Games Workshop

### Products

Warhammer Fantasy, Warhammer 40,000, The Lord of the Rings Strategy Battle Game, Citadel Miniatures, Black Library

### Website

Official Website

**Games Workshop** is a British-based company known for its influential contributions to the tabletop gaming industry. Founded in London in 1975 by Steve Jackson, Ian Livingstone, and John Peake, Games Workshop has played a pivotal role in popularizing tabletop wargaming and fantasy role-playing games. The company is renowned for its immersive game worlds, intricate miniature figures, and captivating narratives.

## The Founding of Games Workshop

The story of Games Workshop, one of the most iconic companies in the world of tabletop gaming, begins in the 1960s with the unlikely trio of Ian Livingstone, Steve Jackson, and John Peake. This article chronicles their journey from school friends to the founders of a gaming empire.

Gaming Ground Zero

In the swinging 60s, when music and rebellion were in the air, these three young men shared a common interest beyond the cultural revolution – board games and music. Ian Livingstone, a blues enthusiast inspired by John Mayall & the Bluesbreakers, Cream, and others, took up playing blues harmonica. Steve Jackson, on the other hand, was obsessed with British blues legends like Peter Green, Eric Clapton, and Mick Taylor, along with American artists like Wilson Pickett and Otis Redding. Both were captivated by the burgeoning British blues scene and the world of music.

Their paths converged at Altrincham Grammar School, where they not only pursued their academic studies but also spent hours together indulging their passions. Another school friend, John Peake, a fellow mod and Lambretta owner, completed the trio. They shared a love for music, scooters, and, notably, board games. Their mutual interest in music and tabletop gaming would become the catalyst for their legendary venture, Games Workshop.

School's Out

Grammar school life in the 1960s wasn't a perfect fit for Ian, Steve, or John. Their non-conformist attitudes clashed with the strict rules, and they had their share of run-ins with teachers. Nevertheless, their time at Altrincham Grammar School had a lasting impact.

Despite the school's limitations, Ian managed to pass five GCE O-levels, earning him a place in the sixth form for A-level studies. Steve, with two A-levels in hand, was college-bound, while John secured excellent A-level grades that paved the way for a civil engineering degree at Nottingham University.

Ian's academic journey was the least conventional. With just one A-level, a grade E in Geography, he chose not to go to university. Instead, he attended Stockport College of Technology, where he honed his business skills and also found time for table tennis and card games.

Game On

Despite geographical separation due to their academic pursuits, the three friends remained connected through regular meet-ups at their local pub in Altrincham. By this time, family board games no longer satisfied their appetite for challenging entertainment. Their desire for more complex and strategic games led them to Diplomacy, a game of negotiation and alliances set in the years leading up to World War One. Diplomacy's intense gameplay sometimes resulted in month-long disputes among friends.

Their pursuit of obscure and intellectually stimulating games didn't stop at Diplomacy. It soon extended to The Warlord, a strategic game set in Europe. This game was a departure from traditional board games, requiring sophisticated strategies and tactics. The three friends, along with their peers at the University of Keele Games Society, were captivated by The Warlord's intricate gameplay.

Quest for the Red Box Warlord

Steve Jackson's enthusiasm for The Warlord remained undiminished, even years after university. In 1977, he contacted the game's designer, Mike Hayes, with a proposal to distribute the game. This endeavor would eventually lead Games Workshop to launch a modified version of The Warlord, known as Apocalypse, a few years later.

All Roads Lead to London

After completing their tertiary education, the three friends found themselves in London, each following a different path. John started working as a civil engineer on the Jubilee line, Steve took on various roles, including model-making and sales, and Ian secured a marketing role. They rented a flat together in West London, where their shared interests in music and games continued to evolve.

This flat marked the beginning of a new chapter in their lives. It was here that they would lay the foundation for Games Workshop, a company that would go on to shape the world of tabletop gaming as we know it.

The story of Games Workshop's rise from humble beginnings to a global gaming powerhouse is a testament to the passion, creativity, and shared vision of Ian Livingstone, Steve Jackson, and John Peake. Their journey from school friends with a penchant for music and board games to the founders of an iconic gaming empire is a remarkable tale in the annals of gaming history.

## The Birth of Games Workshop

The origins of Games Workshop, a global giant in the world of tabletop gaming, are steeped in creativity, passion, and the desire to share their love for games with the world. This article delves into the early days of Games Workshop and the key moments that shaped its inception.

The Name of the Game

In January 1975, three young visionaries - Ian Livingstone, Steve Jackson, and John Peake - embarked on a remarkable journey. Their goal? To create a games company that would eventually revolutionize the world of tabletop gaming. With just £389 in their pocket, including a £50 loan from Steve's mother, they set out to turn their dream into a reality.

Their first hurdle was the need for a unique name for their fledgling company. As brainstorming sessions churned out quirky suggestions like "Cosmic Overflow Games" and "GASS Games" (Games And Situation Simulations Games), they stumbled upon the name that would define their venture: Games Workshop.

The name was inspired by John Peake's bedroom, which had been transformed into a workshop, filled with wood and tools for crafting traditional wooden games. John, a civil engineer with remarkable woodworking skills, handcrafted backgammon, solitaire, mancala, and Go boards from affordable wood sources. This early work laid the foundation for their initial product offerings.

To create the company's logo and letterheaded paper, they turned to available resources. Ian used Letraset dry-transfer lettering sheets - acquired by Steve during his tenure at Games & Puzzles magazine - to piece together the words "Games Workshop." Although they had to combine letters from different typefaces due to limitations, the result was a visually appealing logo that represented their brand.

Ian also designed the first Games Workshop logo, drawing inspiration from the distinctive art style of renowned cartoonist and creator of Fritz the Cat, Robert Crumb. Ian's cross-hatched pen-and-ink design captured the essence of their creative spirit.

With a name, logo, and product line consisting of handcrafted wooden games, Games Workshop was ready to make its mark. But to spread the word and engage with the gaming community, they needed a platform of their own.

Games and Puzzles

Steve Jackson's introduction to the world of board games was through his work for Games & Puzzles magazine, published by Edu-Games (UK) Ltd and edited by Graeme Levin. The magazine's focus on a wide range of games, from family games to chess and historical tabletop re-enactments, intrigued Steve.

In August 1974, Steve had the opportunity to interview for a position at Edu-Games Ltd, which he gladly accepted. To his surprise, he found Graeme Levin, the magazine's owner and editor, working alone in a modest office filled with stacks of back issues of Games & Puzzles. The magazine's modest surroundings belied its ambition to promote games of all kinds.

Steve joined Games & Puzzles' testing panel, which included esteemed names in the world of games such as card game expert David Parlett, inventor Eric Solomon, games enthusiast John Humphries, crossword compiler Albie Fiore, and Graeme Levin himself. This experience allowed Steve to immerse himself in the world of games, and he also began writing game reviews for the magazine, earning £25 per review.

His involvement extended beyond reviews as he contributed crossword grids and black-and-white graphics for various puzzles in the magazine. This role not only honed his skills but also provided him with a valuable resource - stacks of Letraset sheets used for graphic design. Little did he know that these Letraset sheets would play a crucial role in creating Games Workshop's letterhead and periodical in the months to come.

This exposure to the gaming industry and the experience gained at Games & Puzzles would prove invaluable as Steve, Ian, and John set out to embark on their journey to establish Games Workshop.

Ready to Take on the World

Armed with a name, logo, a range of handcrafted wooden games, and the inspiration drawn from their experiences, the trio was poised to enter the world of games with Games Workshop. However, they needed a platform to communicate their vision to the world, and for that, they needed their very own newsletter. This newsletter would be the medium through which they would introduce Games Workshop to the gaming community.

