Warhammer 40k Case study
Warhammer 40,000 refers to a miniature war-game developed in a dystopian art fictional universe. Rick Priestly formulated the war game through the Games Workshop in 1987. It also shares a wide range of game mechanics. Due to continuous and periodic release of the Warhammer 40k, it provides a large-scale combat and planetary barricade (Priestley 17). Players in the games collect and paint miniature figures representing persons of 28 mm that signify advanced armoured war vehicles, monsters, and soldiers. Such figurines are gathered to create squad in militaries that can fight against those of other competitors. Every player provides an approximate equal supplement of items to a tabletop combat zone or procured terrain (Cova, Pace, and Park 313). The players make decisions according to the scenario involving complicated battles or simple skirmishes ranging from defended reinforcements and objectives. The models are tangibly relocated around the table and the real distance between models facilitate the combat outcome. Battles take different periods from half-hour to forty-eight hours. The space fantasy of Warhammer 40k is fixed in an imaginary future particularly in the 41st millennium AD. Authoritarian interstellar empire exists and the Imperium of Man. dominates it. Other races and factions include Eldar, the Orks, and the Daemons (Priestley 19). It is utilized in a series of works of fiction, video games, and tabletop games.
Warhammer uses narrative devices, which have profound appeal and secured with familiarity like film and television. More importantly, narrative devices are used to reinforce the resultant play such as fortresses and toy soldiers (Walliss 119). The players engage in narratives that associate with essential themes such as establishment and protection of liberty. The players also utilize the narrative devices to signify being on the good side as opposed to the evil one as well as guaranteeing a proper aftermath for others (Cova, Pace, and Park 313).
Narrative play is evident from the combat battles depending on stories from the far future, especially from the Black library legends or novels, and campaign books. Furthermore, narratives are set in the infamous war zones (Kim 43). For instance, the 41st millennium has notorious combat places such as Baal, Fenris, Cadia, and Armageddon. Playing games that explain about the bigger story is very essential for the Warhammer’s narrative play. Matched play is also useful in style of play of the game (Priestley 51). It is founded on two-assignment table of six possible battles such as Maelstrom of War, and Eternal War via the ta