You’ve clearly spent some time wandering the aisles of a hardware store, staring at a bag of grey plastic and thinking, “I could conquer a galaxy with these.” You’re absolutely right: to the uninitiated, they are rebar chairs or slab bolsters, but to the budget-conscious wargamer, they are the backbone of a low-cost, high-impact tabletop invasion.
About a half a dozen lengths cut to size.
If you are playing Warhammer 40,000 or Necromunda, you know that “Gothic Architecture” is just code for pointy metal things that look uncomfortable to sit on and of course archers. You’ve just gott have those! Those circular wheel spacers, used to keep rebar off the ground, look exactly like sci-fi power generators or cooling vents. If you glue three of them together, spray them silver, and hit them with a brown wash for “rust,” you suddenly have a Promethium Relay Pipe that costs five cents instead of fifty dollars.
I cut some at the “forty-five” to be able to have a right angle corner’
There is a certain wicked humour in watching your opponent’s expensive, hyper-detailed resin tank get strategically blocked by a piece of plastic designed to hold up a driveway. Paint them concrete grey, or in my case desert stucco, add a little fake moss, and you have a defensive line that looks like it has been there since the dawn of the empire—or at least since the concrete pour last Tuesday.
Here is my Post Apocalyptic buildings with the arched walls.
There was even lots left over.
I picked these up from a construction site dumpster but they are readily available.
I will paint these up to match the buildings when the last three buildings are completed.
The German ‘zombie’ units, known as Die Totenkorps (The Dead Corps), represent one of the most infamous examples of the Axis’s use of Rift-Tech biological experimentation within the Konflikt ’47 setting.
Their origins lie in macabre technology: deceased German combatants are re-animated using raw Rift energy, combined with a “neural power pack” and a “re-energiser” to jump-start the dead bodies.
According to the lore, the impact of these units was massive. The Totenkorps were first deployed in 1944 and are credited with saving the German defense during the Allied invasion of Normandy. Their sheer terror and ferocity were supposedly enough to break the Allied spearhead forces, solidifying their status as a terrifying weapon of last resort for the German command.
On the tabletop, the abilities of the Totenkorps reflect this horrifying background. They are terrifying for opponents to face and are defined by their mindless obedience, Fanatic nature, and incredible physical durability.
Crucially, they possess the ability to ignore Pin Markers and Morale checks. This means the Dead Corps units cannot be frightened, nor can their advance be slowed by suppressing fire; they relentlessly move forward until they are physically destroyed.
I wrangled myself into a game of Zeo Genesis with Rob and Jason. Soon we had a crowd gathered around us.
My Soldat
I am still learning the rules so cannot comment much other than my little Soldat Zeo helped bring down one of the big bad dudes on the other side. Some pics.
Prolific 40k contributors Andy Chambers and Gav Thorpe are the masterminds behind the rules which are as slick as you would expect from such a dynamic duo. Zeo Genesis should be out in early 2026.
The arrival of the massive UNB-140 Onslaught Heavy Assault Zeoform on the desolate North African sands immediately redefined the challenges facing the enigmatic commander, “The Dessicated Fox.” Having carved out a reputation for swift, bewildering victories against the British defenses around Cyrenaica and having surrounded Tobruk by mid-April 1941, the Fox now possessed a weapon of unparalleled power, yet one that presented equally staggering logistical and mechanical obstacles.
The machine’s sheer size and complexity, compounded by the severe damage sustained during its transit through the quantum rift, demanded resources and specialized knowledge simply unavailable in the current theater of operations. Each movement of the Onslaught required meticulous planning, as the sands of North Africa presented a harsh environment that could easily impair the machine’s functionality. Additionally, rumors began to circulate among the ranks about the machine’s advanced technology, which seemed almost otherworldly to the soldiers accustomed to conventional warfare.
The Fox, whose origins were rumored to lie in the Transylvanian Alps, now had to solve a cosmic puzzle in the middle of a desert war, facing not just the British forces but the pressing need to innovate and adapt rapidly to make the most of this extraordinary asset. The pressure mounted as time passed, and the stakes grew higher—victory depended on the ability to harness the formidable potential of the Onslaught before it became a liability instead of an advantage.
