Nekhro

Les précos sont à environ 11h en France.

En V6 tu pouvais élever une seule unité de Chevaliers au rang d’Élus (et une seule de Guerriers à pied aussi).

Curieuse idée que d’augmenter la largeur de la Chimère et de la Manticore.

https://www.warhammer-community.com/2024/01/04/old-world-almanack-designer-round-table-on-painting-the-miniatures/ Designer Round Table on Painting the Miniatures With Warhammer: The Old World so close to release, we’ve gone behind the scenes to talk to many of the people who worked on different aspects of the game over the last few years. Our first discussion concerned the finer details of lore, before the designers pitched in with the notes they took when creating the miniatures and heraldry. Today, the ’Eavy Metal team talk about what it was like to balance old and new when painting miniatures for the new project. What changed in the years between Warhammer Fantasy ending and the Old World project starting, and how did this affect your approach to painting? Jonathan: The approaches, techniques, and tools for painting have changed massively, but so has the photography. The way we took photos back in the 90s was different, and new digital photography is much brighter and crisper, which demands things painted to a different standard. Miniatures have to be rendered sharper, and there is a heavier focus on detail. The main goal before was for things to be bright enough to catch your eye in a big photo. Rowan: It’s interesting when looking back at painting from across the last 10 to 15 years – and particularly the things that we’ve been interested in rendering across the years. The old Necrosphinx was a big centrepiece at the time, and compared to the rest of the Tomb Kings of Khemri range it has a lot of texture work, but the style of the time was to really dial that up to the max. In a modern miniature like the Bone Dragon, you need to look a bit closer because that detail is still there, but it’s not as exaggerated – it’s a little more subtle and realistic. Dan H: As a result of these changing priorities, the way that we approach miniatures has changed. Bretonnians are an example of a faction that has changed quite drastically in terms of how we paint them. A lot of our focus has been on characters, exemplars in the range that let us reinforce and refine the faction aesthetics. For us, being the new custodians of this specific era of Warhammer is a massive deal. Being the people who take on something as iconic as a Liche King or a Damsel on a Unicorn like Élisse Duchaard, heroes and character archetypes that people have known and loved for upwards of 20 years is a huge responsibility. Holly: There’s an element of future-proofing too, but we always have to consider the fact that this world is hugely important to a lot of people, both those who have worked on it in the past and the fans. Are you trying to match old styles, or are you pushing ahead as far as you can? Dan H: We don’t necessarily want to limit ourselves. We can treat something like the Damsel as a statement of intent, a little bit like the designers did with the packed layout of the Knights of the Realm on foot. If we then revisit Bretonnia in the future, we’ve laid this much stronger foundation for future work. Rob: Leading with your best idea is always the goal. When designing the Damsel on Unicorn, we wanted to make the best one we could possibly make, and when the ’Eavy Metal team painted it, they wanted to paint the best one they possibly could. We like to think we’ve done that. Does that mean we won’t ever do anything better? No, because we’re always pushing ourselves The Kingdom of Bretonnia now all sport a uniform paint scheme. Can you break down your approach to painting this faction? Kieran: The foot knights were a good place to start. We spent a lot of time thinking about how we take something that exists – the idea of Bretonnian Knights – and modernise the painting in a way that doesn’t make them sit outside the existing range. Nearly the whole army has been repainted in the colours of Duke Gastille, the Red Hand of Brionne, by a combination of the ’Eavy Metal and army painting teams, so it really was a brand-new direction. Rowan: We set the precedent for many of the textures, colours, and ideas when we painted the Lord on Royal Pegasus. It was a handy template to work from, but we still had to figure out new ways to approach the heraldry on other miniatures because there is an expectation for Bretonnians that you will have a lot of mixed designs and colours. Kieran: These knights now fit into the army as a uniform force due to the red and the black heraldry of Duke Gastille, but they’re not all the same. Some have quartered or checkerboard patterns on their shields, others might have surcoats painted with patterns or colours split differently. They also have favours and heraldic elements that are painted to match and represent their own personal heraldry. Rowan: You can convey a lot through these elements too. Some knights have “mismatching” heraldry across their favours, trinkets, weapons, and helmets. The idea here is that they may have been given certain things as gifts or rewards, or perhaps a weapon has been passed down from one family member to another. I think doing that, alongside giving each knight their own take on a Baron or Duke’s heraldry, is instrumental to bringing your own narrative in. Keiran: I think as well that the new scheme makes the Questing and Grail Knights seem perhaps even more important. Now that the Knights of the Realm are anchored in the background as the knights of the Barony or Dukedom, it lets the bright and personalised heraldry shine through – the Grail Knights are even more elevated to their saintly position. Rowan: Looking at those old knights is quite a nostalgia trip. A lot of the miniatures that we’re working alongside are as old as fifth or sixth edition Warhammer Fantasy Battle. For many of us, they are forever linked with the time we first got into Warhammer and are a little magical, but as professional painters, we can also see the strategies and decisions that were made. Élisse Duchaard is a stand-out character with a paint job to match. How did you tackle