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Mirage8112

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Mirage8112 last won the day on September 16

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About Mirage8112

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  1. Let's Chat Sylvaneth

    Maybe use the howdah from the araknarok spider kit? The option would be a the stegadon kit has a platform type thing I believe.
  2. Greetings! Now that my family is back in town I'm starting to work in a more focused way, especially since I'm getting ready for Adepticon next year. Currently the project on my desk is more Spites to fill out my battalion requirements for Dreadwood, which seems to be the formation I'm most likely to run at this point in time (although that could change.) Currently I have mostly have everything I need to play the list, but a lot of it is proxied from other models (I.e. my old scratchbuilt Treekin standing in for Kurnoth Hunters, and my WHFB 7th edition scratch built treeman standing in for a treelord.) Ideally the goal is to have everything match. So while I could waltz into my FLGS and play the list as-is, I still have a fair amount of work to do to get everything "ready". To that end, I've gotten around to finally basing my 30 dryads. No small feat I tell you. Not because it's particularly difficult, but because I detest basing. It's not even that hard, and I'm generally quite happy the results, I just dislike doing it. I prefer to be painting. But for what it's worth, it really does serve to tie the army together. For those of you wondering, here is the process using the same model from my earlier walkthrough of painting this color scheme. First a layer of Stirland Mud on the base. Then I'll add a small layer of static grass. This will be largely covered by leaves, but it's nice to get a bit of green popping up between the leaves. Then every 3rd base or so will get a rock or a twig to break up the unit. Then the base is brushed with PVA and I "dunk" the model in the leaf mixture (birch seed pods that have been separated from their seeds). Then after the glue dries, I'll wash the leaves with a 30/30/30 mix of Carroburg Crimson, Agrax Earthshade and water to give the appearance of leaves that are starting to rot. Then I'll glue on a few choice leave that have been painted with Pink Horror to mimic freshly fallen leaves. Then it's just individual touch ups. sometimes I add more static grass, sometimes a little water effects to mimic wet mud. It makes each model individual which is one of those little personal touches everybody adds to their armies that only they notice. But regardless of where those little touches are noticeable or not, it certainly makes for a nice cumulative effect: I'm also making good progress on my next batch of spites. It's very strange coming back to a unit that you haven't touched or done anything with in months, and trying to figure out how the hell you did it. In that respect this blog has actually been helpful, since I can look back at the WIP pics and use them to jog my memory about the process: Basecoating with Skarsnick green: Wash of Coelia Greenshade: Then a Zenithal highlight of Gauss Blaster Green: Final assembly with painted details: While not exactly simple, these are going pretty fast. I'll likely finish all 5 this week (I have 2 more left to detail), and then i'll need to paint the next 2 boxes (10 more). Hopefully I'll accomplish all of this before Christmas vacation. Considering I'll have about 3 weeks, it should be just enough time. Then I can focus on replacing my stand-in hunters, and Treelord with the proper models. We'll see how it all shapes up. I'm still not exactly clear on what I'm doing for the spites bases, since I want them to be slightly different than the main army's basing but still visual cohesive. I'm thinking of a sort of swampy-watery theme with fallen leaves, but I'm not totally sure just yet. As soon as I figure something out and figure this round of models I'll try to get a army shot of everything painted thus far. Good luck and happy painting! -F
  3. So this week, the wife and kid are out of town visiting my in-laws in Arizona. I plan to spend a lot of time painting while they are gone; both on tiny soldiers and on canvas. I have a very large portrait (3' x 4 1/2') of my daughter that i've been working on that I started when she was around 10 months old: she'll be 4 in January. Unlike painting miniatures which only require a couple of hours at a time, canvas painting often requires 4-6 hours of uninterrupted time, which is very hard to get when you have kids. So I'm planning on spreading what time and attention I have this week between "serious painting" and recreational hobby work. Although recreational, they'll be business hobby work too. Registration for Adepticon opens this week and I'm planning on bringing my Sylvaneth. I still have about 1/3 of the army left to paint and basing to do, + another 2-3 forests for my Wyldwoods. I'm trying to finish up Steelhearts Champions from