Sol’Kesh is on Kickstarter now. Created by Terry Maranda, the project explores a land without humanity—a primal, speculative evolution setting. We had a chat with Terry to discuss his inspirations, the unique challenges of transitioning from working on established brands to creating his own, and how the community has played a vital role in shaping Sol’Kesh.

The Journey Behind Sol’Kesh

The inspiration behind Sol’Kesh stems from Terry’s lifelong passion for sketching and world-building. Terry explains:

“I’ve always been sketching—it’s something I do to relax and unwind, and for years it was just that. Even as I sketch, there’s always a seed of worldbuilding growing in the back of my mind. Thinking of the village a character might live in, or the alien landscape a creature could roam, and over the years I drew maps, wrote out histories and created peoples, but always fell into the trap of trying to explore the whole world too quickly and losing motivation as an exciting new world idea took over.

I realized that the problem I was having, and that many creators have, is that I was trying to establish a world before it had any substance, trying to answer questions that nobody was asking. So instead I started a small, with a river. Sol’Kesh originally was just a basic fantasy land with tribal people and creatures, and was honestly nothing too special.”

The COVID-19 pandemic in 2020 played a major role in reshaping Sol’Kesh. During the height of “death tolls and the fear of not knowing when it would stop”, Terry found new inspiration in stories of animals reclaiming spaces. He describes this feeling: “This gave me a peaceful feeling that life doesn’t end with us, that we’re not as pivotal as we make ourselves out to be.” This realization led to a significant shift—Terry decided to build a world without humanity, focused entirely on beasts and nature. The concept evolved into an ecosystem inspired by speculative evolution, imagining how creatures might develop 82 million years into the future without human presence.

Speculative Evolution Meets TTRPG

Blending speculative evolution with tabletop roleplaying games was less of a deliberate decision and more of a natural progression.

“Originally I was drawn to speculative evolution because of the way it can generate its own world-building. By considering the creature’s design as the product of the natural world, you’re forced to consider why an animal is built as it is, and through making choices on its design, it begins to reveal ecological voids in the world around it.

For example, the leg design of a horse implies an existence of running on open plains, this would then have an impact on the type of plant life that can fill such an open space, and the surrounding predators that must keep pace and hunt it. This method of establishing a living breathing world began to align with something I always loved in the old out-of-print Monster Ecologies from Dragon Magazine, and something I felt lacking in most mainstream TTRPG bestiaries.”

While the art within most bestiaries are spectacular, the depth in their descriptions/rules never delved deeply enough into how they live or why they’re designed as they are for me. I started to feel I could fill my own niche there, do more than just creature art, I could get these creatures into the hands of other world builders by giving them statblocks, let them feel like they could either add them into their own campaigns, or use the island of Sol’Kesh for discover a new unexplored wild. 

Building Momentum From Scratch

Transitioning from working on established brands like D&D and Diablo to creating Sol’Kesh from scratch came with unique challenges.

“The reason many gaming studios pay for the rights to a brand to build a game from is because the audience, the reputation, the world building, is already established and the game has an almost guaranteed player base on day one. I would say the largest challenge in building my own, was building that momentum of interest. Getting people invested and feeling like they can have a part to play in it.

I worked with a creative director that once said “The first rule of world building is that nobody cares about your world.”’ and that really resonates with me when I see people on reddit lore-dump pages of text of their ideas. While many of them are really well thought out and unique, I’m just not going to sit down and read all that unless I know the person.”

To overcome this, Terry focused on starting small and gradually gathering interest by sharing his work in increments.

“It took a lot of luck and constant daily incremental progress to get there and juggling both a full-time job and this passion project has been a real challenge, but despite the lack of sleep, it’s always been worth it.”

Lessons from Sol’Kesh: World-Building and RPG Design

Working on Sol’Kesh has taught Terry a lot about the art of world-building and RPG design.

“Working on Sol’Kesh has completely changed how I perceive the difference between writing a story and writing tools for someone else to tell a story, and what it takes to find that balance to make a compelling sandbox setting. I could have created a book that details the island and creatures within, much like the World of Kong book from Weta (which I highly recommend for those interested in speculative evolution) but instead, with the tools of TTRPGs I saw so much more value in letting others explore the world through their own narrative storytelling and gameplay.”