her? Kieran: We had to work hard on making sure each of these different elements was rendered differently despite being the same colour; the unicorn has to look different to the white dress because a horse’s skin doesn’t look like white cloth! It’s still part of the same army as the Men-at-Arms, so we had to ground this magical creature a little, which we achieved with dirt on the forelocks and lower limbs, and also with speckling and glazing a skin tone onto the muzzle – it brings a little bit of realism. Elsewhere we focused on soft and smooth rendering, which with white is a real challenge. We started with exaggerated shadows and glazed those with whites – which takes a very, very long time – which helps make the skin look almost translucent, pushing colours below the layers of the skin. The Damsel herself is all smooth rendering, whether it’s on cloth or on the skin, it’s all to make her look magical. The staff is meant to be a gift from the Wood Elves, so it’s not painted to match the rest of the Bretonnian equipment. Instead, we looked at Wood Elf miniatures that had been painted by ’Eavy Metal in previous years and tried to make it feel meaningfully different and magical. How did you tackle the Tomb Kings of Khemri and the Necrolith Bone Dragon? Rowan: The primary material of the Necrolith Bone Dragon is, perhaps unsurprisingly, bone, so there’s only a narrow span you can work within. It’s a challenge to keep that interesting. Kieran: We did a lot of research into bones. We didn’t want to just figure out one recipe and stick to it for everything. We spent a lot of time looking at carcasses and bones situated in different environments and observed how bones weathered through the ages. How might the bones of a recent death look versus sand-polished bone? Rowan: We also extended our thinking to how the model is based – it’s not on the old-style standard sandy base, so some of the bone is painted to reflect this. There’s dirt and weathering that conveys the environment it’s in. Kieran: Modernising is a really important part of the Old World painting process. One of the larger changes in how ’Eavy Metal renders things is conveying believability and a sense of realism. Eventually, you have to find a line of belief – are we drawing that at accepting this gigantic undead dragon can exist, or are we pushing a bit further and considering how its constituent elements might be affected by reality? Rowan: A lot of the flavour in the Old World comes from being a little more grounded, and having more of a worn aesthetic. The weathering across the miniature is really important, especially with the metals, and a lot of research was done into how they weather in different environments. Part of pursuing believability is to make sure elements like metal are rendered correctly – no rust on gold, no oxidation on steel and so on. Enamels are a nice focal point across the Tomb Kings army, adding a little splash of colour, so when it came to painting the Bone Dragon, we took care to make it duller and weathered closer to the ground, and polished and gleaming up on the howdah. Kieran: There is a lot of detail work inside the howdah. It was a total dream to paint and a lot of fun, but also a really difficult thing to balance, making sure it’s a focal point but that it also has that subtle weathering – such as a sun-bleached cloth – which gives a time-worn quality to it. Conceptually, Tomb Kings are a little more static than other ranges in that their traditions and philosophies are fixed in place, but time has marched on, and that has to be represented in the painting. The dragon itself was painted to feel like it was something that was alive during the Tomb Kings’ reign – a status symbol for a King or a creature in the thrall of a Mortuary Cult priest. When they died, perhaps the dragon was buried with them, and then they were reanimated after. I think It says a lot about the history of Nehekhara, and it shows a different side to the way that society works – it’s an opportunity to open things up. Rowan: Another element that we’ve dug into is the way that flesh is painted on the Tomb Kings. Though the primary image of the faction is of sunbleached skeletons, there’s actually a lot of desiccated flesh on display in old art on the Tomb Kings and Liche Priests. Kieran: There’s also precedent in the range already, as the old Casket of Souls has quite a realistic-looking fleshy tone on it Rowan: It’s another case of thinking about where in the world these characters are situated. What’s happened to them since they died? Skin gets leathery as it ages, and paler skin gets quite translucent – these elements then need to be transferred into the afterlife… Keiran: There are some striking green elements in there, which adds that supernatural vibe into things, which we’ve tried to work into all of the other considerations. Rowan: Also, we wanted to get some contrast in there because the whole faction can’t just be gold, brown, and red – for example, there’s the blue on the enamel. Kieran: It looks supernatural and fantastical, but that is just part and parcel of how the Tomb Kings operate as a faction. It’s what makes them feel like part of Warhammer. Rowan: Ultimately, a lot of our work was making things link back to the older miniatures that have been worked on while also working out how to move things forward. It’s a fine line to walk. Kieran: There are opportunities for us to pay homage to the long history of Warhammer Fantasy. The World of Legend setting lets us do something really different from what came before, too – it lets us subtly change army identities through the context of the setting. Being part of this process is really exciting. It’s going to take us a while to digest all of that painting knowledge! Thanks to everyone involved for such a comprehensive retelling of the decisions that went into writing the lore, designing the miniatures, and painting the factions for Warhammer: The Old World. There were all sorts of interesting tangents that didn’t fit neatly into those three subjects, so tomorrow, we’ll be presenting a feast of informative morsels to tide you over until Saturday, when you can pre-order Warhammer: The Old World.