The story of Games Workshop's inception is a testament to the power of dreams, resourcefulness, and the determination to transform a shared passion into a thriving business. It was the beginning of a journey that would ultimately lead Games Workshop to become a global leader in tabletop gaming.

## Owl & Weasel

In the mid-1970s, three young visionaries - Ian Livingstone, Steve Jackson, and John Peake - embarked on a remarkable journey to establish Games Workshop, a company that would ultimately revolutionize the world of tabletop gaming. As they ventured into the gaming world, they recognized the need to connect with the nascent gaming community, and thus, Owl & Weasel was born.

Filling the Void

During this era, fanzines served as the social media platform of the day. Recognizing this, Ian, Steve, and John decided to create their own fanzine to connect with fellow gamers. They understood that this newsletter would become an invaluable tool for communication and sales for their burgeoning business, Games Workshop.

While they lacked the resources to launch a full-fledged magazine, they had the determination to produce their fanzine. Owl & Weasel emerged as a unique title for their publication. It might have seemed peculiar for a gaming fanzine, but the name resonated with its creators. Steve coined the name, reasoning that it described the skills necessary to excel in board games - wisdom like an owl and cunning like a weasel.

With a cover price of a mere 10p, the first issue of Owl & Weasel was published in February 1975. Looking back, Ian admitted that it appeared quite amateurish, consisting of just four single-sided pages with miscellaneous content. However, this humble beginning was the seed from which an enduring legacy would grow.

Spreading the Word

Producing the fanzine was one thing; ensuring it reached the gaming community was another challenge. Ian's education in marketing and mailshots came in handy as he proposed sending free copies of Owl & Weasel to as many gamers as possible. Their initial mailing list was small, comprising about fifty names and addresses. However, the list expanded when Don Turnbull generously shared his Albion mailing list after concluding its publication. It was a modest start, but it marked the beginning of their outreach.

For those they couldn't reach directly, they placed a small advertisement in Games & Puzzles magazine. This caught the attention of gamers who were curious about the intriguing name. Steve's logic behind the name resonated with many - it symbolized the qualities needed to be a skilled games player: wisdom and cunning.

The response was encouraging. Subscriptions began to trickle in, providing the team with the motivation they needed to continue producing Owl & Weasel. Over the next two years, they had a lot of fun curating the content, which sometimes took an odd turn. In one instance, they published a spoof review of a Japanese role-playing game called "Friday in Dundee," where players could assume the roles of professions like bank clerks, lorry drivers, or VAT inspectors. To their surprise, a reader actually inquired about importing the game.

From Humble Beginnings to Enduring Legacy

Owl & Weasel's readership slowly but steadily grew. The fanzine would go on to witness twenty-five issues before the team decided to bring it to an end. In the final editorial in April 1977, Ian penned a poignant postscript, revealing, "Owl & Weasel was conceived, written, typed, and published by Ian Livingstone and Steve Jackson of Games Workshop, a completely unknown West London games company."

Though Owl & Weasel concluded with a circulation of just 200 copies, it held a special place in their hearts. Little did they know that this humble fanzine was a stepping stone to a monumental business opportunity that would change the course of tabletop gaming forever. It was an opportunity they seized with unwavering determination and never looked back.

The story of Owl & Weasel is a testament to the power of passion, resourcefulness, and the enduring sense of community that underpins the world of tabletop gaming.

## Dungeons & Dragons

In the late 1960s, the seeds of a gaming revolution were sown in the mind of David Wesely, a games designer who developed a Napoleonic wargame called Braunstein. This game, initially focused on military roles, evolved when players like Dave Arneson introduced non-military roles like mayors and bankers. Arneson took over the game's management when Wesely joined the Army.

In 1969, at the 2nd Gen Con games convention in Lake Geneva, Wisconsin, Dave Arneson crossed paths with Gary Gygax, an emerging games designer. Their shared interest in Napoleonic wargames sparked discussions of future collaborations. In 1971, Gygax authored Chainmail, a set of rules for medieval miniatures wargaming, which included a surprising fantasy supplement.

Arneson was inspired by Chainmail's fantasy elements and infused his Braunstein campaign with fantasy creatures, wizards, dungeons, and more, creating a scenario he called Blackmoor. In 1972, Gygax played Blackmoor and was captivated, requesting a copy of the rules. However, the game primarily existed in Arneson's mind, with little written material. Undaunted, Gygax took Arneson's ideas and expanded them into the world's first fantasy role-playing game, eventually named Dungeons & Dragons (D&D). This monumental development introduced storytelling into gaming.

Unable to find a publisher, Gygax and Don Kaye established Tactical Studies Rules Inc. (TSR) in 1973 to publish Dungeons & Dragons. They printed 1,000 copies, unknowingly launching a game that would forever change the gaming landscape.

Importing an Adventure

In June 1975, while the world remained unaware of TSR and Dungeons & Dragons, Ian Livingstone, Steve Jackson, and John Peake found themselves attending Citicon, a board games convention in London. Among various tabletop games, they stumbled upon an unusual one – D&D.

Dungeons & Dragons was unlike any other game they had encountered. Players assumed the roles of heroic fantasy characters, delving into a dungeon filled with magic and monsters. A dungeon master guided the adventure through narration, and players engaged in conversations, deciding their actions based on their character's persona. Cardboard figures represented the characters on a hand-drawn map, and dice resolved combat and events.

They were captivated by this unique game, learning it was from the USA and available only via mail order with payments in US dollars. Back home, they mentioned D&D in the June issue of Owl & Weasel, the fanzine they published. To their surprise, a parcel arrived weeks later from none other than Gary Gygax, the co-author of D&D. Inside was a copy of the game.

D&D's appearance was unassuming, with three rule booklets in a plain box. Initially confusing, the game's brilliance unfolded as they began playing. The concept of assuming the role of a character and exploring a magical, monster-filled world under the guidance of a dungeon master ignited their imaginations.

Their fascination led them to import D&D to sell in the UK. However, with limited funds, they could initially afford only six copies. Remarkably, that small order earned them a three-year exclusive distribution agreement for all of Europe, directly from TSR in the USA.

The Rise of D&D

Owl & Weasel featured D&D as the "Dungeons & Dragons Special Issue" in July 1975. Steve's article explained the game and declared it "a modern classic." They advertised D&D at $10.00, but it wasn't until September that they quoted prices in pounds sterling.

In a humble flat transformed into a workspace, they worked evenings and weekends on their newly established Workshop. Occasionally, curious customers showed up at their door, having traveled far and wide to buy copies of D&D, mistaking their living room for a shop. The Workshop's shared public payphone and frequent customer calls vexed their landlord, who became increasingly irritated by the mounting disruptions.

Unbeknownst to them, Dungeons & Dragons had ushered in a new era in gaming history. It would evolve into a cultural phenomenon and remains incredibly popular to this day, with the term "role-playing" now widely recognized, and Dungeons & Dragons a household name. In 1974, however, the concept of RPGs was utterly novel.

Ian's book, "Dicing with Dragons," described role-playing games as a sophisticated form of make-believe, where players create personas and interact in a game world controlled by a referee. The rules serve to determine the outcomes of decisions and reflect the chances of success or failure as realistically as possible.

June 1975 marked a turning point for the Games Workshop team. Obsessed with Dungeons & Dragons, they decided to import the game and distribute it in the UK and Europe. This move set in motion a series of events that would lead to the game's unprecedented popularity and the establishment of the Workshop as a significant player in the gaming world.

Games Day

In the early days of Games Workshop, Ian Livingstone and Steve Jackson regularly attended games conventions in the UK. These conventions predominantly focused on historical miniatures wargaming, as fantasy gaming was still emerging. They traveled from convention to convention with a van full of games, often sleeping on the convention hall floor or in Steve's van, which he humorously named "Van Morrison," as affording both a trade stand and hotel rooms was beyond their budget.

