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Interlude: Into Dungeons Dark

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Let me step back for a moment and talk about how I first encountered the Ratmen. In my 8th year my family made the move from the small suburban town of Kingston, Ontario to the small rural town of Kensington, Pennsylvania. It was here that I made three close friends (not including the girl next door , Carrie-Ann, who always came by wanting to "hang out"); Chris, David, and Seth. And it was these friends that introduced me to RPGs. 

I'd been aware of Dungeons & Dragons before that point, though primarily as a Saturday Morning cartoon and toy line. I'd had a friend in Ontario who owned the Red Box, but even though I expressed an interest in playing, he'd always say that he needed his father to "make the maps" or something or other I didn't quite understand, and we'd go back to playing with our He-man or Star Wars action figures. Or M.U.S.C.L.E.s. Thus, my introduction to RPGs didn't come at the hand of that ubiquitous system, rather Chris Thunderberg's copy of a new game called Warhammer Fantasy Roleplay. 
I was fascinated from the first moment I held it in my hands. Though raised on a steady diet of Arthurian legends, fairy tales, and even Tolkien, I'd never encountered anything like this. It was visceral, Germanic, dark and fascinating. The book was dripping with illustrations, violent and full of black humour. A whole new world rested between those pages. Once, once, I convinced Chris to let me borrow the book overnight. I still remember reading that introductory story on the first few pages, as a group of adventurers encountered lizardmen in chasms beneath the earth. Chris would run small adventures for us during the lunch hour at school, beneath an old tree in the far corner of the school yard. We coudln't use dice, because they weren't allowed by the teacher for some reason, but we didn't need any, it was just a "choose your own adventure" taking place in our shared imagination. I still recall my first character: "Redbolt", a pit fighter (I wanted to play a Chaos Warrior after seeing the illustration of one fighting a Jabberwocky in the book, but Chris said I couldnt be one of those until I got to a much higher level).

From then on I launched a steady campaign of pestering my mother for a copy of the book. The problem was the closest store that sold that sort of thing was about an hour's drive away. And my mom was not the type to go out of her way for such nonsense. But, my ability to be annoying eventually prevailed. The store was located on the top floor of a small building, once probably a small apartment building, but now converted into a sort of mini-mall. A used bookstore took up most of the first floor. Up some wooden stairs that had forgotten what varnish was several decades prior,  at the back of a old, musty hallway, across from a small shop selling goth clothing and costumes, was a tiny room, largely taken up by a gametable in the middle. Bookcases lined one wall, packed with gamebooks and boxes, while 2 other walls were lined with various miniatures, as well as bags of dice. A stuffed dragon adorned the counter with an archaic register. The man behind it was an older fellow, with a grey beard, who eyed us somewhat suspiciously. A mother and her young child was not a welcome site in gaming shops in those days, though when she explained to him what we were looking for, he seemed to get in  better mood. No random tourist was I , looking for Teddy Ruxpins or Cabbage Patch Dolls. 

Of course, I didn't wait for him to provide directions, my eyes locked in on the spine of the book within moments of entering, and I feverishly ripped it from the shelf, clasping it in joy. I then wandered in amazement taking in as much as I could of the other products around the place before my mother's patience wore thin. The man helpfully explained to my mother that I would need certain dice, and he provided a small felt bag to go with them. I tried to convince her to let me get a miniature as well, but she said something about another parent (Chris's mom I think) warning her about lead, and I didnt want to push my luck that day. But the man behind the counter slipped a copy of a Ral Partha catalogue into the bag for me, and gave me a wink. 

I have no further memory of that week, as I was lost in that book.

In the Bestiary I encountered for the first time the Skaven. The chaos ratmen. 

It was love at first site.

So it was that I came to the Warhammer world by way of the roleplaying game rather than the wargame. It would in fact not be until about 3 years later that I first got a copy of Warhammer Fantasy Battles. 

Interlude II: Name of the Rat

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Recently, on the Oldhammer Facebook group, I encountered for the first time an unusual story regarding how the Skaven acquired their name. The earliest Skaven models were initially identified solely as "Chaos Ratmen", but by the time of their introduction in the Citadel Journal, the name Skaven was already in use. I'd always assumed that this had originated from the term "scavengers", but one Oldhammer poster gave a much different account.
This is Roland Rat. First appearing on Good Friday in April 1983 on the British breakfast television network TV-AM. Created and voiced by David Claridge, a former Henson studios employee, Roland was regularly accompanied by the over-enthusiastic self-appointed "number one ratfan" Kevin the Gerbil. Perhaps appropriate to the date of his origin, Roland is considered a saviour of the then ailing network, whose popularity brought viewership up from roughly 100,000 to 1.8 million in a matter of months. At the time he was described as "the only rat to join a sinking ship".

According to the aforementioned poster's room mate, an unidentified former GW employee, Roland's introduction of his co-star "It's Kevin", or "Here's Kevin", corrupted to "S'Kevin" was the true origin of the name "Skaven".
Needless to say, I was sceptical. In a short time, the story was debunked by Andy Chambers : "Just a story I'm afraid"..."I asked Jes about it once and he told me it was derived from 'Scavengers'." Anthony Ackland confirmed: "It was derived from scavengers. I remember that Jez first came up with them back when the studio was still at Eastwood. The Roland Rat thing sounds like a typical "Studio lets wind up Head Office" thing from the Low Pavement Studio days."

However, several other posters confirmed having heard the same story regarding Roland Rat, and a bit of googling turned up several other instances scattered across the web. Which perhaps means I'd just come across the very first Skaven urban legend

The Verminous Horde

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In 1989 a new wave of Skaven miniatures were released, expanding the range of Clanrats and Skavenslaves to compliment the troop divisions put forth in Warhammer Armies, and introducing models of the now ubiquitous Moulder creations Rat Ogres.
Of these the Leader with Warplock Arquebus remains a personal favourite. 
The beginning of the 90s saw the final expansions of the Warhammer Fantasy Battles 3rd edition, including the byzantine Warhammer: Siege and the ever-popular Realms of Chaos. For Skaven, the most significant event left in the 3rd edition came unassumedly in 1991's White Dwarf issue #137; namely, Andy Chamber's Skaven army. As this is of particular interest to this blog, I'll be saving an in-depth discussion of this article and its legacy for a future post. For now, what's important to note is that this seems to be the point wherein Chambers unofficially "inherited" the Ratmen from Goodwin, becoming (for lack of a less dramatic turn of phrase) the Godfather of the Skaven at Games Workshop for the better part of the '90s.
In 1992, Games Workshop released the 4th edition of Warhammer Fantasy Battles. This was a major paradigm shift for the game & to many purists represents the end of  the Oldhammer era. Its interesting to note the parallels between this and the similar shift from OD&D to basic D&D over a decade prior. In both cases the games became more tightly constrained, the rules simplified, & the options reduced with an eye towards attracting new & younger players. 4th was heralded by improvements in plastic moulding methods and included; along with the rules, dice and templates, and several cardstock buildings and counters; 100 plastic miniatures, enough for new players to field 2 (albiet quite small points value) armies and begin playing essentially "out of the box". 
I could write an entire blog post just on the changes between 3rd and 4th edition (and nearly did so before editing it back), but instead here is a brief overview of several of the major changes:
  • Simplified the statline
  • Reduced formations & excised the 2nd movement phase
  • Revamped magic, introducing a card-based system 
  • Removed the formula for determining point values of units & creating characters
  • Dropped the assumption of a GM & refocused on tournament play
  • Introduced individual army books & "Special Characters"

It's this last point that is most significant to this blog, as in 1993 Warhammer Armies: Skaven was published.
Written by the aforementioned Andy Chambers, this book provides the first comprehensive history of the Skaven race, a fascinating mix of created folklore and pseudo-history. The book's credits list "Story by Bill King". I'm not certain to what extent this means. Did King contribute one particular story? Like perhaps; presented here for the first time in print; the long-standing mysterious and vaguely Lovecraftian origin story "The Doom of Kavzar"? Or was his contribution even greater, perhaps contributing the timeline of significant Skaven events, from the rise of the Grey Seers, the formation of the Council of 13, the (first) fall of Nagash and the release of the Black Plague upon the Empire? In the late 90s King would write more regarding the Skaven in the 2nd volume of his Gotrek & Felix novels for Black Library, but I can find very little mention online of his involvement with the Ratmen before that point excepting this credit. 

UPDATE: Andy Chamber has confirmed that it is the Skaven short story in the back of the army book that was Bill King's contribution. "I wrote the rest of the book including the special characters and the Doom of Kavzar story with the aid of Bill and Jes' most excellent mentoring and a very, very over-active imagination." Which is quite an amazing outpouring of creativity. 

