wyrd chronicles volume8

ContentsShort Story

Story Encounter

Malifaux Strategies

Crew Tactics

Terrain Building

Accursed Preview

Seasons Review

Competitive Painting

Painting The Depleted

October 2013

1 © Copyright Wyrd Miniatures, LLC

Contents

Contributors

Volume 8

Editing and Layout:David Hanold

Writers:Justin GibbsAdrian Scott

Graeme StevensonRedd Cohen

Michael KelmelisDavid HerbertRoss Watson

Wojtek TekielskiMark Rogers

Graphic Design:Redd Cohen

Contributing Artists:Melvin de Voor

Stephane EnjoralasHardy Fowler

Christophe MadaruPablo Quiligotti


Welcome to the eighth installment of the Wyrd Chronicles! We have a lot of exciting things for you this issue, from terrain building to a new story encounter. But, I want to talk about a change we are making to the Chronicles as a whole.

Starting with this issue, we will begin featuring material and games from other companies. The Chronicles will, of course, remain an excellent source of Wyrd-related articles. We strive to include as many or more articles on Wyrd products as we have always done. However, we will begin doing reviews of other games as well.

The logic behind this is simple; the more people we have reading the Chronicles, the better it is for us, because it features our games prominently. And as we feature more games and add a wider variety of articles, we will gain a wider variety of readers. And we give you, the reader, more articles to enjoy. This whole prospect is a little experimental, because we will be actively promoting companies and games who may compete with us. However, I firmly believe that what is good for the industry as a whole is good for us all. So long as people are going into stores, playing games, talking about games, and buying games, we all benefit. And I am lucky enough to work for a company that is willing to give this idea a shot.

I want to say up front that all of our reviews will be positive ones. It’s tacky to review another company’s product and give it a bad review. Additionally, I think people are more interested in what is exciting and fun, and I see no reason to waste space with bad reviews. That said, we will only review games which we genuinely think are good and which we enjoy.

We are kicking this endeavor off with an inside look at the Accursed Kickstarter by Ross Watson and his team, and a review of the game Seasons by Redd Cohen. If this goes over well, expect to see more of this in future issues. Tell your friends and spread the word, the Wyrd Chronicles is a free, general gaming magazine which covers more things than just Malifaux (but don’t worry, we have plenty of Malifaux).

Finally, if you have a product which you would like us to review, email [email protected].

Enjoy!

By: Justin GibbsChanges

-Justin Gibbs

mailto:Justin%40wyrd-games.net?subject=


By: Graeme StevensonIn Pursuit of HappinessSticky Bill ran.

He ran fast, skinny legs knifing up and down, rubber-soled shoes thumping the dirt. The alley stretched away in front like a narrow finger, black as tar – the only light was the moon reflected in the puddles he splashed through.

Sticky Bill was no stranger to running; he’d been running all his life in one manner or another. Mostly on account of his sticky fingers, but there were other things equally catalytic of his sharp exit; things like commitment and responsibility.

It wasn’t that he was afraid of such things, merely that he considered them disagreeable on the whole and contrary to the manner in which he liked to conduct his affairs. And when it came to the manner in which he liked to conduct his affairs that mostly involved him grabbing something and retreating.

Unscientific though this approach may seem to the layman, it had proven extremely effective over the years. It was astonishing how much revenue a quick-footed thief could generate if he were to hang around an opportunistic neighborhood. And by opportunistic he meant rich.

Any number of wealthy industrialists’ wives could be found at this hour of the evening, literally dripping with emeralds, diamonds, gold and pearls and all it took was a nimble half-second with a sharp knife or a pair of shears and he was away – down this alley, over that wall, through a derelict basement and gone beyond all hope of capture.

Mr. Flavio was most obliging when it came to the re-settlement of wayward items of jewelry, most obliging indeed. Why, it almost seemed his civic duty to find a new home for all those bracelets, necklaces, and pendants that became separated from their former owners and were desirous of a new home.

In the last six months in particular, Sticky Bill had earned such an amount of scrip (and that was at little more than a fifth of his sparkle’s actual worth – rot that

pinching beggar Flavio’s soul) that he had begun idle speculation into his retirement plans. He was only four-and-thirty, but already his hidey-hole under the brick mantle of his safe house had grown a prodigious nest egg. Another year, perhaps even less, and he would buy his ticket back Earth-side and, what’s more, he’d come back through that Breach a gentleman.

He ran on, his wind puffing out through drawn pock-marked cheeks.

That’s right – a gentleman, with fine cotton and silk about him and a watch chain and a top hat shiny with mercury and perhaps even a cane. He’d have means and the lower orders would tip their caps to him and have not the slightest thought he was anything less than a proper lad.

He’d have port and sherry with every meal, and a beautiful hourglass wife with eyes like sapphires, and perhaps even a town house where…

A bullet shrieked along the alley and a chunk of brick exploded at his ear.

Instinctively, he switched direction and flew along a side-alley between two crooked slums, so narrow as to skim his shoulders on both sides as he ran. He vaulted a heap of rags and newspaper and a few seconds after that scrabbled over a rude fence of old splintery wood and wire.

The sounds of pursuit were still behind him, but more distant. This was always the way. They’d give chase for a short spell with a good deal of bluster and shouting, enough to put on a show of effort for the disadvantaged lady, you understand, then they’d head back with a rueful shake of the head and send an urchin to find a Guardsman. It was the accepted order of things.

The lady would take a snort of brandy to soothe her nerves and her rich industrialist husband would buy her an even more lavish and exquisite piece to replace the stolen one. Everyone was happy.


Another shot rang out as Bill reached the end of the alley and he swerved left onto a larger street, racing past dawdling couples and rows of fluttering orange gaslights. He knew this area well – this was Coddle Street – a low-to-middle class run of tenement residences and modest shops.

A half-block or so further on, he could take a right into Fiddler’s Den, a claustrophobic knot of side-streets and tiny courtyards where a hundred enterprising thieves at once could lay low without a hope of being found.

He’d duck in there, find a likely spot and catch a short snooze. By the time he woke it’d be well after midnight and even the most determined gentleman pursuer would have long since retreated to the comfort of the nearest club to spin his wildly-embellished yarn.

Only, his gentlemen pursuers seemed particularly committed this evening. They had come steaming out of the alley mouth, pistols in hand, racing after him with a grim and evident determination.

The opal necklace was heavy in his coat pocket, but he’d stolen far more valuable things in his time and never been chased with such passion. Perhaps it was an object of particular sentimental value, or the lusty gentlemen in question had in mind more than just a lady’s gratitude.

Whatever their motive, he was resolved not to find out. He put on a burst of speed, his heels flying over the cobbles as he made for Fiddler’s Den.

As Bill drew within ten yards of his salvation, a third gentleman carrying a long rifle stepped from the entrance to the Den right in front of him and raised the weapon without hesitation.

Like a jack-rabbit, Sticky Bill swerved away on reflex and ran the width of Coddle Street, vaulting a low iron railing and raced into Turnbull Lane.

Where had that fellow with the rifle come from? Bill could scarcely believe it – less than two minutes since he had snatched that willowy lady’s necklace and he had somehow been cut off. How could the rifleman have got there so fast, and as calm as he was? What’s more, he’d had no hint of a flushed face or ragged breath which a normal man would surely have displayed after such a desperate run. He’d have had to run as though the

Death himself was on his trail to have reached Fiddler’s Den before Sticky Bill.

No, Bill was more of a mind that the fellow had been there all along, waiting. But how could that be? Who could have known he’d make straight for Fiddler’s Den?Turnbull Lane was far less to his liking – it was much too well-lit and ran straight for over a hundred yards with nothing but high un-scalable walls on both sides. He could hear boots pounding on the cobbles behind him – they sounded closer than before but he was certain it was just the lane funneling the sounds of their pursuit.

He risked a glance over his shoulder and saw all three figures in hot pursuit, the two pistoliers and now the rifleman, running with a steady measured pace that seemed almost effortless despite their heavy-looking greatcoats and boots.

He considered tossing down the opal necklace then, to secure his getaway, but the thought of it stuck in his throat. He’d never been caught once at this game and would be damned if he’d be collared now.

The end of the lane was drawing near. This place was well known, too: to his right was Sturgeon Cross and then Rottenrow Quay by the river, too much open ground and exposure for his liking, even at night. No, he would take a left at the end of the lane, along Cove Walk where the loose and broken cobbles were an ankle-breaking nightmare for the uninitiated, up the Hundred Stairs, past the statue of Magdalene Barrow, and if his pursuers had the wind to follow him that far, he would take to the Bread Vaults, soot-smeared caverns that were the bones of a massive bakery, burned down untold years ago.

He was scant feet from the lane mouth when a titanic noise almost knocked him off his feet. The wall to his left immediately bulged outward and shattered, toppling forwards and burying Cove Walk under tons of black brick and dust. Bill caught the faintest suggestion of a shape – huge, humanoid – coming through the wall and he immediately cut to his right, dodging the bouncing bricks that scattered around him.

He ran faster and harder than he ever had in his life before; forgetting the necklace in his pocket and the three men pounding after him – his immediate and overbearing concern to escape the artificial landslide that was taking place behind him. That sound – an


instant before the wall exploded – had sounded almost… almost like a shout.

He pounded down to Sturgeon Cross, head back, elbows high, arms and legs pumping. The thunderous deluge behind him did not abate – instead the rumble became a heavy rhythmic pounding that sent shock waves up through his feet to rattle his skull.

He dared not look back to see what behemoth had now joined the chase but as he skirted through the busy Cross, he saw a hundred astonished faces staring back the way he had come, and when he swerved around an immobilized hearse (the horses were shying), in the polished side window he saw the reflection of a giant figure loping after him, smeared with blue and red light.

