House on the Haunted Hill
Any old west town has an undertaker's and Malifaux shouldn't be any different, because let's face it, the burrying busines thrives in the city of Malifaux.
Idea and planning
By now you should already know my mantra about how crucuial planning is in any bigger project. Since I'm doing a more or less typical Haloween structure set in Old west, I started my google search and instantly I found pictures of several types of wooden structures that I was going for. Mostly I got a lot of Tim Burton hits which was perfect. A rickety old wooden house on top of a hill with a winding road leading up to it. Something like the opening scenes of the movie Sleepy Hollow. This gave me the idea of adding some jack o'lanterns to the terrain, as well. Being too lazy to sculpt my own, this in turn, prompted me to start a search of some jack o'lanterns. I knew I saw a couple of crews on the Wyrd forums that had some on their bases. Almost immediately I found some by Secret Weapon Miniatures and purchased them as I was aware that it would take them a while to get from the States to me in Croatia.
During my search for jack o'lanterns, I stumbled upon some model pumpkins made by Busch. Being reasonably priced, I ordered those as well.
I now had some details that I knew the folks at Wyrd would love and I had a rough idea what my terrain should look like. It was time to put it all to paper. Begining with the house, I started drawing on a blank piece of paper. Once I had the preliminary sketch, I transfered it to graph paper. This provided me with some measurements that I could work with. The hill would be 10 cm high, the house would have a rough footprint of 10x8 cm while the whole terrain would have a footprint of roughly 30x40cm. This much space would allow me to have the winiding road – wide enough for a hearse (which I accidentally found in my bits box and decided to use).
Materials and tools
After the rough sketch, I could make a definite list of materials and tools needed for this project. Those are as follows:
- one 2x2 mm linden slat
- one 5x5 mm linden slat
- roughly two full planks of 2 mm balsa wood (they come in 10 x 100 cm planks)
- roughly 20cm of 5mm balsa wood (they also come in 10 x 100 cm planks)
- about 0,5m2 of 5cm thick HD styrofoam (50x100cm)
- superglue
- PVA glue
- 0,5 kg of DAS air drying clay
- gravel (four sizes)
- static grass / tufts
- pine trees
- sanding paper (1 sheet)
- thin card
- masking tape
- toothpicks
- some pins
- pumpkins
- jack o'lanterns
- hearse
The tools needed are:
- scalpel blade
- marker pen
- scissors
- modelling saw
- pin vice (or an electric mini drill)
- brushes– various sizes – for painting/washing and for drybrushing
- pliers and pincers
- hot wire cutter
* Unlike June issue of Wyrd Chronicles, where I used my Proxxon disc sander, jigsaw on the MDF to make the base, here I would make the base with styrofoam only. However, if you like a sturdier terrain, you can always cut the MDF base using a jigsaw and sand it down using a disc sander. When your base is cut, just glue the styrofoam base described later to your MDF base.
Building the base
Having all the materials arrive, I cut the footprint of the house that I drew on the graph paper and using a marker pen I used it as a template to drew a rough outline of the house on the HD styrofoam board. Around it, I started drawing trying to copy the design from the paper onto the HD styrofoam board. Once I was satisfied with the layout, I proceeded to cut it with my scalpel blade. Using long strokes with relatively shallow cuts it took me several goes to cut only one piece of styrofoam. Going around the base, I repeated the process untill I cut what would be the whole base of my new terrain. It is important to go with shallow cuts, because if you try with to deep of a cut, you'll end up tearing the styrofoam which looks really messy and would only result in a lot of sanding. This in turn would slow the whole building process. I now had the first layer of my haunted hill. If you remember, I wrote that my hill would be 10cm high. The HD styrofoam being only 5cm thick, meant I had to cut another base of the same size. Using the first base as a template I first drew the outline with a marker pen and then following the same procedure as with the first base, I cut it to size with my scalpel blade.
With both halves of the base cut, I had to make the winding road which meant further cutting of both of the bases. Using a marker of another colour, I drew the cut lines and carefully cut the excess styrofoam with my scalpel blade.
NOTE: if you feel that the cutting is getting heavier, change the blade. Unfortunately, styrofoam is murder on the blades and to have a perfect cut, you need sharp blades.