J’ai mis à jour le premier message avec les Hauts elfes.

https://www.warhammer-community.com/2024/01/04/bretonnian-knights-of-the-realm-on-foot-painted-by-warhammer-community/?utm_source=Social+Media&utm_medium=social&utm_campaign=the-old-world&utm_content=towwarcompaints04/01/2024&fbclid=IwAR3_ktL6Bgo7go7AXLRyasKm3QxaxHYVa4YtmKF5buJ9vkztAJwC_OaHzPs Bretonnian Knights of the Realm on Foot Painted by Warhammer Community We’ve been keeping it quiet, but Warhammer: The Old World is available to pre-order this weekend! Alongside books, boxes, and classic miniatures, there are plenty of debutants to look forward to – including the stunning Knights of the Realm on Foot for the Kingdom of Bretonnia. They’ll be following shortly after the initial release, as they struggle to keep up with their horse-riding compatriots. But here at Warhammer Community, we were in love from the moment we saw them – so we took the Questing Vow and pledged to paint our very own regiment. A whole band of staff members would each paint their own knight, complete with personal heraldry. These are the results! Ed: I went for the heraldry of Couronne, with its vivid reds and blues, as I love the way it evokes the colours of royalty. It’s a triadic scheme of red, blue, and yellow, so to balance these I went with bright colours like Mephiston Red for the red cloths, Caledor Sky for my blues, and glazes of Flash Gitz Yellow to bring more saturation into the metallic and non-metallic golds. With a lot of different metallic textures on the model, I spent time using a lot of the paint range to break up each area, like all the different locks, to try and prevent everything from getting lost in repeated colour placement on the model. Emma: I wanted a different feel for my knight, so I chose Naggaroth Night, Corvus Black and Averland Sunset for the surcoat and shield, keeping to the quartering style found on most knights – perhaps he was in exile, or on crusade, hence a bit different? I didn’t want to use gold on the ornate trim and details, so I used Screaming Bell to give the metals a coppery feel. I blended and highlighted all these colours up, but tried to keep it simple, so I could easily copy it if I were painting a whole unit. For the heraldry, skulls fit the colour selection, marking this knight as one not to be messed with!2 Lydia: Bretonnians were my first army when I joined Games Workshop… some years ago. I remember the pain of painting bright colours with old paints, so I was very excited to have a go at painting them with newer Contrast colours. Yellow has always been my favourite colour, so Imperial Fist was an easy pick. All I needed next was a good contrasting colour – plenty to choose from, but I went with Dark Angels Green thinned with a little Contrast Medium. I go for a halfway house between speed and style when painting. I use Contrast for the base, then paint a couple of highlights on top to really make the colours pop. I love freehanding, and Contrast paints are great for this thanks to how easily they flow off the brush. As my knight had a big ol’ fleur-de-lys on their tabard, it made it an easy pick for the heraldic design. Michael: I’ve been looking for little ways to push myself while painting, and the shield was a great opportunity. After a zenithal highlight* I airbrushed Talassar Blue, then used masking tape to preserve a blue stripe while applying Dawnstone. Freehanding the padlock was daunting, but I carefully sketched the outline with a light pencil before using Black Legion. I carried the stripe over to the crest on the helmet with Teclis Blue and a thinned layer of Caledor Sky on the lower half. To make the armour and leather distinct next to the Dawnstone robes, I used Iron Warriors and Rhinox Hide for a dark finish, washing with thinned Basilicanum Grey before highlighting. Now I’m considering the same scheme for an Imperial Knight… Six more dashing knights complete our regiment – Jon has painted his in the colour of his very first Bretonnian army from the time of legend (the year 2000), while Joel has opted for the pink and yellow of Battenberg – a little-known fiefdom he claims is somewhere in Bretonnia. Luke used a bright, clean scheme of blue and white, while Tom preferred red and yellow complemented by a bold star. Darcy and Rik rounded things out with sombre black and white colouring, and complementary yellow and green, respectively. The Knights of the Realm on Foot will be available to pre-order in the very near future – each box contains 20 multi-part Knights with plenty of options to create a regiment of individualised chivalric warriors. You can paint them in the more uniform heraldry of their Duke or Baron’s household, or each in their own livery on an Errant Crusade. * Applying a thin coat of a pale colour over a darker one, usually with a spray can or an airbrush, to create a gradient to glaze or thinly layer over.

