WHITE DWARF · APRIL 2017
The Kharadron Overlords arrive with sky-port background, design interviews and extensive painting guides. Shadow War adds two faction lists and a vertical rescue battle, while Lake-town terrain, a card-driven duel and new collecting projects round out this date-labelled monthly issue.
COVER TO COVER
In printed page order
The editorial introduces the Kharadron Overlords as a technological reinvention of familiar duardin craftsmanship and grudges. It previews their background, design interviews, battle report and painting coverage, and welcomes Shaun Pritchard to the magazine’s production team.
The new Kharadron range is introduced through its escape from Chaos, floating cities and dependence on aether-gold. A battletome preview describes the new artwork, sky-port background, narrative battleplans, painting material and rules that accompany the airborne duardin.
A release preview brings Khorne’s mortal followers, Daemons and Slaves to Darkness together in a new battletome. It explains the Blood Tithe’s rewards for battlefield deaths and introduces warscroll cards and counters for this faction and the Kharadron Overlords.
The boxed skirmish game pits Space Marine Scouts against Orks in the industrial underworld of Hive Acheron. Its individual fighters, cover, campaign development and Necromunda-derived mechanics are introduced alongside the modular terrain, templates and models supplied in the box.
A close look at the Alchomite Stack, Galvanic Magnavent and Ferratonic Furnace shows how tanks, chimneys, raised platforms, cranes and removable fittings combine. The emphasis is on interchangeable connections and compatibility with existing Imperial scenery, enabling varied industrial battlefields from the same components.
A compact history traces Armageddon from the secretly preserved world of Ullanor to Angron’s invasion and Ghazghkull’s two wars. Its sequence stresses the terrible human cost and the continuing destruction of the hive cities rather than presenting the planet’s survival as an uncomplicated success.
New hobby tools are described through their practical uses: interchangeable fine saw blades for conversions and terrain, a weighted knife with replaceable blades, and tweezers for small components, tufts and transfers. The article links each design feature to the modelling task it is intended to simplify.
The return of Roboute Guilliman provides the context for a boxed force of Custodian Guard, Sisters of Silence, a Contemptor Dreadnought and Imperial transports. Two accompanying codexes expand the background of the Emperor’s guardians and psychic nulls and provide their contemporary army rules.
The Mechanicum’s Karacnos converts the Triaros transport hull into an assault vehicle carrying radioactive mortar warheads. Its shock ram, independently mounted lightning weapons and opening battery hatches are highlighted as both battlefield equipment and details of the Forge World model.
This Forge World preview introduces a Khorne Daemon Prince with an axe called Harrow Meat and the living Ancyte Shield. The shield’s shifting faces recall older Chaos designs, while its captive Daemons and the character’s blood-rage establish his place within a Blades of Khorne collection.
Graham McNeill’s Primarch novel places Magnus and Perturabo on a doomed world where saving lives conflicts with preserving knowledge. The notice presents Magnus’s hunger for discovery as the central tension and announces the standard hardback and digital editions after the limited release.
Guy Haley’s Primarch novel follows the Iron Warriors’ master through thankless sieges, compliance campaigns and garrison duties. The preview connects his technical brilliance and apparent emotional restraint to the resentment developing beneath them, and describes the numbered presentation edition.
Paul Kearney’s Space Marine Battles novel begins with rival Imperial expeditions racing to investigate a space hulk. Distrust between the Ultramarines, Mechanicus and Inquisition becomes especially dangerous when the vessel returns to the Warp with Marneus Calgar and all three groups aboard.
Robbie MacNiven’s novelisation takes the Blood Ravens to Acheron, where Orks and Eldar are also pursuing their own purposes. The preview points out the returning Gabriel Angelos, Macha and Gorgutz as connections to the earlier computer games.
The audio drama follows a desperately depleted Chapter trying to recover the gene-seed needed for its survival after Hive Fleet Kraken’s attacks. A lone Assault Squad must undertake the mission on a Tyranid-infested world, giving the release its immediate stakes.
A short interview explains the initial UK, European and US availability of more than five hundred Black Library titles on Kindle. The team discusses series numbering, text-to-speech on supported books and ways of locating editions, with The Gates of Azyr offered as an introductory free novella.
The computer-game preview considers the huge elite units available to its three factions: Imperial Knights, Wraithknights and Gorkanauts. Their substantial Elite Point cost creates a choice between waiting for a late-game centrepiece and deploying smaller elites earlier; Lady Solaria’s Knight illustrates the characters behind these machines.
