> Warhammer fans and AEW wrestling fans will soon be doing the Predator hand-shaking meme thanks to an upcoming exhibition match where Claudio Castagnoli and Kip Sabian will compete using Age of Sigmar’s new Spearhead mode. > > The bout is one part of the miniature wargame’s big preview of Age of Sigmar’s upcoming 4th Edition - Mortal Realms Reforged during the Dallas Open at the Arlington eSports Stadium on May 16th and 17th. Castagnoli and Sabian will take control of a Skaven and Stormcast Eternals army and battle it out using the recently announced Spearhead game mode. > > Sitting somewhere between lightning-quick skirmishes and complex full army battles, Spearhead advertises a gateway to large-scale Warhammer played on a battlefield that’s only a quarter of the core game’s recommendation - and not coincidentally perfect for the kitchen table. Warhammer will be releasing Spearhead boxes for many of its existing factions, and existing Vanguard boxes will be rebranded going forward. Other changes include simplified Warscrolls, a Reinforcements keyword that brings certain defeated units back to the board and several other changes meant to streamline the four-round matches.

> In what has become an annual tradition, Games Workshop has announced an across-the-board price increase to its miniatures for the popular Warhammer tabletop games. Games like Warhammer 40,000, Warhammer: Age of Sigmar, and the recently launched Warhammer: The Old World are titans in tabletop miniatures, but are often lamented as some of the most expensive miniatures skirmish games that you can play. > >That complaint isn't without merit, but the high prices also aren't without reason—Games Workshop's miniatures are certainly some of the most detailed, impressive ones you can buy, with by far the most varied range of models. Games Workshop, however, is increasingly facing competition from higher-resolution, cheaper 3D printers and an army of home sculptors selling the license to print as many of their designs as you'd like. > > In a post pragmatically titled "2024 Pricing Update" on its Warhammer Community website, Games Workshop announced that prices will increase between 3% and 5% on many of its products, varying depending on what they are. The prices for some products won't increase: Paint pots, paint sets, White Dwarf magazine, and Games Workshop's Black Library fiction won't get more expensive. That hasn't always been the case in the past. > >The 2022 price increase was a major point of pain, with the cost of miniatures rising by around 5% across the board, with books, scenery, and resin minis rising 10% and metal miniatures spiking a whopping 20%. The 2023 rise was an average of 6% for plastic miniatures, and another rise for resin miniatures. > > US-based tabletop industry publication ICv2 has pointed out that this is the third year in a row that Games Workshop has publicly announced a price increase. Prior to these more public posts, which started in 2022, Games Workshop's price increases were mostly buried in corporate reports and generally topped out at about 3%. Though it has caused ongoing shipping concerns, Games Workshop has also—at least publicly—escaped many of the worst effects of being a UK-based manufacturer during and after Brexit.

> But in recent weeks the sprawling Warhammer fandom has been enveloped in a dramatic controversy – or at least you would think so, from some news headlines. > > “It’s Wokehammer! Games Workshop engulfed in gender row with fans after it said Warhammer squadron that was previously thought of as men-only has ‘always had females’,” screamed one MailOnline headline. What had prompted these claims of outrage was Games Workshop introducing a new female character into one of its science fantasy games, Warhammer 40,000. The character in question was part of a group of genetically engineered warriors called Custodes, which had, so far, not had any women models in it – but, according to Games Workshop, had always been included in the weighty narrative “lore” of the game. > > The Mail had seen a number of tweets complaining about it, such as one from a games designer saying that Games Workshop was “‘gender flipping’ characters for ‘woke points’”. This was portrayed as a widespread backlash from fans. But, as a fan who frequently browses message boards for tips on playing and painting, or to look at interesting bits of background dug up by people who have bothered to read the many books published about the various Warhammer universes, my experience has been quite different. > > If you actually look at the online spaces where fans of the games discuss the hobby they love, most don’t seem very bothered. On the large Reddit forums dedicated to Warhammer games, most of the posts concerning female Custodes seem to consist of fan art, complaints about those complaining or pleas to stop moaning about the insertion of female characters and start moaning about the unfair new rules, which they believe make it harder to win games (something pretty much all players complain about after the regular rules updates). Nerdy gamers are far less reactionary than some in the media would like to depict us. > > ... > > But where once those getting angry about changes bringing greater inclusivity might have been the overwhelming majority, this time they seem at best a vocal minority. That this is the mood on Reddit is even more surprising, given that the social network was once one of the primary breeding grounds for Gamergate, the toxic online movement of 2014-15 that spewed hate towards women with the temerity to create, play, enjoy and critique video games. > > In the decade since Gamergate, Reddit has been blamed for the rise of Donald Trump and the “alt-right”, which is perhaps a little overblown but also not entirely without merit. The tactics and talking points employed by both the online right and many politicians have grown out from the bedrooms of those angry that women are spoiling the spaces they thought were theirs alone. The same childish hatred of “wokification” can still be seen in every other post from X (formerly Twitter) owner Elon Musk. > > But it looks like even those online spaces once dominated by people who hated change, and who wanted the culture they consumed to reflect less-progressive times, no longer have the loudest voices. > > It’s a lesson that politicians might want to pay attention to. The culture wars were pioneered in online spaces filled with nerds. But the nerds seem to be moving on. Even in the world of Warhammer, one of the geekiest and most traditionally male corners of gaming, those getting angry about greater inclusivity are losing.

