Thursday, January 18, 2018

Undead Cavalry for Vengeance of the Lichemaster part 1

Three armies face off at the monastery of La Maisontaal in Vengeance of the Lichemaster (1986). We've already looked at the monks of Abbot Bagrian and the Skaven warband of Gnawdoom. The third army and last force belongs to the Lichemaster himself, Heinrich Kemler. In almost every respect, army of this powerful necromancer is identical to the one that he fielded in the Battle of Frugelhofen (which is the climatic battle that ended Terror of the Lichemaster, which precedes Vengeance of the Lichemaster). Kemler's line of battle includes:

There is, however, one important addition to Kemler's roster. It's not a unit or a hero, or even a new magic weapon. It is a spell. As the undead Lichemaster slays the hapless residents of the Frugelhorn Valley, he recuperates the vast magic powers that he once possessed as a living mage. Just in time for the Battle of La Maisontaal, he regains mastery of the spell Summon Undead. But what's more, there is a new modification to this spell. For the first time in 2nd Edition Warhammer Fantasy Battle, Summon Undead can be used to conjure up undead cavalry. This will let Kemler raise some much needed mobility for his army of slow moving zombies.

The Citadel Journal Spring 86, the same magazine that published Vengeance of the Lichemaster and the modification to Summon Undead, also introduced a new line of Undead Cavalry miniatures sculpted by Bob Naismith. HOW CONVENIENT!

Well, this week and next week, let's take a look at some of the miniatures I painted for the Lichemaster's stable of death riders...

Above is "Goreprow" riding on "Bones" (C21 Undead Cavalry, Citadel, sculpted by Bob Naismith, 1986). He's the skeleton featured on the advert for Vengeance of the Lichemaster in the Citadel Spring Journal 86. This is just a great miniature. I love the way his robes seem to trail off into smoke or spectral ectoplasm. You can see that I tried to accentuate this effect with a judicious use of bright green paint.

Next is "Doomsmile" (C21 Undead Cavalry, Citadel, sculpted by Bob Naismith, 1986). When the Lichemaster was handing out scary names to his henchmen, Doomsmile was near the back of the line. Like "Goreprow" he's riding an excellent skeletal horse. At the time, the slender nature of these steeds required some significant technical advances pioneered by Naismith (as detailed in the introduction to the C21 range).

Here's my slightly converted version of "Doomsmile" (C21 Undead Cavalry, Citadel, sculpted by Bob Naismith, 1986) riding on the steed "Lizardskin". For those of you who care about these things, he's bearing a standard that reads "Out of the Tomb".

Above is "Death Dart" (C21 Undead Cavalry, Citadel, sculpted by Bob Naismith, 1986). I love the sense of movement in his horse. He really does seem to be darting forward.

And finally, my favourite is "Deathheart" (C21 Undead Cavalry, Citadel, sculpted by Bob Naismith, 1986). For me this miniature really captures the essential creepiness of this range: the slouching, plodding determination of both horse and rider. I'm happy with the way that the horse's many wounds turned out - I feel like he was well picked over by the ravens before being raised up to bear Deathheart. 

Thanks for looking. Next week we'll finish off Vengeance of the Lichemaster by looking at the last four skeleton cavalry in Kemler's force.

Friday, January 12, 2018

Vengeance of the Lichemaster: the Skaven Warband

Behold the Skaven warband of the Grey Seer Gnawdoom, one of the principle antagonists in the classic Warhammer scenario Vengeance of the Lichemaster. Regular readers will know that I'm methodically (i.e. slowly) profiling all the Citadel miniatures needed to recreate this wonderful battle.

I painted most of these Skaven models years ago in order to populate my copy of Advanced Heroquest. As a result, I'm not sure I love all my work. Even now I'm niggled by the suspicion that I've never really "gotten" how to paint the chaos ratmen. I've bought used Skaven on eBay that were clearly painted in speed mode, with rapid and dramatic drybrushing -- and yet these fast and dirty versions seemed to capture more of the old-timey Skaven essence than my time-consuming and painstaking style. Oh well - sometimes you eat the bear and sometimes the bear eats you.

Well, without further ado, here they are:

"Skreth the Ironclad" (Citadel C47 Skaven, sculpted by Jes Goodwin, 1987)

Above is "Skreth the Ironclad" (C47 Skaven, sculpted by Jes Goodwin, 1987). This is one of my all time favourite Skaven sculpts. I love his chainmail face-mask, and long, jezzail-style rifle.

