Deep Strikes with Daniel Schneider
Please welcome to the Drop Pod, artist, campaign master and co-creator of the Warhammer Community comic Reforged, Daniel Schneider!
Arthur: First of all Daniel, thank you for taking the time to do an interview with Trident! I’ve had the time to browse some of your work, and see what I could dig up. Ultimately, I found a range of materials, from X-Men to monsters, some burlesque, a bit of fantasy, and lots of doggos (I love the corgi!). If you had the freedom, without worrying about deadlines, or money, is there anything specific that you enjoy drawing more than anything else, or do you find that it depends on your mood? What would you be working on right now, if there were no deadlines, no worries, and you had the time to do whatever you wanted?
Daniel: Thanks for having me, and for doing a deep dive into my work. I think given complete financial freedom to do whatever I’d want, you wouldn’t see much change in my content. My interests and the art styles I like to explore are quite diverse. And my favorite way to express my love for something is in drawing it.
I find diversity is also great for my workload. Jumping from a cute slice of life comic into a gritty fantasy illustration keeps my mind and creativity sharp. The biggest change you’d see is more content, as I’d just have more time to work on my personal projects. Things like my burlesque artbook, or comics like Ape Court. And a larger focus on storytelling. I have a few comic stories I’d love to put to paper. But comics are such a massive undertaking and inherently risky. So for the time being those stories have to sit on the back burner while I work on the jobs that pay the bills. Everyday though I get a little bit closer to that goal.
Burlesque!
Arthur: Reforged is probably one of the comics you are most known for. It is set in the universe of Age of Sigmar. I found Age of Sigmar to be quite fascinating, in that it doesn’t quite have the ‘grimdark’ setting of Warhammer 40k, but I wouldn’t call it ‘noblebright’ either. It’s neither quite high fantasy, nor dark fantasy. What setting would you classify the mortal realms?
Daniel: I’d classify it as dark fantasy still but with a shiny cover. Really I see Age of Sigmar through 2 lenses. The first is something myself and my Reforged writing partner Jeff Martin always say about AoS. Age of Sigmar is the He-Manification of Warhammer Fantasy. Sigmar has taken these classic fantasy ideas, mixed in some super high fantasy concepts and turned them all up to 11. They’ve started with established tropes of fantasy and pushed them as far as we can go to create something uniquely new, while still being familiar. The Kharadron Overlords are a perfect example. We see the pragmatic industry of dwarves brought to its zenith. An atheist nation of industrialists and merchants who have left the mountain caverns to claim the skies as their home. Steampunk sky-pirates isn’t really what we think of as dwarf-like – but there’s such a logical evolution that takes us to this wonderfully inventive interpretation of dwarves. This is where the shiny cover comes from. On the surface, races and cultures are advancing with these super high fantasy elements. It gives us a sense of hope and progression.
The second way to view AoS was perfectly summed up by Phil Kelly in a recent White Dwarf article. If the 40k setting is in a constant state of 2 minutes before ‘midnight’; midnight being the apocalypse, then Age of Sigmar is set 2 minutes after ‘midnight’. The apocalypse has already happened, and for those old enough it’s happened twice! The Mortal Realms is filled with bitter God’s who failed the old world and lost everything. Only to be given not only these realms of infinite wonder and possibilities but new god-like powers to help as they learn from their loss. And yet they still can’t help but let their petty squabbles get the best of them every time. They end up losing the Mortal Realms to the same mortal man that destroyed their previous world and now they are the underdogs trying to win back what was lost. Though Age of Sigmar is on the surface a setting where these high fantasy people fight for hope after all was lost, there’s this underlying thread throughout the story that they are fighting a losing battle against the dark. The God’s and leaders of Order are too fractured and flawed to ever hope to win. Eventually this world will fall too.
All that to say, it’s a grimdark-high-fantasy-Greek-tragedy haha
When I look at the art of Age of Sigmar, it really exemplifies what Daniel is talking about; this two minutes after midnight, post apocalyptic world where a glimmer of hope fades into the light. Each of these panels have a shiver of heroism to them, but it seems dim in comparison to the rest.