> Rachel Tongue, Games Workshop’s current Chief Financial Officer, has sold roughly $875,000 of her share holdings in the firm, according to a share dealing notification Games Workshop published on Monday. Tongue has already announced her intention to leave the firm behind Warhammer 40k and Warhammer Age of Sigmar: she will step down from her executive position at the 2024 AGM, and plans to depart in January 2025. > > Tongue joined the Warhammer 40k manufacturer in September 1996 as group tax manager, two years after the firm was first listed on the London Stock Exchange. For the last nine years she has been part of the firm’s board of directors, first as group finance director and since 2022 as chief financial officer. Her intention to retire was revealed in the firm’s half year report, published in January this year. > > According to the share dealing notification, Tongue sold 7,500 shares on April 19, at an average value of $117 (£94.893) per share, netting her $879,000 (£711,697.50). She still holds 3,691 shares, almost exactly one third of her original holdings.

> As a 15-year-old girl with a voracious desire to play TTRPGs and a friend group who couldn't be less interested in the idea, I struggled to organically tap into the tabletop hobby. My first contact with wargames happened on the suggestion of a teacher of mine. Apparently, her son (a fellow D&D nerd) wandered into the Warhammer store after the Age of Sigmar launch drew in him like a moth to a fantasy flame. Cue the friendly sales assistants initiating him into the wonderful world(s) of Warhammer. Yes, please. I’ll have what he’s having. > > Once I convinced my best friend to stray from our usual Saturday routine of drinking bubble tea and buying tat at Forbidden Planet, the plan was in motion. I was going to the Warhammer store. Unfortunately, I didn't exactly receive the same warm reception. > > ... > > Progress is being made in representation for women, POC, and LGBTQ+ people in Warhammer games. No doubt, this is a worthwhile development (even despite the slightly scary, very politically charged backlash). Even in the absence of this, the most meaningful inclusion happens at your local store and within the community itself. > > In hobby spaces like Warhammer which have developed an unfortunate boys club reputation, it's just as important to see female players around the table as it is to see female minis on it. In order for that to happen, they have to feel accepted and welcomed. > > So make an effort to engage new players, be kind, and try be receptive to their questions. As turns out, it's pretty easy to stop a teenage girl from playing Warhammer if you don't.

> The first edition of Warhammer 40k, Rogue Trader, was written in 1987 largely by Rick Priestley, an up and coming young game designer who had cut his teeth co-writing the original Warhammer Fantasy battles. It was a hodgepodge of ideas from many sources: Frank Herbert’s Dune, 2000AD comic strips like Judge Dredd and Nemesis the Warlock, Michael Moorcock’s fantasy and sci-fi, Philip José Farmer’s The World of Tiers, Bryan Ansell’s Laserburn wargame. > > We can add to that Priestley’s lived experience in mid 20th century Britain; the long-tail of the Second World War and the end of British Empire; the ongoing civil discontent of the ‘70s and ‘80s between trade unions and the government; the UK’s ongoing military operations in Northern Ireland; state sanctioned support for the South African Apartheid government; and the Falklands war. All fed into an early 40k corpus that was politically charged and anti-authoritarian. > > Since Rogue Trader was published, Warhammer 40k has been developed and expanded with a ridiculous quantity of content. It isn’t one single thing any more – it’s a complex of Warhammer 40k books, Warhammer 40k Codexes, miniatures, Warhammer plus animations, tie-in Warhammer 40k games on PC and console, even marketing materials. There’s more of it than any one person can engage with, and the focus has been split even further. > > ... > > Warhammer 40k lore has developed in directions that directly undermine its ability to criticize the real-world inspirations of the Imperium. While Rogue Trader presented an Imperium that’s arguably as atrocious as the forces that opposed it, the threats it faces have since escalated wildly, weakening the setting’s satirical base by giving the Imperium more convincing excuses to be awful. > > ... > > The irony and exaggeration remain, but they’re now the background to a battle for survival, told from the point of view of (usually) relatable, sympathetic and enjoyable Imperial characters – satirical motifs no longer pointed at a satirical target. > > While the Imperium is clearly corrupt, inefficient, and ruinous to its citizens, the reality of its situation has changed a critique into a question. Are these acceptable prices for continued survival? Are these inevitable consequences of continued survival? Great fodder for sci-fi debates, but ineffective satire.