A memorable incident occurred during one of their trips to Southampton when a seagull decided to relieve itself directly on Steve, covering him in bird droppings. This led to a discussion about why bird droppings were primarily white, which they later discovered to be related to uric acid.

In 1975, the idea of hosting their own gaming convention began to take shape. They mentioned the concept of a "Games Day" briefly in their fanzine, Owl & Weasel, and solicited feedback and involvement from readers and companies. The positive response encouraged them to go forward with the plan.

The first Games Day was scheduled for December 20, 1975, at Seymour Hall in London. This event was a gamble due to the cost of hiring a central London venue. Although they didn't sell many copies of Organized Crime, their UK distributors for Koplow Games, Games Day saw considerable sales of Dungeons & Dragons (D&D) and other TSR games. The enthusiasm of gamers participating in the D&D exhibition games demonstrated the potential of role-playing games.

Following the success of the first Games Day, they decided to host another. Games Day 2 took place on February 12, 1977, at Chelsea Town Hall. Owl & Weasel doubled as the program for this event. Despite overcrowding, with over 1,000 attendees, the event was successful. They also introduced D&D Day, later renamed Dragonmeet, on March 12, 1977, at Fulham Town Hall.

Games Day 3 returned to Seymour Hall on December 17, 1977. This event, reported in White Dwarf issue 5, had over 1,500 attendees, with 200 participating in the D&D competition. It was a massive success, despite being oversubscribed.

Games Day 4 occurred on October 28, 1978, again at Seymour Hall, and saw the attendance of approximately 2,500 people. Special guests from the USA, Scott Bizar of Fantasy Games Unlimited and Glenn Kidd of Ral Partha, were present. This event marked Games Workshop's growing presence in the gaming industry.

By 1983, Games Workshop was actively organizing games conventions. They hosted Northern Games Day in Manchester in April and Dragonmeet VI in Westminster, London, in July. However, Dungeons & Dragons occasionally attracted negative media attention, with some wrongly associating it with the occult.

Despite these challenges, Games Workshop and its conventions were thriving, solidifying the company's role as a key player in the gaming world.

## Transition to a Role-Playing Game (RPG) Focus

Following the remarkable success of their first Games Day and the evident popularity of Dungeons & Dragons (D&D), Ian Livingstone and Steve Jackson made a pivotal decision: they were going to turn Games Workshop into a company focused on role-playing games (RPGs). This major decision was not taken lightly. They debated it for a couple of months before finally quitting their jobs.

However, not everyone was on board with this plan. John Peake, their close friend and co-founder, chose not to join them in this new RPG-focused venture. While he enjoyed crafting wooden games, he didn't share the same level of enthusiasm for RPGs and wasn't ready to leave his job. John's decision to part ways with Games Workshop was emotionally difficult for all of them, given their close friendship and the fact that they had been together since the beginning.

Despite John's departure, Ian and Steve remained committed to their RPG-focused vision. In April 1976, they announced in the pages of their fanzine, Owl & Weasel, that they were planning to travel to the United States. Their primary purpose was to attend Gen Con IX, a major convention in Lake Geneva, Wisconsin, known for its association with TSR, the company behind D&D.

The decision to visit the USA was crucial. It allowed them to meet Gary Gygax, the creator of D&D, and his business partners at TSR, Brian and Kevin Blume. This visit aimed to strengthen their business relationship, explore new opportunities, and understand the emerging RPG market in the United States.

The trip to the USA signaled a significant shift for Games Workshop, as the 1970s was the decade when the hobby games industry began to flourish, particularly in the United States. It was where many iconic RPGs, such as Dungeons & Dragons, RuneQuest, Tunnels & Trolls, and Traveller, were created. Additionally, it's where various genres of games, including war and science fiction board games, gained popularity.

The decision to refocus Games Workshop on RPGs was bold but strategic, as they aimed to establish themselves as the leading distributor of fantasy games in the UK and Europe, riding the wave of the growing popularity of RPGs in the United States. The journey to Gen Con IX marked a significant step in this new direction for Games Workshop.

## **Humble Beginnings**

Following a visit to the USA in 1976, where they attended **Gen Con IX** and met influential figures in the American gaming industry like **Gary Gygax**, Ian and Steve returned to the UK with a vision of popularizing RPGs. They were inspired by the thriving hobby games industry in the USA and aimed to replicate its success in Europe.

**Humble Beginnings in Shepherd's Bush**

Upon their return to the UK in September 1976, Ian and Steve were faced with the challenging task of finding an office and a place to live. Unfortunately, securing a loan for their Games Workshop venture proved to be a daunting task, as the bank manager was less than enthusiastic about their RPG-focused business plan.

Determined to make their vision a reality, they managed to secure a small office space located at the back of **John Granby estate agents** in Shepherd's Bush, London. This modest office, affectionately nicknamed the "**Breadbin**," became the birthplace of Games Workshop.

**Van Morrison: The Make-Shift Home**

However, their financial constraints didn't allow for luxurious living arrangements. Ian and Steve resorted to living in Steve's van, which they humorously named "**Van Morrison**." The van became both their transportation and makeshift home, underscoring their unwavering commitment to Games Workshop and the RPG industry.

To maintain hygiene and cleanliness during this challenging period, they joined a local squash club, which provided facilities for shaving and showers.

**The Vomit Pit**

Recognizing the impracticality of living in a van, especially as winter approached, Ian and Steve finally found a budget-friendly flat on **Uxbridge Road**. Despite its subpar condition, including a leaking roof, they affectionately dubbed it the "**Vomit Pit**." They shared this humble abode and were forced to share a bathroom with an elderly couple living on the floor below, who monitored their use of toilet paper.

**Financial Struggles and Perseverance**

Despite facing financial hardships and meager meals, such as lime pickle sandwiches during lean times, Ian and Steve remained steadfast in their pursuit of their vision for Games Workshop. The business faced challenges due to a lack of working capital, which restricted its growth. Profits were continually reinvested back into the company to keep it afloat.

To supplement their income, Steve commuted to Brighton to assist his sister Vicki in running her wholefood business called **Fodder**. Ian managed to secure a small grant for a one-year Certificate in Education course at **Garnett College** in Roehampton.

These additional income sources, combined with their dedication and frugal lifestyle, sustained Games Workshop during its formative years, laying the foundation for its future success in the world of tabletop gaming.

## White Dwarf

In April 1977, the gaming world saw the end of an era with the final issue of "Owl & Weasel." But little did the community know that this conclusion marked the beginning of something far grander and more influential. Games Workshop, led by the dynamic duo of Ian Livingstone and Steve Jackson, recognized the need for evolution. Their beloved newsletter had served its purpose, but it was time to raise the stakes.

The Need for Change

With Dungeons & Dragons (D&D) sales surging and the tabletop gaming hobby on the rise, Ian and Steve knew they had to up their game. To stay competitive and accommodate the industry's growth, a more professional and polished publication was required. This realization came in part from observing the success of TSR, the American company behind D&D, who replaced "The Strategic Review" with the impressive "Dragon" magazine in 1976.

The Birth of White Dwarf

Games Workshop's decision to create "White Dwarf" magazine marked a significant turning point in their history. It wasn't a mere evolution; it was a leap of faith. Going from a homemade instant-print newsletter to producing thousands of copies of a glossy magazine was a massive gamble. They were about to commit a substantial portion of the company's funds to make this endeavor a reality.

