Tuesday, July 21, 2015

I'm Moving to Hawaii...

(you can buy this print here)

...which isn't that big a deal, but right now it feels like I might as well be moving to another planet. Anyway, that's why it's been so quiet around here, and why it will continue to be so. But don't worry, I'll be back in a month or two.

Friday, June 19, 2015


So I've come to hate this particular model. I didn't like it much to begin with, but it came in an ebay lot with several citadel demonoids and broo-folk that I loved, so he wound up in my collection. 

I thought I could paint him up to look more like a demon than an unreflective mish-mash of effed up colonialist ideas—which, though generally regarded by even the modestly informed as completely effed, still for some reason persist in our fantasy renderings of certain creatures—but all that I accomplished was to hate this model increasingly the more I looked at it. Clearly you can't polish a perverse systemic problem any more than you can polish a turd.

Maybe I'm alone in this. Maybe I'm being too sensitive, I don't know. Maybe you feel differently and maybe that's fine. Maybe there are possible treatments that can make something like this acceptable. All I know is that I don't like looking at this figure and I don't like displaying it on my shelf. I wouldn't even put it up here if I didn't think it was important for me to express my feelings about it.

I'll be selling it on as soon as I can be arsed. Maybe I should have mentioned that at the beginning of my sales pitch.

Wednesday, June 17, 2015

Easy Ordinary Bitter

Sometimes you sit down for your evening brew and notice that your crate of full bottles has somehow turned into a crate mostly of empty bottles. You realize that even with careful rationing, you may only make it about 2 weeks, maybe 2 and a half, before you don't have any evening brews anymore.

In these situations, swift, decisive action will carry the day. you can't always afford a full 6-8 hour brew schedule and a month of fermentation. So it's useful to have an easy extract recipe on hand that's simple, consistent, and will top up your stores.

So this is my very basic adaptation of Papazian's "Palace Bitter" recipe. The use of extract eliminates the time-consuming mash step as well as the full-volume boil--which also saves time during the cooling step because you can add the hot wort to cold water and greatly reduce chill times. Here's how the recipe goes:

Easy Ordinary Bitter

Grain/Extract Bill:
5 pounds Munton's Amber Dry Malt Extract
1/2 pound 40 Lovibond Crystal Malt (for steeping)

Mash Schedule:
Bring 3 gallons of water to approximately 150 degrees F. Steep 1/2 pound of 40L Crystal malt for about a half hour. (To avoid having to strain, you can use a steeping bag. Just make sure to squeeze out all the malty goodness when you remove it.)

Hop Schedule:
1 oz Cluster Pellets (7.4% Alpha Acid) 60 minutes
1/2 oz Nelson Sauvin (14.6% Alpha Acid) at flameout, before chilling

1 package US-05 dry American ale yeast combined with 1 package S-04 dry English ale yeast, rehydrated.

Fermented for one week in primary, then bottled with 3/4 cup of corn sugar for natural carbonation.

Original Gravity: 1.0489
Final Gravity: 1.011
Approximate ABV; 5%
IBU: 26.5

This beer is orangey-pale in color with a nice, rocky head. It smells yeasty with a hint of something that reminds me of honeydew.  It is quenching and light-bodied, with a touch of oatmeal sweetness grounded in sturdy hop bitterness. It's an easy beer to make and to drink...good for drinking with food or for the removing of edges.

Monday, June 15, 2015

The Grub

Has it ever happened to you where you're minding your own business while checking out an unexplored Jovian moon, or the strangely spongy ground out back of a sorcerer's tower, or are maybe, like, taking a leak near the sight of a still-glowing meteor strike, and then out of a suddenly-rumbling nowhere comes the devouring maw of the uncanny other, which may bite your head off or simply get shot to pieces by hicks or obfuscated and then denied by obscure statist agencies, but will certainly change your life forever? Isn't that just the worst?

That's why I think this is such a great game piece for the narrative-minded gamer. Also why I bought it. Can't wait to jump it on some beaky marines or some unwary wasteland denizens.

