EditorialWD 367 · p. 1
Andrew Kenrick describes the excitement surrounding the new Warhammer book, from newly painted armies to Jervis’s narrative campaign and regular Studio games. An entire issue is devoted to the game, bringing together its authors, artists, scenery makers and painters. The editorial presents that breadth as the point of the release: readers are invited to explore the world and its creative possibilities as well as the changes to the rules.
Warhammer Fantasy Battles
CampaignWD 367 · p. 14
Jervis Johnson’s Studio campaign uses a sandbox approach without a fixed predetermined structure. Players contribute battle reports, grudges and artefacts to a campaign wall, allowing the referee and participants to develop new narrative branches together. Dom Murray’s illustrated war journal and a Mighty Empires map demonstrate how the campaign generates material beyond the games themselves, with future coverage promised as the fighting expands.
Warhammer Fantasy BattlesThe Empire
CommunityWD 367 · p. 15
Studio hobbyists are challenged to complete an entire Battalion in a month, turning lunch breaks into shared painting sessions. Early examples include Colin Grayson’s finished force and Keith Robertson’s expanding Ogre collection, with painters and sculptors joining less experienced colleagues. The short report shows how a common deadline and a visible group project can build momentum for new armies, alongside the continuing Summer of War activities.
Warhammer Fantasy Battles
CommunityWD 367 · p. 16
The online game’s news highlights revised Realm-versus-Realm city sieges, rotating weekend scenarios with better rewards and new weapons earned through competitive play. Pets and familiars are revealed as a forthcoming addition. The untimed trial and streaming client remain the suggested entry point, with tutorials and community features intended to help players explore careers and the Empire–Chaos frontier before committing to the full game.
Warhammer Online: Age of ReckoningThe Empire
CommunityWD 367 · p. 16
The second cycle of Battle Packs is organised around the Warhammer factions’ bitterest rivalries. Beginning with The Burning of Derricksburg, it pits Dwarfs against greenskins, the Empire against Chaos and High Elves against Dark Elves. The preview explains that new and existing traits, such as Knight and Disease, will broaden deck-building choices, tying the card game’s expansion to the setting’s established enmities.
Warhammer: InvasionDwarfs
CommunityWD 367 · p. 17
Andy Hall outlines the online support for the new edition, including author video commentaries, army updates, tactical articles and an expanded archive. A new Tale of Four Gamers follows Christian Byrne, Matt Hutson, Nick Bayton and Hall as they start Empire, High Elf, Orc and Skaven armies. The column identifies these as separate web features, giving the issue’s readers routes into continuing coverage rather than reproducing those articles here.
Warhammer Fantasy BattlesThe Empire
LoreWD 367 · pp. 18–19
The new Warhammer Heroes series places established champions at the centre of stories that range from massed battles to political intrigue. Sword of Justice follows Ludwig Schwarzhelm into Averland’s instability, while Wulfrik the Wanderer is announced as the next subject. The feature also places the series alongside Gotrek and Felix, Malus Darkblade and the Empire Army novels, then gives a scene of Schwarzhelm confronting an Orc warlord.
Warhammer Fantasy BattlesThe Empire
FictionWD 367 · p. 19
Schwarzhelm and his knights tear through an Orc formation, but its hulking commander survives the first charge. Rather than attempt another full lance attack at close quarters, the Emperor’s Champion changes weapons and uses his trained warhorse’s movements to create an opening. The scene contrasts the greenskin’s strength and resilience with Schwarzhelm’s practiced judgement, presenting the hero through a closely observed fight within the larger battle.
Warhammer Fantasy BattlesThe Empire
InterviewWD 367 · pp. 20–33
Andy Hall explores the new rulebook through the people responsible for its background, battles, rules and miniature showcase. Phil Kelly describes a world approaching a decisive crisis, Jeremy Vetock encourages narrative scenarios and games mastering, and Mat Ward explains larger fighting formations, uncertain charges and dangerous magic. Alan Merrett completes the discussion by placing painted models at the centre of a social, creative hobby whose rewards extend beyond winning battles.