‘Saints an’ Lords protect me,’ he gasped, his legs becoming a blur as terror lent fresh speed to his flight.

People were shouting and scattering behind him as he cut through the Cross, half-fell down a dozen cobble steps and took off along the wooden front of Rottenrow Quay.

He was accustomed to running – prided himself on great reserves of stamina, in fact – but the strangeness of his pursers and this latest absurd twist had disturbed him greatly. His heart was running much too quick and he could feel the fear soaking up the strength in his legs, leaving a rubbery infirmity.

He had to go to ground, and soon.

And out here was probably the worst place to try and find a hiding spot. To his left, the quay spread a crazy array of plank jetties out onto the dark river, most of which held a moored ship. To his right were netted piles of crates, none higher than a man and widely spaced. There were no more alleys or basements, nothing under him but wood and the mud of the riverbed, nothing around but open air. He couldn’t shake the feeling that he had been driven here – deliberately herded to this wooden platform with the stairs in plain view and his back to the river. Bill was no swimmer and the thought of leaping into that churning black water was even worse than capture.

He’d been flushed out like a grouse and run to ground by those trench-coated dogs. His pursuers – his hunters – would be at the top of the stairs already; whichever

way he turned they would see and they would run him down.

Or so they thought. Sticky Bill still had one trick up his sleeve.

He ran as far as he dared along the quay (the planking was uneven and spongy with rot in places) and then swerved to his right, skidding to a panting halt behind a mound of crates in their cargo net. The rope net was as thick as his wrist and stank of river mud; the crates within marked with some unintelligible dialect.

The thumping footsteps had slowed and given ground as he entered the quay, but he could hear them again now – something enormous and heavy was coming down the cobble steps.

He sneaked a quick peek around the edge of the crate pile.

At first he thought it was a machine, like those huge clanking Guild things that sometimes patrolled Curmudgeon Square outside the Guild offices, but as it drew closer he saw it was a woman - a woman wearing a massive armored suit. It must have been ten feet tall, with a fat iron chimney emerging from its back and venting a curious purple exhaust. In fact, the entire mechanism gave off a queer blue-purple blush, offering weak illumination to the dark riverside.

Three figures followed it down – his gentlemen pursuers, he reckoned. He saw them defer up to the mechanized woman. She spoke to them briefly and Bill strained his ears, but the distance swallowed the sense of it. They turned and lost themselves among the crate piles and the woman continued along the quay. She took careful slow steps while the quay planking protested loudly at her mechanized weight, but her attention was fixed on Bill’s hiding place.

Well, he thought, she might have seen him duck in here, but that wasn’t to say he’d still be here when she arrived.It was a curious and ultimately fortuitous skill that he had inherited on his journey through the Breach. Back Earth-side he had been a moderately good thief and a better runner. In Malifaux he had discovered a new string to his criminal bow.


The first time it happened was an accident – he was asleep at the time and was woken with a bump when he hit the floor. Most people fall out of bed – he fell through his.

With a few more false starts, he got a grasp on his new ability and began putting it to good use. He found that it worked best if he imagined the surface he was pressed against as a flower with its petals folded, and then he imagined those petals opening, well, a strange sensation and a few moments later he was standing on the other side.

It didn’t always work – the denser and thicker the barrier, the harder the challenge. A single layer of porous brick was manageable, but a heavy stone wall was as impenetrable a barrier to him as to any other common thief. Wood was easy, though. He could slip through a closed door or a fence with barely a moment’s pause.

The gnarled old planks of the quay shouldn’t prove much more difficult.

He crouched and took a deep breath – if there was water under the quay he didn’t want to drown himself for want of a lung full of air. The familiar flower image formed in his mind and he focused on it, imagining the layers of petals slowly beginning to slide back.

The warped planking underfoot softened, then became insubstantial. He closed his eyes despite the mechanized woman’s heavy footsteps being almost upon him and felt himself starting to slip. His body was sinking, sliding down through the planks like a hot stone melting through snow.

The woman’s voice filled the air – she shouted in a language Bill had never clapped ears on in his life and his downward progress halted abruptly. One moment the flower was almost fully open – the next it had vanished from his mind and all sense of dislocation had been ripped away.

He shrieked when he felt the biting pressure on his legs and looked down, expecting to see an alligator or some other swamp critter gripping him in its jaws. Instead he saw his knees and shins vanishing into the twisted boards of the jetty. He had been stopped less than halfway through the boards and had fused with the wood. He could feel it grinding against the bones of his legs.

‘Saints an’ Lords!’ he howled, gripping at his legs. ‘Me legs!’

The woman stood over him, unmoved and frowning through delicate half-moon glasses. The massive suit around her hummed, radiating heat and a faint electrical crackling.

‘You led me quite a chase,’ she said. ‘I thought at one point you were going to make that left on to Cove Walk.’

‘Me legs!’ he shrieked again, scrabbling at the splintery boards.

‘Yes, you’ve mentioned that,’ she said.

Her three ‘gun-dogs’ appeared out of the dark, the rifleman resting his weapon over a shoulder.

‘You were right, Hannah,’ the rifleman said, chuckling. ‘He did go for Fiddler’s Den.’

‘Of course he did,’ she said with eyes still on the sobbing thief.

‘Von Schill has been after this guy for months,’ the rifleman continued, ‘and you catch him in one night?’

‘It’s a simple matter of probabilities,’ the mechanized woman said. ‘Any animal will go for cover in a pinch and when you close off its bolt-hole it’ll run anywhere you like in its efforts to escape. All I had to figure out was where to place the lure.’

Sticky Bill wasn’t so agonized as to miss this last inference and avarice made him reach for the sparkle in his pocket. By the light of the mechanized suit, he saw that the necklace’s heavy opals as they really were – varnished pebbles. He threw it down with venom.

‘You tricked me!’ he said.

‘Don’t flatter yourself,’ Hannah sniffed. ‘It wasn’t that hard.’

‘There’s a lot of people after this fellow,’ the rifleman said. ‘Quite a pay-day for the Freikorps.’


The woman made a gesture and one huge mechanized hand reached down and smashed through the planking, the other gripped Bill around the middle. He cried out as he was uprooted from the quay, a jagged fringe of wood projecting out around his fused legs.

‘Doesn’t look like you’ll be doing any more running for a while, Sticky Bill,’ Hannah said as the suit hissed and whined, lifting the squirming thief overhead.

‘Wait! Wait!’ Bill exclaimed, wrestling futilely with the thick steel fingers around his middle. ‘I have money! A lot of money! It’s yours if you let me go!’

The woman looked at him, her quick eyes meeting his and seeming to drink him in.

‘Let me go and I’ll tell you where to find it,’ he babbled. ‘Cunningly hidden, mind you – you’ll never find it unless... ‘

‘... under the third brick on the right hand side of the hearth,’ Hannah said, her eyes like black pools sucking the images from Bill’s head. They flashed before his eyes as they passed. ‘The upstairs hearth. Last house on Crookmonger Alley. It has a mark scratched on the door, like a sideways “S”.’

Bill goggled at her, his jaw hanging slack. She had taken it – taken it right out of his head.

‘What… what are you?’ he whispered.

‘Not to be trifled with,’ Hannah replied tartly, turning to her waiting Freikorpsmenn. ‘Olaf, see to that, will you?’

‘With pleasure,’ he said and loped off in the direction of Crookmonger Alley.

‘Let’s go, Bill,’ Hannah said, striding back towards the cobble steps and the city. ‘I have a number of wealthy clients who are very eager to meet your acquaintance.’

‘I’m ruined,’ Bill wailed. He would never be a gentleman now.

‘Oh I don’t know,’ Hannah said, looking pointedly at the wooden fringe around his shins. ‘Your thieving days may be over, but you look to me as though you’ve got all the makings of a fine fence.’

Bill’s curse was drowned out by the laughter of the other Friekorpsmenn.


Happy HalloweenWith the Halloween and Harvest season right around the corner, it is once again time to kick things off with our most popular painting contest, The Rotten Harvest!

Round about the paint pot go. On the palette throw Royal blue and blood red. Thirty-seven Days of Dread;

Double, double toil and trouble; Fire burn, and paint pot bubble.

The contest runs from September 25th through October 31st. Entries can be submitted at any time during the contest. Voting will occur from November 1st - 7th, done anonymously through the Wyrd forums. Also, during voting, anyone may leave comments and critiques, which previous entrants have appreciated. The winners will be announced soon after the voting ends, and Wyrd will send prizes to those winners, along with random prizes that we give away with every contest.

The specific rules for the contest can be found under Contest Rules and Info. Everyone should read the rules, because we want to avoid any misunderstanding of the contest, including the theme and disqualifying criteria.

Due to the sheer number of people that have entered unedited photographs in the past we will no longer do any editing for you. There are many free photo re-sizing programs out there. Wyrd staff will attempt to notify anyone who’s pictures were deleted due to size or for any reason, but can not guarantee notification.

• Witches and Warlocks Spellcasters of all sorts, from high fantasy, modern day dabbler to the far sci-fi future. If they carry a wand, cast a spell or even have a hint of mysticism to them, this is the category for them.

• Not Quite Dead Yet Still stumbling around after all the major organ functions have shut down? Have a beef with the living? This category is for the Undead, or as they like to be called ‘Living Impaired’.

• Things that go Bump in the Night Creatures, critters, monsters and other things that have a tendency towards anti-social behavior and prowl the night looking for victims. Caution, here be Monsters!

• The Trick or the Treat This is our catch-all category as there are some miniatures that are just right for the theme but just don’t seem to fall into any other category. Zombie Hunters, pumpkin characters, and certainly several miniatures we never would have even contemplated.