Of course I had incredible ambitions for this figure that led to me setting it aside for nearly a planetary cycle...its one of those models that could be stunning if painted with the proper discipline and patience. But in the end I opted for having the figure finished without spending a week agonizing over the paint job. You know.

Please have your comments erupt unexpectedly from the box below. I promise I'll act surprised.

Saturday, June 13, 2015

Chronicles of Yore: Open Combat on a Drear Heath

A while ago, I had the privilege of teaching my room-mate one of my new favorite skirmish games, Open CombatOpen Combat is a fast-playing skirmish game. It's main strong points are: streamlined, easy-to-learn rules of play; an easy system for creating characters (more on that below); and a robust combat mechanic that makes for balanced, crunchy, strategic play (MUCH more on that below).

What follows is a battle report, as well as what I have to admit is kind of a bear of a game review. This has been a loooong time coming—I told Carl Brown, the author of Open Combat, that I'd do one way back when I first bought the rules last October (sorry about that, Carl, if you're reading.) 

(I've separated the rule discussion in italicized footnotes at the end, so that I won't bore anyone who's interested in the pretty pictures. If you just want to know what I think overall, you can skip to the bottom—you lout.) 

We set up on my then-new teddy bear fur gaming mat, with a fay circle of standing stones, some ancient barrow mounds nearby, a desolate spinney of trees on a ridge, and some cairns marking the long road between Skeldkryk and Drycud-upon-Gyre.

We decided on using the basic "Open Combat" scenario for simplicity, in which the goal is to reduce the opposing warband to their break point* and make them quit the field.

We also, for simplicity, played with (more-or-less) mirrored forces which I worked up in about 5 minutes.*

For setup, we rolled “Confrontation,” meaning that instead of board-edge or –corner deployment, we took turns placing figures anywhere on the table at least 8” from an opponent. I deployed the bulk of my troops in the circle of stones, deciding that the Fell Glendywr, my wizard, was trying to use the convergence of leylines to work some necromantic majicks, perhaps bestirring the denizens of the barrow-mounds…

Tom (my room-mate) very neatly set up to surround me. He also placed his ogre** (who he named Percival) as a guard at the barrows for, it turned out, this was the burial place of his ancestors and he would not see the place defiled.

I split my band into two forces. I sent one force (comprised of Brittleghast, the Gribbly-wight, and the Flayer of Shins) to pry Percival the Ogre and the Hunchyman Ludwig of Flür from the ancestral tomb…perhaps they would prove useful for Glendywr’s ritual…

I sent the rest of my band to guard the right flank using the standing stones as a defensive picket, with Glendywr supporting the line with his ensorcellments***.    

Above you can see as Bale Grimly positions himself to hold the gap between a carved head and a stack of (oddly cuboid) rocks. Meanwhile, Skjorn Boarkinder pushes along the right flank, supported by Greer. Together, they form a sort of loose battle line(****) protecting the edge of the ring of stones, while Glendywr begins his black chanting.

Greer stalks the flank of the field, looking for an opportunity to strike where the flesh is soft...

...and Tom's leader, Ulthar IV, strikes at my battle line, trying to ride down Bale Grimly before his demonic comrade could come to his aid...

Meanwhile on the other side of the circle, Brittleghast and his complement stop to bandy a few insults and prepare themselves...

...before charging uphill at a stubborn ogre. Percival, doing much honor to his forefathers, holds his attackers at bay on the threshold of the barrow before ultimately forcing them to withdraw back down the hill.

The fight for the standing stones intensifies as the individual duels converge, then break apart, then converge again. On my side, Skjorn is run through and left expire, while Bale Grimly succumbs to his many wounds. As revenge on Tom's side, Mel-tead B'tar and the Viscount of the Flies are bludgeoned into the mud. Tom's reserves begin to threaten my flank but neither side is able to gain the upper hand*****...

...until Ulthar and Greer are finally able to come to grips.