After the cutting was done, I used a piece of sanding paper to smooth out the irregularities left over from the scalpel blade. The two halves were now complete and I had to glue them together. Using skewers to connect the halves I glued them using PVA glue. I also noticed that at the start of the road the styrofoam was really thin so I stuck a whole skewer through the side of the terrain so it wouldn't break. Also, I protected the begining of the road with masking tape.
With the base glued, I now had to cut the cliffs. Same as last time I used my hot wire cutter to model the vertical surfaces. I again used my cheapest wire cutter, powered by two AA batteries. The electricity from the batteries heats up the wire that then melts the styrofoam performing a perfect straight cut. However, as it heats the wire elongates so you should take into account that fact when fixing the wire to the cutter. If the wire is too long, it will still perform the job, however it won't be as handy and you (like me) will have to stoop to some really fiddly and strange handling of the device in order to get a nice cut. After a bit of fiddling I managed to engrave the errosion patterns with the hot wire cutter.
When the hillside was built, it still looked a bit dull and plain so I decided to make some escarpments along the sides of the cliffs. In order to do so, I needed to build up the volume there. I could have done it using HD styrofoam once again, but I opted against it, choosing to sculpt the escarpments using DAS air drying clay. DAS comes in two versions, white and terracota. Both are equally good, don't crack during the curing period and are reasonably good for sculpting. (Note: you won't be able to sculpt your minis with DAS, but you will be able to model brick or stone walls, cobbled streets and whatnot.) I poured some PVA glue and spread some DAS along the inner and outer sides of the winding road. I then added some clay to the upper level of the base. I also added some volume to the middle of the road with DAS clay as well.
Finally we come to the stage of adding the texture. First, I decided to do the road. Applying a heavy coat of PVA glue, I added some gravel. As always I started with the largest grain and finishing with the smallest grain – sand for chinchillas. I also used the smallest grain on my pumpkin field on top of the base.
The road and field being done, I could now turn to the other horizontal surfaces – mostly the sides of the road. Again, I covered everything with PVA glue and added three or four different types of gravel. The final layer was a bit coaser than chinchilla sand in order to differentiate between the two.
When these were dry, I added pure chinchilla sand to the vertical surfaces of the cliffs. Here I had to make sure the PVA got into the grooves so I diluted the PVA with water in order for it to flow more freely.
I do all my texturing (and flocking for that matter) inside an old trey. This way all the excess material drops into it so I can reuse it later on. Saves money and time on vacuuming.
After the texture was dry, I undercoated the base with a black acrylic mat sprey in my garage. Always sprey in a well ventilated area.
Making the structure
While the texture and undercoat were drying, I proceeded to make the structure of the Undertaker's house. I decided to go for an easier and faster method of building the structure than I used in my old west church build. Unlike the old west church where I first made the wooden frame and then glued each plank separately, here I opted to make the walls from a single piece of 2mm balsa wood. On top of it, I would then glue 2mm thick balsa planks (cca 0,5x3cm). I made sure the wall structure had grooves going in up-down direction while the wall planks were glued going left to right. This way, although the wall is relatively thin, the structure is sturdy enough to withstand gaming abuse without any damage/breakage. As with MDF and styrofoam bases, I first drew the outlines of each wall on the balsa plank using my marker pen. Then I carefully cut each wall. I used my modellers saw for cuts against the grain (perpendicular to it) and used the scalpel blade for cuts going with the grain. When every wall segment was cut, I glued the walls together.
It was now time to cut and model balsa planks. Once again, I used a method similar to the one I used during the old church build. Since I would need a lot of slats of mostly the same size (3cm long) which would require a lot of precise and repeated measuring, I decided to help myself and construct a toos that would be used to cut the slats into desired length - 30 mm long. The geometry of these simple tools would allow fast and precise cutting of the balsa slats and true enough after only half an hour I had cut almost 4 meters of balsa planks.
Once the basic outline of the structure was made, I started gluing the planks. In places where the planks protruded from the walls, I cut them using my scalpel blade. The whole process is fiddly mostly because none of the walls is perpendicular to the other so lots of tayloring was required.
To make the roof structure, I used 2mm thick balsa wood. Once the roof structure was made, I used the same material I used on the church to make the roof – sanding paper cut to size. I just love the texture it has. Once everything was finished, I took both the structure and the base to my garage for a quick sprey of undercoat. Remember to always sprey in a well ventilated area! When the undercoat was dry, I first dryfitted the building to the base, closed the gaps with some balsa planks and applied with a large brush a coat of black colour to the places the sprey didn't reach.