“The first is something myself and my Reforged writing partner Jeff Martin always say about AoS. Age of Sigmar is the He-Manification of Warhammer Fantasy”
Arthur: I love the extreme contrast in both season 1’s “The Hero’s Journey” and season 2’s “Mutants, Witches and…Mole People?” of Reforged. I think it’s a wonderful way to establish the humorous nature of Reforged, in contrast with the oft-not-so-humourous setting of the Mortal Realms. What is it about the Mortal Realms (and the realm of Beasts specifically) exactly that you chose as a setting for Reforged? Why The Mortal Realms?
Daniel: Jeff and I both absolutely love Age of Sigmar. As both gamers and story tellers. So it was an easy choice, we got to add to the lore of a IP we adore. We actually pitched I think around 7 different story ideas to GW. So we only came to this specific setting of a city in Ghur after our initial pitches failed haha! We originally pitched I think 5 ideas, which were each rejected. But the team at Games Workshop were so clear in communicating what they did and didn’t like in those initial 5, it made our job easy after that. Jeff and I also collaborate a lot, so we know the kinds of stories that work best for us.
Sigmar was a really incredible place to make our mark in the Warhammer universe. There’s such a rich and wonderful lore, but the setting is still relatively new so we had a lot of room to expand and add to the story of the setting. The Era of the Beast and the Dawnbringer Crusades had just debuted when we were pitching, and we wanted to set it somewhere current, so Ghur was an obvious pick (Plus a world where everything wants to eat you is ripe for storytelling possibilities) – And then Jeff had this great idea ‘what happens to the cities after they’ve been liberated and these Dawnbringer Crusades move on?’ From there we came to Dawn’s Light, this city full of weirdos trying to be wrangled by one begrudged Stormcast hero. It’s a setting that perfectly let’s us explore the humorous side of living in the mortal realms.
My personal favorite running gag is the depiction of the Skaven, though I keep telling myself when I get into Age of Sigmar I would want to play the Sylvaneth, when they eventually redo the Skaven, I know I’ll fall in love….
Arthur: One of your other pieces of work, Sire and Cub’s “Blood Soaked Hands” held a very different atmosphere than Reforged. The comic itself contains bright fantasy-esque colors, I think that contrasts, almost unexpectedly with the violence shown in the comic, before leaving us with a tragic conclusion. Where did you get the idea for this particular story? What feeling, or impression did you want to impart upon a reader here?
Daniel: There was a combination of things that lead to this story. I started Sire & Cub right in between seasons of Reforged. A sort of running gag in Reforged is that it’s a Warhammer comic with very little war. Action has always been a strong suit of mine so I really wanted to create a comic that would let me scratch that itch. I tend to call myself a storyteller instead of a writer. I’m good with the beats of a story, the emotional arc and flow of the narrative. But the actual words not so much haha which is why I usually work with a writer. So with Sire & Cub I needed to lean into my strengths if I wasn’t going to bring on a writing partner. From there the story really took shape, high action and strong emotion. Sire is the classic silent protagonist, and this is his story. When we meet him we get hints of who he was, before diving into the harsh reality of his life. Sire has given up living for himself, but importantly he hasn’t giving up living. And in that there’s hope. This is a story of redemption, one full of super highs and lows. The contrasts in this story compliment each other. The bright palette welcomes you into this fantasy world, so that when the violence happens it feels all the more visceral. Kinda like Sigmar, I use this bright and shiny exterior to highlight the contrasting brutality of what’s inside. Plus without spoiling anything, having that more cartoony style let’s me really tug at your heart strings even more when a hyper-cute character is involved haha.
“Because everyone should feel as comfortable in their own identity as I did growing up. Inclusiveness is a important part of growth.”
Arthur: I saw that over the last while, you worked on something called the “All Heroes Project”. Tell us a little bit about it: What is the All Heroes Project? Why is it something you wanted to work on?