• The Harrowing Harvest A diorama with two or more miniatures locked in combat, or something as equally disturbing.

The categories for the contest are:

http://www.malifaux.com/RottenHarvest/Rules.php

10

SetupRandomly determine an attacking player and defending player. After choosing deployment zones, the defender places five 30mm pumpkin markers. One of the pumpkin markers must have a distinctive mark on the bottom. Which pumpkin marker has the mark is hidden from all players. One marker must be placed in the center of the board. Three may be placed anywhere on the board at least 8” from the defender’s deployment zone and at least 6” from another pumpkin marker. The final marker must be placed anywhere on the attacker’s half of the board, at least 6” from another pumpkin marker, not in terrain. A bag of Halloween candy (or other suitable consumable item… ) must be available to all players.

SpecialModels from either Crew may perform a (1) Interact Action while in base contact with a pumpkin marker to remove it from play. When the noted pumpkin marker is removed from play, the defender places a Carver in base contact with the model which took the interact Action. The Carver is considered to be a part of the defender’s Crew in every way (at least until a joker is flipped, see Carver’s card). Once per turn, during the draw phase, the defender may eat a piece of Halloween candy to look at one pumpkin marker to see if it is the noted pumpkin marker, and then put it back in the exact same location without revealing it to the other player.

Attacker VictoryAt the end of the game, the attacker scores 1 VP for each pumpkin marker which was removed (regardless of which Crew removed it). The attacker does not score any VP for removing the noted pumpkin marker.

Defender VictoryFlip a card which may not be cheated, reflip jokers. The defender has one of the following victory conditions, depending on the suit of the card flipped.

Crows: Carver’s Feast. The defender earns 1 VP for each attacking model killed by the Carver.

Rams: Carver’s End. The defender scores 4 VP if Carver has been killed or sacrificed by the end of the game. If the defender has this objective, Carver is considered to be a part of the attacker’s Crew when he is placed, instead of the defender’s.

Tomes: The Carving Ritual. The defender earns 4 VP if an opposing Master or Henchman is killed or sacrificed by the Carver.

Masks: To Carve Another Day. At the end of the game, the defender earns 4 VP if the Carver is still in play.

By: Justin GibbsThe Carver Strikes At MidnightA Malifaux Story Encounter

Rustle, rustle and snickity snack,

The Carver strikes once and then strikes back.

Slice, dice and guts a-twist,

The Carver cannot be stopped. Not by kick or fist.



Tremble, quiver, and try to hide,

The Carver will find you. Your escape, denied.



Download Carver’s Card Here

‘

http://www.malifaux.com/Downloads/Carver.pdf

http://www.malifaux.com/Downloads/Carver.pdf


Michael is a regular writer on the Guessing Zero gaming website at www.guessingzero.com, and is a cohost of the podcast “Gaming Done Right” on the Guessing Zero Network.

There is a lot to talk about on the topic of winning at Malifaux. For those with short attention spans, I’ll sum up the entire rest of the article with these few words: you win Malifaux by gathering more Victory Points than your opponent during the course of the game. That’s it. The rest of what follows will give more details on how to stack the game in favor of earning more Victory Points than your opponent, but overall, Malifaux is that simple. Score more Victory Points than your opponent and you’ll win the game.

Now the problem with Malifaux is that often the game will try to distract you from doing just that. Assembled and painted miniatures look fantastic. The stories behind each character and the interactions they have in the fluff might pull your attention. The abilities and actions the models have on their cards might look too fun not to try. All of these shiny bits will take your eye off the prize. But at the end of the day, if you want to win at Malifaux, you have to earn more Victory Points than your opponent.

So how do you stack the odds in your favor to make sure Victory Points are yours to gain?

Plan from the Beginning How to Get Victory Points

The game of Malifaux begins before the first duel is flipped. It begins before the first model is moved, the first initiative is taken, and even before the first model is deployed. It begins when the crews are being picked. That is the first chance a player has to make choices that will influence a game in his or her favor.

The game size and terrain choices should be made without trying to gain an advantage over the other player. The deployment type is not a choice, and neither are the strategy nor the available schemes in the Scheme Pool.

Once the Scheme Pool is created, a player can begin stacking the game in his or her favor. Review the strategy and schemes. These are where Victory Points are earned, and thus this will be where the game is won and lost. Even if you think you know the conditions by which to gain Victory Points, read them again. There are enough games that are lost because a player did not understand what they needed to do to win. Make sure that doesn’t happen to you.

After understanding what you need to do to win a game, it’s time to turn to your model selection. Every model has its niche. Some might have two or three, but every model has its strengths and weaknesses. Review what needs to be done to earn Victory Points from the strategy and make sure you take models that can achieve those points. If you have Reckoning, for example, make sure you have models that can kill opposing models. If you have Turf War, on the other hand, models that can survive longer while in the midst of enemy models become more of a premium.

Strategies and Schemes

Strategies can give a maximum of four points and usually only grant one point a turn, starting with the second turn. So in a standard-length game, you want to be getting yourself a Victory Point from your strategy every turn, or you’re losing out on the chance for that Victory Point forever. The flip side of this is true as well. If you are able to prevent your opponent from getting a Victory Point from a strategy, that is usually going to be a point they can never regain. So plan your lists around preventing your opponent from getting points too. In Reckoning, your opponent can only get as many Victory Points as half of your models. Taking a swarm list of easy models gives your opponent a chance for more points.

Schemes have to be considered differently. Unlike the strategy, you have the ability to pick the schemes you want to take for the game. Schemes are where the bulk of Victory Points will come from, though, so make sure to choose the best ones.

By: Michael KelmelisWinning MalifauxBefore the First Duel

http://www.guessingzero.com


Look for themes within the schemes. Sometimes there will be two schemes that can easily fit together with particular model choices. Body guarding a model that moves fast and can get Breakthrough is a nice way to lock up a bunch of Victory Points at once. But be careful about this, because it wraps a lot of your Victory Points in a single model and leaves you vulnerable to an opponent killing that model. Have a contingency plan ready and build redundancy in the list. If you are looking to win, pass on the “fun” model that you want to put on the table but will not actually support your strategy or schemes, and instead take another model that can get A Line in the Sand for you easily, or can reach an enemy Master quickly to Deliver a Message.

Models chosen for a crew should all have specific jobs for them. Once the battle is joined, those roles may need to be adjusted slightly, but each model should have a specific job. Silurids may be taken to pick up Plant Evidence. Pandora, Teddy and Baby Kade may be selected to interfere with the opponent’s models. Candy and a Doppleganger may be selected to hold the center for Turf War. Make sure as the crew is selected that the models have roles that directly lead to gaining or preventing opponents from gaining Victory Points.

Once the crew has been selected to accomplish both the strategy and the schemes, the question is whether to reveal the schemes or keep them hidden. This is more a matter of personal taste, but from a standpoint of trying to maximize Victory Points, any scheme that gives a benefit for revealing should start the game revealed.

Deploy With a Goal In Mind

Finally, the last thing to consider while in the planning stage of the game is where to deploy the models in your crew. When you deploy offers you an advantage either way. The advantage for deploying second is much easier to see. The person who deploys second can react to how their opponent sets up his or her models, allow him or her to choose not to deploy in positions that are disadvantageous. There is a strong advantage to deploying first too, though that is often overlooked. The person who deploys first can lay claim to the best positions. If there is a clear avenue to the center of the board, the first player gets to lay claim to it and the second person to deploy has the choice of either contesting it or yielding it, but they cannot lay sole claim to it anymore.

Make sure to deploy in such a way that you can begin getting points quickly. If you took A Line in the Sand as one of your schemes, deploy fast-moving models on the edges of the board away from your main force to rush the center line and start placing down Scheme Markers. If you took Power Ritual, make sure that one of your models is in position to immediately place a Scheme Marker in one corner.

The Slow Buildup

Positioning oneself for victory takes place well before that first activation, and without proper preparation, a player leaves himself at a disadvantage in gaining his points. The game provides plenty of opportunity to create the perfect situation for victory. Players need to take into account every aspect – the strategy, the scheme pools, the model selections and what each model’s role is to be in the game, and the deployment – of the pregame in order to be ready to claim victory.

Of course how a player turns these pre-game advantages into a during-game Victory Points is important to crafting a win, but ignoring the pre-game opportunities only sets a player up for defeat. So next time you set across from your opponent, before you even start moving models and flipping cards, take a moment to sit down and formulate your strategy to getting Victory Points. After all, at the end of the game, the Victory Points are the only things that matter in determining the winner.


One of the great things about a new version of Malifaux is, that it tends to put the whole community back at square one. Everyone has to relearn their crews, finding out what works for them and what doesn’t. The “best” (always a subjective term) crew builds or tactics may not have even been found, so talking about the “best” way to play certain models or crews at this stage feels a little premature.

So in this issue I thought I’d go back to basics, so to speak, and talk about the general role of models in your crew, specifically in terms of their ability to achieve your strategies and schemes. I’ve been playing M2E in its various pre- and post-beta incarnations for almost a year now and while the models’ rules have changed, sometimes drastically, the basics of how the game plays has remained consistent. When it comes down to it, the strategies and schemes are and have always been key to winning a game. So when building a crew, you need to ensure you have the right tools (ie. models) available for both achieving your objectives and disrupting your opponent’s.

Generally, I tend to classify the models in Malifaux into four categories. These are Assassins, Tanks, Schemers, and Support. Each has their own role to play and are best suited for achieving certain strategies and schemes over others, which I’ll explain below.