The initial assessment delivered by the Onslaught—Structural integrity compromised at 78%, primary weapon systems at 62%, and its sophisticated internal repair capabilities degraded but active—confirmed the monumental task ahead. This was not a quick fix; this demanded nothing less than the construction of an entirely new, advanced engineering base capable of handling a unit designed for conflicts far beyond the scope of mere tanks and artillery. The logistical challenges were immense: the colossal size of the UNB-140 meant it could not be easily moved, requiring the Fox to dedicate precious, scarce fuel and manpower to securing and camouflaging the crash site. Furthermore, the advanced Z-Control Systems, which demanded an elite, highly-trained pilot, were now sitting dormant, waiting for a human or entity capable of mastering the machine’s intricate cognitive demands, adding a crucial personnel gap to the mechanical crisis.
As the situation unfolded, it became clear that not only was the physical restoration of the UNB-140 a priority, but there was an urgent need for a comprehensive strategic plan that would address both the immediate necessities and the long-term implications of re-establishing a functional unit. Teams of engineers and tacticians were called in, working tirelessly amid the remnants of the fallen behemoth, while simulations of potential conflicts ran in the background, highlighting the dire importance of a swift recovery. Each detail mattered in this high-stakes environment, where every hour wasted could spell disaster in the ever-volatile theater of war, and so every decision was weighed with meticulous care, recognizing the fragile balance between operational capability and the ever-looming specter of failure.
Despite the near-insurmountable difficulties, the Dessicated Fox viewed the damaged Onslaught not as a burden, but as the ultimate force multiplier that would guarantee victory in the looming 1942 offensive, culminating in the Battle of Gazala and the capture of Tobruk. The machine’s powerful energy cannons, its multi-layered ablative armor, and its mythic ability to self-repair made it the definitive spearhead the Africa Corps needed to crack heavily fortified strongpoints, effectively turning the tides of battle in their favor. Its mere existence would become a weapon of psychological warfare; the legend of the Fox would fuse with the legend of the giant desert machine, instilling both fear and hope among the troops and the enemy alike.
As whispers of its capabilities spread, enemy forces found themselves increasingly demoralized, their confidence eroded by the impending threat of the Onslaught’s resurgence. The immediate focus shifted to the desperate effort of salvage and repair, a silent, covert operation running parallel to the conventional campaign, as engineers, fueled by a mixture of ingenuity and desperation, began the impossible task of recreating a high-tech fortress out of sand and captured enemy scrap, improvising innovative techniques to utilize local resources efficiently. This effort, fraught with challenges and setbacks, was not just about machinery; it was about the spirit and tenacity of those who believed that bringing the colossal UNB-140 Onslaught back to its full, terrifying functional status could be the key to altering the course of the war itself, drawing on every ounce of determination to achieve the seemingly impossible.
I now have the base colour and some shading and highlighting on the model and am just starting to paint the detail. Not too much as I want the Africa Corpse yellow to still dominate. Hopefully completed in the next few days.
Just putting it into context with the other Zeo forms in”The Dessicated Fox’s arsenal”:
Having recently played the rules (see yesterday’s post) I decided to have a good read of them and let you know my thoughts.
Bryan Ansell’s “Street Fight” is a fast modern wargame for close combat, focusing on street violence and gang warfare. Published by his company, Wargames Foundry, it is simple and quick to play, appealing to both beginners and seasoned players. The game uses a small number of 28mm miniatures, often from Foundry’s Street Violence range, for intense battles where tactics and luck matter. It works well for narrative campaigns, integrating character progression and experience growth into the gameplay.
The core engine of “Street Fight” is a modern take on Ansell’s influential Old West rule set, The Rules With No Name. This background focuses on simple, clean gameplay. A key feature highlighted by players is the Fate Deck (or an adapted standard deck of playing cards) used for character activation. This approach removes the typical “I go, then you go” turn order, adding chaos and unpredictability that reflects the nature of a real street brawl. Characters activate based on the drawn cards, creating tense situations where a fighter may act multiple times or be stuck while their opponent takes control.
Combat in “Street Fight” is simple and relies on a basic dice mechanic, usually using a variable number of six-sided dice (D6s), where a ‘6’ typically indicates a successful hit. The combat resolution is “clean” and very fast, keeping the game from slowing down with endless tables or complex modifiers. This efficiency keeps the focus on movement, positioning, and tactical choices instead of dice calculations. Importantly, the rules have ways for character advancement, allowing fighters to “make their bones” and gain new skills or better stats over time. This aspect makes the rules appealing for players who enjoy crafting ongoing stories for their street gangs or crime outfits.
