. Similarly, the east-most zombies went out of control and just crept towards the last remaining monk without actually eating him.

    But not all was a loss for the Necromancer. With two units of zombies to back him up, he approached the strategically vital bridge in the centre of the table. What's more, he loosed a magic lightening bolt and killed a Berserker at the edge of the field.


    The last monk finds himself trapped between two battle lines and prays to a benevolent deity.
    On their turn, the Vikings formed up their line of battle so that they would be ready to gank the zombies en masse next turn. As they moved, they were hit with one of the Revenant's least appealing Saga abilities -- "bowel loosening terror" -- which feeds the Necromancer "dread tokens". Notwithstanding the gastroenterological stress, the Northmen maintained discipline and held a number of their own Saga abilities in reserve.


    REVENANTS = 14          VIKINGS= 11


    Turn 3 - Bodies in the Rye



    The Necromancer was now close enough to order the Revenants in the west to plunder the church, paying Matthew a rich dividend of victory points. More points came when the zombies in the wheat finally bagged the last monk. The Necromancer also tried to summon another lightening bolt attack, but the Vikings invoked their Saga ability "Odin", thus foiling the missile attack. If you're going to kill a Viking, you better get up close to do it!

    Get close the Revenants did. One pack of Revenants clambered onto the bridge, while their neighboring unit, being left without orders, began trudging mindlessly into the river in order to get at the nearby Vikings across the bank. As things would turn out, this unit would spend the rest of the game mired in this stream.


    A mass of zombies crests the bridge...


    ...and are charged by the intrepid Berserkers!

    The Vikings saw their chance, and pounced! The two remaining Berserkers charged up the bridge, attacking furiously but not well. They destroyed three zombies but were themselves overwhelmed by the tide on undead flesh. Undaunted, the Viking Warlord Gaukur leaped over a stone fence and led his elite Hearthguard against the east-most Zombies, who were busy feasting on the last of the monks. Gaukur's assault was devastating, and nearly wiped out the entire u
    nit.
    REVENANTS = 24       VIKINGS= 14


    Turn 4 - Why Won't They Die?


    Seeing his numbers growing weak, the Necromancer used the best rolls of his Saga dice to invoke the power "Why Won't They Die?". This allows him to raise new zombies to replenish his fallen. When you add this to the fact that killing zombies doesn't yield a lot of victory points (1 point for every 3 zombies killed), it makes battling the Revenants a demoralizing experience.

    With his few remaining dice, the Necromancer harassed the Vikings with lightening bolts. Left without orders, the two zombie units in the centre of the table crept forward. This just further mired the unit in the river -- they were now to far in the difficult terrain of the river to leave easily, but not far enough to be able to cross it quickly either.

    The reserve unit of Vikings maul the zombies by the Church.


    On their turn, the Vikings pressed their attack. The two surviving Hearthguard wiped out the depleted east-most zombies, while the Warlord Gaukur bravely held the bridge against the undead horde. But most surprisingly, the unit of Viking Warriors on the western flank finally moved out and attacked the zombies who had been despoiling the church. This attack was a splendid success, driving the zombies back with few Viking casualties.

    At this point, the game seemed to hang in the balance. The Revenants had a substantial lead in points, mainly because they killed the Vicar and looted the church. But all the momentum lay with the Vikings -- could the Northmen catch up?

    REVENANTS = 26          VIKINGS= 17


    Turn 5 - The Quick and the Dead



    The Revenants rolled well with their Saga dice, allowing them to use some potent abilities like "dead flesh" (which toughens the zombies in battle). On the bridge, the undead boiled forward in a devastating attack that nearly killed the Warlord (were it not for the two remaining Hearthguard who sacrificed themselves to protect him). But by the chapel, the depleted unit of zombies again faltered in the melee and were repulsed with great losses.

    Sadly for the Necromancer, his most intact unit of zombies was still stuck half-way though the river.

    The Necromancer turns to face a sudden attack from his rear!
    At this crucial juncture, the Viking player made a surprising and bold gambit. Seeing that the Necromancer had no one covering his rear, he marched his warriors at double-time from the church and ambushed the old wizard from behind! This is one of those daring tactical maneuvers that Saga (more than any other war-game I know) permits and encourages.

    The Warriors rolled well and then used the "Thor" Saga ability to prolong the assault. Attacking the Necromancer three times (!), they scored some telling hits... but the Necromancer shrugged off one and all by spending his deep reserve of "dread tokens". He had earned all this dread by constantly afflicting the Vikings with "bowel loosening terror", and now all those loose bowels were biting the Northmen in the ass (count the puns). 

    In return, the wizard killed two of his attackers. Thus the dramatic ambush did not quite pan out for the Vikings, but it succeeded in pinning the Necromancer on the bridge, and set the stage for a climactic struggle. 


    REVENANTS: 29        VIKINGS: 21


    Turns 6 and 7 - The Mighty are Fallen


    The Vikings may have brought the Necromancer to bay, but they had not managed to finish him. The Necromancer made them pay for this failure by lashing out with all his evil magic. In a series of devastating attacks he incinerated all but two of the Warriors who ambushed him on the bridge. 