"Goar Headwrecker" (Citadel C47 Skaven, Jes Goodwin, 1986)

Here we have "Goar Headwrecker" (C47 Skaven, Jes Goodwin, 1986). Even though this is only a rank-and-file model, you can see all of Goodwin's talents on full display: a dynamic and almost geometrical pose, fascinating details and a general sense of ratty menace.

"Goar Headwrecker" (Citadel C47 Skaven, Jes Goodwin, 1986) conversion

This is my simple conversion of "Goar Headwrecker" (C47 Skaven, Jes Goodwin, 1986), substituting a cleaver for the original's spiked mace.

"Ashish the Black" (Citadel C47 Skaven, Jes Goodwin, 1986)

Above is one of the original gutter-runners, "Ashish the Black" (C47 Skaven, Jes Goodwin, 1986). His name is a not-so-veiled reference to the hashishi, the Islamic cult that gave us the word assassin. 

"Carver" (Citadel C47 Skaven, Jes Goodwin, 1986)

Here is "Carver" (C47 Skaven, Jes Goodwin, 1986).

"Nightrunner" (Citadel C47 Skaven, Jes Goodwin, 1986)

Another classic assassin is "Nightrunner" (C47 Skaven, Jes Goodwin, 1986). Again, I love how Goodwin composed these models. Their geometry seems to evoke a swastika or throwing star -- either way, it reflects the nasty and deadly nature of the Skaven.

"Spyker" (Citadel C47 Skaven, Jes Goodwin, 1987)

This is "Spyker" (C47 Skaven, Jes Goodwin, 1987).

"Spyne Blightmaster" Plague Monk (Citadel C47 Skaven, Jes Goodwin, 1986)

Finally, we have the original Plague Monk, "Spyne Blightmaster" (C47 Skaven, Jes Goodwin, 1986). This model is a superb distillation of Goodwin's creative powers. I just love the way the cowl covers his eyes (does he have eyes?), not to mention the strange spines growing from his back. Well, we already know the Skaven have some pretty unsavoury religious practices.

Here's another shot of the whole lot marching out for battle with the Warlord Throt the Unclean at their head. 

Thanks for looking! Next week we'll be turning to the undead cavalry of the Lichemaster Heinrich Kemmler.

Friday, December 29, 2017

How many miniatures did you paint this year?

I tried to be disciplined this year and keep track of how many miniatures I painted over the course of 2017. After just completing the reckoning, I find the grand total is 220 miniatures. This result astounded me because I thought my powers were ebbing. My eyes are not as strong as they were (I think I've mentioned before that I'm now using reading glasses when I paint), and my ability to concentrate on painting for long, unbroken periods is much decreased. I used to be able to do a three hour session standing on my head, but now if I do a solid 75 minutes at a time I'm happy with myself.

I'm also in a perpetual feud with my brushes, with 2017 being an especially acrimonious year. Do any of you other painters out there have a love/hate relationship with your brushes? I use Winsor & Newton's Miniature Series 7, which are not cheap and can only be found in one nearby store (and even then they are only in stock about 1/3 of the time). When I break out a new brush, there's at least a 50% chance that within a couple hours I'll find that it's just got the wrong personality for me, and I will unceremoniously dump it. I'm neurotically fussy about the tip -- it has to have the breadth to hold a large quantity of paint, a fine point to execute detail, and a plump midsection so that it can deliver a solid line when I exert an added lick of pressure. 

And even if I do find the right brush, I start to abuse it. For instance, I often mix paint with the brush, smooshing the bristles. Any experienced painter will say this is a big no-no. But I do it anyway. Who has time to fiddle around with toothpicks every time your need to blend colours on the fly? And so as my brushes wear and age, their ability to apply paint gets more and more eccentric. And I grow resentful. This all got especially bad in 2017, when I clung for much too long to my old, mistreated brushes rather than going through the rigmarole of breaking in new ones. I despised those scraggly wrecks, but wouldn't let them go. It's like the old poem by Catullus: I love and I hate. Why do I bother, you ask? I'm not sure. But I feel it and I'm tortured. 

Well, in the autumn I finally got new brushes, threw most of them away after a couple hours and kept the best of a bad lot. And I still hate 'em, the limp bastards. It's all pathetic and dysfunctional. And yet, together, my brushes and I still managed to pump out 220 miniatures.