Warhammer Fantasy Battles
LoreWD 367 · pp. 22–24
Phil Kelly explains how the new background intensifies the world’s constant warfare and presents the age of Karl Franz as a turning point. Revised historical perspectives and an illustrated timeline broaden the setting beyond familiar summaries. His example of rival Elven half-brothers, an imprisoned Dragon and battling mages illustrates the layered personal and epic motivations he calls a romantic narrative, giving a battle meaning at several levels simultaneously.
Warhammer Fantasy BattlesThe Empire
CampaignWD 367 · pp. 25–27
Jeremy Vetock describes the Battles section as a bridge between the setting and the mechanical rules. Unusual encounters, disloyal hired troops, games masters, custom models and legendary refights expand the ways a group can play beyond a standard pitched battle. Glumhof and a cannon-bearing Dwarf airship illustrate the range, while the section’s structure deliberately grows from manageable evening games towards ambitious spectacles and connected campaigns.
Warhammer Fantasy Battles
InterviewWD 367 · pp. 28–30
Mat Ward outlines the principles behind eighth edition rather than attempting a complete rules lesson. Random charge distances create risk, supporting attacks and Steadfast reward substantial infantry formations, and Stomp gives large creatures an appropriately violent presence. A more confrontational Magic phase balances devastating spells with dangerous miscasts, while active terrain and percentage-based army selection aim to increase choice without bringing the battle to a halt.
Warhammer Fantasy Battles
InterviewWD 367 · pp. 31–33
Alan Merrett discusses why painting and displaying an army are central to the hobby’s appeal. He encourages achievable techniques, steady improvement and the satisfaction of finishing models, then asks painters to judge a miniature in three contexts: alone, within its regiment and as part of the whole force. Choosing an army can follow its appearance, play style or the materials a painter enjoys, with conversation and shared practical knowledge linking hobbyists together.
Warhammer Fantasy Battles
InterviewWD 367 · pp. 36–43
Adam Troke interviews John Blanche about how artwork opens a convincing window onto Warhammer. From Harry the Hammer to vast new battle scenes, John explains the importance of fantastic surroundings, strong narrative, distinctive symbols and immense scale. Examples show how an image can express a race’s own viewpoint or an earlier historical era, while traditional media and the imagined role of a fictional illustrator help the artists discover rather than merely decorate the world.
Warhammer Fantasy BattlesThe Empire
TacticsWD 367 · pp. 44–49
Andrew Kenrick introduces percentage-based army selection and asks five Studio generals how they exploit the new battlefield possibilities. The discussion weighs wide attacking formations against deep resilient blocks, warns that hordes need flank protection and highlights the wider value of a Battle Standard Bearer. Complete High Elf, Ogre, Dwarf, Wood Elf and Chaos lists demonstrate different responses instead of presenting one universal formula for a successful army.
Warhammer Fantasy BattlesHigh Elves
RulesWD 367 · p. 44
The summary requires a general and at least three non-character units, with a minimum quarter of the points spent on Core. Separate ceilings apply to Lords, Heroes, Special and Rare choices, and duplicate Special and Rare selections are limited. Larger Grand Armies receive increased duplication allowances. The accompanying explanation connects those limits to practical decisions about characters, monsters and the balance between horde formations and supporting regiments.
Warhammer Fantasy Battles
TacticsWD 367 · p. 45
Adam Troke’s 2,498-point High Elf army centres on a fifty-strong Lothern Sea Guard horde supported by two smaller Sea Guard units. Spears, Martial Prowess and the horde formation let large numbers fight, while bows and three bolt throwers punish the approach. Alith Anar and Shadow Warriors disrupt enemy movement, and Adam openly accepts weaknesses against surviving heavy armour in return for a force built around his favourite models and battlefield image.
Warhammer Fantasy BattlesHigh Elves
TacticsWD 367 · p. 46
Phil Kelly’s 2,996-point Ogre force takes advantage of second-rank monstrous support and the smaller frontage needed for an Ogre horde. A large Bull block and ranked Ironguts combine impact hits, substantial attacks and Stomps, with Gut Magic enhancing their performance. Leadbelchers and two Scraplaunchers thin enemy hordes before combat, creating the substantial ranked Ogre army Phil had previously found difficult to justify.
