Armageddon Series: Battle for the Peak Grand Tournament (Warhammer 40K)

With the last couple of months full of work and traveling, I haven’t had much time to update the blog. My traveling around Florida the last four weeks has been related to Warhammer 40K, though; I have been playing in tournaments! I figured this post could be my sharing with you my first Grand Tournament experience of 2019! Two weekends ago, I played in the Armageddon Series: Battle for the Peak GT. The event was hosted by Brohammer, a Warhammer 40K group comprised of nearly 150 members across Florida. The tournament itself hosted 42 players in total (there were some drops by the end of the tournament) and in the end, I found myself landing in 29th place (going 2-3). I didn’t really do much to prepare for this tournament; in fact, I ended up bringing a list I had only run once before the GT.

Battle for the Peak GT
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For about the last six to seven months, I have predominately been playing Sisters of Battle. Gasp! I know, I am a traitor. Tzeentch will never forgive me. To be fair, I have always expressed an interest in playing Adepta Sororitas, even when I was playing Chaos Daemons and Thousand Sons. I can dedicate a separate blog post to detailing the motivations for my switch (as it is a pretty drastic change going from Tzeentch Daemons to Sisters), but I want to be clear that I haven’t abandoned Chaos entirely! I will return to Tzeentch; the call of Chaos is far too tempting to ignore!

Anyway, the list I brought to Battle for the Peak was a “pure” Sisters list. In other words, I did not combine or supplement my Sisters with any Adeptus Mechanicus, Imperial Knights, or Custodes. The original list I was running prior to this tournament did include a Super Heavy Detachment with a Knight Gallant and two Armiger Helverins. Whether I return to that original list for ATC 2019 is still up in the air for me (as I can see the merits of having a Gallant stomp around and serve as a major threat on the tabletop), but I decided to run a pure Sisters list at Battle for the Peak because I wanted to get a sense of what works and what doesn’t for Sisters as they currently are (in light of not having a codex).

I ran two Battalion Detachments: one Ebon Chalice and the other Bloody Rose. The Ebon Chalice detachment consisted of one Cannoness serving as my Warlord (with the Book of St. Lucius as her relic and Indomitable Belief as her Warlord Trait) while the other was an HQ designed to run with the Battle Sisters (allowing them to re-roll 1s to hit). There were three units of Battle Sister Squads (five Sisters in each squad), three Exorcists, two Dominion Squads (all equipped with Storm Bolters), and two Repressors. The Bloody Rose detachment had Celestine and her Geminae, a Missionary, three Battle Sister Squads (five Sisters in each squad), three Penitent Engines, a Rhino, and one unit of nine Arco-Flagellants. I also started out each match at -1 Command Point for the Officio Assassinorum slot (costing 85 points).

The tournament was held in Kissimmee, Florida at a trailer park. Yes, a trailer park. Hey, go ahead and judge. I will admit, I was skeptical at first. Honestly, the venue was much better than I thought it would be! There were tons of tables set up and plenty of room to navigate the space and get between tables. I wasn’t bumping elbows with anybody or getting too close for comfort. The terrain that was provided looked great and was evenly distributed across the tables. Overall, I have zero complaints! Well, sometimes it got a bit hot in there, but with all of the bodies in the room, I suppose that is to be expected…


Given that the FAQ took its sweet ass time to drop (it didn’t grace us with its presence until late April), it was determined that pre-FAQ rules would be utilized for this tournament. I didn’t feel one way or another about this; I just accepted that Imperial Knights were going to run amuck and get their last hurrah in. Lulz. Standard ITC missions were used.

My first match was against Gabriel Rocheleau. He had a pre-FAQ nerf Knight Castellan. QED. Fin. The end. Ha! To be honest, his list was a resilient one. He was running Adeptus Mechanicus with a Knight Castellan. In his Ad Mech Battalion were two Assault Drills and Fulgarite Electropriests. I had only played against Electropriests one other time and it was back when I was running Chaos Daemons. I was reminded of how tough and irritating they can be to tangle with in close combat. Even my Penitent Engines and Arco-Flagellants were struggling with them. I realized by turn two that my Exorcists were better off focusing their shots on the Assault Drills rather than the Castellan, but there was a part of me (a very naïve part) that hoped I could whittle down the Castellan a bit more than I did. My biggest mistake was letting the Castellan phase me out; I should have done more work to eliminate what was directly in front of me. After all, Knight Castellans can do exactly what they need to do just by being parked in the far corner of the table. I did my best to keep up with the onslaught, but it was rough! The loss was devastating: 38 to 10. I was a little discouraged, but I kept reminding myself of my goal (which is always my goal at a tournament): get at least one win. I knew I had four more opportunities to walk away with at least one victory.

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Ironically, I ended up playing against Mitch my second match. This would be the one match where deployment worked in my favor. The deployment was Dawn of War, which meant that the majority of my units could get across the board and be aggressive like I needed them to. Mitch was running a Tyranid and Genestealer Cult list, comprised of Acolytes, Atalan Jackals (and an Alphus), a Swarmlord (which I hate), Hive Guard, and of course, Genestealers. I knew (given that Mitch and I play each other all of the time) that this was going to be a pretty bloody match: lots of things were going to charge and lots of things were going to die. I think I spread my units out enough such that I ended up having decent board control; I ran my Repressors separately and their scout movement allowed me to get the leg up on controlling objectives. The Penitent Engines got into some nasty combat with Genestealers and, because for some reason the Swarmlord never wants to die, I had to pump the shots from my Exorcists into it in order to eliminate it. Overall, this game was pretty close but fell in my favor: 27 to 20. There was something funny but also comforting about being able to play against Mitch at the tournament; it was funny given that we play so frequently together and it was comforting because it meant quality time in a new, competitive setting. In the end, I am glad he was my opponent. Teehee.


