Quantcast
Channel: Realm of Chaos 80s
Viewing all 704 articles
Browse latest View live

The Malignancy of Malal: Hook Horrors by George Fairlamb

$
0
0

In February of this year, I discussed the work of George Fairlamb and how he had been inspired by the 'lesser daemon of Malal' concept that had been floating around the internet for a while. The concept art was made more readily known by my essay on the subject of Malal, which has become, unsurprisingly, one of the most popular posts I have ever made here at Realm of Chaos 80s. You may remember that George spoke to us here about his attempts at making a sculpt inspired by the unused concept, and the results of this were shared a little later after the main article. I contacted Tony Ackland and shared with him George's creation and the Grand Master of Chaos himself was very impressed with what he saw. 


Well, I am very pleased to say that George has managed to get the sculpt into production, and it is available from C P Models! This news has really made my day today, as I loved the interpretation, now named a Hook Horror, and would have appreciated the chance of painting one up in suitably black and white tones. It was a no brainer to order five of these models from the online store straight away, which I have done, and I thought the best way of supporting George's work was to share it with you loyal readers!

Here's the link to the online shop! Scroll down a while and you will spot it!

http://www.cpmodelsminiatures.co.uk


Now George is a member of the Oldhammer Community on Facebook and he has been a regular poster of his old school inspired sculpts (as can be seen above) and he has a great many other bits and bobs on sale that may well be of interest to readers of this blog.

Here's the link to his Facebook page to check out some of his other models.

George's Facebook page

Orlygg.

The Lone Wolf: An interview with Gary Chalk

$
0
0
When I was nine I lived next door to a boy called Matthew. He was a year older than me and we had one of those strange childhood friendships that existed out of school as we rarely mixed in school. He was in the year above and, well at my school anyway, you didn't mix with the older children. We both loved the Fighting Fantasy books which were probably at their zenith by that time. Forest of Doom, Deathtrap Dungeon and the Island of the Lizard King we all conquered with a thumb firmly in between the previous choice so a quick exit back could be executed in case of death. We'd compete, probably along with many other kids, to get hold of the battered copies of Livingstone and Jackson's work at the local library and race home to enjoy them in the safety of our boyhood beds. 

One day, I went over his house, probably with a box or two of plastic Airfix WW2 British (he ALWAYS played as the Germans) under my arm, expecting to see his Argos snooker table laid out for a 1944 skirmish. Instead I found him lolling on his bed, flicking rather carefully through a book. I knew it was a library copy as it was shrouded in one of those yellowing plastic jackets that librarians insisted on using twenty five years ago. As I walked in, he glanced up and casually through the book onto the floor.

As the book skidded to a halt on his paint flecked carpet, its cover gradually settled into my view. Two dangerous eyes stared suddenly into my own, eyes that glared from a figure who was partly Robin Hood, partly '80s Wood Elf and partly unknown hero. I had had my encounter with Lone Wolf!

My first sight of the classic Chalk style of fantasy art. Those eyes still haunt me!
It took me quite a few years to make the connection between Lone Wolf, Gary Chalk and '80s Warhammer. To be honest, it was fairly recently. About 8 years ago now I started collecting back issues of White Dwarf, starting with issue 90 and working by way up until the tone of the magazine turned from '80s anarchy to '90s corporate lunch. I then began to work backwards from 90, picking up the magazine in the pre-Warhammer/Rogue Trader days when it was (nearly) always RPGs all the way. Gary's work cropped up here and there in my random purchases and I started to recognise his style in the old hardback GW books I horded in my bedroom and flicked through from time to time. It was a distinct style. Bright and engaging, and very much against the odds of the darker artwork abundant even then. 

I was pleased, therefore, to produce a small article about his work for this blog, entitled The Magic of Warhammer Third Edition. Its seems that my posting was a popular one, as it has been viewed many times and discussed here and there by fans of Gary's work. Well, I am very pleased to say that Gary has agreed to be interviewed for this blog. We talk about his early career, his move into GW, Fantasy Warlord and beyond. Can I just take this opportunity to thank Gary personally for contributing to Realm of Chaos 80s and the Oldhammer Community. From your feedback, I know how much many of you enjoy these trips back down memory lane. 

Over to Gary...

Orlygg

RoC80s: You were brought up in rural Hertfordshire, how did the country lad become interested in the fantastical in the first place?

GC: There wasn’t really a fantasy genre back in those days, or if there was I didn’t know about it. Doctor Who didn’t appear on tv until I was eleven years old and the world was only available in black and white.  As a result I became interested in drawing and history which were about as far away from reality as I could get. I realised while reading Rosemary Sutcliff’s excellent historical fiction books that someone  (Charles Keeping) was illustrating them and presumably getting paid for it. I decided me to become an illustrator, and thanks to a truly inspiring art teacher I fumbled my way into art school.
      It wasn’t until I was leaving art school that the whole fantasy thing began to kick off with Dungeons and Dragons arriving, science fiction books appearing all over the place and everyone reading The Lord of the Rings. I just wanted to illustrate kids books and suddenly there was all this stuff!  The world was now available in technicolour. Of course that could have been the effect of the drugs, but it doesn’t seem to have worn off yet.
         I got a job in a graphic design studio producing anything from shampoo labels ( flash but regal ) to , and, I swear this is true, airbrushing out an old lady’s wooden leg in a photo for something medical. Classy eh? While I was doing this, I kept sending out illustration samples and eventually manged to become a freelance children’s illustrator doing fairy tales and stuff. Fantasy comes in a bit later, so keep reading…

Illustration from Lone Wolf II: Fire on the Water.
RoC80s: You started wargaming as a teenager. What are your memories of that early time? Was it purely historical for you, or did you find yourself amongst the early D&D roleplayers?

GC: Wargames were originally played with Airfix figures, using Donald Featherstone’s rules. These were the only things available to a teenager who didn’t live in London. You played World War Two or American Civil War or spent your entire life converting tiny plastic men with the aid of plastecine. The strange thing was though, that these games were actually fun! As you know fun is no longer allowed unless it has accidentally slipped into a set of rules by accident. If this does occur, it’s usually weeded out by the fifteenth edition. We eventually started making up own rules for things, but it was okay because nobody ever found out.
        There were no fantasy games around at all at this time, except for those played by a mythical figure in a cardigan called Tony Bath who played wargames set in Robert Howard’s Hyborea. As no-one in Hertfordshire had ever heard of  Conan or Hyborea, these remained pretty much of an enigma. The D&D stuff comes in later…

Scratch-built model ships. Used in 'Every Dwarf loves a Sailor' and beyond. Gary Chalk 1986.
RoC80s: How did you manage to move from being a ‘player’ to working in the ‘games industry?’

GC: I moved into the games industry by inventing my own game! I had desk space in a printers and one day I was looking at a historical boardgame when I was espied by the two brothers who ran the place. They asked what it was and how much it cost. When I told them how much, they couldn’t believe the difference between the printing costs and the retail price and told me that if I made one up, they would print it. So I did.
 I invented with Cry Havoc. I had recently started playing D&D ( I told you it would eventually turn up) and was struck by the difference between the roleplaying and existing historial games. Historcial games, even skirmish games, had rather anonymous playing pieces who were all much the same, while D&D had characters who were all different and could do more than just fight each other. I tried to put a bit of the RPG flavour and colour into a historical boardgame with individual characters with individual strengths. Cry Havoc was born and I was a game designer.

Talisman: The magical Quest Game. First Edition 1983. Cover Art by Gary Chalk.
RoC80s: My earliest memory of your distinctive style is probably the front cover of Lone Wolf: Flight from the Dark in 1984. How did you become involved in Joe Dever’s famous gamebooks?

GC: I first met Joe Dever when he was running the Game Centre near Oxford Street and I flogged him a load of copies of Cry Havoc. He need a lots of other products he couldn’t get a regular supply of and so I started a line of dungeon mapping pads and floorplans, which I also sold to him. At this time there were no gamebooks to get involved in and we started playing fantasy wargames using the Reaper and Laserburn rules along with historical games with the now widely available 25mm metal figures.

One of Gary's '80s dioramas. This one appeared in Fantasy Warlord among other places.
RoC80s: How did your begin working with Games Workshop? Was it as an artist or games designer?

GC: I left the printers as they had serious financial problems and were milking Cry Havoc for cash, so that it could never really get anywhere. I went to see Livingstone and Jackson at Games Workshop. They had repeatedly threatened to sue me for plagerism over the dungeon planner pads and the floorplans, but had never really been able to make it stick. I told them that if they gave me a job, they wouldn’t have to keep trying to sue me and I could even invent products for them. They thought this over and gave a job they called Games Development Manager! I had an office, a drawing board and a view of the car park. I was only in charge of myself, but hell, I was management material!
      Now this is where the story really starts. Joe Dever was fired by the Game Centre and needed a job. Workshop needed a warehouse manager and I suggested Dever. He got the job. While I was working on Talisman and Battlecars, Livingstone and Jackson came up with the idea of The Wizard of Firetop Mountain, based on the solo Tunnels and Trolls adventures. When this started to sell, they asked Joe if he would ghostwrite a solo adventurefor them and if I would be prepared to illustrate it. All for a princely 1% royalty. I pointed out to Joe that if we were good enough to write their books we were good enough to produce our own. Joe wrote a section of the first Lone Wolf book based on a world he had put together for his fantasy wargames. I produced some illustrations and made up a presentation for the publishers. As I recall, the text was put together by Workshop’s very own typesetter in secret lunchtime sessions….


Interior Illustration from White Dwarf 41. May 1983. By Gary Chalk.
RoC80s: You produced a wide range of material for early issues of White Dwarf. You wrote about painting in the days before ‘Eavy Metal and produced classic articles like ‘Every Dwarf Loves a Sailor’. What was it like working on the magazine in the early to mid 1980s?

GC: It was great working with Jamie Thompson who was the editor at that time.  He had a great sense of humour and was always slipping jokes and rude noms de plume into White Dwarf. I particularly remember a writer he called Hugh Janus ... This was back in the days when White Dwarf was still a magazine and even featured articles about other manufacturer’s games. The naval rules for Warhammer were written as I needed some for ships in my own games and decided to make an article out of them.

Iconic cover to Blood Bath at Orc's Drift. Gary Chalk. 1985.
Interior Illustration from White Dwarf 114. By Gary Chalk.

RoC80s: Among old school Warhammer fans, you are probably most well known for the 2nd Edition expansion packs like Bloodbath at Orc’s Drift (which was played out at our recent Oldhammer Day at Bryan Ansell’s Wargames Foundry by the way) what is the story behind the creation of these scenarios?

GC: The story is  that Workshop asked us to write a scenario for them. We were putting on some of the first really big fantasy wargames at Dragonmeet and Games Day. (Sometimes we used Warhammer and sometimes we put Warhammer rules on the table, but were secretly playing Reaper, ‘cos it was quicker. Weren’t we naughty! Anyway Bryan Ansell asked us to write a scenario and I came up with Orc’s Drift and Joe expanded it a bit so that it would use a lot of the latest releases in the Citadel figures range.
   
Interior Illustration from White Dwarf 113. Gary Chalk. 1989.

RoC80s: You provided quite a bit of artwork to GW (and beyond) during the 1980s and many fans want to know what happened to the original pieces of art. Do you still have them in your possession or have they been sold on to collectors?

GC: I have some of the artwork, but a lot of it has gone missing at Games Workshop. They actually produced a boxed set of  Lone Wolf figures at one time and I gave them the artwork for the first Lone Wolf  book for the box lid. This is sadly one of the missing pieces. I have it on good autority that some of my artwork, along with that of other artists, was actually seen in a refuse skip outside the studio. Since the witness is an ex-Workshop sculptor, I can only assume this to be true. I am really pissed off about this as you can imagine.

The ill-fated fantasy ruleset.
RoC80s: You were involved in the ill-fated Fantasy Warlord project. What was the original vision behind the project and why do you think that it failed?


GC: The original idea behind Fantasy Warlord was to produce a set of rules that actually allowed players to use tactics on the tabletop in a way which was realistic and relatively quick to play. I had given up playing Warhammer because it was incredibly slow to play with a lot of figures.  By a lot, I mean two or three hundred a side. Warhammer is really a skirmish game. If twenty bowmen need to throw sixty dice to resolve their firing, then that, in my book, is a really clunky system. That’s why I went for the percentage based rules which allow you to resolve combat and firing with a single die roll.