Warhammer Fantasy BattlesOgre Kingdoms
TacticsWD 367 · p. 47
Matthew Hutson builds a 2,999-point Dwarf force that advances rather than waiting behind its guns. Random charges reduce the relative disadvantage of short legs, great-weapon infantry keep contributing attacks and a Slayer horde offers a dangerous blocking unit. Compact missile formations support the main regiments, while runic defence, accurate Grudge Throwers and a Gyrocopter provide control without abandoning the army’s aggressive intent.
Warhammer Fantasy BattlesDwarfs
TacticsWD 367 · p. 48
Mat Ward’s 2,000-point Wood Elf army increases the size of its Glade Guard formations so they can exploit deeper shooting ranks and remain useful after contact. Eternal Guard benefit from high Initiative and numerous attacks, while six Tree Kin provide a tougher blocking formation with full monstrous support. Dryads and several nobles complete an army whose opportunities come from building larger versions of familiar units rather than simply adding exotic choices.
Warhammer Fantasy BattlesWood Elves
TacticsWD 367 · p. 49
Andrew Kenrick’s 2,998-point Chaos army anchors itself on resilient infantry while ranked cavalry hunts the flanks. Tzeentch-marked Warriors combine their shield defence with an enhanced ward, Chosen deliver heavy weapon attacks and Marauders absorb attention. Chaos Knights and two Horsemen units seek coordinated charges, while a Shaggoth, Hellcannon and Spawn provide different threats and make the force visually and tactically varied.
Warhammer Fantasy BattlesWarriors of Chaos
Battle reportWD 367 · pp. 52–75
Mat Ward’s Empire and Alessio Cavatore’s greenskin horde recreate Azhag’s final battle near Osterwald at roughly 3,500 points. Prolonged infantry combats, dangerous terrain and powerful magic showcase the new edition, with River Trolls repeatedly resisting the Empire’s elite troops. Werner von Kriegstadt kills Azhag as history demands, but Skullmuncha survives and the Orcs win on victory points, 2,185 to 1,294, leaving Mat to claim a costly moral victory.
Warhammer Fantasy BattlesThe Empire
TacticsWD 367 · pp. 54–55
Mat’s 3,485-point Empire army brings together troops from several provinces under an Arch Lector. Large State Troop formations, Flagellants and Greatswords supply the main fighting body, supported by detachments and substantial artillery. Knights Panther under Werner von Kriegstadt pursue the historical task of killing Azhag, while priests and three wizards offer magical defence and varied offensive tricks, at the cost of a considerable investment in characters.
Warhammer Fantasy BattlesThe Empire
TacticsWD 367 · pp. 56–57
Alessio adapts an earlier Studio greenskin army into a 3,495-point eighth-edition force. Merging Night Goblins into a fifty-model spear horde saves duplicated command and Fanatic costs, helping fund a Rock Lobber. Ranked Troll units become major combat investments, protected by the general’s Leadership and the battle standard’s reroll, while cutting a surplus shaman reflects the limited power pool available to cast their spells.
Warhammer Fantasy BattlesOrcs & Goblins
RulesWD 367 · pp. 58–59
The overview explains diagonal deployment separated by a narrow strip of no-man’s-land and the chance of each unit arriving late as a first-turn reserve. Mat’s Greatswords, battle standard and cannon are delayed, while his Spearmen discover they occupy a hostile Wildwood. The battlefield’s Wizard’s Tower, Blessed Bulwark and Wyrding Well provide advantages and hazards that shape the battle before either army begins its attack.
Warhammer Fantasy BattlesThe Empire
TacticsWD 367 · pp. 59–75
Jervis’s interspersed commentary turns the report into an introduction to the new edition’s flow. He explains terrain and deployment, the management of Animosity and Stupidity, magic pools, charges, supporting attacks and the resilience of deep formations. Later notes show why position and choosing the right troop for a task matter, then encourage players to retain a simple strategy and assess a close result through victory points.