My third match was against Jon “Bear” Geiger. I dreaded this match. I dreaded it not because of Geiger, but because his list had a reputation: it was the infamous Marauder list. This list was 11th at LVO. I knew what was going to happen: I was going to get tabled. I estimated that I might survive till turn two. I did indeed get tabled, but I lasted until turn six! I take that to be a victory on its own! I think there were a few things that impacted my ability to play well against Bear: the first was that I didn’t know how to handle his list given what I was running. I did have units that had decent output by way of shots (like the Repressors and the Dominion Squads), but I knew that my only chance of knocking the flyers out was going to be with the Exorcists given that their damage is D6 (I also needed to roll well to hit given that the flyers are -1 to hit). There is also something incredibly intimidating about two massive flyers on the table and a giant tank waiting to shoot. The deployment also didn’t help my cause. The deployment was Spearhead Assault, meaning that most of my units (like the Arco-Flagellants and the Penitent Engines) were not going to make the distance necessary to get into close combat as soon as I would like. I overcompensated for this when I got top of the turn because I felt like I needed things to move, not realizing that Bear was ultimately going to be coming to me anyway given the movement characteristic of his models. When he noted this, I understood that I could’ve just hung back and let him come to me and destroy me. The first couple of turns went about how you would expect: the volume of shots coming from the Vultures wiped out a number of my Battle Sister Squads. By turn two, I figured it might be worth charging his Shadowsword with my Arco-Flagellants, but this was pretty uneventful given the toughness of the tank. I was one Exorcist down by turn two and the remaining two Exorcists were wounded (with one of them on its last bracket). I did manage to get rid of one Vulture by turn two, but turn five was when things started getting spicy. I really only had Celestine left on the table at this point, so my final effort was to charge her in and knock a Vulture out of the sky. I managed to do this, but Celestine did fall. At the end of the turn, I rolled a 2+ and she was back in the fight! For my final turn, I charged his third Vulture and managed to get rid of it, securing a Big Game Hunter point. I ended up losing by a big margin: 33 to 12. It was a loss I knew I was going to take, but Geiger was a total joy to play; he was affable, funny, and completely willing to help me when I was making missteps or if I had any questions or puzzlements about anything. He actually told me something that was both heartwarming and slightly unfortunate before our match began; he said, “I have been playing this game for over 20 years and I have never had a woman as my opponent.”

Image courtesy of Drink in the glory of Geiger’s Marauder.

The first day of Battle for the Peak concluded with me at 1-2.

My fourth match, or the first match on Sunday, was against Anthony Hinkel. First, Hinkel’s army was painted beautifully. He was running an awesomely slimy and disgusting Nurgle and Death Guard list, complete with Beasts of Nurgle, Plaguebearers, Poxwalkers, and a number of characters (like Typhus, the Horticulus Slimux, the Sloppity Bilepiper, etc.). This ended up being a pretty gnarly bloodbath. By the first turn, most of our units were locked in close combat with each other and it more or less stayed that way the whole match. I had a Penitent Engine down in the mud with a hefty unit of Poxwalkers and another Penitent Engine locked in battle with the Slimux and Beasts of Nurgle. Before all of the charges were made, I did manage to eliminate some of the Beasts with my Exorcists, but by turns five and six I would become quite frustrated with my Exorcists. By turn three, Hinkel was ready to deep strike his Plaguebearers! Fortunately, I had spread my units out enough such that he couldn’t drop the Plaguebearers in my backfield (hooray for not deploying like an idiot). He ended up having to place his Plaguebearers 9” in front of me with the models side by side in single file lines. He was going to attempt to charge my Exorcists with his Plaguebearers, but I managed to cut him off with my Arco-Flagellants and nail him with 81 attacks thanks to the Extremis Trigger Word stratagem and my Missionary being close to the unit. I took a big chunk out of the unit of Plaguebearers doing that, but near the end of the match Hinkel was able to swamp a few of my Battle Sister Squads and take out my Penitent Engines. Celestine did what she does best: slay characters. I managed to get rid of the Scrivener, the Bilepiper, and the Slimux with her. Unfortunately, my Exorcists let me down in a major way: they completely whiffed with respect to hitting Typhus, which was Hinkel’s Warlord. If they hadn’t whiffed (and if I hadn’t been out of Command Points), I would have gotten my final point for Headhunter, but it just didn’t happen. I will continue hoping and praying that Exorcists will get 2D3 shots instead of D6 shots, but I digress… It was a close match: 30 to 23! Hinkel was a wonderful opponent; he is such a cool guy and so laid back! Even though we had to speedrun the sixth turn given the amount of time left for the match, he didn’t rush me or grow impatient.




I couldn’t think or imagine a better way to end this tournament than to play against Ted Boorum. I have had the pleasure of knowing Ted for a few years now and, in many ways, he has been a mentor to me as I have navigated the world of Warhammer 40K. It was Ted’s Tau versus Dietzy’s Damsels for the final match! Both of us went in with the mindset of having fun (especially since the both of us were 1-4 at this point), but by the fourth turn (which ended up being our final turn) the battle got pretty intense. Each turn had pretty much been point for point: by turn one, he had eliminated one of my Exorcists and a Battle Sister Squad while I had eliminated his Ghostkeel and some Stealth Battlesuits. We kept going back and forth each turn until the bitter end. I realized I was getting into some serious trouble when he whittled down my Arco-Flagellants and Celestine was down and unable to come back by turn three. I also want to take a moment to talk about the way in which my Vindicare Assassin failed me. Vindicare? More like Vindican’t hit anything. Good Lord. I rolled a 1 to hit one of Ted’s characters, spent a Command Point to re-roll it, and I rolled another 1. I ended up doing that two more times during this match! It was absolutely ridiculous. By the fourth turn, it came down to my needing to destroy one of Ted’s Riptides and I was just barely able to do it. If I hadn’t managed to get rid of it, that would have been the game. I secured a victory, but just barely: 20 to 18. I would say this was probably my favorite match of the tournament, not only because I got to play against Teddy and end things in a big way, but also because it was such a nail-biter. Those are always the games that are the best—the ones that are down to the wire.