Painting
When the undercoat was dry, it was time to paint the terrain. Normally, I would have glued the building to the base at this point but I decided against it mainly because of the site of the terrain itself. This way I could handle the terrain easier so I left the two parts separate. I started painting the base first. Wanting all my terrain to fit one theme (and consequently one tabletop) it was only natural I use the same colours and colour scheme as on the earlier terrain. Therefore once again I used Pebeo Deco color range. I used Brown (29) for the basecoat and continued drybrushing with Ocre (51). Lighter shades were done with a 50:50 mixture of Ocre (51) and White (41). The final highlight was done with Antique White (69). The road was first basecoated with Brown (29) then heavily drybrushed with Ocre (51) and a 50:50 mixture of Ocre (51) and White (41). The last two highlights were Antique White (69) and pure White (41). This way, I had a visual difference between the cliffs with normal groundwork and the worn out road.
The building has two different surfaces and consequently textures – roof and wooden walls. I proceeded to paint the wooden walls by drybrushing first using a 50:50 mixture of Black (55) and Grey (54). Next layer was pure Grey (54) and the finishing highlight was Ash Brown (70). I was not quite satisfied with the result, so I added another highlight of pure White (41). The roof was painted first with a mixture of Black (55) and Grey (54) and then a mixture of Grey (54) and Antique White (69) finishing with almost a pure coat of Antique White (69). With the base and house painted, I could now glue them together. I used PVA glue to glue the building in place.
Vegetation
After the painting, it was time to add the vegetation to the base. First up, I decided to plant some pine trees. I used Ziterdes ones that come in a big pack of 20 (or 25, not sure). They come on long shafts and in several sizes and heights. In order to glue them in place, I first had to cut their round bases as they got in the way. I also added metal pins to the pine trees. The easiest method of pinning metal pins to the plastic trunks of the trees is to heat the metal pin using a candle and just stick it into the trunk. The heat will melt the plastic locally and as the pin goes into the trunk the heat dissipates and once the pin is cool it will become lodged into the trunk without any need to glue it. Also, I used a pinvice to make the hole in the DAS clay base to accommodate the pins. I glued the trees using both PVA and super glue.
With the trees in place, I could now add the static grass. I made a mixture using several green, brown, yellow and black shades of static grass and when I was satisfied with the end product, I glued it in random patches throughout the base. One thing I made sure of is that I put static grass over any and all of the remaining holes where the wooden structure met the base in order to hide the unintentional mistake. Once the static grass was in place, I applied several shades of different tufts. Again, as in the former articles, I used tufts made by a company called Gamer's Grass.
In the end I added my cool Haloween-ey additions. First up was the pumpkin field. Pumpkins come from Busch, a German model train company that produces excellent terrain accessories, especially in their Natur Pur range (pumpkins, sunflowers, roses, water lillies etc). The set cost about 8USD and has 10 sets of pumpkins with vines and I think it's great value for money. Being an H0 scale, these are in a scale a bit smaller than 32mm minis but the pumpkins come in various sizes so you can even use the smallest pumpkins as tomatos. They already come in different colours so painting required was minimal. When the painting was done, I glued the couple of sets into my pumpkin field using superglue. The second addition was a couple of Jack o'lanterns made by Secret Weapon Miniatures. Set costs about 10 USD and has 10 Jack o'lanterns which is also great value for money. They are full of character and come in several sizes and designs. Unlike Busch, they are created for tabletop miniatures in mind so the scale works perfectly. Being grey these required some painting – using reds and oranges with some black lining. Once I was done with the painting, I glued them randomly along the road and in front of the house for some Haloween feeling. The third addition was the coffin and the lid. They come from an English company called Zealot Miniatures. Among other stuff, they produce excellent resin accessories for dungeons (like doors, trap doors, furniture, fountains etc..). In fact, they recently had quite a successful Kickstarter. I painted the grey resing with brown colours. The final addition to the terrain, which I actually left unglued, was the hearse. It was an old GW Black Coach that I had lying around. I built it using superglue and painted it black with some grey highlights. The reason for leaving it unglued was purely because of easier gaming. With it in the shed, it would prevent models from going around the house. This marked the end of the build and all I had to do was to take some pictures of the finished product.
