WHITE DWARF · JUNE 2004
Storm of Chaos design and army projects, Rules of Engagement, Warmaster, Iron Warriors, a Penitent Engine masterclass and river assaults in Middle-earth.
COVER TO COVER
In printed page order
Paul Sawyer explains how White Dwarf will rotate introductory coverage among Specialist Games while retaining its focus on the three main systems. Warmaster is next, with part of its coverage linked to Storm of Chaos and part introducing the game itself. Fanatic magazine supplies more regular, detailed support for the smaller systems. The editorial describes how the two publications were intended to complement one another.
Andy Chambers and Pete Haines explain the approaching rules revision as an evolution of third edition. Consolidated assault rules, vehicles firing more effectively on the move and altered rapid fire aim to make manoeuvre and close-range shooting more attractive. Restrictions on assaulting from closed transports address the dominance of the Rhino rush. The preview stresses compatibility with existing codexes and announces the new rulebook for 28 August.
Fanatic’s second issue promises updated Spyrers, Inquisitor’s Vindicare Assassin, an Epic campaign and piratical fleets for Battlefleet Gothic. Storm of Chaos web coverage and northern European events receive further notices. Forge World’s new Warhammer inn, themed clothing and forthcoming price changes round out the news. These announcements are retained as publication-era context rather than current availability information.
A correction restores text omitted from the Lesser Catachan Barking Toad entry in issue 292. It explains when attacks, tank shock or another exploding toad trigger the creature’s reaction. Kroot and Jungle Fighter Guardsmen receive a specific opportunity to kill it before it retaliates. The update completes the earlier optional creature rules rather than introduces a new unit.
Six staff profiles introduce the people assembling the magazine. Paul Sawyer, Guy Haley, Greg MacGregor, Paul Rudge, Nick Kyme and Christian Byrne describe earlier jobs, favourite systems, established armies and current projects. Their contributions reveal a team working across painting, writing, editing and layout while preparing personal forces for Storm of Chaos. The feature connects familiar bylines to individual hobby interests.
Gav Thorpe presents Storm of Chaos as the first of a planned series of campaign sourcebooks. Narrative, variant armies, heraldry and scenario material are intended to make a specific conflict playable beyond isolated battles. Designers then explain the ten army concepts, including Archaon’s mortal horde, Middenheim, Slayers, Eshin assassins, Sylvania and Daemonic Legions. Their choices connect background restrictions to distinct tactical identities, while the global campaign map gives reported battles a shared objective.
Paul Sawyer surveys fiction that gives the approaching campaign a more personal scale. Riders of the Dead and Magestorm explore northern warfare, while the Karl Hoche novels reveal cult activity and corruption within the Empire. Swords of the Empire adds several linked short stories. Notices for The Ambassador, Ursun’s Teeth and Sacred Flesh broaden the reading list; Sawyer distinguishes books he has read from publisher descriptions of the remaining titles.
Mark Jones paints Chaos Undivided warriors with a naturalistic scheme built largely through controlled drybrushing. Successively brighter metals reveal the armour’s edges, with dark lining and brown washes restoring depth and wear. Fur, shields and leather use related muted colours, keeping the regiment coherent. Painting the shield separately and finishing selected black details provide contrast without requiring extensive blending.
Seven hobbyists show how the new Warriors support very different characters and schemes. Conversions draw on Nurgle artwork, scavenged armour and northern tribal imagery, while colour examples range from ink-rich yellow to carefully layered red. Mark Bedford uses warm metals and plaid, and Dave Taylor concentrates extra stages on exposed faces. The commentary connects selected named recipes to the painters’ wider choices of allegiance, pose and visual theme.
Adrian Wood adapts his existing Chaos army for Archaon’s Horde. Chosen units occupy Special slots, allowing a tougher concentration of elite troops, while the unequal Halting the Tide scenario offers room for a much larger force. Khorne becomes the focus for new Warriors and Knights after experiments with Tzeentch. A Hellcannon supplies early long-range pressure that his army previously lacked.
Andy Hoare builds the Sea Patrol he helped design, combining plastic archer and spearman components into three Sea Guard regiments. Their defensive line supports more unusual elements, including a Merwyrm and a Dragon-mounted Commodore. A compact green, white and gold scheme reinforces the maritime theme and speeds the painting. The project links playtesting a variant list to creating an army with its own visual identity.
Matthew Ward chooses a Nurgle Daemonic Legion after comparing the expanded options for each god. Improved resilience, new Heralds and Daemonic cavalry or chariots make a small pure-Daemon force more varied than before. His initial collection combines Plaguebearers, Plagueriders and Nurglings beneath a cheap Exalted Daemon. Extensive conversions, including a Spawn-based rider, are as much the attraction as the army’s battlefield capabilities.
