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SHOWCASE·WHITE DWARF 321

The Art and Imagery of Warhammer

September 2006·pp. 32–33

THE SHORT VERSION

The artwork feature treats Warhammer as a world built through exchange between drawings, miniatures, rules and stories. A panoramic battle and smaller scenes supply the cities, machinery and ordinary inhabitants that a tabletop army cannot show by itself. Examples from John Blanche, Paul Dainton, Karl Kopinski and Alex Boyd demonstrate the mixture of historical and fantastic influences behind a recognisable dark visual language.

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EditorialWD 321 · Inside cover

Editorial: Warhammer Reborn

Grombrindal welcomes the new Warhammer edition as a refinement that preserves existing armies while making battles smoother and more tactically satisfying. His excitement includes the spectacle of painted armies as much as the rules, with Battle for Skull Pass offering both a beginning for newcomers and a substantial addition to a veteran’s collection. The first new army book is already on the horizon.

Warhammer Fantasy Battles
September 2006Read summary
RulesWD 321 · pp. 25–29

Warhammer: Designer’s Notes

Alessio Cavatore explains the deliberately limited changes behind the new edition, preserving compatibility with existing army books while correcting unclear interactions. Five-wide ranks encourage more models to fight, fleeing becomes a straight and more decisive movement, and small support units gain a clearer role without causing widespread panic. Wizard-specific power dice reduce the use of lesser casters as batteries, while Insane Courage retains a chance of survival even when a combat looks certain. Pitched Battle becomes the core setup, with alternative encounters retained in the hobby material.

Warhammer Fantasy Battles
September 2006Read summary
InterviewWD 321 · p. 30

The Warhammer World According to Rick Priestley

Guy Haley asks Rick Priestley how a game made to give roleplaying miniatures another use grew into the foundation of an international company. Rick credits timing, accessible rules and a setting shaped collaboratively by the models people wanted to make. Historical interests, unexpected sculpts and a willingness to mix solemn fantasy with humour explain why the world developed its distinctive variety rather than following one author’s fixed plan.

Warhammer Fantasy Battles
September 2006Read summary