Daniel Smith, a member of Brohammer, pulled out the big win against David Ozawa (another Bro from Brohammer) with a mixed Chaos list comprised of two Battalion detachments (one Alpha Legion and the other Chaos Undivided) and a Supreme Command Detachment. Dan actually sat down with John Moore (an awesome guy I had the pleasure of playing against at Crucible last year) and Adam Clem of Fog of War and provided a rundown of his list as well as how his matches turned out at the tournament. Please check out the Fog of War podcast! Here is the link to the FoG Facebook page: Catch up on all of the episodes and hear Dan’s interview with John and Adam as well as Carter Leach’s take on Ynnari since the White Dwarf dropped!

Image courtesy of From left to right: John Lennon, Daniel Smith, and Cass Corneal.

A huge thanks to John Lennon and Cass Corneal for their time, help, and patience; they both were great Tournament Organizers. Thanks to Lee Harris for securing the venue, as it was a great space to host the players. Also, a big thanks to Brohammer in general for fostering an inclusive community comprised of talented, kind, and competitive players. I have met some really awesome people through Brohammer and I am excited to be a part of the events they throw and things they do. I can’t wait for next year’s GT! Until next time…

Let’s Paint!: Chaos Daemons: Tzaangors


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The blasphemous chanting of massed Tzaangors rises to a crescendo as they draw close to their prey. Multi-hued tongues flap within aquiline beaks, eagerly lapping up the taste of fear and confusion. Iridescent eyes glow with inhuman savagery, and the cruelly twisted horns that sprout from each Tzaangor’s skull clatter together as they vie to be the first in the fray. With jagged blades they hack their victims apart before trampling the dying beneath clawed feet.


Hi everyone! I wanted to share with you how I painted my Tzaangors! When I played at ATC 2018, I had a unit of 30 Tzaangors in my army, all equipped with Tzaangor blades. With a 5+ invulnerable save and a +1 to Advance and charge rolls for the unit (if it includes a brayhorn), Tzaangors can be clashing with the frontlines of your opponent’s army pretty early on.  Not to mention that if a Tzaangor Shaman model is within 6” of any Tzaangor units, those Tzaangors get to add 1 to their hit rolls. In other words, aside from being relatively resilient, Tzaangors can pose a pretty big threat once they get up close and personal with an enemy unit and lock them down.


What I like about Tzaangors is that they are abominations, or mutated bearers of Tzeentch’s gifts. If I ever had a Tzaangor in my face, I would be pretty terrified! Their bodies are malformed, resembling a human man but also resembling a bird and goat. Some Tzaangors have split heads or bodies with gashes and cuts. Despite their frightening appearance and predatory instincts, Tzaangors utilize a combination of intelligence, cunning, and brute force granted to them by Tzeentch in order to win their battles.

Given that Tzaangors are creatures of Tzeentch, I wanted to keep the colors centered around shades of blue and purple. Once the models were based, I started with liberally applying Thousand Sons Blue all over the bodies of the models. I wonder if I should have gone with a lighter blue on the bodies, perhaps to make the details on the models more pronounced, but I think the brassiness of the silver and gold goes well with the depth of the blue. Once Thousand Sons Blue was applied, I highlighted the bodies with Ahriman Blue on the bodies to lighten them up a little bit.


From there, my attention turned to the details on each individual model. This involved using the colors of the rainbow, basically. I did not want every single Tzaangor in the unit to be identical; I wanted each model to stand out in their own way. For the feathers and “tendrils” adorning the Tzaangors’ heads, I painted them in different pinks, blues, greens, and yellows. This was a fun way for me to try and brighten up the models and make them stand out, not just in general, but from one another as well. Similarly, the protrusions on their bodies I would paint delicately in either Emperor’s Children, Moot Green, or Flash Gitz Yellow. Lastly, I painted their armor and headpieces in my favorite gold paint, Retributor Armour, and accented it with Leadbelcher. The Tzaangor blades were also painted in Leadbelcher.


Again, I think Tzaangors are a really awesome unit specializing in close combat. They were an invaluable addition to my army at ATC 2018 and Crucible 2018. As always, thanks so much for stopping by!


Here are the materials I used to paint the Tzaangors:

Thousand Sons Blue

Ahriman Blue

Drakenhof Nightshade

Screaming Skull

Retributor Armour Leadbelcher

Emperor’s Children

Fire Dragon Bright


Flash Gitz Yellow

Moot Green

Genestealer Purple

Tallarn Sand


Citadel Grass

Video Game Review: Darksiders III

darksiders 3
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Darksiders III frustrates, but it’s a classic that remains loyal to its lore.

After six years of wondering what would become of the Darksiders franchise after Vigil Games filed bankruptcy in 2013, Gunfire Games and THQ Nordic released Darksiders III on November 27, 2018. I have been a fan of the Darksiders series since its first installment was released in January 2010, so I was ecstatic when I learned that Darksiders III would be released! Over the holidays, I spent quite a bit of time playing this game and I figured today’s blog post would be dedicated to a review of it! If you have visited my blog before, you know that I have reviewed a few anime, but I have yet to review a video game. I think a part of me was waiting to play a video game that really excited and challenged me. Darksiders III certainly presented a challenge and overall I enjoyed playing it. I have read a couple of reviews of Darksiders III already, but I refuse to let what I have read impact what I take to be strengths and weaknesses of the game! What I am offering up are my own thoughts and opinions based off of my experience playing Darksiders III. Let’s begin with what Darksiders III did well…

Something that I think Darksiders III nailed was that it stayed true to the lore presented in the previous games. On the whole, the series has a pretty rich lore rooted in a tale as old time: the conflict between Heaven and Hell, angels and demons, good and evil. In Darksiders, you play as War, one of the Four Horsemen of the Apocalypse. Since the dawn of time, Heaven and Hell have waged war in the hopes that one of them could gain advantage over the other. Amidst this ongoing war emerged The Charred Council, a group of mediators, determined to maintain balance. To achieve this end, they created the Four Horsemen of the Apocalypse, the last remaining Nephilim, a brotherhood designed to impose order when necessary.