Les tailles ont été données par le compte officiel FW de GW. @JB a créé un sujet.

Le message a été édité pour les Elfes Sylvains.

Assez pathétique oui. Finalement, il devient un peu un hater lui-même. Haters qui, comme ils l’ont dit, ont mis des bâtons dans les roues de Heroquest 25th Tseuquest

Mais à l’époque, s’ils gagnaient le combat et étaient plus nombreux, ils faisaient fuir l’ennemi automatiquement.

Peut-être qu’il y aura les deux suivant le cas de figure (par l’arrière de base, et par l’avant pour certaines charges par exemple). Car la vidéos, d’après ceux qui l’ont regardée, il y a des retrait par l’avant. S’il y a bien une différenciation de ce type, ce serait intéressant.

Ça leur coûterait certainement plus cher de faire des conditionnements séparés pour chaque jeu plutôt que de mettre les deux types de socle dans une même boîte.

Merci de signaler quand un propos vous parait hors charte plutôt que le commenter inutilement. Et bien sûr, les attaques gratuites et autres dénigrements sont interdits.

https://www.warhammer-community.com/2024/01/03/old-world-almanack-designer-round-table-on-new-graphics-and-miniatures/ Old World Almanack – Designer Round Table on New Graphics and Miniatures Yesterday we cracked the lid on the first in a series of round table articles for Warhammer: The Old World. Today’s article is digging into the design decisions behind the new miniatures and the heraldry that accompanies the Kingdom of Bretonnia and the Tomb Kings of Khemri. Where did you start with the new miniatures for such beloved factions? Giorgio: The Bretonnians and Tomb Kings hadn’t really been the stars of a previous edition for a while, but as the community loves both, they felt a natural fit for the return to the Old World. Rob: Giorgio actually managed to find a massive tome of Bretonnian concept art, background, heraldry, and everything that the old Warhammer Design team had put together years ago. Giorgio: It was essentially a style guide from the old studio. It had been put together at the end of a project, and they had collected all of their assets – box art and packaging, transfers, copies of concept art, everything – into paper form and then rationalised it all. It’s effectively the legacy of that particular period. Rob: That book gave us a great launch pad for new miniatures. It also contained the seeds of new things that we’ve not done before, such as the locks, which are a new motif in the Bretonnia range. Giorgio: The big desire with the Knights of the Realm on Foot was finding specific themes that could be particular to Bretonnia – and then showing them through their attire, equipment, amulets, and little trinkets. Alastair: It would be very easy to make them look like historical knights, so we had to dig into what makes them Bretonnian and not another generic fantasy knight, and importantly what separates them from Empire Knights – those two factions have similar aspects, so how to differentiate them? Giorgio: The legendary Arthurian-style fantasy of the Questing Knights, with their devotion to the Lady, is the angle we wanted to hone in on and make evident in the miniatures. The helmets have these oversized heraldic elements, and one even has a sculpture of the Lady on it. That came about through revisiting old concept art and original miniatures and paying tribute to them. The locks that appear on the miniatures have an element of superstition to them. They’re a symbol of how they’ve bound themselves to the Lady, a representation of their faith and a reminder of their quest. It was a very immediate and relatable way of representing these promises. Alastair: Many of these knights have gone on quests, some campaign for their duke, and they’ve made promises to people. Some have the strange little reliquaries and boxes on their person, with odd little Warhammer-style stuff locked away in them – perhaps a body part or a bone, something a bit mad that makes them uniquely Bretonnian. Giorgio: We worked really hard to be faithful to the original designs and also to the Warhammer aesthetic. We wanted to pull back slightly from where we ended up in the End Times, to simplify some materials and details, focus on fabrics, and root the aesthetic in this earlier time period. Digital sculpting has changed things a lot. We can get a level of accuracy and detail that we just couldn’t before, but it also increases the amount of space that we can work on for each miniature – so balancing that is important. There can’t be detail for the sake of it. Rob: Just through the way older technology works, the older frames had so much space on them compared to the new frames – there’s a statement of intent here; this is what you can expect from the Old World going forward. What is the genesis of the new centrepieces and character