The scrum closes again, with Tom's reserves desperately trying to stave off the combined force of Brittleghast's sweetly swinging axe and the formidable intensity of Greer's battle-ire.  Desperation then turns to despair as Greer's heavy blade finds the breast of Ludwig of Peregrine and cleaves it open (causing Tom's warband to reach their breakpoint). Ulthar's men turn and flee at the sight, broken and lost to reason.

*Force Creation and Breakpoint: Characters in Open Combat have five stats—Speed, Attack, Defense, Fortitude, and Mind. To create a character, you just decide on values for each stat…and add them up. If you want to tweak a profile—say, add an extra point of attack, that change will cost one point. Likewise, all weapons and special abilities cost one point each. On the face of it, this system seems very easy to unbalance, but it’s not…but I’ll get into that at length.
The Breakpoint is determined by adding up the units FOR and MIN values and dividing by two. During the game, each player tracks his band’s total FOR and MIN (percentile dice come in handy for this) and once it reaches the BP, the band is forced to cede the field.

**Monsters and Mounted units are treated the same in OC. Mainly, they are able to push units farther in combat (which makes them quite dangerous among confined spaces) and they are slightly less reliable to activate: at the beginning of their activation, you roll a die. If you roll poorly, the character will only have limited actions, and if you roll very poorly your monster/mounted fighter won’t activate at all and your turn will end.  I find this abstraction very satisfying for this level of game, and it adds an element of risk-management into using your potentially more powerful units. (This mechanic, by the way, is borrowed from Blood Bowl—and it’s not the only one, as we’ll see.)

***Open Combat does not have a dedicated majick system—which may seem odd for a rule-set that purports to cover all pre-gunpowder periods both historical and fantastical. However, it’s important to realize that the special rules, though named in very concrete ways (dagger, shield, intimidate, etc.), are actually quite abstract and can be used to represent quite a lot. I find that the rules for psychological attacks combined with ranged weapon rules like Crossbow or Javelin can represent quite a powerful wizard; in fact, I find this to be much more flexible than the standard magic rules for SoBH (though SoBH supplements have rules for summoners, necromancers, illusionists, et. al., which OC currently lacks; however expansions are promised)

****Positioning is very important in OC, because attacking a character's rear facing means that that character will halve their defense value. This is usually the difference between rolling one, two, or three attack dice (see below) which can translate into a significantly greater chance of doing damage. And then when you consider that a character who is surrounded is likely to take damage when they are pushed back into an enemy, you begin to look for ways to get around your opponent.  Scrums in OC therefore, are often decided by who can maintain the integrity of their battle line while compromising that of their opponent. I find this both realistic and strategically challenging.

*****Combat and game balance: remember how I said that the game is tough to unbalance? The reason for that is the combat mechanic, which is the heart of the game. 

Incidentally, it's also the heart of another great game: Blood Bowl. As it turns out, Carl Brown used to play in the GW studio league...and it was reading that little factoid on Gav Thorpe's blog that convinced me to give these rules a try. I could not have been better rewarded, because it turns out that combat in OC is a modified version of the block dice mechanic that makes BB so great.

Here's how it works. When you make an attack, you compare your character's ATK to your opponent's DEF. If your ATK is less than or equal to your opponent's DEF, you roll one attack die. 

On a 1, not only do you fail to do any damage, but your turn immediately ends (just like rolling a skull in BB). A 2 is basically a tie—no telling blows are struck. 3 or 4 allows you to push your opponent back, potentially doing damage by pushing them into other characters or terrain. A five does a point of damage. A 6 deals damage and allows you to push back. I've summarized these results and their probabilities in the table below, but it's basically a 1 in 3 chance each of doing damage, pushing back, or doing nothing at all.

1 Die
Turn Over
Pushback Only
Damage Only

Any Damage

Now if your ATK is greater than your opponent's DEF, you get to roll 2 dice and choose the higher one. This has the effect of skewing the probabilities towards the higher results. Instead of a 1/3 chance of doing damage, you have a chance slightly better than 1/2, while your chance for a turnover becomes minimal. Additionally, in close combat you have the opportunity to score additional hits (i.e., if more than one die comes up as 5 or 6). I've included a separate column with the odds for that happening.