AssassinsAssassin models are those whose purpose is to simply kill elements of the opposing crew. High damage models like Killjoy or the Viktorias are great examples of this, although cheaper minions such as Young Nephilim, Thunder Archers, even a Rail Worker can fulfill the role of an Assassin. Basically, if the model has some decent damage output for its cost, it could function as an Assassin in-game. It’s worth noting that Assassins could also be models who can deal damage without actually targeting the enemy model, usually through either an irresistible damage pulse, or due to blast effects from their attacks. Witchling Stalkers and Ice Gamin both

have great damage pulse effects, as do Nephilim (thanks to Black Blood), and any Gremlin within line of sight of a model with the Show Off upgrade. These indirect damage dealers often require you to hurt or kill your own models (unless you can place blasts off an enemy model to hit another model), but against enemy models that are otherwise very difficult to target (such as Lilith with her high Df or Marcus with his Defend Me Trigger), they can be invaluable.

Assassins in Malifaux are usually at their best with schemes or strategies that, unsurprisingly, require you to kill your opponent’s models! Reckoning, Assassinate, Vendetta, and Make them Suffer are all typical examples of this. But this is not the only purpose of the Assassin.

Even if they aren’t achieving any objectives of their own, simply killing your opponents models makes it much harder for them to complete their own objectives. For instance, an effective Assassin could prevent your opponent from getting a model close enough to your Leader to Deliver a Message. Alternatively, if they’re quick enough or have a good ranged attack, you could task them with hunting down any enemy model who’s attempting to achieve Breakthrough or Plant Evidence.

TanksAt its simplest, Tanks are the polar opposite of Assassins. Their purpose in life is to hold ground and not die, or at the very least, take a disproportionate amount of damage from the enemy before they do die. Any model with abilities that enhance their endurance (eg. Hard to Wound, Hard to Kill, Armor, Incorporeal) or have a high Df or starting Wd value tend to make good Tanks. Examples of this might be Taelor, a Moleman, or the Judge.

Tanks tend to be a natural choice for the Bodyguard scheme, and their resilience makes them well suited for guarding your own scheme markers for Line in the Sand or Protect Territory, since most models cannot remove a scheme marker while they are engaged.

Professor Pontificates By: Adrian Scott

Model Roles in Malifaux


Cursed Object and Distract are also great choices for Tanks, since they should have the resilience to take a beating while you sit there and (1) Interact with your opponent’s models. They’re also a good choice for achieving strategies and schemes that require your models to hold ground somewhere, like Reconnoiter, Turf War, and Entourage. Tanks with a high enough Melee value are also quite capable of holding enemy models in place, especially if their melee range is very small, like Bishop, a Hanged, or the Monk of Low River. This is particularly useful for schemes like Take Prisoner, Spring the Trap, or Plant Explosives. The latter two, in particular, can be difficult if you don’t have some way of keeping an enemy model in one place.

Tanks can also include anyone who can summon more models over the course of the game. While they themselves might be lacking in resilience, their ability to replenish and bolster your own ranks means you can swamp your opponent’s models with freshly raised crew members. Summoners are therefore a great choice for schemes that require you to hold ground or guard your own scheme markers, as detailed above.

SchemersSchemers are those models suited to either placing scheme markers or making Interact actions, both of which are essential for fulfilling half of the available strategies and schemes in the game. Interact actions are normally only possible when the model isn’t engaged, unless they target an enemy model (Cursed Object and Distract, which as per above are better suited to Tanks). The best Schemers therefore tend to be those models who can get out of melee without triggering a disengaging strike. Good examples of this would be Necropunks, Silurid (with Leap) and Torakage (with Agile). Models that can push enemy models away (eg. Bishop and Barbaros), will also have an easier time as Schemers, as would those models who can make interact actions while engaged (eg. Fingers and Doppleganger).

Schemes like Breakthrough, Plant Evidence, and Power Ritual also have the additional challenge of needing to place multiple scheme markers well within your opponent’s side of the table. For these,

you really want some mobile models to have your best chance of achieving them. Again, Necropunks and Silurid are great examples of this. With Leap they can cross the table quickly without getting tied down by enemy models, before placing up to 2 scheme markers per turn as needed (as they can Interact, Leap, and Interact again). Failing that, any quick, low cost models could also fulfill this role, like Bayou Gremlins, Canine Remains, and Steam Arachnids. If you can keep most of your opponent’s crew occupied with your own Assassins and Tanks, you should be able to buy enough time for a few of your cheap Schemers to skirt around the flanks and place the scheme markers you need.

One ability worth mentioning here is Finish the Job, found on models like the Death Marshall, Crooked Man, or anyone with the Plant Evidence or Oathkeeper upgrade. Since it allows you to place a scheme marker when your model is killed, Finish the Job is very useful for the normally tricky Spring the Trap and Plant Explosives schemes, both of which require you to get scheme markers nice and close to your opponent’s models. Simply running these models into positions where you’d want a scheme marker, can work pretty well too (such as for Line in the Sand or Breakthrough). Your opponent is then faced with either killing them to let them drop the scheme marker, or leaving them be while that model either interacts to drop a scheme marker anyway or do some killing of his own.

SupportThe Support is probably the broadest and hardest to define category I’ve listed here. For the most part their role isn’t in playing the Assassin, the Tank, or the Schemer, and their ability to achieve objectives and earn VPs can be somewhat limited. What they do, however, is either improve the capabilities of your own models, or hamstring your opponent’s models in some way, thus making it easier for the rest of your crew to complete strategies and schemes.

The way a support model bolsters or hinders crews is incredibly varied. They might increase the damage output of your own models (Ice Gamin and Lenny), improve their resilience (Fransisco and Lenny) or boost their mobility (Judge and Sybelle). They might

© Copyright Wyrd Miniatures, LLC16

also provide beneficial synergies, such as the Hanged removing immunity to Horror Duels, or a Beckoner pushing enemy models to within Striking range of some Illuminated. They could also hamstring the capabilities of your opponent’s models, such as a Canine Remains reducing a model’s defense value, or a Primordial Magic making a model Insignificant. Finally, a support model might simply act to counter your opponent’s negative effects, the classic example of this being the Witchling Stalker using Dispel Magic to remove a condition.

Some models might also offer support elements to your crew in less orthodox ways. For instance, a buried Bad Juju with the Eternal Fiend upgrade can indirectly boost the Tank-like qualities of your Swampfiends. After all, your opponent will have to think twice about killing your Silurid and Waldgeists, since they’re likely to be rewarded with a large, angry Mire Golem in their face. The same goes for Bete Noire.

Bringing it all togetherUp until this point, I’ve talked as if each model in your crew would fit into just one category. But as you might have guessed, models will more often fulfill some role from two, three, or even all four categories to varying degrees. For instance the Austringer’s ability to target models outside Line of Sight can make them a very capable Assassin, and this tends to be the first thing people think of when they see this model. However their Deliver Orders action allows them to be a great support model, pushing other models into better positions and making interact actions. If that wasn’t enough however, the Austringer also has Finish the Job and Quick Retreat as an easy way of getting out of melee, allowing them to play the role of the Schemer, should the situation require it.

When building your crew to achieve the available strategy and schemes, I’d recommend building your crew according to what model categories are going to be best for fulfilling those objectives. If you can easily identify what roles each model in your crew can fulfill, then it shouldn’t be hard to figure out where your crew is lacking for the strategies and schemes available, and alter your crew list accordingly.

For instance, Lilith’s starter crew consists of some very capable Assassin models (Lilith, Barbaros, and the Terror Tots to an extent), some decent Schemers (Terror Tots), and a bit of Support (Cherub and Barbaros with his push effects). Lilith and Barbaros could also act as Tanks, especially with the right upgrades, but that category is probably where the crew is lacking most. Barbaros is a solid choice for Bodyguard, but if I was facing a Turf War, I’d definitely consider adding some more Tanks in the form of Waldgeists. Similarly, Terror Tots might make for good Schemers, especially with help from the Cherub, but if I drew Breakthrough or Power Ritual as a Scheme then I’d probably look at finding some room for a Silurid.

The EndSo that’s it from me for another month! Before I finish up, however, I’d like to plug a blog by a fellow Malifaux enthusiast – Joel Henry. Much like me, Joel enjoys a good bit of cognitive mastication when it comes to tactics in Malifaux and his blog is replete with his perspective on the game. He also recently wrote an article very similar to this one shortly after I started work on mine, titled “The Rock-Paper-Scissors of Malifaux”. So I figured it would be remiss of me not to mention his own great article here! You can find Joel’s Blog at http://joelfaux.blogspot.co.uk

Until next time,

~Adrian


I have been building a town for Malifaux called Perfection. It has many different variations depending on the type of game we are after, but it has become a main stay of my players’ game experience. The one that often gets the most comments is the version with the detailed buildings that can be entered.

I thought I might help people out by looking at some of the tricks and ideas I have learned through my many years and many mistakes of building tables. I will be trying to explain it in simple terms, so feel free to skim over the bits you think you already know. In this article I will take you through the basics of making a train station built out of Balsa wood.

Balsa wood is a good building medium, as it is easy to work with, does not require expensive specialised tools, and is versatile in its applications.

Scenery and the table are as much a part of the Malifaux skirmish game as the models and the cards. A well-made table full of scenery can really help enhance the game, not just because it looks good, but because it makes the game fun through the interactions it causes.

Things to think about when building scenery and terrain:

1) Functionality: does it work well with the models and rules you intend to play with? Is it clear how the terrain functions and what it is intended to be (of course the quick check-and-chat at the start of a game is essential).

2) Durability: How well is the piece going to stand up to the rigors of having models placed on it and how long do you expect it to last?

3) Storage: How much space do you have and where are you going to keep it?