Turned up when looking for information on my previous post and it deserves its own one, especially as Bolt Thrower were never on the label.

> Throughout the course of music history, few bands embody their chosen aesthetics as completely as Bolt Thrower, a group that plucked its name and aesthetic from the fantasy role playing game Warhammer. > > Born in the industrial heartlands of Birmingham in 1986, this band was more than just a musical endeavor. For Bolt Thrower, music was warfare, warfare was art, and art was a reflection of the universe’s inherent chaos. > > Bolt Thrower was the perfect soundtrack to this universe. From the moment they formed, the band were on a mission to create a sonic equivalent to the epic battles depicted in the game. > > Their 1989 album Realm of Chaos: Slaves to Darkness was their most explicit ode to the Warhammer world, with Jon Sibbick album cover and song titles borrowed directly from the source materials. > > ... > > However, over a decade after the album’s release, a copyright dispute with Games Workshop led to the original cover art being replaced. Despite this legal kerfuffle, the fury of the album remains unchanged – a fitting tribute to a game about relentless warfare in a universe where hope is but a flicker in the endless night.

> The Old World is Games Workshop's ongoing revival of the Warhammer Fantasy setting as a wargame, after its destruction in 2015 to make way for Age of Sigmar. The weird part is, Cubicle 7 already sells a TTRPG based in the Warhammer Fantasy setting, and has for years—it's called Warhammer Fantasy Roleplay, and is itself a continuation of a system that first came out in the '80s. This isn't a new edition for that, and doesn't seem to be replacing it—it's a new, separate game. The obvious question is: why?

> Games Workshop has finalised a deal with Amazon to develop films and television series based on the games company’s Warhammer 40,000 series.  > > The deal, which was first announced in December last year, gives Amazon exclusive rights in relation to content set in the Warhammer 40,000 universe, as well as an option to license equivalent rights in > > ... > > The agreement is a “game changer” for Games Workshop, according to analysts at investment bank Peel Hunt. “It has taken a fair bit of time to go through the legal process, and was not helped by the writers’ and authors’ strikes.” > > They added that as Games Workshop have said their full-year forecasts were unchanged, “any upfront payment is modest”. > >“This is in line with our expectations, as the value in this relationship is bringing the Warhammer world to life and to a wider audience,” the analysts added. the Warhammer Fantasy universe following the release of the initial production. 

> Warhammer maker Games Workshop is to pay all its staff a £2,500 Christmas bonus as half-year profits rose to nearly £100 million. > > The payout, a combined £7.5 million, is up from £1,500 per employee last year. It comes as profit grew by 12.4% to £94 million, on sales of £235 million, also up on last year. > > But investors, who have become used to upgrades, were not impressed. Jefferies analysts Andrew Wade and Grace Gilberg flagged “markedly slower” growth in the second quarter. > > ... > > The shares tumbled by as much as 13% to 9224p, knocking £450 million off the multi-billion-pound company's market cap. That’s 21% off their July peak, but still up more than 200% over the last five years and 20 times the price they were trading at in 2016. > > The bonus is enough for a fan of Games Workshop’s flagship — and famously expensive — Warhammer 40,000 tabletop game to build the two-foot tall Mars Pattern Warlord Titan and equip it with a pair of power claws and a set of laser blasters.

cross-posted from: https://feddit.de/post/4676182

> John Blanche is discussing some of his most iconic artworks. Tuomas Pirinen also drops by for a short bit.