2 Dice
Turn Over
Pushback Only
Damage Only
Additional Hit

Any Damage

Finally, if your ATK is more than double your opponent's DEF, you get to roll 3 dice and choose one. This skews the results even more, such that you have better than a 2/3 chance of doing damage, and about a 1/4 chance of doing 2 or more damage. Your chances of turning over are incredibly low (though not impossible) and you are equally as likely to score 3 damage as to score either a turn over or an impasse.

3 Dice
Turn Over
Pushback Only
Damage Only
1 Additional Hit
2 Additional Hits

Any Damage
The upshot of all this is that, yes, high ATK characters can be very dangerous. And high DEF characters are relatively difficult to take out. But here's the thing: no matter how weak or outclassed your character is, they always have a 1/3 chance of doing damage. (This is in contrast to some situations in games like SoBH—itself a reasonably balanced game—where weaker characters simply stand no chance of getting a positive outcome in a fight.) 

Furthermore, you can even the odds on a powerful character by swarming them with weaker characters. If you get the powerful model surrounded, this can actually improve the odds of  damaging the character to 2/3—since scoring a pushback into another character usually also causes damage (which would be 2 damage if you roll a six!). The only problem is that for each of these attacks you are at an increased risk for turnovers.

The alternative is to set up a group action that allows multiple figures to add their ATK scores together in one attack. The issue here is that none of the characters taking part in the group action can have activated...which means that you need to move them into combat the turn before and hope that they survive. 

However, if you know (or suspect, or are GMing a scenario in which) there will be a tough character to take down, you can design your force accordingly. Looking at the charts above, you can be pretty sure that your characters will survive if they have 3 fortitude or more when they are against an opponent rolling 2 dice, and that an opponent rolling 3 dice could only kill one character at most in a turn of attacks (using both actions to attack). This is true whether that opponent has 5 ATK or 50. Therefore it is easy to create a group of 4 or so fighters with low ATK and DEF but relatively high SPD and at least 3 FOR specifically to hunt your opponent's beefier characters. (They'd do even better armed with spears, which allow them to attack from an inch away). That profile would look like:

Spear or handweapon, shield

...which at a cost of 15 (or 14 without the shield) would allow you to field a small group of these guys for just over a 3rd of  your total cost in a 'standard' 150 point game. Just make sure they don't get ganged up on or targeted with psychological attacks, because they'll go down quick!

Okay, we're at the part where I tell you my overall impression. Still with me? Wow, that's incredible.

I really like Open Combat. The way it combines ease of play, ease of adaptation, and challenging strategy is highly satisfying. The only drawback, in my skinflint estimation, is the price, which at 10 Great British-style dollars (just over 15 of the US-type 'bucks') for the PDF is just a hair expensive, considering there are only 3 scenarios, no dedicated majicks, and no campaign system. By contrast, the first SoBH book comes with a basic campaign system and a couple more scenarios, along with a comparably abstract system for basic magic, for only 8 bucks. (And I guess now there's Fightin' Fungi which has similar stuff and a detailed magic system for 10 bucks).

HOWEVER, as of the completion of the successful Kickstarter campaign to bring the book to print, there is going to be additional content in the form of more scenarios and a campaign system—which, when you consider the excellent production quality, will certainly make it worth the price. (Which is still basically just bus money, compared to many other game producers we could point to.)

SO IN CONCLUSION AT LAST: I highly recommend Open Combat. It has become my new go-to game for fun, fast, exciting fantasy game play. The mechanics are solid, the design is solid, and the rules are robust, clear, and easy to learn. I also anticipate that it's going to take the pressures of narrative scenario design quite well. It's easily my favorite game I've played in the last year, and I see getting many more years of enjoyment out of it.

You can let me know what you think by writing three comments in the box below, then choosing the best one.

Thursday, June 11, 2015


...Because I'm back from the dead, as the tired old blogging joke goes.

This figure was actually part of my Chaos Cup swag bag the year before last (?). It's supposed to be a the necromancer for an undead team (since they can't have apothecaries) but I think it'll do just fine in fantasy skirmishes as well.