miniatures? Jonathan: One thing that we knew is that we wanted a new centrepiece for each range, and ideally, we wanted that to be in the launch box for each. They became the Lord on Royal Pegasus and Necrolith Bone Dragon. Giorgio: The Pegasus is archetypal for Bretonnia. Pegasi have been in different factions in the history of Warhammer, but when the Pegasus Knights were designed for Bretonnia, it sort of cemented them as a feature for the army. In a lot of ways, the miniature explains itself. It comes from this long history of Warhammer art and miniatures, and so, we had an idea in our minds about exactly how it should look. The challenge was coming at it from a more contemporary angle. The opportunity to make a kit like this in plastic is a crowning moment – it’s creating almost a perfect kit with a level of detail and finesse we could only imagine in the past. For the Pegasus, so much of the impact comes from its wings – always one of the hardest elements to sculpt, but beautiful in the end – so graceful and with connotations of the angelic, the divine, the legendary. The Tomb Kings needed a centrepiece to match, and we gravitated towards a Dragon because, in Warhammer Fantasy, a Dragon is this great and grand thing. Rob: But for the Tomb Kings, it’s also a horribly evil thing. In Bretonnia, the Pegasus is a symbol of virtue and nobility, whereas the Dragon which faces off against it is an ancient evil, representing inhuman power. Giorgio: In part, it’s about resurrecting old glories – for us, that’s going back to the big Spined Dragon design, and its wings without membranes, while for the Tomb Kings themselves, it’s the glories of their life before resurrection. There was some freedom to pluck features and symbols from across the expanse of Warhammer art, but also freedom to explore technical challenges such as the big wings and the big arch on the palanquin. Khemri, even more than Bretonnia, are a faction that has not changed in years within the fiction. They essentially hit a point of stasis when they died, so we really couldn’t change the aesthetic too much – they are quite literally preserved. It would be hard to imagine them as something else. The magical vulture for the Liche Priest is a nice example of us pushing the boundaries. In the past, there were things you couldn’t achieve when sculpting. Technology means there are fewer limits, but it’s important to consider how far we can push things while still remaining in the Old World. Is working on the World of Legend different to working on other settings? Are there limits on what can be changed? Alastair: The Questing Knight Paladin was one of the earliest miniatures that we worked on, and we swiftly realised that we had to determine an aesthetic for these “new old miniatures”. We couldn’t do something completely new in terms of aesthetics because we are re-releasing lots of classic miniatures, but we also couldn’t just blindly recreate what has come before. We had to dip our toe into what the future might be, but also keep one foot in what’s come before. When the opportunity presents itself to capitalise on designs we’ve seen in artwork or concept art, especially if it seems appropriate, it’s foolish not to leap on that. What we like to say a lot is we want to “bend, not break” things, which is a step-by-step process. We push things here and there, sometimes in subtle ways, but in other places, we’ll push far enough out that in the future, there’s scope to come back later – and push things out a little further! Rob: There’s definitely a lot of respect and a love for the artwork of days gone. The influence of Warhammer is far-reaching. It extends beyond just our games and miniatures into merchandise and video games. Some of this classic art has resonated for decades now, so some of those miniatures really are direct love letters to specific pieces of art. Others are taken from five or six different pieces of art and concept work, all blended together to make something that’s new but still feels like Warhammer. Giorgio: It’s important not to forget the core identity of a faction, to always carry that forward with every new idea we have. And when we talk about new elements, we’re mainly talking about a new way of looking at miniatures because of the time difference between the originals and now, rather than a new way of looking at Bretonnia. Holly: There are more places to find inspiration from than you might think – it’s not all concept spreads. Some of it comes from page furniture, old miniatures, and designs for boxes. Jonathan: There is definitely a thread here, though, that we’re realising across all of our game ranges where we’re finally seeing the miniatures we imagined as kids! But in reality, we actually just have the technology to create miniatures with