The Charred Council
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As the conflict between Heaven and Hell raged on, humanity was born. The Charred Council deemed the birth of humanity paramount to maintaining the order of the world, so the Council crafted a third kingdom: The Kingdom of Man. Negotiating a truce between Heaven and Hell, the Charred Council saw the creation of the Seven Seals, which were only to be broken when the Kingdom of Man was ready for the apocalypse. I mean, I am not quite sure when man would collectively decide they were ready for the apocalypse, but…Whatever… Anyway…

It ends up being the case that War gets set up; he comes to Earth only to find that the Seven Seals were not broken. What gives this away is that none of War’s siblings (Death, Fury, Strife) decided to show up to help him bring forth the apocalypse. You, the player, help War prove his innocence by finding the real culprits responsible for the destruction of mankind. It’s a decent game with great voice actors bringing fairly interesting characters to life (you have Mark Hamill as The Watcher and Troy Baker as Abaddon and Straga). The game didn’t necessarily present anything unique insofar as it was following a relatively standard action-adventure formula most gamers are familiar with: beat your enemies to death, collect stuff, get new weapons and trinkets, beat a boss, proceed to the next area, rinse and repeat.

Following in the footsteps of its predecessor, Darksiders II was released in August 2012 as a hack and slash action-adventure game. In this installment, you play as Death, War’s brother and fellow Horseman of the Apocalypse, as he tries to help War clear his name. The major difference between Darksiders and Darksiders II is the RPG (role-playing) element that exists in the latter; you pick up clothing items, armor, and weapons as you move through various areas and are able to customize Death’s appearance, abilities, and what he will be hacking and slashing with. Something I find interesting is that the events of Darksiders and Darksiders II are occurring at the same time; as War lumbers through a post-apocalyptic Earth, Death is meeting the Makers (or the Architects of Creation) and traversing the Forge Lands in his attempt to resurrect humanity and erase War’s “crime.”

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What is even more interesting is that Darksiders III serves as a prequel to War’s pursuit for truth and Death’s hunt for justice; the beginning of Darksiders III sees Fury meeting with The Charred Council as her brother War is awaiting his punishment for having prematurely started the apocalypse.

The characters that are central to the first two games are just as central in Darksiders III. The Charred Council still serves as a powerful entity responsible for keeping the powers of Heaven and Hell at bay and tasking each of the Horsemen with their own quest. The Demon Merchant Vulgrim returns to feast on the souls Fury collects so that she can upgrade her skills (Health, Physical Damage, and Arcane Damage) and purchase items. Ulthane the Black Hammer also appears in Darksiders III; he upgrades Fury’s weapons and gives her talismans to assist her on her quest to hunt down the Seven Deadly Sins (I will talk more about the Seven Deadly in a moment).

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All of these characters look and sound better than ever! Seeing these familiar faces and hearing these familiar voices from the previous games keeps me invested in the world and in the narrative. Perhaps this notion of staying true to the mythos of a series is obvious; in any video game series it is important that each game builds off of the previous one in some way or another. I think with the Darksiders franchise this is especially important, though. There are too many pieces of the puzzle, given the lore, that must be put together in order for the games to work. There are ways in which Darksiders III does falter with respect to the narrative, but I will talk about that later.

I think a merit of Darksiders III is that it shares a structural and visual consistency with the rest of the series. For example, while Fury does face off against enemies never before seen, enemies from the previous two games also appear to take on the wrath of her whip, Scorn. When you move through The Scar, a large desert area, in Darksiders III to track down Wrath, it bears a striking resemblance to the Ashlands in Darksiders (where you fight The Stygian).

Something else I appreciate about the game is that the introduction of new characters does not feel out of place. The Lord of Hollows, for instance, is a new character presented to us in this recent installment, but he seems like a character who would fit in effortlessly in the previous games.

The Lord of Hollows
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When playing Darksiders III, something about it just feels familiar or comfortable. This isn’t to suggest that playing the game feels redundant due to its familiarity; it is to say that the game reminds me of what I enjoyed so much about what came before it. I think this feeling of familiarity with Darksiders III has a lot to do with the number of staff who returned from Vigil to work on it, which I think is awesome. Although the game and its predecessors are predictable and formulaic with respect to gameplay, ultimately Darksiders III remains loyal to what made the first two games successful: its lore.

Another thing Darksiders III got right was that the game presents us with a female protagonist. There are two points I want to make with respect to the protagonist being a female: first, it is awesome to have a female protagonist in a video game who isn’t sexualized (go ahead and call me a feminist). It is not a secret that the gaming world is and has been predominately male, but I think it is refreshing to see female representation on the rise in video games! Samus Aran, Jill Valentine from the Resident Evil series, and Ellie from The Last of Us are only a few examples of female characters whose attractiveness is found in their strength, courage, and resiliency, not in their sex appeal (or potential sex appeal). Far too often have I seen the female fighting character wearing next to nothing (take Kitana and Jade from the Mortal Kombat series, for example). Listen, I don’t mind sex and nudity (I favor Tzeentch and Slaanesh, after all). My quibble isn’t about nudity; it is about practicality. I won’t deny the obvious about our antihero in Darksiders III: Fury has curves. What is great, though, is that her armor is functional but also doesn’t hide her body. Fury’s entire body is covered in what looks like a skintight but lightweight steel. If her body were exposed, given that she is fighting demons, angels, and everything else in between, she would be mortally wounded. From the sharp heels of her knee-high boots to the plates of armor covering the sides of her face, the focus on Fury turns to her presence, which is formidable. Fury proves that a female character can be alluring while also donning sensible, kickass gear. Ultimately, Fury’s appeal lies in her self-assurance, not in her assets, which brings me to the second point I want to make: there is a sense in which Fury is very much an antihero.