All in all, I didn't find the figure particularly inspiring...but I think it's because I got to it at the tail end of a pretty big batch and was too tired of painting to bother to correct the too-rich purple robes and the too-low-contrast pale skin tones.

Let me know what you think. If you can *raise up* the enthusiasm.

Oh yeah. I'm killing it.

Tuesday, April 28, 2015

Anyone Want to Lend Me a Few Hundred Dollars?

It would go toward something awesome.

I've ogled these forever and they are finally available to purchase as reproductions. I love the understated, almost trapped energy of the early shade-and-wash pieces and I desperately want at least one so I can study the technique in detail...can't currently justify the cost though.

Such strange skies, such burning detail...

Such monolithic intent...

Such dense depiction...

Such bizarre menace...

*foams at mouth*
*falls out of chair*
*passes out from desire*

Thursday, April 9, 2015

Desperate Men

Desperation is one of the more discernible flavors in the sour mélange of material I’ve come up with for the Wyrdwold over the last year or two. I think that’s because, from a narrative standpoint, desperation is often the only motivation that makes sense out of the actions we choreograph for our little men.

Because what we fetishize with wargaming is pretty dark. Violence, murder. Desperation. We don’t always notice it because it is buried beneath layers of strategy, or fantasy, or artistic expression, or abstraction, all of which make this such a rewarding hobby…but we serve no one if we ignore the kernel from which it springs.

Paltry Grist

Which is why, I guess, when I found myself at Games Plus in front of the Wall o’ Reaper with some money burning a hole in my pocket, I was drawn to these sculpts. 

Even in the bare metal, they communicated to me such a sense of raw fear.

Titus Slake
I don’t know if I managed to bring it all through in the painting. Don’t really care to be honest. I found them uncomfortable to paint— though not because there was anything wrong with the sculpts.

Rather, I found myself contemplating what could be in front of them to inspire such fear, such desperate violence.

Let me know your thoughts.

Monday, April 6, 2015

Liche Knight

Sorry for the stillness around here over the last week. Been quite ill to the stomach in a way that I had naively assumed I might never have to deal with again ('oooh, look at that 26 y/o male, thinking he's invincible, yeah, yeah).

Here's one of the figures I bought from Megaminis ages ago but took forever to get around to painting—mostly because it didn't take my dry-brushing very well. While there's a decent amount of detail for the dry-brush to catch, all of it is more or less the same granularity. This made the dry-brushed highlights glaringly obvious, and the thought of having to go over all of it with layering bored me too much to do a proper job. As a result, some of the highlighting is a bit sloppy:

I did, however, like the pitted, corroded metal effect the dry-brushing gave to the helmet and the sword . Quite suitable to the creaking, somehow stolid menace that, for me, this sculpt exudes, and which drew me to buy it in the first place.

I also originally purchased it on the strength of the massive, face-sculpted shield the figure was supposed to come with, but unfortunately, for whatever reason, it wasn't included. Since none of my spare cavalry shields looked quite imposing enough, and all looked decidedly too (GW) Elfish, I had to make do with a scratch-built and free-handed job. I went for a kind of bright contrast to the rest of the figure, shifting the palette to warmer reds and yellows to suggest the spirit animating this dead cavalier and his zombified horse—the angry, seismic spirit belied by the implacable stillness of the horse, the statuesque pose of the rider. (I suppose the arms of the skeletal dead don't get tired the way living arms do; they could stand with sword upraised, unmoving, for days. What an intimidating sight that would be for a living spear-carrier.)

I'd be interested to know your thoughts. Animate them, encase them in rusting, clanking armor, and bid them stand fast on the unknowable horizon of the comments box below.

Monday, March 30, 2015

Group Shots

Just a series of group shots today. First, wrapping up the ogre warband from last week:

Next, my February painting pledge. I'll be doing individual posts on these guys so you can see all the greeblies. (And the faffs.)

And some statue toppers for the pillars I built ages ago, made out of busted-ass plastic high elves that were originally the first miniatures I ever bought. Now memorialized as stone.

