Possible Worlds Theory argues that the world we occupy is only one of many other possible worlds. While it is most suitable for us to inhabit, we could have existed in several other coherent realms. Counterfactual fiction is comprised of narratives recounted in one of those possible worlds, in which the plot advances in an alternative space. In this type of fiction, history deviates, yet the undeniable similarities between the two histories simulate readers' prior knowledge of actual historical events and motivate them to make sense of these hypothetical scenarios. Warhammer fantasy universe exists in an empire encompassing counterfactual history, locations, and characters. These narratives use geography and technology resembling Europe's during the renaissance period. Real-life objects are woven together with aspects of enchantment, magic, and imagined races. These nations are inspired by both textual and visual elements from various civilizations. The diverse races exist in two realms, one of them is comparable to ours and the other is akin to a mythical underworld, which fuels the elements of fantasy in the Warhammer universe. Thus, this study aims to offer a cognitive-narratological analysis of the blends in counterfactual historical fiction in Warhammer stories. It inspects readers' experientiality, as readers' different mental processes impact their appreciation of the level of enchantment in Warhammer. Using PW, I argue that the metaphor of possible worlds in the Warhammer universe results from blends created by the Warhammer devoted fans.