Shadespire. I've managed to play maybe 6 or 7 games so far and I'm totally hooked. I'm nearly finished with the golden boys, and I'll probably poke at them bit more over the next few days, but the bulk of the work is finished. Obryn: Brightsheild: Steelheart: One thing worth mentioning is how difficult these are to photograph. As I mentioned in the last post, these are basically demimetals; nom-metallic metal mixed with true metallic metal paints. It gives something in-between True Metals and NMM. It's actually quite interesting going through the process of painting these, because it actually adds another factor into painting that you don't normally deal with. Normally when you're painting a NMM pattern, you're just creating the impression of a highly polished metal by adjusting the hue (the color) choma (intensity of color) and value (lights and darks). But when your working with metallic paints which are highly reflective and non-metric colors that are matt in their finish, you're also dealing with a controllable degree of reflectivity. The reason that's cool (to me at least) is it gives you an extra factor you can play with that you normally can't with NMM. In a NMM paint job, all the highlights and shadows are where they are because you've painted them there; and they stay there, because they are not dependent on the light source for their position; it's "fake" light. In a paint job with metallic paint, the highlights tend to be wherever the light is from; if you move the model around the highlights and shadows move too. The other reason NMM paint jobs look the way they look, is that they are trying recreate the effect of a "highly polished" surface. Which basically means the surface light scatters very little, resulting in a sort of mirror effect. But drawback to models painting as NMM is that they look great when they're in a magazine, but they often look weird in person. That's because that the light areas reflect the same amount of light as the shadow areas, because the reflectivity of the paint is the same on all surfaces of the model. For when you're moving the model around on in your hands, it's still picking up ambient light in the room. Which means you get highlights where there shouldn't be any. NMM models are attempting to mimic a single lightsource, but that light source is perpetually fixed by where you've painted your highlights and shadows, and it competes with natural light in the room. Metallic paint jobs have the opposite problem in that their highlights aren't fixed at all. Move them around and highlights move around with you. That basically means you have no control over how the model "reads" from a distance. You also cannot make the model appear highly polished like you can with NMM, because the surface of the metallic paint scatters too much light. When you're working with demi-metals, only the "light" areas reflect light. Since you're controlling how much the model reflects light but choosing paint you use (metallic or regular), you can make the highlights reflective and the shadows reflect almost no light at all. The result? The paint shines as if it were metal, but when you move the model around, the highlights and shadows stay put. Plus, the shadows do not reflect as much ambient light as the highlights (they have different degrees of reflectivity) meaning no matter where the light is coming from, the highlights aways reflect more light than the shadows. Sorry for all the painting theory. but I find this technique fascinating. It's allowed me to paint some really cool effects that weren't possible before. For example, the reflections of Steelhearts red plume in his armor, the top of his helmet and belt buckle, and the reflection of his golden foot on the sword. Obryn has some cool refections on the underside of his breastplate as does Brightshield. Demi metals also make for very convincing armor scratches, since the black lines don't reflect light and the edges of the scratches reflect a lot of light. It also allows me to play with textures in a new way. For example the blue should pads and blue skirts are both using the exact same colors, but the shoulder pads are demimetals and the skirts are just regular paint. This is the first time I've experimented with this technique to this extent, and I need to work with it more to really get the hang of it. It's super complicated but as I mentioned previously I think this is a good candidate for some higher level display pieces. More updates soon! -F
  4. Commissions

    I take commissions as well. You can send me direct message or reach me through the links on my signature.
  5. Thanks man! A few years back I acquired a Dark Elf Hydra. the Alternate kit is Kharibyss which is a sort of sea monster... thing, which game me the face and the head flanges (which also conceal the joining point. Albeit aided with a little green stuff sculpting). The center of the head also has a the two head plates from the Carnosaur kit, the smaller one is from the rider and the larger one was for the top of the original Carnosaur head.
