CommunityWD 488 · pp. 4–7
Tom Strutton turns painted miniatures into a photorealistic coloured-pencil still life, connecting his established art practice with a renewed enthusiasm for Warhammer. Readers also ask about a classic Iyanden Farseer and Nagash fiction. Grombrindal’s response to questions about his own temperament adds humour to a gallery of models from several games.
Warhammer 40,000Age of Sigmar
CampaignWD 488 · pp. 8–11
Leila Craven draws on organising a campaign for more than three hundred players to explain long-distance shared storytelling. Teams, capped submissions and manageable rounds let games, painting, fiction and art contribute without an early runaway winner. A common setting and broad motives create coherence, while narrative updates acknowledge army actions without taking control of other players’ characters. Plot-hook tables offer starting conflicts for either setting.
Age of SigmarWarhammer 40,000
CampaignWD 488 · pp. 86–89
Jimbo Warth uses his Realms at War event experience to describe narrative play as shared army storytelling. Themed collections, roster progression and interactive terrain support that aim, but a conversation about expectations and power level matters just as much. He encourages naming a general, considering leadership succession and using agreed custom rules where they strengthen the story and both co-players’ enjoyment.
Age of Sigmar