Daniel: All Heroes Project is an art challenge I created to push for more diversity and inclusion in the Heroic figures we see portrayed in various pop culture. It’s root of inspiration comes from my love of Burlesque. Burlesque is such a celebration and expression of love for who we are and all our diverse bodies. I’ve also been teaching comic and art classes to kids and teens for the past ten years. These are diverse groups of kids from all different walks of life, and talking with them about their experiences has massively affected the way I view the world. I’m a cis-het white male, I grew up with thousands of characters that looked like me. I get to see myself in media and the arts in a positive light everywhere. I see now how lucky I was and the positive effect it has on people when they can see themselves in these roles. Both the burlesque community and my students have really taught me about the need for inclusion and diversity. So the All Heroes Project is my way of contributing to that inclusion and diversity. I’ve always loved putting my own spin on these classic characters and in this way I hope that someone somewhere gets to see themselves represented in one of these redesigns. Because everyone should feel as comfortable in their own identity as I did growing up. Inclusiveness is a important part of growth.
Arthur: I know that recently you finished up running a campaign for Age of Sigmar called “The Legend of the Red Claw Isles”. Do you enjoy playing in campaigns for tabletop games, or running them more? Why?
Daniel: This was the first campaign I ran, and I definitely have to say that I way more enjoy running them. Narrative play has always been my preferred way to play. The lore and art behind the game is what draws me in, so crafting my own small story with my army has always been my favorite part of any tabletop game. Now running a narrative campaign through Red Claw I get to share my love with the community. Inspiring others to create stories that connect their games and build characters has been so much fun. Talking to players as unexpected models in their units take center stage, like when a lowly grot takes down the monstrous warlord with a lucky shot. Seeing the players create rivalries or alliances, then helping them out by creating new mission types or in-campaign rules to reward those moments. It’s immensely satisfying to craft a successful narrative campaign. I want all my players to have their own ‘Ghazghull moment’ as I’ve dubbed it. Named after the incredible evolution of Andy Chamber’s ork warboss model from a simple conversion to the leader of the greatest Waaagh the galaxy has ever known. It’s when a model transforms from a piece of plastic on the board, to a character you love, cherish and grow their story over the course of years. To me this is the pinnacle of why we play Games Workshop games and not something like Chess. We want stories.
Arthur: Recently, I saw that you mentioned you wanted to run a narrative crusade for Warhammer 40k. What is it about the universe and setting for Warhammer 40k that makes it appealing to tell a story for you?
Daniel: There’s alot I’m excited about in telling stories in the 40k universe. It has a much deeper lore than AoS and at the same time that extensive library of stories makes it more restricting. So I have more toys to play with but also more rules to follow. There is so much history that I need to account for whenever I make a decision. The campaign can’t suddenly reveal that “Surprise! The Emperor’s alive!”. Since part of our campaign’s appeal is that they’re set up so that what’s happening to the players is happening along side the main universe story line. We’re just in our own little corner. So while we can take creative liberties to introduce new ideas and concepts, their are certain hard lines we try not to cross without great justification. This way we don’t break the fourth wall, so that our players can stay immersed. I find often the most interesting stories develop from the restraints we put on ourselves, rather than having limitless potential. For example, the thing I’m really loving right now is solving the “Tyranid problem”. Tyranids are my favorite faction and the first team I played as. But eventually I shifted over to their scrappy cousins the Genestealer Cult. The reason I changed is the same reason Tyranids prove to be tricky in a narrative campaign. Nids are this terrifying cosmic horror that is so alien they’re beyond comprehension. They have no individuality and one all encompassing story, consume. Their stories are limiting, there’s no room for diplomacy or common ground. So I’m trying to figure out how the narrative can include this end-of universe threat without that becoming the entire story. We have to be careful not to diminish the inherent stories of our armies to accommodate this shared campaign experience. So there’s an incredible thrill in taking on a challenge like this. Creating a rich world, with room to grow and clear objectives but also hiding secrets for players to discover. All this while adhering to these in world rules. When it all comes together it’s an absolute rush.