The vision for "White Dwarf" was clear—to become the premier professional magazine for enthusiasts of science fiction and fantasy games, especially D&D. The name "White Dwarf" was carefully chosen to encompass both genres. A white dwarf is a dying star, a fitting metaphor for the magazine's role in revitalizing the gaming world. With its distinctive art nouveau Arnold Böcklin logo and a price tag of just 50p, the first issue of "White Dwarf" hit the shelves in June 1977.

A Monumental Gamble

The decision to print 4,000 copies of "White Dwarf" No. 1 was nothing short of audacious. Considering that "Owl & Weasel" had a circulation of just 200, this move was a bold risk. It was a leap into the unknown, with the real possibility that Games Workshop could go bankrupt if it failed.

However, the strength of Ian and Steve's friendship became the linchpin in this pivotal decision. While Ian was more inclined to take risks, the two always reached a consensus on major company decisions. Their ability to find compromises and complement each other's skills played a vital role in Games Workshop's success.

A Success Story

To their immense relief, the first print run of "White Dwarf" No. 1 sold out. Emboldened by this success, an additional 1,000 copies were printed and promptly sold out as well. A final 1,000 copies were printed, and they too found eager buyers. The first edition of issue 1 of "White Dwarf" has since become a collector's item, with pristine copies fetching substantial sums.

Producing the early issues of "White Dwarf" was no easy feat. The modest office, humorously named "The Breadbin," was crammed with games and miniature figures, leaving little room to operate. When a customer entered, either Ian or Steve had to step outside due to space constraints. In October, Games Workshop welcomed its first employee, Trevor Graver, but the limited space remained a challenge. Trevor often worked outside, wrapping orders for shipment on a trestle table in the courtyard, exposed to the elements.

Enter White Dwarf's Early Team

With the need for more space, the "White Dwarf" team expanded. Albie Fiore joined as the features editor, followed by editorial assistant Andy Slack, production artist Robert Owens, and paste-up artist Mary Common. These additions allowed "White Dwarf" to grow and improve over time.

Tragically, Robert Owens, a quirky and creative member of the team, lost his life in a road traffic accident while on a motorcycling holiday in France. His untimely death deeply affected the small Games Workshop team.

Andy Slack, who joined the team in 1980, recalls his time working on "White Dwarf" fondly. He played a vital role in marking up articles, writing when needed, commissioning artwork, and assisting with various tasks, both in the office and at conventions.

The Jamie Thomson Era

In 1981, Jamie Thomson took on the role of features editor on "White Dwarf." His mother's persistence in reaching out to Ian Livingstone helped him land the job, even though he had embellished his qualifications during the interview process. Jamie's contribution to the magazine helped increase its circulation significantly.

As the magazine expanded, so did its staff. Ian Marsh was brought in to assist Jamie Thomson. By the time Jamie left in 1985 after issue 60, "White Dwarf" had become a monthly publication with a thriving readership.

The Impact of White Dwarf

"White Dwarf" wasn't just a magazine; it was a platform for Games Workshop to showcase its games and stores. It drew attention to new companies in the fantasy miniatures world and played a pivotal role in attracting more people to the role-playing games hobby.

As the years went by, "White Dwarf" continued to evolve, adapting to the changing needs of its readers and the gaming community. It grew in content and readership, becoming a cherished source of gaming information and inspiration for enthusiasts around the world.

In retrospect, "White Dwarf" magazine was more than a publication; it was a cornerstone in Games Workshop's journey to becoming a household name in the world of tabletop gaming. It bridged the gap between players and creators, providing a platform for creativity, innovation, and the joy of gaming.

## **Citadel Miniatures**

Inception and Founding

Citadel Miniatures, a pioneering name in the fantasy miniatures industry, traces its roots back to the late 1970s. Bryan Ansell, a co-founder of Asgard Miniatures and Citadel Miniatures, played a pivotal role in its establishment. Together with Bryan Ansell, many talented designers embarked on creating Citadel's iconic miniature ranges. These included the Fiend Factory range, inspired by the White Dwarf feature of the same name, and the Fantasy Adventurers range designed for fantasy role-playing gamers. Citadel Miniatures was also known for manufacturing the complete Asgard range of figures, firmly establishing its presence in the industry.

Citadel Miniatures did not limit its production to science fiction and fantasy figures alone; they were also planning to venture into historical wargaming figures, promising more exciting developments on the horizon.

The Early Days

Operating out of the Newark Folk Museum on Millgate in Newark, Citadel Miniatures began trading in April 1979. Their initial offerings included a range of 100 Ral Partha miniatures and their proprietary ranges of Fantasy Adventurers and Fantasy Specials. They also introduced a set of forty Fiend Factory miniatures directly from White Dwarf.

Partnership with Games Workshop

The collaboration between Games Workshop and Bryan Ansell paved the way for Citadel Miniatures' official formation. In February 1979, issue 11 of White Dwarf made the announcement that Citadel Miniatures Ltd was established, marking the beginning of a partnership between Games Workshop and Bryan Ansell. Bryan Ansell assumed the role of managing director, while the company quickly gained recognition and popularity among role-playing and fantasy tabletop gamers.

One key factor that contributed to Citadel Miniatures' success was its unique product presentation. Unlike many competitors who sold miniatures in plain cardboard boxes or loose from trays, Citadel packaged their miniatures in plastic bags with branded cardboard headers. These bags were designed to hang on spinning display units, enhancing their visibility and accessibility in retail stores. Later, they adopted clear plastic blister packs for display on wall-mounted metal racks, a move that significantly boosted sales.

Challenges and Resolutions

Despite early successes, Citadel Miniatures faced internal challenges. Disagreements over resource allocation and limited funds led to Bryan Ansell's resignation in 1981. This departure posed a significant question: who would lead Citadel in his absence? Eventually, they struck a deal that allowed Bryan to return as managing director, and Citadel continued its remarkable journey.

Golden Era of Fantasy Miniatures

Under Bryan Ansell's leadership, Citadel Miniatures flourished. The company dominated the fantasy miniatures market by producing figures that gamers adored. These miniatures stood out for their chunky aesthetic, dynamic poses, and intricate details. Citadel also had an edge in sculpting talent, employing renowned figures like the Perry twins, Jes Goodwin, Bob Naismith, Kev Adams, and Nick Bibby. To further solidify its presence, Citadel acquired competitors like Chronicle Miniatures and Marauder Miniatures.

Plastic Miniatures Revolution

In the mid-1980s, Citadel Miniatures initiated a plastic miniatures revolution. Prior to this, metal miniatures dominated the market but were expensive to manufacture due to the short lifespan of rubber molds. Citadel overcame this challenge by introducing plastic slotta bases that allowed metal miniatures to be inserted. This innovation extended the lifespan of molds, making plastic miniatures more affordable and accessible to gamers.

The Fighting Fantasy Experiment

In 1987, Citadel Miniatures ventured into the Fighting Fantasy range, offering twenty-seven different figures, including heroes and monsters. While not a commercial success at the time, this endeavor laid the groundwork for Citadel's future success in plastic miniatures.

## Warhammer

Citadel Miniatures, in collaboration with Games Workshop, played a pivotal role in shaping the world of tabletop wargaming. This article delves into the history of Citadel Miniatures and the birth of the iconic Warhammer series.

Founding Citadel Miniatures

Bryan Ansell, co-founder of Asgard Miniatures and Citadel Miniatures, believed in providing customers with more than just miniatures. He envisioned a gaming experience that would accompany their purchases. Bryan, a passionate wargamer himself, wanted to encourage the sale of regiments of fantasy miniatures, rather than individual figures primarily used in role-playing games. This vision laid the foundation for something remarkable.

