The world's first academic conference dedicated to all things Warhammer
In his 1984 study Technology and the Character of Contemporary Life—published shortly before the first edition of WH40K—philosopher Albert Borgmann provided an analysis of modern technology centered on the dichotomy between things and devices. For Borgmann, a device is an object that provides a commodity (energy, information, entertainment, etc.) while making the mechanism of that …
This paper investigates the complex assemblage that is the rule system of Warhammer 40k matched play with a focus on participation and materiality based on the auto-ethnographic experiences of a competitive players. Before the first dice are rolled in a game of 40k, a lot of work needs to be done. Armies need to be …
Abstract In the grim darkness of the far future, there is only Warhammer. Games Workshop has waged a constant battle to protect humanity from other miniature games. On the fringes of the Imperium, other games lurk and putter on, unseen by YouTube algorithms and academics. In our present age, the tabletop hobby is dominated by …
This research presentation explores how videogame communities mobilise to save their favourite games from becoming lost to history using the example of The Return of Reckoning (Return of Reckoning, 2014) as a case study. The key aims are to position live-service games in current games preservation theory and then unpack how the ‘fan-developers’ preserved Return …
The Warhammer 40k universe, set roughly 38,000 years in the future, presents an intriguing opportunity to explore the potential trajectory of technological advancement. This abstract proposes a comparative analysis of historical technological development with speculative projections for the next 38 millennia, drawing on the rich technological landscape depicted in Warhammer 40k. Technological progress over the …
Warhammer 40,000 (40K) is the most popular miniature wargame. While gameplay is a large part of engaging with Warhammer 40,000, the miniatures are often bought and painted. These painters spend hours painting the models in deep concentration. Drawing on interviews and journal entries of a participant study of 14 painters over a six-month period, this …
Viewers usually expect long-lasting transmedia worlds and crossovers between various media to be internally harmonious. In contrast, Warhammer 40,000 provides prospective viewers, players and readers with a universe far less concerned with clarity and consistency. To the audiences of Warhammer 40,000, significant variance in the depictions of characters, places and factions depending on the medium, …
Everyone who’s interested in 40K lore knows that the Emperor of Mankind gene-crafted 20 “sons” to be his superhuman generals in the Great Crusade to reunite humanity. Equally well known is that two of these Primarchs – the second and the eleventh – were “lost”: everything about them was intentionally deleted from Imperial records. But …
Customizable analog games, such as miniature games or table top role-playing games (TTRPG), rely on active engagement by consumers. Their value creation is immediately tied to not only an engaged customer base but to prosumers, who make the game “their own”. This means that business models for miniature games and TTRPGs deviate quite strongly from …
Much like the techpriests of the Cult Mechanicus, Western societies in the second millennium are consumed by technological advancement, techno-positivistic ontologies, and the sustainability of mankind. During the mid-1900s, there was a shift in biomedical research and theorization that since has brought us new conceptualization of the body: what it can and cannot do and …
As the setting of Warhammer 40, 000 has matured it has presented the threat from within as its most insidious threat. Cross-media stories have been told about the Inquisitions work against such threats. Given the quasi-religious setting the insurgencies that are featured in the game and lore are primarily based around cults, either ‘chaos’ or …
Julia Kristeva’s poststructuralist concept of intertextuality applies to the creation of all genres and formats of texts, but when it comes to working within an existing universe such as Warhammer, the relationship with what has come before and, challengingly from wider narrative and character arc perspectives, what may come in the future, takes on a …
The name Warhammer 40,000, with its aesthetics and, above all, the incredibly detailed background, is now a fixture in pop culture. This epic, supposedly monolithic narrative is actually a piece of work by different artists, designers and authors. The unifying element of these different media and narrative styles is the depiction of war and all …
Abstract Warhammer 40k shows humanity in a complex, yet simple situation. Surrounded by multiple hostile species, war changed from a project to unite all humanity under the guide of the emperor to a eternal necessity, no matter what the cost of ‘xenos’ or even human lives. This raises questions about legitimate self-defense, imperial conquest, genocide …
The universe of Warhammer 40k seems to have reached the stage in the permanent war for pure survival that Carl Schmitt would understand as a completely political world. Friend and foe can be clearly distinguished as a dichotomy inherent in politics. The distinction is clear, even clearer than in the Middle Ages, armour, weapon and …