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Pigmentation principles: why powdered pigment doesn't work
- • Titanium dioxide (TiO₂) — IR around 2.7 → excellent coverage, strongest white pigment
- • Zinc oxide (ZnO) — IR around 2.0 → good coverage
- • Calcium carbonate (CaCO₃) — IR around 1.59 → poor coverage, filler
- • Calcium sulfate / gypsum (CaSO₄) — IR around 1.52 → almost transparent in a binder, filler
This means that gypsum and chalk, although white as a powder, become almost transparent in the formulation of a coating or mass. They do not compete with the pigment — they are subordinate to it. That's why a small amount of pigment easily and evenly colors a gypsum or chalk-based mass, while the same amount of pigment in a mass containing TiO₂ would be barely visible.
3. Agglomeration — the enemy of even color
Pigment powders do not exist as perfectly separate particles. Due to electrostatic attractive forces and surface tension, the particles spontaneously group into clusters called agglomerates or aggregates. Agglomeration is particularly pronounced in: fine particles (the smaller the particle, the higher the surface area to volume ratio, so the attractive forces are relatively stronger) pigments with a high specific surface area, such as carbon black high temperature or humidity conditions When pigment powder is mixed with filler or binder powder, the agglomerates do not break down—they remain as compact clusters. The visual result is an uneven color: dark spots where pigment particles have accumulated, and pale areas where they are absent. The user then concludes that "more pigment is needed"—but this is not true. The problem is not a lack of pigment, but its poor distribution.
4. Dispersion — meaning properly dispersed pigment
Dispersion is the process of breaking up agglomerates and evenly distributing individual pigment particles throughout a medium (water, oil, binder). A well-dispersed pigment means that the particles are as evenly distributed as possible — each filler or binder particle "sees" the pigment, not just the neighborhood of the agglomerate. Dispersion is achieved by mechanical and chemical means:
- • Mechanical: mixing with high shear forces (mixers, mill aggregates, ultrasound). Mixing with a spoon or spatula is not sufficient to break up agglomerates.
- • Chemical: the use of dispersants and surfactants that adsorb to the surface of the particle and prevent it from re-adhering to neighboring particles.
5. Why liquid colorant works better than powdered pigment
Liquid colorants are not just pigment dissolved in water. They are ready-made systems that contain: Pigment — already dispersed to the level of individual particles or very small clusters Dispersants and surfactants — which keep the particles separated and prevent re-agglomeration Liquid medium — which allows the pigment to be evenly distributed throughout the material being colored before that material begins to set or dry When a liquid colorant is added to the mixing water (e.g. in gypsum, concrete, mortar), the pigment is already in an ideal state of dispersion. The same amount of pigment is evenly delivered to each part of the mixture. The color effect is therefore much more intense than with dry-mixed pigment — with a significantly lower total amount of pigment. The same logic applies to paints and varnishes: pigment pastes and dispersed pigments provide better coverage and color uniformity than pigments that have not undergone the dispersion process.
6. Practical application — gypsum example
Gypsum is a good example because it illustrates all the above principles at once. Because it has a low refractive index (~1.52), it is not a true white pigment — it does not resist staining when mixed with a binder. This means that a small amount of black pigment can easily and evenly color the gypsum mass. Why then does it happen to many people that they have to add a large proportion of pigment in relation to the mass of plaster? Because they mix the pigment in powder form directly into the gypsum powder. Pigment agglomerates (especially Fe₃O₄ or carbon black) remain intact, the distribution is uneven, and the result is disappointing. The conclusion "we need more" is wrong — we need better.
Correct procedure:
Add the colorant (or pigment dispersed in water) to the mixing water Mix the water with the colorant well Only then add the gypsum and mix until a homogeneous mixture This way, the pigment is distributed throughout the entire mass before the gypsum begins to set. The result is an even, intense color with a much smaller amount of pigment than with dry mixing. For those who do not have access to professional colorants, a good alternative are liquid pigment additives available in building paint stores — usually in the form of small bottles intended for tinting wall paints. It is the same principle: the pigment is already dispersed in a liquid medium with additives that prevent agglomeration. Added to the mixing water, they give a more even result than powdered pigment with a significantly smaller amount.