“Street Fight’s” emphasis on fun over absolute realism or technical complexity is a real bonus. Bryan Ansell’s writing style is known to be conversational and encouraging, giving players permission to adapt and extend the rules to suit their specific tastes, a trait reminiscent of older-school wargaming philosophies. It serves as an excellent, flexible framework for a variety of small-scale modern skirmishes, from armed gang confrontations to police actions, and is often considered a perfect choice for an evening’s worth of quick, enjoyable, and tactical miniature gaming.
The “Street Fight” rules divide fighters into four classes: Citizen, Gunman, Shootist, and Legend. This ranking affects their stats and how they use the Fate Deck for extra actions. It enables experienced leaders to take charge while beginners find it hard to contribute effectively.
The beauty of Bryan Ansell’s “Street Fight” rules lies in their flexible framework, which can support a wide variety of narrative scenarios perfectly suited to small-scale skirmishes. While the core rules are simple, the mission design is key to leveraging the character progression system and the unique drama created by the Fate Deck. The rule set generally encourages quick, narrative-driven missions that reflect the chaotic reality of street-level conflict.
The have stood up to the test of time and I like them. Don’t love them but like them.
⭐⭐⭐
Rating: 3 out of 5.
Illustrations are taken from the rules, which can be found here.
It was supposed to be a celebration—a joyous evening marking the passage of another year for Rob. Instead, it was an ambush. Rob, radiating the smug aura of a seasoned wargamer whose birthday wishes are commands, unveiled his magnificent trap: Bryan Ansell’s “Street Fight.”
Rob’s collection, of course, wasn’t just some dusty box; it was a testament to dedication (or perhaps, madness). The Wargames Foundry figures, you say? Superbly painted? Oh, they would have been gorgeous, if they weren’t about to be flattened under the metaphorical boot of Jason’s tactical superiority. Each tiny, beautifully highlighted knuckle-duster and broken bottle just served as a tiny, painful reminder of the impending spanking Rob and I received.
Guru, Rob, and our poor soul of a teammate—Rob’s firstborn—were lined up like lambs for the slaughter. The game wasn’t a contest; it was a performance art piece titled The Inevitable Humiliation of the Birthday Boy and his bumbling bandits.
But ah, the true spectacle! The only satisfying part of the evening, which will no doubt go down in your personal wargaming history as a moment of pure, schadenfreude-fueled bliss: The Sibling Civil War.
Forget the main objective; forget trying to outwit the Master Tactician Jason. The real fight was happening on the flanks, where Rob’s offspring had clearly decided that the only figures worth wiping out were each other’s.
“I’m not letting your ‘Hooligan with the Lead Pipe’ take my ‘Granny with a Shiv’!”
“Too late, amateur! Your Granny just got a taste of the Street Justice my ‘Lager Lout’ delivers! That’s minus one figure and plus one sibling rivalry!”
The air must have been thick with the smell of newly dried paint and raw, primal resentment. They weren’t playing for victory; they were playing for bragging rights at the breakfast table. Rob and Guru were just background noise, the soundtrack to a far more vicious family feud unfolding in 28mm scale.
Conclusion: Rob, you may have lost the war, but let’s be real—you absolutely crushed it in the entertainment department! You swaggered off with your tactical dignity in shambles, yet your spirit was soaring like a hot air balloon after too much soda, relishing the juicy drama of a sibling-sized betrayal—complete with beer and popcorn and the best front-row seat in the house! I can’t wait to receive a report on the juicy gossip over the breakfast table the next morning!
The following sets of rules are now available on Wargames Vault
This rule set emphasizes the distinct asymmetric nature of the two armies, focusing on Roman discipline versus Gaulish individual prowess and numerical advantage.
It is designed to be a quick skirmish game with simple mechanics but also one in which tactical acumen is required. The figure scale is agnostic although I find the larger 54mm and 75mm scale figures work well and provide a larger visual spectacle.