the same fidelity as older artwork. Alastair: We’re not here to change what Warhammer is. It’s more about reminding people what they love, picking up where things left off, and then taking the next step. There are a lot of things we can do now, with regard to finesse, detail, the fineness of the material, and the negative space we can play with, that we could never have done in the past. Throughout the whole process, we are trying to stay true to what people remember Warhammer Fantasy Battles being, but we still want to push things. It’s funny, though, because your memory of a miniature versus what it looks like can be different, but there is still a certain feeling associated with that memory. Giorgio: Everyone who has worked on the project remembers getting into Warhammer and playing the game, and all the emotions that go along with that – sometimes that nostalgic feel is more important than the reality. So we’re really trying to pay tribute to those feelings as well as the aesthetics, trying to bring a bit of that fun we all remember back in. How has the iconography changed in the years since the end of Warhammer Fantasy Battle? Jonathan: The art and the iconography go hand in hand – while the miniature designers are working on sculpting, the books and design teams are working on the artistic implementation of heraldry and so on. Holly: For Bretonnia, we looked at examples of earlier iconography to try and decide what was and wasn’t clear, what was missing and so on. For each dukedom, we drafted a few different examples and worked on drilling down into the strongest, most immediately recognisable examples. There was also an element of making the iconography consistent, as opposed to a series of diffuse elements. Jonathan: We essentially rationalised things down to make it more concise – the rules for Bretonnian heraldry, what the motif is for each dukedom, and what their primary heraldic device is. For example, the symbol of Quenelles is the Unicorn, which is the primary element, and it will be seen through all of its fiefdoms. Holly: Another example of a shift in our approach is the fleur-de-lys that appears across heraldry. This is a fairly generic heraldic device, but it has now been made into one that is indisputably Bretonnian with the inclusion of the sword in the middle and the sharper crescents. It’s far more representative of Warhammer. The difference between the world of the End Times and the World of Legend also shifts our perspective on what Bretonnia is. In the World of Legend, it is a shining beacon of chivalry and honour. At this point in history, they really are walking that walk. The rest of the world is primarily meeting Exiles and Crusaders, not the paragons of chivalry that live in Bretonnia itself. We reflect that in the heraldry and the coats-of-arms. There are strict rules understood by the knights that are reflected in the art, background, miniatures, and painting, but it might be slightly different in this setting from what you’re used to. Jonathan: The Tomb Kings of Khemri were interesting and, in a lot of ways, different. There were lots of ideas floating around from the old days of Warhammer, but nothing as concrete as the iconography we’d worked on for Bretonnia. It gave us a lot of room to get creative. Holly: Khemri is a collection of kingdoms, essentially an empire from before the word empire even existed in the Old World. We focused a lot on the idea of crowns and their adornments to define each kingdom – each on top of a skull, because it’s the Tomb Kings. There’s also this idea that perhaps some of these crowns are the ones they were buried with when they died. There are even some hints at the older gods of Nehekhara in there, if you know where to look. Of all of the heraldry, the symbolism of the Mortuary Cult was the most heavily layered and thematic. The skeletal vulture evokes a few ideas, as a two-headed skeletal creature that feeds on the dead. There’s the idea of the ouroboros, and there’s phoenix imagery in there, but decrepit and skeletal – a nod to the duplicitous nature of the priests. They promised the royalty a shining gold afterlife, but what they’ve delivered is something else entirely. The other icons of Khemri are heavily embellished, enamelled and jewelled, and so the simple nature of the Mortuary Cult’s heraldry emphasises the self-aggrandisement of the Tomb Kings. It has to be humble. The Liche Priests can’t be seen to be attempting to seize power by force. They are insidious, and do strange and dark things. Yet more enthralling stuff from the people behind Warhammer: The Old World. Tomorrow we will be serving you up another slice of what goes on behind the scenes, with an article all about how ’Eavy Metal applied their specific set of skills to the World of Legend.