  6. I totally agree. They've really put together a unique product that works as advertised. I tried using Badgers Minitaire for a while, and found the coverage sorely lacking. Initially I was really worried about this product but the coverage really is impeccable. The range is also huge for air-based metallics. Although I only grabbed three, they had at least 8 or 9 there in various degrees of lightness and even temperatures (some slightly more orange, some slightly more blue). I'm fairly impressed and I don't say that very often. The only drawback I've seen so far is the paint film is fairly fragile. Usually after prepping and priming a model I'll occasionally notice a mold line or two and go back in and scrape or cut it off and then reapply a little primer by hand. However with these products that's nearly impossible, as any small break in the surface is impossible to hide after the fact. In a couple of places my fingernail grazed a raised paint fleck or edge and peeled right through the paint and primer. Usually with plastic model I forgo sealers, but it's pretty obvious that a sealer is mandatory with these. The gold is being shaded primarily with a mix of Mournfang brown into Abaddon black. If I keep the mixture thin and build it up over a number of layers I don't need to bring any other colors in. If it appears I've over-shaded and the shadows are losing reflectivity, I'll use a little Retributor armor mixed into the brown to bring the shimmer back. I'm also using retributor armor for the flares in the shadows (bottom of the chest plates and bottom of the knee pad). Since you clearly have more experience with the paint than I do, whats your process for working with it @RuneBrush? Thanks man! Believe it or not I'm a little insecure about my work so compliments do a lot for me lol. It's my experience that the Metal Gold can't really be highlighted. On a lightness scale of 1-10 it's easily an 8.5, and when you account for reflectivity, it's nearly a 10 as is. Even when Mixing it 50-50 or 60-40 with the Vallejo Metal Colour Aluminium it only pushes the lightness up maybe a quarter to a half step. I found that the best strategy is not to use it a basecoat and instead to use a warmer more "gold-gold" (in the pictures above, I'm using Retributor armor) and then I'll use the Vallejo as a Zenithal highlight. Since I'm using an airbrush I'll give it a few short bursts so the base gold isn't entirely covered which gives it a nice fade and gives me a little more room to strengthen the lights. But even then I find that highlighting it isn't really necessary.
  7. At this point, I'm just doing the 3 models from Shadespire. The technique for getting the gold is fairly labor intensive and I'd probably shoot myself in the face if I had to paint an entire army to this standard. However, I'm not opposed to painting up a couple of characters or perhaps a small unit to ally with my Sylvaneth Army. I've been eyeing the Vanguard-Palladors and the Lord Aquilor for a while and since I'd only have to paint 4-7 models as opposed to 10, I might be tempted to pull the trigger on that. What I am strongly considering is doing a duel Diorama with Stormcast Character vs the Slaughterpriest I've painted to competetion standard. Originally, I was planning on just doing him as a single figure, but I think doing both as duel on a bridge with bloodletters crawling up from some lava and winged prosecutors swooping down would make a killer showpiece.
  8. Another big update! (Of course. At this point would you expect anything less?) The fairly unimpressive news is that I've now totally finished the unit of 30 dryads and am preparing them for basing: I will start basing them sometime either today to within the next day or two, and will give a write up on that process. I also finished a commission for a Malifaux miniature for a friend of mine, and if anybody is interested I can also include a walk through on the process I use to make snow bases: But today I have something I'm pretty damn excited about. Last weekend I picked up Shadespire, and I've got to say, INCREDIBLE game. I'm super amped on playing it and this last week, I cracked open the box and went to get started on the miniatures. However, upon testing my my paints for the airbrush I noticed my Vallejo model air metallic has small chucks of dried paint in them (an unfortunate side effect of leaving the caps off, of which I am notorious for). So, I popped down to my local Indy shop to pick up a few replacements. Unfortunately, they didn't have the colors I needed and instead they had a relatively new product from Vallejo called "metal color", seen here on the center/right: Overall, on my test sprays, they didn't look that different. In order left to right are Gold, Dark Aluminum, White Aluminum and Aluminum: In retrospects, I should have bought a slightly darker mid-level metallic, as the White aluminum is very close to Aluminum. Maybe the White is slightly darker, but only slightly. They mix well together, and feather easily, so overall its not a huge problem. Just an extra step. In testing, they preformed about the same as the Model air. So, I went through my usual process of priming the Model (in this case, Obryn from Shadespire). Since the Gold color is so light, I opted to shoot it through the airbrush as a zenith highlight, and use the regular Retributor gold as my base: So far so good. However, when i actually started to paint it, it became apparent that this paint is a TOTALLY DIFFERENT anything I've ever used. Firstly, along with the paint I brought the primer that went with it. Vallejo Gloss black: Yep. That's dry. 24 hours in fact. It's very weird to paint on, and very much reminds me of the first time I went from painting on canvas to painting on hardboard or copper. The paint streaks like crazy. Normally this would be a real drawback, but after working with it a bit, I found that very very thin successive layers added this weird effect where the underlying paint showed through the top layers, allowing me to not only control the color, but reflectivity of the paint as well. So, it became clear after about 20 minutes that this new paint was a perfect for a demi-metal technique. Basically, where you mix non-metric paint with metallic paint to create a hybrid. In the picture above, I've shaded the breastplate, the right shoulder pad, and done a little on the faceplate. It's a very strange way to paint, because I usually start with middle value and then work up the lights and down to the darks. However, in this case, the lights and light/middles are already established by the airbrush, so I have to shade through the middles down to the darks. It's super fun: The effect is crazy intense, and the pictures don't really do it justice. But it has the effect of losing truly like weathered gold armor. The Shoulderpads are Demi-metal as well, so they have this glittery-blue effect when the light hits them. The cloth and belt however are totally matt, and it created a really nice contrast between that you don't really get normally. I personally feel this is one of the aspects thats often missing from NMM (non-metallic metal), since the metallic aren't really metallic, they have the same finish as cloth/stone/or wood. This on the other hand, is basically NMM with True metallic paint (TMP). All the highlights are painted, as are the reflections and shows, they're just painted with varying degrees of metallic paint, so the shadows don't reflect any light at all, and the highlight reflect a lot of light. Obryn is mostly finished, but I haven't been able to get a good picture of him. The lights reflect so much light they mess wit the camera exposure and everything gets lost, so I'll wait to post a photo once I get him based and in a light box. More pictures to come. Happy painting!