Warhammer Armies: Skaven provides rules for the new Skaven war machines; the aforementioned Screaming Bell and the Doomwheel, known affectionately among fans as "The Hamster Wheel of Doom", both of which received new models.
Of course, the phrase "Terrifying Skaven Engine of Destruction" is hard to take seriously when it looks at that cute,  begoggled  Warlock Engineer enthusiastically riding atop two giant wheels housing swarms of running rats. It reminds me of nothing so much as one of the Goblin machines from the film Labyrinth
The Screaming Bell, designed by Jes Goodwin and Norman Swales and pictured on the cover of the book by Dave Gallagher, immediately became the iconic Skaven war machine, resonating with the Skaven origin myth. The Screaming Bell had been previously mentioned (see the previous entry in this series of posts), and Andy Chamber's prototype bell had been featured in an interview in White Dwarf #193.
Pushed into battle by a unit of Skaven warriors, ringing the bell caused a host of random effects that, in atypical Skaven fashion, could be as devastating to the Ratmen themselves as to their enemies. 
At this point you may have noticed something else about 4th edition in contrast to earlier depictions of the Skaven. Despite still having models with Goodwin's designwork playing a hand, a new aesthetic had overtaken Warhammer. Never is this more apparent than in the pages of White Dwarf's 'Eavy Metal supplements. Gone were the muted earthtones that defined Skaven armies even as recently as Andy Chamber's army in 1991. 4th edition heralded the Mike McVey era of bright primary and secondary colours, imposingly (some might even say garishly) exploiting Citadel's new line of paints. 

Also premièring in Warhammer Armies: Skaven (though previewed in White Dwarf before its release) are the Skaven "Special Characters" that would henceforth become a major part of Warhammer's cannon. Throt the Unclean is the only one of the named classic Skaven to remain. Joining him are the chief Warlock of Clan Skryre Ikkit Claw, Plaguelord Skrolk of clan Pestilens, Clan Mors' Warlord Queek Head-Taker, the infamous Grey Seer Thanquol and his ever-present Rat Ogre companion Boneripper (in the first of his many Duncan Idaho-ish iterations), and, my personal favourite, Clan Eshin's master assassin Deathmaster Snikch
The book finishes up with a 4 page introduction to Skaven tactics, advice straight from Andy Chambers that remains useful to this day, discussing the concepts of Skaven as a horde army and the value of the newly introduced "Strength in Numbers" rule, then a short story featuring Thanquol (confirmed that this is the "story by Bill King" referenced) and several citadel catalogue pages. From '91 to '04 the Skaven line is increased substantially, and the line of Goodwin sculpts are added to by Marauder, including the first group of designated Stormvermin.
Special Thanks to Andy Chambers, Fred Fouchet, James Hall, and the other members of the Oldhammer Facebook group who provided fact-checking, critiques, and provided scans for this blog. 

The Skaven Issue Part I

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White Dwarf #137 was published in May of 1991. The cover painting by Les Edwards features an unhelmed Blood Angel Space Marine captain bearing a "Necromunda"-emblazoned Judge Dredd-style shoulder crest unloading an automatic weapon into a "Scavvy gang". This was obviously before Space Marines were retconned into hulking genetically-modified monstrosities. I know very little of Warhammer 40K's setting beyond the original Rogue Trader book; fantasy always appealed to me more than Sci-Fi (bite me Harlan Ellison!), and as Skaven never officially made the leap into that setting, I shan't be discussing it very much on this blog (though watch out for an upcoming post on the Hrud). 

Edited by Simon Forest, with picture credits for contributors Dave Andrews, Bryan Ansell, Andy Chambers, Phil Lewis, Rick Priestly, & Nigel Stillman, this issue comes from a time when White Dwarf had already made the transition to solely covering GW product lines, though before they ceased to acknowledge the existence of Warhammer Fantasy Role Play. 

The inside front cover features an advertisement for a Dark Future novel, a gameline I was completely oblivious to prior to the establishment of the recent Facebook group as an offshoot of the Oldhammer community. After a slew of more ads for GW retail locations, upcoming tournaments, a programme for the '91 Golden Demon Awards, and an intriguing one-page description of the "play-by-phone" adventure game "The Slaughterhouse" (a follow-up to Steve Jackson's F.I.S.T.), we jump right into a Bretonnia-themed 'Eavy Metal. 
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When I first read this issue I paused here and took it all in, prolonging the foreplay. I examined intently the rich colours of the Archers du Brest, admired the dynamic poses of the Arblastiers de Lyons, and was more than a little critical of the Feudal Levy, whose faces seemed like plastic Halloween masks. Even as I turned the page to reveal the treasure I sought, I lingered over the printed statistics for the Bretonnian Foot Troops. Overall I must say that I prefer Bretonnia as set forth in Warhammer Armies; a hilarious juxtaposition of lordly knights in shining armour, backed by a mis-matched collection of "dirty peasants", evocatively titled VillainsRibaldsRapscallionsBrigands, and Rascals

The preamble over, we turn to an article that holds legendary status among Skaven players, especially those of the Oldhammer persuasion, the reason I sought out this issue; Andy Chamber's Skaven Army. Rather than flacidly describing the thing, here it is courtesy of Orlygg for those who've never read it before or would like to refresh their memories...
So, what's the big deal? Why is this article so significant? Certainly its an interesting enough read, giving an overview of how the author came to play Skaven for the first time, his process of selecting troops and balancing points, the notes on strategies, and in general one of the few examples in print of a 3rd edition army list being assembled. But what stands out here are the pictures of the army itself. 

To explain, I need to back up a bit here (or leap forward, depending on one's point of view). I didn't see this article when it was first published. Indeed, I read next to nothing of White Dwarf in my youth. To this day, I own only a scattering of issues, most purchased secondhand, and even then there are very few that I've read cover-to-cover. 
No, I first encountered Andy Chamber's Skaven Army online during a random Image search of Skaven (as I am wont to do on occasion, mining Bing for inspiration), with this series of pictures lifted from the article:
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I'd never seen anything like it before. I knew the models, intimately. I remembered them from my youth. But whereas those had remained unpainted and shining monochromatic lead (excepting a few early botched experiments with Testor's model paints left over from a very brief interest in the model airplane hobby), these somehow managed to capture perfectly that image of Skaven I'd had in my head since the very first time I encountered them in the pages of Warhammer Fantasy Role Play. These were not the garishly bright and colourful Skaven of 4th and 5th edition, nor the bizarrely crude monkey-rats of Mordheim, and not the animated cartoonish modern Skaven, who seem to be shedding fur like its going out of fashion (seriously, looking at the more recent releases, they seem less like rats and more like the midway point in transformation of An American Werewolf in London). 
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And frankly, even the Skaven army featured in Warhammer Armies was rather rubbish, no offence to Pete Taylor, I've seen other miniatures of his that were quite nice. I'll be charitable and largely put it down to poor photography. 

So, needless to say, these pictures came as a bit of a revelation. Binging "Andy Chamber's Skaven Army" led me straight to the titular White Dwarf issue, and an ebay purchase later it was in my hands. 
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These online reproductions sadly do the pictures little justice, and I cannot recommend enough any Skaven fan seeking out their own copy of the issue which, as of this writing, can still be found for relatively cheap prices on ebay.

Part II of this post will feature a more in-depth look at this army, what makes it so visually impressive, and its overall influence. For now I'll continue with a look at the remainder of the issue's contents.

The Skaven article is immediately followed by a 2-page full colour advertisement for the then-current line of Warhammer Fantasy Role Play supplements and adventures. Admittedly, nostalgia choked me up a bit at this point, especially so when I read the blurb about items "in the works", tantalizingly and frustratingly describing a number of products that would never see the light of day.  
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The next article is from the series Modelling Workshop, featuring blueprints for the construction of a "fantasy townhouse" by Dave Andrews and Phil Lewis. The step-by-step instructions are quite detailed and discuss several options and variations. I've seen many tutorials of this sort since re-entering the hobby, but this is definitely one of the better ones, both in presentation and explanation. As such I'll provide a copy of that as well for any interested parties:
After this is "Space Hulk: The Last Stand", a campaign by Dean H. Bass. I've never played Space Hulk, my impression of it being a Warhammer 40K recreation of Aliens as a miniature skirmish featuring Space Marines and Tyranids. This 9 page campaign, complete with maps and multiple linked mission-objectives seems to confirm that.

Marauder Miniatures gets a full-colour one page advert spotlighting a pair of goblin heroes riding giant spiders (along with some photocopy-ready banner designs) and several Space Orc Boyz. 

Warhammer Fantasy Role Play's feature article for this issue is entitled "Storm Warriors: Characters by Carl Sargent taken from the novel Storm Warriors by Brian Craig". Sargent further explains: "This article is the latest in an occasional series that takes the major characters from Games Workshop's range of novels and translates them into game terms". Nifty. This is the sort of article exceedingly common in RPG fanzines prior to the internet, often leading to protracted debates in the letters columns as to Conan's Dexterity score or Gandalf's "wizard level". As this is coming from "Word of God" however I highly doubt this led to any sort of arguments of that type (not the least because White Dwarf had no letters column). 