Anthony Reynolds explores the Army of Sylvania as a way to change his established Vampire Counts collection. More Vampires, fewer Necromancers and summoning through grave markers alter its character and play. Numerous small Dire Wolf packs, bats and a converted Black Coach underline the von Carstein identity. The project shows how adding a handful of strongly themed elements can make an existing army function quite differently.
Gil Surepi begins a Karak Kadrin army using his existing Slayers as a starting point. Doomseekers, the Brotherhood of Grimnir and character skills offer more variety than an ordinary infantry line, while the Goblin Hewer supplies a distinctive centrepiece. Blue trousers, facial tattoos and the Brotherhood’s painted hands distinguish the force. Conversions and a developing collection plan accompany impressions from early 2,000-point battles.
Phil Kelly chooses Clan Eshin for its freedom of movement and emphasis on selective combat. Skirmishers, slings and poisoned missiles harass vulnerable targets, while the revised Skitterleap turns Assassins into direct threats to enemy characters. The darkness rules reward a completely skirmishing force, at the cost of other clans’ specialist units. His examples describe an army built to remove leaders and disappear rather than win through conventional ranked combat.
Kenton Mills starts a fresh Bretonnian collection for an Errantry War. A general, battle standard and obligatory Knights of the Realm establish the core, with Knights Errant providing the campaign’s aggressive identity. Peasant support prevents the cavalry becoming isolated, while Pegasus Knights counter disruptive mobile enemies. He plans a manageable first thousand points before adding the many other models that attracted him to the range.
Matthew Hutson decides that his existing red-armoured Dark Elves would lose their identity if repainted for Slaanesh. A new collection instead embraces a faster, more aggressive style with Daemonettes, Spawn and a converted Druchii Anointed. The Mark of Slaanesh helps the army withstand psychological threats that previously caused trouble. Units in multiples of six add a personal narrative convention without supplying a rules benefit.
Andy Holmes recreates a northern Empire identity at Warmaster scale instead of duplicating his current Talabheim army. Avoiding black powder restricts his choices, but a large brigade of Knights of the White Wolf provides the intended decisive charge. Infantry, skirmishers and Wizards support that cavalry core in a printed 1,000-point list. His explanation connects army selection to brigade movement and the limits of command.
Thomas Webster-Deakin plans a Tzeentch-themed Chaos army in stages, beginning with a printed 1,500-point force. Infantry and mixed mounted brigades balance elite strength against the danger of reaching a low break point. A Sorcerer with the Ring of Magic supports the assault, while flying troops threaten inconvenient targets. Advice from other players helps refine the list without removing models he particularly wants to collect.
Thomas Webster-Deakin speeds the work by gluing strips to their bases before painting, accepting that hidden details need less attention. Bright drybrushed metal and blue ink establish the armour, while yellow shields and blue cloaks communicate the Tzeentch theme at gaming distance. Successive grey base colours finish the unit. The method prioritises the appearance of a massed regiment over detailing each tiny warrior separately.
George Dellapina presents a heavily converted Speed Freek army whose yellow vehicles and named characters share a desert scavenger theme. Toy wheels, plasticard and components from several ranges produce oversized buggies, Trukks and distinctive Deth Koptas. Infantry conversions distinguish armoured ’Ardboyz from scarred Skarboyz. An interview connects George’s bold painting style, personal background and tournament experiences to his enthusiasm for giving every model a recognisable identity.
Ryan Powell, Kurt Periolat and Chris Hutchings replace repeated Cleanse games with a generator built around four objective markers. Each army receives its own mission, so victory conditions and access to reserves or infiltration may differ between opponents. Marker placement, randomised deployment zones and varying tasks create a tactical problem before the battle starts. Their accompanying fiction illustrates how the results can suggest a narrative campaign rather than merely produce another mission table.
The smaller-game adaptation reduces each army to one objective marker and a shorter selection of missions. Raids, sabotage, holding actions and territorial advances preserve the larger system’s contrasting aims without requiring four objectives. Deployment and the general sequence remain familiar. The variant is intended for forces below a thousand points, including the quick 40K in 40 Minutes format.
The White Dwarf team turns spare miniatures, accessory sprues and simple materials into army-specific objectives. Ammunition, a statue, a Daemonic monument and captured data suit Imperial or Chaos forces, while crystals and a stasis prisoner give Necrons different focal points. Tyranid pods use nut shells and organic details. The gallery demonstrates how the same abstract mission marker can become a small scene that helps explain a battle’s story.
Guy Haley’s Haliena 29th Mechanised Regiment searches for supplies while Jes Bickham’s Hive Fleet Eumenides tries to seize a bridgehead. Rules of Engagement generates different objectives for their long-running narrative campaign. Damaged transports, a surviving winged Tyrant and a final Hormagaunt morale check make the closing turns decisive. The Tyranids win, with Guy’s analysis identifying the Veterans’ deployment as a greater problem than poor dice.