Conclusion
The intensity and uniformity of color in a mass depend not only on the amount of pigment — they depend on how well the pigment is dispersed. A pigment powder mixed with a powder of another material almost always gives worse results than a pigment that has been previously dispersed in a liquid medium, in the presence of dispersants. When you encounter the problem of "the pigment does not color enough," it is worth asking yourself: is the problem not in the way it was added — and not in the amount.
" ["content_hrv"]=> string(9431) "Ovaj tekst nastao je nakon druženja srijedom na kojem se razvila rasprava o pigmentaciji gipsa. Kako nisam uspjela sve objasniti na licu mjesta, odlučila sam to složiti na papir — a principi o kojima je riječ ionako vrijede šire od samog gipsa.
1. Što je pigment — i što nije
Pigment je tvar koja daje boju tako što selektivno apsorbira određene valne duljine vidljivog svjetla i reflektira ostale. Crni pigment apsorbira gotovo sve valne duljine; crveni apsorbira plavu i zelenu, a reflektira crvenu. Važno je razlikovati pigment od punila. Punila su bijele ili neutralne tvari koje se dodaju u boje, premaze i mase kako bi povećala volumen, poboljšala teksturu ili snizila cijenu — ali same po sebi ne daju snažnu boju ni dobru pokrivnost. Tipična punila su kalcijev karbonat (kreda, CaCO₃), kalcijev sulfat (gips, CaSO₄), barijev sulfat i slični materijali. Razlika između pravog pigmenta i punila nije samo u boji — leži u fizikalnom svojstvu koje se zove indeks refrakcije.
2. Indeks refrakcije i pokrivnost
Indeks refrakcije (IR) opisuje koliko se svjetlost lomi i raspršuje kada prolazi kroz neku tvar ili nailazi na njezinu površinu. Što je veći, to čestica jače raspršuje svjetlost — i time djeluje neprozirnije, "pokrivnije". Nekoliko usporednih vrijednosti:
- • Titanijev dioksid (TiO₂) — IR oko 2,7 → izvanredna pokrivnost, najjači bijeli pigment
- • Cinkov oksid (ZnO) — IR oko 2,0 → dobra pokrivnost
- • Kalcijev karbonat (CaCO₃) — IR oko 1,59 → slaba pokrivnost, punilo
- • Kalcijev sulfat / gips (CaSO₄) — IR oko 1,52 → gotovo transparentno u vezivu, punilo
Ovo znači da gips i kreda, premda su bijeli kao prah, u formulaciji premaza ili mase postaju gotovo prozirni. Ne natječu se s pigmentom — podređuju mu se. Zato mala količina pigmenta lako i ravnomjerno oboji masu na bazi gipsa ili krede, dok bi ista količina pigmenta u masi koja sadrži TiO₂ jedva bila vidljiva.
3. Aglomeracija — neprijatelj ravnomjerne boje
Pigmenti u prahu ne postoje kao savršeno odvojene čestice. Zbog elektrostatičkih privlačnih sila i površinske napetosti, čestice se spontano grupiraju u nakupine koje se zovu aglomerati ili agregati. Aglomeracija je posebno izražena kod: sitnih čestica (što je čestica manja, veći je omjer površine i volumena, pa su privlačne sile relativno jače) pigmenata visoke specifične površine, poput carbon blacka (čađe) uvjeta visokih temperatura ili vlage Kada se prah pigmenta umiješa u prah punila ili veziva, aglomerati se ne raspadaju — ostaju kao kompaktne nakupine. Vizualni rezultat je neujednačena boja: tamne mrlje tamo gdje su se nakupile čestice pigmenta, i blijeda područja tamo gdje ih nema. Korisnik tada zaključuje da "treba više pigmenta" — ali to nije točno. Problem nije nedostatak pigmenta, nego njegova loša raspodjela.
4. Disperzija — što znači pravilno dispergiran pigment
Disperzija je proces razbijanja aglomerata i ravnomjernog raspoređivanja pojedinačnih čestica pigmenta kroz medij (vodu, ulje, vezivo). Dobro dispergiran pigment znači da su čestice što ravnomjernije raspoređene — svaka čestica punila ili veziva "vidi" pigment, a ne samo susjedstvo aglomerata. Disperzija se postiže mehaničkim i kemijskim putem:
- • Mehanički: miješanje s visokim smičnim silama (mikseri, mlinski agregati, ultrazuk). Miješanje žlicom ili lopaticom nije dovoljno za razbijanje aglomerata.