Next up is "CONFRONTATION", a continuation of serialized rules for a role-playing skirmish game. Unless I'm missing my mark, this seems to be a direct precursor to Necromunda, and it fills up the remainder of the issue with rules for combat and equipment. A fascinating read, and one I'd like to compare to the rules for first edition Necromunda at some point. 

The last page of the issue (80) is a mail order offer for a 1500 pt Skaven Battle Force, a 500 pt Skaven warband, and a 1000 pt Skaven Raiding Party. The prices make me weep. 

Next up: Part II, in which I delve into more detail on Andy Chamber's Skaven Army.

The Skaven Issue Part II

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"So many people down the years have cited it as the thing that got them into Skaven, or even into tabeltop gaming in general that it's quite humbling. I'll go to my grave knowing I got one thing right in life -how to paint a kickass-looking Skaven army." 
                                                                                                                           -Andy Chambers 
In the previous post I touched on why Andy Chamber's Skaven Army has achieved a lasting reputation, here I'm going to attempt to evaluate how this was achieved. Within the article itself unfortunately very little information is provided in regards to Chmber's painting techniques; essentially the subject is only lightly touched on in these two paragraphs:

"     I started painting my first fifty Clanrat models as a complete block. This proved to be a bit of a mistake as I later had to go back and paint some standard bearers and musicians for their regiments. Worse still. painting such a huge block of figures seemed to rake years! With subsequent painting I've stuck to doing groups of about twenty models at a time. If I paint quickly I can get that number  finished over the course of maybe four or five evenings just putting on a couple colours at night.
     This system of gradually building up colours on a large group of models rather than trying to complete several smaller groups does tend to make your army appear visually uniform  and is more satisfying as the army progresses in perceptible leaps and bounds. Character figures are best painted separately so that you can lavish your full artistic attentions on them. Ideally regiments should be painted as complete blocks. I wasn't too sure exactly how big my regiments were going to be so I just painted with a view to having a consistent looking group of figures that could be organized into different regiments as necessary."    

While this passage gives an overview of Chamber's approach and provides some indication of his goals, it scarcely touches on the specifics. Luckily for us, Andy recently offered some insight into his technique on the Oldhammer Facebook group:

"I used a black undercoat and pretty much dry brushed the colour on from a limited palette including a lot of white. Because of the black undercoat the inkwash is probably lighter than you think it is - Burnt Sienna and Peat Brown in a 3/1 mix thinned out with water - so it's a sort of dark amber colour rather than brown. I went back over them after the wash was dry and picked out some things - teeth, weapon edges, war paint on fur - in lighter colours to make them stand out a bit and relieve the brown-ness. Note; this all sounds very considered but I really just made it up as I went along."
Looking at Andy Chamber's Skaven army en masse, the overall impression achieved is that of a brown, furry horde. In other words, the quintessential description of the chaos ratmen. This is primarily what distinguishes it from Skaven armies, particularly those of the GW studio, proceeding it, which tend towards a more liberal use of dynamic colours. The reasons for this are obvious; a predominantly brown horde can very easily become an indistinguishable mess on the board. 

I think the key to understanding how Chambers avoids this problem can be found in two synonymous phrases quoted in the passage above: "visually uniform" and "consistent looking".  Its my contention that these reference a concept that Mike McVey would later dub "coherency".

At its most basic, coherency refers to the consideration of how well the colour schemes of the models comprising a unit or an army fit together to create an overall effect. Normally this approach entails choosing a principal colour and one or two subsidiary colours for a unit, with the largest area on each model painted in the principal colour and smaller areas in the subsidiary colour(s). Any smaller details; such as belts, sheaths, bags, quivers; are then painted in neutral colours (brown, black, grey, white, etc.) so as not to distract from the colour scheme. Army coherency is then achieved by switching out the principal and subsidiary colours between units. 

What makes Chamber's Skaven army unique is that the principal colours are themselves neutral colours. The difficulties posed by this are, in my estimation, counteracted primarily by Andy Chamber's use of muted colours, iconography, and unique bases.
Looking closer at the army, one can see that colours were used: ragged red and yellow cloaks adorn various Clanrats, while Andy's Plague Monks even sport an unconventional mixture of violets and blues, but in no instances do these overpower the effect of the neutral principal colours, save one effective exception. The colours form accents, but are muted in tone and heavily shaded or washed, allowing visual distinction without distraction. The exception mentioned was Andy's choice to clad his Moulder packmasters in white robes, with red symbols, though this again serves to distinguish these models from the hordes of brown-furred giant rats and rat ogres they accompany. Also worth noting here is some of the smaller details not readily apparent on first glance that nonethless contribute to coherency, such as the use of white 'tribal markings' on fur and the red ribbons adorning the hilts of characters's weaponry.
By Iconography I refer of course to Chamber's unique and striking banners, which have perhaps inspired the most homages throughout the years. In stark contrast to the muted colours of the regiments, the banners are brightly-coloured and dynamic, featuring such infamous mottoes as "Gaze Into The Eye Of The Warp And Despair" and "We Shall Eat The World", framed by Skaven runic designs. These form visual focal points for the army, providing a contrasting element that draw's the eye's immediate attention. Besides the units's over-sized banners ( 2 Relic Banners and a Bane Banner, according to the army list), several characters also sport back banners (sashimono) that distinguishes them from the rank & file. 

Update: Modestly, Andy Chambers offered this clarification: "By the way I should note that those lovely banners and ribbons on weapons were done with a great deal of help from the 'eavy metal team and the banners themselves were photocopied down from the Jes Goodwin designs in the first Skaven article. You're absolutely right that they added a needed strong splash of colour to the army but I can't claim sole credit for it." A fair enough concession.
Much more subtle than the banners, but of equal or greater importance to cohesion and the army's overall visual impact are Andy Chamber's wonderful bases. I recently asked Chambers if he might provide more information on these to which he replied:

"I used blobs of milliput (2part modelling putty) to make the stones during assembly and painted them grey as part of the painting process. The flock I used is a coarse-grained one intended for railway ballast I think.I chose to base them that way because I felt like it would extend the corruption theme better than having them on perfect little green lawns. An added plus was they were still suitable for using in D&D. When I started the army I had a couple of dozen assorted Skaven I painted with a friend to use as monsters for a D&D campaign, they were like the seeds of the whole thing."

This attention to detail serves both to tie the army together and strongly contrast it against the game board and opponents. The combination of dark stonework strewn with what could be autumn foliage or the run-off of sewers, accentuates  and enhances the colours of the troops and adds another layer to the cohesion of the army. Chambers also utilizes several movement trays that mirror and extend the visuals of the bases. Its the bases, I firmly believe, that cements the powerful impression left by the army on all who see it. 
The article concludes with a passage that not only aptly displays the creativity Andy Chambers freely invested in the army, but is also uncannily portentous of things to come...

"Though I've still a number of rank and file to paint before the army is completed to my satisfaction, I've already started converting and building extra stuff for the army. The first thing I did was convert a special riding Rat Ogre for a Clan Moulder Warlord - after being consistently mauled by mounted heroes I've decided it's time to get my own back! ( For the moment we're just counting him as a Rat Ogre, hopefully we'll bang some rules together at a later date). Other projects in hand involve building a Screaming Bell cart, some Wolfrat conversions  and a two-rat Gattling team."

I've written about Chamber's Screaming Bell prototype in a previous post, though its worth sharing here again:
The "two-rat Gatling team" is no doubt a precursor to the Rattling Gun, a weapons team option featured in Skaven armies since 6th edition:
And the Moulder Warlord atop a Rat Ogre mount, converted from a Skaven Blitzer from the Bloodbowl team by Jes Goodwin, is no doubt the first extant example of the Rat Ogre Bonebreaker, which would not receive official rules until the end of 7th edition.

Wolfrats, oddly, were excised from the army roster as of 4th edition and (besides a brief appearance in the Moulder Hell Pit army list in White Dwarf #310) were only recently re-introduced via Forgeworld and the 8th edition supplement Storm of Magic (infamous for also re-introducing Fimir and Zoats, albeit in a rather limited fashion). 
The legacy of Andy Chamber's Skaven army is distinctly felt and seen throughout the Oldhammer community. Just in reaction to my last post, many commentators stepped forward to state it was this very article that inspired their lasting  love for the Chaos Ratmen. A few have taken this further, with homages and recreations of the seminal army.
Of these, first and foremost is no doubt the Skaven army of Nico, chronicled in his Realms of Chaos plog
Nico's breathtaking tribute is an inspiration to any Oldhammer painter, and manages to capture the essence of Andy Chamber's army while still claiming a visual style all its own.