    The Necromancer strikes back with many evil spells.

    And now the moment of truth! In retaliation, the Viking Warlord charges up the bridge, hacking right through the defending band of zombies and engaging the Necromancer himself. A desperate struggle ensues on the summit of the bridge. The Viking Warlord invokes "Thor" and "Uller" to stiffen his attacks, while the Necromancer scratches back like a cornered rat. To everyone's surprise, the dice repeatedly fail the Warlord so that attack after attack leaves the Necromancer untouched. 

    Then the seemingly feeble wizard uses his Saga ability "Unholy Vim" to bring steel into his own attacks. With one lucky blow, he fells the isolated Warlord. The mighty Gaukur falls! Game over.

    ZOMBIES: 36, VIKINGS: 23

    The Necromancer inspects his fallen opponent for parts.

    Reflections

    What a great game! Once again Saga delivered drama, surprising reversals of fortune and a genuine climax. Even better, both Matthew O. and Lawrence played with great skill and sportsmanship.

    As usual with him, Matthew O. was smart about going full-bore for the victory conditions (the Vicar and the chapel) right from the beginning. This gave him an early edge in victory points that forced Lawrence and his Vikings to take more risks in order to catch up.

    The move of the game was Lawrence's unexpected ambush at the rear of the Necromancer. I certainly did not see it coming, although, like all great tactical moves, it seems obvious in retrospect. It required pushing his Vikings to the very limit, but I love that Saga allows for that sort of maneuver. Lawrence was also smart about saving his Saga dice to make the ambush especially withering. But he discovered what so many other Saga players have learned at their cost: killing the leader of a warband requires skill and a lot of luck.



    Now there are some new monks in residence at the monastery.


    Guest Post: Arbaal the Undefeated... a stopover in Oldenhammer

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    My friend Travis, proprietor of Hot Dice Miniatures and miniature painter extraordinaire, has written a guest post for Oldenhammer in Toronto. I'm happy to be able to showcase his superb work...

    Matthew has graciously allowed me to show off some of my Old Hammer here on his blog. Unfortunately this means that you as the reader can expect none of the charm, and about half of the wit usually found here. For this occasion I have dug out something from my closet that is extra special in the market of old Games-Workshop pieces.

    The story about how I first came to own this particular miniature begins as it always does: in a game store. I was out of town playing in a Kings of War Tournament when the game store's dusty corners revealed an old gem to me. "Champions of Chaos" bore a piece of masking tape marked in red sharpie: $5.

    One of the showcased figures began to jump out at me after some trips to the porcelain throne with the old paperback. Near the back of my bookshelf is where this tome would end up after its newness had worn off. Some time later I spotted this miniature that looked so familiar on Ebay for an absurd $200 CAD. 


    I pulled out the Champions of Chaos book to see if I could source the miniature’s back-story, points cost and so forth! 


    “In the name of Khorne, Arbaal the Undefeated challenges a Vampire Lord to single combat.” 

    Low and behold he was in there...





    “Thousands have felt his axe blade at their necks and now their white skulls lie at the feet of Khorne. At the city of Praag in the northlands, Arbaal led a hundred Daemons in the assault on its boundaries. It was Arbaal who finally breached the gates of the city and ended the siege. Legends claim that Arbaal slew a thousand warriors that day.”

    Arbaal comes in weighing at 570pts, and has a Weapon Skill rating of 9. Every turn he rolls 2D6 to generate his number of melee attacks, and turns into a Chaos Spawn when he fails Leadership tests!





    No more than two weeks after the Ebay spotting I found a listing for him on the local Kijiji for a measly $20 CAD! I couldn’t believe my eyes. Money was exchanged and now I can bring you the above photo of his bare metal beauty.





    It turns out that his banner is actually a sticker à la the 90’s. I was both intrigued and dismayed to realize that this wasn’t the type of transfer that I’ve grown accustomed to over many years of purchasing GW kits.





    The figure went together beautifully 
    using Super T Hot Stuff, no pinning required. I couldn’t help but notice how cool the box he came in was while I was putting him together.

    I’ve just finished painting some modern GW plastics and 5 crisp Infinity sculpts. I’m not sure why exactly but it felt as if this old model was fighting against every inch of the paint job. I struggled with the rounded edges and blown out details on the rider.

    Not being a huge fan of the paintjob exhibited on the box art I decided to attempt a decidedly more red & bronze scheme.






    There are things about the final paint job that I like, and some that leave me a little disappointed. The things that I like include the horns, the axe’s blade and the glove’s fur. What surprised me was how good the sticker-banner looks when compared with regular hard plastic banners. 





    The pooch upon which Arbaal rides went through multiple colour changes, and ended up being one of the things about the paint job which left me disappointed. Perhaps it is the way the horns don’t contrast with the skin, or the general messiness of the skin details. 




    A Slaanesh Champion challenges Khorne’s most devoted servant to a throw-down.