       I didn’t much like the ever increasing rules either. Chaos seemed to need an enormous number of rules. Think about that  for a moment… and the background was getting so detailed that there was very little room for the gamer to be inventive. I actually enjoy making up scenarios, war-engines, uniforms and so on that  bolt on to the rules for my own games. I now believe that I may be alone in this and this could be one reason why Fantasy Warlord failed. People want to belong to a group where they are one of the boys. They’re one of the people who play Warhammer or  Malifaux or whatever, and ultimately it is this community which is as important as the game. They like the in-jokes about the third edition or getting the badges on their orcs to look just like the ones in the magazine. I’m afraid to say, that I don’t really give a damn about this stuff and I can make up my own badges. I must be some sort of pseudo geek who isn’t really geeky…
        There are lots of other reasons it was a disaster. We had figure makers who lied about the number of sculptors they had and layout artists who really did deserve to be laid out. We had packagers who were going out of business and hadn’t told us and we had one of those little financial crisis things. The Chancellor, Nigel Lawson, told it was going to be a little blip, but he lied. Imagine that, a politician who tells lies. Seems impossible, doesn't it? Anyway, the project seems to have been totally doomed form the moment of it’s conception.  I screwed up big time.

Interior Illustration from Warhammer Armies. Gary Chalk 1987.
RoC80s: You were recently quoted in a news article about 40k, this caused some bemusement amongst long standing fans of your work (as you have had nothing to do with the game for decades), how on earth did you end up being interviewed for the piece?

GC: Even though I haven’t had a lot to do with 40K recently I am still unravaged by Alzheimer’s and have followed its progress closely. I have even managed to read bits of White Dwarf down at the paper shop before they throw me out.
      The reason I was asked to do the interview was nothing more or less than flagrant nepotism! My son Titus who works as a journalist in Berlin, is a friend of Samira Ahmed. She needed to find someone who knew about Games Workshop’s products and he suggested me. Funny old world innit?

      In my defence I can only say that I am familiar with Workshop’s products and I have played both Warhammer Fantasy and 40K, indeed I actually play-tested early versions of the rules. If they had interviewed someone who currently worked for Workshop, it would have ended up as as a piece of advertising. I told her what I honestly thought and that’s about it.

An intriguing piece from the Colleges of Magic article. The black dot? Design choice or a cover for something?

D&D, WFRP and the birth of a fictional God: A (short) Interview with Phil Gallagher

$
0
0
Eye of the Beholder, and games like it, were my first contact with TSR and Dungeons and Dragons. Sadly, by this time the UK division was no more. 
Some months ago I began a very interesting dialogue with Phil Gallagher, one of the authors of the immortal first part of the Enemy Within campaign among many other notable works and roles. I found Phil to be an incredibly articulate man, full of stories and with the skill to tell them. No wonder that Mistaken Identity, Shadows over Bogenhafen and Death on the Reik were the milestones that they were! Now our conversations steered wildly all over the place before other commitments put the discussion on hold. 

His thoughts on his early days at TSR UK remained safely stored in my draft folder for quite sometime until I became interested in researching '80s British Fantasy gaming on a wider scale, inspired largely by the recollections of Paul Cockburn. As we have learnt, there was quite the influx of staff from TSR UK to Games Workshop after Dungeon and Dragons module writing company was dissolved. Many a name that would later be tied to WFRP and other GW products can be seen in the credits of the British D&D modules. But there wasn't much actual information on the company itself, or at least, I couldn't find any. 

Then I stumbled across a fantastic blog called Random Wizard, which published an interesting little article about TSR UK and I have quoted it in full below. It serves as a far superior introduction to Phil's recollection than anything I could write.

"The UK branch of TSR had an even shorter history than the parent company of TSR (and nearly as troubled in its ups and downs). There is a dearth of information regarding TSR UK Ltd but hints of what happened across the pond can be gleaned from interviews and other sources scattered around the Internet.

The excellent interview by Ciro Alessandro Sacco teased some information out of Gary concerning the European operations.

http://www.thekyngdoms.com/interviews/garygygax.php

It seems that Gary had a different vision of how to expand operations than what eventually occurred. Gygax seemed keen on working with local hobby shops, established residents of the area to give each TSR division its own local flavour. TSR's original presence in the British market was through Games Workshop (Ian Livingstone and Steve Jackson). When TSR's proposal for a merger with Games Workshop fell through, TSR UK was born. March, 31 1980
          Not merely an outlet for distributing material made by TSR in the states, the UK division of the company was tasked with making their own brand of modules and accessories. And what an impressive line up they made...

Fiend Folio, 1981
U1 Sinister Secret of Saltmarsh by Dave Browne with Don Turnbull
U2 Danger at Dunwater by Dave Browne with Don Turnbull
U3 Final Enemy by Dave Browne with Don Turnbull
UK1 Beyond the Crystal Cave by Dave Brown, Tom Kirby, and Graeme Morris
UK2 Sentinel by Graeme Morris
UK3 Gauntlet by Graeme Morris
UK4 When a Star Falls by Graeme Morris
UK5 Eye of the Serpent by Graeme Morris
UK6 All That Glitters... by Jim Bambra, 1984
UK7 Dark Clouds Gather by Jim Bambra and Phil Gallagher
B10 Night's Dark Terror by Jim Bambra, Graeme Morris, and Phil Gallagher
O2 Blade of Vegeance by Jim Bambra, 1986
X8 Drums on Fire Mountain by Graeme Morris and Tom Kirby
CM6 Where Chaos Reigns by Graeme Morris, Jim Bambra, and Phil Gallagher
I8 Ravager of Time by Graeme Morris and Jim Bambra
AC9 Creature Catalogue, 1986

So what would have happened if this format for expansion had continued? A really telling response that Gary gave, outlines how he expected to make a TSR France division to be headed by Francois Marcela Froideval (who later went on to write the Black Moon Chronicles). I rather like the idea of TSR expanding out on a country by country basis, with each division having its own particular flavour (much like the TSR UK modules were unique onto themselves). What would have been the next step? TSR Japan-- imagine anime infused modules and a more detailed version of Oriental Adventures. Then TSR Germany-- dark forest, witcher style flair.
       Sadly, it was not to be. Shannon Appelcline wrote an insightful commentary for the recent product description of UK7 Dark Clouds Gather.The Final Fate of UK. So why did the UK series end? It certainly wasn't due to sales. Imagine #30 (September 1985), published shortly before the release of "Dark Clouds," claimed that "after the Dragonlance epic, the UK modules are the best-selling series both here and in the USA."
       Ultimately, the UK series was probably doomed by TSR's financial problems of the mid-80s and the changing tides at the company - as Gary Gygax left in 1985 and Lorraine Williams took over. There were many changes in the surrounding years, with the upset in the UK offices being just part of that larger turmoil. TSR UK's Imagine magazine died first, after issue #30 (September 1985). Following that, the shutdown of TSR UK's creative division was just a small step."


Now we get on to Phil himself, as I said earlier, the interview was quite short, but was fascinating. I felt that rather than sitting on the text for any longer, I would share it. Hopefully, some time in the future we can complete 'Part Two' and really get to grips with the development and writing of the Enemy Within Campaign but this will have to serve for now. Can I just say a HUGE thank you to Phil for taking the time out to contribute to this blog and to the wider Oldhammer Community as a whole. I really do find it startling that we are barely two years into this little 'movement' as we have connected to some many of the authors of 80s Warhammer (and beyond).

Over to Phil....

RoC80s: If memory serves, you were on the TSR UK team by the mid 80s. Describe the journey from your young gaming self to a fully fledged member of a design studio, your influences at this point etc.
PG: I didn't get involved with fantasy gaming until my 3rd year at Cambridge in 1981 or so. I'd heard about D&D but didn't really know what it was, and I'd never done any miniature wargaming beyond playing with WW2 Airfix models as a kid. I was a huge Tolkein nerd - had read everything in print at that time, including the Silmarillion and Unfinished Tales, learnt the Tengwar, and Dwarfish runes - the whole nine yards. But outside of that, apart from a little Harry Harrison, the occasional Larry Niven (and Ursula Leguin, of course) I was not a huge fantasy or sci-fi fan. I thought Lovecraft was tedious in the extreme, I found Howard and Moorcock two-dimensional, and I hadn't even heard of Dune at that time! (I know, I know, how did I ever get a job at GW!?) I bought a copy of Basic D&D but couldn't quite get my head round how to run the module that came with it at that time (I think it was probably "The Keep on the Borderlands") - there were no real instructions about "how to be a DM", and I couldn't find enough saddoes to play with, anyway! Then I ran into a group of people who all wanted to play, an experienced DM, called Chris Moore, and that, as they say, was that. Chris was a great DM, we had fantastic fun, playing hours and hours at a time, and my starred first (that's the UK equivalent of a 4.0 GPA) was sacrificed on the altar of the great Gygax...   After graduation, I was struggling to make ends meet when I saw a job ad in White Dwarf for someone to join the design team at TSR UK. By luck, they were based a few miles way in Cambridge, and I thought "what the hell - might as well apply!" I was amazed to get an interview - with Tom Kirby and Graeme Morris - and even more surprised to be offered the job. Faced with a choice between being a starving, mostly out-of-work actor, or a paid lackey of TSR, I took the money! 
The early days were a fantastic time. When I joined the business, UK2 was just being put to bed - it was a case of final proof-reading, sticking in the pictures and then shipping everything off to the US for printing.
It was my first "proper" job after university and I enjoyed it immensely. The people were all very friendly and welcoming, the offices pleasant, and I had money in the bank. I learned about word processing (we used WordStar on some kind of IBM terminals, I think, with 12" floppy disks!), and DOS, and photo-electronic typesetting, and page design, and paste-up - state of the art, technology it was! 
Jim Bambra joined the team shortly afterwards and he has to take responsibility for introducing me to miniature wargaming. Outside of work we played a lot of Traveler, including 15mm Striker, and later moved onto Command Decision - at 6mm scale.
Jim and Graeme were the main writer/designers at TSR UK - I was principally editor, proof-reader, production guy, liaising with artists, and preparing materials for printing in the US. Jim always wanted input and suggestions and, over time, we developed a very collaborative way of working. He tended to be happiest starting with a blank sheet of paper, and I liked to fill in gaps and hone and polish. 
We all felt that we had a ridiculous number of hoops to jump through to please our US masters who had the final word on what we could and could not do. That would not have been so bad, had we not constantly encountered material from the US that clearly broke all the rules we were told were sacrosanct. One of Tom Kirby's roles at this time was soothing the outraged indignation of the UK design staff!


It was this omnibus edition of the first half of the Enemy Within Campaign that I recall playing with great affection. The journey through the von Wittengenstien castle was particularly terrifying, and I was the GM!
RoC80s: Were you part of Paul Cockburn's poaching of Imagine staff or did you join GW by some other route?
PG: The sequence of events - over a period of a few months - was:
1. TSR Inc closed down Imagine magazine and a half-dozen people lose their jobs. Graeme, Jim, and I were shocked when we heard the news. We had no idea it was even being considered. It was very unsettling, and left a big hole in the place.
2. Paul tried free-lancing for a bit and then landed a job at GW, just as Bryan Ansell was in the process of moving the publishing from London to Nottingham.
3. Tom Kirby left TSR UK to go work for GW. Jim and I, in particular, felt very exposed by his departure - he was one of the good guys on the management side, and it seemed that the writing was on the wall for TSR UK as a whole.
4. I called Paul in Nottingham to see if there were any jobs going. Graeme, Mike, Jim, and I were all interviewed by Bryan - pretty much en masse - and he offered us all jobs. It felt like there was a future at GW, a much flatter hierarchy, less politics, and the opportunity to be in "on the ground floor" as WFRP was created, so it was a pretty easy decision. Only Graeme decided he wanted to stay in Cambridge, but there were no more UK D&D modules.