The Vision Takes Shape

Bryan's vision extended beyond simple rules. He aimed to create a fantasy wargame that could utilize entire miniature collections for skirmish or mass battles. This game would also incorporate character progression and game-to-game continuity. To ensure accessibility, the rules would employ ordinary six-sided dice, commonly found in board games like Monopoly. Furthermore, these rules needed to encompass the vast range of miniatures produced by Citadel, including D&D-type monsters designed for role-playing games.

Collaborative Rule Development

Bryan's ambitious vision required a talented team. He enlisted Richard Halliwell and Rick Priestley to help bring this project to life. Richard Halliwell and Rick Priestley, old school friends who had previously co-authored the fantasy skirmish game "Reaper," were the perfect candidates. Hal focused on the basic mechanics of the game, while Rick contributed the spell-casting system and rules for the bestiary elements. Bryan played a pivotal role in directing the project, providing valuable feedback, and making critical modifications.

From "Rune Hammer" to "Warhammer"

Initially known as "Rune Hammer," the project underwent a name change to "Warhammer" to avoid confusion with Chaosium's "RuneQuest," which Games Workshop published in the UK under license. This name change marked a crucial step in the game's development.

Launching Warhammer

In 1983, Warhammer made its debut, with the lengthy sub-heading "The Mass Combat Fantasy Role-Playing Game." Only 3,000 copies of the first edition were printed, and they quickly sold out, despite some initial rule flaws. Bryan swiftly reacted to the game's success by instructing Rick Priestley and his production team to rewrite and reformat the rules. The second edition not only improved and expanded the rules but also introduced color covers, cardboard cut-outs for scenarios, and a bookcase box.

Warhammer's Continued Evolution

With Bryan's unwavering support and Rick Priestley's exceptional writing skills, Warhammer continued to evolve. Supplements, add-ons, and expansions followed. One of the most significant milestones was the release of "Warhammer 40,000: Rogue Trader" in 1987, authored by Rick Priestley. This marked a turning point, and Warhammer 40,000 became a cornerstone of Games Workshop's portfolio.

## The Dalling Road Shop

In the early days of Games Workshop, business meetings at the Breadbin, their cramped office, were nothing short of awkward due to the lack of space. Bryan Ansell, a crucial figure in the company's history, once had to meet them in the courtyard due to the office's size limitations. The Breadbin was overflowing with boxes of games and racks of miniature figures.

Trade Sales Woes

While mail orders were successful, trade sales faced significant challenges. Many retailers hesitated to place large orders for role-playing games (RPGs), citing reasons such as considering RPGs a passing fad or lacking the specialized knowledge required to sell these games effectively. Frustrated by the lack of commitment from retailers, Steve and Ian decided to open their own shop to serve as a flagship store for RPGs. As landlords with ties to estate agencies, they could secure a suitable location with affordable rent.

The Birth of the Dalling Road Shop

The Games Workshop retail shop found its home at 1 Dalling Road in Hammersmith, West London. This two-story glass-fronted building, while not modern, perfectly suited their needs. The ground floor provided ample space for a shop, and the first floor served as an office, production studio, and stockroom. They took possession of the shop in March 1978, discovering that a nearby private school provided a steady stream of potential customers with pocket money and a fondness for Dungeons & Dragons (D&D).

The shop's official opening on April 1, 1978, was a resounding success. Despite initial concerns, more than 100 enthusiastic gamers queued outside, eager to explore the world of RPGs. It marked the beginning of a thriving retail venture.

Triumph Over Retail Challenges

The shop's success wasn't a short-lived phenomenon. Gamers from various locations flocked to visit the shop, drawn by its unique offerings. Trevor Graver played a significant role in managing the Dalling Road shop and driving sales. His knowledge of hobby games and passion for the products made him a valuable asset. Games Workshop's hiring policy prioritized staff who shared this passion, ensuring that customers received expert guidance and recommendations.

Retailing Success

Saturdays at the shop were often bustling, with Steve and Ian frequently working there. They engaged with customers, gaining insights into their preferences and enjoying anecdotes about D&D adventures. One particularly enthusiastic customer had an encyclopedic knowledge of D&D, earning the nickname "Mind Flayer" after the game's iconic monster. While the Games Workshop of that era may have looked unconventional, its focus on providing customers with a personalized hobby games experience left a lasting impact.

## The Board Game Revolution

In the world of tabletop gaming, Games Workshop stands as a titan, known for pioneering board games that have captured the imaginations of players for decades. Part One of our story delves into the birth of iconic titles, like "Talisman," and the creative process that brought them to life.

Talisman: A Journey Begins

"Talisman" emerged from the minds of Ian Livingstone and Steve Jackson, two luminaries of the gaming world. The game's development was no easy feat; it required intense dedication and countless hours of work. It's a testament to the passion that drives creators in the tabletop industry.

From Concept to Reality

The creation of "Talisman" was a whirlwind process, a rollercoaster of creativity. The challenge was to transform a concept into a tangible product as swiftly as possible. Artists worked tirelessly to produce the game's intricate artwork at a breathtaking pace, often churning out two to three pieces a day. The result was a richly detailed game that would eventually become a beloved classic.

Talisman's Triumph

"Talisman" didn't initially receive universal acclaim, with a lukewarm review from an external critic. Despite this, the game's popularity soared. The first print run sold out rapidly, prompting a second, improved edition that featured colorful cards and remains cherished by fans today. This success spawned expansions and additions, cementing "Talisman" as Games Workshop's flagship board game and a driving force behind the company's global expansion.

In the Shadows of Choices

While "Talisman" shone brightly, the story of Gary Chalk, the in-house artist, took a different turn. Despite the game's immense success, he didn't secure a full-time contract with Games Workshop. Instead, he received an intriguing offer to illustrate "Fighting Fantasy" books, eventually opting for freelance work with Joe Dever on the "Lone Wolf" series. The road not taken in the world of "Fighting Fantasy" remains a tantalizing what-if.

The Warlock of Firetop Mountain: A Classic in the Making

In 1986, Games Workshop published "The Warlock of Firetop Mountain," a board game adaptation of the Fighting Fantasy gamebook authored by Steve Jackson and Ian Livingstone. Designed as a tribute to the popular book series, the game's design revolved around the key attributes of SKILL, STAMINA, and LUCK, offering players a chance to venture through tunnels, battle creatures, and collect treasures.

Warrior Knights: A Strategic Triumph

Derek Carver's "Warrior Knights" entered Games Workshop's portfolio, offering a unique blend of strategy, diplomacy, and economics. While it might not have achieved the commercial success of some other titles, its innovative mechanics and engaging gameplay made it a noteworthy addition to the board game world.

Blood Bowl: A Fantastical Take on American Football

Jervis Johnson's "Blood Bowl" added a fantastical twist to American football. Set in the Warhammer universe, it featured teams of elves, goblins, orcs, and humans, brought to life through Citadel Miniatures. Its mixture of sports and fantasy became an iconic part of Games Workshop's offerings.

**Uncharted Waters: Calamity!** "Calamity!" was a unique venture, a board game about insurance conceived by none other than Andrew Lloyd Webber. Despite ambitious plans, it faced struggles in the market and received mixed reviews. The game's fate took an unexpected turn, leaving both its creators and Games Workshop with valuable lessons.

Diverse Horizons: The Falklands Controversy and Towerblox's Untapped Potential

The Falklands War controversy shook Games Workshop, falsely accused of distributing a war game that had not been imported by the company. The incident underscored the power of public perception.

"Towerblox" is a footnote in Games Workshop's history, a game with unrealized potential. While it didn't find success, its spiritual cousin, "Jenga," would later become a global sensation.

The world of tabletop gaming is an unpredictable journey, marked by both triumphs and challenges. Games Workshop's foray into board games, as detailed in Part One and Part Two, stands as a testament to the enduring allure of tabletop gaming and the indomitable spirit of its creators.