4) Is it cheap (or even FREE)?

5) How long is this going to take you to make (kind of an effort/time versus end product judgment)?

Building Perfection in Malifaux By: David Herbert

Building a Frontier Train Station


One of the first things you need to get right is the size. Unless you intend for a piece to dominate the board, large terrain can really bog down a game and even make it seem like you are playing separate games on separate tables divided by a huge obstruction. I tend to go for smaller pieces that can be moved about and even placed near one another to change the dynamics of the game. It is a good idea to not only measure the footprint you intend the piece to occupy, but to also place an average model on it and get a good idea of scale.

Here I have used foam to build up the base of where I want my building to go. Apart from its fragility, foam is a great building medium, even when coated in PVA glue. In this instance I am using it just to provide some height.

Adding texture to Balsa wood can be done in a variety of ways, from varnish to special texturing mediums. For this project I wanted an exaggerated grain and weathered look. A very cheap and easy way to accomplish this is by using freeze dried instant coffee. It also makes you terrain smell nice.

Lightly wet the wood with a sponge before sprinkling some instant coffee over it. Using a spoon shift and crush it a little further before blotting (dabbing) the whole lot with damp paper towel (or tissues). Then leave this to dry overnight. The next morning give it a wipe with a plastic scourer to remove the excess and even gouge and dent the wood slightly.

Parts of the flooring will be marked as floor boards. I have seen this done with hundreds of stirring sticks, but I much prefer working with fewer, larger pieces. You will need a

black pen and a ruler. Use a ball point because the dried coffee will kill a felt tip. The ball point pen will need constant wiping on a scrap piece of paper to remove coffee build up.


It is a good idea to measure, cut and test all pieces before applying glue, as once that has been done there are time pressures, not to mention the mess. When using PVA glue with Balsa wood less is better. Great globs take too long to dry and will often soak the wood causing it to warp. A nice even coat will still do the job. It is also going to be important to use pins to either hold the parts in place temporarily or to add structural strength to the joints by leaving them in place.

When it comes to constructing the frame for the building I prefer to place things where they look good and measure on the model. Balsa wood is a natural material and will have bends, warps and other imperfections. Just because it says that the next space should be a certain size on the plan does not mean it will ring true on your model

Build up the basic shape you are after and then start to think about where models will exit and enter. Also give consideration to which models you want to enter and exit at certain points. It can be fun to make a small door for 30mm models to escape through while trapping the larger models on the other side. Don’t forget to allow some extra wriggle room and to take into account adding walls. If the boards you are using are 2mm thick then you will need to allow for that. Easy solution, always be generous. A door that is a little large is usable, where as one that is too small will ruin your piece.


Once again measuring from the model it is a pretty efficient way to work as you will end up with pieces that fit precisely. Adding detail to Balsa wood is often as easy as pressing on it with a black pen and maybe going over those points with a black marker. Here I have made the outside walls appear to have old style iron nails.

The same goes for marking off where the doors and windows go on the walls. To get the edges flush, your best bet is to prop it in place and trace where the hole needs to be cut. Before you rush off and get cutting though, here are some pointers. Always use your ruler! Balsa wood has a grain, so as you are cutting it your knife will follow and end up making all sorts of wonky cuts. If you are cutting across the grain, do it in a few passes, don’t try and press hard and do it in one go. This will cause parts of the wood to splinter off making for a rough edge. Last hint, press and cut from one direction then turn the piece around and cut again from the other direction. This way you will cut right down and into the corners without over cutting.

Another point you may want to consider before you cut is whether you want to add internal textures. I like using printed textures as wall paper as they look very nice. Material can also be used, but it is harder to cut and can armor up the wood making life needlessly difficult. If you are looking for textures I recommend going into Google Images and searching up seamless texture [type], where [type] is what you are after. This will then provide a range of textures that are used for 3D renders and can be easily joined without leaving ugly gaps and overlaps. I also paste them together using Microsoft Word as it is a common program and allows for easy scaling too (right click, properties).


When gluing the printed paper patterns to your Balsa wood it is critical that you apply a minimum of glue. Too much and the colors run and the whole thing goes bumpy.

Before you glue your walls into place, it is a great time to texture and paint the base, as the inevitable mess will not ruin your hard work. Applying PVA and sand to the base will add texture and stabbing your brush down instead of strokes will make much more natural patterns.

So, once all your walls are cut and the base is done, it is time to glue them into place, once again using pins to hold everything in place while the glue dries.

Now, you could stop there, you have a building all set to go. From here on in I will be looking at detailing it and making it special.

The first thing I wanted was the entire station to be built up on stone, so I searched for and printed off a stone wall texture and cut it into strips before applying it around the base of the building. I recommend having a clean off cut to press the strip into corners and make nice sharp details.


Before I had glued the outer wall on I also prepared and measured my internal walls. These can be pinned and glued just like the outer walls.

Once that is dry I like to tidy up the top edges by gluing strips of black paper over them. You spend a lot of time looking down at these things so it is important to make the top look nice.


I like to add roofs to my buildings and have since I discovered a pretty easy way to do it. All of this was built and measured using the same techniques I discussed earlier by doing it all on the model and where it looks good. The first step is to build the frame. Now the first few of these I built covered the entire building and while they looked great they were always removed right at the start of the game so you could access the space. I believe verandas are the answer; however you can build yours how you like.

Covering the frame can be achieved in a variety of ways and for this project I chose to go for a tin roof. Corrugated cardboard is great for this. As you peel off one of the outer layers you are left with a surface that looks just like the corrugations on a tin roof. Cheap boxes work better, as the glue comes away easily. I used the box my Gen Con order came in for this model and I must say that the postage boxes

used by Wyrd are of a superior quality and resisted my efforts to destroy them quite well. I ended up using a long pair of tweezers to poke down each corrugation before lifting the layers off. The fuzz you are left with is not a problem as it will all flatten down with a liberal layer of paint. If you choose to spray paint the cardboard the fuzziness will remain.

Finally I like to then add other small details such as signs, paintings, and clocks. All of these were scaled in MS Word and printed onto paper before being glued into place.

I hope that has been of some help and you all have fun on your Hobby Nights!

~David ‘Pagan Wolfe’ Herbert


Accursed The Roleplaying Game By: Ross Watson

Witches, Banes, and Curses The World of AccursedGreetings, readers! My name is Ross Watson, and I am a veteran game designer with quite a few titles under my belt. My good friend Mack Martin has graciously given me an opportunity to present to you today my newest creation: Accursed.

Accursed is a dark fantasy setting for the Savage Worlds RPG system where the heroes are classic monsters who team up together to free the land from the dark influence of evil Witches. It’s a combination of Castlevania and Hammer Horror films, where Hellboy meets Solomon Kane.

In the world of Accursed, the forces of evil have triumphed. It is a world of dark fantasy and perilous adventure, where those who remain uncorrupted by wickedness must rely upon monsters to fight the

darkness. Witches have ruled the land since the last battles of conquest, but their Grand Coven has been sundered, leaving behind remnants of a once mighty army. The remnants of the horde include captured citizens of the conquered nations that fought as the Witches’ shock troops.

These are the Accursed—the Witchmarks burned into their flesh and souls transformed these men and women into monstrous forms. Now, unable to return to their former lives, the Accursed wander the land, giving aid to those in need in an attempt to atone for past sins. Some have joined the Order of the Penitent, an organization devoted to ridding the world of the Witches and their evil influence. Others offer their skills as warriors, alchemists, and spies to the highest bidder. Yet others have succumbed to corruption, greed, or insanity.

Light has failed, darkness is ascendant—only those bearing the forms of monsters can stand against the tide of the Witches’ evil. The Accursed are this world’s only hope. They must learn to embrace their curse or to fight against it and find some way to free themselves forever of their Witchmark.

The CreatorsAccursed is the creation of myself and my two colleagues: John Dunn and Jason Marker. The three of us have designed games for many properties, including Star Wars: Edge of the Empire, Shadowrun, Warhammer 40,000 Roleplay, and Robotech. We have decades of experience working in the gaming industry, and we’re very excited about bringing a new twist on dark fantasy RPGs to life.

Who are the AccursedThe core experience of the Accursed RPG allows the players to take on the roles of monsters, fighting against great supernatural evils to free a conquered land. These monsters are the Accursed—once normal folk transformed into monstrous forms through a Witch’s curse. The curse takes a physical form on the Accursed’s body as a Witchmark; a sigil branded into his flesh that displays the nature of his particular curse.

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A Grand Coven of Witches launched an invasion of conquest against the allied nations of Morden. As part of this assault, six Witches transformed thousands of normal human settlers into the Accursed. The Witches forced their creations to fight in the front lines against their former countrymen, destroying vast swathes of Morden’s defenses.

At the height of the final battle, the Grand Coven was sundered by betrayal. Although the Witches had ultimately triumphed over their foes, the dark horde of monsters, Accursed, and mercenaries fragmented. Most of these forces along with the remnants of the Grand Coven returned back over the Darkwall Peaks from whence they came. A small group of Witches remained in Morden to consolidate their hold on the newly-conquered nations.

For their part, the Accursed found themselves freed at the war’s end. However, the Accursed found it impossible to return to their former lives—their curses and their monstrous forms removed them from the bosom of friends and family, and their homelands had been ravaged by the invasion. With nowhere else to turn, most Accursed became mercenaries, wanderers, adventurers, and bandits. Many Accursed have been drawn to a recently-founded organization known as the Order of St. Vitus—also known as the Order of the Penitent—a group dedicated to opposing the dark influence and minions of the Witches and seeking to free the conquered realms of Morden from oppression and evil.

The WitchbreedsThere are six common types of Accursed in Morden.