Find Sigmar's Hammer? Who was this Sigmar bloke anyway?
RoC80s: One of your first roles was the further development of WFRP. How did you find the game when you began work and what input did you put into the finished product?
PG: How did I find the game? I just switched on my Amstrad word processor, and there it was - disk after three-inch full of files! I was little disappointed, and definitely surprised, at how much of WFRP had already been created when I arrived at the Design Studio in Nottingham. 
"Design Studio". It's a term that conjures images of stylish open plan rooms with lots of natural light, minimalist furnishings, and lots creative people with pony tails, sitting at drafting tables. Well, Enfield chambers wasn't nothing like that! True, the top floor had lost of drafting tables where the "paste-up"artists and graphic designers beavered away at page design and logos ("it needs another black keyline," was the standard comment from Bryan), while the typesetters turned the word processed documents from the writers into long 'galleys' of text. But then there were the miniature designers, mostly crammed together in one room on the second floor (although Kev "Goblinmaster" Adams had to be kept separate for some reason). I see them, through the distorting lens of memory, at high stools in front of customised wooden "desks" with a big curve to them, bent over green stuff, which they somehow manipulated onto wire armatures with dental tools (or at least that what it looked like to me!). Their tables were covered with bits of cork, castings of heads, weapons, brass rods, and so on. Finished pieces were "cured" under the heat from an angle-poise lamp. Us newbies from TSR were in a large office with Graeme Davis and I'm not sure who else! Marc Gascoigne (now of Angry Robot books), for sure was there. Richard Halliwell (Hal) was always wandering in to banter with us, but I think he and Jervis Johnson, and Paul Cockburn all had separate offices. Rick seemed to be mostly closeted in his little office pecking away at the computer, writing. Nothing if not prolific, Rick (perhaps because he didn't get constant interruptions from Hal!). There was an old dining table in the middle of the room - for conferences and bits of play-testing - its surface pock-marked by the tip of Chaz Elliott's big knife which he liked to hammer between the outspread fingers of his left hand with scary rapidity. And there was a battered old sofa (on which the same Chaz Elliott was supposed to have spent the night, when he left it too late to go home!) There were a lot of smokers back then, too, so the atmosphere was pretty fuggy, and the whole place was closer to a warren, than a "Design Studio"!
Anyway, I'd arrived thinking I was going to be part of creating "a better D&D", only to discover the rules were mostly written, and it was basically a more detailed version of Warhammer Battle. I wasn't a fan of percentile-based systems, and found the combat system a bit clunky for the kind of fast-paced roleplaying games I was used to. The magic system, in particular, seemed to me to be much more about mass battles than for small parties of adventurers, and I worried that, in the draft we were faced with, wizards would have too much power too easily. I felt like the Irishman in that joke where he gets asked by the tourist how to get to Dublin. "Well, I wouldn't start from here," he replies. If the idea was to create a roleplaying game to supercede D&D, I wouldn't have started with much of the material we were presented with. But it was too late to start again. And what did I know, anyway? I'd worked on a handful of D&D modules, and played a lot of Traveler. So, faced with the tons of stuff already written, and under pressure to get the thing finished and published, Jim and I focused more on giving the rulebook some structure, fleshing out the guidance for new or inexperienced GMs, and making the more powerful magics as hard for player characters to get as we could. 
As I recall now, the bulk of my work was editing and tweaking, rather than generating new material. I worked hard to make the rules as clear and unambiguous as I could - but feared the thing was going to be, basically, impenetrable! The thing, all these years later, I'm most proud of, was coming up with the idea of a hero who, in the distant past, was credited with uniting a bunch of warring tribes to found the Empire. Since that part of the Old World was kind of a parallel of the Holy Roman Empire, with a strong Germanic feel, I was originally going to call him Siegfried - after Wagner's hero from the Ring Cycle. In the end, I think I thought the link would be too obvious, so I opted for Sigmar. 
Jim and I had already decided to develop The Empire as the setting for the campaign we wanted to publish, so I expanded the description and background of the Empire in the rulebook, and tried to sow some seeds that we could use in what became The Enemy Within. 
I desperately wanted the rulebook to have a usable index and helpful cross-references (all my manuscripts were always littered with "(see page XX)"). However, the printing process we used in those days meant we had no way of knowing what the page count would be and what would be where, until the thing was well into production. So the index was dropped, many of the "(see page xx)" were excised, and some of those that remained never got an actual page number inserted instead of the xx!

To be continued....

Hopefully!

Orlygg

The Malignancy of Malal: Creating colour schemes for the 'Lost Chaos God'

$
0
0
Remember when I waxed lyrical about Oldhammer Miniatures? If you cannot quite remember have a look at this post here. I waffled on about the prospect of creating Oldhammer inspired miniatures. It all seemed just a pipe dream back then, but someone has only gone and done it! 

By now, I am sure that many of you are aware that George Fairlamb has produced a miniature inspired by Anthony Ackland's unused Malal concept. Perhaps some of you have even gone as far as buying yourself a copy (or five, like me) of the miniature. I was very excited to find that the models had arrived early on Friday morning and that I would get the chance to fiddle around with the sculpt and get the model painted over the weekend. This post will chronicle my efforts to get the model from the commercial plastic pouch and on to the gaming table. I can do a fair bit of this myself, but I am hoping that you, dear readers, can help contribute to the gaming side, namely 'the rules and fluff', but more of that later.

Lets have a look at what I received from CP Models.
 

There we have five very well cast and packaged hooked horrors. As you can see, they arrive with circular bases but I intend to base mine using 25mm squares, so they can fit in more easily with my RoC stuff. Dispensing with the packaging materials, this is what you end up with...


The miniatures are cast in a crisp white metal and hold detail very well. I was impressed with the lack of flash and only had very minor mould lines to contend with. Five minutes of idle filing later and they were a thing of the past. Putting the creature together was a little more challenging though, as you will no doubt see when you get your hands on these. Not that it bothered me much, as I can remember the days when such problems were the norm for multi-part metal models. I think that it is very easy to become complacent about the modelling side of things after dealing with one to many CAD products, after all, you just get used to things fitting together. Here, I had to file down the inside of the arms and legs and attach pins. This gave the limbs the support I was looking for as well as allowing me to position the arms a little more carefully. I had a go at forcibly bending the metal in places, and though the parts made a strange cracking noise, nothing snapped or became weak. When I was reasonably happy with the positioning of the first model ( and I didn't have very long thanks to the needs of son/daughter/wife combined) I undercoated the model in black. 

I opted for a black and white colour scheme, to match the background of Malal. Only, I wanted to try out something a little different in the painting. Re-reading Andy Craig's great article about painting (check it out if you haven't already) I decided on using blue to highlight black. So I worked up the raised areas of the body using Chaos Black and old school Enchanted Blue. I dipped a little of the bone colour in for the final highlight. The hooves, hooks and head were painted with a mix of Bleached Bone and Enchanted Blue. As you can imagine, I only used a very little amount of the blue in the mix, and added even less black, but  was happy with the colour harmony effect and promptly worked up the bone bits until the final highlight was pure white. The base was completed in my usual super quick way.

Here are the results, and apologies for the poor lighting. What do you guys think then? Any comments or ideas about the colour scheme. 


Now, if you are wondering about scale, as indeed were a number of members of the Oldhammer Community Facebook page, cast your eye over this next photograph. Now, there has been some debate over what the actual image by Tony Ackland actually shows - beast or lesser daemon? For me, the model is best used as a lesser daemon, largely because between them, the lesser and the greater daemons are more useful in game terms. As an aside, I am trying to convince George to bang out the Greater Daemon to Tony's design in the near future, so fingers crossed there. 


Here's the hooked horror alongside some other contemporary models from the Realm of Chaos releases, and oh, another follower of Malal too! Can you spot him? As you can see, George's model fits in perfectly and will no doubt, just like many of the daemons before it, prove to be an absolute nightmare to rank up!

I am really proud of the model as it is, for all terms and purposes, the 'first' Oldhammer miniature. Why do I think this you may ask? Well, it was the Oldhammer Community that reached out to Tony Ackland in the first place, he agreed to share his unpublished work with us; that work was enjoyed by many thousands of enthusiasts amd one of which was inspired enough to have a crack and producing a model.

And here it is!

Well done George!

So what are your thoughts then? Any sage advice or opinions about the painted miniature? Would you have done anything differently?

Orlygg

Recognise this? Its one of Tony Hough's unused sketches. It started off life as a Games Day doodle and was developed into a proper illustration at John Blanche's instruction. It has remained in Tony's possession ever since. What do you think of this representing a Renegade of Malal? With a sculptor already interested in the project, this may too become an 'Oldhammer' miniature of its own one day!

Where are they now? Warhammer Fantasy Roleplay Cover Painting Discovered in Canada!

$
0
0
Pat has framed the piece beautifully. Imagine having this hanging on one of your walls?

A glorious sight is it not? Beautifully, and dare I say tastefully, framed and presented yet safe in the collection of a enthusiast. No tragic skipping for John Sibbick's seminal Warhammer artwork, as we have learnt to our great misfortune, happened with much of Gary Chalk's GW art. You may remember some months back I set out on a quest to track down the whereabouts of key pieces of art from GW dim and distant past. If your memory needs a jog, or you never read the original post, it can be found here. The search has proved successful so far, with Realm of Chaos 80s uncovering Tony Hough's Eldar and Tim Pollard's Collection and all the old school goodness that follows in their wake. 

As I said, this post is dedicated to the cover of Warhammer Fantasy Roleplay, published in 1986, and is, for me anyway, the defining resource for what the Warhammer World should actually look like. The forests, towns, mountain ranges, people and creatures that dwell amongst it all. Sibbick's front cover is perhaps the most iconic of them all when it come to the 80's Warhammer Mythos. The crumbling underground tomb, the band of heroes (including the troll slayer, who I always assumed to be Gotrek), the Ogre Face banner with squiggles radiating out of it, the mohican with black and white chequers, the green, bandy goblins and the deep sense of inevitable doom for all of the characters involved.

Just looking an the picture above sends me back to the glory days of Warhammer gaming. I can smell the Christmas pine needles, hear the wrapping being torn from gifts and feel the rough sensation of the Rudolph jumper I was wearing when I first laid eyes on the WFRP book during a long ago '80s Christmas Day. I can recall the wild adventures I made up for my friends, The Oldenhallen Contract, The Enemy Within and all the rest. I hope it triggers similar memories for you too. 

But how did the famous painting come to be framed and enjoyed in distant Canada? Well, I was contacted yesterday by one Pat Robinson, a collector of fantasy art who resides somewhere nearby Naggaroth. let's ask him...

RoC80s: How did you come to own this incredible piece of 1980s Warhammer artwork?

PR: I bought this directly from John a while back, and it took a great deal of convincing, as I think it was his last Warhammer piece, and he really wanted it... But, eventually I won him over.   This book was special to me, as I received it for Christmas in 1986 and it took over my life for a number of years.  To this day, I will still open it and flip through to look at the amazing art within when I walk by it on my shelf.  I have about 60 Warhammer RPG books, but this was always my favourite.  

I framed it with a dark green suede matting as I like the organic moss look that I think works well with the scene.  It is stunning in real life, and John kept it in immaculate shape.  The gold trim is a scale pattern which I think plays with the orc skin pretty well. 

RoC80s: You also own a preliminary sketch by Sibbick, which to my knowledge has never before been published, does the early drawing contain anything different to the finished piece?

The original concept sketch. I believe that this is the first time this has been published. So enjoy it!
PR: On the right of the sketch, there is a different character than in the final, and John has a note "Should there be a magician in the here somewhere?"   Ultimately, there was, and the outlaw (who an be identified as such from the career sketch of the outlaw at pg. 32 of the WFRP book, despite John calling him a "thief") was replaced forever.  I guess that outlaw should have saved one more fate point! 

What I found interesting is there are 3 bats in different spots in the painting, (can you spot them all?)  which surprised me, as there was only one on the book... Or so I thought, from many years of use and long car rides.  It turns out, by coincidence, 2 of the bats were under the text of the book, so could not be seen.  A nice little surprise. 

A close up on the right hand side. The large square is a text box, indicating where the blurb would go. 

PR: Also, the sacrificial altar, which looks great in the painting is not on the spine of the book (which did not have art) so that was another nice reveal in the final painting.  

John had written at the top of the preliminary sketch "Temple to the Worship of Khorne - God of Chaos", so now we know where this band of adventurers was heading. On  the bottom, John identifies that the first sketch of this was accepted by Games Workshop - with good reason, I should think.