As indicated above the game features an asymmetric conflict between the disciplined Roman forces and the fierce Gauls. Romans move on in column formation on a short table edge, and any casualties they take are permanent. The Gauls, however, stream onto the board from any long table edge and their casualties are not permanent; they can re-enter the game on the next turn, representing their vast numbers. Movement speeds reflect this difference: Gallic figures, including cavalry and chariots, move a full stick, while Roman infantry moves only a half stick.
The core of the game-play is the unpredictable Chaos of War activation system. The game utilises a deck containing one specific card for every unit on the board, plus a single Joker. Players shuffle this deck and draw cards sequentially. When a Unit Card is drawn, that unit immediately takes its single action (Move, Shoot, or Charge). The entire Activation Phase, and thus the opportunity for any remaining units to move, immediately ends if the Joker is drawn, forcing players to react constantly to the possibility of a sudden turn halt. There is no simultaneous movement phase, making the card draw the sole determinant of action.
Once the Activation Phase ends, either by the deck running out or the Joker being drawn, the turn has ended. There is no melee phase, combat occurs if at the end of a models activation they are in base to base combat with an opponent.. Combat uses a special skull/shield dice. The base number of dice rolled contrasts sharply: Gauls roll 3 dice, while Romans roll only 1 die. However, Romans gain crucial bonuses for formation, notably +1 die if their Signifier (standard bearer is present, and +1 die for every friend in base-to-base contact, rewarding tight, disciplined lines. Kills also favour the disciplined; a Gaul is removed by two uncancelled skulls, but a Roman requires three. Javelins are resolved only in melee, and the only long-range attack is the bow, which fires two dice at a range of two movement sticks.
This system creates a game where the Romans must leverage every bonus to survive the inevitable charge and hold the line, while the Gauls rely on their speed, high individual attack power, and the terrifying knowledge that their fallen warriors will soon return to the fray.
Welcome to Blade and Banner, the complete set of rules for intense, card-driven medieval skirmishes, for up to four players. This game plunges you into the gritty reality of small-scale combat, where individual skill, specialised equipment, and tactical positioning are the keys to victory.
Experience the visceral reality of medieval skirmish combat! Blade and Banner is a fast-paced, card-driven miniatures wargame that puts you in command of a small, elite retinue of knights, men-at-arms, and missile troops. Are you ready to seize the field? The core of the game lies in its Card Resolution System. Every attack and defence is a high-stakes moment, using a unique card mechanic where specialised gear grants crucial card-draw bonuses (like the Lance’s +3 Draw on a Couched Charge) or imposes crippling save penalties (such as the Armour Cracker or Devastating Blow). This system provides genuine Tactical Depth as you equip your models with specialised load outs—from Accurate Longbows for ranged support to Great Weapons for heavy melee—each defining their role on the battlefield.
This package provides a Complete Skirmish Experience. It includes full Weapon and Resolution Tables, a ready-to-play Sample Retinue, and three distinct scenarios like The Bloody Ford and The Supply Train Ambush and the Joust to test your strategic skills immediately. Master the charge, outflank your foe, and secure your banner!
Welcome, welcome, citizens of the cosmos! Tonight, we find ourselves at the precipice! The abyss! Or, as I like to call it, ‘Tuesday’! But this is no ordinary Tuesday, my friends, because outside those very soundproofed walls—which, let’s be honest, were an absolute steal on an intergalactic clearance sale—a threat looms! The question is: which brand of spectacular, imminent destruction has punched its ticket for tonight’s show?” Will tonight’s doom be delivered by the legendary, the terrifying, the unbelievably messy… Ravaging Hordes!? Ah, the Hordes. They represent the purest form of chaos: mindless hunger. They don’t have a plan, they don’t have a spreadsheet, they just have an overwhelming, primal need to consume everything. Think of it like that time you owed your cousin, Zorp, forty credits, and then you just kept forgetting until the interest compounded into a self-aware, planet-devouring singularity. That’s the Hordes! They’re less ‘evil masterminds’ and more ‘a bad debt with teeth,’ and they move with the singular, unyielding purpose of a teenager trying to get to the last slice of pizza. They are here for one reason: to eat everything, including the microphone cable! The horde may include zombies, robots, bugs and insects or ectoplasmic constructs etc.