> A few years ago, I was changing costumes between scenes in a period drama, stepping out of 18th Century workwear and into some noble's finery, when a fellow cast member told me something I had never expected to hear. They had worked at Games Workshop for many years, and they told me that when Pokémon arrived in the UK, it nearly brought the company - Games Workshop - to its knees. > > ... > > I began by digging around in Games Workshop's financial records on the government's website. I sifted through a decade's worth of documents, figuring that surely if something like this had happened, there would be a record of it. > > ... > > Success, I found it, and almost immediately something in it caught my eye: suspicious remarks made by chairman Tom Kirby in reference to UK sales. "By our own standards this has been a disappointing year," he wrote. Then he added, cryptically: "There has been some loose talk recently questioning the health of the Games Workshop Hobby." (The Hobby is how GW execs refer to the miniatures business.) "The Hobby is in rude health, and is continuing to spread profitability around the world." > > Loose talk? Why would Kirby feel the need to say something like that unless Games Workshop was under threat? > > I read on - and made my biggest discovery yet. It was a remark made by Chris Prentice, Games Workshop CEO at the time, in reference to those disappointing UK sales. "For some time now we believe that an element of our UK like-for-like growth has been achieved by increasing the appeal of our stores at the lower end of the customer age range," he wrote. "We do not believe that many of these youngsters are capable of truly participating in all aspects of a complex hobby, which involves reading, painting and strategic thinking. > > "Consequently," he added, and this is the important bit: "we have allowed our customer base to become vulnerable to toy fads. Last year we saw a sharp decline in sales to this age group." > > ... > > "In probably May-June 2000 we made a profit warning," he says, "and we included the game known as 'the p-word' in that profit warning, saying that basically Pokémon had hit our UK business - and our UK retail business in particular - quite hard and that was going to cause a gap in our profitability for the year." > > ... > > There remained those among the Games Workshop higher-ups who believed a younger audience really was the way to go. "We certainly had one strong faction that would have argued that reducing the age profile was an entirely good thing," Prentice says, "capturing them earlier, keeping them longer, producing Junior Warhammer, let's call it - an easy clip-together version with different colour armies playable right from the box. Rather than the more complicated building models, painting... The more sophisticated hobby. And that was a tension that was in the business certainly the whole time I was there." > > But Prentice's side got the upper hand and the company implemented a cross-business working party to refocus Games Workshop on who they believed the core customers really were: the older audience. And it worked. Within six months the company was apparently back in double-digit growth. "We recognised the problem, got together, came up with a plan to put it right and put it right," Prentice says.

> Games Workshop’s remarkable run of success continues, as the Warhammer 40,000 maker’s sales smashed expectations yet again over the summer. > > Revenue rose by 16.5% year-on-year to £127 million, and profit rocketed by 46% to £57 million as customers spent more on indoor hobbies during the summer washout. > > Games Workshop said the rise was “driven by healthy growth across all channels” as it launched the 10th edition “Leviathan” Warhammer 40,000 set. > > ... > > The Nottingham-based business’ flagship Warhammer 40,000 board game — set in a distant future where aliens, humans and fantasy monsters do battle — is famed for its pricey figurine sets. Forum posts suggest that buying very basic armies for two beginners, plus a rulebook, directly from Games Workshop would have cost around £175 in 2008. > > Spending that money on the shares instead would have returned around £26,000, including dividends. That’s enough to buy a custom-painted 1997 OOP Metal Thunderhawk, which became the most expensive Warhammer kit in history when it sold for £25,600 on eBay in 2021.

> Mighty Empires was developed in 1990 by Games Workshop and served two main purposes: it could function as a template for a full continent-wide campaign setting for Warhammer Fantasy Battle, or it could be a self-contained board game. But perhaps it may be best described as an entirely new game system. It featured rules for everything from building a calendar to mark the changing of the seasons when your wizards could cast spells, to maintaining supply lines in order to keep your armies from starving in the winter. > > It was ambitious in a way you rarely see outside of companies like Avalon Hill but thankfully didn’t go so far as Campaign for North Africa. > > ... > > The point here is to really highlight the depth of Mighty Empires. It wasn’t “just” a Warhammer wargame. It was a full imperial countrywide theater of war, with all the charts that come along with that.

> We’ll expand more on each game, but below is a quick reference guide for the best Warhammer 40k and AoS Board Games! > > * Space Hulk– let’s be honest, how can Space Hulk not be #1? > * Warhammer Quest Silver Tower– This is a super fun fantasy adventure that has tons of playability. > * Warhammer Quest Cursed City– This has some amazing minis inside and even some cool expansions. > * Horus Heresy The Board Game– You can replay the galaxy’s biggest civil war with this great game. > * Deathwatch Overkill– The game lets you play as one of the most elite Space Marine Chapters out there. > * Warhammer Quest Blackstone Fortress– Blackstone Fortress is a really fun game with some of the most iconic minis ever in a board game! > * Forbidden Stars– this game is perfect if you want to play a game on a galactic scale. > * Warhammer 40k Risk– If you love Risk and Warhammer, this is a no-brainer! > * 40k Talisman/ Relic– The game draws off the classic Talisman game but with a 40k twist! > * Warhammer 40k Monopoly– Do you want to own everything in the galaxy? Then play 40k Monopoly!