Can you spot the difference? Hint! Have a look to the right of the ogre.
PR: Anyhow, this piece now hangs in one of my art rooms, along with my other game book covers.  There are 2 Endless Quest book covers and 4 Fighting Fantasy covers, so it is with some good 1980s friends.  

I would probably collected more game book covers if I had not read a book called Game of Thrones in 1996 and started buying all of its bookcovers, and a bunch of other book covers from some guy named George R.R. Martin... 

Speaking of magicians... 

Keep up the great work on the blog.

Cheers, 


Pat from Calgary

The image was used elsewhere too. Here, after a flip, it forms the cover for Magia i Miecz, the Polish language edition of Talisman City. Isn't strange to see such a similar image the other way around?

As always, a huge thank you needs to go out to Pat for contributing to this blog. I am sure that many of you will want to do the same below in the comments section. What is your opinion about this picture? Does it summon similar memories for you as it does for Pat and myself? Or do you dislike the image, and if you do, why?

Additionally, if YOU own any old school GW artwork? If the answer is yes, please, please share it with us here. You will find a very captive audience just waiting to froth over your artwork!

Orlygg









The Adventurer's Cart

$
0
0
Good evening (well, at least it is when I am writing this) and welcome to something of a rarity here on the Realms of Chaos 80s. A completed painted model by yours truly! When I say model, I should really say models, as there are three of them, but together they make up a rather satisfying whole. 

Eagle-eyed readers way very well remember me starting this model some months back, when I had acquired it and the Plague Cart rather cheaply on 'Not actually that Evilbay'. Here's a quick shot of what I started out with. 


And here is the finished version. Its taken me quite some time to get the pieces of this lovely model together, and there are a couple of small details that I may go back to in the future, but generally I am happy with the result. All the cart needs now are some actual adventurers to wander around after it, or indeed before it!


As always, feel free to post your thoughts, comments and suggestions.

Orlygg

Goblin Green, and lots of it! Orlygg's Old School Basing Tutorial

$
0
0
It is half term for me this week. That means an entire week off with the wife and kids, and considering that over half of the Oldhammerers at the Foundry Event too were teachers, I suspect a lot of other folk are off to. This give me plenty of time to blog, paint and game. The trouble is, I have just bought a new top of the range computer and have found Steam. Skyrim is digging deep into my time once again. Even so, I have found time to finish my Adventurer's Cart and work is beginning to wind down on the Nightmare Legion too. 

It will be soon time to paint something different!

I have been asked by a number of people to do a tutorial about how I do my retro bases. So I have used the fact that I have no lessons to prepare for to whip up something that should explain clearly how to produce quick, effective (I think so anyway) old school style bases. My method is based on the Old School 'Eavy Metal one; Goblin Green with a Bilious Green drybrush over the top. Bang and you are done! But I was never satisfied with the result, yet wanted something quick and easy that allows for variation but didn't take hours of fiddly work to complete. 

Right, let's have a look at my method.

Step One: For this you will need a good green (Wooodland, Goblin or any similar colour - you can see I am using AP green at the moment for mine), a brighter green (here I use Bilious), Bleached Bone and White. A brown ink and a yellow ink are also essential. Oh, and sand! I use my own mixture of sands from beaches, fishtanks and Reception Class sand trays.
Step Two: Stick your sand down on your base using whatever method you use. I use superglue or PVA depending how soon I want the base to dry. Depending on how well the sand has stuck down, I sometimes give the base a watery wash of PVA as an additional assurance that the sand isn't going to fall off later.
Step Three: Paint your base colour all over your base. Depending on the size of the grains of sand you are using, I occasionally use a little PVA in this mix. It can initially change the tone of the paint, but by the time the stuff has dried you cannot even tell its been used. 
Step Four: The classic drybrush of Bilious Green is here! In fact, this was where a lot of old school mini's basing stopped actually. I can see why, imagining doing this for blocks of 20, or 30 troops in one go! You would be there all day!
Step Five: Time to use the ink. Mix the yellow 4:1 with water, though different proportions achieve differing effects, and splodge the stuff on in a fairly naturalistic, blobbing way. Don't worry if the tone seems shocking and un-natural, as it dries the ink will lose its vibrancy and blend with the green.
Step Six: Before the yellow ink begins to dry, apply the brown ink around the outside of the base and irregularly splodge around. Again, try and be naturalist here. The two inks will blend in places and a controlled amount of this is good. Try not to merge the two inks too much though, or you will end up with a muddy, unsightly colour.
Step Seven: When the ink is totally dry, your next job is to drybrush Bleached Bone over the top of the whole base. I tend to use a big, old brush from this job as it can be quite knackering on your kit. Allow this to dry thoroughly before moving on to the next stage.
Step Eight: Apply a final drybrush of white over the whole base, but not quite as thoroughly as before. I usually focus my efforts on the rim of the base and work inwards here. Then wait for the white paint to dry well.
Step Nine: Return to the yellow ink once more, again with the 4:1 mix with water. Splodge on the ink with more random aplomb but don't worry about following any particular pattern. Again, the tone will seem quite bright so leave the ink to dry thoroughly before painting the rim of the base in whatever way your prefer.
Completed Base: And you are done!
Well, what do you think?

Orlygg

Slaves to Darkness 25th Anniversary: Surviving Scenery Reappears!

$
0
0

We celebrated the 25th Anniversary of Slaves to Darkness with a fairly large Realm of Chaos Warband game at the Wargames Foundry, under the generous gaze of Bryan Ansell himself. It was pleasing to the Dark Gods that so few lovingly painted miniatures fell on the tabletop and carnage has long been their pleasure.

Sadly, we have learnt that the carnage did not stop in the game world, and much of the 80's classics were destroyed when the 80's Design Studio was moved circa 1991. Incredibly, thanks to one Evo Von Himmel we have the chance to glimpse at some of the scenery made for the Realms of Chaos books but rarely actually seen. Here we can present some 'Chaos Trees' constructed by Jamie Sims in the style of John Blanche.

You can just make them out in the picture below. 


Looking at them, they are surprisingly 'un-Warhammery', if such a thing is possible, though they have much in common with the early 1980s John Blanche figures that are now safely stored in the collection of Steve Casey.


I am sitting here as I type trying to work out how these were made. Its hard to tell, and please do comment if you know better than I, but I feel that that the scenery is built from a mixture of wire and mod roc/paper machie. No matter the materials used, the scenery has a twisted, ethereal feel that is wonderfully evocative of the Realm of Chaos before it became a rather generic wasteland. 

When I finally get around to building my wargames table, a set of pieces in the style of these survivors is going to be a must!

If you are interested in reading more about these pieces and won't to know how Evo came to own these, read the blog post below.

http://port-imperiale.blogspot.co.uk/2013/10/raiders-of-lost-skip.html

One question remains though! Who has the others?

Orlygg.

The Nightmare Legion

$
0
0
As you may have read, this week is half term and I plan to use my time wisely when it comes to getting miniatures painted. Some weeks back I entered one of the brilliant competitions, or challenges, over on the Oldhammer Forum for the month of October. The theme was 'Halloween' and so I chose The Nightmare Legion. 

Now the Nightmare Legion has had a special place in my wargaming heart for over twenty-five years. Why? Well it was the first box set that my father ever bought me, from Wonderworld in Bournemouth to be precise, back in 1988. I can recall him undercoating the miniatures in black for me, but the lure of other lead resulted in the models never being finished back in the day. Still, I didn't give up on them, and down the years I had repeated cracks at painting the legion but I never got further than a couple of models. It didn't matter what I had painted, when I saw my father he would ask 'have you painted the legion yet?' and, to be honest, it has become a bit of a standing joke.

But no more! For the Nightmare Legion are finished once and for all. Here they are in all their glory!


I went for a black, white and purple colour scheme as it was in keeping with the rest of my painted undead. I have also just finished a Khornate army, and the though of painting much red for a while did me the world of good. The simple colour scheme allowed me to batch paint these models quite quickly, and the sheer scale of the job saw me using several speed painting techniques. Sure, they was a loss of finish compared to my chaos stuff, but now that the models are all finished, I don't think you can tell. Can you?


The colour scheme for the basic trooper was simple. Bleached Bone/White for the bone, black for the clothing, highlighted in grey and brown and gold for the equipment. I used drybrushing and ink washes for most of the model, only using layering for the bone itself and edge highlighting for the clothing. Black ink became my best friend in ensuring that enough depth was created within the bones of the troopers and I even went as far as painting on the individual toe bones for the front rank models! The shields are not Citadel, but converted Gripping Beast plastics with the centre hollowed out to fit the boss. These were painted black and white, highlighted with grey and then washed with a muddy red ink wash to simulate the aeons of mud that would no doubt encrust a walking skeleton. I use a stippling brush to flick on red, brown and grey paint flecks, again to simulate age. 


For the command figures, I added gold to the armour and purple as an additional colour to the clothing scraps. Originally, I had gone for red (perhaps out of habit) but was not happy with the finished result. Fifteen minutes work was enough to remove this and replace with a nice regal Worm Purple. The banner is made from standard A4 paper, with the sign drawn on before hand. I used exactly the same technique as I did with the shields, only I added a skull symbol down the bottom and two silver dots to suggest nails at the top. 


The bases were done my usual way, as I recently explained in this tutorial, and believe it or not, took only half an hour or so to complete, for the whole unit! I spent a little longer on the command figures, adding the purple as I said, and highlighting the armour a further stage than the rest of the troopers. 


And here we see the beginnings of my Old School Warhammer Third Edition Undead army. Its early days, but there is a small force her for simple engagements, and minus the Liche, these models will be used as allies for my Khorne army at Blog-Con. I am hoping to be able to recruit a 'second in command' (underling) on the day to help me fight off whatever Warlord Paul feels I need to be fighting off.

Anyway, that is enough waffle for know. I am off to post these on the Oldhammer Forum (and my Dad's Facebook page) beforing tidying my desk up for the next project. With lots of holiday left, I plan to do something totally different next.

So what this space!

Orlygg.

Bretonnian Foot Knights

$
0
0

With the paint station metaphorically red hot at the moment I was able to finish off a unit of Bretonnian foot knights yesterday. In truth, they are part of a far larger unit, as I have a second rank of five to complete and a further eight models in the range to purchase. Though you will recognise these as Citadel Feudals, they are in fact modern Foundry castings picked up at Salute in April. For models nearly thirty years old, the quality of the sculpting and casting really stands up well today, though they are obviously much smaller than modern human sized troops produced by Citadel. Not that this actually matters, as people's heights vary in reality so why not in miniature form, and when the models are painted up and on a battlefield you really cannot notice anyway!


I had a go at a quick conversion to provide a standard bearer. Just a piece of brass rod replacing the old mace weapon. I need something to place on the top of the banner pole but have yet to decide. I though a severed head would do, but these knights look too prim and proper to be carrying around trophies of that nature - so any ideas would be appreciated! The chap in the centre with the droopy moustache is the unit commander, and he is a lovely, lovely model. I had fun exploring the uses of the Old School Citadel ink set with these miniatures, mixing in different amounts of inks with the base colours to create bright, vibrant shades that, to me anyway, seem appropriate to flamboyant knights. The banner was a quick, thirty minute experiment with flags and seemed to work quite well. I had no real plan with what I wanted to achieve, apart from I wanted results quickly. I am quite pleased with the end result, as the flag has shades of stained glass windows about it. 


The centre model this time will be the Unit Champion. A bloke with a large axe is a good depiction of such a character don't you think? As you can see, there are some lovely variations to the figures and I didn't feel the tug of dull monotony as I painted these, as I did with the Nightmare Legion. My particular favourite from the range is on the right of the photograph here. A moody axeman indeed!


The final four models painted so far are another good example of the range of poses available in this series. When it came to colour scheme, I knew it would be easier to paint the entire unit in the same colours, and I was indeed tempted to do this, but I wanted to play around with colour so opted to make each knight different. This was great fun but was time consuming. Background wise, I want these knights to represent a 'free-company' of knights with no actual lord, so they use their own personal heraldry. This way, its simple to ally theme with any good forces narrative wise. They will also then fit in to my Old School Bretonnian army as a nice big unit among the Lords other retainers. 

