Set in Earth’s distant future, Tales of the Kytin Age is set in a world where sprawling fungi forests and desolate badlands cover a landscape almost destroyed by mankind’s folly. In this new era, giant insects have evolved into fearsome monsters, becoming the dominant life form.
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’m backing away slowly,” 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.