Fred Fouchet was likewise inspired by Andy Chamber's Skaven army in his recent Oldhammer contribution:
Also of note is the ongoing project of Mukitauro, who has plans to create an army along similar notions.
Even as I write this, Skaven popularity is on the rise in the Olhammer circles, with ebay prices on Jes Goodwin figures jumping sharply in just the last few months. No doubt we'll be seeing many more armies paying tribute to the lasting impact of Andy Chamber's masterpiece in the near future.

UPCOMING: Skaven in Space, the history of the Hrud and the 40k army that might have been; Shroedinger's Skaven,  a look at the Ratmen's roles in GW's boxed games, from HeroQuest to Mordheim; A Rat By Any Other Name, a look at the varied Skaven proxies offered by other miniature creators over the years; and The True Name of The Horned Rat, exploring my personal theory as to the secret identity of the Skaven's deity. 

Rats in Spaaace!

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It all started with a single picture on page 116 of Warhammer 40k's Third Edition rulebook, detailing "Other Dangerous Aliens"...
Along with several other xenospecies, including an early conception of a Kroot and a Necron (marked as "unknown"), is pictured the "Nocturnal Warrior of Hrud". Small and hunched over, its features are obscured by a ragged cloak, though it does seem to have a rat-like tail. This single image spawned a rapidly spreading and persistent speculation among players that the Hrud were intended to be the 40k counterparts of Skaven. It was even commonly suggested that the name "Hrud" came from "Humanoid Rodent Undergound Dwellers", in reference to the 80s cult horror flick C.H.U.D.s. Though it looks to me that Hrud was originally intended as the name of a planet or star system, not the xenospecies. 

Regardless, the parallels were many. The Hrud were described as scavengers, and carried Jezzail-like rifles called "Fusils". They used warp-plasma-based technology, and apparently lived in underground tunnel systems. At the time, I think it was very clear these were originally intended to be Space Skaven. 

Apparently even way back in the Rogue Trader era, Skaven were being seriously considered as an addition to the setting. In 2001 Black Library published The Gothic and the Eldritch: The Collected Sketches of Jes Goodwin, which included concept art for 40k Skaven (scans courtesy of Jon Boyce):
The 1989 Warhammer 40K Compendium (collecting articles from White Dwarf) even includes a poison called Rodotoxin that was noted as being effective against Skaven.
There is also a pic of an alleged prototype Hrud/Space Skaven by Jes Goodwin:
...but its similarity to c47-19 "Glave" from the Alpha 22 makes me a bit skeptical that this is anything besides a rather nifty conversion (image via Greblord):
And speaking of conversions, Orlygg of the seminal Realm of Chaos 80s blog offers this exceptional customization of the '89 0774406/01 musician "Gashowler":
Ferencz Kilian offered up some nice old school conversions from Goodwin Bloodbowl figures on his Plog Area 23:
While Uber_Kroot has done a fascinating Hrud army featured on the wargamerau forum
Games Workshop, however, never made the connection explicit, and no official Hrud models were forthcoming. As the 40K universe evolved, its connections to Warhammer Fantasy were greatly downplayed. In 2006, Black Library published Xenology, a book that retconned the Space Skaven out of existence. 

Xenology pictured a new type of Hrud, scientific name Troglydium hrudii:
The new Hrud were described as a parasitic race, with incredibly flexible bodies that excreted various venoms and toxins. They generate a "distortion field" that makes them appear constantly shrouded in darkness, leading to the nickname "shadow creepers". They also apparently exude an "entropic field" that causes accelerated aging and decay in all biological matter around them with prolonged exposure. 

Some very interesting ideas that don't seem quite fleshed out yet, but this effectively ended any chance of the Skaven showing up in the 40k setting for the time being.

But "when one door closes", as they say...
In 2000, Demonblade Games published Shockforce: Battles in the Remnants of America, a post-apocalyptic fantasy wargme. The rules themselves, by Aaron L. Overton, were not well received, but their accompanying minature line (based largely upon sculpts commissioned but not paid for by Grenadier) became quite popular, among these the Goth Rats sculpted by Chaz Elliott.
While the minis were quite well liked, a lawsuit from GW drove Demonblade out of existence. The Goth Rats line can be seen in its entirety on the Lost Minis Wiki.
In 2009 Mantic Games joined the miniatures market, offering a cheap alternative to Games Workshop with their Kings of War game. In 2011 they followed this up with a science fiction setting, Warpath, featuring the Veer-Myn, a Ratlike species of intergalactic scavengers. 
The Veer-myn were also featured in Project Pandora, a boxed miniatures Skirmish game very similar in conception to Space Hulk.
Who knows what the future holds? GW may one day revisit the idea of Skaven in space, either as the Hrud, or in some other form. It was certainly interesting to see the reference to the Lizardmen being in communication with The Eldar in the latest End Times volume, and with the surviving Slann taking off into space, rumours abound that they may be making their way to 40k. In which case, the distance between the two gamelines is getting smaller again, and the Ratmen may get the chance at some point to scavange the Imperium. In the meantime, custom Skaven-based Hrud armies continue to pop up online, and Mantic's Veer-myn provide a nice alternative.

And back in our world, NASA is making its own plans to get rodents up into the stars...
Coming Up (in no particular order): Schroedinger's Skaven, a look at the Ratmen's role in GW's boxed stand-alone games from HeroQuest to Mordheim; R is for Rat, a look at the Skaven language including a Skaven alphabet, and  The True Name of the Horned Rat, which will not only reveal the greatest secret of the Skaven's origin, but will also prelude the theme of my own Oldhammer Skaven army, currently in the works.

The Skaven Tongue Part I

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I havent posted here in 2 weeks as I've been hard at work on my next post, regarding the Skaven language, in particular the written language of the Skaven. Symbols specific to the Skaven have formed a large part of their identity from the start, and while some of these symbols have been defined, many are elusive as are details of their language, Queekish. 

This subject is first touched on briefly in Garett Lepper's The Book of the Rat, an independent work drawn up for the author's Skaven-themed WFRP campaign. This seems to predate The Children of the Horned Rat, an officially published supplement for WHFRP 2nd Edition.

Others have attempted to fill in the gaps. In my investigations I cam across the web-pages of the Belgarth Medieval Combat Society, who have run LARPs taking place in the Warhammer world and included the Skaven. They makes extensive use of the information provided by Garett Lepper, and expand upon it.  The Belgarthwiki contains this information regarding the Skaven Alphabet:
"Few humans have ever ventured into Skavenblight, and fewer still have ventured out. For many decades, despite the appearance of skaven runic symbols on battlefields across the old world, it was believed that the Skaven lacked a written language of their own. In support of this theory, it was pointed out that Skaven battle standards are often written in the common tongue, bearing such epitaphs as "we shall inherit" and "wither and decay." However, we now know that the Skaven use the common tongue solely for their opponent's benefit - in an attempt to break enemy morale. Only recently, through the interrogation of human cultists of the Horned Rat, and careful study of a few captured tattered pages of the "Liber Boubonicus" have the mysteries of the Skaven written language begun to unravel.
The Skaven alphabet contains 19 letters. There is no hard and fast rule concerning whether material is written from left to right, right to left or up and down.

Each of the 19 letters takes the form of a runic symbol. These symbols, when appearing alone, have a distinct meaning within Skaven society. In addition, however, the word or phrase associated with each symbol also represents a certain sound in the Skaven alphabet. For example, the skaven symbol for the word "warpstone" may appear alone, and often does. However when it appears with a group of other symbols it may also represent the "Wa" sound, or the letter "W".

In addition to their 19 letters, the Skaven alphabet contains 7 vowels. The vowels are often omitted in informal writing, as the Skaven vocabulary appears to be so limited as to have little need of them. Thus, a word like "water" will usually appear using the runic symbols for "W", "T" and "R" only.

Finally, the Skaven use a single punctuation symbol in their writings: the double scratch mark, or "//" symbol. When this symbol appears after a word, the word is always pronounced in a stuttering fashion, such as "Die-die" or "Hate-hate". No other punctuation is known to exist in the Skaven written language. It is believed that the question mark is not used because written requests are of no importance in Skaven society. No Skaven would ever respond to a request such as "where is the warpstone kept." Such information would only be given in person, either to a more powerful Skaven, or extracted by his assassins."