A Bretonnian army indeed! I remember when I started out this blog in February 2012. I had this idea of painting an army for each of the forces arrayed in Warhammer Armies. This was before the whole Oldhammer Community thing 'happened'. There were about four or five of us really, painting and collecting these old miniatures, and one thing that was fairly obvious back then, was how difficult the human forces of the Empire, Norse, Nipponese and Bretonnia would be to build. The models on eBay were of limited supply and expensive. Now, all four of these armies can be 'bought' off the shelf from Bryan Ansell's Foundry, in the original Citadel form too! 

A couple of years ago this would have been impossible! If you are interested in the Bretonnian (or Baron's Wars) range, its can be found here and bought for £80 odd quid. Which is very, very cheap for an old school Oldhammer army I can tell you. 



http://www.wargamesfoundry.com/our-ranges/medieval/barons-wars/early-medieval-knight-collection-bcmed001/

While you are visiting the Foundry, why not have a snoop around the other ranges as there are some fantastic little models that you can find. Just look at these brilliant mushrooms! Wouldn't they be perfect for Nurgle or Goblinoid forces?

http://www.wargamesfoundry.com/our-ranges/general-purpose-animals-carts-and-baggage/wildlife-collection-bcgpr003/miscellaneous-manic-mushrooms-gpr041/

Orlygg

Background to Blog-Con: A Warhammer Fantasy Battle Third Edition Scenario

$
0
0
Less than a week remains until Oldhammer once again treads the scuffed but haloed concrete floor of the Wargames Foundry. The tens of thousands of miniatures that hang in their plastic blisters will bare silent, but supportive, witness to old school fantasy played on a grand scale. The forces of Chaos will clash with those of the undead lord, Mum-Ho-Thep for malign and twisted purposes, but more of that later! 

If you are not followers of the Black Hole (Warlord Paul's Mouthpiece of Spewing Chaos) or the place Where the Sea Pours Out (by Robotforaday) you can follow the handy links below to 'do the deed' and follow along. 

What I present here is the background material provided by these two stalwart Oldhammerers, accompanied by my own. Paul is GMing and providing the narrative material behind Mum-Ho-Thep, including some appropriate scenery, while RobotforaDay is bringing along his Fimir force, which as I understand it, will be allying with the forces of undeath. This should provide the reader with an opportunity to tune into the game to be played next weekend in anticipation of the inevitable Battle Reports coming your way soon. 

First of all, lets learn about Mum-Ho-Thep from Warlord Paul...

"The Ziggurat glided silently onward to the next locus point of Mum-Ho-Thep’s scattered realm. It looked as though beams of pure magic had carved it away from a more natural resting place. The living rock, from which the main temple itself had been carved in a distant era, was tortured and twisted.

 A lone Skeleton sentry stood, immobile, staring out towards the horizon. It would easily be mistaken for a statue, were it not for the tattered rags flapping about the shoulders. The skull turned very slightly, almost imperceptibly. It looked out to the north where a smudge had appeared at the edge of perception. Was it a cloud bank? Fog? What was that rising from it, a wisp of smoke? No. It was a banner. The smudge was an army and it was closing fast! 

As soon as the mindless automaton had seen the forces of Chaos the image was transmitted to the Liche, Korvun. He had been poring over an ancient map that depicted this place as it would have been 4000 years ago but now he looked up from his chart table and sent out an urgent thought to his minions. 

“Prepare the ritual, activate the Array, summon the Guardians! We must awaken the Master and crush these interlopers!”


Inside his sarcophagus, Mum-Ho-Thep began to stir for the first time in centuries…"


Next we shall hear what RobotforaDay has to say about his Fimir forces...


"Derach the Demented Dirach crouched in his makeshift home. He could see nothing. Past battles had made sure of that. Cruel revenge at the hands of those who captured him and tortured him as punishment for the deeds of his clan had left him without his eye, his horns sawed off, his head and body hideously scarred. Freed after the village where he was held captive was razed, he was left an outcast, a source of disgust and horror. 


Shunned, now he lived in a crude shelter cut into the bank of a plundered burial mound. His only task to wait. Not to return to the clan until he had news. News that Mum-Ho-Thep was in this land once more. 

He could see nothing. But he could feel the damp around him, he could smell the rot. And he could hear. Hear the wind in the reeds, hear the splashing movements of the fish and fowl in the swamps around. And through the wind, across the swamp, he heard it. A humming. The sound of an ancient and alien energy, moving steadily closer, growing louder until it was unmistakable. 

A manic grin broke across the face of Derech the Demented Dirach. "Hhhe hassss returned! Hhe hassss RETURNED!" 

He clambered out of the mound, staggering through the marsh like a drunkard, staggering towards the homes of his clan, hissing all the time with greater and greater anxiousness. "Hhhhe hassssss RETURNED!" 

The fimm of Clan Slea gathered at the edge of the settlement to see the Dirach stumble towards them. Some turned away in digust, some mocked and laughed. Until at last Derach the Demented Dirach reached the Warlord's chamber. 

"It isss true?" 

"Yessssss. Hhhe hassssssss returned. Our tithe is due. It isss TIME." 

"Ssso. After all these years, it sssseems we must once again give tribute and prove our fealty. To show Mum-Ho-Thep that we are willing to repay our ancient debt. To fulfil the terms of our oath. Oh yesssssssss, we will pay our tithe, pay it indeed. We will pay it IN BLOOD." 

The Fimm raised their weapons and roared. Somewhere in the distance, Mum-Ho-Thep's ziggurat floated along its ancient course towards the horizon and blinked out of view." 


Next, we return to Warlord Paul for some wider background about the game...

The Floating Ziggurat of Mum-Ho-Thep is an ancient Slann device, an engine of great power that resides atop a prehistoric temple. Nobody remembers now what the device was intended for but at some point it was captured from the Old Ones by the immeasurably old and powerful human sorcerer, Mum-Ho-Thep. Those rare books that mention him at all say that he was born into an age of stone with the ability to see and manipulate the winds of magic when most of his peers had little more than fire, flint and spear to wield. He was able to command mighty spells many centuries before the Elves deigned to teach magic to mankind leading some scholars to compare him to the terrible Drachenfels himself. He is said to have led a rebellion against the Slann and wrested control of the temple in a bitter struggle, magic flashing in the sky and men and Slann alike falling dead without a mark on them. Once inside and in control of the temple, Mum-Ho-Thep activated the Array which caused the earth itself to buck and heave as the temple was torn from the land and the Floating Ziggurat was created. At first, Mum-Ho-Thep was able to guide his new fortress anywhere he wished, as well as gliding sedately across the face of the world the Array allowed the entire structure to disappear and reappear anywhere on the planet, but as the millennia passed he took to spending more and more time in his regenerating sarcophagus while the operation of the Array became a lost art to his servants. As his living army dwindled to be replaced by skeletal warriors by necromantic means the Ziggurat settled into a pattern of visiting a set number of previous destinations, the loci. Now, the Ziggurat wanders along this route over and over. It floats for miles before winking out of existence and reappearing at the next locus point to continue the journey. This route is the realm of Mum-Ho-Thep, those who live along it see him as a benevolent God-King and offer up tribute at his passing. There are always those who try to expand their borders into this realm but eventually, the Ziggurat returns and the Undead armies of Mum-Ho-Thep take a cruel revenge on the usurpers, often with the aid of local forces who have worshiped their God-King for generations.



Now, let's get the ball rolling with the background with my own chaos force. 

Titus shifted the weight of his club as he made his way down through the rocky outcrop that marked the opening of the valley. His mismatched boots, one torn from a bandit's severed leg, the other stolen from a carpenter's cart, crunched the white, chalky stone of the pathway. Goat turds dotted the track, suggesting that the route was taken frequently by the mountain men who raised their herds of straggly goats here. It would be an unlucky herder indeed who met them on the track that day, for Titus' lord, Ulthur Deathfist, known to his servants as 'Slambo', would leave no mortal living. 

Twisting backwards, Titus could make out the ragged line of his companions behind him. There was Crone, with his twisting, snake-headed arm, Skullface, dimwitted as ever, insescently scratching his bony face and Beorn, the great brute, his rusting, two handed sword balanced over his scarred shoulder. These were his fellows, his equals amongst the Host of Khorne that Deathfist led. Beyond them, the heavily armoured Marauders trudged their way, aloof and arrogant, down through the larger rocks. Violence would enshew if Titus, or another one of his number, dared to speak to them, or even acknowledge their existence, for they far outranked him. Further still up hill, the red armoured giants of the true Chaos Warriors clanked, their chaos armour glowing brightly in all manner of shades that pleased their patron, the Lord of Blood. These were the elite. The true killers of the Host. These were the beings that all followers on the Path of Blood dreamed to be. Powerful, merciless and living only to destroy the enemies of their patron in a orgy of destruction. The still sane part of Titus' mind recoiled in fear for a fraction of a second, though whether it was in fear of these warriors or the fear of becoming one of their number, only his conscience knew. 

Turning back to the path, he could make out the stumpy forms of the dwarfs. These squat forms carried huge weights on their backs. Bulky equipment that made up the petard mortar and the bazooka rockets. Grimbeard Twofingers, their master, supervised the transportation of the weaponry as his kin struggled with the huge weights and the uneven ground beneath them. He was a dangerous foe, thought Titus, who felt again the tang of mistrust about the dwarf and his crew. Slambo was pleased to have them among their number, for they had constructed a chariot for him to ride on, but some of the lower members of the Host felt nothing but contempt for their presence. 

The rest of the Host were still out of sight, lost from view among the crags atop the valley, and Titus concentrated once more on his role. His unit was to act as a scouting party for the slower moving troops behind. They were to deal with the goatherds and the other weaklings deemed to pathetic to inconvenience the more powerful among them. They were also looking out for the cavern, the place where their lord was leading them; its smoothed entrance marked by certain runes. 

As they searched, Titus thought of his lord, Ulthur Deathfist. The gigantic warrior in crimson armour that had lead them for nearly thirty years. Not that Titus felt those three decades, for strangely, his body now seemed more powerful that it had been in youth,and there had been no twisting of age about his limbs. Deathfist was blessed by Khorne. This was well known among the warbands that fought for territory, and against forces of rival gods, down here in the Badlands. Ulthur had been led by a  'voice' in his mind for some seventeen years now, a voice that had led them to victory to victory and, finally, to this bleak place in the badlands. 

Crone stopped suddenly! His leering, bloated tongue gibbering wildly as he gazed forwards into the heat shimmer. There before them stood a smooth opening in the rock face, a tunnel that looked to have been worn smooth by the passage of an enormous amount of water in ancient times, but now it was little more than a dusty, dry cavern. They had found it!

Uphill, an entity in the mind of Ulthur Deathfist smiled darkly.

Ulthur Deathfist leads a very successful warband that has expanded to a size that can now really be called a small army. This success is partly due to a daemonic presence in his mind, this entity, in reality a lesser daemon of Khorne, has used its knowledge to guide him from the forests of the Reikwald down into the Badlands. As with any successful Chaos leader, his forces have swelled as the remnants of defeated rivals and other chaos creatures. As this has happened, the lesser daemon has been able to communicate with Ulthur more frequently and has explained to him the significance of an appearance of a strange relic in the skies. An ancient weapon lies lost and abandoned amongst the ruins of a flying temple, a temple once revered by the Slann but since lost to undeath. The Daemon has led him to a place where in a few days time, the Ziggerut will reappear and the Host of Khorne will have a chance to retrieve the weapon. The daemon is aware that Ulthur will be unable to do this alone, and will need allies, so it has led him to the site of his first devotion to Khorne. The site of a massacre of his fellows when he was in service to a local tyrant. Among the corpses, now little more than skeletons, lies Augur Boneface, the individual who turned the young Ulthur towards worship of the Blood God. The daemon hopes to awaken the old servant of Khorne and raise him and his former warriors and skeletal champions of Khorne. Once re-enforced, Ulthur will order his Host forwards to attack the realm of Mum-Ho-Thep and reclaim the daemon blade once again. 

In my next post, I shall introduce to you the army I plan to take with me to Blog-Con and set about generating the profiles of the characters and troops. 

Orlygg.

Quote-o-rama: The Challenges of Casting Old Citadel Miniatures

$
0
0

Recognise this Rogue Trader Miniature?

Unless you are an avid reader of Eldritch Epistles or a member of the Oldhammer Community on Facebook, probably not. It is, as far as we can tell, an unreleased, never before seen, 80s miniature by Bob Naismith.