Terry also shared how he learned the intricacies of RPG rules writing and 5e monster stat design.

“Originally I had worked and paid several designers to help with the creature rule writing, but after 2 years I’ve learnt how to do it on my own, and it’s just so much fun that way,”

Community Influence

The Sol’Kesh community has played an important role in the project’s development. Terry was surprised by the passionate response from speculative evolution enthusiasts, noting how their feedback directly influenced the creation of some creatures.

“It’s one thing to design a monster, but it’s wholly another to look at some animal today and brainstorm about what pressures could force an animal to gain the ability to fly, spit venom, or generate electricity. There are many spec evo social media groups that do just this and getting stuck in these discussions have led to quite a few of the creatures within my bestiary.

One wonderful example happened on my own Sol’Kesh server, which ended up leading to the creation of the Farplains’ apex predator (which happens to be the cover art of the Journal book). It was only through talking about how wild a hummingbird could potentially get through evolution, and eventually turned into a massive swarm that strips the plains of meat during their mating season.

That hummingbird is just one of many creatures that are based on the ideas of these types of chats and I can’t thank the spec evo community enough for that. I honestly have a pile of saved brainstorming sessions, and I’ve cherry picked creature ideas from them many, many times.”

Fan Favorites and Future Plans

The project gained significant traction on social media, with some creatures becoming fan favorites.

“While it was the gomitoad that got my own project popular enough with the algorithm gods and led to the decision to create a Patreon. The one creature I can safely say has become a fan favorite since the launch of the Kickstarter is the gurubara, also another product of fun brainstorming conversations on discord.

This rodent was the idea that the chill and easy-going capybara is already near evolutionary perfection today, and in the far future of Sol’Kesh’s 82 million year setting, does it only just grow a beard to reach its true peak.”

Looking forward, Terry does have plans for expanding Sol’Kesh. He says, “I’d like to start exploring other parts of the planet in another microcosm fashion, and I have an idea for a much more exotic and unique environment to do so.” He remains cautious about not getting distracted from completing the initial project, though, and is keeping these ideas on hold for now even if he’s ” itching to get sketching them out.”

Sol’Kesh is on Kickstarter Until December 5th

Terry is particularly enthusiastic about one of the unique rewards that was unlocked during the Kickstarter campaign.

“The Kickstarter recently unlocked through stretch goals to do statblocks for juvenile forms of the creatures, and while I’ve drawn only two of them so far, I’d love to do more. There’s an upcoming stretch goal that will also give them miniatures, so I’m just excited to do a bunch of cute versions of the beasts that players can breed, raise, and adventure with. And with them I can’t wait to see what Worldshaper, the 3D modeler I’ve partnered with will do with them. “

Ending the interview Terry emphasizes the importance of small, incremental progress and the passion to keep going every day. Terry encourages aspiring creators:

“No world building project starts big, no story is immediately deep. For those who want to tell their own story, just start writing, sketching, coding, whatever you do, in small steps. It takes time and luck to pick up momentum, but what’s important is to keep at it.”

Sol’Kesh is a comprehensive tabletop RPG project that brings a speculative evolution-themed world to life. Divided into three main components—a Bestiary, an Art and Story Journal, and a set of 3D-printable miniatures—Sol’Kesh offers a unique exploration of what life might look like on a future Earth shaped by evolution long after humanity’s extinction.

Currently live on Kickstarter, Sol’Kesh represents the culmination of years of passion and independent work, inviting backers to support a project built around both creativity and community. The campaign ends on December 5.

A free STL creature pack for Sol’Kesh is available on DrivethruRPG, and the Tabletop Gaming News exclusive Esslinter STL package is available here.

Created by Geoff Gray of Kytinous Games, this post-apocalyptic TTRPG explores a distant future of Earth, dominated by colossal insects and sprawling fungi-forests. I recently asked Geoff a few questions about his motivations, challenges, and experiences while developing this unique project.