Rick Priestley explains how Warmaster makes grand manoeuvre possible through smaller miniatures, fixed-size units and command-based movement. Failed orders, brigades and character placement create uncertainty before troops reach decisive combat. A development history follows the project from smaller trial figures to its 2000 release. A practical question-and-answer section introduces army sizes, model preparation and the differences readers should expect from Warhammer.
Christian Byrne begins an Iron Warriors tournament army after discovering that organised play appeals to him more than expected. Cybernetic Iron Hands components and older Marine parts give Vathek’s force an individual identity. A printed 998-point list balances an assault unit with infiltrating firepower, a Basilisk and a Dreadnought. The first instalment also introduces the conversions and painting methods that will recur as the collection grows.
Christian Byrne separates dark iron armour from warmer metallic trim through layered metals and ink shading. Small bright highlights suggest more contrast than the broad surfaces alone provide. Helmet lenses receive reflected-light dots, while white foundations help the yellow chevrons remain bold. Chipped edges and blood effects add wear; gloss on the lenses follows the protective finish rather than being dulled beneath it.
Mark Tait divides a centrepiece project into five working days, beginning with the base, pose and separate subassemblies. Oily metals and worn red hull panels establish the machine before he spends extra care on the exposed pilot. Parchment, skulls, green wax, flames and blood then create focal details. The schedule demonstrates how preparation and a deliberate painting order can preserve a high standard within a limited period.
Jeff Leong groups spells by the problems they create: damage, movement, augmentation and disruption. A risk matrix helps determine which enemy effects must be stopped and which can be tolerated by particular units. Offensive planning then considers range, sight lines and casting order, contrasting a gradual attempt to draw out dispel dice with committing to an early major threat. The aim is to control the useful impact of magic rather than try to cancel everything.
Matthew Ward turns deep water into a playable battlefield through rules for drift, boats and swimming. Crew numbers influence control and speed, while collisions and attacks can damage or sink a vessel. Embarking, disembarking and armour-dependent swimming tests make a crossing risky even before enemy interference. The supplement is designed for small boats and rafts rather than large warships, with terrain conditions agreed before play.
Survivors of Osgiliath attempt to escape down the Anduin in three scattered boats. The first starts under immediate threat, with later boats arriving unpredictably as reinforcements. Orcs and Warg Riders try to stop at least half the defenders reaching the far table edge. The asymmetric points alternative allows other armies to reproduce the pursuit and dangerous river journey.
Chris Bone builds a rough Orc landing craft and a more graceful Swan Boat using related construction methods. Foam or foamcard establishes the hull, with balsa planks, card sides and simple details giving each vessel its character. The Swan Boat adds a carved figurehead, overlapping hull planks and a printed sail. Painting and optional weathering complete models intended to carry figures in river scenarios.
Steve Cumiskey converts Aragorn into a less recognisable captain for his Rangers. A hooded head, bow, quiver and replacement sword change the figure’s identity, with modest putty work integrating the parts. The coat and shirt repeat his existing army colours to make the new leader belong. The project grows out of plans for linked Osgiliath escape games rather than a need for a named hero.
Adrian Wood extends the pair’s modular battlefield with two river sections and a small fleet of card-and-foamboard boats. Matching entry points and bank profiles allow the boards to connect in different arrangements. Dark water and lighter banks create depth beneath a glossy surface, while avoiding directional effects keeps the sections interchangeable. The account records practical lessons from cutting the river after the terrain had already been assembled.
Adrian Wood assembles Shelob with careful dry fitting, pinning and gap filling before painting her restrained film-inspired colours. The coded legs simplify assembly, while securely mounting them helps the large metal model survive handling. Pale additions to black reveal the body and sharp leg details without making the spider look brightly coloured. Muted red markings and ink glazes complete the creature.
Shelob hunts the Orc Captain Ufthak while his patrol crosses Cirith Ungol. Killing him is insufficient: she must carry the poisoned victim off the board while the remaining Orcs try to rescue or protect their leader. Replacement patrol members can arrive as casualties occur. A flexible alternative replaces Shelob and her prey with other forces, preserving the single hunter’s pursuit of a defended target.
Matthew Ward follows Greenwood’s corruption around Dol Guldur and its eventual liberation before offering environmental rules for forest battles. Webs, an enchanted river, tangled growth and unseen Elven archers can hinder either army. Sauron’s influence also changes the Courage of Good and Evil forces. Players can agree which effects suit the scenario or use the table to make the forest’s hazards less predictable.
David Goulding expands the commercially produced gateway into a larger fortress for games with his son Stephen. Reused packaging, cardboard, polystyrene and materials from his shed provide most of the structure. Individual stonework, filler and careful painting integrate the improvised sections, while compromises keep the model transportable. The account shows how patient work in small stages can produce an ambitious battlefield without specialised construction materials.
Imprint confirms June 2004, issue 294. The Eye of the Storm begins at 20 despite the contents reference to 22. Main features, substantial independent tutorials, scenario adaptations and the Creature Feature correction are included. Advertisements, catalogues, store/event lists and art-only pages are excluded.