An interesting summary, this is further explored here:

"While Skaven have a native language called Queekish, they fluently speak the Manthing tongue so as to better strike fear into the hearts of their enemies. The Skaven have made a few improvements to the Manthing language showing their superiority over their weak and stupid enemies. These changes are as follows.
  1. Skaven chatter a lot. In the Manthing tongue they will, in their excitement, repeat words for emphasis. Ex. Die-Die Manthing!! Run-Run!! Skuttle Quick-Quick!!!
  2. Skaven view themselves as superior to all other races. They refer to civilized races as Manthing, Dwarfthing, Elfthing, etc.
  3. Skaven in their political cesspool have mastered flattery. When asking a favor, in fear of being punished, or other dealings where they may need your cooperation they will shower you with compliments such as "Most prestigious of prestigious Lords" or "Greatest of vile vermin."
  4. Skaven have mastered mud-slinging. When enticing someone to work against another Skaven or another Clan they will detract from their intended target with phrases like "That backstabbing coward of Clan Skryre, the Horned One chew-chew his intestines!!"
  5. Few female Skaven escape the breeding warrens of Skavenblight. Skaven refer to all females as breeders. They have no other word for the female gender.
  6. When Skaven are excited they tend to chatter uncontrollably: Neek-Neek.
  7. When Skaven are afraid they make high pitched whining sounds: Eeek-Eeek!!!
  8. Although not a part of the spoken language, Skaven tend to touch what ever they are talking to.
Again interesting, but all easily extrapolated from the information provided in Warhammer articles and supplements. The real treasure is found later on this page in the section entitled Skaven Runes. There's too much there to reproduce here (without simply copying their entire webpage), so I invite you to stop over and take a look. Its all very creative. There's only one problem. And (blaming my philological pedantry) for myself, its a big one. Whats provided on  that page is not a unique alphabet of a Skaven language, rather an English cipher. What do I mean by that? Well, before I go into that, one should also take a glance at the direct inspiration for that page originally written by Bill Lippman in 1996: 
So, the issue is, well, one of verisimilitude. To explain, lets first look at the vowels. A series of small pyramids are used to represent the vowels. These are, according to the author, often omitted from writing, a detail that reflects many carved writing systems of ancient civilizations, so not something that I have an issue with, in fact its a clever appropriation of an idea from real-world linguistics. However, look at the vowels themselves; a, e, i, o, u, and y. Um, what? So the vowels of the Skaven alphabet are not only the same as that of English, including, bizarrely, the complicated history of the altogether superfluous "y" as a vowel, but on top of that each of these vowels represents all of the varied sounds ascribed specifically to each of those vowels in English? "A" makes the sounds of "a" in English words such as "say", "and", "father", and "cinema"? And what about dipthongs? Does "oi" in Queekish then make the same English sound as in "coin", or "ou" as in "out"? We're talking about a very specific letter development of modern English based on Latin origins, with loans and mutations over time defined specifically by the history in our world. That this would be recreated exactly in the language of The Skaven is so far-fetched that it destroys any believability. 

The situation is not much improved when we look at the consonants. Let's ignore for a second that several of the runes are far too complex in nature to functionally be used as letters in a useful writing system. Instead, for example look at the symbol for "B". The explanation is that the symbol used is a pictogram representing a "bell" and hence the symbol used for "b". lolwhat? That would only make sense if the word for "bell" in Queekish was also, unbelievably, bell. Almost every letter is an example of this in some manner.

Hence my description of this as a cipher for English. This alphabet only makes sense in the context of translating modern English words into runes, like a code. Granted, I can understand the utility of this for the purposes of gaming, but this also implies that the common tongue in the Oldhammer world is actually modern English, whereas I accept the English used in Warhammer fantasy as a direct translation of what is likely a proto-Germanic tongue, much as the language used in the Lord of the Rings is assumed by Tolkien as a direct translation of an ancient British dialect. It in no way realistically represents the alphabet of a unique language developed by The Skaven themselves.

And all available evidence suggests that the Skaven would have developed their own tongue. In fact, linguistically, the Skaven are shown to be exceptionally advanced. I recently read the surprisingly excellent Rise of the Horned Rat novel, detailing a major Skaven campaign during the End Times to eradicate the Dwarves. In it, Queek, who advances to the ancient Skaven age of ten years old (!), despite being specifically depicted as a, shall we say, less-intellectually-inclined, still displays an uncanny mastery of a variety of tongues. Queek even specifically uses this knowledge to torment his opponents, choosing to taunt Dwarven opponents the sacred language of their ancestors.  As its inconceivable that any Dwarven tutor would have schooled Queek in this tongue, this suggests he was able to pick it up naturally just by hearing it spoken, either in battle or by captives. 

All this suggests that the native language of the Skaven is a manifold and nuanced tongue. Its not my intention at this point to create a fully-functioning artificial language, an endeavour beyond the scope of this blog or my current available free time, but at the very least a runic alphabet that suggests the depth and complexity of Queekish, and perhaps a basic grammar to provide a basic structure for the language. 

The Skaven Alphabet

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The Skaven writing system developed as a series of runes or pictograms. These grew in number as time went one, now numbering in the thousands, though only a few Skaven can identify more than a few of the most important ones. The runes tend to have complex meanings and associations, encompassing several related concepts.

The most frequently used and easily identifiable is the Symbol of the Horned Rat, which signifies not only the deity of the Skaven but also the Skaven race as a whole. 
A variation on this shows the common symbol for clanrats:
Other commonly identifiable symbols include the runes of the four greater clans, and a fifth rune denoting the order of Grey Seers:
   ESHIN
MOULDER
     PESTILENS
SKRYRE
GREY SEERS
As the Skaven developed in the use of magic and technology, the utility of a standardised alphabet would have quickly been apparent, especially among the Warlock Engineers of Clan Skryre. 

The Skaven alphabet is comprised of 13 letters, approximated in a Latin-based writing system as 8 consonants, 4 vowels, and the 13th letter, "X", which primarily serves as an unvoiced mutation. 

Skaven letter-runes are represented by both a Formal and Informal symbol. While its tempting to compare these to upper and lower-cases in English, their application in Skaven writing is nowhere near as consistent. Though it is standard practice that any nouns (proper or otherwise) are begun with a Formal letter, beyond that both symbols are used pretty much interchangeably, seemingly at whim. 

Another peculiarity of Skaven writing is that, in the case of nouns where a commonly used pictographic symbol already exists, the rune commonly replaces the first letter of the word when written out. This is also the case insofar as when the names of Skaven personages are written out, the first letter is often replaced with the symbol for their clan.
FORMAL LETTER RUNES
       INFORMAL LETTER RUNES
Besides the Formal and Informal symbols, Skaven will also often use shorthand symbols for letters that are Doubled (see below).
DOUBLED LETTER RUNES
Each Skaven letter rune has a single associated sound ("phone"), unlike less regimental languages (such as English), where any one letter is used to represent a variety of phones. However, the phone associated with a letter rune may be modified in one of two ways; by Doubling the letter, or with the addition of the 'X' mutation directly preceding a letter. In this manner, the Skaven alphabet is much more versatile than the small number of letters implies.

The following guide provides the closest English equivalents of the Skaven letter rune phones. The structure of the Skaven mouth produces a variety of sounds generally foreign to human speech. Just as there are a number of  palatal and palatal-alveolar phones used by the Skaven that humans can, at best, only approximate, Skaven themselves are unable to accurately reproduce the common English labials (p, b, m, w). Much like a ventriloquist, the Skaven must resort to approximations, often by way of labio-dentals.

As a general rule of thumb, Skaven vocalizations are higher pitched than English is typically spoken, & most consonants are palatalized, giving the tongue a guttural inflection. 
The Skaven also utilize a simple but effective base 3 numbering system
SKAVEN NUMERALS

SKAVENGING:                                          Cheap & Dirty Movement Trays

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I'm taking a break from talking about Skaven specifically to share my method of making budget movement trays that are quick, functional, and still look rather good. This was born out of pure necessity and I never really gave it a second thought until some posts on various forums I frequent made me consider that it might be of interest to someone. So this post is aimed primarily at anyone new to the hobby or who doesn't have the time to/doesn't want the expense of guying GW movement trays or making them from balsa wood/sheet metal.

I. MATERIALS
Ideally you should already have all the stuff you'll need around the house, except perhaps magnetic paper, which can be found for incredibly cheap (see below). Basically what you'll use for this project are: a hobby/exacto knife, a ruler, scissors, superglue, basing materials of your choice, and...

some excess sprue
an old dvd case
If you're like me, you already have a bunch of these hanging around or old dvds you don't want that you can pilfer one from. If not, you can grab them from dollar stores and discount retailers in packs of 4 or 5 for around a dollar. For myself, I buy 4 packs of the slim cases from my local Dollarama and then transfer my existing DVD collection to these, keeping the old cases for my hobby.
and a sheet of magnetic paper
I also grab these from the local dollar store for $1.25 a bag. They have adhesive backing and are very easy to cut.