  9. Lmao. It totally does. Especially when there's only one mini in the shot. When all the dryads are grouped up it mitigates that a bit thank goodness. Originally, I painted all the leaves pink, but it was too much. Generally I try to go with a ratio of 2 pinks for every 3 greens (give or take). I use the centrifuge on the Treelords. I just strap the mini down, turn on the spinner, pour the paint in and presto!
  10. I know, I know. No posts for weeks and weeks and an AVALANCHE OF POSTS. Suck it up buttercup. I got pictures to show. So, in line with my post the other day, I'm showing a full stage-by-stage progression to show how these dryads are painted; complete with colors, brush sizes and alternate application techniques. I've been told that my "style" of painting is unique, but I'm not entirely sure what that means. I do tend to do quite a bit of wet blending, only because it's predominately how you use oil paint. I also rarely thin my paints (only when doing fine highlighting or transitional layers) I've experimented a bit with layering and edge highlighting upon occasion, but I'm still getting used to it. So here you are. Enjoy! Step 1: The Dryads arms/head are glued to the body, but the rear headpiece and back branch is not. it makes it a little easier to get in an get the leaves and fine highlights, but you could very well skip that step and glue everything together. The entire model is them primed grey, and then basecoated in Rakarth Flesh with an airbrush*. Step 2: Drayd bark is then applied via the airbrush to the hands, feet, and branch tips. Have the back pieces removable helps with this as it's nearly impossible to hit just the tips on the face without hitting the backpiece with the airbrush. Step 3: the entire model is washed with a heavy application of Carroburg Crimson and allowed to dry. Step 4: Rakarth Flesh is again applied with the airbrush, leaving only a small reddish transition section between the Dryad bark and Rakarth Step 5: Then, a second highlight of Flayed one flesh is applied with the airbrush, only hitting the face and chest area. Step 6: The airbrush section is finished, and now we switch to a Medium Artificer brush (Unless noted from this point on all the work is done with Artificer). The tabard is painted with Bugman's Glow, and the very very tips of all the Branches, fingers and feet are painted with Abbadon Black Step 7: The tabard is highlighted with Pink Horror from the bottom up, and at waist level from the top down: Step 8: The tabard is again washed with Carroburg Crimson, as are eye sockets and mouth (carefully, with a small artificer) Step 9: The tabard receives final highlight of Emperor's Children Step 10: The eyes are carefully painted with Gauss Blaster green using a Small Artificer Brush Step 11. At this point, the steps might be a little hard to see, but if you look closely, I've begun highlighting the body, arms and face and back headpiece with a 50/50 mix of Rakarth Flesh and Palid Wtych Flesh. The back head piece also get a very very small amount of Carroburg Crimson washing into the recesses to help separate the branches. After this, the back headpiece is glued in place. Step 12: A final application of pure Palid Wytch flesh goes on the eyebrows, cheekbones, shoulders, the raised areas on the chest and knees, and on the back branch. After, the back branch is glued in place. Step 13: The hands are highlighted with a 50/50 mix of Dryad Bark and Bugman's Glow Step 13: the hands get a final highlight of Bugmans's, Dryad Bark, and Rakarthflesh (mixed together in equal amounts) Step 14: The green and pink leaves are painted Skarsnik Green and Pink Horror respectively Step 15: The pink leaves are edge highlighted with Emperors Children Step 16: The pink leaves get a final highlight of Fulgrim Pink on the very end tips. Step 17: The head tattoos get a fine application of Fulgrim Pink with a Small Artificer Brush. Step 18: Using a small artificer Brush, florescent pink is carefully applied to the tattoo in a 50/50 ratio of paint to water. This can vary, depending on how strong I want that particular tattoo to read. Florescent green is also very carefully and very thinly applied to the eyes with a Small Artificer Brush (this paint is not thinned with water, just a small amount applied very carefully and spread till it is very thin). The body also get a few choice crevices washed with Carroburg Crimson thinned 50/50 with water. And that's it! Only 18 steps! Alternations and addendums: Now, to be fair these steps could be greatly condensed. There are several places where I've chosen to add an additional mid-level highlight when it would be perfectly acceptable to just do