Dans l’article sur les combats, ils parlent bien de retirer les pertes par l’arrière. J’aimerais qu’il y ait une subtile différence avec le fait de retirer les pertes à l’avant en cas de charge (peut-être dans certains cas de charge seulement ou selon d’autres conditions) et par l’arrière dans les autres cas. Mais je n’y crois pas trop (dommage). En revanche, vanter les mérite d’un bonus d’Initiative contre des morts-vivants pas forcément réputés pour leur célérité me fait un peu tiquer.

Description de l’apparition de TOW sur Warhammer+ avec notamment un rapport de bataille. Quelques petites bricoles à se mettre sous la dent. https://www.warhammer-community.com/2024/01/03/returning-to-the-old-world-with-warhammer/ Il y a quatre type de cavalerie : légère, lourde, monstrueuse et bête de guerre. Le bonus d’Initiative en charge peut aller jusqu’à 3 de front, 4 de flanc ou de dos (pas de précision sur le calcul de la valeur). Toujours en rapport avec la charge et l’Initiative, encore la notion cette suggestion que l’efficacité des attaques peut tuer les ennemis avant qu’ils n’aient «la chance de combattre». Est-ce que ça veut simplement dire qu’ils les ont tous tué avant ?

https://www.warhammer-community.com/2024/01/03/returning-to-the-old-world-with-warhammer/ Returning to the Old World with Warhammer+ This week on Warhammer+ The Battle Report crew fight a pitched battle of Warhammer: The Old World between the Kingdom of Bretonnia and the Tomb Kings of Khemri. Presenters Nick and Simon are veteran Warhammer players who have faced each other across the battlefields of the Old World on countless occasions over the years. We caught up with them as they talked to us about the new version of a classic Warhammer game, and some of the differences they’ve spotted… Nick: It’s certainly been a trip down memory lane using ranked units once more in a game of Warhammer! But of course, taking off the rose-tinted glasses and reading through Warhammer: The Old World for the first time, we could see this wasn’t just the game we remembered from ten years ago – it was much better. Simon: What we read was a combination of multiple versions of Warhammer Fantasy Battles that we remember, with a few tweaks and additions here and there, which really excited us. And that’s exactly what Warhammer: The Old World is – a homage to the best editions of Warhammer Fantasy Battle. So, here are a few of our favourite updates to the classic game that we really liked when we made our episode of Battle Report. Phases and Sub-phases Nick: The way the turn sequence is laid out is great – four distinct phases, each with four separate sub-phases. It’s made it super-clear when specific rules come into play. It might be a bit more to learn than usual, but once you’ve played a few games and you’ve got the sequence in your head, it makes so much sense. No more confusion about when something happens! Unit Types Simon: Carrying on with the improved clarity, all unit types have been clearly defined. For example, we now have four categories of cavalry – Light, Heavy, and Monstrous Cavalry, and War Beasts. Each has their own specific rules which means everything is clearer, and crucially, each unit can act exactly how it’s supposed to on the battlefield. Magic Nick: In ages past, all magic was cast in a separate Magic Phase. Well, now, each spell type is cast during the phase that it’s most relevant in. Enchantments and Hexes are cast in the Conjuration sub-phase of the Strategy Phase, but Conveyance spells, which transport units around, are cast in the Movement Phase. Magic Missiles and Magical Vortexes are used in the Shooting Phase, and Assailment Spells are cast in the Combat Phase. That means you’re always using magic in the right place, at the right time, and allows wizards much more tactical advantage. Armour Piercing Simon: The introduction of the Armour Piercing stat is great. Longbeards like us may remember that armour saves were universally affected by the Strength of an attack. For example, strength 4 would always be a -1 modifier, and strength 5 would be a -2. But now, with the addition of Armour Piercing, it’s a lot more granular. Weapons can be low strength and high AP or vice-versa, which can really reflect the weapon’s characteristics better. It also allows for new special rules like Armourbane* where a lucky or well-placed shot can pierce armour (like on the Bretonnian Peasant Bowmen’s longbows). Fall Back In Good Order! Nick: Anyone who has played Warhammer Fantasy Battle in the past remembers how regularly your huge unit would fail a break test from combat, run away, and be chased or ridden down. Now, that’s still a possibility, but thankfully, much rarer. In Warhammer: The Old World, a catastrophic Leadership test fail will see your unit break and flee but they are much more likely to Fall Back in Good Order, where the retreating unit turns to face a new charge from their pursuers. This is a huge change and means your glorious unit will be on the tabletop longer, which is great if you spent hours painting them! Take the Initiative Simon: The order your models fight in combat is determined by the Initiative values of the units fighting, which is a classic way of deciding things. However, in Warhammer: The Old World your units also receive an Initiative bonus for charging – up to 3 if you’re attacking the enemy head on, or 4 if you charge their flank or rear. This means that charging will often give you the advantage of fighting first, but against foes with the most quicksilver reflexes (Elves, we’re looking at you), even that may not be enough. In the episode of Battle Report, we found that Knights charging in on +3 Initiative was so good that many of the Tomb Kings were destroyed before they had a chance to fight. Nick: Well, there we go – just a few of our favourite things in Warhammer: The Old World! Of course, if you want to see a full game in action, make sure you tune into Battle Report on Warhammer+ this week. You’ll get to witness Si and I reliving our pasts with this great new game and having a jolly good time doing so! Thanks guys! But that’s not all Warhammer+ has on offer this week for fans of Warhammer: The Old World. Loremasters delves into the history of the Kingdom of Bretonnia. We asked presenter Alex for a rundown of what we can expect: Alex: For the Glory of the Lady, we are delving into the history of Bretonnia. From the Elven presence and the subsequent War of Vengeance whereby the Dawi showed them the proverbial door, to the arrival of the tribes of the Bretonni, we cover the founding of the nation of Bretonnia all the way up to the reign of King Louen Orc-Slayer. It was an incredible opportunity to dust off the old tomes and revisit some fantastic memories, whilst digging into the incredible new lore. Bretonnia by its very nature is a relatively stable land, compared to the tumultuous Empire, with little in the way of technological advancement. This is the benefit of strong, chivalrous kings who have supped from the grail and been blessed with long lives. There are a lot of similarities between the Bretonnia we remember from Warhammer Fantasy Battle and the one we find ourselves in during the era of The Old World, yet it is subtly different in many ways, from heraldry to social attitudes. It is exciting to be back with so many more stories to tell, foes to vanquish, and quests to embark upon! Well, it sounds like Warhammer+ is the place to be this week if you’re looking forward to Warhammer: The Old World. If you’re not a subscriber, sign up right now to get this and so much more. And of course let’s not forget that all of the great Warhammer: The Old World releases are available to pre-order on Saturday. * in case you missed it, Universal Special Rules have returned.