II
So in this case I have a new unit of Plague Monks I painted up in about 4 hours for an upcoming game (in the near future I'll do a post on speed-painting Skaven), and I need a movement tray for them, so I grab a DVD case, cut off the plastic sleeve on the front, and then cut it in half along the spine, discarding the half with the disc holder.
III. Next I break off the two nubbins. You can cut these, but I find they snap off pretty easily in my fingers.
IV. Now I cut off the top and bottom edges. This part can be a little tricky in that it's easy to crack the case by exerting too much pressure.
At this point you could simply cut it to size and you'd have a perfectly serviceable movement tray, something I've done many times for last-minute games. But assuming you have the time, its worth putting in the extra effort to improve its look and functionality (that's a word right?)

V. Arranging the bases of the unit on the tray to get an idea of the size I'm going to need (note that I tend to use spare bases for this rather than the actual unit), I roughly trim the tray down, leaving a good amount of leeway on all sides.
VI. Measuring the sides of the unit, I cut off two pieces of sprue (you can also do a third piece for the back, but in this case, as I may combine it with other units, I'm leaving it open). 
VII. Using my hobby knife/exacto blade, I shave the pieces of sprue until they're free of any outcroppings. They don't need to be smooth or even.
VIII. Now I do a final measurement of the unit's bases arranged on the tray with the sprue borders in place.
IX. Peeling off the back of the magnetic paper, I lay it flat on the tray, then cut the whole thing down to the correct size.
X. Again using the spare bases as a guide, I glue the two pieces of sprue in place, giving them plenty of time to dry. Now the tray just needs to be decorated to match the bases of the unit. In my case I went with a very simple scheme for my Plague Monk unit, which is meant just for gaming rather than looking pretty in a display case, so I'll duplicate this on the front of the movement tray and the sprue borders. I  spray on Krylon "Make It Stone! - Black Granite" textured paint, wiping off the tray with a paper towel before letting it dry. Then add a bit of moss-like flock, and voilà, a nice-looking, functional movement tray that cost me next to nothing.
ADDITIONAL IDEAS

There are several options for magnetizing your unit's bases, from rare earth magnets you can buy at a hobby shop just for that purpose to simply attaching small metal washers, but to keep with the cheap and easy theme, you can just cut out squares of the leftover magnetic paper and stick them to the bases. This works fine for a few games, but they do tend to peel off over time, so its better to superglue them. Just be careful with polarities, as the way the square is facing makes a surprising difference. Best to do one at a time and rank them up on the tray as you go, to make sure they don't repel each other.

I also put a strip of the leftover magnetic paper on the bottom of the movement tray once its done as I transport my army in a large covered baking sheet, like this:
VARIATIONS
One dvd case will easily make a movement tray for any standard-sized unit, but its just as easy to make a horde base by simply combining two dvd cases lengthwise, joining them using an uncut magnetic sheet.
There may also be occasions where a unit will not rank up flush without difficulties, due to the size/posture of the miniatures or the position of their limbs/weaponry. In this case what I do is separate each rank with a piece of sprue, like so:
So that's it. Hope someone finds this useful. If you try this method out because of this blog, please send me pics, and I'll post them here.

Skaven Magic Cards

The Rat Ouroboros

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It's been a while since my last posting here, and many things have happened, both in my mundane life, and in the world of Warhammer. As I write this, the Old World is no more. The End Times came and went, and while the Apocalypse was especially kind to us Skaven players, the future is more than a little uncertain. Age of Sigmar has splintered the hobby. Some, such as the majority of denizens of The Underempire forums, are sticking with 8th as the penultimate edition (all the the more tragic that we never got an updated Skaven codex). Others have turned to Mantic and Kings of War as a saviour. Some have given up on the hobby altogether. And the Oldhammer movement continues to grow, even as fractures are beginning to form (but that's a topic for another post).

For those sticking with Games Workshop, the Age of Sigmar is a distinct departure from Warhammer Fantasy, even in its numerous iterations from the time I entered the hobby.  Called everything from the "New Coke" to the "GW equivilant of 4th Edition D&D", AoS is a game in its infancy. Yes, there are online rules for playing all the old armies, but these are patches, the internet age equivalent of the Dogs of War lists. In actuality only two armies have been released for the game thus far, and neither are of any interest to myself. So, in regards to Skaven, I'm left scouring the new fluff for mentions an hints of the fate of the Ratmen. 

Ultimately, the fluff of AoS holds little interest for me. The unique character and flavour of The Old World that I cherished has been replaced with a setting more akin to a modern MMORPG than suits my tastes. But there was still some amount of ratty pride to see that The Horned Rat had been elevated to the status of a fully fledged Chaos God, replacing the NSFW Slaanesh as the fourth of Khorne, Tzeentch, and good old Papa Nurgle. Unfortunately I fear that the Stormfiends were an indication of the direction the Skaven are heading, and as such, I will continue to be looking to the past for the majority of my inspiration. 

Future content will be forthcoming at a more regular pace soon, as certain personal obligations have been put to rest, and I am eager to once again attend to The Horned Rat. Over the past year Ebay and online trading forums have allowed me to all but complete my Skaven collection, and soon I shall be painting the Skaven models in order of release, making my way towards an Oldhammer army that will hopefully do some justice to Andy Chamber's epic inspiration. In the meantime, simply to have a playable force for my irregular meetups with my gaming group, I've wandered into the gardens of Nurgle for a time. 

The Great Skaven Project

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It's all been a pre-amble to this. When I first conceived of this website, the NIMH blog was created with a specific purpose in mind. Certainly, the articles have been fun, and I intend to continue with those as planned (several of which lie half-written in notebooks upon my desk), but ultimately I was biding time until I could get this project under-way. 

My intention, over the next however many months or years it may take, is to paint (to the utmost of my current ability) every Skaven miniature produced by Citadel and Games Workshop, in chronological order. Starting now, this very evening, with the very first Jes Goodwin Skaven model circa 1985, C47-01, "Night Runner"
Better pictures shall follow, but having just finished this fellow at roughly 5 am, my urge to share with the world was immediate and in need of placation. 

CLAYMORE 9th Edition

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Almost from the beginning of the Oldhammer movement the idea of a retro-clone has been entertained. The Oldhammer forum still contains the detritus of the seemingly long-abandoned B.L.O.O.D. project. Other individual efforts have been put forth to varying degrees of completion, the most recent I've encountered being poster Galadrim's Battleaxe

And I find myself drawn to the same pursuit, though it's my intention to create a game that isn't specifically a retro-clone of any edition, per se, rather a game that somehow manages to capture the feel of 3rd edition for me, with elements cherry-picked from other games I've loved. In musing on how to evoke the Oldhammer feel with a new system I was reminded of one of the early forerunners of the RPG "Old School Renaissance", Mazes & Minotaurs. First appearing online in the heyday of the D20 glut, Olivier Legrand's M&M took an incredibly novel approach: it posited the existence of an alternate history, where the first RPG, instead of being based on the Tolkienesque pseudo-medieval fantasy of Dungeons & Dragons, was instead directly inspired by Classical Greco-Roman myths. This eminently playable nostalgia piece was presented with the caveat of being an "Anniversary edition" of this classic game, complete with liner notes from the editor discussing the history of the game and its fandom. 

In this I found the approach I wanted to take with my game, even to the point of including M&M in the fictional history I developed for it. As I inch towards completion of the system (which, for those who are interested, is based on a mad combination of WHFB 3rd Edition, 6th Edition, D.B.A., and Hail Caesar), I thought I'd take an opportunity to share with you the following excerpt from the game's Introduction:

CLAYMORE
9TH Edition of the Classic Game of Fantasy Battles

INTRODUCTION

​CLAYMORE: A Retrospective


The late 60s and early 70s saw an explosion in interest in fantasy wargaming, largely initiated by the films of Ray Harryhausen, and culminating in the release of Olivier Legrand and Paul Elliott's Mazes & Minotaurs by Legendary Games Studio (1972). The success of Mazes & Minotaurs in a hobby previously dominated by historical wargames led to an ever increasing demand for fantasy miniatures and giving rise to numerous specialty companies such as the legendary Pax SpartaBombardier Models Inc., and, of course, Culloden Moor Castings.

Founded in 1969 by J. MacStephens, Ian Levingston, and Joan Airde, Culloden Moor Castings (CMC) originally mainly produced replica swords and armour. Their primary customers were members of the Society for Creative Anachronism and those interested in H.E.M.A. (Historical European Martial Arts). Airde noticed a large crossover between these customers and those interested in the hobby of wargaming and first suggested getting involved in the miniatures market, initially with a few limited edition figures offered in their 1973 catalogue. These proved quite popular and by the late 70s, the majority of CMC’s resources were put into the production of miniatures.

In February of 1975, CMC provided the funding for Bottega Games, a small publishing firm. Located in Inverurie, an Aberdeenshire market town, Bottega Games’ main purpose was to offer mail-order games, as well as expand the wargaming hobby in general by starting games clubs and provide a British wargames news source correlating to the War Games Digest in America. To that end, in February of that year they released the first issue of the newsletter Stoat & Raven.