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I think noting this is important, partly because female characters are generally presented as upbeat, warm, joyful, and a bit naïve (Aerith and Yuffie from the Final Fantasy series come to mind), and these are the sorts of qualities that, generally, make for an endearing, young heroine (or hero). Characters like Princess Peach perpetuate the “damsel in distress” trope, in which the female character needs saving in order to get the narrative going. Fury is not any of these things: she is far from cheerful, she is not hypersexualized, her status is not that of a love interest, and she is certainly not a damsel in distress. In fact, she is not the sort of protagonist you relate to unless you are a self-aggrandizing narcissist. At the beginning of the game (and for a good portion of the game, honestly), Fury is quite unlikeable. Her initial goal is not to help War, her brother, clear his name; instead, her aim is to be granted the right to serve as leader of the Horsemen. The Charred Council requests that Fury seek and destroy the Seven Deadly Sins. Once Fury has completed this arduous task, only then will she be granted the power to rule over her siblings.

In order to ensure that Fury completes her task, The Charred Council binds a Watcher to her wrist, just as they did to War in the first game. The relationship between Fury and her Watcher is pivotal to Fury’s growth in the game, but it is definitely a very different relationship than the one shared between War and his Watcher. Mark Hamill’s Watcher is hell-bent on making War’s task all the more difficult in Darksiders, but Fury’s Watcher (voiced by Fryda Wolff) initially comes off as laudatory, going so far as to claim she is a “fan” of Fury. The Watcher’s praise comes to an abrupt halt after Fury encounters and defeats Lust and spares the life of an Archangel named Usiel. After this, a tension presents itself between Fury and The Watcher: Fury realizes that she has been blinded by her desire for power and that this desire has been, to an extent, fueled by The Watcher’s flattery. Fury then turns her attention to the duty all of the Horsemen are meant to do: enforce order and balance. The Watcher takes this to be a flaw; Fury has “gone soft” by trading in her crusade for blood and vengeance for a quest to restore order.

Fury and The Watcher
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Fury’s initial motivation in pursuing the Seven Deadly was to lead the Horsemen, to be seen as superior to her brothers, and to also figure out who killed her horse (I will talk about this later, trust me). It is when Fury sees what she could become if she is solely motivated by her anger that she understands she will be unable to complete her task. This is both the act of being humbled and the power of self-reflection; her self-assurance was actually arrogance. This is all to say that the Fury we get at the start of the game is not the Fury we get at the end of the game. Personally, I think there is something worthwhile and special about playing a character and watching their character development, regardless of their sex or gender. I think what makes Fury stand out as a protagonist in general is that she goes from being the hero we don’t want to the hero we need. It is just an added bonus that Fury is a badass female protagonist.

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She doesn’t play into stereotypes or tropes generally associated with female characters and we watch her grow from a place of self-importance, anger, and resentment to a place of self-awareness, understanding, and strength. Even when it is discovered that the Charred Council themselves released the Seven Deadly Sins in the hopes that they would not only destroy Fury and her kin, but the remainder of humanity, Fury’s resolve is renewed: she will make it her purpose to protect the last of humanity. Darksiders III could have easily had its protagonist be Strife (the fourth Horseman), but it didn’t. I should also note that the end of the game sets it up such that Strife will have his time to shine in the next installment. I am of the mind that putting this focus on Fury was a unique and valuable move to make.

The final thing I think Darksiders III did well is not so much about content as it is about aesthetics: I absolutely love the character designs in this video game. Some of the reviews I have read are not too fond of the character design (and level design) as it appears “too cartoonish,” and to an extent I would agree with this. In comparison to other games that have come out in the last year, the design and scenery of the world in Darksiders III is certainly not as breathtaking or gorgeous as something like God of War or The Legend of Zelda, but that’s fine! I don’t think Darksiders III was aiming to take anyone’s breath away so much as it was hoping the player would have a smashing good time (literally). I have already talked about Fury’s design, but the Seven Deadly Sins, for the most part, look awesome. Each design is unique and unexpected. Take Lust, for instance. I was expecting Lust to be a voluptuous, seductive female, possibly snake-like or something. What is absolutely fascinating and ingenious is that Lust is gender-neutral; Lust is referred to as “they/them” by other characters in the game. While Lust speaks in a way that is effeminate, their design is androgynous. What I really like about Lust’s personification is that it isn’t about lusting after someone or desiring someone’s body; it is about lusting after power.

Perhaps one of my favorite character designs belongs to Avarice. Avarice is almost goblin-like in his appearance and, as the embodiment of greed, carries around a huge sack of stuff on his back. What I love is how diverse the things on his back appear to be, from artwork to the wings of dead angels to things that are just plain junk, Avarice seems more like a kleptomaniac than a hoarder. What I love is that Avarice seems to think all of these things just belong to him, regardless of what they are worth.

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Gluttony is both disgusting and awesomely terrifying, Pride’s design is stunning and exudes both poise and contempt, and Envy is delightfully creepy. I think Wrath and Sloth are the only character designs that I didn’t care much for; I was hoping for something a bit more inventive. Wrath or anger is generally associated with the element of fire, so to have a giant hunk of armor made of fire seemed a bit boring to me and Sloth is just a fat, lazy bug. Overall, I appreciate the creativity and originality that went into crafting each of the personifications of the Seven Deadly Sins, as well as the other characters in the game.

Here are the ways in which I think Darksiders III faltered…

Darksiders III, just like the previous installments, is a hack and slash video game. I wasn’t expecting anything different. As the saying goes, “If it ain’t broke, don’t fix it.” As far as the actual hacking and slashing goes, the game follows Darksiders II pretty closely. You whip your enemies repetitively until they are dead and you can see how much damage each strike does, just as you could with Death’s scythe. Depending on where you move the analog stick while spamming the primary attack button, you can execute some pretty cool combos. The issue is that this gets boring. Even worse, it gets tedious. In order to defeat enemies and bosses in this game, your task is to time your dodges so you can counterstrike and then beat up on the enemy or boss relentlessly. Interestingly enough, there are some reviews that claim that combat in this game is deliberate and that mashing buttons isn’t a viable strategy for getting through the game. To this, I say that simply mashing buttons isn’t a viable strategy for getting through the game; being able to anticipate when you ought to mash buttons is a viable strategy for getting through the game. This autonomic pressing of buttons doesn’t bother me so much when it comes to lesser enemies, but it does bother me with respect to boss fights. When it comes to a boss fight, I am expecting something with a bit more nuance or sophistication. Most of the battles against the Seven Deadly Sins are tiresome, as it requires the same hacking and slashing that is needed when fighting enemies.