a single. For example, the tabard has a highlight of pink horror before the wash it applied, but I could have just as easily painted the tabard, washed it, and then highlighted it with Emperors Children. The same goes with the intermediate 50/50 highlight of Rakarth and Wytch flesh before going with pure Wytch. I've also marked the first mention of doing by basecoat with an asterisk* because and airbrush is not totally necessary. It helps create clean easy fades, but it can be done just as easily with a 50/50 mix of Dryads bark and Lahamian Medium for step 2, and steps 4 & 5 can be replicated almost as well by drybrushing. While writing this, I got a bit into color theory and why I've chosen to build these scheme this way. Thinking better of it, I've deleted it and I'll post it separately later this week. Anyway, I hope somebody out there finds this useful. Good luck and Happy painting! -F
  11. Salutations! So, I've had a lot of comments on my basing scheme for my Sylvaneth Army on Facebook, Instagram and this PLOG as well. The process for actually doing the basing is simple and straightforward forward, but acquiring and preparing the materials can be a little bit tricky. The leaves in this picture: Are actually separators from the seed pods of birch tree. A number of years ago, you could buy these from Secret weapon miniatures and a few other outlets, but for whatever reason they are no longer sold anywhere. It's actually rather fortunate that I had one of these tress in my yard as a kid, so I recognized what they were the moment I saw them and knew I have several in the neighborhood close to my house. Why spend $15 on something you can make yourself? The answer? because it's a huge colossal pain in the ass. So, over much trial and error (mostly error) I've come up with a reasonably not terribly difficult way to get the materials for free. The whole process takes about 30 minutes and depending how much starting material you have can yield a large amount of quality basing materials. And it's free! Firstly, you'll need to find a tree like this: This is a Birch tree. They are thin-trunked with white bark and black markings, heavily leafed, and tend to yield seeds most of the year (except for winter) now is actually an excellent time to collect seeds since the pods will start drying out now, meaning you can skip the drying step. Collect as many as you can, preferably a gallon, since in the cleaning stage you'll lose approximately 3/4 of the volume. The seeds of the tree look like this: You can see that this pod is still green, but is already starting to crumble. The dryer the pod, the more brown it becomes. Birch seed pods are made up of 3 parts, the stem (obvs.) the separators and the seeds. It's actually the separators we're after and they look like this: Like tiny little Maple leaves. The main problem is that the seed pods are almost all seeds. Nearly 3/4 so. I sued to separate them out by hand (kill me now) because I didn't really have any other option. Over time, I noticed that if I breathed too heavily on them, the seeds would go flying but the spacers stayed put (relatively). This gave me an idea; I could sue the seeds natural tendency to catch the wind and fly away to separate the seeds from the spacers. Firstly, you will need a box, roughly 9" x 14" and about 2" deep. I believe I used the lid from the citadel woods box since I happened to have a crapton hanging around not doing anything. So, first, you just crumble seeds between your fingers until you have about 1 1/2-2 cups, and then dump them into the lid like so: Then you'll need to set up a wind source (unless your lung power is super awesome) to blow a continuous stream of air over the top of the box. You could use a box or rotary fan, I ended up using a shop-vac with the intake-outflow hose reversed to turn it into a giant leaf blower. You need to be careful that the airflow isn't too high, or you'll fine that you've just blown everything all to hell and need to go collect more seeds. I've found for my particular shop vac, I needed a distance of something like 15 feet: I also needed to put a rock into the box to keep the box from blowing away or flipping over, because if it does? You'll need to go get more seeds. When you turn the air on, the pressure creates a sort of drag wind that actually blows the seeds back toward the leading edge of the box. when they move, the lighter seeds catch the wind and fly out of the box, and the seed spacers stay in the box. He's a video demonstrating what it should look like. the wind is blowing from the top of the frame toward the bottom. You can see the spacers moving in opposite direction: After a few turns of the