The news column describes new Chaos Knight options and corrupted relics for Freeblade. Alongside this update it previews Titan Comics’ Dawn of War III miniseries as an additional story connected to the computer game.
Reader letters celebrate the revived magazine, describe Silver Tower games in Afghanistan and explain how the hobby can appeal to an initially uninterested partner. Mikael Silvanto reflects at length on the collaboration behind the Pilgrym and the community projects it has inspired.
Grombrindal explains that Cataphractii, Tartaros and Indomitus were broadly contemporary designs rather than a simple chronological progression. He contrasts their intended roles, mobility and manufacturing complexity and links particular designs to different marks of power armour.
The retrospective revisits April 1996 through Space Hulk’s second edition, the J Files’ discussion of special characters, a bridge-building workshop and Warhammer Quest’s seaport settlement. It also remembers Brian Nelson’s arrival in the studio and the early signs of his long association with greenskin miniatures.
David Soper discusses the levitating pose, stippled cloth and restrained palette of his Slayer Sword-winning Farseer. Robin McLeod’s converted Sorcerer demonstrates rich non-metallic armour and freehand, while Richard Gray revisits a Deathshroud Terminator with subtle chips, grime and rust; judges explain what makes each entry successful.
The cover feature introduces the sky-ports, guilds and profit-driven Code of the Kharadron, whose aether-gold technology supported their escape from Chaos. Profiles explain how Arkanaut crews, professional Thunderers, navigators, khemists and endrineers operate alongside three sizes of armed sky-vessel, preserving duardin traditions within a markedly different society.
Stuart Edney interviews Oliver Norman and Martin Footitt about turning John Blanche’s airborne duardin concepts into the Kharadron range. They explain how hazardous working conditions, bespoke equipment, lifting globes and a hierarchy of wealth produced a consistent visual language, with tools that double as weapons and obvious links to older Dwarf craft.
Dave Sanders and Jeremy Vetock explain how the Kharadron Code became selectable Artycles, Amendments and Footnotes, with fixed interpretations for the major sky-ports. They also discuss ship mobility, flagship signals and the attempt to show a working mercantile society beyond the battlefield in the new battletome.
Dave Sanders supplies a standalone duel game using two miniatures and ordinary playing cards. Players secretly choose attacks, blocks and sidesteps, use card values to resolve initiative and combine three actions into follow-up manoeuvres; facing, redraw decisions and a ten-point life stack turn the exchange into a contest of anticipation.
Artists explain how composition, colour and viewpoint distinguish alien and heretic threats to the Imperium. Examples range from the visual symbolism of a Genestealer uprising and the aerial speed of Tau to Necron horror, Dark Eldar agility and the contrasting destruction inflicted by Daemons and Chaos Space Marines.
Dave Sanders leads Barak-Zilfin sky-ships against James Karch’s Flesh-eater Courts to reclaim Admiral Banebellow’s stolen hammer. The ships demonstrate punishing firepower and transport resilience, but regenerating ghouls reach close quarters and drag them down; Kazikorak survives on two wounds to secure James a minor victory, prompting discussion of target priority and deployment.
A Cadian kill team climbs an enormous promethium rig held by two Ork mobs, with Blood Angels Scouts covering its extraction. The illustrated report explains pinning, falls, overwatch, ammunition and close combat as the action unfolds; Ryante finally reaches the Valkyrie with the vital communiqué, while most of his comrades remain casualties below.
This complete Shadow War faction list provides recruitment profiles, weapons, armour, equipment and advancement access for Skitarii teams. Artificer Weaponry improves ammunition reliability, the omnispex coordinates fire against cover and specialist operatives add an Enginseer, Ruststalker or Infiltrator with distinct support and assault abilities.
A Shadow War list lets players recruit Neophyte leaders, fighters, initiates and heavy-weapon specialists, supported by an extensive mining and cult arsenal. Starting in hiding and using Brood Command define the team’s approach, while Acolytes, Metamorphs and a particularly dangerous Purestrain provide specialist operative choices and their own limitations.
Jay Clare adds optional Lake-town terrain rules for games using the new house kit. Doorways offer shortcuts, boats and ice floes open risky routes across the water, and barrels, fish baskets, fenders, lanterns and outhouses turn the settlement’s ordinary furnishings into tactical opportunities and hazards.
Extra rules allow Smaug or another fire-breathing creature to ignite Lake-town houses, spreading flame markers and raining debris on nearby warriors. A short modelling note suggests cotton wool or similar fibres for the flames, coloured red and black to reproduce the burning settlement on the tabletop.