- • Kemijski: upotreba dispergirnih sredstava (dispergatora) i surfaktanata koji se adsorbiraju na površinu čestice i sprječavaju njezino ponovno lijepljenje za susjedne čestice.
5. Zašto tekući kolorant radi bolje od pigmenta u prahu
Tekući koloranti nisu samo pigment otopljen u vodi. To su gotovi sustavi koji sadrže: Pigment — već dispergiran do razine pojedinačnih čestica ili vrlo malih klastera Dispergatore i surfaktante — koji drže čestice razdvojenima i sprječavaju ponovnu aglomeraciju Tekući medij — koji omogućuje da se pigment ravnomjerno rasporedi kroz materijal koji se boji još prije nego što taj materijal počne vezati ili sušiti Kada se tekući kolorant doda u vodu za miješanje (npr. kod gipsa, betona, žbuke), pigment je već u idealnom stanju disperzije. Svakom dijelu smjese ravnomjerno se isporučuje ista količina pigmenta. Efekt boje je stoga mnogo intenzivniji nego kod suho miješanog pigmenta — uz znatno manju ukupnu količinu pigmenta. Ista logika vrijedi za boje i lakove: pigmentne paste i disperzirani pigmenti daju bolju pokrivnost i ravnomjernost boje od pigmenata koji nisu prošli proces disperzije.
6. Praktična primjena — primjer gipsa
Gips je zahvalan primjer jer ilustrira sve navedene principe odjednom. Budući da ima nizak indeks refrakcije (~1,52), nije pravi bijeli pigment — u smjesi s vezivom ne pruža otpor bojanju. To znači da mala količina crnog pigmenta može lako i ravnomjerno obojiti gipsanu masu. Zašto se onda mnogima događa da moraju dodati veliki udio pigmenta u odnosu na masu gipsa? Jer pigment miješaju u obliku praha direktno u prah gipsa. Aglomerati pigmenta (posebno Fe₃O₄ ili carbon black) ostaju netaknuti, raspodjela je neujednačena, i rezultat je razočaravajući. Zaključak "treba više" je pogrešan — treba bolje.
Ispravni postupak:
Kolorant (ili pigment dispergiran u vodi) dodati u vodu za miješanje Dobro promiješati vodu s kolorantom Tek tada dodati gips i miješati do homogene smjese Na taj način pigment bude raspoređen kroz cijelu masu još prije nego gips počne vezati. Rezultat je ravnomjerna, intenzivna boja uz višestruko manju količinu pigmenta nego pri suhom miješanju. Za one koji nemaju pristup profesionalnim kolorantima, dobra alternativa su tekući pigmentni dodaci dostupni u trgovinama građevinskih boja — najčešće u obliku malih bočica namijenjenih nijansiranju zidnih boja. Radi se o istom principu: pigment je već dispergiran u tekućem mediju s aditivima koji sprječavaju aglomeraciju. Dodani u vodu za miješanje, daju ravnomjerniji rezultat od pigmenta u prahu uz znatno manju količinu.
Zaključak
Intenzitet i ravnomjernost boje u nekoj masi ne ovise samo o količini pigmenta — ovise o tome koliko je taj pigment dobro dispergiran. Prah pigmenta miješan u prah drugog materijala gotovo uvijek daje lošije rezultate od pigmenta koji je prethodno dispergiran u tekućem mediju, uz prisustvo dispergirnih sredstava. Kada se susretnete s problemom "pigment ne boji dovoljno", vrijedi si postaviti pitanje: nije li problem u načinu na koji je dodan — a ne u količini.
" ["created"]=> string(19) "2026-05-04 12:54:47" ["modified"]=> string(19) "2026-05-04 20:10:17" } ["Member"]=> array(10) { ["id"]=> string(3) "108" ["group_id"]=> string(1) "2" ["first_name"]=> string(5) "Dunja" ["last_name"]=> string(6) "Singer" ["first_name_mask"]=> string(5) "dunja" ["last_name_mask"]=> string(6) "singer" ["username"]=> string(5) "Dunja" ["password"]=> string(40) "772414a5d6b32309f32f46e9009f1e550809c62d" ["born"]=> string(19) "2006-01-01 00:00:00" ["created"]=> NULL } } Dunja Singer, 4th May 2026 - We visited: Warhammer World – pt.3 Ivan Vedak, 4th May 2026
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