Je suis assez d’accord. Mais c’est dû au statut de TOW qui n’est pas un jeu core. Il y a un peu plus de mutualisation. Arrêtons avec cette histoire de remplacement qui n’arrivera jamais, ou tout du moins à très très long terme. TOW n’est même pas encore sorti, et on voit que les moyens mis en lui sont plutôt timides pour imaginer qu’il puisse balayer AOS.

Combien de fois a-t-on pu lire que tel ou tel truc pouvait arriver et puis non. Le jeu n’est pas encore sorti. S’attendre d’ors et déjà à ce que le jeu se développe au delà de ce qui est prévu c’est aller à la déception. En tout cas, il va falloir patienter pas mal d’années avant que ça n’arrive.

Perso, je suis un peu dubitatif sur la comparaison entre cette période et l’Hérésie d’Horus. J’aurais plutôt vu l’unification de l’Empire par Sigmar comme événement marquant. Mais c’était peut-être trop étalé dans le temps et n’impliquant pas assez d’autres armées.

Sisi, on a eu la réponse. Regarde notamment du coté du tableau des fiascos. Ça parle de «every model (friend or foe) whose base lies underneath the template»

Non, ce n’était pas obligatoire. Mais je ne pense pas qu’il faille y avoir un «complot» (je ne parle pas de toi particulièrement) pour faire vendre plus de figurines. Qui se rachète la même armée juste à cause de la taille des socles ? On l‘entend à chaque fois, mais j’ai l’impression que ça tient plus de la légende urbaine qu’autre chose. D’autant plus qu’il il est facile de trouver des solutions (plus ou moins efficaces) pour adapter ses anciens socles, et surtout avec un jeu régimentaire : plateaux de mouvement ou adaptateurs de socles. Moi je vois juste une anticipation sur les futures figurines et se laisser plus de liberté de création dans la contrainte d’une taille de socle devenue trop petite. Ils en ont parlé dans un article, avoir des figurines plus dynamiques et les mettre plus facilement en rang. Pour ces mêmes raisons, ils ont changé les tailles de socle de certaines anciennes figurines afin d’harmoniser tout ça (tout du moins pour les socles de 20mm, ça concerne aussi d’autres socles plus gros comme ceux de cavalerie).