It was discovered among Bryan Ansell's vast collection of miniatures by Steve Casey, author of the said blog, Eldritch Epistles.

It wasn't the only one, as you will see if you follow these links.




Anyway, the discovery of 'new' old school miniatures, and the re-release of old Citadel favourites at the Wargames Foundry has got many a tongue wagging. "Is is possible to cast up and sell these lovely old '80s models because I want one?" has become a frequently asked question on forums and groups online and beyond. Well, the miniature you see above sparked a fascinating debate about this very issue and I have selected the interesting quotes to share with you here. The first is from Bryan Ansell, former Managing Director/Owner of Games Workshop and Citadel Miniatures and the second is from Rick Priestley, creator of Warhammer and Rogue Trader among a great number of other wargaming titles.

Bryan Ansell: I doubt that many (or perhaps any other) exist: we had not considered the idea of them being collectable in the future. I don't have any idea how I came to keep that one. The copyright is owned by GW anyway: I only have rights to the models that I took out when I ran things and was a owner.This mostly occurred when it was me and Steve and Ian: when I rescued some hundreds of the solid base models that would otherwise have been lost. But I didn't do that with any view to posterity or collectability: I was just keen to find something from my father to do in his retirement! Later, when foundry was moulding and casting for games workshop it seemed appropriate to send along anything of a potentially historic nature that was being discontinued along to foundry for them to manufacture. Unfortunately, by that time I was spread quite thinly: so I probably missed loads of stuff that could have gone to my father and been saved. Obviously, I'm very glad it turned out that at least a proportion of the solid base models survive for posterity: but I don't think anyone was thinking in those terms back then.

I don't know: but they most certainly do own the rights. I don't really know whether any/many of the old master moulds survive. A not necessarily reliable bloke who worked at workshop and then came to work at foundry once told us that he had been sent out in a van with a load off master moulds with instructions to split each mould into its two halves then dump one set of moulds on one location and the others on another. That would be a terrible shame if it was true, but I have always strongly suspected that it is not true. 

Well, there are also sets of master castings, so the loss of the moulds is not fatal usually. We have a huge potential range of models, certainly more than 25,000 and I think that we have both master castings and master moulds for everything. Even if you didn't really expect ever to run a mould again it would be foolish to meltdown the 20 or so master castings when they take up so little room. However if you have chucked out the moulds: you would no longer have that extra security of knowing nothing could possibly go completely wrong (other than the building burning down) we keep our master moulds here at Stoke Hall.

Rick Priestley: I think a lot of old moulds were destroyed when, or just after, we moved to the Lenton site (the old British Gas HQ), although I certainly didn't witness this and can't say for sure. However, it's more likely that masters were kept, as we had a big fire-proof strong room built to store masters, and it's must easier to keep a few dozen masters securely than the moulds. Later on, when the various GW sales companies were allowed to sell whatever they liked out of the back catalogue, a lot of older models were remoulded, though not necessarily as old as these fellas! I would very much doubt that any of the current management would have any interest in, or knowledge of, these older, models - so I wouldn't have thought anyone really knows what happened to a lot of this stuff. 

Oh - I have an idea the really big dragon and giant that Alan and Michael made were bought by a third party - I think GW basically sold them on to someone who wanted to produce them (but never did). So, I don't think they exit at GW anymore - could be wrong - but I think that's what happened.

The general view seems to be 'don't hold your breath' but Bryan has admitted he doesn't really know what masters and moulds lurk in the depths of Stoke Hall. So anything is possible.

Thoughts and comments guys?









Chaos Warrior of Khorne Standard Bearer

$
0
0

You may remember some time ago I embarked on an attempt to paint up a Citadelesque '80s banner. My efforts can be seen here, here and here if you are uninitiated. Well, I am happy to say that I have finally finished it and got the banner attached to a painted chaos warrior!

Here it is. There are a few little details that I am not sure of yet. The colour of the text on the banner, more white highlights on the hair of the warrior and a dulling down of the silver on the warrior's amour. Any tips?

Otherwise, I will let the pictures do the talking for once. And yes, this WILL be most definitely leading my forces at Blog-Con!


Orlygg.

The Host of Ulthur Deathfist: A Warhammer Third Edition Khorne Army

$
0
0

The day grows close. Early Saturday morning I shall be embarking on the journey north to Nottingham and the Wargames Foundry for Blog-Con and another game of Warhammer Third Edition. I shall be fielding my Khorne Army for the first time and have started to create the Army Roster I shall be taking with me. this includes the full background of the army, the special rules and the characters. This post will introduce to you the forces that I shall be taking and try a give a little detail about each unit.

I started this army in January in celebration of 25 years of Slaves to Darkness. Little did I know then that this would be an journey that would lead me to not only playing WFB3 with old school Citadel with a couple of like minded individuals, but with a far larger number at the Wargames Foundry under the benign gaze of Bryan Ansell himself! 

Onwards!


Ulthur 'Slambo' Deathfist - Level 25 Champion of Khorne. Army General.


Gluttonspoor - Minotaur Level 20 Champion


Pendraken Headcleaver - Level 15 Champion of Khorne with Daemonic Banner



Darklock the Disembowller - Level 15 Chaos Dwarf Champion with Ulf and Thorgrim the Howling, the mortar team.



Titus Shieldstorm - Chaos Thug Level 5 Champion (green mohican) and 7 chaos thugs. Unit known as the Shieldstormers.



Ironcron Steelsmith - Level 5 Marauder Champion and 7 chaos marauders. Unit known as the Fists of Khorne.


Dreg Horngore - Level 5 Beastman Champion and 9 beastmen. Unit known as the Flesh Hackers.



Eirik Doomaxe - Level 10 Champion of Khorne with 7 chaos warriors. Unit known as the Doomaxes.



Leif Spinesplitter - Level 10 Khorne Champion mounted on a Chaos Chariot. Second in command.

There may well be an additional unit on the day, one that I shall be keeping under wraps in case it isn't actually painted and ready for the game. I am also toying with the idea of using my undead army as Chaos Auxillaries. 

Any thoughts or comments?

Orlygg.

Oldhammer at Blog-Con: Photo Report

$
0
0
Yesterday, at the time of writing anyway, a large number of Oldhammer bloggers met up at the Foundry for a Warhammer Fantasy Battle Third Edition scenario. As you will now, I brought my Khorne army out for its first taste of the battlefield. I am sad to say that the Blood God will be most displeased at their performance. They were routed by the fell hordes of undeath, led by the Lichemaster himself, no doubt in return for some favour from Mum-Ho-Thep!

The battle was huge! If we had bothered to count up the points values, I reckon it would have been into the tens of thousands. There were hundreds of models, nearly exclusively old school, from ghosts to goblins, skeletons to minotaurs, scorpions to undead dragons! Quite how Warlord Paul managed to keep track of the game was anyone's guess, but he did and did sterling work as GM for the game. I spent most of the day locked in combat with Nik's undead, which had Steve Casey drooling over its hordes of quite rare, and shockingly expensive, Citadel classics from the Lichemaster scenario. As I said, I was utterly routed by the undead horde but I learnt a great deal about WFB3 that I didn't previously know, like the impact of chariots, long distance missile fire and the importance of rank bonuses. I also had quite a few thoughts about balancing forces for scenarios to ensure meaty, cinematic battles but that is a topic for discussion in another post.

It was fantastic to (finally) have a chat with Tony Yates, and see Warlord Paul, Golgfag, Harry, Norse, Robotforaday, Thantsants and meet Nik for the first time. Big thanks need to go to the Ansell family, as always, especially Diane who brought along the bar once again. Peroni and old school Citadel models is a lovely mix. 

Only one question remains! When can we do it again? I had to cut my trip short in the end and head home, but this proved that I am able to get to the Foundry and back for a game in a day, even from Essex. So if anyone is interested in another WFB game at the Wargames Foundry in the not to distant future, just drop me an email or message on Facebook. 

Onwards then to the photographs. I won't make any attempt to explain what went on on other parts of the battlefield, others with far more knowledge will do that shortly, but I shall share my snaps of the event with you here.

We used the large table as before with the RoC games, only this time we pretty much filled it! When has the floating Ziggarut and Harry's Khemi style scenery. 
My Khorne army with undead allies. They look splendid don't they? Sadly, it was not to last.
The Host of Ulthur Deathfist. A year's work really.
What Ulthur faced, the never ever ending forces of undeath. 
Ulthur's allies. Rank upon rank of Khorne and chaos forces. 

What faced Ulthur and his allies. The army of Mum-Ho-Thep. Plenty of old school miniatures here. What can you spot?
A close up of the ziggarut model. A great piece of kit but there just wasn't the space to do anything with it!
Harry begins the tape measure holding competition with a lovely finger splay. 
Robotforaday opts for a four inch Argentine Tango. Can you spot his fimir?
Thantsants smashes the competition with a remarkable parallel tape measure and finger pinch pose. A sure winner!
Norse negates the need for a tape measure and watches the endless horde of enemy models that surge towards him. 
The battle lines begin to meet as artillery and missile fire causes deaths aplenty. Chariots charge towards Golgfag's elves.
We even had units of Slaan on the table. Nice tape measure grab there from Norse, I believe!
All kinds of nasty monsters clash with Norse's Chaos Warriors. Robotforaday's Fimir advance towards the beleaguered beastmen. 
My Khorne army advances under heavy magic and artillery attack.
My Khorne army runs away under heavy magic and artillery attack. Not to mention rank bonuses.!


A Dark Deranged Structure: How to make a mini gaming table for next to nothing!

$
0
0
Introduction

I have written about gaming tables before. And as others have said, the surface upon which the battle rages should in many ways be considered the 'third army.' But what do you do if, like me, you don't have the space for a gaming table? What do you do if you only have a few quid to spend, or a wife that insists that your hard earned cash is NOT to be spent on any more of those 'little men'? 

Well, you do what technology has been doing for a while now. You go mini!

Several people have asked me about my 'mini gaming board' since I started this blog eighteen months ago. I have always promised them that one day I would do a quick tutorial about how it was achieved. And here it is! Now I made this board quite a few years ago now, when my wife and I were just married and I had a whole room dedicated to miniature painting - it even had a spray booth! Sadly, two children have arrived since then and now use the rooms to sleep soundly in at night, but the board remains safely hidden behind a door. 

I wanted to build a board on the cheap. I had zero budget as the wife had banned anymore purchases. So I scavenged items from around the house. The basis to the table was the humble pinboard, as seen below, which cost an incredible £2 from the Range and I am sure that these things can be bought very cheaply in a wide number of locations. The one I used had lurked in the garage for some time. The one I am photographing is my wife's NCT one, so let's keep that a secret!!

How I made the gaming board


Once you have your pinboard, and they do come in a range of sizes, you need to waterproof the 'fake cork' substance that forms the basis of the board. I used super thin sheets of plasticard, which I think are 1mm in width. These were lying around in my house in bulk, though any waterproof material would do, such as tinfoil, clingfilm or cut up plastic carrier bags. The idea is to form a protective barrier between the soft pinboard and the wet PVA glue that you use to stick on the sand.


The picture below shows you how I set out the plasticard. I poured a conservative amount of glue down onto the surface and used this to stick on the plasticard. I found that using too much glue made the board rather soggy so do err on the side of caution when you are doing this bit. I used a small paintbrush to seal the edges of the board once the plasticard had dried to ensure that the more runny PVA mix that I use for the sand wouldn't seep into the pinboard itself. 


PVA is dirt cheap, unless you are buying it from a GW store, so always buy in bulk. B&Q is your friend here, on any other hardware store, and the glue I used from my table was left in the garage after a spot of decorating. I attached the sand in pretty much the same way as I do for my minis. Paint on a thick layer of the stuff, sprinkle on the sand and seal with a watery wash of PVA once the initial layer is dry. Be careful though, depending on the ambient temperature, your sand may take a fair few days to dry properly. As for the sand, I scooped it up from the local beach in two buckets. It was an easy job to filter out the larger stones and fag ends using the garden sieve. 


Once the glue is set its time to paint the board. I just used really cheap acrylic paint from Tescos that the wife had left lying around after making some Christmas decorations. A dark brown shade was used to cover the sand board, and once dry, I drybrushed over with a lighter shade (I just added white) making sure to leave no piece of sand without a good coverage. Again, I waited a fair few days for this to dry. Despite my precautions, the board did bulge a tiny bit and weighed a great deal more than when I started, but it was not noticable. One word of advice, remove any metal fittings at this point. They are usually on the back of the pinboard to help hang the board on a wall and they can really scratch a table. 