Warhammer Fantasy BattlesThe Empire
RulesWD 367 · p. 73
An explicit correction states that the new rulebook’s page 143 mistakenly requires twice the opponent’s victory points for any win. The intended normal victory requires a lead of at least one hundred points, while twice the opposing score gives a crushing victory. The clarification appears beside the final Osterwald result, explaining why Alessio’s total wins the battle even though it falls short of double Mat’s score.
Warhammer Fantasy Battles
EditorialWD 367 · pp. 76–78
Jervis explains why the new book grew into a full-colour celebration of Warhammer rather than simply a revised rules manual. Background, artwork and an extensive miniature gallery establish the world and its visual appeal, while the Battles section offers different ways to bring it to life. The rules serve that broader purpose through more flexible selection, dangerous terrain, uncertain magic and brutal fighting, inviting players to write their own chapter in the setting.
Warhammer Fantasy Battles
ModellingWD 367 · pp. 80–85
Andy Hall examines Chad Mierzwa’s representations of the new active terrain rules. Existing kits, spare parts and simple sculpting turn walls, woods, ruins and craters into recognisable magical hazards or defensive positions. Each example explains both construction and battlefield effects, followed by a High Elf–Vampire Counts encounter on Bleak Moor that shows how the same terrain can help one side, threaten the other or upset either player’s plans.
Warhammer Fantasy BattlesHigh Elves
ModellingWD 367 · p. 81
A Fortified Manor wall and candles from the Gothic Scenery pack create an obstacle visibly consecrated against evil. The accompanying rules commentary grants cover and makes charging troops less accurate, with an additional Initiative penalty against the Forces of Destruction. Chad’s compact conversion makes a familiar wall communicate a specific place in the setting, giving defenders a clear reason to rally behind it.
Warhammer Fantasy BattlesThe Empire
ModellingWD 367 · p. 81
Chad combines Arcane Ruins, skulls and candles with sculpted liquid, half-bead bubbles and indentations made by a brush handle. Water Effects gives the painted surface its final wet appearance. The gaming discussion makes drinking from the well a gamble between temporary incapacity, healing and a mixture of Unbreakable resolve with Stupidity, so even a scenic centrepiece can provoke a consequential decision during battle.
Warhammer Fantasy Battles
ModellingWD 367 · p. 82
A Gaming Hill becomes a treacherous slope through loose slate from the basing kit, scattered skulls and a bare tree. It retains a hill’s ordinary benefits but becomes dangerous to troops charging, marching or fleeing across it. The example explains how a simple change in surface texture can convey a specific hazard and encourage use as a defensive position without requiring a completely scratch-built landscape.
Warhammer Fantasy Battles
ModellingWD 367 · p. 82
A Moonscape crater is filled with spare Skeleton Warriors, skulls and branches to create an unsettling mass grave. A Giant-kit signpost completes the scene. Nearby living troops suffer reduced Leadership, while Undead gain a small regeneration save from readily available replacement parts, connecting the grim visual idea to an advantage that encourages different armies to approach or avoid the same feature.
Warhammer Fantasy BattlesVampire Counts
ModellingWD 367 · p. 83
The carnivorous wood uses a red-tinged Citadel Wood, bleeding knots and suspended corpses to signal its appetite. Casting a spell within it or targeting a model there causes the trees to attack occupants before the entire forest moves randomly. The example turns ordinary vegetation into an active magical participant, with Corpse Cart and Tomb Kings parts supplying small warnings a cautious general might still overlook.
Warhammer Fantasy Battles
ModellingWD 367 · p. 83
Arcane Ruins and Gothic scenery parts frame a painted star-filled portal, whose reverse is an apparently solid stone wall. At the start of each Magic phase it produces a randomly determined spell from several different lores. The model and commentary show how a single terrain feature can become an unpredictable source of beneficial or destructive magic, giving nearby troops reason to consider more than cover and movement.