Each type of Accursed is unique, and collectively, these types are known as the Witchbreeds.

DhampirThe dhampir are also called “half-vampires,” and the most human-looking of all Accursed. Much like their vampiric kin, dhampir have a hunger for blood and suffer grievous wounds from weapons made of wood. Dhampir are lithe, graceful, and charming, agile in both combat and conversation.

The dhampir are the creations of the Blood Witch, Sanguinara, and must beware her wrath.

GolemsPhysically the largest and most robust of the Accursed, golems are humanoid creatures formed of unliving materials—most often dead flesh, wood and straw, stone and clay. These beings contain a human soul, the only remnant of their former selves.


A mysterious Witch known as the Crone is the creator of the golems, taking a cruel pleasure from placing a human soul into an unliving vessel.

MongrelsOne of the most bizarre Witchbreeds is the Mongrel—these are men and women who have been “gifted” with body parts taken from beasts. These enhancements vary wildly, from the arm of a mountain gorilla to the eyes of a jungle cat.

The mongrels were created by a Witch obsessed with transmutation and the secrets of life known as the Chimera. This Witch is constantly nomadic, transporting her dark fortress to a new location every dawn.

MummiesThe most ancient of the Accursed, mummies are beings that have been returned to life after centuries of death. A mummy draws strength from his sarcophagus, and wears remnants of these burial trappings as a form of armor.

Mummies were created by a Witch known as the Djinn, whose power resided in granting twisted versions of wishes.

RevenantsRevenants are the living dead, corpses animated by an overwhelming obsession for revenge. Since they are already dead, Revenants are difficult to injure.

The revenants were created by a Witch named the Morrigan, who used her necromantic arts to create hordes of undead known as cauldron-born during the Bane War.

VargrThe vargr are werewolves, able to shift between human and bestial forms at will. Vargr possess extremely sharp senses and are swift and savage foes on the battlefield.

Baba Yaga is the creator of the vargr, and this capricious Witch holds little love for her creations. Her influence over Steppengrad, one of the major nations of Morden, has nearly devastated that land with famine.

WitchmarksEach Accursed possesses a sigil of power branded into their flesh, a symbol that encompasses every aspect of his curse. These symbols are known as Witchmarks. Over time, the Accursed learns more about himself and his curse, and his Witchmark correspondingly grows larger and more complex. Each piece of the Accursed’s Witchmark represents something significant to him, such as important victories he has achieved or the fearsome enemies that still pursue him.

Witchmarks are not simply decorative—they possess lingering power. The Accursed can learn to use his Witchmark to gain new abilities over time, such as the ability to sense other creatures created by the same Witch, the ability to communicate at a distance with his allies, or even to warn him of dangerous witchcraft an instant before it strikes.

The CurseWhen the name of your setting is “Accursed,” you really have to make sure that curses play a role in every aspect! Characters in Accursed have a powerful tool to help tell their own personal story—they may choose to either accept their curse or deny it. Accepting the curse means embracing your inner monster, increasing both your monstrous strengths but also your weaknesses. Denying the curse is an attempt to break its hold on your character and regain your lost humanity. As the curse weakens, the vulnerabilities of your monstrous form begin to fade. Correspondingly, some of your monster form’s special abilities also weaken in strength.


KickstarterWe’ve got a Kickstarter running right now through October 13 to make the Accursed setting a reality. So far, the Kickstarter is running quite well, but we still need your help to reach all the exciting stretch goals we’ve got lined up! For example, we have some great authors like Mel Odom lined up to write game fiction for the setting, and we’ve got some awesome designers like Chris Avellone and George Zeits willing to write sourcebooks to expand the setting and the world. On top of that, we’ve got a packet of short Accursed adventures from designers like Adam Jury, Colin McComb, Sean Preston, and Shane Hensley, plus we’ve got plans for an add-on of a special unique Accursed playing card deck for your Savage Worlds games!

All backers of the Kickstarter, regardless of level, are instantly granted access to a 100+-page Accursed Player’s Guide PDF. This is a playtest version of the final Player’s Guide that contains everything you need to play in a game of Accursed. To get the full, final version of the Accursed Player’s Guide PDF, simply back the Kickstarter at the $10 level!

For $20, you get the full Accursed book PDF with a plot-point campaign, tons of more information on the setting, and the Witches that serve as Accursed’s primary antagonists. If you go up to $30, not only do you receive the full book, you also get access to purchase a print on demand copy of the book through DriveThruRPG at manufacturer’s cost!

The Kickstarter has lots of levels where people who are interested in the setting can actually become creators and developers of Accursed. You can design your own city, island, important character, or even create a brand-new Witch and Witchbreed for every Accursed campaign to enjoy!

We appreciate your time and support!

In ClosingJason, John, and I invite you to experience a new dimension of dark fantasy roleplaying. Become one of the Accursed, and join the resistance. Fight alongside the Order against the minions of the Witches, and cleanse evil from the land of Morden. Wrestle with your own inner demons and conquer the curse that has twisted your body and mind.

This is what it means to be Accursed.

Check out the Accursed blog at www.AccursedRPG.com, and you can find our kickstarter at http://www.kickstarter.com/projects/1231173913/accursed-rpg.

http://www.AccursedRPG.com

http://www.AccursedRPG.com

http://www.kickstarter.com/projects/1231173913/accursed-rpg

http://www.kickstarter.com/projects/1231173913/accursed-rpg


OverviewWhen it comes to tabletop, there are a lot of games; there’s a large variety of themes, game mechanics, and overall varying production quality levels as well. One game that has had high remarks in all three categories is Seasons. It is a game in which players take the roles of sorcerers in the land of Argos to compete in a tournament where they manipulate the elements and seasons. In this article, I want to talk about how this sweet board game welcomes you into its world and submerges you in its rich gameplay and art. I will be reviewing the game on its production quality, game mechanics, as well as art.

When it comes to creating a game, it’s important that your game’s presentation grabs anyone’s attention when they pass by the shelf it sits on. The Seasons box does this perfectly. Right away it splashes a beautiful array of orange and blue at the peripherals. The color palette is solid and graphics are well placed. However, when you dwell further within Seasons’s contents, the components really begin to shine.

ComponentsAs soon as you open the box, the game has a nice vacuum-formed insert to neatly place all of your components. The cards that come with the game are made from a solid card stock and have a nice matte coating on them; this ensures that your cards will remain in top shape for a while. The tokens that come with this game are beautiful and are made from a high-quality chip board. Even though these tokens are being picked up for the entirety of the game, more so than any other components,

they still show no signs of wear and tear. Each player is also provided with a large player aid where element tokens and stats are stored. This player aid is fantastic! It seats your element tokens (a component used to summon cards)

perfectly and in a very neat way. There’s also a score track and circular game board that are made from the same high-quality chip board as the tokens.

Next are the huge dice that come with the game. Seasons includes twenty very large plastic dice. When I first saw these dice, I was absolutely floored by how much game information they displayed and how far away from the game I could sit and still translate what was on each side.

By: Redd CohenSeasons Review


The final components for me to talk about are the wooden cubes that come with this game. These wooden cubes are color coordinated to match the player aids that players select from. The cubes are used to mark certain elements of the game for player recognition, such as scoring or keeping track of what season it is. They’re painted in non-standard colors which is a nice change of pace from your primaries (red, yellow, and blue).

GameplayNow let’s get to the meat of it all; the gameplay. At the beginning of each turn, players will roll up to five dice (depending on the number of players). Each color corresponds to what season you’re in (if you’re in fall for example, the first player rolls only the red dice). Beginning with the first player and continuing clockwise, each player will choose a die and use its resulting face up ability on their turn. The dice allow players to gather energy, increase their power gauge, transmute energy into crystals, draw power cards, as well as just gain crystals. The leftover die is used to move the season marker up the game board. The number of spaces it moves depends on how many little dots are displayed on the die. A year ends when the season marker has circled the board once. After three years have passed in the game, the tournament is over and each player tallies up all of the crystals that they gathered over the course of the game.

MechanicsThe DiceEach face of the die varies depending on what season you’re in and greatly affects what you can or can’t summon into the game; choosing the right result is the heart of the game’s mechanics.

Sometimes the die will grant a player energy tokens. Energy tokens are used to play power cards and are your main currency in this game. The stars indicate how much you can raise your power gauge by. This is important, because you can only play a number of cards to your field equal to your power gauge!

Other times a die will allow a player to earn crystals. You can convert energy tokens into crystals (VP used to win the game) or just gain crystals depending on the icons displayed on the die.

Lastly, a die will allow a player to draw power cards. Drawing power cards can be very significant, because you only start with nine cards at the beginning of the game!

The CardsPower cards will create turning points throughout the game and are calculated when determining the final scores at the end of the game. At the beginning of each year, each player will have access to three of nine power cards distributed to them during setup. Power cards not only reward players with a certain amount of crystals at the end of the game, they also provide you with mechanics to hinder other opponents’ strategies while stomping the competition. Each card is summoned into play using crystals or energy and will have passive abilities that happen as soon as the card is placed, or abilities where you can exhaust the card to get an effect each turn.


PresentationThe last thing I want to talk about is the artwork. The artists in this game are none other than the talented Xavier Gueniffey Durin and Stéphane Gantiez. Both are very distinguished artists and the vision they brought out for this game is breathtaking.

In the cards alone, you will find fifty different pieces of fully detailed artwork. That even includes individual backgrounds for each card. When you consider how much artwork costs and the fact that each card not only featured a different character, but a different background as well, it’s impressive! The board itself is colorful and is graphically intuitive, and does well to maintain the aspects and theme of the game. This applies to all the components. The tokens, wood pieces, character aids, they ALL look like they belong in this game.