> In the grim darkness of the British imagination, there is only Warhammer 40,000…. Featuring demons, chain swords, and supermen in power armor, Warhammer 40,000 is Britain's most excessive sci-fi franchise. For thirty years this cult war game and its tie-in media have enticed thousands of fans to build, paint, and play with armies of toy soldiers taken from the battlefields of the worst possible future. Why has this fantasy proven so irresistible? Part collection of essays, part ravings of a cult prophet, Grimdark examines Warhammer 40,000's place and impact in pop culture, and how this unique vision of a hellish future arose from the subconscious of postindustrial Britain.

> Largely they tell the story of Games Workshop as it existed from the mid-70s to the mid-80s, as a company run in London by Ian Livingstone and Steve Jackson. That sounds obvious, but put a pin in it for later. That company starts out life as a hobby business without much plan behind it; the Men send out a kind of mission statement for “the Games Workshop” which calls it a “games club/community” and identifies three strands for its operations, namely publication of Owl & Weasel, making the aforementioned hand-made wooden games, and also something identified as ‘Fringe Games,’ an offer by GW to help games designers (here quaintly called ‘inventors’) get their games to market, an offer for which sadly no details are attached. In the backwards view of history this newsletter is adorable in its naivete; it’s suggestive of a group of enthusiasts getting in miles over their heads playing at running a company which will be lucky to survive its first year, never mind eventually grow into a multinational. Largely it’s suggestive of that because that’s what it was. The Men at this time are three blokes in a flat who really, really love games, and want to Do Games as a living and are grabbing at whatever they can think of to turn that dream into a reality; Livingstone himself describes it as “role-playing as businessmen engaged in the business of role-playing games.” > > > I say three blokes, but really it’s two. The thing that makes Games Workshop – the break that catapults them from messing about playing at running a company into actually doing so – is Dungeons & Dragons. Livingstone and Jackson are absolutely enthralled by D&D, and almost by accident – on the back of a single trade order, and Gary Gygax improbably coming across a copy of Owl & Weasel – GW gets exclusive three-year distribution rights to it in Europe. The enthusiasm around D&D straps a rocket to them, and rapidly transforms the company. Perhaps the most rapid of those transformations is that in 1976 John Peake leaves, because he doesn’t care about D&D at all while the other two are busy aligning the company around it. His departure kills off that early manufacturing arm, the Workshop part of Games Workshop, which won’t spring back into existence until Bryan Ansell comes on board with the founding of Citadel Miniatures. In the intervening period Games Workshop is more just Games Shop, a retail business in the familiar LGS mold of many independent shops out there today. It does have a couple of extra strings to its bow in the form of its publishing arm, first with Owl & Weasel and then from June 1977 White Dwarf, a name which needs no introduction, plus its events business in the form of Games Day, which starts as one of those moonshot projects and then becomes a more and more regular feature of Games Workshop’s early operations as it proves enormously popular. > > The transition from the half-formed thing of the first Games Workshop newsletter to the retail business importing D&D (and whatever other American games it can get its hands on) and publishing White Dwarf marks the first significant phase in GW’s history. There’s some of the contemporaneous DIY punk feel to this early stage, with Livingstone and Jackson living in the affectionately-named “Vomit Pit” at times they’re not sleeping in Jackson’s van, putting their magazine together in a damp flat, selling product out of a shop so small that someone has to go out the back to make room if a customer comes in. > > The big inflection point in this story happens in December 1978. It’s subtle at first, but it changes the whole shape of the thing irrevocably. That inflection point comes in the form of Citadel Miniatures, and its physical manifestation is in the person of Bryan Ansell. For the roughly two year period after John Peake leaves, Games Workshop’s business is much as described above, a mix of RPG and board games retail, miniatures sales, White Dwarf, and Games Day; a little later on they lose a key component as their exclusive distribution rights to D&D are not renwed, in a slightly ugly incident Livingstone clearly still feels the sting of, but they’re still the major importer and retailer of it in the UK and Europe. “Miniatures” there means other people’s; they have been selling miniatures, but they haven’t been making them. That changes with the realisation that they stock some US ranges where manufacturing in the UK would be a lot cheaper than importing from America, but they’re not planning to produce them themselves. Instead they get the contract and then licence out the manufacturing rights to a third party. This third party is Asgard Miniatures, Bryan Ansell’s original company, an established manufacturer based in Nottingham – and that location foreshadows events to come. > > ... > > If that’s the story being told, then what is the second one I referenced before, which isn’t? Mainly it’s the story of Warhammer, and Nottingham, and the company Games Workshop actually ends up becoming. Some of that just isn’t in the scope of this book; Livingstone’s last link with GW is severed in 1991, before even the second edition of 40k, let alone such far-off ventures as GW becoming truly multinational or the Lord of the Rings licence or Age of Sigmar or any of that. Even further back, he and Jackson are basically hands off by about the middle of 1985, with the aforementioned handing over of executive control. As a consequence events after this point – the near-immediate consolidation of operations in Nottingham, the switch to exclusive focus on Games Workshop’s own products, the primacy of model manufacturing and of Warhammer 40,000 – are dealt with in a couple of summary paragraphs at the end. > > ... > > This is a shame because it’s Citadel that really matters when you come back to the book’s tagline as “the origin story of Games Workshop.” In a very real sense, the Games Workshop that this book is about is dead and buried in 1985. The name continues, of course, but in terms of what the company is about, the one in Nottingham is really Citadel Miniatures wearing its dad’s suit. In a matter of months Bryan Ansell has fucked off all the bits about London GW that he didn’t like, including its London location; gone is the generalist approach to retail, the grab-bag of board games and RPG licences and dicking about with video games. White Dwarf becomes an in-house magazine for Games Workshop products, the shops sell Games Workshop products, everything else is out of the picture. The focus is clearly what he has always wanted it to be – Citadel manufactures miniatures in ever-increasing ranges and volumes, and the rest of the company exists to sell those miniatures, whether by making up games for them to be used in or by marketing them or by literally handing over boxes of them to punters for cash. That’s the Games Workshop that exists today and while the company has undergone an enormous amount of change in the intervening 35ish years the fundamental plan is the same. The most recent strategic report, covering 2021-2022, includes this description of Games Workshop: “Our ambitions remain clear: to make the best fantasy miniatures in the world, to engage and inspire our customers, and to sell our products globally at a profit. We intend to do this forever.” That statement could have come out of Bryan Ansell’s mouth in 1978 and it would have been just as true then, albeit much longer on ambition and much shorter on reality, as it is now. > > ... > > If what you want is to read Ian Livingstone telling you about being Ian Livingstone and about his view of Games Workshop’s first ten years, plus quite a lot about Fighting Fantasy and an occasional digression about Cow Gum, then that is certainly here for you, and if you want to pore over curios from that period in the form of handwritten lists and a set of T-accounts flawlessly executed by Steve Jackson’s mum and covers of Owl & Weasel and so on and so forth, that is here too. As a narrative about Games Workshop’s origins, however, it’s merely serviceable, a half-finished sketch with some of the most critical and interesting details left tantalisingly incomplete.