Group your responses together in pleasing arrangements below.

Friday, March 27, 2015

The Yawper

I thought I'd finish this little Ogre series with my favorite figure from the batch. He's full of motion and personality, with plenty of texture to provide interest, coarse enough to be easily painted but still with tons of dynamism.

I call him the Yawper in my head, because he looks like he's yawping. I managed his eyes particularly well, for me.

Thursday, March 26, 2015

The Craw

I'm really curious as to who sculpted this one. It is a figure crammed with lovely texture and detail that I love, even though it was too fine to paint easily.

For instance, the belly and back are covered in a texture suggestive of fine hair. But I had no idea how to paint that, so I did it as skin and hoped my washes would articulate it well enough.

Painting difficulties aside, I love the personality of this figure. And its weight. It's a serious piece of metal. That base is a 2" washer.

Wednesday, March 25, 2015

The Wyrm-sage

Now here was an strange sculpt. Oddly lifeless, but in a compelling way.

The lethargy of the pose is echoed by the lazy wyrm, which I love, that's just draped over his shoulders. Like a fat cat. And what's that spiky stone do? No idea. A mysterious arcane parenthetical, bracketed in his paralyzed hands. If it were text, it would read like: (?)

The best sages are full of mystery...

Tuesday, March 24, 2015

The Ram

The sculpts from this warband seemed to be from a range of different manufacturers, so each had a palpably different style and different challenges.

This one might have been my least favourite, I think because the robe and axe and arms were all so...plain. Nothing on here seemed to tell a story the way some of the other figures seemed to do.

Of course, a good painter would have used their skills to create a story...maybe the actual reason I didn't like the figure much was because I was frustrated with my lack of inspiration. If I were to do it again, maybe I'd do some patterns on the robe, or some gnarly tattoos.

Monday, March 23, 2015

The Grunch

This week, I'm showcasing an ogre warband I painted up as a trade afor my fellow CSW member, Tim. 

Won't have too much to say as I'll be pretty busy through the weekend...enjoy the pictures, though, and let me know what you think...

...by broadcasting your ideas telepathically. Not by using the comments box. Avoid that, obviously.

Thursday, March 19, 2015

Hund of the Morraine

In the hither Northwest, where mountain hames perch 'midst the bluffs of the groaning vale, and the trails are marked by cairns of unknown heritage, there are some who insist that not all stones are as they seem.

These are regarded by their neighbors as—at best—eccentric. Ever are they moonlight-rambling up the trails and passes with leathern satchels of bizarre tools: tiny hammers, calipers, bits of colored chalk.

When happens a likely-looking boulder, these instruments they will use to tickle and to prod the belly of the stone. If one were to ask, for instance, 'Dear Rooblin, why is it that you so vex the stones?' He might reply: 'because this stone, THIS stone is just pretending.

'At it's heart is the wily soul of a primeval beast, forefathers of the hund, or the geit, or the ochse, that was deposited here when the world was but an icy thought in the mind of god...'

And here will they become pensive, perhaps winding and unwinding the handle of their tiny chisel in the tangles of their beard. 'I could show you...if I could but make the creature pay heed. Many is the time that I've seen a stone rouse into the form of a many-hornéd beast and slake itself at the lip of a black mountain tarn...' 

Monday, March 16, 2015

Ugly Giant

As part of an ancient trade, I agreed to paint the below giant for one of my fellow club members who likes my painting style enough to consistently give me things in exchange for paint jobs. I thought I'd share the pictures here.

It took me a long time to get to painting this particular figure because, frankly, it's a hideously ugly sculpt...to the point where, from a painter's viewpoint, it's intimidating. But it turns out the very ugliness of this figure has its own appeal—once the paint is actually on. Karl seemed quite pleased

I left the base blank because I know that Karl has a very distinctive basing style using concrete patch. I'll let him fix it up just how he likes.

As fun as it was to see how pleased Karl was with the work I did on this figure, I for one am glad to see the back of it.

...how about you?