Arthur: Not to spoil anything, but for the upcoming campaign, do you have an outline of the story you want to tell? Do you know where you want to take things, where it is set, what factions you want to include? How do you go about starting a narrative campaign of this scale?
Daniel: We approach our campaigns similar to improv. We find a hook to bring the characters (players) and audience in. But once we’ve set the stage the characters will take that story where they want to go. Narrative campaigns are like RPG’s, they’re co-operative storytelling, and for me I want to accommodate as many player types as I can. The first thing I come up with is a setting. It needs to be somewhere isolated enough that you’re not rubbing shoulders with any of the big storyline beats and characters, but diverse enough that gives reason for any army to show up. That way we open the sandbox for the players with a strong story to carve out their own path. Then we need a goal that players who are less story driven can easily understand and strive for, a prize basically. For the Red Claw Isles it was Balorukk’s Rest, these ancient bones of a Godbeast that hold an incredible power. Like running a good D&D campaign, we give the players a guided path with planned out stories on the right, but we are adaptable enough to change the story when they choose to go left. The biggest difference is we’re weaving multiple stories together all at once. Comic creation is such a collaborative process that it really prepared me for this. In the campaign instead of 1 collaborator, I have over a dozen haha! I feel right at home behind the scenes facilitating this grand story as it unfolds.
Helping players guide their armies story is VERY different from the competitive side of the game. I’ve had players choose decisions you would never make in a tournament because it’s what their story dictates. The most compelling stories are from the armies that suffer loses. Story requires adversity and an army that constantly wins isn’t compelling to an audience. I have had so many players come to me excited to tell me how their army dealt with a loss. It’s super rewarding to have an event where players get excited by both wins and loses. Unlike competitive where everyone’s goal can so often be singular, with a definitive pass or fail. Here your goal has various levels of success, and goals can shift depending on how your story unfolds. You may want to gain resources to build up your stronghold and your opponents may seek revenge on a hero that killed their leader last game. Both stories advance each battle whether you win or lose.
I talked a long time with Dave Bibby (the owner of Red Claw) about the kind of campaign we wanted to present. And it was very important to both of us that players have the chance to feel like they’re progressing a story no matter where they sit in their win/loss record. Everyone has a chance to have their spotlight in the story.
Arthur: I think I managed to dig up some of your work – and as I look at the breadth of material you have completed, I have some wonders. First of all – why. What’s the drive behind drawing, painting, or creating? Secondly – do you have a secret favorite? A project, or character or something that is just a pet choice do you?
Daniel: Creating and storytelling have always been my passion. I love putting pencil to paper and breathing life into a new idea. As someone that loves to tell stories but isn’t as elegant with his words, comics are the perfect outlet. Plus visual storytelling has no language barrier and that’s a really beautiful thing.
As for the second half of that question, my favorites are definitely my creator owned comics, like Sire&Cub. I have around 5 stories I’m currently developing, and I desperately want to spend every waking moment working on them. Which is my favorite of the group usually depends on my mood or the one that is closest to becoming a reality haha! Currently at the top of that pile is adapting the first part of Sire&Cub into a graphic novel and then right behind it is working on my kid’s comic loosely based around the Grimm fairy tale ‘Hans My Hedgehog’.
Arthur: As we close out today, I just want to take the chance to roll out the red carpet. Is there anything you are working on that you want to plug, or something you want readers to check out?
Daniel: Thanks so much for having me! Anyone reading that wants to get involved on our narrative campaigns make sure you follow Red Claw Gaming on Facebook or in our discord server. The Age of Sigmar one will pick back up in winter and the 40k one is just about to begin here in summer. Also if you like my work you can check me out on my social media’s here:
Instagram @smashedhead
Twitter @smashed_head
Tiktok @smashed_head
Trident Wargaming 
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