To me, there appeared to be two boss fights that attempt to wiggle out of this monotony: the battle with Gluttony and the battle with Pride. When fighting Gluttony, there are essentially two phases to the fight. The first phase involves you spamming the attack button while also dodging Gluttony’s projectile vomit and his long, swinging arms.

Gluttony (Phase 1)
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The second phase of the fight begins when the floor beneath Fury breaks and you battle a giant monstrous creature called the Kraken underwater. This is where the game attempts to do something interesting and sophisticated, but fails. In order to damage the Kraken, you actually cannot engage it. Instead, you have to lure underwater bombs into the Kraken’s mouth. This is irritating because there is nothing you can do to bait the Kraken; you simply have to wait for the Kraken to try and suck you into its mouth. This becomes time-consuming as you swim back and forth with underwater bombs following you around while also trying to avoid the Kraken’s teeth and tentacles. What is worse is that the frustration I felt had nothing to do with the battle being challenging because it really wasn’t that challenging; the frustration came from wanting something to actually happen in the battle instead of me swimming around with some bombs!

The Kraken
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When fighting Pride, there comes a point during the fight where she removes the head of a statue and gives it the power to shoot a laser across the space in which you are fighting. The statue never stops moving and shooting, so the trick is to avoid getting hit by the laser while also trying to avoid getting hit by Pride’s blade as you fight her. Again, this is more aggravating than it is interesting or fun because all you really have to do is just time things right and follow up with some spamming of the attack buttons. My issue is that combat in this game doesn’t require any particular strategy—all it requires really are quick reflexes and a dexterous thumb.

Pride (Battle)

I do want to say that, at times, it is incredibly satisfying to whip your enemies into oblivion, and combat becomes a little bit more enjoyable when you receive upgrades called Hollows. In this respect, Darksiders III resembles Darksiders in that there are upgrades, items, and weapons in both games that give Fury and War new abilities as well as access to new areas. Each Hollow that Fury comes to possess grants her new abilities and the use of new weapons based in a specific element. For example, the Flame Hollow allows Fury to walk through lava and magma, to jump higher, to burn obstacles like thick cobwebs, and allows Fury to use an extra weapon called Chains of Scorn, which are basically chain-sickles covered in fire. While the Hollows are useful and versatile, it still doesn’t alter the combat system—defeating your enemies still involves beating them senseless whether it’s with Fury’s whip, chains, lance, or mallet.

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What I came to discover while playing Darksiders III is that the gameplay borrows heavily from the Dark Souls series and Bloodborne. When I played Darksiders III, I selected the “Normal” difficulty. I didn’t want to pick “Easy”; I wanted somewhat of a challenge while also having the ability to enjoy where the narrative would take me. The issue seemed to be that “Normal” was actually hard for me, despite consistently leveling up and upgrading my weapons. This might appear contradictory given that I said all the combat system requires is the mashing of buttons, but the difficulty of the game doesn’t seem to fall on the way you fight as Fury so much as it falls on how powerful enemies are. I cannot even begin to express how awful some of the enemies are to fight in this game. I am not even talking about mini-bosses, mind you! I am talking about lesser enemies that just exist in each new area of the world. This is where the similarity to Dark Souls and Bloodborne comes in: enemies are incredibly challenging and when you die, you lose all of the Souls you have collected from killing enemies. Souls in Darksiders III (just as in Darksiders) serve as currency in the game— you need Souls in order to level up, to purchase items, etc. When you are killed, your Souls are left behind in a small blue cluster that hovers over the location of where you died. While it is nice to get your Souls back, the game isn’t particularly forgiving otherwise. It doesn’t bother me that Darksiders III follows the Dark Souls model; I don’t think there is anything inherently wrong with it, but I do think the level of satisfaction you get once you manage to survive an onslaught of enemies is low. It doesn’t feel like I have gone toe to toe with enemies; I feel like I barely survived a beating. There is something about this sort of gameplay I can appreciate, which is that it really does take time, effort, and energy to get through the game. The video game does not tell you where to go, how to get anywhere, what to do, or how to do it. Put another way, you could look up a walkthrough to tell you how to get to the next area, but I highly doubt the walkthrough is going to help you beat Sloth or Gluttony. That will take gumption on your part.

The last thing I want to address with respect to Darksiders III is the following question: who killed Fury’s horse? This, my friends, is perhaps the most important question in the game and it doesn’t seem to be answered by the game’s end. When Fury faces Wrath for the first time, she summons her horse Rampage to help her deliver the final blow, only for Rampage to rush in and crash into the ground. To Fury’s horror, she discovers that her beloved horse and only companion has been impaled by the sword of an angel. In her distraction and distress, Wrath is able to nearly kill Fury. Fortunately, she ends up being rescued by the enigmatic Lord of Hollows. A large part of what motivates Fury from this point forward is figuring out who killed her steed. Trying to uncover who did this even supersedes her desire to lead the Horsemen.

Death of Rampage
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Here is the point I am trying to make: there is a lack of narrative cohesion amongst the three games in the Darksiders series, and this disjointedness starts with Darksiders III. In the first two games, there was a clear goal—prove War’s innocence. The way in which War and Death go about trying to achieve this goal is different, but ultimately it is the same goal. Where the narrative of Darksiders III stumbles is with respect to Fury’s role in what began in the first game and is continued in the second. It is never made entirely clear why Fury must stop the Seven Deadly Sins. Surely they are powerful and devious in their own ways, but with scarcely any humans remaining given the apocalyptic state of the world, what really can the Seven Deadly do? Without humanity to corrupt, what place do Lust, Pride, or Avarice have? There is something lacking with respect to Fury’s purpose, which ends up being a running theme throughout the game. While she, as a character, ends up finding her purpose, it is still unclear to me where she, and subsequently her actions and their consequences, fit into the Darksiders series. Seriously though, who killed her horse?