> Warhammer fans worldwide are eagerly anticipating the revival of the beloved game, Warhammer Fantasy Battles, now reincarnated as Warhammer: The Old World. But, what do we really know about the upcoming changes and developments? Let's take a detailed look at what's been revealed thus far by Games Workshop.

> The owner of Warhammer battle figurines admitted yesterday that it accidentally paid investors millions in illegal dividends. > > Games Workshop said that due to a 'minor technical breach' a 45p per share dividend was paid out last November before it filed its half-year accounts with Companies House. > > That meant the payment amounted to an 'unlawful dividend'. > > While the mishap meant the firm could serve legal claims against its shareholders and directors, it said it would not do so and would table a resolution at its AGM in September to remedy the issue.

> Kevin Rountree, CEO of Games Workshop said: “We finished the year having delivered eight consecutive years of group sales and profit growth – in the period we reported the highest level of sales and the most profit we have generated since flotation 29 years ago. Our international team has been sensational again, thanks to you all.”

> In December, the Nottingham headquartered firm signed a blockbuster deal with Amazon that will see its figurines take to the big screen, prompting shares to skyrocket.

There's a new book out called Talking Miniatures about the early history of GW, authored two early contributors by who not only worked in key roles there but have interviewed 17 other important figures in the company's development.

There will likely be a range of articles resulting from people mining the book for content once it's released.