So what did I paint in 2017? Here's the detailed breakdown:

31 Star Wars Imperial Assault miniatures from Jabba's Realm (Fantasy Flight Games)

2 Desert Skiffs for Star Wars Imperial Assault

1 Cthulhu investigator (Copplestone Castings)

42 Zombies (Gripping Beast, sculpted by Bob Naismith)

16 Zombies for Black Plague (Cool Mini or Not)

20 Zombie Wolves for Black Plague Wulfsburg (Cool Mini or Not)

4 Zombie Abominations for Black Plague (Cool Mini or Not)

18 Oldhammer Monks/Clerics for Vengeance of the Lichemaster (Citadel)

5 Oldhammer Villagers (Citadel)

4 Oldhammer Orc Warriors (Citadel)

10 Oldhammer Mutant Goblins (Citadel)

8 Oldhammer Citadel Goblins (Citadel)

10 Oldhammer Undead Cavalry 

3 Oldhammer Skaven heroes 

1 Oldhammer Wyvern with Rider 

1 Oldhammer Giant 

1 Oldhammer Ringwraith on Foot 

10 Oldhammer Hobhounds (Citadel)

5 Characters models for Fallout (Fantasy Flight Games)

3 Cthuloid Horrors for Mansions of Madness (Fantasy Flight Games)

25 Orcs from Harboth's Black Mountain Boys (Citadel)

Although this may sound like a lot, my tally involves a lot of quick line-painting, like the zombies, the Black Mountain Boys and the hobounds. The figures I'm most proud of, I think, are the character models for Vengeance of the Lichemaster. I am also extremely happy that I finally got around to painting the Chaos Mutant Goblins from the 1980's. I've had them primed for years and could never find the right time to paint them. Now their spirits can no longer accuse me of neglect. 

So what about your? How many miniatures did you paint in 2017? Are you happy with your output? Do you loathe your brushes? 

Happy New Year!

Thursday, November 30, 2017

Vengeance of the Lichemaster: Gnawdoom and his Skaven

Gnawdoom the Grey Seer and Throt the Unclean are the two heroes who lead the Skaven forces in the scenario Vengeance of the Lichemaster (1986). They're assisted by two champions, Flench Packlord and Iron Wielder, plus a Skaven Flamerthrower Crew. Today I've got painted versions of all these miniatures.

The brief for the Skaven player in Vengeance of the Lichemaster tells the story from the ratmen's perspective. This background is worth quoting at length because it reveals some very special about the religious practices of the Skaven:
Last month, during the annual Great Feast of the Horned Rat, an enemy entered the city of Skavenblight, wormed his way into the ceremony itself and, during the sacred dedication to the Horned Rat, stole the Awesome Black Ark. Bounding onto the dais before the shimmering apparition of the Chaos God, a magically disguised figure was seen to leap towards the casket containing the Ark, at which moment the intruder and the Ark both vanished into thin air. The Skaven were momentarily frozen with astonishment as well as suffering the indignity of being caught looking the other way whilst bent double and baring their hairy buttocks (the traditional salutation to the Horned Rat at this time)...  
[Rick Priestly, Citadel Spring Journal 86, page 61]
The Skaven's anal salute carries an echo of the osculum infame or "shameful kiss" that witches were supposed to bestow on the Devil's fundament during their Black Masses. As one accused witch, Isobel Gowdie of Auldearne said in 1662, "Sometym he [the devil] vold be lyk...a dowg, and he vold hold wp his taill wntill we wold kiss his arce." For the Skaven, however, the situation is reversed, and they bare their buttocks to the apparition of their Lord. Unclear whether, in return, the Horned Rat gives them each a smootch.

 Woodcut from Guazzo's Compendium Maleficarum (1608)

In any case, the thief who caught the Skaven with their pants down is, of course, the wizard Bagrian. The brief goes on to describe how the Skaven player controls one of the many search parties sent out to recover the Black Ark. Gnawdoom has used his magical orb, the Seerstone, to track Bagrian to the monastery of La Maisontaal. The table is set for a grand battle...

Gnawdoom, Skaven C47 (Citadel, Jes Goodwin, 1986)

Above is Gnawdoom the Grey Seer from Citadel's C47 Skaven range, sculpted by Jes Goodwin in 1986. I painted him to resemble the illustration by John Blanche on the cover of The Citadel Journal Spring 86.

 I particularly enjoyed painting his grotty robe...