## The Turning Point

*Dragonmeet 2* and *Games Day 5*, set for August 25th and October 20th respectively in 1979, marked a pivotal year for Games Workshop. The stage was set for significant changes.

**A Rising Tide of Tabletop Games**

The year 1979 witnessed the steady ascent of tabletop gaming in the UK. Games Workshop played a substantial role in this transformation by distributing Dungeons & Dragons (D&D) and other games to an increasing number of shops across the country. Always on the lookout for new outlets, the company even tried its hand at pop-up shops in five Topshop branches in December. However, the foray into Topshop outlets turned out to be a miscalculation, as their customers showed little interest in D&D.

**The End of an Exclusive Era**

One of the most critical developments in 1979 was the conclusion of Games Workshop's three-year exclusive distribution agreement with TSR (Tactical Studies Rules) for publishing and distributing D&D and Advanced Dungeons & Dragons (AD&D) in Europe. Although the agreement had technically expired in 1978, TSR allowed it to continue into 1979. This was a year when the AD&D Dungeon Master's Guide (DM's Guide) was set to launch, and Games Workshop aimed to debut it in the UK at Dragonmeet 2.

Negotiations to renew the distribution agreement with TSR were fraught with challenges. Instead of renewal discussions, TSR proposed a startling proposition – a merger of the two companies. Al Saunders, a business consultant representing Gary Gygax, the co-creator of D&D, presented this audacious idea. It involved the creation of a merged entity, in which Games Workshop would hold a third of the equity. This proposal left Games Workshop's founders, Ian Livingstone and Steve Jackson, in a state of shock, and they requested time to deliberate.

**The Unexpected Merger Proposal**

The merger proposal came as a surprise to Games Workshop. They had hoped to renegotiate the terms of the distribution agreement with TSR, not merge their companies. The founders of Games Workshop, driven by a fierce sense of independence and their dedication to building their own business, were reluctant to sell Games Workshop or split their lives between London and Lake Geneva, Wisconsin.

Despite the tempting offer, they declined. Gary Gygax, undeterred, proposed that Ian Livingstone and Steve Jackson join the board of directors of the merged TSR/Games Workshop company. He believed that their like-mindedness and complementary skills would make the new company unstoppable. Flattered as they were by the offer, the Games Workshop founders stood firm in their decision to decline.

While this decision placed Games Workshop in a predicament, it also bought them some time. TSR eventually shipped the DM's Guide in time for Dragonmeet 2, where it was an incredible success. The event saw customers flocking to their stand, creating an atmosphere reminiscent of a financial windfall.

**A Tumultuous Relationship with TSR**

Despite the strained relationship that followed the merger proposal's rejection, Games Workshop continued to be friends with Gary Gygax. Still, the rift grew, and Gary Gygax's visit to London in November aimed to persuade them once more to accept the merger. Despite his efforts, Games Workshop remained steadfast in their decision.

With the merger proposal firmly declined, TSR officially terminated the distribution agreement with Games Workshop. This left Games Workshop as a non-exclusive distributor of D&D in Europe. However, not much changed immediately, as they remained the largest distributor of TSR products in the UK and continued to exclusively distribute various US games and role-playing game supplements.

**The Fiend Folio and More**

Games Workshop's creative endeavors extended to publishing. The AD&D Fiend Folio, primarily a compilation of monsters previously published in White Dwarf, came to fruition in August 1981. It was a testament to Games Workshop's ongoing contributions to the world of tabletop gaming.

The magazine Imagine, launched by Don Turnbull in April 1983, aimed to compete with White Dwarf, heralding an interesting phase in the UK RPG magazine market. While Games Workshop's path diverged from TSR, their commitment to innovation and creativity remained steadfast.

## Expanding Games Workshop

**Building a Retail Empire**

In the late 1970s, Games Workshop's focus on expanding its trade and publishing activities consumed the company's resources. The rapid growth of the business was exciting but presented its own set of challenges. Opening new shops became a priority, but it couldn't happen as quickly as they desired.

The first Games Workshop shop on Dalling Road, opened in 1978, was a resounding success. However, it took until October 4, 1980, for the company to open its second shop, located in St James's Square in Manchester. Another year passed before the third shop opened its doors on September 5, 1981, in the Birmingham Shopping Centre.

**A Chain of Success**

Games Workshop's expansion didn't stop there. In April 1982, they relocated the Manchester shop to larger premises in the Arndale Centre. May 1982 saw the opening of a fourth shop on The Moor in Sheffield, followed by a fifth shop in October 1982 in the Broadmarsh Centre in Nottingham. This expansion didn't go unnoticed, as Ian Livingstone and Steve Jackson became guests of honor at the grand opening of the Nottingham shop. They welcomed customers and signed copies of their first Fighting Fantasy gamebook, "The Warlock of Firetop Mountain," which had become a national bestseller.

The growth continued with two more shops opening in April 1985 in Newcastle and York, following Games Workshop's takeover of the previously existing Gamesmaster shops.

**A Chain of Seven**

By this point, Games Workshop had a retail chain consisting of seven shops:

1. Games Workshop London (Manager: Tim Olsen)
2. Manchester (Manager: Steve Lovell)
3. Birmingham (Manager: Laurence Miller)
4. Sheffield (Manager: Pete Berry)
5. Nottingham (Manager: Keith Tate)
6. Newcastle (Manager: Ian Henzell)
7. York (Manager: Colin Morris)

All these shops were under the leadership of Bob Malin, who played a pivotal role in expanding Games Workshop's retail operations.

**Expanding the Chain**

Games Workshop's retail growth continued with the opening of Games Workshop Leeds in December 1986 and Games Workshop Derby in early 1987. This steady expansion marked the company's commitment to bringing tabletop gaming to enthusiasts across the UK.

However, Games Workshop was cautious about opening shops in locations that might negatively impact independent retailers in the same area. To maintain good relationships with these independent retailers, Games Workshop would consult with them when considering opening a shop in their vicinity.

**A Missed Opportunity and a Rival Emerges**

Games Workshop's journey in the retail world was not without its twists. At one point, they considered acquiring the flagship store of Games Centre, which was located on Oxford Street in central London. Negotiations with the liquidator took place, but they were outbid by Virgin, which led to the birth of Virgin Games Centre.

Looking back, Games Workshop was relieved not to have won the bid. Operating such a prime location shop would have required stocking a range of lower-margin general games for passing trade, in addition to Games Workshop and Citadel products. Games Workshop had previously experienced challenges in this area with overstocking issues.

**The American Frontier**

Games Workshop's expansion extended beyond the UK. John Olsen, one of three American brothers working at Games Workshop in 1984, returned to the United States to open the company's US office. Games Workshop US rapidly expanded its wholesale operations and, in 1986, opened the company's first US shop in Baltimore, managed by John's brother, Tim Olsen, who had previously managed the Dalling Road shop in London.

This expansion was a testament to Games Workshop's commitment to making tabletop gaming accessible and exciting for players around the world.

## The Rise and Fall of Games Workshop's Video Game Venture

**The Digital Revolution**

By 1980, Games Workshop had established itself as the dominant player in the UK hobby games industry. However, a new challenger was emerging in the form of video games played on computers and consoles at home. While the concept of computers wasn't new to Games Workshop's founders, Steve Jackson and Ian Livingstone, who had been playing computer games on the PET for a while and owned Intellivision game consoles, this new wave of technology presented a unique challenge and opportunity.

Sales of personal computers like the BBC Micro and Sinclair ZX81 were soaring in the UK after their launch in 1981. Soon after, the Sinclair ZX Spectrum and Commodore 64 were introduced in 1982. Simultaneously, gaming consoles like the Atari 2600, initially released in the USA in 1977, were becoming increasingly popular. Iconic games like Pong and Space Invaders had achieved household name status.