Head over to the Tales of the Kytin Age Kickstarter to learn more about the game.

What inspired you to work on “Tales of the Kytin Age” for 35 years, and what motivated you to keep going for so long?

“I didn’t intend it to take up 35 years of my life, but existence got in the way. Family, work, health, friends moving away, growing out of the hobby, etc. Oh yeah, Skyrim caused a pretty big delay too. As for motivation… two things; I guess I discovered a tenacity I didn’t know I had, and the world of the Kytin Age itself. It deserved to be documented, and I was the only one with access.”

Which aspect of game development did you find the most challenging, and which was the most enjoyable for you?

Gray shared that while the initial concept phase was enjoyable, as ideas were free-flowing and unbound by practical constraints, the journey of transforming those ideas into a comprehensive, playable game was incredibly demanding.

The most rewarding aspect of the project is simply getting it to the stage we’re at. It’s been the toughest thing I’ve ever done and is comparable to writing four doctorate thesis. The world and it’s peoples have taken on a life of their own and it’s been a long time since I felt like I was dreaming up all these ideas. I now feel like a scribe, simply chronicling what’s going down in the Kytin Age. It’s weird, but it does make life easier, like I’m just describing a place I’ve visited many times.

You describe yourself as a “beer and pretzels” kind of player. How did you balance simplicity and depth in the game to ensure an enjoyable experience for different types of players?

“Well, one, I’m a teetotaler, and two, I don’t like pretzels, haha! What I mean by that – and my interpretation may differ from yours is that I really dislike ‘rules over immersion’. To me, rules are just guidelines and, with roleplaying games especially, are more suggestions than anything ‘hard and fast’. If there is one genre where ‘house rules’ rule, its RPG’s, in my opinion. Of course, the rules are important – I didn’t spend years writing them for them to be casually disregarded – but not at the expense of immersion.

The essential answer is ‘if I can play it, anyone can!’

Geoff shares that he has played games where an engaging story is marred by the need to constantly consult a rulebook. “If a game has a manual the size of Nebraska, I kinda back away from it,” he jokes. While Tales of the Kytin Age is indeed a hefty book, Geoff points out that the size comes from the world-building elements rather than the complexity of rules. It’s intended to serve as an encyclopedia of the game world, with actual gameplay rules spread across fewer pages, and many of them summarized on crib sheets and character sheets. This design choice was a deliberate effort to keep the focus on the game rather than getting lost in rulebook consultations.

Geoff emphasizes that the only section the Hivekeeper (the game’s GM) needs readily available is the skills chapter, as each skill has unique outcomes for success and failure. “The book is big, not because it’s overly complex, but because we wanted to provide value to our readers and players,” he explains. The emphasis is on providing lore, story hooks, and details that bring the world to life.

The game’s core mechanics are straightforward. Geoff explains that the Skill Rating Modifiers (SRMs) and the difference system—which accounts for degrees of success—are fundamental to the game. These mechanics add nuance without overwhelming players with complicated processes.

There are very few central concepts players must learn in order to play, the most important being ‘SRM’s’ – Skill Rating Modifiers that affect the chance of successfully employing a skill due to context, and the second being the ‘difference system’ – where success is not only reliant on rolling lower than a given number, but also by how much lower one can roll. This allows for degrees of success, a vital part of skill resolution.

Beyond these core ideas, players have the freedom to choose how in-depth they want their experience to be.

You may keep combat to the simple actions of attack and defence and have a good time, but the rules also cover charging, ripostes, knockdowns, mounted combat, lancing charges, capture, pulling blows, air-to-air and surface-to-air combat, grappling, etc. Being a ‘beer and pretzels’ kinda guy (I now regret using that term), I’ve attempted to keep all of those ‘advanced’ actions as intuitive and easy to implement as possible. I’m not saying I’m stupid and I’ve made a game for fellow stupids, but maybe I am? If so, it’s the ultimate game for stupids!

Ultimately, Geoff says the game is designed to ensure everyone can have fun, whether they prefer a straightforward approach or want to explore all the game’s intricacies.

How did you approach character design to ensure players can create unique characters beyond the classic archetypes?