Or, will we face the sleek, the sinister, the truly over-prepared… Extinction Syndicate!? Now these guys? These are not your average slobbering monsters. Oh no. The Extinction Syndicate is organised, sentient, and frankly, kind of rude. They colour-code their atrocities! They have quarterly performance reviews for their lieutenants! They are the universe’s equivalent of that one neighbour who calls the Council because your hedge is 0.3 millimetres too high! And get this: rumour has it they’re not just packing heat; they’re probably packing lasers. Not just regular lasers, either—I’m talking about the ones that come with a little instruction manual and a three-year warranty! They’re not just trying to conquer the galaxy; they’re trying to do it with a five-step process and a professionally-designed PowerPoint presentation. Watch out, folks, because they are here to take over, and they expect you to sign a Non Disclosure Agreement first! So, buckle up, grab your existential dread, and let’s find out which brand of glorious cataclysm is about to ruin the buffet! The music… starts… NOW! The extinction Syndicate may include robots that just want to “exterminate”, grey aliens, and other organised nasties.
All three of these rules and “Tuk Tuk Zombie Rumble” will be available in print as an anthology from Amazon in the next few weeks.
My currrent daily Sci-Fi fix is the 5th Book in the Star Scrapper series by Chaney and Goodwin.
Having read the snippets below in the book it made me think about the concept of gaming in S i-Fi literature:
“As I moved toward the back of the store, I was greeted by several tables of people playing Warhero, Holohammer, and Adventures & Wyverns. Some were drinking and laughing, while others were lecturing their tablemates on some esoteric rules. There was a group of teenagers cackling and cheering as an employee crafted a tale for them from behind a cardboard screen.”
Hmm I know a few of those guys!
“I stepped through the tables set up on some plots of fake grass that were cordoned off from the cement slab where starships and cars were parked beside one another and entered the store. Inside were more people chatting and shopping at the rows of shelves, and others were sitting and painting miniatures or playing on the arcade games set off against one wall. The air inside was stale and carried a smell of cooking grease and I-meant-to-shower-today.”
Aargh! The pungent odour and “anorak” wearing stereotype!
“I scanned the room to see Alek and Lara standing over a low table set with square boxes full of cards in little plastic sleeves. They picked them up, then talked and compared them and showed one another the ones they were most excited by. It was comical to see the two in their combat attire, Lara in her tight stealth suit and Alek in his ceremonial Kyrogi armor, standing together and comparing cards like excited kids. But, like the people outside, they were happy.”
Gaming in science fiction literature is a key theme that deeply examines concepts such as virtual reality and immersive worlds. These narratives often portray games as tools for entertainment and as means of exploring complex ethical dilemmas. Furthermore, they delve into the use of games for military training, showcasing how virtual simulations can prepare individuals for real-world scenarios. In addition, many stories explore the role of games in social control, highlighting how they can influence behavior and shape societal norms in future societies, where the lines between reality and simulation may increasingly blur. Through these explorations, science fiction literature prompts readers to reflect on the implications of gaming in our lives and the potential futures that lie ahead.
The topic broadly encompasses two main aspects: the depiction of fictional games within the narratives, and the exploration of game-like structures as metaphors for life, war, or political strategy.
Gaming in science fiction literature explores the complex connection between technology, humanity, and society in profound ways. This theme often appears in immersive virtual reality (VR) worlds and elaborate simulations that push the boundaries of what is possible. Classic cyberpunk books like William Gibson’s Neuromancer and Neal Stephenson’s Snow Crash introduced the groundbreaking idea of a vast digital realm or Metaverse, where users can escape their everyday lives to inhabit alternate realities enriched with unique economies and intricate social structures, complete with challenges and conflicts that mirror those of the real world. These narratives delve into questions of identity, freedom, and the consequences of technological advancement. More recently, Ernest Cline’s Ready Player One centers on the OASIS, a massive and intricate VR game that serves not only as an escape from a grim reality but also as a battleground for the ideals of personal choice and resistance against corporate control. Through thrilling quests and shared experiences, the OASIS emphasizes themes of escapism, the power of community, and the influence of shared digital culture, inviting readers to reflect on the impact of technology on our lives and the intricate relationships we form within these virtual spaces.