Joan Airde, who was particularly interested in the fledgling RPG industry, left CMC in the hands of MacStephens and Levingston, and began working exclusively at Bottega studios. She served as general editor of Stoat & Raven and even began exploring computer-based gaming, contributing to the development of early text-based games for the PDP-11 mini-computer.

In 1977 Bottega gained official distribution rights for Mazes & Minotaurs in Britain, and in the same year Stoat & Raven was superseded by Subgiant (Originally titled The Church of the Subgiant, but this apellation was dropped by the third issue).

Around this time MacStephens and Levingston, who never had much interest in miniatures nor gaming, approached Airde and asked her to buy them out. Airde was unable to initially, and there were briefly talks of a merger with LGS, but this never came to fruition. The pair finally departed CMC in 1979, at which point Bottega Games was officially merged with CMC and Bryan Deville was hired on as Managing Director.  Deville had previously ran the small but successful Yggdrasil Minis, and published the short-lived but well-regarded fanzine Goblinsmash!. Shortly thereafter, Bottega Games opened their first retail store in Edinburgh. The name “Bottega Games” was maintained for the retail side of the business, but all publishing was now down under the CMC moniker. They became the main distributor in the UK for a number of RPGs, including the seminal Phaserip superhero game and the occult horror investigative game, Carnaki: Ghost Hunters.

In 1980 CMC released their first original fantasy wargames rules-set, Grimm. Co-authored by Deville and Dean Richards, Grimm was essentially a small skirmish game for a dozen or so miniatures, and its release was largely eclipsed by Heritage Games’ Knights & Magick. Both Deville and Airde saw the potential, however, and work was begun on a new set of fantasy combat rules. Slightly more successful was the release of CMC’s first boardgame, Dale of the Zephyrs, wherein two players fought for control of the Realm of Hilympia, one side featuring Spartan-esque elves and Athenian Dwarves, the other demonic-looking Satyrs and animated skeletons.

Though CMC continued to release miniatures, that side of the company was greatly downsized and largely placed in the hands of the Pomeroy Twins. Sean White, a freelance artist who’d regularly contributed covers to Subgiant magazine was officially hired on as art director for the company. In 1983, CMC released the first edition of Claymore: The Game of Fantasy Battles.  

By this time, Airde, who’d more and more taken a hands-off approach, finally left the company to focus on the fledgling videogame industry. Joining Pallisade Games with her new husband, Robert Williams, she would go on to create a number of influential “point-and-click” visual text adventures such as the highly popular Baron’s Voyage series. Deville assumed sole ownership of CMC.

Originally, Claymore featured nothing in the way of a setting, beyond some colour descriptions of magic items, but the following year an expansion to the game began to describe factions, and the quickly-following second edition provided the first glimpses of The Otherworld. This would be further fleshed out in the large campaign boxed sets The Tragedy of Manannan Mac Lir (very loosely based upon Shakespeare’s King Lear, with elements from Richard the III), Horrors of the Witchlord, introducing the world’s first major villain, Koschei the Deathless, and Massacre at Magh Tor, featuring the first appearance of the iconic Fomhoire, one-eyed half-demons based on creatures from Irish myth.

On the side, CMC had acquired the rights to produce gamebooks based on esteemed properties such as television’s Professor When and the Women of T.I.M.E. and the popular comicbook Constable Doom. CMC began contracting out miniature production to such companies as Annis Claw Designs and Berserkr Miniatures. But in 1987 CMC would come to dominate the industry with the release of the seminal third edition of Claymore along with Claymore Fantasy Role-Playing. Written by Dean Richards and Nick Hollowell, with editorial input by Bryan Deville, for many fans, this is considered the first “true” edition of Claymore, as the final image of The Otherworld associated with the game to this day finally took on a clear shape and definition.

The next year Star Pirates: Claymore XXVC introduced a dark future variation of the Claymore rules. Though fondly regarded by fans to this day, the science fiction setting never really achieved much success and survived for only a few years even as the fantasy game continued to dominate the market. The setting would be revisited with a stand-alone skirmish game in the late 90s, Space Grenadier, but never managed to capture the wide audience that the fantasy game enjoyed.

Claymore Third Edition received expansions in the form of Otherworld Armies (1989),
Claymore: Siege! (1990), and the highly-regarded The Forsaken and the Doomed (1991). When it came time to discuss a fourth edition of the game, a battle within the company began between Deville, who wanted to revise the game to appeal to a younger audience, and Richards, who thought this would alienate the strong fanbase the company had built up and unnecessarily limit the game. Deville saw a potential expansion towards a mainstream audience, whereas Richards believed that the success of Claymore was based around it being a game “by gamers for gamers”. In the end, Deville left with the Pomeroy twins to Annis Claw Designs to focus primarily on miniatures, while Richards and several of the other staff writers pooled together to purchase CMC outright.  

This led to a massive revision of the company, and CMC ceased to produce miniatures altogether, though they developed and maintain to this day a very close relationship with Myer Thomas’s Pax Sparta Enterprises. Richards, now acting as managing director, downsized and refocused CMC. The retail side of the company, Bottega Games, became more general game stores offered to franchise partners. Andrew Doorman became the new head of the writing staff, and when a new edition was released in 1993, it was largely just a revision of third edition. The Claymore Role-Playing game was given equal attention to the wargame as a sister product, and continued to expand The Otherworld with supplements such as The Thrice-Tenth Kingdom, exploring the area based on Russian and Slavic mythology, and Yōsei Teikoku, focusing on the mythic Otherworld of Asia.

A curiosity of this new edition of Claymore is that it was identified as “Fifth Edition” in the game’s text. This led to rumours of a secret, unreleased fourth edition that has never seen the light of day. Stories from people working at CMC have been contradictory and vague on this point, with Richards only ever cryptically saying that “Deville took 4th edition with him when he left”. References in the game text of subsequent editions to this “Lost Edition” have become a running in-joke.

Claymore Fifth Edition was to include another revolutionary concept within its pages, one that would forever change the future of Claymore. Richards, who saw at one point the possibility of CMC being bought out by a larger company and Claymore falling victim to the world of corporate IP decided to take steps to ensure that Claymore would forever stay in the hands of its fans. Hence, included in the now famous “Appendix X” was the OWGL, or “Open War Gaming License”. The OGWL is a public copyright license that grants individual and amateur game developers permission to copy, modify, and redistribute the rules of Claymore, royalty-free. This license is perpetual and non-exclusive as long as a copy of the OWGL is included in the work.  

1993 was also the year that CMC introduced the very first “Crystal Claymore Awards”, an annual worldwide miniature painting competition that continues to this day.

Its been 20 years and 3 editions since that time, and Claymore is still going strong. The rules have gotten a few tweaks and the Otherworld has been expanded, but largely the game has remained the same. “If it's not broke, don’t fix it” is CMC’s official position, and has earned them any number of lifelong fans. Ninth edition has brought with it the classic game millions have come to love, expanded now to include rules for Sieges, Maritime Battles, Solo play, and much more of what makes Claymore great. And rumour has it we may even soon see a new edition of Claymore XXVC...

Church of the SUBGIANT

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Mock-up cover for the first issue of the magazine that would come to be called simply SUBGIANT, the classic wargames magazine from the publishers of CLAYMORE

Claymore: The Model Profile

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Another excerpt from the Claymore project, this is the general overview of the Model's Profile.  
The Model Profile
Each figure employed in the Claymore game is defined by a number of statistics which evaluates their strengths, weaknesses, and abilities, determining how they interact with the game’s rules. Together this is referred to as the model’s Profile, and is comprised of their Combat Stats, Attributes, Equipment, Special Rules, and Keywords.

​Combat Stats are represented on a model’s profile by a shield icon, thusly:
Ranged Combat defines how many dice are rolled when the model makes a ballistic attack against an enemy. 

Close Combat defines how many dice are rolled when the model makes a melee attack against an enemy. 

Defence defines how many dice are rolled to prevent successful hits from causing Wounds to the model.

Stamina determines how many Wounds a model can sustain before they are removed from the game as a casualty.
Each Combat Stat is assigned a numerical value prior to a game, largely determined by the Equipment the model is assigned, but also influenced by the model’s Attributes. The Combat Statistics and their use in the game are described in depth in the sections The Ballistic Phase, The Melee Phase, and Combat Resolution.

A model’s Attributes represent their inherent qualities and talents (or lack thereof). These are divided into Physical Attributes (SPeed, Agility, and Might) and Mental Attributes (Wits, Influence, Courage, and Honour).  

Speed (SP) defines the how swiftly the model moves across open ground.
Agility (A) determines the model’s coordination and dexterity.
Might (M) describes the model’s physical strength and toughness.
Wits (W) determines the model’s perceptiveness and alertness.
Influence (I) defines the model’s leadership and persuasiveness.
Courage (C) determines the model’s resolve and willpower.
Honour (H) describes the model’s discipline and reliability.