Gray explains that from day one, a classless system was a must. He has always disliked the idea of locking skills into rigid archetypes, as it limits creativity and hinders the immersive experience that role-playing games can offer. In Tales of the Kytin Age, Gray wanted players to be able to create characters without being restricted by arbitrary limitations. “It should be the player, not some arbitrary rule, that stops a local healer from also being a fearsome mace-wielder,” he says. This flexibility ensures that players can craft their characters in a way that feels true to their vision, without predefined boundaries.

The character creation system in Tales of the Kytin Age revolves around a classless skill structure and customizable mutations, allowing for a multitude of unique combinations. Gray elaborates that while skills can differentiate characters, they are just the beginning.

Our approach to giving players the freedom to create whatever character they wish is to present their physiological ‘differences’ in an almost menu-like fashion; a smorgasbord of mutation Depending on their character’s form of being, a player chooses a given number of mutations, or effects of mutation, from a list. There’s no randomness involved, rather most mutations have pros and cons (mostly pro’s), that the player must weigh up.

“Take, for example, wings,” Gray says. “You gain the amazing ability to fly great distances at speed if you choose them. That sounds like a no-brainer, right? Well, not so fast! The airspace is also the domain of the Great Insects, and they all fly better and faster than you can. There’s nowhere to hide up there, and retreating to low altitude exposes you to the webs of crowned spiders stretching from tree to giant tree.” Wings also come with other limitations—they are noisy, reduce carrying capacity, and can make the character vulnerable in certain situations. These trade-offs mean that two players might both be playing insectile characters, but their decisions—such as whether or not to have wings—will lead to entirely different playstyles and experiences.

Gray is particularly proud of how every choice presented during character creation has meaningful, in-game ramifications. The emphasis on player agency during character development is intended to enhance role-playing opportunities and encourage entertaining table banter.

Could you share more about your collaboration with Yasen Stoilov and how his illustrations have helped shape the visual aspect of the game?

Gray considers himself incredibly fortunate to have collaborated with Bulgarian artist Yasen Stoilov, whose unique art style helped bring the game to life over five years of dedicated work. Originally, Gray envisioned a manga-style presentation inspired by Nausicaa of the Valley of the Wind, but Stoilov’s art shifted the direction to full-color illustrations throughout the book.

Yasen’s work gifted Tales of the Kytin Age with a look all of its own and, despite his reticence of looking at any creepy crawlies in real life, he’s captured the flora and fauna in a remarkable way. I couldn’t have wished for a better partner to work with and I consider myself blessed he chose to stay the course over all these years.

Head over to Yasen’s ArtStation page or Instagram to check out more amazing artwork from both Tales of the Kytin Age and other projects.

What inspired the setting of “Tales of the Kytin Age”?

The game takes place in a world where humans have evolved to adapt to extreme conditions. Toxic storms and the poisoned legacy of humanity’s disregard for nature have reshaped civilization, leading to four distinct forms of human beings: the neotype, the metamorph, the telempath, and the insectile. Society has rebuilt itself akin to medieval times, thriving by binding itself to nature, farming giant fungi, and domesticating insects.

Ahh, an easy question! Inspired by the giant, nuclear-borne monster movies of the 1950s, Miyazaki’s ‘Nausicaa of the Valley of the Wind’ manga and anime, plus a blend of medieval, fantasy and science fiction literature, Tales of the Kytin Age presents a re-imagined world to explore – a new sandbox to play in! In 1989, when I began this project, just the idea of a game about knights in armour versus rampaging bugs the size of trucks with just a strong will and a stronger sword-arm was (and is) incredibly exciting, but I quickly realised the depth and scope of TotKA could afford so much more; it gave me an opportunity to explore themes that were uncommon in the genre, subjects I felt were deeply important to the way we live and connect with our world and each other.

What are some unique challenges players might face in the world of the Kytin Age that differentiate it from other post-apocalyptic RPGs?

I can think of several, from the mundane to the extraordinary, and all stem from the level of immersion we’re aiming for.