    I’ve been enjoying messing around with my minis in Photoshop using silly .PNG pictures lately. If you enjoyed this diarized project then perhaps you might enjoy a peak at my blog. I don’t always paint Old Hammer stuff; usually just whatever shiny manages to grab my goldfish-like attention span. https://www.hotdiceminiatures.com/hobby-blog/

    Thanks to Matthew for allowing me share with you all. Paint criticisms & critiques are appreciated.​



    Don't You Dare Play an Evil Character in Advanced Dungeons and Dragons

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    A controversy charred the pages of Dragon Magazine in the summer of 1984. In issue #89, author and contributing editor Katharine Kerr wrote a long opinion piece on the evil of running "evil campaigns" in fantasy role-playing games. Kerr wrote that "there are too many arguments against playing evil campaigns for me to review all of them here" and so she focused on the psychological harm that these games inflict on their participants: "I maintain that spending all that time pretending to be evil is dangerous to the players themselves." Her point was that playing a villain warps your personality by normalizing violent behaviour and eroding your natural sense of compassion. She even included a story about "a gamer I'll call Bob" who embarked on an evil campaign that left him and his friends "emotionally and morally calloused".


    Author Katharine Kerr
    This touched a nerve. In subsequent issues, Kerr's polemic against evil campaigns was strenuously debated in letters and articles. One letter began "I am sure that I am not alone when I say that Katharine Kerr's article about evil PCs left me both disturbed and contemplative. Her analysis truly frightened me into thinking that players who run evil characters have some serious emotional problems." Other letters were defensive and peevish. Some justified evil campaigns on the basis of psychology (they are an "outlet" for negative emotions) or realism (resort to harsh tactics is one well trodden path to power). In issue #91, one astute letter writer noted that even in a campaign with all good characters, one person is still obligated to take the role of the villain, namely the DM. This author goes one to ask if "the DM heading for the psychiatrist's couch?"

    This debate kindled a broader discussion about alignment in Advanced Dungeons and Dragons. AD&D, of course, strictly categorized all living beings into one of nine alignments based on the permutations of Good, Evil and Neutral on one axis, versus Lawful, Chaotic and Neutral on the other axis. Thus, in issue #93, one correspondent posed a series of questions about whether this alignment system is based on a medieval European morality or a "20th century, Judeo-Christian, American morality". Actually, that's rather a good question. Dragon Magazine answered with articles on "The Neutral Point of View" in Issue #99 and a plea for a less black-and-white approach to alignment in "For King and Country" in Issue #101.


    What to make of this brouhaha? Well, let me start by saying that I've got a lot of time for Katharine Kerr. Besides being an accomplished author, she wrote one of my favourite magazine articles of all time, a thoughtful breakdown of medieval army logistics called "An Army Travels on its Stomach" (in Dragon #94). So I don't want to dismiss this dispute as a simple matter of hyper-morality. Rather, I think Kerr's article and the aftermath were the product of a special point in time.

    The most striking part of the whole debate is how seriously people took AD&D. It seems that in the 1980's, the imaginary world of the role-playing game cut much closer to the bone than it does in our more jaded and ironic present. Reading Kerr's article and all the responding letters conveys an impression that the gaming sessions of the mid-1980's were viscerally linked to one's personality and outlook on life. What happened on the gaming table mattered, and said something about you as a person. In this sense, there was a thinner barrier between the realm of fantasy and the world of reality. (Incidentally, the muddled boundaries between the real world and the imaginative realm of 1980's D&D players is something captured well in the period piece Stranger Things.)

    One thing that lent spice to the debate about evilness was the moral panic that engulfed Dungeons and Dragons during this time. I still remember the mistrust with which teachers and administrators at my school regarded D&D in the wake of movies like Mazes and Monsters (1982) or 60 Minutes special in 1985. While anyone with a shred of familiarity with AD&D knew that it wasn't a portal to demonic possession or mental illness, the controversy around the game jangled everyone. Thus, a conversation about evil PCs had higher stakes in 1984 that it does now. In fact, I don't think that sense of heightened concern wasn't as bad even a couple years before --  for example, in 1982, Dragon published a playful article about playing an evil character and there was no blow-back or debate ("How to Have a Good Time Being Evil" by Roger E. Moore in Issue #45).


    It's also important to put the "evil campaign" dispute in perspective. At the same time that Kerr and company were fighting over morality and psychological health, an equally acerbic debate was going on in Dragon Magazine... about how to properly calculate falling damage in accordance with Newtonian physics. This argument also spanned several issues and engendered withering criticism. (My favourite line: "While I admire the detail of research and reasoning in Stephen Innis' article, I think he's made an error by comparing the proportionate weight of a dwarf expanded to six-foot stature to that of a six-foot human.") Which is to say, flame wars were a part of gaming culture long before the rise of the internet.

    The only thing that truly troubles me about the 1984 controversy is that one one mentioned the most important and obvious part of evil characters: however evil they may be, they never actually see themselves on the wrong side.

    I bring all this up for two reasons. First, I love travelling back in time and seeing how attitudes towards our hobby have changed, even within my lifetime. And second, I want to introduce you to my own evil campaign... so stay tuned for that. 

    In the meantime, do you think there is any problem with playing evil characters? Does that question seem too naive to even ask it?

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