Death, Fury, War
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In the end, I do think Darksiders III is a good game. What it lacks in continuity and originality it makes up for in its dedication to its lore and to a classic formula. I hope you found this lengthy review of Darksiders III interesting and I also hope it makes up for my absence! I hope you can forgive me! What are your thoughts on the game? Let me know in the comments below. As always, thanks so much for stopping by!

Fury and Avarice
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Let’s Paint! Ahriman

Ahriman: The Arch-Sorcerer of Tzeentch

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“Ahzek Ahriman is the most powerful sorcerer in the Thousand Sons’ history, second only to Magnus in psychic ability. Before their fall to Chaos, he was the Legion’s Chief Librarian and Magister Templi of the Corvidae, entrusted with sifting through the shifting strands of fate to divine the Legion’s future. He was a mighty military leader, the keeper of the Book of Magnus, and—ultimately—it was by his Rubric that the Thousand Sons succumbed to irrevocable damnation…Ahriman was banished until he had completed the impossible task of understanding the true nature of Tzeentch. Since then he has wandered in exile, gathering ranks of Rubricae and Sekhmet warriors to his side, seeking out the galaxy’s most powerful artefacts and its most arcane secrets, and carving a complex path of fiery devastation through the Imperium.”


Happy Halloween everyone! I can’t think of a better way to celebrate All Hallows’ Eve than to post about Ahriman! I painted him a while ago, but I wanted to share how he turned out.

Truthfully, I didn’t use many colors for Ahriman. There is a principle in philosophy called Ockham’s Razor. The principle states that entities should not be multiplied beyond necessity. In other words, my approach to painting Ahriman was this: the simpler the better! I only used about six to seven paints and applied them carefully and methodically. I probably used more materials when painting my Chaos Cultists, if I’m being honest. Despite the few paints I used, I didn’t want to rush when painting him. After all, he is the most powerful sorcerer to ever serve in the Thousand Sons’ ranks second to Magnus, so I wanted him to look decent.


I painted all of Ahriman’s armor in Thousand Sons Blue, including the base of the disc he is standing on. All of the trim on his armor I first painted lightly with Gehenna’s Gold before lightly layering Auric Armour Gold on top of that. I also used this combination of colors on the trim of Ahriman’s disc as well as the backpack/jump pack on his back. The rest was mostly careful detailing!


I used Soulstone Blue to decorate the eyes on Ahriman’s chest piece and staff. Soulstone Blue is a technical paint and I do not use technical paints often, so I tried really hard to be careful with this stuff given its thick consistency. There is a skull that rests on Ahriman’s left shoulder as well as a skull that sits on his belt, both of which I painted in Ushabti Bone. Any of the silver pieces on Ahriman were painted in Runefang Steel (the spikes protruding from his disc and some of the details on his backpack/jump back). His cloak I painted in Dragon Red (from Reaper Miniatures)!




For the warp flame in Ahriman’s hand, I used one of my favorites—Nihilakh Oxide. The main reason I painted Ahriman’s warp flame in Nihilakh Oxide was because my Daemon Prince is also holding a warp flame that is the same color! I am a sucker for uniformity. For his base I did my usual combination of Tallarn Sand on the top of the base and XV-88 around the base. Overall, I am really happy with how he turned out. I wanted him to be vibrant (as most Tzeentch and Thousand Sons units are vibrant), but I also wanted him to have a sort of darkness to him. The contrast between the brightness of his blue armor with the depth of his dark red cloak strikes a nice balance, I think! He is an awesome model and he is one of my favorites to use on the battlefield!



Have a fun Halloween and be safe tonight! As always, thanks for stopping by!

Here are the materials I used to paint Ahriman:

Thousand Sons Blue

Gehenna’s Gold

Auric Armour Gold

Soulstone Blue

Ushabti Bone

Runefang Steel

Dragon Red (09401)

Nihilakh Oxide

Reikland Fleshshade

Tallarn Sand


Citadel Grass

Anime Review: Your Lie in April

Your Lie in April
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When you find websites that purport to list the greatest anime of all time, you will often find titles like One Piece, Samurai Champloo, Inuyasha, Trigun, Fullmetal Alchemist, and Cowboy Bebop. I agree that anime like Trigun, Fullmetal Alchemist, and Samurai Champloo are among the greats. When you think of the ingredients that make for an awesome anime, you typically think of the following: interesting and complex characters, a riveting storyline, drama, action or adventure, a dash of hyperbole, and unique, exciting art style. Personally, I think Cowboy Bebop is probably the greatest anime of all time because it perfectly blends these things together, but I digress. This post isn’t about Cowboy Bebop—it is about an anime that I ended up watching this past spring that, in my humble opinion, should join the ranks as one of the greatest anime of all time (if it hasn’t yet already). That anime is Your Lie in April.

Your Lie in April began as a Japanese manga series written and illustrated by Naoshi Arakawa before being adapted as a television series by A-1 Pictures. When this anime showed up in my Netflix queue, I was intrigued by the vibrancy and color of the art style, but what really piqued my interest was the music. The sweet melody of a piano is what ultimately made me decide to press play! I am going to do my best not to spoil anything about the series because I firmly believe that, if you haven’t seen this anime, you need to!

Your Lie in April centers around the main character, Kousei Arima, a piano prodigy who has dominated the competition circuit since he was a young boy. After winning various music competitions, Kousei develops a reputation as the youngest and most successful child musician in the region. The first episode of the anime begins with an 11-year-old Kousei playing at a recital. As he plays, he hears echoes of his ill mother’s voice. Suddenly, the notes Kousei is playing on the piano sound muffled, almost as if they are underwater. Panicked, Kousei stops playing and proceeds to rock back and forth on the piano bench, sobbing uncontrollably. His mother, who was also his piano instructor, has died. Her death is the reason for Kousei’s mental breakdown and this impacts his ability and desire to play for years to come, as he can no longer hear the notes he plays.