Gray highlighted the immersive, environment-focused gameplay as a key differentiator for Tales of the Kytin Age. Unlike many other RPGs, where survival often comes down to gear and combat proficiency, in Tales of the Kytin Age, a player-character’s life is deeply intertwined with the natural world around them.

A player-character’s life is strongly intertwined with the environment. Natural-based products are essential to maintain a healthy lifestyle regardless of the form of being, and even common ants, the universal beasts of burden, require daily attention to prevent sickness. Being aware of the various herbs, potions, ointments that can buff a character’s abilities is an important consideration and can distinguish a seasoned adventurer from a naive ‘larv’.

Owning mounts is considered essential by many players, not only for transportation and carrying capacity but also for their role in survival tactics. “Many travelers maintain two or more common ants
to act as decoys should they run into any arthropod action on the road.“ Gray shares. “Due to the danger that the Great Insects represent, great care and preparation is a must if one is planning to step beyond ‘city limits’”

Gray also touches on the great insects that dominate the Kytin Age, describing them as the most formidable challenge for players. The Great Insects are not merely enemies to be fought—they are forces of nature to be respected, avoided, or confronted strategically. “Survivability is knowing how to deal with the Great Insects—either by avoidance or the use of martial arts” he explains.

The insects are designed with realistic behavioral cycles, changing throughout the year.

The creatures of the Kytin Age follow cyclical patterns of behaviour which change throughout the year. There are obviously important events, such as the mating seasons which see increased insect activity, and periods of the year where certain bugs enter ‘diapause’ – a state comparable to hibernation. The weather plays an important role too, with many species migrating to alternative biomes during the wet and dry seasons. Knowing how the natural world functions is probably the best protection one can possess when out in the wilds.

Players must learn to read these environmental cues and adjust their strategies accordingly.

The key takeaway would be whatever we can do to increase the level of immersion players have within the game, the more we’ll push it. From a ‘Hivekeepers’ point of view (Hivekeeper being our term for GM, or referee), there’s not much thought given to a player-characters chance of survival in a particular scenario; the world is how it is. If a 45’-long, heavily armoured scorpion rocks up and you’re not already running away, you’re pretty much doomed! From the plant life to the very air itself, the world has many, many ways to end a character’s adventure real quick. Be vigilant!

Combat is another area where the challenges are unique. Gray emphasizes that the combat system in Tales of the Kytin Age encourages thoughtful decision-making rather than brute force. Injuries can be severe, and recovery is often long and painful. “There are no magical health potions, injured party members can rely on” he points out. Instead, players must rely on foresight, such as using items that can mitigate damage or counteract venom—often preemptively. This requires players to think ahead and be strategic about when and how they engage in combat.

In addition to the natural threats, there are also insectile habits that can influence a character’s actions, sometimes taking control away from the player. Certain elements of the world can have fatal effects on characters if they are not cautious, whether it’s poisonous plants or the influence of larger insect predators. Geoff points out that “There’s enough challenge to persuade any native to remain indoors!”

The game has a strong emphasis on ecological themes and humanity’s adaptation. Was there any particular inspiration or message you wanted to convey through this aspect of the game?

“Pollution, the wilful destruction of the environment and the near or impending extinction of other species remain increasingly present threats, and cataclysmic climate change appears inevitable. Topics such as forced migration and the status of refugees, the struggle faced by minorities and those whose appearance or sexualities differ from our own are more relevant today than just 35 years ago. These issues have always been part of the larger narrative behind the setting and cultural landscape of this game world. One takeaway behind the character sheets and dice rolling is how we, as a race, can change – must change – in order to survive. We have to reset our notions of humanity to become humane. Only through respecting and embracing each other’s physiological, psychological or cultural differences can we truly identify as human beings.”

Is there anything else you would like to add?

“Yeah, be nice to each other folks, it’s a bad world out there so let’s not make it harder for each other. And back the game, of course!”

Tales of the Kytin Age is on Kickstarter Now!

As of now, Tales of the Kytin Age has raised $5,442 out of its $6,460 goal, with 62 backers and 20 days remaining. The campaign ends on November 24th, so there is still time to help bring this project to life. Head over to the Kickstarter page to pledge and to learn more about the game.