Warhammer Fantasy Battles
ModellingWD 367 · p. 83
High Elf shield symbols transform an Arcane Ruins component into an Elven monument, with selected gems providing a contrasting visual accent. Wizards within its influence gain an improved chance to channel magical power, regardless of their allegiance. The small conversion demonstrates how repeated racial iconography can make a generic ruin appear culturally specific while its useful battlefield effect ensures both sides may want control of it.
Warhammer Fantasy BattlesHigh Elves
Battle reportWD 367 · pp. 84–85
Folivar Windweaver leads an expedition to stop Vlad von Carstein reaching a dangerous portal on a magical moor. The illustrated account concentrates on terrain interactions: blood-hungry trees destroy a chariot, a loose slope costs a Silver Helm his mount and a Charnel Pit steadies the Undead’s ability to replace losses. Both armies exploit magical sites, making the landscape central to the story rather than a neutral backdrop.
Warhammer Fantasy BattlesHigh Elves
InterviewWD 367 · pp. 88–91
Andy Hall asks Dave Andrews how the rulebook’s scenic tables were designed to communicate a specific Warhammer location. A preliminary sketch establishes the Invasion of Chrace board’s harbour, chalk cliffs, river and Elven architecture, while Chad Mierzwa’s landing ships supply a narrative reason for the assault. Dave stresses that such elaborate examples should inspire ordinary players whose own first battlefield may still be a tablecloth.
Warhammer Fantasy BattlesHigh Elves
ShowcaseWD 367 · pp. 90–91
The panoramic board depicts Dark Elves landing beneath the defences of Chrace, supported by dragon-prowed ships and a sea monster. A bridge above a waterfall provides an elevated firing position, while a chain of waystones forms a magical barrier along the harbour. White Lion guardians and distinctive towers fix the location in Ulthuan, and labelled action points show how the display can support an unfolding battle and arriving reinforcements.
Warhammer Fantasy BattlesHigh Elves
ModellingWD 367 · pp. 92–99
Chad Mierzwa, Nick Bayton and Duncan Rhodes build a Vampire Counts army outward from a Battalion, testing its colours and basing before expanding. Movement trays are planned first so small graveyard scenes and multi-based groups fit naturally into the regiments. A palette drawn from the army-book cover unites the horde, with vivid red details and three centrepiece models providing contrast against ghostly troops and restrained bases.
Warhammer Fantasy BattlesVampire Counts13 paint colours
TacticsWD 367 · p. 93
The completed 2,000-point force gives Malochai a large body of Skeletons, Zombies and Crypt Ghouls, with Byron’s Corpse Cart, Dire Wolves, Grave Guard and a Varghulf supporting them. Named regiments make the list part of the army’s visual identity rather than an anonymous shopping list. It demonstrates how the Battalion-based project expands into a playable force whose large infantry formations also create space for the workshop’s graveyard vignettes.
Warhammer Fantasy BattlesVampire Counts
ModellingWD 367 · pp. 94–95
The builders decide each regiment’s size and make its movement tray before assembling the models. Gravestones, emerging warriors and small banner scenes are positioned first, with ordinary figures built to fit around them. Multi-basing supplies opportunities for storytelling while making frequently removed and reraised Zombies easier to manage, and spare branches, graveyard details and basing-kit parts keep the whole army within a shared physical setting.
Warhammer Fantasy BattlesVampire Counts
PaintingWD 367 · p. 96
The army’s muted blue-grey palette takes its cue from Dave Gallagher’s Vampire Counts cover, leaving the red-armoured lord as the strongest focal point. Bone highlights prevent the Skeleton units from merging into an indistinct mass. The painters test the bases and replace pale dead grass with a darker flock to avoid washing out the models, showing that colour decisions must be assessed across the whole regiment and army.
Warhammer Fantasy BattlesVampire Counts6 paint colours
PaintingWD 367 · p. 96
The Skeleton begins with a sprayed pale stone base, then receives dark metal, brown leather and two blue-grey cloth colours. A single liberal brown wash ties those materials together before selective bone, silver and blue-white highlights restore their distinctions. The four-stage sequence keeps rank-and-file painting efficient while giving the regiment the cool spectral appearance required by the larger army scheme.