Playing piano
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Fast-forward a few years later, Kousei is in high school and has not played the piano since his breakdown at age eleven. Instead, he has resigned himself to doing his schoolwork and hanging around with his best friends, Tsubaki and Watari. Watari is a bit of a playboy, reveling in the attention he receives from various girls, while Tsubaki is a star athlete. She has a history with Kosei, as they were neighbors as small children and she had a front row seat to the rigorous training Kousei’s mother put him through. One thing that I take to be a positive about this anime is that it isn’t difficult to keep up with the characters. In other words, the central characters are established early on and as the series progresses, the development of the characters is both focused and rich.


For example, Tsubaki grew up with Kousei. In various flashbacks, it is made clear that Tsubaki is a supportive, responsive, and thoughtful friend, having attended nearly all of Kousei’s recitals as a kid. When Kousei would be locked in his room, forced to practice piano, Tsubaki would try to lure him out to play or give him gifts. As the series goes on, Tsubaki develops romantic feelings for Kousei, and the support she once offered Kosei as a child with respect to his music diminishes as she attempts to navigate between seeing Kousei as her “kid brother” or as someone she loves and is afraid to lose. What is interesting to watch is how Tsubaki attempts to deal with her emotions—she made it a priority to watch Kousei perform when she was younger, but it then becomes difficult for her to support Kousei’s return to music as it threatens to “take him away”.

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Something fascinating is that, when the series begins, the art style is a bit muted. This isn’t to say the art style is bad—it certainly isn’t! It is to say that, while the lines of the characters, objects, and surroundings are sharp and crisp, the colors are a bit washed out. It is obvious that this purposely done, as the world for Kousei is listless and dull since he can no longer hear himself play the piano. This changes when we meet Kaori Miyazono. Both Tsubaki and Watari introduce Kousei to Kaori and, at first, Kaori is introduced as Watari’s date. The hope seems to be that, when Kousei meets Kaori, he will return to playing music as Kaori is a musician herself (a violinist, specifically).

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In this moment, when Kousei sees Kaori, his entire world becomes vibrant, striking, bold. The art style instantaneously becomes brighter and much more vivid. It’s genuinely gorgeous! At first, you might have the worry (at least I did) that the relationship between these two characters would fall into a stereotypical, cliché romance. “How adorable! He becomes smitten with this girl and upon meeting her, he sees color and vibrancy in the world again!”. “How cute! He’s reserved and unassuming and she’s zany and creative!”. Both to my surprise and relief, this isn’t what happened at all! What I thought would be cheesy and overdone ended up becoming a relationship central to the development of Kousei as the main character of the anime, but it also teaches an invaluable lesson about how one faces and deals with loss.

Kousei and Kaori
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Kaori is a highly skilled violinist. A part of what makes her so skilled is that she doesn’t play by the rules. Rather than follow the score of the piece she plays, she improvises, playing with spirit, vigor, and passion, making each piece uniquely her own. This is in direct contrast to Kousei, who was dubbed “the human metronome” as a child for the way in which he strictly followed the scores of what he was playing. You learn that Kosei plays in this way because his mother was physically and verbally abusive. If Kousei strayed from the score or attempted to make it his own, she would beat him and berate him. As a young child, Kousei takes this abuse because he believes that if he is capable of playing the piano (and playing it well), his mother will be cured of her terminal illness. When Kousei finally stands up to his mother after a recital, his final words to her end up being about how much he hates her. This is really the impetus for Kousei’s mental breakdown and subsequent (irrational) guilt that he feels about her death.

Without giving too much away, it is discovered that Kaori suffers from an illness as well. When this is discovered, it is already apparent that Kousei has fallen in love with her. After all, Kaori has managed to convince Kosei to return to the piano as her accompanist and in virtue of that has shown him what it means to play with everything you have. Kaori, for Kousei, is a chance at redemption, musically and at life.

Kaori and Kousei

Which brings me to my next point. One of the awesome things about this anime is the music! If you are looking for a way to get a nice introduction to popular classics, please watch this series! Pieces such as Chopin’s Etude Op. 25, No. 11, Beethoven’s Piano Sonata No.14 3rd Mov., and Debussy’s Clair De Lune are all played professionally and with great emotion. My personal favorite piece that is played in the series is when Kousei joins forces with a rival’s younger sister at a recital to play the Waltz from Sleeping Beauty by Pyotr Tchaikovsky.

I don’t fancy myself a binge-watcher of television shows in general, so the fact that I finished this series in two days says something. I found myself made so vulnerable by this anime, so moved by it, that I was quite shocked. I cannot remember the last time an anime had me so emotionally invested. Perhaps that sounds strange to say, but I think it speaks against the misconception that anime is only meant to be cute and overdone or action-packed and wild. Anime can certainly be far more than just “kawaii” or blood and guts; I would wager to say that the reason most of those anime that are considered the greatest anime of all time are considered such because they move beyond the stereotypes one associates with Japanese anime.With Your Lie in April, perhaps its greatest strength is in the balance it strikes between comedy and tragedy, loss and laughter, humor and heart. Is this anime action-packed? No. Is it suspenseful? No.

Funny YLIA

However, the relationships between the main characters are incredibly meaningful without the show dragging and sinking from emotional weightiness. The dialogue between characters and the moments shared between them range from beautiful and sincere to downright goofy. I fear that if this balance wasn’t maintained, then this would be a very different anime, perhaps too heavy for most. Armed with a great score, robust and complex characters, and an important lesson about how to deal with loss, Your Lie in April is probably one of the best anime I have ever watched.

K and K we heart it
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I won’t spoil the ending of the series for you because I promised I wouldn’t—all I can do is encourage you to watch this incredible anime! Your Lie in April will be getting five out of five bear paws from me!