This points-match scenario sends opposing infantry forces into burning Lake-town to retrieve gold while fighting through its cramped streets. Treasure cannot be voluntarily passed or discarded, so movement and risk matter as well as killing the enemy leader; a companion note makes coin markers from sliced rod or putty and gives a metallic painting recipe.
The in-world sports column surveys the muscle supplied by Ogres, Trolls and Rat Ogres, balancing their usefulness with their notorious limitations. Its fictional play of the month turns a Skaven scoring run into a tale of apparent bribery and backstabbing, continuing the magazine’s comic coverage of Blood Bowl culture.
The four collectors reveal their first completed Start Collecting forces and compare the practical realities of painting to a deadline. Black Templars, Cadians, Iron Warriors and Iybraesil Eldar establish distinct visual identities; the next challenge adds an Elite unit and army background, while an early game demonstrates the cost of avoiding a threatening Leman Russ.
Maxime Corbeil gives black armour tiny reflections and progressively lighter edge highlights to suggest a lacquered surface. Separate white-undercoated shoulder pads make the warm pale areas easier to paint, while the discussion identifies Blanche artwork, a Golden Demon squad and the Gathering Storm narrative as sources of inspiration.
James Ashbey works from grey fatigues out to red armour and dark green weapon cases so that the early messy stages are covered by later details. Sharper armour highlights distinguish hard surfaces from cloth, and the same palette is rearranged for a weathered grey Leman Russ with red and white markings.
Dan Harden describes an efficient order for the silver armour, gold trim and yellow hazard stripes of his Iron Warriors. Shared washing and highlighting stages speed up the force, but the models only develop their intended character once the chevrons and final details contrast with the metallic foundation.
Chris Bilewicz paints jetbikes and a Fire Prism in sub-assemblies, separating the blue upper hulls from their light undersides. Orange spirit stones complement the blue armour, red robes identify the Farseer as the focal point and restrained metallics preserve the impression of wraithbone equipment.
Kari Hernesniemi reveals the noble entourage carrying the Pilgrym’s powerful infant psyker across Terra. The conversions translate a complicated family history into poses and costumes: Marguardt and Jocoff look away from one another, Adsum serves as their local enforcer, and the hovering medicae Imettäjä guards the child hidden within a sealed cradle.
Paulie Wallis explains the flamboyant orange Dark Eldar army that won Best Painted Army at the Great Devourer doubles event. Inspired by Duke Sliscus and Phil Kelly’s collection, he combines airbrushed orange armour with contrasting details, extensive Corsair conversions and a mobile force focused on objectives; a custom Sliscus and Sslyth court reinforce the theme.
The modelling guide explains the shared dimensions and fittings that let Sector Mechanicus tanks, platforms and walkways connect to one another and older Imperial scenery. It recommends durable glued subassemblies, demonstrates reinforcement and dome construction, and shows how extra platforms and matched floor heights produce expansive vertical battlefields.
A lightly dusted metallic spray over black creates an uneven industrial foundation for washes, sponged chips and drybrushed rust. Verdigris and cracked enamel add contrasting surface damage, with the guide warning that moving a spray can too far away can produce unwanted graininess.
Separately painted blue platforms and pale grey supports give the industrial terrain a cleaner contrasting scheme. The recipe uses different starting sprays, washed and drybrushed surfaces, then metallic pipes, maker’s plates and bright sensors to pick out machinery without losing the two principal colours.
This fast scenery scheme drybrushes blue and yellow over a dirty metallic foundation rather than carefully laying opaque basecoats over every panel. Pale drybrushing ties the colours together, while separate brass, gold and silver details keep small fittings visible against the weathered structures.
A unified black industrial scheme is highlighted with cool drybrushing, leaving metallic ladders, chains and machinery to provide contrast. The separate recipes cover dark surfaces, brass plates, silver fittings and glowing red lenses, making the scenery readable without competing with the models placed on it.
Natalie Slinn breaks the Barak-Nar Frigate into hull, endrins and crew so each can receive suitable undercoats and painting techniques. Separate step sequences cover brass and gold machinery, steel plating, a purple and cream hull, glowing portholes and crew clothing; the accompanying advice explains freehand runes, tidy pale bands and differentiating functional metals from decoration.