**Excitement About Computer and Video Games**

Steve and Ian were personally enthusiastic about the world of computer and video games. Ian, in his editorial in issue 23 of White Dwarf in February 1981, envisioned a future where players engaged in immersive 3D computer role-playing games. He described a scenario where players would navigate a dark corridor, encountering formidable foes in vivid 3D color. This vision captured the excitement and potential of the emerging video game industry.

Games Workshop had to decide whether video games were a threat or an opportunity. Would they sell computer games in their shops? The decision was made to enter the video game market, but there was a key oversight—they lacked experience and leverage in the video game industry.

**Jumping into Video Games**

Games Workshop embarked on selling video games in their shops in 1982. They offered a range of popular computer game cassettes and cartridge games for consoles. Activision cartridges for the Atari console were a significant part of their inventory, along with cartridges for the Intellivision, ColecoVision, Vectrex, and the Philips games console. They even stocked niche products like Apollo, CBS Electronics, Imagic, and Spectravision cartridges.

But they didn't stop there. The video game development scene was rapidly expanding, with countless individuals and companies creating games for platforms like the ZX Spectrum and Commodore 64. Games Workshop jumped on this trend, acquiring a multitude of titles for various gaming platforms. Their 1982/83 Computer & Video Games catalogue listed more than 500 titles for a wide array of gaming systems.

**The Crash of '83**

This optimistic endeavor would soon take a disastrous turn. The video game market crashed in 1983 due to oversupply. There were simply too many video games available, and a glut of unsold game cartridges accumulated in warehouses and on store shelves. This led to a steep decline in wholesale prices as manufacturers tried to offload excess stock.

Games Workshop initially saw an opportunity in buying heavily discounted games, but consumers were not interested in purchasing these surplus games, even at reduced prices. The market was saturated with low-quality titles, contributing to the crash. The infamous story of the mass burial of hundreds of thousands of unsold E. T. The Extra-Terrestrial and other Atari games cartridges in the New Mexico desert in 1983 became emblematic of the crisis—an oversupply of games and a lack of demand.

The heavy discounting of video games led to substantial losses for many retailers, with some going out of business. Games Workshop, however, managed to survive the crash, thanks to the strength of its hobby games sales and the efforts of Retail Operations Manager Bob Malin in returning overstocked games to their manufacturers.

**Video Game Publishing and a Hasty Retreat**

Before the crash in 1983, Games Workshop had established a computer games publishing division. They developed and published their own titles, including computer game adaptations of their board games like Apocalypse and Battlecars. However, success in the video game industry required substantial capital investment, which Games Workshop was unwilling to commit.

They released several successful titles in 1984 and 1985, such as Chaos, Journey's End, and a computer game version of Talisman. These games put Games Workshop on the map in the computer games industry. Nonetheless, the company decided to halt computer game development and publishing. They realized that their best interests lay in refocusing on their core intellectual property and retail shops.

**Personal Ventures**

Notably, Ian Livingstone had a personal venture in the video game industry during this period. He designed "Eureka!" for Domark, a graphical adventure game released in October 1984. The game offered a £25,000 prize to the first player to solve the final puzzle. This venture marked the beginning of Ian's deeper involvement in the video game industry in the years to come.

**Legacy in Video Games**

Despite their brief foray into video games, both Ian Livingstone and Steve Jackson would go on to play significant roles in the video game industry. Ian invested in Domark, which later merged to form Eidos plc, the publisher behind iconic titles like Lara Croft: Tomb Raider. Steve co-founded Lionhead Studios, known for games like Black & White and Fable.

In summary, Games Workshop's venture into video games proved both exciting and perilous, showcasing the challenges and opportunities that the emerging digital age presented to traditional tabletop gaming companies.

## Warriors & Warehouses

**Warriors & Warehouses** is the fascinating tale of Games Workshop's journey from its humble beginnings to its rise as a powerhouse in the tabletop gaming industry. Founded in 1975 by Steve Jackson and Ian Livingstone, Games Workshop went through various phases of growth, innovation, and even some setbacks before becoming the iconic company it is today. In this article, we'll explore the period of Games Workshop's history when it operated from the Sunbeam Road headquarters, a crucial chapter in the company's evolution.

The Move to Sunbeam Road

Games Workshop's journey to Sunbeam Road began when the company outgrew its previous location at Hythe Road in September 1981. While the Hythe Road building had served its purpose, it was time to find a new home that could accommodate the growing needs of the company. Even though the lease at Hythe Road had not yet expired, the team was eager to relocate.

Sunbeam Road, located in Park Royal, North West London, became the new headquarters. The move marked a significant milestone in Games Workshop's history, as it provided ample space for warehousing, distribution, and offices. The Sunbeam Road facility was a vast two-storey building with a ground floor warehouse and first-floor offices for various departments, including operations, accounts, and production.

The move was a strategic decision by Steve Jackson and Ian Livingstone, who took on the roles of joint managing directors at the new location. Steve oversaw sales, operations, HR, and accounts, while Ian handled production, publishing, and marketing. This arrangement allowed Games Workshop to streamline its operations under one roof and fostered continued growth.

The Sunbeam Road Experience

Sunbeam Road was a massive upgrade from the previous locations. It boasted a warehouse space that could comfortably house Games Workshop's expanding inventory. The ground floor warehouse even featured a goods entrance capable of accommodating a ten-ton lorry. The first floor housed spacious offices, a reception area with a telephone switchboard, a well-equipped kitchen, a boardroom, and various departmental offices.

Employees at Sunbeam Road fondly remember their experiences there. Clive Bailey, who started as a publicity manager and later became the marketing manager, reflected on his transition from the City of London to the industrial estate of Park Royal. He played a pivotal role in producing Games Workshop's catalogs, managing events, and handling White Dwarf magazine subscriptions.

Other staff members, such as production artist Liz Lindars and credit controller Colin Reynolds, shared their unique stories. Liz vividly recalled her role as the caretaker of a tank full of tropical fish in the office and the days filled with creativity and camaraderie. Colin spoke of the financial side of the business and the steady inflow of money due to the high demand for Games Workshop's products.

The Sunbeam Road era also witnessed the merger with DragonLords, a fanzine critical of Games Workshop. Marc Gascoigne, Ian Marsh, and Mike Lewis, the creators of DragonLords, joined Games Workshop, where their creative talents were put to productive use.

Work Hard, Play Hard

Games Workshop wasn't just a workplace; it was a community of passionate gamers. Sunbeam Road fostered an environment where employees could enjoy their work while having fun. Games like table tennis, snooker, and table football were available for staff to unwind during breaks.

Ian and Steve, the company's founders, often joined their employees for games during lunchtime. The competitive spirit extended to role-playing games, board games, and even softball, with two rival teams, the Rats and the Sharks, captained by Ian Livingstone and Steve Jackson, respectively. There was even a company blues band that performed at parties, demonstrating the strong sense of camaraderie among Games Workshop's staff.

The creative minds at Games Workshop also found innovative ways to have fun. Jamie Thomson, the White Dwarf features editor, recalled humorous moments, including pranks and jokes that filled the air. These moments of levity, combined with hard work, contributed to the company's unique culture.

The Great Leak

No company's journey is without its challenges, and Games Workshop had its share. One memorable incident was the "Great Leak," when a thunderstorm caused rainwater to pour through the warehouse roof, threatening valuable stock. Employees rallied to save what they could, but some stock was lost. Fortunately, the company's insurance policy, championed by Steve's father, Ken, proved to be a saving grace during this unexpected crisis.