Chris shared that Dungeons Reforged is designed to address some key challenges that the company has faced in recent years. “For years, we were running off of a Kickstarter-based model where we were just focused on getting from campaign to campaign,” he explained. “The way the sets were laid out was optimized around the Kickstarter pledge structure, which meant that at the end of the day we had a lot of sets and pieces that were difficult to restock, or didn’t make a ton of sense to new customers trying to get started on our webstore.”

With Dungeons Reforged, Dwarven Forge has reorganized their offerings to make it easier for new collectors to dive into the hobby while also appealing to long-time fans. “We’ve made new ‘core sets’ that let new customers get a ton of table coverage affordably,” Chris noted. There are also new dressing packs and some long-awaited pieces that have been out of stock for years, like the Bladed Ziggurat and Acid Furnace.

One of the standout features of the campaign is the introduction of the “Sinister” paint scheme. This darker, more eerie color palette brings a completely different atmosphere to Dwarven Forge’s dungeon terrain, perfect for constructing necrotic or corrupted environments. “The Sinister paint scheme is also jaw-dropping on the table and gives a Shadowfell Keep or Necromancer’s lair feel.” Chris added.

For existing Dwarven Forge fans, Dungeons Reforged offers a chance to fill in some gaps in their collections, with new pieces like the trapdoor insert or corner pillar. These additions enhance the functionality of the sets, allowing for more dynamic and varied dungeon builds. The campaign also offers the opportunity for backers to provide feedback and influence the final product before orders are placed.

When asked about the inspiration behind the reworked dungeon terrain, Chris pointed to the timeless appeal of classic dungeon crawls. “The dungeon is the classic fantasy adventure setting,” he said. “We were heavily focused on making modular, interactive pieces that would bring all of the classic dungeon-crawling tropes to life. Now that we’ve played with these pieces for over half a decade, we’ve had ideas on how to execute on the classic dungeon trappings even better.”

Looking ahead, Dwarven Forge has plenty more in store for fans. With their Lowtown city-building Kickstarter nearing fulfillment and the Starforged Sci-Fi campaign on the horizon, the company is gearing up for an exciting few years. “We’re planning to share details on our next campaigns before the end of the year, after Dungeons Reforged launches,” Chris hinted.

Be sure to check out the campaign tomorrow at Noon Eastern on Gamefound to see it all in action.

The game, which is pronounced as “MIR” (MИP in Cyrillic), places players in the roles of agents fighting to protect reality from monstrous entities known as the Echoes of the Ruin. The agents, members of the MIR organization, wield the dangerous Arts—powers that enable them to alter reality while risking corruption. Their struggle is to fight off the manifestations of suffering, protect the world from the Ruin, and contend with the distrust of the very people they strive to protect.

In a recent talk with TGN, Adrien Dumonchau and Valentin Reverdy, the creators of MIR provided insight into the driving inspirations behind MIR’s concept, visual design, and the meaningful touches they’ve added, like an exclusive soundtrack.

The Inspiration Behind MIR

When asked about the inspiration for MIR, the creators shared that the game was born out of a desire to bring real dilemmas into the TTRPG space. The creators wanted to avoid simply depicting gore and action, which they consider to be more epic rather than dark. Instead, MIR’s focus is on the psychological aspect—forcing players into moral decisions that have emotional resonance.

“Having to tell someone close to you that your loved one has died, having to confess betrayal to someone, having to condemn the innocent: that’s dark.
In a word: the psychology of the characters is too often skipped in favor of action scenes that are too unrealistic to elicit emotion. That’s not to say I don’t like epic action, quite the contrary, but like salt in a dish, you have to know how to dose it.
MIR’s universe places players in the position of judge and executioner. They’re not the victims, or the weak ones.
The dark side of the game comes from having to take responsibility for one’s decisions and their consequences on the universe. I wanted to create a universe that would help game masters to easily create dilemmas, both through the themes and the game system.”