Each Attribute is assigned a number rating its quality, with higher scores representing increased efficiency and acumen.  For Speed, the number listed corresponds, in inches, to how much distance a model can traverse in a single Move across open ground, at a standard pace. This is discussed in more depth in the section on Movement.

Agility and Might are represented by an average score of 3 for an adult human soldier in good health. A score of 6 or above is highly unusual, indicating superhuman levels of physical capability. Likewise the Mental Attributes of Wits, Influence, Courage, and Honour are represented by an average score of 5, with a maximum possible score of 10. Attributes are covered in more detail in the section Mustering Your Forces.


Equipment
is a listing of a model’s arms and armour, as well as magic items and other relevant gear. Only those things that have a numerical effect within the game are recorded, as all models are assumed to be appropriately clothed and capable of providing their own snacks as the opportunity arises. Equipment is discussed in more detail in the section of that same name.


​Special Rules
lists any unusual capabilities, conditions, or characteristics that apply to the model. Special Rules and their effects are defined in full in Appendix A.


Keywords define a model’s affinities and affiliations, including their Species and Troop Type. Keywords affect what troops may be included in a warband or army and are discussed in more detail in the section Mustering Your Forces.



Skaven Spotlight - Jaime Vidal

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Though I've largely focused on Oldhammer Skaven up to this point, over on The Skaven Facebook page a fellow by the name of Jaime Vidal has been doing some very impressive customizations of Skaven that I definitely think deserve wider attention. I first noticed him by name when he posted his wonderfully painted Exalted Vermin Lord which featured a fantastic combination of the horns from the End Times Vermin Lord kit:
Yet even far more impressive was the next project Jaime posted, a "Skryre Fleet Hell Pit Barge"! This massive landship/Screaming Bell carted atop a custom Hell Pit Abomination is everything I love about the ingenuity and creativity of the Skaven community. Upon seeing it's completion I immediately asked Vidal's permission to post pics of it on this blog, and hence in all it's glory:

Skaven Collector's Guide

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It's been a busy year, and I've been a bit more neglectful of this site than I'd like. Hopefully that will change with the start of the new semester coming up. In the meantime, I've not been idle. I've got quite a bit of painted lead that needs photographing, but for something of a more practical nature, I present to you here the first draft of a Skaven Collector's Guide.

GW used to publish collector's guides, and after a bit of ebaying I did manage to track down their last Skaven one published in 2006. Unfortunately, to be frank, it was a bit of a disappointment. I really was expecting something much more comprehensive, instead it presented pictures of some new (at the time) and "classic" Skaven, but nothing close to the sort of resource an OCD collector would want. At the very least there were a few pretty pictures of conversions and dioramas.
Picture

​Instead my go-to resource has been the online Skaven Metal Model Collector's Database posted by one "goatfarmer03" to the UnderEmpire and Warseer forums in 2007. Goatfarmer did an amazing amount of work, but the project was left uncompleted and while a great start, after a time one begins to notice the absences and inaccuracies. 

Its for that reason that this weekend I pulled up on the tabs of my computer Sololegends.com, unearthed my Skaven themed back issues of White Dwarf, and went about the task of creating an updated database. What I present to you now is a first draft, covering everything from Goodwin's original 22 up to just before the current line (but including the limited edition 2011 Gamesday Warlord). Scaring up and editing suitable individual pics was about 75% of the work (and some are less than optimal but the best I had access to; not that I think a high resolution closeup of the Resurrection Gutter Runner would make it look any better). After about 1999, dating the models became an issue. Goatfarmer simply gave up on dates at some point post Goodwin, but I think I managed to come reasonably close based on my research. 

However it's not perfect, so I offer it here to you today to 1) provide the resource I always wished existed, and 2) to ask for anyone's help in revising any mistakes or omissions. Enjoy:

Skaven Collector's Guide                 Revised & Updated

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Its been quite the undertaking, but after about a year of research, the final version of the comprehensive Skaven Collector's Guide is complete. This should free me up from here on out for some less intensive content :)

A Rat By Any Other Name... Part I

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While the labyrinthine warrens of the Old World are expansive and populous, it is far from the only Under Empire in the multiverse. Indeed, years before the first bells peeled in doomed Kazvar, heroes delving in Gygaxian dungeons across countless worlds encountered the menace of the ratmen.

Included here, inescapably incomplete, is a chronicle of the various ratkin, wererats, and verminkin of the halls beyond the Citadel.

Grenadier

Founded in 1975 by Andrew Chernak and Ray Rubin, Grenadier Models Inc. of Springfield, Pennsylvania offered the very first Ratman miniature I know of in 1978 as part of their Wizards and Warriors line. W30 “Wererat with Axe” is not the most threatening of figures, to my perception somewhat teddy-bear-esque in demeanor.
Grenadier grew to great prominence, especially as providers of fantasy miniatures for the golden age of Dungeons & Dragons, and employed a number of now-legendary sculptors such as Julie Guthrie, Bob Charrette, Sandra Garrity, Nick Lund, and Robert Watts. They would revisit the Wererat theme many times until the studio ceased operations in 1996, some efforts better than others.
Pictured from Left to Right: WW02G Wererat with Sword, 5002 Armed Wererat,
​and Julie Guthrie's Fantasy Personalities 879 Wererat Commander
Grenadier would offer its first full line of Wererats with the release of the ominously titled Encounter in the Catacombs of the Undercity, part of the Dragon Lords line of themed box sets.
 Sculpted by Andrew Chernak himself, the sculpts retain a certain charm to this day, and defined the style of several follow up figures.
Grenadier also released what I believe is the first Ratman "Casualty figure", 6009i from their "Comedy Lords" line: 
...as well as likely the first undead Ratmen, with 017 Wererat Skeletons:
There's no reason to doubt the Undercity wererats were as influential to Jess Goodwin's Skaven, as in turn the Skaven were to Grenadier's final foray into the worlds of the ratmen before ceasing operations in 1996: The Ratscum.
Of all the Old School Skaven alternatives, The Ratscum are my favourites. They scale well with the Jes Goodwin C47 series and with a clever paint job are practically indistinguishable (photo from Stone Cold Lead
Also of note (in that its a sculpt I really like), is the Grenadier Giant Rats...
The Ratscum are still currently available from Mirliton in Italy, who acquired many of the Grenadier sculpts, though as someone residing across the pond in chill Naggaroth, I should give a shout out to Campaign Games Miniatures, who I turn to for all my Grenadier needs.

Coming Up Next: in Part II I'll look at the third in the holy trinity of 80s fantasy miniatures, Ral Partha

A Rat By Any Other Name...Part II

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Along with Citadel and Grenadier, the third "big name" fantasy miniature distributer in the 1980s was Ral Partha. Like Grenadier, Ral Partha was established in 1975, and rose to prominence as a distributer of Dungeons & Dragons miniatures. Based in Ohio, Ral Partha was founded around the talents of Tom Meier, who at the outset was a 16 year old sculptor.

Ral Partha's first Wererat offering was actually licensed from Citadel in 1982 as part of the "Fantasy Adventurers" line, Fiend Factory 13-2: 
When Ral Partha lost the licensing rights for the Citadel models, they ended up going back to the line and resculpting a number of the figures themselves.

They would end up releasing a scant few other Ratmen in the Fiend Factory line over the years:
From Left to Right: FF31-020 Wererat, FF02-258A Ratman Slinger #1, FF02-258B Ratman Slinger #2
RP's final contribution to the wererat hall of fame was released as part of the official Advanced Dungeons & Dragons 2nd Edition miniature line, and took a new approach to the them. Interpreting the Wererat as a lycanthrope-type shapeshifter, RP offered a pack of figures representing a 3-part transformation  (AD&D 2E 11-499 Were Rat):
More relevant to our purposes, however, was Ral Partha's answer to Citadel's Skaven and Grenadier's Ratscum: The Ratlings, released under their Fantasy Armies line. 
Despite featuring some excellent sculpts, The Ratlings fall short of Grenadier's Ratscum for two main reasons: first, a lack of variety with only 12 figures overall, and secondly, though more generally rat-like in appearance, the figures don't match up well with Jes Goodwin's Skaven, tending to be more lithe and sporting far more elongated snouts. That said, they are beautiful figures in their own right an luckily still reaily available from Ral Partha's successor, Iron Wind Metals.
 Before moving on to the post-Skaven world, lets look back to a few smaller miniature companies of the early 80s.

Heritage, producers of the beloved Knights & Magick wargame in 1980, provided this duo of menacing wererat miniatures as part of their Dungeon Dwellers line:
While Asgard miniatures went with a much different interpretation, undoubtedly inspired by Lovecraft's Brown Jenkin (from The Dreams in the Witchhouse):
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