If I were to just look at the box, and then pull a random piece out of it, I would easily agree that it falls in line with the theme of the game; that is extremely important. The designers did a fantastic job of consistently blending their teals with their orange palette while being able to tie in a jaw-dropping set of vibrant colors. The art quality in this game is fantastic!

Final ThoughtsLibellud just locked this game down with soaring scores. From the moment that I opened this game up, until the moment it had to be packed up, it seemed like this company paid really close attention to the details. Every aspect of this game was clearly created with love.

Seasons has won several awards in the last year and is still continuing to get more and more. This board game immerses you in its world and lets you soak up the feeling of what it’s like to be a summoner of monsters and a wizard of the seasons. The game plays smooth and the time flows from turn to turn. For most of the game I found myself on the edge of my seat, trying to solve my very own puzzle of summoning and converting just to maximize my crystal output.

As a gamer you owe it to yourself to get this game. Seasons not only gives you more than your money’s worth, but upholds a very high standard in gaming.

The final verdict: Remarkable


Now In Stores!


Okay, so there’s a lot of gaming to be done at Gen Con. There are also things to buy, people to meet, and all that kind of stuff (that I did a lot of ). But for folks like me, the main attraction is something I view with a strange mix of hatred and delight – the painting contest. I think we all know I like painting, and I do it for fun and relaxation, rather than out of competitiveness. I know a few painters that live for the win, but I’m not really one of them. Which raises the question, why do I enter? It’s a lot of work, stress, and tension to put myself through when I don’t actually care that much about the win.

Painting for competitions is a very different thing to painting for gaming. This is where I get to stretch myself a bit, try things that I’ve never done before, and go all out to get the best result. It also comes with a built in deadline to force me to stop at a certain point, instead of endlessly fiddling with each tiny bit and not ever getting the piece finished. And that’s why I enter competitions from time to time – I enjoy the way I can push myself to my limits with my entries, and feel satisfied when I hand them in. I like doing well of course (who doesn’t), but really the entering is my favorite part – that moment where I say to myself ‘This is the best I can do, and I’m happy to call it done and show it off publicly’. It’s a good feeling that far outweighs the stress that often occurs in the final weeks.

Competition vs. Tabletop

The obvious difference between everyday painting and competition painting is that you need to try and get every part the best you can. But there are other differences that are less obvious. You have to plan your time and efforts carefully to make the best use of them, for one thing. That’s the key point in many ways – you can try every trick to improve your competition entries, but in the end you do have to paint to your absolute best regardless of what you add in!

Then there’s the 2m/2ft rule – generally, the first sight of your piece by a judge will be from roughly

two metres away, often through cabinet glass, so you want it to stand out from whichever angle they come from. Having caught their eye, they’ll be looking from two feet away (or closer), so you need things to be smooth and neat at that range, as well as having things to keep their interest. What that boils down to is having a bold style or look to your piece to catch the eye from a distance (similar to tabletop work), but then having small subtle touches like thematic freehand, good blends, and so on that judges can discover as they look closer.

It’s also good to show a range of skills in a piece, as it looks more impressive if done right (don’t overdo it just for the sake of it though). Having different fabrics and textures, as well as doing freehand, object source lighting (OSL), and getting your metals right all adds to the time that gets taken looking at your piece and lets you show off all your skills.

The general guidelines of competition painting can really be summed up as follows. This is the way to a happy, rewarding competition day with very little stress:

+ Look at the categories, restrictions and rules carefully, and follow them

+ Plan carefully and only do as many entries as you can comfortably manage

+ Start early, and work steadily so you don’t end up rushing

+ Do things the proper way, not the shortcut way

+ Stay focussed on your entries until they’re finished

+ Work out how to pack them best, and make sure they can’t break

The Road to Gen Con By: Mark Rogers


I don’t think I’ve ever seen anyone manage this, and there’s a list of almost inevitable things you’ll actually do instead:

- You’ll plan too many projects and start them all

- The latest shiny thing will be more tempting and will overtake the original projects

- No matter how early you start, you’ll get to a few months out with very little done

- You’ll start to run out of time and have to hurry some bits to get done in time

- Often that will be at 2am the morning of the contest

- Something will break in transit, so bring a repair kit

I call it a good year if I manage to dodge even half of those, honestly.

The Project

So, first thing’s first – the overall story, which in this case is a fluffy setting for the dead marshals. It turned out to not be too hard a choice really, when I read the end of book two again, there it was. Nicodem’s tower, when they got caught between zombies and the plagued, was where they died; so that was where they’d be. That meant the base would be a wrecked tower, some walls, and cobbles. At this point I started laying things out on a piece of foam core to see how the group looked in different positions. Lady Justice turned out to be quite slight compared to the others, so I raised her up into the rubble of the tower to give her more prominence. I also carefully checked from various angles to make sure I didn’t have any big gaps in the scene, and that most of the models were visible from every angle.

Once I was happy with the basic layout, I then went back and filled in the story a bit. I didn’t want anything that would distract from the models, but it needed something fluffy to fill the empty spaces on the cobbles. That led to me sketching in the sewer and the broken gate. My plan was to add in a rat and some maggots to imply Hamelin had just been there.


The first thing to consider, now I’d laid it all out, was how to integrate the bases. I could cut 30mm holes and sit the bases into them, leaving the black lips visible. Personally, I prefer to integrate the models more fully so I decided to match the cobbles on the bases to the surrounding floor. This takes a little care, especially to keep the 30mm bases visible for gaming, but the overall effect is much more like a diorama.

For the walls, I made half a dozen stones and cast them in silicon. That meant I could cast them in plaster quickly and easily. I added cheap black acrylic to my plaster to tint the stones, so even if they got chipped or I missed a bit when painting them, it didn’t really show (useful when you’re transporting things a long way). This also meant that rubble could be produced easily, by hitting spare bricks with heavy things.

The fencing was made from plastic rods and strip, filed and drilled to slot together. I drilled them right into the foam core to provide extra support for the wall, and then bent them using heat (carefully). It was at this point that I managed to wreck the sections of fence I’d nearly finished with a slightly careless mistake. Cue a long stream of interesting words…

When that sort of thing happens, you have two choices really – give up, or get on with the repair. I usually take the evening off if I have time to (obviously, the week before the contest is not the time to take days off), then return to it refreshed the next day and get the repair sorted out before I do anything else. That way, I don’t have the damaged bit sitting there reminding me of my mistake any longer than is necessary. It’s generally a bad idea to deal with it when it happens, as you’re likely stressed or annoyed with it, and you can easily make a bigger mess. It always looks a lot worse when it first happens – the next day the repair seems easier to deal with.

To fix it I had to take out the entire fence, which also meant pulling off quite a few of the bricks because of the nice solid glue job I’d done. Some of the bricks got damaged in the process, and needed replacing. I had a small pile of whole bricks ready to be turned into rubble, so any that broke while being removed got added to the rubble pile, and whole ones were swapped in. I salvaged a few pieces of

fencing to use as broken remnants on the base area, and shaped a whole new set for the upright areas. While having wasted several evenings of work was frustrating, I had managed to find a use for some of the bits, so it wasn’t a total loss, and the repair wasn’t too difficult. It’s important to keep pushing onward without thinking about the lost time, at least until there’s visible progress from where you were before the mistake!

With the repairs finished, I was able to push on and complete the base, fitting a wooden frame around it to neaten the edges, providing a way to handle it without touching the paint work, and protecting the walls and rubble a little more.


The Models

With the base sorted, it was time to start prepping models. A mold line on a competition model is one of the easiest ways to get eliminated, so double check and make sure they’re all dealt with. Fill any gaps, smooth any rough patches, and if you do find a line or hole later on, don’t ignore it – fix it carefully with a knife and putty before you paint that area.

Lady Justice

The best example I can give of the difference between my normal painting and competition painting is Lady J’s skin. The image above has her skin as I’d have left it for tabletop level, and then the end result of a series of glazes and tweaks, looking much more dead and interesting. Aside from the skin, I’ve also tried to paint in different materials such as leather on the scabbard, and added some simple freehand to make her trousers more interesting. The model is busy enough that any more than this would probably be too much. The white also makes her a bit more prominent visually at a distance.

Judge

The judge again has freehand and different fabrics (denim and canvas in this case, with leather boots and gloves), but also a bit more focus on the metals.


I’ve used several different recipes to make them more interesting than a flat silver all the way. His coat again has some freehand, with the Guild emblem across the back on an extra canvas flap I painted in. He’s less bright than Justice, which helps make him less of a focal point from a distance despite being at the front.

Marshals

The marshals are dominated by their heavy leather coats, which have been scuffed and dirtied up to make them match the area of the base they’re on. The white hats were an idea from my puppet death marshal that I liked, so I used it to brighten them up and tie them to Justice a bit. The denim is more obvious here, tying them to the judge. Despite their identical uniforms, each has their own look due to the OSL, corpse or weaponry/blood on them.


Miss Treated

This was probably my favorite part of the whole project. Miss Terious really worked out well as her undead counterpart, Miss Treated. The green stuff chains made her match the other marshals more, and the rest of the adjustments were quite simple, ripping up her jacket a bit, breaking her leg, and so on. Her paint job was like the other marshals, except with paler skin and a fair amount of blood down her back.

The Event

So, on the day how did it go? Well, I put my entry in without it getting damaged (that’s a victory right there), and settled in to look at the other entries. After investigating the cabinets, I could see some really stunning paint jobs, both Wyrd stuff and others. That was awesome to see, as despite being pretty sure I wasn’t getting top place, I could admire some beautiful painting and maybe learn from what they’d done. There’s no fun in a painting contest without a bunch of top notch entries! I was surprised to discover that most of the units were placed on wooden plinths, not in a group scenic base, as is more common in Europe. This kind of thing is where knowing your competition comes in – I spent a lot of effort on that base that could have been used to improve the crew instead. In the end though, you either tune your entry carefully to win, or you paint what you want and see how you do. I prefer the second approach, it’s more fun.