Then just add flock, which if your anything like me, you already own in abundance in your modelling stash anyway. 


The finished surface is really useful for taking pictures of your miniatures once they are painted. As can be seen here. 


As you can see below, the average pinboard sized battlefield easily accommodates this Realm of Chaos warbands clash. Dan and I have fought many, many battles across this board and though its not suitable for every type of unit, for small scale infantry skirmishes its ideal. 


Conclusion

This board has served me well over the last four years. Its small enough to transport, light to move and very easy to store. If I was to build a second board I wouldn't change the design at all. I would probably use plastercine or cavity filler to remove the edge of the pinboard though, and sand over the border so it is possible to fit two boards together and make a larger battlefield. Actually, now that I mention it, that is what I shall do when I build my full scale battlefield next year. 

Well, I hope this article has answered all the questions that you readers have made about how I built the table. If you are after more clarity, please do email me or comment below. Additionally, if you have a killer tip about how to make a wargames table very cheaply, or know of a useful link, please do share it below. 

Thanks!

Orlygg.

Old School Interviews with Bob Naismith and David Soper

$
0
0
Bob in his studio circa 1985
One thing I have always been keen to do here at Realm of Chaos 80s is collect good quality old school Citadel coverage and present it to you readers. As the Oldhammer Community has grown, its has become rather scattered and spread out. There is no central point, though the Facebook Group and the Forum act as hubs of sorts. Due to this, I feel it is important to share and support the sterling work done by other old school fans that doesn't, perhaps, get the coverage that it should. When I find a good article, I share it! Simple as that! I also like to promote the blogs of other enthusiasts world wide. 

Well today I have had the pleasure of reading two excellent interviews from two different blogs. I present extracts from those interviews here, with links to the blogs so you can continue your reading pleasure if you so wish. As I would imagine you will want to. Or, indeed, you could just cease to read my waffle and scroll down to reach the handy links as read the articles as they were intended. 

Either way, its win win for me. Of course, if you have an article or blog that you would like promoting then just drop me an email and I will see what I can do. 

Just make sure that you click on the 'followers' options so that the two author's readership grows as they deserve! I WILL be checking too! (:

Anyway, over to axiom and his interview with Citadel sculptor, Bob Naismith. 



axiom: It's probably fair to say that you’ve had a fairly decent innings in the sculpting game! How did you start off sculpting figures and begin in the industry?

BN: Well I did conversions and painted figs (airfix etc) as a teenager (who didn’t?) and started painting wargames figs when I was about 17. This was through an outfit in Glasgow called Wargames Publications Scotland. They asked me to try my hand at making masters. A samurai I recall. They liked it and I liked getting paid so…
 




axiom: It is your work for Citadel in the 1980s that probably most people are aware of. Could you tell us how you came to work for Citadel?

BN: So I made figures for WPS for a very short period then disappeared off to art school. When I finished I started a company (Naismith Design) with a couple of friends from WPS – we made quite a lot of 28 and 15mm historical ranges and I also made hundreds of naval models for Navwar – who were also in on the Naismith Design enterprise. After I think about three or four years I ended up chatting to Bryan Ansell and the result was that I started work for Citadel in 1981 I think.



axiom: You contributed to a significant number of Citadel fantasy ranges; Fighter, the licensed Advanced Dungeons & Dragons range (I counted over 50 figures in that range alone) and the iconic Fantasy Dark Elves. Could you tell us a little bit about your contributions to these ranges and how you got a reputation for sculpting evil Elves?

BN: Well in those days making model soldiers was a very fast and furious game. Citadel would publish several codes of miniatures per month – sometimes 150+ masters. Even with a team of sculptors that was quite hard to achieve. The main codes like fighters, wizards etc was a staple and we would usually end up specialising. I had a dabble at most of them. Every now and then one sculptors style would ‘fit’ with a specific code – the dark elves seemed to do that for me and I made quite a few. I still have an army of them if anyone wants to make me an offer!



The dark elf look was derived from art by John Blanche and Tony Ackland for the most part but once the look was set it was easy to go forward without it.

On the other ranges – I was for a time in charge of the other sculptors (apologies guys!) and during this time I was responsible for making sure that Bryan Ansell had as many of the codes that he needed each month to satisfy the sales teams. The upshot of this was that I had to generate extra models from existing used masters (conversions) and the codes show that – ie same body/different head etc etc.



Whoah! Hold your horses... If you want to hear more from Bob then I am afraid you are going to have to visit axiom's blog, Magpie and Old Lead. There you can discover all about Bob's views on Rogue Trader, the plastic technologies pioneered by Citadel and what Bob did after he left Citadel. 

Oh, and while you are there, don't forget to follow axiom's blog as it deserves a much wider readership. I have just joined his site so I do hope you follow my example.

Continue the interview here.


The second of the interviews I have uncovered deals with the double Slayer Sword winning mega-painter, David Soper. David was interviewed by Kaleb Hordes, author of Oldhammer in the New World. I have written about this blog before as Kaleb hopes his site to become a focal point for the Oldhammer Movement in the USA. Back when I first wrote about his blog, he had no follower's gadget but thankfully kaleb has seen the error of his ways and included one, so you to can follow his output in the future.

Anyway, here is a taster of what you will get on his blog. 
 

[OITNW]: From reading your blog, you left the hobby for a while and rediscovered your passion. Your Nurgle Predator tank was the highlight of the last of the old school Fantasy Miniatures books. How did you get into miniatures originally? What was the timeline, and how long were you out of the hobby? And what allowed you to rediscover that passion?


[DS]: I became aware of miniature painting through playing fantasy role playing games like Dungeons and Dragons. It must have been some time around 1980 after a group of my school friends came back from a trip to London where they’d visited the (one and only) Games Workshop store in Dalling Road. Amidst all the goodies they bought back was a small collection of metal miniatures, a mix of Citadel and Ral Partha as best I can recall. From the moment I clapped eyes on those tiny dull grey figures I was hooked! I absolutely knew that this hobby was for me.
          I’d already developed a strong aptitude for art but my work had a tendency to get bogged down in lots of tiny tight detail. I sensed that here was a hobby where I could direct all that obsessiveness to good effect. It would also have the unexpected benefit helping to free up my painting and drawing style enough so that I could progress with my studies and work towards a place at art college.

I sent off for a Citadel miniatures catalogue and in due course received my first ever minis. A mixture of fantasy tribe orcs and trolls. Over the following years, as I left school and went to art college, I would spent my spare time painting minis, and I began to develop and refine my technique. At first there was no guidance out there at all, and I learned by trial and error. I can still remember the day when I quite accidentally discovered dry brushing – that was a revelation! It was through the pages of White Dwarf magazine that I gained exposure to a wider world of miniature painting, and an awareness of just how much there was to learn.                                 Then we come to 1987 and the first Golden Demon Competition. I thought I was quite good; but I had no contact with any other painter or their work, so I had no objective way of gauging the standard of my minis. That year I didn’t get past the regional heats! It gave me a kick in the pants and fired up the drive to prove that I too could make it to the finals.                                  By GD 1988 Southampton had it’s own Games Workshop store and I was getting to connect with other painters. I made it through to the finals, held at the Victoria Leisure Centre in Nottingham, and I really could not have been happier. I didn’t expect anything more so when I won gold in two categories I was genuinely shocked. This made me reappraise myself as a figure painter. From this point on I focused my efforts on improving my painting with success at the Golden Demons my goal.                                                                                                                            I managed to repeat my success in 1989 and it was during the award ceremony that I decided to see of I could take it further and win the sword. All my painting and sculpting efforts over the next year were focused on that goal. The Nurgle Predator was the result of six months of intensive work, it was by far the biggest and most ambitious project I had attempted to date.             At the 1990 finals I was a mess of nerves, I’d put everything I had into this one model. I’ve little clear memory of the awards ceremony itself. When my Predator won the Sword the world seemed to explode around me. I found myself standing on the stage with the sword held up over my head and no memory of how I got up there!                                                                                    Winning the Sword in 1990 was a huge deal for me and remains one of my proudest achievements. But now I’d done that I had to consider my next move. I came to realize that I really wanted was to simply get back to painting minis for my own pleasure. Over the following years that’s exactly what I did. I’ve never been a fast painter and as I focused my efforts on refining my technique and finish, my output slowed. As time passed, and other interests developed, that pattern continued until it wasn’t unusual for me to have only one mini finished in a year. Looking back I can also see that, although my technique developed, my painting style remained pretty much the same.                                                                                                                       The period where I dropped right out of the hobby is probably no longer than three or four years. I remember quite clearly that, by 2002, I no longer considered myself a mini painter. I tried to paint some of the new Fellowship of the Rings minis and failed abysmally.  Through lack of practice I had lost my technique and confidence. I was surprised by how much of a sense of loss that gave me.                                                                                                                                                Although I was no longer painting I kept an eye on the hobby through the occasional copy of White Dwarf and increasingly through the Internet. It was around this time I discovered cool mini or not. The hobby had evolved and I was blown away by the realism and sophistication of technique now being employed by many painters. It was inspiring but very daunting.                                 What followed was a process of being drawn gently back into the hobby through some of my other interests. Around 2006 I started painting minis with an Egyptian theme and then in 2011 I painted some Dr Who minis that I made into a diorama. I found that I was hooked all over again.                                                                                                                                                            My technique didn’t return overnight and I really had to work very hard at regaining it. Knowing that I could once do this was a double-edged sword feeding both my frustration and my drive to do it again! As I regained lost experience my confidence grew and I finally got to the point where I felt my skill was back to where it had been. It was a great feeling and served as a jumping off point for a new era. I was back up to speed but I was not up to date!                                        Through blogs and forums the online painting community has been the thing that has really made the difference. I’m able to see other painter’s work and get my work seen by them. There is a sharing of ideas and experience, and an exposure to other ways of working that’s had a wholly positive affect on my work.                                                                                                          I struggled for a while with the feeling that I was that guy basking in the glory of a twenty three year old success. I really wanted my painting to be up to date and relevant to the modern scene.Unfortunately I’ve often (but not always) had the term ‘old school’ used as a negative criticism of my work. That’s a shame and, I think, rather narrow-minded.                                                    The big thing that enabled me to develop my ‘modern’ style as a painter was acknowledging and embracing my old school roots. This came together for me when I painted the Hellion that won the 40k single mini gold. To me that mini feels like a fusion of old and new, and it sparked off a period of experimentation that resulted in the Dark Eldar diorama. 

Again, I am afraid you are going to have to hold your horses here. If you want to read more about David Soper's career and see more incredible examples of his painting, then you are going to have to follow the link here

Feeder links to both blogs can be found below too!



Orlygg

Life in Miniature by Peter Brown: A history of Citadel Miniatures by a bloke who was there!

$
0
0


I have stumbled upon another fantastic blog out there on the internet. This one details, among other things, the wargaming/miniatures 'life' of one Peter Brown. I haven't read much of his blog in any depth or conversed with him online yet, but he seems to have worked in and around Nottingham during the 1980s are bore witness to the growth of Citadel. He presents a fascinating story that a great many readers of this blog would find extremely interesting. I have quoted several of his blog posts below that are relevant to what we explore here, though there are plenty of others that may be of interest, including one on Laserburn, an early precursor of Rogue Trader. 

Peter Brown's blog can be found here

"It's hard to look back now at Citadel Miniatures and not see them as the all conquering behemoth of the miniature gaming world they were to become, but in the early 80's that one particular outcome was not certain by any means, other companies could have come to the fore or the company might not have developed in the way that it did.

So what happened between the formation of the company in early '79 and my formative year of '83 to turn the casting arm of a small games company into a dominant market leader?

Citadel's early miniatures show their roots, all those early minis are designed almost exclusively for use alongside Dungeons & Dragons. 

Character types are copied slavishly from the AD&D books, creatures from the Monster Manual, very little is original, and where it was, as was the case of the few monsters that travelled from the range over into new D&D books, we all knew what we were being sold, and for what we were supposed to be using them... D&D.

Which is a bit odd really, because it wasn't until  much later that Citadel had a full AD&D license...  
Grenadier Models had that license in the in the late 70's and early 80's in the US, but made little impact in the UK in spite of the tie-in.