The Barak-Zilfin Arkanaut pairs a cool blue bodysuit with warm bronze armour and a pale helmet. Its complete staged recipe works across the whole model one technique at a time, allowing shared shades and layers, and ends with a textured earth base; a sidebar recommends keeping metallic-contaminated water away from ordinary colours.
The Barak-Zon scheme uses bright red armour over a blue suit shaded almost to black, preventing two strong colours from competing. Basecoats, selective washes, layers and basing are listed for the whole figure, while a second note adds restrained rust streaks and highlighted scratches to a weathered Frigate.
James Karch adds a Frostlord as an ally for his Ironjawz and treats it as an opportunity to improve his individual-model painting. Cold fur, bone and hide contrast with warm skin and deep flesh, while selected brass and leather details prevent the large monochrome areas from becoming flat.
James Ashbey chooses a towering Gargant for his Destruction army and mostly follows the Citadel painting method. Gloss around the mouth suggests saliva and blood splashes enliven the masonry flail, while the bag accessory reflects his enjoyment of the model’s comic rules.
Natalie Slinn revisits a favourite Seraphon monster for her own collection, enjoying the contrast between shell, scales, Skinks and gems. Thin layers build soft nebula-like clouds on the shell before bright stars and a galactic core are added with a fine brush.
Joe Naber makes a pale Maw-krusha contrast with the dark armour of his Ironjawz collection. Green and brown washes followed by light drybrushing describe the large scales, while warmer glazes, scars and carefully painted ear veins enrich the expressive face.
Tom Moore gives his Gargant a pirate identity with an eye patch, bandanna, scratch-built anchor and a treasure-map tattoo. Efficient drybrushing leaves time for these details and a beach base full of flotsam and limpets, placing the gaming model within a clear setting.
Dan Hyams adapts an old Slann-on-Stegadon concept by putting a Skink Starseer aboard the monster. Green and dark blue flesh work better than his initially planned red alongside the bright Skinks, and an earthy scenic base grounds the fantastical conversion.
James Littler links a Steam Tank to his Hammers of Sigmar army by fitting decorative Stormcast shields to its hull and turret. A quick gold painting method is broken up by blue and white heraldry, and he outlines plans for a small squadron with a more ornate command vehicle.
Owen Patten uses his first Bastiladon to explore different surface textures, particularly a mottled shell painted with a mixture of stippling and edge highlights. Real lizard references inform the colours, with red details and blue Skinks complementing the brown scales and green shell.
Maxime Pastourel carries his Skaven army’s albino flesh and signature red arm onto a converted Hell Pit Abomination. A new head, Doomflayer Gauntlet and brainrat imply a failed Stormfiend operation, while mottling suggested by Darren Latham adds a biological texture to the mass of heads.
Maxime Corbeil builds a ghost-themed Mortis Engine around bright spirits, a dark reliquary and a contrasting green-toned Corpsemaster. Painting the major subassemblies separately keeps the colour relationships under control; a converted head and the story of the operator’s dead brother give the centrepiece its own identity.
The reader gallery ranges from Drycha and Gordrakk to Genestealer Cult leaders, Space Marine vehicles and Horus Heresy characters. A recurring photography sidebar recommends a plain light background, even illumination, a useful viewing angle and careful focus so that painted detail survives reproduction.
Damien Tomasina’s Leman Russ draws on Neil Roberts’s Prospero Burns artwork while separating armour, shoulder pads and fur through subtly different greys. Ruddy skin and red gems supply warmer focal points, and non-metallic brass with a ruined Prospero base completes a model painted in only a few days.
The staff report on Shadow War kill teams, the Blood Bowl league and completed hobby projects. A pair of designer-played duels finds Guilliman overcoming Magnus in different circumstances, while photographs show Badrukk, Yarrick and the construction of Ferro-Giant Alphus before the article closes with Mel’s Alarielle.
Ben Johnson explains how the Blood Tithe encourages players to act like a Khorne warlord by accepting losses and pursuing brutal fighting. The tactical choice is whether to spend favour immediately or save for stronger rewards, especially those that interrupt the opponent’s normal turn sequence.
Matt and Michael discuss the contrast between traditional Dwarf motifs and the Kharadron’s industrial mining in the clouds. Their plans move from admiration of sealed masks and floating cities to personal sky-port concepts, with one collector keen to begin a Gunhauler and the other a militarised force of Thunderers.
Mel describes painting Alarielle in separate components so that a large, intricate model remains manageable. Beginning with the goddess and her wings establishes the focal point, and a white undercoat, washes and drybrushing bring out the sculpted detail before any selective edge highlights are added.