I love Goodwin's notion that white Skaven have a special place of prominence. As he wrote in his article introducing the Skaven: "The Grey Seers are extremely important and influential Skaven and would only rarely involve themselves in anything other than the most important conflict." Gnawdoom is distinguished by the fact that he carries the glowing Seerstone, which glows brighter as it approaches the Black Ark of the Covenant. He also carries a small triangular "key" of warpstone, which is the only way to open the Ark and activate it's awesome powers.

Throt the Unclean, Skaven C47 (Citadel, Jes Goodwin, 1986)

Above is the second in command of the Skaven war-party: Throt the Unclean (C47 sculpted by Jes Goodwin, 1986). Throt is a mutant with three arms and "a warpstone charm replacing one of his beady red eyes... this glows bright scarlet in the dark and whilst Throt is amongst the bloodlust of combat." I love his man catcher -- I can just imagine Throt snaring an opponent with this pole-arm and than using the knife in his third hand to finish the unfortunate victim.

Flench Packlord, Skaven C47 (Citadel, Jes Goodwin, 1986)

Here is Flench Packlord (C47 sculpted by Jes Goodwin, 1986). Flench is the first of the two Skaven champions.

Malis Manwrack, Skaven C47 (Citadel, Jes Goodwin, 1986)

And above is the Skaven champion called Iron Wielder in Vengeance, or Malis Manwrack in the Citadel catalogues (C47 sculpted by Jes Goodwin, 1986). He's one of the classic Skaven leaders and is a staple in nearly every Skaven army from the 1980's.

Skaven Warpfire Thrower, Skaven C22 C47 (Citadel, Jes Goodwin, 1986)

Finally, we have the Skaven Warpfire Thrower Team that accompanies Gnawdoom on his mission. The Citadel Journal gives the name of these two incendiaries as Scathe the Tainted and Flem (C22 and C27 sculpted by Jes Goodwin, 1986). There's a lot of detail packed into these two miniatures.

Skaven Warpfire Team, Skaven C22 C47 (Citadel, Jes Goodwin, 1986)

Thanks for dropping by! Next week we'll look at the rank-and-file in Gnawdoom's Skaven warband. 

Thursday, November 16, 2017

Skaven: the Origin of the Species

The first time the Skaven appeared in print was in 1986 in the Citadel Spring Journal 86. The Chaos Ratmen debuted as one of the three antagonists in the scenario "Vengeance of the Lichemaster" by Rick Priestly, and then got their own article by their creator, designer and sculptor, Jes Goodwin

Reading Goodwin's article now, it is amazing how completely realized the Skaven mythology was at the moment of its inception. It's like Athena bursting full grown from the head of Zeus, if Athena was an anthropomorphic rat and Zeus was a 26 year-old from Essex. All the iconic elements of the Ratmen were there from the beginning: the clans (Eshin, Skyre, Pestilens and Moulder), the addiction to Warpstone, the plague monks, the screamingbells, the skavenslaves and the 13 Lords of Decay. Goodwin has said that he collaborated with Rick Priestly on this background, but his achievement is still astounding in its audacity and longevity. His article formed the blueprint (with little variation) for what the Skaven would be for the next 30 years.

What gave Goodwin's initial vision for the Skaven so much power? I think the answer has to be the complexity of the Skaven. Physically, one Ratman pretty much looks like another Ratman. But socially, the Skaven were imbued with diversity and depth unlike anything that the Warhammer world has seen before. 

From the Citadel Spring Journal 86

For instance, the Skaven present a twisted mirror image of monkhood. They have their "Plague monks" worshiping  "the Horned Rat" and swinging "plague censors" and hauling their unholy "screaming bells". But the Skaven are not limited to this Christian religious imagery. They also have a Middle-Eastern streak, with jezzail rifles from Afghanistan, Assassins like the Syrian Hashishin, not to mention a tribal structure and a slave caste.

On top of this is Skaven technology. But even this is complex. On the one hand, you have the genetic manipulation and breeding programs of Clan Moulder, creating post-apocalyptic monsters like Rat Ogres and Wolf Rats. And on the other hand, you have the cadre of Warplock Engineers, who anticipated Steampunk with their devices of tubing and brass. The imagery behind the Engineers is specially rich: their flame throwers and gas masks evoke the worst horrors of World War One.

From the Citadel Spring Journal 86

I could go on with other strange elements of Skaven society: the Grey Seers, the White Rats, the worship of chaos. All these disparate elements prevent the Skaven from being reduced to one simple idea (like ratmen being a straightforward symbol of urban decay). At the same time, Jes Goodwin's powers as a designer (and sculptor) were so strong that he could unify this crazy quiltwork into one coherent vision. The Skaven of his illustrations and models all share an indelible stamp.