The game draws inspiration from several iconic RPGs, including World of Darkness, Warhammer, Call of Cthulhu, and Game of Thrones RPG. Works like George Orwell’s 1984 and movies such as Perfect Blue, Seven, and The Witch have also been instrumental in shaping MIR’s thematic direction.

A Visual and Artistic Experience – From Alphonse Mucha to Black Metal

One of the standout elements of MIR is its art direction. The creators emphasized that every visual component of the game has been crafted without the use of AI—a conscious decision in the face of growing debates within the role-playing community. The art draws on several influences, from Romantic engravings to Art Nouveau, and incorporates stylistic choices meant to evoke feelings of the sacred, dangerous, or magical.

“Valentin and I have always tried to ensure that form meets content. Having a collector’s edition with an imitation leather cover that costs twice as much doesn’t say anything.
The physical object is the extension of the universe, inspiring the game master as much as the words. And our job is to inspire people to tell memorable stories.”

The pair explained that they wanted to make it clear that this is a sacred book, and chose a sacred script for the graphical work: Vyaz, an ancient decorative Cyrillic lettering which the duo describes as gothic for the Slavic Orthodox.

“We imagined our book as an initiatory rite to help players enter the universe more easily,” they explained. Each book in the range corresponds to a different grade within the MIR organization, and no illustrations are reused. Everything is tailored to convey the unique atmosphere of the game.

Illustrations in MIR come in three styles. Black and white engravings in reference to the Romantic movement and Gustave Doré, Illustrations in chiaroscuro inspired by the Flamand painters, and Art nouveau illustrations inspired by Alphonse Mucha.

The game also comes with an accompanying music album, composed by Guillaume Galaup, a musician known for his work in the black metal scene. The art and design for MIR also draws inspiration from Black Metal and the music is designed to be an extension of the game, enhancing the mood and immersing players deeper into MIR’s dark setting. “Like a film, a role-playing game can leave a lasting impression with the help of music,” they said, noting that the album is included as a physical object within the collector’s edition.

While writing the compendium scenario “At Shadow’s Glory”, we met Guillaume Galaup, a musician known for LIMBES, a Black Metal one-man band. He’s a role-player at heart, and has thrown himself into the project heart and soul. Before composing the album, he played and read the scenario compendium to create a musical universe designed for it. 

Guillaume wanted to avoid the “dedicated track” effect where you have one track for the fight scene, another for the plot scene etc. His philosophy is to create a long, thematically rich musical layer to adapt to situations without asking the game master to become a DJ. 

What Sets MIR Apart

MIR isn’t just a game of dark fantasy—it’s a game of emotional weight and consequence. The creators wanted to design a setting where dilemmas arise intuitively from the world itself. This approach helps players face decisions that feel more nuanced than the simplistic “good vs. bad” choices.

With MIR I tried to offer a universe where each level of description offered the possibility of creating a dilemma intuitively. Even though this is still only the discovery book, it offers enough information to enable you to create your own scenarios in the MIR universe. The French community has already produced plenty of them, and we’ve bought two of them – which are stretch goals, by the way, and one of them has already been unlocked!

Finally, I’d like to conclude on the subject: I don’t know of any role-playing game – with the possible exception of Degenesis – where content meets form. We want to bring our work to life on a different medium, to allow all its themes to express themselves.

Dark Ambience: Therapy with Monsters

MIR embraces its dark ambiance wholeheartedly, and the creators hope that players will not only feel immersed in its sinister atmosphere but also find catharsis through play.

The first thing we want MIR players to do is to have fun and feel free to express their fear, shame and anger. In a playful and controlled way, but to be able to express them nonetheless. Censorship is never the solution, however, even if other means of expression do exist. 

The game has even attracted the attention of mental health professionals. One psychologist, Dr. Wayne Guillaume, has contributed an upcoming scenario, highlighting how the themes of MIR resonate with real-world experiences of trauma and healing.

Final Weeks of the Campaign

As the Kickstarter campaign for MIR enters its final stretch, backers can look forward to more unlockable content, including new scenarios, music tracks, and civilization cards. The creators have confirmed that backers will receive a PDF of the discovery book as soon as the campaign concludes, allowing them to dive into the world of MIR right away.