box, the seeds should be mostly separated leaving behind only the spacers. You will lose a few spacers in the process but only a very few. I should also mention that you'll have seeds all over the floor behind the box, so be prepared for a little clean up. After that's finished, uou can see the reduction in size; with the pile going from this: To this: Now that the seeds are mostly separated, you'll need to sift them in order to separate the seeds that have lost their "wings" (they are black spots in the periphery of the pile). To do this I just use a common flour sifter (one of the cheap metal ones with a crank handle). After a few cranks, this is what falls out: Seeds, wings, small stems and few twigs. At this point, the separation is complete and for every 2 cups of raw material you started with, you'll yield approximately 1/2 a cup of seeds. It might not sound like much, but a little will go a long way; 1/2 a cup of seeds will probably cover all 30 dryads, the Treelord Ancient, Drycha and a Wyldwood. At this point I'll usually take 3 tablespoons or so and color them to use as accent leaves. I'll cover doing that and actually basing with them as soon as the dryads are finished. Maybe in a week or so. I hope everyone finds this helpful. Happy painting.. er... basing! -F
  12. I've been oil painting now from somewhere around 15 years (give or take). I suppose I've been painting longer than that, but I'm counting that 15 years from the time I first received any substantial instruction on technique and application of paint. Prior to that, I picked up most of my technique on drawing and painting from books and articles. I read pretty voraciously, and having step by step guides on how artists made painting was pretty instrumental on getting me on my way to being a competent painter. Nowadays, some 15 years on, I mostly don't need the step-by-step pictures anymore. I can read a finished painting like a book. I tell almost at a glance what colors are used, how the paint was applied, what mediums were mixed in and have a reasonable guess at how much prep work was done before the artist actually began painting. I can also tell (in most cases) if the artist was left or right handed. I've been painting miniatures now for nearly 10 years and it's more or less the same. I look at a mini and I can tell, pretty closely how the artist got to the end point. Because of this, I often forget to post the step-by-step progress photos because I don't have quite as much need for them. But at the same time, I also hope that this PLOG might be useful to somebody who might not have quite as much painting experience. As fun as it is marvel at a well painted miniature, and as much as it might stroke my ego being told how good they look. That's all just for my vanity, and doesn't really help anybody else. So, I am currently in the process of painting another 16 dryads and I'm taking step step photos of each stage. I'll be posting them in a day or two as soon as I have everything squared away. In the meantime I've prepared a post on... uh.. preparing... basing materials for the 30 dryads, Drycha and TLA that I'll be basing as soon as all the dryads are finished. Happy painting! -F
  13. Let's Chat Sylvaneth

    Nope, It's just one edge of one citadel wood that is required to be within 18". The other 1-2 can be outside of 18". Only the TLA's "silent communion" ability requires that each "citadel wood" be within 15".
  14. Sprouting Roots - Learning the Wargroves

    Great reports! I love reading these, especially with people who are new(wish) to them faction. Quick question: Did you have him reroll the dice? Or use 2 and take the highest if within 8" of a haunted piece of scenery? The Spites ability forces battleshock tests to be taken on 2 dice and then your opponent must take whichever of the two is higher. It's especially handy vs demon armies, but absolutely brutal vs low leadership armies. Keep up the good work! -F
  15. SC or Sylvaneth, if you had to choose.

    The clearest distinction between the armies IMO is Stormcast are more forgiving to play, they have resilient troops with multiple wounds and decent armor saves. They also hit reasonably hard, are relatively fast and do not take large amount of models to build an effective force. Sylvaneth take a bit more finesse, and have a play style unlike any of the other armies. They are an army of specialists with very specific strengths. Use a unit in the wrong place, or at the wrong time and you'll get wiped off the board. Use the right unit in the right place at the right time and you can win match-ups that you shouldn't be winning.
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