As I’ve said many times, I’m not the best painter in the world. Gen Con proved that very definitely – I was happy to walk away with 2nd place Wyrd diorama and 4th place Gen Con Unit category and I don’t think I deserved any more than that. More importantly, I got some great ideas from the other entries, and got to chat to some really top class painters and get good advice to help me improve. That’s what matters at these things to me – I put in what I could achieve in the time, and I learned a lot from the event.


I also managed to get pictures of some of the entries from the Wyrd section, and there’s a selection of them here to show folks that there’s a lot of different ways to be amazing at painting. Enjoy!


The Depleted are one of my favorite miniatures from the new range of plastics released by Wyrd last year, so I as soon as I got the parcel with the box, I was eager to start preparing them for painting. I was working on all three simultaneously, but I’ll be focusing on just one in this article.

I began with the base. I use the same style of basing for all my Neverborn miniatures. The reason is twofold. Firstly, for convenience’s sake. It’s just easier to prepare all the bases for a given crew/faction in the same style as it saves time and makes the whole process shorter. The other reason is that I can easily put together a crew with any minion I want without making them seem out of place, as they will always fit in thematically.

I bought these plastic sheets (seen in the picture below) in a hobby store a while ago and have been using them for my Neverborn base inserts. The whole process is fairly simple, so I’ll just briefly go through it.

First of all, I need a good reference, so rather than take measurements I simply use an original metal Wyrd base insert.

I used curved f ingernail-cutting scissors as they’re slightly bent at the edges, which makes getting circular shapes easier. If the

insert doesn’t fit in perfectly, I use a hobby knife to cut away some plastic from the bottom at an angle.

There is always a bit of a gap between the insert and the inner edge of the base so I fill that with Green Stuff and that pretty much ends the preparation stage.

Spreading the Brilliance By: Wojtek Tekielski

Painting the Depleted


Alternatively, I glue small patches of sand or small objects that fit in thematically to the cobblestones (e.g. lanterns, trash cans, barrels or boxes, etc).

I will skip the preparation stage described in various other painting tutorials. I just want to recommend using a good hobby knife, preferably with a new blade. Wyrd plastics are highly detailed, but some pieces are really small and fragile, and removing mold lines from these with an old, worn blade may result in damaging the details.

I base coated the Depleted using a grey spray and followed that with lightly spraying white base coat over them at, a more or less, 45 degree angle. This method helps me with planning where to place highlights and it also brings out the details nicely. Base coat can also help set the color tone for the miniature you’re working with, and I wanted to get mainly cool colors on this one. The miniature is ready for painting

I usually begin with the bases and the Depleted were no exception. I don’t have any pictures that document this stage of painting, but it was a fairly straightforward process. I started with base coating the surface with matte black paint. When it was dry,

I drybrushed it with three shades of grey, beginning with the darkest shade and finishing with the lightest one. Drybrushing is accomplished by applying less pressure to the brush with each layer and avoiding going over exactly the same surface with each successive highlight. It’s important to leave a little of the previous layer showing.

After drybrushing I glazed the cobblestones with GW Green Glaze and added a little light brown wash around the patches of sand. The sand was drybrushed with brown paint and I finished it off by applying a very light drybrush of Bleached Bone.

When it comes to painting, I use a variety of colors from different ranges of paints, so I will be mentioning specific names of paints here, but that is not meant to limit choices to these very specific colors. There are many producers to choose from and it’s very hard to objectively decide which ones are the best. So, while I will be mentioning specific names of paints, I suggest simply using common sense and mixing your paints or using similar shades. I recommend doing a quick research online - you can easily find various charts comparing paints from different ranges (such as this one http://www.dakkadakka.com/wiki/en/Paint_R ange_Compatibility_Chart).

I used a painting method that I’ve developed over the years on the Depleted. It’s not too complicated and I find it brings very decent results without too much effort. The main principles of this method are:1. Highlighting a given surface (2-3 colors in lighter shades than the base one).2. Washing over the highlights with a corresponding, but slightly darker color of wash.3. Carefully picking up the details again by highlighting (once again, 2-3 colors) the most protruding elements.

These three steps will be used on the skin area and torn pants. Sometimes I also add very thin glazes to slightly change the saturation of a color that I’m working on.

I decided to start with the skin, because it constitutes a major portion of the miniature. According to the fluff, the Depleted are humans who have been exposed to a type of energy called Brilliance for

%20http://www.dakkadakka.com/wiki/en/Paint_Range_Compatibility_Chart




too long and it has taken toll on their physical appearance, literally consuming them alive. Knowing that, I picked colors that would reflect this condition.

I started with two layers of slightly watered down Dheneb Stone to get a solid base color for which I could work later on. It is essential to keep the paints slightly diluted while working on Wyrd plastics. The details are fine and it’s easy to apply too much on the surface and cover those with a thick layer of paint that will obscure the details. This was highlighted with Reaper Master Series Bloodless Skin and very lightly with VGC Off White.

The three highlights done on the skin prior to washing

After highlighting, I washed the whole surface with Army Painter Soft Tone Ink. It softened the highlights and added a warmer feel to the skin.

When it dried, I carefully repeated the initial highlights. Then I added one more layer of highlights mixed with white and went over the most protruding parts. I also used a very thin glaze of blue to add to the sickly feel of the skin. Using red glaze, I also added a few spots to his torso to imitate wounds and burns.

This miniature comes with an optional arm or mutated tentacles. I chose the latter, as I thought it better shows the degeneration of human body touched by brilliance. Rather than keeping these the same shade as the major part of the skin, I chose to add an element of contrast here. I started by base coating the tentacles with Vallejo Game Color Hexed Lichen. This was worked up to bright blue by mixing the base color with increasing amount of blue paint (P3 Cygnar Blue Base) for each successive highlight. I decided to add a bit of coolness to the color and mixed in some white for a few more highlights which were focused on the middle sections of the tentacles.


At this point I applied a few thin layers of Americana Glow in the Dark Paint. It is semi transparent with a very slight touch of green/yellow, so it can be applied on pretty much any bright color you want. After exposing elements painted with this medium to light, they glow in the dark! I thought it adds a nice little extra touch to these models and I’ve been using it for my Jakob crew with pretty decent results. However, one thing that needs to be remembered is that the medium is slightly grainy and can affect the paint job if applied in a thick layer.

The last part of the skin that I worked on here was the area where tentacles meet the skin. I applied a few watered down washes of red and added some black wash for the scorched skin effect. I also painted his pupils using pure white paint and washed them with light brown.

After finishing the skin I moved onto another big area - his pants. These were first base coated with VGC Charred Brown and was highlighted twice with the base color and mixed with a gradually increased addition of lighter brown (P3 Bootstrap Leather). After doing that, I applied a wash of Army Painter Dark Wash and let it dry.

Once the pants were dry, I went back and picked up the highlights again, making sure that I always keep a little of the previous layer of darker color showing. I applied a final highlight consisting of P3 Bootstrap Leather mixed with a small amount of Skull White to the very edges of the torn pants.

While working on the edges, it’s essential to choose a fine detail brush with a solid bristle. It’s also important to be careful while using lighter shades to make sure that some of the previous layer is showing. It’s easy to overdo and apply too much paint over previous highlights with one misplaced stroke of brush that has too much paint on its bristle. It takes some practice to get the desired effect and areas where material folds offer plenty of opportunities to work on this technique.

As I was working on the pants I also painted his belt and suspenders. The belt was painted with a base color of VGC Charred Brown and was washed over with Army Painter Dark Shade. Once it dried, I applied the highlights. I painted lines that focused smaller line along the edge of the belt with each successive highlight. I used VGC Dark Fleshtone and a final touch of GW Skrag Brown (formerly known as Vomit Brown).

The suspenders were first primed in black and following that, I used a very dark and a medium grey shade to highlight them along the whole length.


I finished off by painting the rim of the base black and applying a layer of matte varnish. Once it dried, I glued some static grass and dark green flock from Gale Force 9 to the base around patches of dirt.

Here are a few shots of this miniature and the other Depleted I painted using methods I described. I hope that at least some of you have found this tutorial interesting and if you have any questions you can always find me on the Wyrd forums - I go by the nickname Viruk there.

Adam H. (PeregrineFalco) Allan (CrimsonWraith) Wilger

Clousseau Chris Parris

Grandpapanurgle

AWOL

Damian (Lord Shaper) Smith 49

Henchmen Showcase

Darkside David (Pagan Wolfe) Herbert

Josh (Angry) BogleJonas H.HLordZombie

Denis (Dgraz) Graziano

Jelle (Yazza) MeersmanJames (mythicFOX) DoxeyEdonil


Liam (osoi) TennantLevi (Lurkerz) Bradley M. Robertson

Mario (G3ck0) Boesmans

Merlin (Mergoth) Goss Nate (Big Ned) Zettle

Markus (Darios) Schaedle Martin (KML) Lindblom

Neil of Orange


Ross (rcat) TaskerPandasauce Skedarman

Robert (DevlinMudd) Curry

Will (Pierowmaniac) LambertSevorin

Tim de Groot (ttsgosadow)

Mikael Lindh


Roy R Clark (LordDarcy)

Sigmund

Sephiroa

Thank you to all of our henchmen who submitted an entry for this month’s Wyrd Chronicles.



See you next time!!

wyrd chronicles volume8

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