"Splinter" by Kevin Eastman (1984)
It's hard to capture the essence of this style in a few words. Goodwin's Skaven are neither lanky (like the original Were-Rats), nor muscular (like Citadel's Beastmen). Instead, they are short and almost pudgy. This might not seem menacing except for their clothes. Man/animal hybrids in fantasy games tend toward nakedness, but Goodwin chose to cover his brood in clothing: cowls, hoods, and robes, the more tattered and dirty, the better. In this sense, the his Skaven conjure up one of the most fearful specters of all: the specter of poverty. 

The miniatures are carved with lots of texture and deep recesses, creating plenty of room for shadow and contrast when they're ultimately painted. This chiaroscuro aesthetic (not to mention the tattered robes) betrays a deep debt to Splinter, the mutant rat from the Teenage Mutant Ninja Turtles (1984). But when the Skaven's alien armour and strange face-masks are added to the mix, the result is unique and unforgettable.

The success of Goodwin's early Skaven sculptures is born out by the fact that (like his mythology) they changed so little over the years. In the mid-to-late 1980's, Citadel churned out hundred and hundred of fantasy miniatures, constantly pushing old models into obsolescence. But not the Skaven. From 1986 to 1992, they range stayed almost exactly as it appeared in the Citadel Journal 1986. It was only in 1993 that radically new designs appeared, and even then the original sculpts persisted here and there into the new millennium. 

Next week, we'll take a closer look at some of these Skaven miniatures - namely, the ones that feature in Vengeance of the Lichemaster...

If you enjoyed this analysis, you might also want to read about the evolution of the orc.

Thursday, November 9, 2017

Vengeance of the Lichemaster: Mo' Monks of Maisontaal

Here's my completed unit of Oldhammer monks. The impetus for them, of course, is my ongoing project: assembling all the miniatures for Vengeance of the Lichemaster from 1986. However, my ambitions for this unit stretch beyond this one scenario. As I painted all these twelve brothers, I was scheming about all the other ways I could use them. For me, this is one of the great pleasures of wargaming: doubling (or tripling) up on your ways to play with the miniatures that you paint. It makes me feel rich.

For instance, these monks could munch a little ergot fungus and turn into flagellants for my 3rd edition Empire army. This is an army chiefly composed of odds and sods like the militia that I painted for Terror of the Lichemaster or some men-at-arms from Advanced Heroquest. A unit of "Fleglers" will fill out this force nicely. 

I'd also like to put these monks to use in Saga. In fact, I've already used some of these monks in my Saga scenario, The Battle of Wretched Heathen Peoples. But, in that scenario, the monks were only food to be eaten by a horde of zombies. They were quite good at that modest task. But now that I've painted an large force, I could use them as a unit in and of themselves... perhaps a unit of 12 Norman levies or some equivalent force of shoddy fighters.

And then, of course, there's Mordheim or Frostgrave, where a tonsured warband would fit right in, perhaps with some help from my wizard monks. So many possibilities! 

Anyway, last week I profiled the first half of my monks - let's look at the other six now...

Above we have Citadel's accurately named "Cleric" from the C03 Cleric range. With his stately gait and imposing belly, I see him as the leader of the monks of La Maisontaal.

Behold "Brother Coth" from the C03 Cleric range (1986). I love this miniature. Never has anyone brandished a toilet plunger with more grit and determination. He'll pump the devil's filth back into the cesspits of Hell.

Or perhaps that's a bell. In which case, Brother Coth becomes the musician of my monk unit.

Above is the standard bearer of the monks of La Maisontaal. He (or she?) was sculpted in 1985 by Bob Naismith and listed in the Citadel catalogues as the C03 "Ancient Word Female". I don't get an overwhelming vibe of femininity from this miniature, do you? But it's hard to tell under that unisex chainmail sarong.

In any case, I converted the miniature's staff into a flagpole, and then used the waterslide Breton Banner from Little Big Men Studios. Normally, I like to paint my own banners, but I got into the habit of using LBMS for my Saga warbands, and since I want to insert these monks in that game, it seemed smart to once again use one of LBMS's fabulous flags. I picked the Breton banner carefully: I figured that the central cross can stand for Christ or the "t" in Taal. Cunning!