Warhammer Fantasy BattlesVampire Counts10 paint colours
PaintingWD 367 · p. 97
Small vivid red accents carry the Vampire’s main colour through the army without overpowering its subdued troops. Gore on Ghouls, exposed Dire Wolf muscle, banner cloth and a tiny gemstone all contribute to the connection. The discussion distinguishes these repeated details from the Grave Guard’s tarnished gold, which communicates former status, demonstrating how a limited palette can still give different units their own visual role.
Warhammer Fantasy BattlesVampire Counts
ShowcaseWD 367 · pp. 98–99
Malochai, the Varghulf and the Corpse Cart provide three different centrepieces while remaining tied to the same graveyard army. The lord’s warmer complexion and glossy red armour stand apart from his pallid followers, but a battered shield on his base repeats their colours. Fallen masonry and skeletal debris build the Varghulf’s scenic footing, while the cart uses the Zombies’ visceral wounds and palette to connect directly to its surrounding regiments.
Warhammer Fantasy BattlesVampire Counts
ShowcaseWD 367 · pp. 100–103
The Eavy Metal team works in pairs to create three confrontations between archetypal enemies. Each shared project requires the figures, mounts and landscape to interact rather than simply place separately painted models on one base. Empire against Chaos, Wood Elves against Beastmen and High Elves against Dark Elves supply distinct settings and colour relationships, with altered poses and controlled composition turning the duels into moments of an unfolding story.
Warhammer Fantasy BattlesThe Empire
ShowcaseWD 367 · p. 101
Keith Robertson and Kornel Kozak stage a Warrior Priest’s prayer against the challenge of a mounted Chaos Lord. The priest must appear attentive both to his book and his opponent, while the Lord’s gesture and the circling Juggernaut create a visible threat. The horse’s reaction completes the interaction, making the snowy shared base a setting for imminent action instead of a neutral display plinth.
Warhammer Fantasy BattlesThe Empire
ShowcaseWD 367 · p. 102
Anja Wettergren and Tom Winstone build the woodland ambush around an unconverted Wargor’s existing posture. A tautly posed Waywatcher prepares to loose an arrow while Drycha emerges from the restless roots, making the forest itself appear to join the attack. Natural colours conceal the Elf in his surroundings, and the Beastman’s contrasting clothing helps distinguish the hunted figure within the densely connected scene.
Warhammer Fantasy BattlesWood Elves
ModellingWD 367 · p. 103
Darren Latham and Joe Tomaszewski evoke the Finuval Plain duel using heavily adapted plastic High Elf and Dark Elf parts. Tyrion follows the palette and imagery of a Geoff Taylor cover, while the opposing champion carries a long shield made by joining three smaller shields. Sculpted changes turn the Cold One into a running mount, and shared non-metallic gold links two otherwise strongly contrasting colour schemes.
Warhammer Fantasy BattlesHigh Elves
CommunityWD 367 · pp. 106–107
Rik Turner visits the organisers preparing Games Day’s exhibitions and releases. Lise Tildsley describes a Chaos-themed touring collection of original art, early miniatures and landmark books, while Mark Newton outlines forthcoming Black Library fiction including The First Heretic and the Sabbat Worlds anthology. Ead Brown introduces Mark Bedford’s event-only Runt Bot, with the report combining the event’s historical displays and new creative work.
Warhammer Fantasy BattlesWarhammer 40,000Chaos Space Marines
CommunityWD 367 · p. 111
Paul Welsh describes the Nottingham club’s growth from a small Warhammer World group into a large regular membership. Small-points championships encourage new or returning players, while experienced hobbyists share their skills and create participation games such as the award-winning Orkynapolis race. The twice-yearly Open War tournament brings in visitors and supports charities, showing how a shared venue can sustain casual games, creative projects and organised competition together.
Warhammer Fantasy BattlesWarhammer 40,000