Even the range that Citadel were set up to produce over here, Ral Partha, could (should) have gone on to become the dominant player here, as it was in the US, but again, even with a long standing history of being associated with D&D, it slipped into the position of also-ran.

It's possible to go a look at what Citadel produced in the first couple of years and pick out virtually every monster and character from the D&D pantheon or it's  rough equivalent, but after making everything that the D&Der needed there was a natural break on what the company might possible make next.

Obviously they looked for other markets, historical miniatures were (are) a short step away, as are minis for other game systems, and Citadel go away and try to expand all these other revenue streams as the 80's dawn... Gangsters, sci-fi, larger scale models and movie tie-ins (Star Trek) are all explored, but with little success... 

It's hard to look back now at Citadel Miniatures and not see them as the all conquering behemoth of the miniature gaming world they were to become, but in the early 80's that one particular outcome was not certain by any means, other companies could have come to the fore or the company might not have developed in the way that it did.

So what happened between the formation of the company in early '79 and my formative year of '83 to turn the casting arm of a small games company into a dominant market leader?

Citadel's early miniatures show their roots, all those early minis are designed almost exclusively for use alongside Dungeons & Dragons. 

Character types are copied slavishly from the AD&D books, creatures from the Monster Manual, very little is original, and where it was, as was the case of the few monsters that travelled from the range over into new D&D books, we all knew what we were being sold, and for what we were supposed to be using them... D&D.

Which is a bit odd really, because it wasn't until  much later that Citadel had a full AD&D license...  
Grenadier Models had that license in the in the late 70's and early 80's in the US, but made little impact in the UK in spite of the tie-in.

Even the range that Citadel were set up to produce over here, Ral Partha, could (should) have gone on to become the dominant player here, as it was in the US, but again, even with a long standing history of being associated with D&D, it slipped into the position of also-ran.

It's possible to go a look at what Citadel produced in the first couple of years and pick out virtually every monster and character from the D&D pantheon or it's  rough equivalent, but after making everything that the D&Der needed there was a natural break on what the company might possible make next.

Obviously they looked for other markets, historical miniatures were (are) a short step away, as are minis for other game systems, and Citadel go away and try to expand all these other revenue streams as the 80's dawn... Gangsters, sci-fi, larger scale models and movie tie-ins (Star Trek) are all explored, but with little success... 

The only thing that does start to sell more miniatures, and I mean sell more than the one of each or the few that you needed for the D&D campaigns, were the Fantasy Tribes.

Fantasy Tribes, I feel, have all the hallmarks of what made Citadel great in the 80's, and would show the pattern which Bryan would try to repeat whenever he started a new project.

Firstly they were wholly original, other manufacturers may have had a dwarf or two in their range, only Citadel had 60 different models in a Tribe, secondly they were collectible, where other ranges had fixed models to buy, Tribes were, it seamed, constantly changing so that just when you thought you had them all, new variants would turn up to keep you buying, thirdly, and this was true of all the models that Bryan commissioned, they were full of character, no bland Orc with Sword in this range, these Orcs are attacking, swinging, charging, and finally, they were great models, in a way that lots of early Citadel or American imported minis weren't.

But even these stand out collections weren't for very much more than extra variety on the D&D table and I doubt that the company could have gone on from strength to strength in the way it did with just these...

Which is where a little bit of luck comes in handy...

Steve Jackson and Ian Livingston, Bryan's partners in Citadel and owners of the parent company, Game Workshop, had hit on the smart idea of coping the unique feature of also ran fantasy role play game Tunnels & Trolls, it's solo play option, and repackaging it for a younger market as Fighting Fantasy game books... They were hugely successful  creating a publishing phenomena and launching a whole line of best selling books which made their authors at least properly famous, if not quite house-hold names.

Which must have taken the pressure off Citadel/GW to perform financially, Bryan had made another halfhearted effort to start again with his Bryan Ansell Miniatures, but by late '82 with Steve and Ian moving into new spheres and Bryan looking for new directions, a deal is struck that gives Bryan control of Citadel AND Games Workshop and allows him to take both companies forward with his direction and control.

Now, the deal that I heard that was struck was that Bryan would take immediate control and pay Steve and Ian £1,000,000 in 12 months. Bryan told me at a much later date, that he didn't have the money when he took control, and had to make £1M in that first year to for-fill his part of the agreement, but fore-fill it he did, so we can assume that 1983 was a very good year for miniatures...

The only thing that does start to sell more miniatures, and I mean sell more than the one of each or the few that you needed for the D&D campaigns, were the Fantasy Tribes.

Fantasy Tribes, I feel, have all the hallmarks of what made Citadel great in the 80's, and would show the pattern which Bryan would try to repeat whenever he started a new project.

Firstly they were wholly original, other manufacturers may have had a dwarf or two in their range, only Citadel had 60 different models in a Tribe, secondly they were collectible, where other ranges had fixed models to buy, Tribes were, it seamed, constantly changing so that just when you thought you had them all, new variants would turn up to keep you buying, thirdly, and this was true of all the models that Bryan commissioned, they were full of character, no bland Orc with Sword in this range, these Orcs are attacking, swinging, charging, and finally, they were great models, in a way that lots of early Citadel or American imported minis weren't.

But even these stand out collections weren't for very much more than extra variety on the D&D table and I doubt that the company could have gone on from strength to strength in the way it did with just these...

Which is where a little bit of luck comes in handy...

Steve Jackson and Ian Livingston, Bryan's partners in Citadel and owners of the parent company, Game Workshop, had hit on the smart idea of coping the unique feature of also ran fantasy role play game Tunnels & Trolls, it's solo play option, and repackaging it for a younger market as Fighting Fantasy game books... They were hugely successful  creating a publishing phenomena and launching a whole line of best selling books which made their authors at least properly famous, if not quite house-hold names.

Which must have taken the pressure off Citadel/GW to perform financially, Bryan had made another halfhearted effort to start again with his Bryan Ansell Miniatures, but by late '82 with Steve and Ian moving into new spheres and Bryan looking for new directions, a deal is struck that gives Bryan control of Citadel AND Games Workshop and allows him to take both companies forward with his direction and control.

Now, the deal that I heard that was struck was that Bryan would take immediate control and pay Steve and Ian £1,000,000 in 12 months. Bryan told me at a much later date, that he didn't have the money when he took control, and had to make £1M in that first year to for-fill his part of the agreement, but fore-fill it he did, so we can assume that 1983 was a very good year for miniatures..."

The quotes were taken from these two articles. And with more promised in the future, this could become a really popular blog for those of us interested in the early history of Citadel and Games Workshop. 


http://life-in-miniature.blogspot.co.uk/2013/11/and-rise.html

Big thanks must go to Peter Brown. Please write more soon!

Orlygg





The Sins of a Citadel Collector: Dettol Jars!

$
0
0
I have a guilty secret.

Something the wife knows nothing about.

I wonder if you have such a secret too?

I am a Citadel Collector and I have gone three days since I last went on eBay. 

Despite putting myself on an online bidding ban, I still seem to be receiving packages in the post. How could such a thing be possible? I am finding myself having to intercept the postman with a 'anything for Number 10?' on the way to work to avoid the Power That Be finding out about my guilty lead based secrets. Truth be told, I now have a huge amount of lead and I am beginning to become confused about what exactly I have. This tells me I need to stop collecting and start sorting and painting. 

Starting now!

Secondly, I have another shameful secret tucked away in the kitchen well away from the Wife's eyes. Three Chinese Takeaway plastic containers full of Dettol soaking miniatures. Well, there were three, now there are two, as I set about cleaning the contents of one of these this morning. After an hour of frantic washing up liquid lubricated toothbrush scrubbing, I was left with this collection drying on the kitchen work top. 


What can you make out observant reader? What surprised me was the stuff I had forgotten I had. Including a dragon ogre and an early 80s Balrog or Balgorg as they were known in the Warhammer Mythos.Some of these models have been in the mix for over a year, and a number of these models have a sticky feel to them. fresh Dettol will have to be the order of the day here, or the fabled Fairy Power Spray which I have never found on the shelves of my local supermarket.

But cleaning woes beside, finding this lot amongst the brown sludge makes me wonder what treasures I have forgotten in the other two containers!

Anyone else guilty of such shameful secrets I wonder?

Orlygg

A Warhammer Bestiary: One Man's Painting Challenge

$
0
0

I have been inspired by the comments made by many of you on my previous post. There I was, with my tongue squarely in my cheek of course, making fun of the fact that, sometimes, we spend a little too much time on eBay buying lovely lead models that perhaps we don't really need.

Still, there is noting quite like the buzz of getting something cheap. Or waiting for the victorious purchase to arrive in the post. Or even the quiet satisfaction of restoring the miniature to its virgin glory with a mixture of antiseptic solution and washing up liquid. 

So an outright ban would be unproductive and, probably, unenforcible anyway. So what to do? I have been feeling somewhat dissatisfied of late with my painting. This is most likely due to painting up rank and file miniatures to a time limit. For me, I love to have no restrictions on how long it takes a miniature. They should take as long as they take. But going at a perfectionist's snail pace is unlikely got get many models finished. I wanted the chance to paint lots of varied Citadel Old School models and practice my skills a little in the process. Forget army building or unit construction.

Just paint. Oh, and explore a little of Third Edition's background. 

So I had the idea of painting a model for each entry in the Warhammer Fantasy battle Third Edition Bestiary. This would allow me to explore my collection a little, inject variety into the painting schedule and allow a little choice eBaying all at the same time! But like all challenges, there need to be a few rules to keep things on track and interesting.


After a little bit of thought, I decided on a few guidelines to get myself going. Here is what I am suggesting. If you can think of anything that I have forgotten or have improvements and suggestions, please do make them!

1) Models need to follow the alphabetically published Bestiary as seen in WFB3. 
2) Entries with variants need a separate model for each variant e.g. dwarfs or elves. 
3) Miniatures chosen need to be Old School Citadel, or from an appropriate manufacturer if a model is unobtainable through rarity, expense or the fact that none were made. 
4) Where ever possible, the selected model needs to have a shield, banner or opportunity for freehand painting as this is a skill I am keen to develop. 
5) Each model needs a distinctive base, with a theme linked to the race depicted, that will still fit in with my style of basing.


Once the guidelines were clear in my mind, I pulled my copy of WFB3 down off the shelf and flicked through the sections until I reached the Bestiary. I cast my eyes down the entries to soak in the first handful of models that I would need to source, prep and pant: beastmen, centaurs, coatl, dwarfs (Imperial, Norse and Chaos) Elves (Wood, High, Sea and Dark) and Fimir. So the first batch would amount to eleven models, from which I own examples for all but two; the Fimir and the Coatl. 

So I am 'officially' allowed to keep my eyes open for Fimir and Coatl models! So if you spot anything likely, please do let me know in the comments section of this article!



I had a look at the entry for beastmen in WFB3 and it was illustrated with the neat little pencil sketch seen above. I have painted loads of models in the vein of this picture before as the beastman has become associated with the goat headed half man for some years. Though, there was a time when the beastmen where a lot less defined and Citadel produced some truly wacky models for the range. I decided to select a model between the two extremes, and chose the Rhino headed model below. I have always felt that there has been a group missing from RoC and WFB - and that group are mutants. They exist in WFRP and there are plenty of mutant models out there but they are not true beastmen. Rhinoman reminded me of this gap and brought fond memories of Steve Jackson's Citadel of Chaos back as well. 

Here is the model pre-clean up. Something that struck me when I was sorting through my models were the amusing tag names. BEEFMAN, BAESTMAN and (as was on my model) BEESTMAN being just three of the different spellings I uncovered. 



The model was different to the beastmen that I had painted before. Shorter and squatter with a real animal connection. He looks like he is snorting and ready to charge forwards with that meat cleaver brandished above his head! Crucially, the miniature also had a shield tag so attaching one should be simple. I will just need a little thought to consider what design I would paint on this chap's shield. 

Anyway, I am off to clean and prime this little rhinoman. He needs gluing to a base, the base sanding and a good dry undercoat before I can begin the process of painting him. The night is fairly young, and I hope to get him finished as soon as possible. 

Speak to you all when he is done.

Orlygg.



Viewing all 704 articles
Browse latest View live