A separate, important theme is the use of games for military and social control. In these stories, games go beyond mere entertainment to serve as powerful tools for training or governing individuals and societies. They become instruments of influence that shape the minds and actions of participants, often without their full awareness. A well-known example is Orson Scott Card’s Ender’s Game, where a young prodigy, Ender Wiggin, is secretly trained as a military leader through what he perceives as complex and strategic war games. These simulations, however, are part of a larger plan, and when he ultimately discovers that the “game” he won was a real and destructive battle against an alien species, it raises profound ethical questions about manipulation, responsibility, and the psychological costs of warfare. The implications of his training lead to a chilling realization about the nature of leadership and the loss of innocence. Similarly, Iain M. Banks’s The Player of Games tells the story of a master gamer from a utopian society, Jernau Morat Gurgeh, who is sent to play a crucial game on a feudal planet. The outcome of this complex game not only determines who becomes the Emperor but also reflects the intricate power dynamics of the society itself, ultimately making the game a potent symbol of political power, societal structure, and individual destiny within the broader narrative. Through these narratives, the intersection of games, power, and morality invites readers to reflect on the real-world implications of games as tools for control and manipulation.
Ultimately, gaming in science fiction is a strong way to explore ideas, serving as a rich canvas for creativity and imagination. It lets authors examine what reality means, questioning the boundary between digital experiences and the physical world, and how human identity changes when that boundary disappears, leading to deep philosophical inquiries about existence and perception. Whether showing a harmless pastime that fosters community engagement, a tool for societal control that reinforces power dynamics, or the future of warfare where technologies blur ethical lines, fictional games help science fiction tackle complex scenarios about human interaction and technology’s progress, revealing the potential dangers and benefits of immersive experiences. Through these narratives, writers can challenge readers to consider the implications of their own interactions with technology and ponder the ever-evolving relationship between humanity and the digital universe.
Now that was a rabbit warren I had not intended to go down!
This is the final piece of Konflict 47 German Heavy Infantry Platoon completed “just in time”.
The Panzer IV X operates within a fictional, alternate-history setting where the integration of advanced, esoteric technology—termed “Rift-tech”—with late-World War II military hardware has become a reality.
The tank utilizes the robust and combat-proven Panzer IV H chassis as its foundation, integrating an array of advanced technologies to enhance its battlefield performance. This choice provides immediate context, grounding the fictional design in historical reality, allowing for a seamless blend of past and future.
The Panzer IV H was a workhorse of the German Wehrmacht, known for its reliability and its defensive package, which included Schürzen (spaced armor skirts) designed to prematurely detonate incoming anti-tank rounds, thereby increasing its survivability against a myriad of threats.
The “X” designation signifies an experimental variant, one where the conventional turret has been entirely replaced by a novel mounting system to accommodate the futuristic weapon, offering unprecedented firepower and tactical versatility.
This integration of old and new—the familiar, reliable chassis paired with an alien technology—highlights a critical evolution in armored warfare, with the tank emerging as not just a vehicle but a symbol of innovation amid chaos.
The primary weapon system is the Schwerefeld Projektor, a German term that translates roughly to “heavy field projector.” This is a gravity pulse cannon, and its function is unique in tank warfare. Unlike a traditional high-velocity cannon that relies on kinetic energy or chemical explosives, the Projektor manipulates local physics. It emits a powerful, focused gravity pulse that is designed to generate an immediate, forceful repulsion field.
This system is not engineered for simple destructive capability or piercing thick armor. Instead, its function is purely tactical: to create distance, disrupt enemy formation, and prevent combat engagements at close range. The effect on enemy units is to stagger, repel, or temporarily immobilize them, forcing troops and vehicles out of optimal combat positions and breaking up offensive momentum.
The Panzer IV X is therefore categorized not as a mainline battle tank, but as a dedicated support and area-denial platform. Its in-game application is centered on preventing enemy charges and securing vital objectives.
Defensive Shield: The Panzer IV X excels when positioned to guard a key objective or a weak flank. By leveraging the Schwerefeld Projektor, the tank can maintain an inviolable perimeter, using the gravity pulse to throw back any unit attempting to engage friendly forces in close combat.
Tactical Disruption: It serves as a psychological and physical barrier, forcing opponents to dedicate resources to neutralizing the threat before they can safely advance. The tank’s presence on the battlefield dictates the enemy’s movement, compelling them to bypass its controlled zone or risk having their formation scattered.
In essence, the Panzer IV X is a testament to the versatility of the Panzer IV design, transformed by Rift-tech from a direct combat vehicle into a highly specialized, sophisticated weapon of battlefield management and control.