Despite the occasional setback, Games Workshop continued to grow and evolve during its Sunbeam Road phase. The company's willingness to adapt, innovate, and embrace its employees' creativity helped lay the foundation for its future success.

Going Nowhere

Games Workshop's Sunbeam Road chapter was marked by its determination to expand its product offerings and reach a broader audience. The company embraced opportunities, such as becoming a wholesaler for imported classic games, to diversify its portfolio. While not all employees were equally productive, the company's commitment to growth and excellence remained unwavering.

In conclusion, Games Workshop's journey to Sunbeam Road was a pivotal period in its history. The move to a larger and more efficient headquarters allowed the company to accommodate its growing operations, foster a sense of community among its employees, and navigate challenges along the way. This chapter laid the foundation for Games Workshop's continued success as a global leader in tabletop gaming.

**Warriors & Warehouses** is a testament to the resilience, creativity, and passion that have driven Games Workshop from its early days to its current status as a beloved and iconic brand in the world of tabletop gaming.

## The Warlocks of Firetop Mountain

**Introduction**

"The Warlocks of Firetop Mountain" is a classic gamebook written by Ian Livingstone, one of the co-founders of Games Workshop and a pioneer in the world of interactive fiction. The book is the first installment in the popular "Fighting Fantasy" series, known for its unique blend of storytelling and gameplay. This article delves into the history and creation of this iconic gamebook.

**Genesis of "The Warlocks of Firetop Mountain"**

The journey of "The Warlocks of Firetop Mountain" began when Ian Livingstone and Steve Jackson, both enthusiasts of Dungeons & Dragons and tabletop role-playing games, decided to explore new ways of engaging readers. They envisioned an interactive book where the reader could become the hero of the story and make choices that influenced the narrative.

**Early Challenges**

Getting their innovative idea off the ground wasn't easy. They initially faced difficulties in finding a publisher willing to take a chance on their concept. After several setbacks, Puffin Books, through the persistence of Geraldine Cooke and Philippa Dickinson, agreed to publish their interactive adventure.

**The Creation Process**

To expedite the writing process, Ian and Steve divided the adventure into two parts, with the midpoint marked as a river crossing. Ian authored the first half, while Steve continued from the river crossing, famously adding a challenging maze section. The adventure was set in the depths of Firetop Mountain, home to the powerful warlock Zagor. The title changed from "The Magic Quest" to "The Warlock of Firetop Mountain," aligning it with established fantasy titles.

**Writing Styles and Challenges**

One significant hurdle was the difference in writing styles between Ian and Steve. Philippa Dickinson, the book's editor, noticed inconsistencies and discrepancies in terminology and choices presented in different ways. They had to find common ground and create a consistent narrative voice.

**Game Mechanics**

The heart of the Fighting Fantasy series lay in its game mechanics. Ian and Steve needed to transform traditional role-playing game elements into a single-player book format. They devised a system that involved dice-based combat and random encounters, using numbered paragraphs to represent choices, creating an analogue hypertext experience.

**Penguin's Initial Reluctance**

Even after submitting the manuscript with the new title, Penguin took its time to make an official offer. When they did, they gave Ian and Steve only six months to write the book. This proved challenging, given their busy schedule managing Games Workshop.

**The Puffin Book Club and Success**

The turning point came when the Puffin Book Club recognized the potential of "The Magic Quest" and targeted it at nine- to twelve-year-olds. "The Warlocks of Firetop Mountain" was reprinted six times in three months after a slow start, solidifying its success.

**Expansion of the Series**

With the success of the first book, Philippa Dickinson commissioned two more titles, "The Citadel of Chaos" by Steve Jackson and "The Forest of Doom" by Ian Livingstone. By March 1983, the three titles were topping the Sunday Times children's bestseller charts.

**Legacy**

"The Warlocks of Firetop Mountain" paved the way for the entire Fighting Fantasy series, which gained immense popularity. It inspired countless authors and readers worldwide and remains an iconic example of interactive storytelling.

**Conclusion**

Ian Livingstone's "The Warlocks of Firetop Mountain" is not just a gamebook; it's a testament to the creativity and innovation of its authors. This book sparked a revolution in interactive fiction, leaving an indelible mark on the world of gaming and literature.

## The Battle of the Boardroom

**Introduction**

The history of Games Workshop, the renowned British tabletop gaming company, is marked by pivotal moments, and one such moment was "The Battle of the Boardroom." Occurring in the mid-1980s, this event saw significant changes in leadership, strategy, and corporate direction. This article explores the circumstances surrounding this period and its impact on the company's future.

**Context**

In the early 1980s, Games Workshop founders, Steve Jackson and Ian Livingstone, were simultaneously running the company and writing the popular "Fighting Fantasy" gamebooks at night. During this period, Bryan Ansell, a key figure in Games Workshop's history, made a surprising decision to resign from Citadel, a subsidiary of Games Workshop.

**Bryan Ansell's Resignation**

In early 1985, Bryan Ansell, known for his role in building brands like Warhammer and Citadel Miniatures, decided to resign from Citadel once again. This move was motivated by his increasing difficulty in working with the senior management team at Games Workshop's head office.

**The Meeting and Negotiation**

Upon Bryan's resignation, he was invited to London for a meeting with Steve Jackson and Ian Livingstone. Bryan arrived in a striking red Lotus Esprit Turbo, showcasing his affinity for sports cars. Despite the potential loss of Citadel and its brands, Bryan expressed his willingness to start anew. This bold move seemed like brinkmanship, but it put him in a strong bargaining position.

**Challenges Faced**

The Games Workshop team realized that they still lacked a successor to run Citadel, as succession planning had been overlooked. Additionally, there was no standout candidate to manage the Games Workshop side of the business. It became evident that they needed Bryan Ansell, but Bryan also needed Games Workshop. A compromise was reached, ensuring his continued involvement in an expanded operating board.

**Stepping Back from Day-to-Day Operations**

After a decade of running Games Workshop and with the added pressure of creating more Fighting Fantasy gamebooks, Steve Jackson and Ian Livingstone felt the need to be less involved in the company's daily operations. This decision came as a shock to some employees.

**Formation of the Games Workshop Operating Board**

The Games Workshop operating board was established, consisting of Bryan Ansell as Managing Director of Citadel, Ian Bailey as Financial Director, Ian Waddelow as Marketing Director, and Peter Darvill-Evans as Trade Sales Manager from Workshop. While they didn't initially announce their search for a group managing director, it became apparent that one was needed due to differing priorities among board members.

**Boardroom Battles**

Differences in priorities emerged within the new board. Bryan Ansell emphasized Citadel Miniatures, Warhammer, and the company's shops, while Workshop directors focused on shops, trade sales, games production, and magazine publishing. It became clear that a group managing director was essential.

**Bryan Ansell's Ascendancy**

The choice for the group managing director role ultimately boiled down to Bryan Ansell or a partnership of Ian Bailey and Ian Waddelow. Bryan's focused vision and management style made him the clear favorite, aligning with his plan to emphasize company-owned products.

**Centralization and Relocation**

A plan was devised to centralize all group activities under one roof. Games Workshop's head office and operations were moved to Citadel's premises in Eastwood, Nottingham, marking a significant shift in the company's structure.

**The Future**

Following this period, Games Workshop continued to evolve under Bryan Ansell's leadership. The company's growth was supported by private equity backing and culminated in its flotation on the London Stock Exchange in 1994. Today, Games Workshop stands as a global giant in the gaming industry, with a rich history rooted in the passion of its founders.

**Conclusion**

"The Battle of the Boardroom" marked a transformative phase in Games Workshop's history. The decisions made during this period shaped the company's future and contributed to its enduring success as a major player in the world of tabletop gaming.

## See Also

* Games Workshop Timeline
* List of Games Workshop tabletop games