Here we have the C03 "Wizened Priest" from 1985. I love this miniature because his bare shoulder and wizened chest create such a distinct impression of naked-old-man-flesh: the texture like folds of raw chicken skin, the colour brown and molted, the ever-so-slight pear shape in the hips. This sculpture (which must be by Bob Naismith) reminds me of one of Lucian Freud's self portraits:

Lucian Freud, “Painter Working, Reflection," 1993

Boy, I can't wait to age.

For something a little more youthful, here is the C03 Cleric "St. Ogg" from 1986.

And finally, above is "the Monk" sculpted in 1985 by Aly Morrison. He migrates into this unit from my collection of Talisman miniatures. Aly is a master. Just look at that benign expression and that big, bloody mace that he's dragging behind him.

Well, thanks for stopping by! Next week, we'll turn to the bane of these intrepid monastics: the Skaven army from Vengeance of the Lichemaster...

Friday, October 27, 2017

Vengeance of the Lichemaster: Warrior Monks of La Maisontaal

What's that? You want more obscure Citadel miniatures to populate the Vengeance of the Lichemaster? Have you done your chores? Have you watered the gimp? Walked the polyp? Recited the Litany Against Fear? Well OK then. You deserve this.

Last week we looked at the Wizard Monks of La Maisontaal, the monastery dedicated to Taal that lies at the heart of the Vengeance of the Lichemaster scenario from 1986. In addition to his five magic users, Bagrian the Abbot also has a complement of twelve Warrior Monks. The scenario (by Rick Priestly) tells us that "The warrior monks of Taal are young monks not yet judged able to progress to magical tuition. However, they are by no means ordinary men. Years of mental preparation and study on the martial arts has given them considerable fighting abilities as well as unusual mental fortitude."

As with the Wizard Monks, the Warrior Monks provides a great excuse to delve into Citadel's extensive back-catalog of Clerics that flourished from 1983-1986.

First up is the C03 Cleric "Ivory Temple" sculpted by Bob Naismith in 1985. He's distinctive for his detailed facial expression and the gorgeous temple carved into his shield. This is also the only miniature specifically portrayed as a Warrior Monk in the advert for The Vengeance of the Lichemaster, which means that he can be hotly demanded on eBay.

In painting his shield (which seems to represent La Maisontaal itself), I kept thinking of the religious art at my local gallery, the Art Gallery of Ontario. Specifically, I was drawn to the brilliant gold skies in works like "The Vision of St. Benedict: by Giovanni del Biondo (1330-1398):

I also wanted to try to conjure up a mystical sense of an otherworldly place. Luckily the technique is pretty simple: a nice smooth coat of gold paint without any highlights or shading as the sky, contrasted to an earthy foreground.

Above we have the "monk" from the C46 Townsfolk range sculpted by Trish Morrison in 1985. Do you love or hate Trish's work? This sculpt certainly bears her stamp: the malformed face (in this case, no chin, wide eyes and huge ears) plus disproportionate man-hands. And yet, for all its seeming ineptness, her work captures the same charming ugliness that we see in the peasant faces of Bruegel or Bosch. For instance, here's a detail from Bruegel the Elder's "Peasant Wedding" (1567):

Say what you will about Trish's sculpting style, but it's distinctive. And that counts for a lot in my book.

Here is the "Friar" from the C03 Cleric released by Citadel in 1983, sculptor unknown (although I suspect it's Bob Naismith). I love the simplicity of these early solid-base sculpts. There aren't so many buckles, scabbards, pouches, straps, skulls jewels or scrolls, leaving greater focus on the face.

This is the C03 Cleric "Warrior Monk" from 1983. He shows off the classic Citadel sense of humour: a round, friendly face leaning forward in front, belied by a club clutched in the rear. Of course, there is good historical evidence for this sort of pose:

The above illumination is from MS Bodley 265 (14th century) in the Bodleian Library (Browse the entire manuscript here and hat tip to the Minnesotastan for the image).

Above is the C03 Cleric "Black Brotherhood" sculpted by Bob Naismith in 1985. Compare this with the last couple monks and you can see the way that Citadel miniatures grew more detailed from '83 to '85. But their poses also grew more dynamic (Although it's unclear why he's raising his shield like that. Perhaps he senses that somebody is about to throw a vase at him from somewhere behind him?)

As our last miniature today, here's the C03 Cleric "Red Robe"sculpted by Bob Naismith in 1985. This Cleric adventurer has a great sense of forward momentum, complemented by a determined face.

Stay tuned for next week, when we'll look at the rest of the Warrior Monks, including their leader, standard bearer and musician.